Division has reached crisis proportions. The sea of discordant voices is at fever pitch: gun control versus the Second Amendment, anti-abortion versus pro-choice, Democrats versus Republicans. Say anything, and you're bound to be greeted by wails of defiance. Women in combat? Health care for the poor? Phooey! I'm telling you, if Jesus came back tomorrow and offered the world everlasting peace, there would be complaints. And not just low-level muttering, either. Shouts. Screams. How dare you! In many ways, the human race is in a state of permanent toddlerhood. We're in our "terrible twos"…forever, cursed with a permanent level of discontent with virtually everything.
Enough, already. I've had it. Facebook, which started out as a serendipitous connection to past friends and faraway family, has turned rancorous with opinion. I can't stand it anymore. But what is the option? To not engage is just as detrimental. To take oneself out of the equation changes nothing. So?
So I do this. I do the only thing I can do. Like Cassandra of mythology, consider me a harbinger. I predict that if you keep haranguing people about your unwillingness to participate in even the discussion of gun control, you will find yourself on the wrong side of history. I predict that not listening to "the other side" — whatever that is — will leave you stranded, quite alone in your own miserable bubble. I predict that insisting on being right, rather than being compassionate, will not end well for you. Because we all need compassion. And if you don't give it, you don't get it. Period.
I get it. We all take our beliefs seriously. And that's fine…good, even. You should feel strongly about things. But let's think about how we express ourselves. Are we leaving room for calm, rational discussion or flatly stating that ours is the only way to think? Are we dismissive of others' opinions? Do we react with openness to others or with reflexive anger?
Don't think I'm excusing myself from this discussion. If there were ever a queen of "I'm right-ness," it's me. But I have been pushing myself to listen more and judge less. I don't get into arguments on Facebook if I can help it. I don't argue with those who will not listen. It's an ongoing job and one I take seriously. Maybe I can't change anyone's opinion. But maybe I can get them to agree to listen. That's a win-win if there ever was one.
Today, let's all do one thing: Let's remember that we don't know everything. Only God does. And He might not agree with our opinions. Let's leave the door open, just a crack, to let other people of varying ideas and stances in. Let's remember that if we don't start agreeing on something, we will end up with nothing. And no one wants that, right?
It was the first time I'd ever gone to Victoria's Secret. I wasn't looking for some fancy frou-frou lingerie; I was just thinking it was time to get a little support in the upper regions. So I skulked in like a tourist in a foreign land, and instantly, a sales girl approached me and attached like Velcro.
"Are all of the bras padded?" I asked naively.
I held up one, and, though it was less padded, it still seemed cushiony.
"They all seem padded," I said.
"But if you're not Dolly Parton, isn't that kind of like false advertising?" I asked.
Maybe everything in life is about the way you frame it in your mind. If your cup doesn't runneth over, so to speak, maybe it's no sin to embellish your assets. And even though this analogy is kind of a stretch, maybe – like those padded bras – everything in our lives should be cushioned. Maybe even the news should be filtered and softened so it's easier to digest.
The word "gospel" translates to "good news." You might not even realize that good news exists if you only look at the news programs running all day on television. But there really are people in the world who do good things and expect no reward, like the man who lifted a car off of two injured children and didn't wait around for recognition. I also loved the story from Guideposts Magazine about the whole town that adopted foster children, and the story of an unsung hero on the California Highway Patrol determined to save despondent people from jumping off the Golden Gate Bridge.
SueBE's wonderful post this week about a waiter who stood for what was right is an inspiration too, and Lori's post about the beauty of kindness fed my soul in a glorious way.
Let me know if you find any positive stories about kind people doing good things. I'd love to start my day with a nice cup of coffee, inspirational stories and a powerful dose of prayer. Now that's an instant uplift!
This was one of my mother's favorites. In fact, it is the only song I can remember her singing.
Serve God every day. Serve Him in all you do.
If you're like me, you've heard this and wondered. How? How can I do this and be who I am? Or does it mean that I should be a missionary or a preacher?
Because I'm not cut from a missionary or preachers cloth. I'm not a people person. Sure, I like them well enough right up until I've had enough. And that threshold is way too low to be either a missionary or a preacher.
Are those the only ways to serve God? Are the rest of us, those in other professions, openly defying him?
That's always been one of those uncomfortable thoughts in the back of my mind. Then I saw this video.
First of all, let me lay this out. I don't know if waiter Michael Garcia is Christian or Buddhist or non-religious in every way. I don't have a clue.
What I do know is that he served God along with a meal. He stood up for a child with Down's Syndrom. He didn't pretend not to hear it when another customer made rude comments. He stood firm and said no.
Whether you are a waiter or a writer, an electrician or a janitor, a surgeon and a steward, you too can serve God. It is in how you treat people with fairness and compassion. It is in demanding similar treatment from others.
Serve God every day. You don't have to be a missionary or a preacher. You can still carry His word to others.
Lots of folks I know are grappling with hard times. Every night my phone rings with prayer requests. What I wouldn't give for a truly "nothing" day, a day when all is at rest, when newscasters scramble for material, and people say, "I'm fine," and mean it. Perhaps you, too, are feeling this way?
Here is a blessing for better — and duller — times. Those who need them know what I mean.
when God in His heaven allows no surprises.
at least for one more day.
to feed and yawn and not to scream.
not seeing the gift of innocuous time.
each falling, silent, a leaf from a sacred tree.
When I was a teen, I learned to dread that phrase from my grandmother. It meant she was disappointed that I wasn't doing something her way and she was praying for me to come around. It always sounded a bit like a threat. She was certain God was on her side and he had a message for me.
Of course, I was equally certain that God was not sending messages via my grandmother. Why? Because I was praying too.
So what do you do when you are praying for one thing and you are pretty certain someone else is praying for another solution altogether? When this happens in my own life, I generally resort to one line out of the Lord's Prayer. Thy will be done. I pray that God's will take place. I acknowledge that God's Will will be best for everyone involved (and not just my selfish self). I also pray that I will figure out what it is sooner rather than later.
But it is really hard for a Type-A personality like myself to pray it with any intention. In the end, I really and truly want things to go my way and I'm not above a few subtle hints to the Great Divine.
Still, I try to pray it and mean it although it can be pretty tough when you get a hint of what is coming and you know it isn't going to be pleasant.
Maybe I should just go find someone else to pray for.
Whether or not this prayer was actually said by Joan of Arc, I don't know but it is wondrous in its simplicity. Thank you to Kansas Bob on whose prayer blog I first saw this prayer.
This is one of my all time favorite gospel pieces. This video is 8 minutes long but this particular song is only the first two minutes.
Our pastor, Father H, takes his shepherding seriously. So when he suggested a series of scriptural readings to ponder as part of our 2013 New Year's resolutions, I was intrigued. Now, I've heard and read these scriptures hundreds of times before, but like most things you hear often, I rarely thought about them in a deep and meaningful way. I plan to take that opportunity now.
Let's start with Matthew 18: 21-22 — "Then Peter approaching asked Him, 'Lord if my brother sins against me, how often must I forgive him? As many as seven times?' Jesus answered, 'I say to you, not seven times but seventy-seven times.'" Now, I can't help picturing some poor schmuck repeating, "I forgive you!" over and over endlessly while the guy who sinned against him (and who, let's face it, has already shown a lack of fundamental respect for the guy he sinned upon) restrains himself from pummeling the first guy in the kisser. Practically speaking, it seems a little masochistic: Somebody does you wrong, perhaps repeatedly, and you keep turning the other cheek. Sounds to me like someone's gonna end up with a severely scarred cheek.
It's just the opposite, however. By forgiving (and forgiving and forgiving), we are doing ourselves good. We are letting go of anger, hurt and frustration, leaving our souls in a state of perfect ease. It is self-help at its finest. Moreover, it's an option open to anyone. It might take two to tango, but it only takes one to forgive.
A few weeks back, during our journey out to California to visit family, our car was side-swiped by a gigantic RV at a gas station. The driver of the RV proceeded to drive away as if nothing had happened. We managed to track the vehicle down and block his getaway. There I stood, in the middle of the street, stupidly playing David against the RV's Goliath, while watching expletives form on the lips of the driver's wife.
I'm ashamed of my reaction now. I forgive the driver and his wife, and even their yippy, unfriendly dog. I hope they forgive me. Maybe they really didn't know they'd hit us, much like a rhinoceros stepping on a butterfly. Maybe they were afraid their licenses would be taken away. They were an older couple. Heaven knows, it won't be too many years before my husband and I are in their shoes. Our reaction time won't be as quick; our sense of our vehicle's size and capabilities will be perhaps a bit more dim.
So I'm going to say, "I forgive you," over and over, as we write the check for the deductible, as we drive a crappy loaner while our car's in the shop, even as our insurance rate goes up, as it very well may. And I'm going to ask for forgiveness just as many times, even as I realize that he-who-sinned-against-us might not hear it. At least it will be out there in the universe. Part of the ozone. Friendly pollution.
That's the power of forgiveness. It's like laying down a burden. I'm not angry anymore. My soul feels lighter. That Jesus, He knew what He was talking about. Seventy-seven times over.
A personal favorite and our anthem today.


My work explores personal narratives that revolve around the choices we make at key life junctures. Currently, my artwork represents a means for me to explore my alternate selves who did not chose to be become an artist. I present these narratives in soft oil painting glazes which lighten the overall mood of the paintings and elicit feelings of joy from the viewer; thus, creating a juxtaposition of my own fears and doubts with their enjoyment of the work. While I consider myself primarily a painter, I have branched out to sculpture, installation, woodworking, and graphic design. For instance, to construct narratives, I use Photoshop as a tool to alter images and create a digital composition before the painting process.
During my graduate studies I have maintained a blog that focuses on sharing art tips, and introducing artists to a wider audience, my mission statement: "my artwork, helpful art tips, and inspiring artists" (www.AshleyCummock.com).
My paintings have been inspired by my own past experiences and relationships. In college I was on a path studying science before deciding to pursue a life as an artist. Like many people, I struggled with that decision then and now, always harboring a seed of doubt about the choice I made. Recently, I have used my artwork as a means for me to explore my alternate selves who did not chose to become an artist. Through my paintings I humorously present childhood dreams that depict me becoming a doctor, living amongst the animals, or going on great adventures.
Currently my apartment doubles as my studio, enabling me to spend as much time as possible during the day working on my paintings. Being at home also gives me access to the tools (e.g., Photoshop) I use to create digital compositions that guide my paintings. Being within steps of my computer, printer, and canvas allows me to seamlessly update and change my work. Additionally, I try to work on different aspects of 3 to 4 paintings at a time, as I feel variety keeps my works fresh, and working in my apartment enables me to work on a piece at any given moment when inspiration strikes.
I never thought that would be exposing my own ambitions, both realized and not, so openly to the public. My early work abstracted the meanings behind my works offering me a layer of protection, but now I am prominently displayed in my work – exposing my own personal doubts and fears about my chosen career. I hope that my artwork can help others look within themselves and remember the dreams they had as children. I keep these dreams as part of me through my paintings, perhaps I can inspire others to keep their dreams alive as well in their chosen path of life.
I find that inspiration to work a particular piece can come at any given time, so I don't limit the time of day in which I paint. Because my apartment doubles as my studio, I find that being close to my work enables me to complete my visions before they fade.
My work has evolved tremendously over the past five years, in both the style and subject manner. My older work focused on landscapes and sitting portraits, the composition of these works was simple and the brush strokes were heavy. When I moved from the San Francisco bay area to Madison, WI I began to create complex surrealist paintings that were in the style of Neo Rauch. I am very proud of the subject manner and narratives of these paintings, but my lines were still heavy and my characters were flat.
In graduate school I found my stride by simplifying narratives and painting in much softer oil glazes, giving the characters a sense of depth and not detracting from the composition. Throughout the years I believe the concepts behind the works have been consistently strong; in fact, I am constantly tempted to re-create many of my previous works with a more streamlined composition and consistent style. Nonetheless, I find that I am continuing to grow as an artists and each new work helps me to refine my practice.
As a painter interested in science, my earliest muse was Leonardo Da Vinci. More recently, I have been greatly influenced by Neo Rauch, specifically his surrealist composition and style. I find myself constantly studying his work and finding inspiration in the tiniest details. I have also been impacted by the current rise of reality TV and its impact on educational programming. A current work "Finding Bigfoot" deals with the reality that a searching for and failing to find a mythological creature may somehow be a desirable career choice. Lastly, I find inspiration in pop icons, such as Donald Trump and Martha Stewart, because they embody many complexities and contradictions. Using their likenesses in my work helps to relate to the viewer and causes the viewer to ask themselves, do those icons deserve the status they have obtained?
As discussed above, I grappled with the decision between art and science in college but ultimately choose art as my life path. This decision has fueled much of the work I am creating today. Besides art, I really enjoy science, particularly medical sciences. I enjoy keeping up with the latest medical trends and breakthroughs and perhaps will apply these concepts into my future works.
Ashley Cummock-Rose holds a B.A. in Studio Art from Santa Clara University, Santa Clara, California, and is a candidate for a Masters of Fine Arts degree from the School of the Museum of Fine Arts, Boston/Tufts University. She also founded the website AshleyCummock.com "my artwork, helpful art tips, and inspiring artists".
This entry was posted in Painting and tagged Boston, Miami, Oil painting, San Francisco, Wisconsin. Bookmark the permalink.


If you wind up with such a broker you're certainly going to lose lots of money. Your broker should probably allow you to have a digital getting and selling account in which you make practice trades along with refine your abilities, together with getting your errors from the manner. You'll then need to receive a broker, fund the Forex trading account and perform a market analysis.
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The final lecture brings together the previous four in examining their intersection. It considers the way in which a single sculpture can anchor a spatial structure, and suggests that the furnishings of the church, such as the pulpit and the altar, are forms which still have a purchase on sculptural form. It ends by asking whether the point at which a tree becomes a god, or remains a tree, is the key intersection.


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Eureka Springs Visitor
Stories Blogs Comments Photos Classifieds Everything
Carroll County News
Dispatch Desk: Eureka Police: Nov. 8-14, 2021
A list of incident reports from the Eureka Springs Police Department:
• 9:06 a.m. — An officer received a report of subjects having a disagreement over property.
• 11:33 a.m. — An officer received a report of a suspicious vehicle, made contact and everything was OK.
• 12:54 p.m. — An officer received a report of a subject acting strange, made contact and the subject left the property.
• 12:58 p.m. — An officer received a report of a welfare check on a child.
• 8:30 a.m. — An officer responded to reported theft of credit cards but didn't take a report after the cards were found.
• 9:09 a.m. — An officer responded to a reported unwanted subject, checked the area and couldn't locate anyone.
• 11:16 a.m. — An officer responded to a reported domestic dispute and arrested a subject.
• 11:26 a.m. — An officer received a report of a crane collapsing with no injuries or property damage and turned the scene over to the fire department and public works.
• 5:14 p.m. — An officer responded to reported damage to a vehicle, made contact and no report was needed.
• 6:12 p.m. — An officer responded to a reported erratic driver, checked the area but couldn't locate anything.
• 7:39 p.m. — An officer responded to a reported parking issue.
• 7:49 p.m. — An officer responded to a traffic accident and filed a report.
• 2:40 p.m. — Officers responded to a reported disturbance and advised that one party was gone. No report was needed at the time.
• 3:54 p.m. — An officer responded to a reported suspicious person, made contact and the vehicle was gone.
• 3:59 p.m. — An officer responded to reported suspicious vehicle, made contact and everything checked out fine.
• 10:29 a.m. — An officer responded to a local apartment complex for an unattended death report.
• 12:24 p.m. — An officer responded to take a theft of property report at a local business.
• 4:52 p.m. — Officers responded to assist the fire department with an alarm, and an officer advised it was a false alarm and everything was OK.
• 7:47 p.m. — An officer advised everything was fine after responded to a fire alarm.
• 2:13 p.m. — An officer responded to a reported traffic hazard and advised the roadway was open.
• 2:36 p.m. — An officer responded to a reported suspicious vehicle, located the vehicle and it was towed.
• 7:43 p.m. — Officers responded to a chimney fire and no report was needed.
• 2:17 p.m. — An officer filed a report on an accident.
• 4:32 p.m. — An officer responded to a reported reckless driver, located the driver and assisted him. No reported was needed.
• 6:56 p.m. — Officers responded to a reported intoxicated person but did not locate anyone.
• 7:02 p.m. — An officer responded to a reported disturbance, checked the location but couldn't locate anything.
• 10:48 a.m. — An officer received a report of a domestic disturbance at a local hotel, responded and both parties were separated.
• 2:15 p.m. — An officer responded to a report of two subjects verbally arguing, made contact and separated the parties.
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Warbirds AMG is a modelling group that is focused on providing its members with a casual yet focused environment to assist you to build your models the way you want them. We're a modelling group for all those interested in all forms and eras of military aviation and reproducing models of these subjects. Whether you like to throw together a model in a weekend with a minimum of fuss or spend months, even years, researching and meticulously crafting your masterpiece, Warbirds AMG caters for all kinds of modellers. Above all it has to be fun!!! Why not spend a Sunday afternoon amongst like-minded people with a cuppa in one hand and a kit in the other? If this sounds the group for you then come along to a meeting or email us and we'll get back to you with further information.
Warbirds History
The history of Warbirds Aviation Modelling Group can be traced way back to 1990. Martin Reid started the ball rolling that would eventually become Warbirds AMG. Roi Hakim, then owner of R&J Hobbies in Cheltenham was looking for a way to promote his shop in the area via a small model show to encourage the locals and the modellers in the hobby. Martin Reid suggested approaching the Moorabin Air Museum (now known as the Australian National Aviation Museum) to hold a show there. This was done successfully for two years.
In 1994 Martin got the idea to form an aviation model club. Not to compete with the array of fine general modelling groups available, rather a complimentary outlet for aviation modellers. They could gather on a few Sunday afternoons throughout the year in a semi-formal environment, enjoy their hobby and most importantly, be serious about having fun!!! Martin approached the museum about restarting the model show. While the group didn't take off until 1996, the show started in 1995 as Big Wings, Little Wings and then Wings, which sadly is no longer a viable event.
1996 saw the formation finally of the group albeit with a specific focus of the airforces of the World War II Axis nations, the group was known as Axis Eagles. In 2011, Martin along with Laurence Farrugia also started a new aviation modelling group with the original intent from 1994. Warbirds AMG was started and in 2014, the groups have become one with a focus on military aviation of all nations and eras.
We are constantly working at making the meetings interesting and relevant to modellers and we're currently moving towards a more skills based meeting style where modellers can show their "tricks of the trade" to help others but also bring requests for help with their modelling and research requirements.
If this sounds like a group that may interest you either as a local or distant member, drop us a line on warbirdsamg@outlook.com and check out the details on the Membership & Meetings page.


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nature reviews earth & environment
An ice–climate oscillatory framework for Dansgaard–Oeschger cycles
Laurie C. Menviel1,
Luke C. Skinner2,
Lev Tarasov3 &
Polychronis C. Tzedakis ORCID: orcid.org/0000-0001-6072-11664
Nature Reviews Earth & Environment volume 1, pages677–693(2020)Cite this article
Palaeoceanography
Intermediate glacial states were characterized by large temperature changes in Greenland and the North Atlantic, referred to as Dansgaard–Oeschger (D–O) variability, with some transitions occurring over a few decades. D–O variability included changes in the strength of the Atlantic meridional overturning circulation (AMOC), temperature changes of opposite sign and asynchronous timing in each hemisphere, shifts in the mean position of the Intertropical Convergence Zone and variations in atmospheric CO2. Palaeorecords and numerical studies indicate that the AMOC, with a tight coupling to Nordic Seas sea ice, is central to D–O variability, yet, a complete theory remains elusive. In this Review, we synthesize the climatic expression and processes proposed to explain D–O cyclicity. What emerges is an oscillatory framework of the AMOC–sea-ice system, arising through feedbacks involving the atmosphere, cryosphere and the Earth's biogeochemical system. Palaeoclimate observations indicate that the AMOC might be more sensitive to perturbations than climate models currently suggest. Tighter constraints on AMOC stability are, thus, needed to project AMOC changes over the coming century as a response to anthropogenic carbon emissions. Progress can be achieved by additional observational constraints and numerical simulations performed with coupled climate–ice-sheet models.
Abrupt warming events in Greenland and the North Atlantic, referred to as Dansgaard–Oeschger (D–O) events, were associated with a strengthening of the Atlantic meridional overturning circulation (AMOC), and changes in the global climate and carbon cycle.
AMOC changes, with a tight coupling to Nordic Seas sea ice, strongly affect the climate and marine carbon cycle, and, in turn, the ice-sheet mass balance. Resultant changes in oceanic wind stress, ocean heat content and salinity feed back on the AMOC.
Owing to the different timescales of the feedbacks, self-sustained AMOC oscillations could emerge during intermediate glacial states. The boundary conditions of intermediate glacial states (size of ice sheets, Bering Strait throughflow and atmospheric CO2 concentration) appear to be key in enabling these oscillations.
Perturbations other than changes in meltwater input, including changes in atmospheric CO2 or Northern Hemisphere ice-sheet height and extent, can lead to, and may be required for, D–O variability.
The relatively large and frequent AMOC changes associated with D–O variability suggest a relatively low AMOC stability during intermediate glacial states. This low stability is not evident in all numerical experiments performed with coupled climate models, implying that some might either overestimate the AMOC stability or have a mismatch in the required background state for the low-AMOC-stability regime.
Additional observations on the location and strength of North Atlantic Deep Water formation and its link with sea ice, as well as its improved representation in climate models, are needed to better constrain future climate projections.
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Fig. 1: Proxy records showing D–O variability across Marine Isotope Stage 3.
Fig. 2: Climatic anomalies associated with D–O and Heinrich stadials compared with an interstadial peak.
Fig. 3: Subsurface temperature anomalies associated with D–O and Heinrich stadials compared with an interstadial peak.
Fig. 4: Possible AMOC states for stadials and interstadials.
Fig. 5: Summary of interactions and feedbacks involved in D–O variability.
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Kobashi, T. et al. Volcanic influence on centennial to millennial Holocene Greenland temperature change. Sci. Rep. 7, 1441 (2017).
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Hofmann, M. & Rahmstorf, S. On the stability of the Atlantic meridional overturning circulation. Proc. Natl Acad. Sci. USA 106, 20584–20589 (2009).
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Bond, G. Correlations between climate records from North Atlantic sediments and Greenland ice. Nature 365, 143–147 (1993). Highlights D–O oscillations in marine sediment cores from the North Atlantic and establishes a link to variations in Greenland ice-core δ18O records.
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L.C.M. acknowledges funding from the Australian Research Council (grant nos. FT180100606 and DP180100048). P.C.T acknowledges funding from the UK Natural Environment Research Council (grant no. NE/R000204/1).
Climate Change Research Centre, PANGEA, University of New South Wales, Sydney, NSW, Australia
Laurie C. Menviel
Department of Earth Sciences, University of Cambridge, Cambridge, UK
Luke C. Skinner
Department of Physics and Physical Oceanography, Memorial University of Newfoundland, St John's, NL, Canada
Lev Tarasov
Environmental Change Research Centre, Department of Geography, University College London, London, UK
Polychronis C. Tzedakis
L.C.M. wrote the manuscript, with contributions from L.C.S., L.T. and P.C.T. All authors contributed to the ideas in this paper.
Correspondence to Laurie C. Menviel.
The authors declare no competing interests.
Nature Reviews Earth & Environment thanks J. Lynch-Stieglitz, J. Rheinlænder, X. Zhang and the other anonymous reviewer(s) for their contribution to the peer review of this work.
Menviel, L.C., Skinner, L.C., Tarasov, L. et al. An ice–climate oscillatory framework for Dansgaard–Oeschger cycles. Nat Rev Earth Environ 1, 677–693 (2020). https://doi.org/10.1038/s43017-020-00106-y
DOI: https://doi.org/10.1038/s43017-020-00106-y
Nature Reviews Earth & Environment ISSN 2662-138X (online)


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A year with Year 3
Marina Lewis-King reflects on how children have been put centre stage in Steve McQueen's new artwork Year 3
(Year 3 Class visit to Tate © Steve McQueen and Tate)
Subjects of artwork should always have a positive experience of the process, but when those subjects are 7 and 8 year olds and there are over 76,000 of them featuring in a national gallery, the need for it to be a meaningful participation becomes even more important. Through our role in the Steve McQueen Year 3 exhibition, we have worked hard to make this happen.
When the Year 3 photographers visited 1,504 schools to photograph more than 3,000 classes over the course of just one academic year, it might have been easier to simply snap a picture and move on to the next one like on the usual school picture day. Instead, A New Direction developed an engaging range of workshops for the children and continued to support the photographers to deliver the sessions. The discussions and games focused on the children engaging with the themes of their identity, both individually and within the community, and their ambitions and hopes for the future.
These led to some insightful discussions, often with teachers being delighted and surprised at seeing another side to their pupils. It enabled the children to become active participants in the artwork they are at the heart of, and because they were having fun, we got big grins for the photo too.
Launch Day – 11th November
On Monday 11th November, I was lucky enough to witness the excitement of one Year 3 class when I accompanied them to see their photo on a billboard and in the gallery exhibition.
On the way to the billboard site,  the class played a game of 'I spy' and talked about hoping to see Big Ben. We first spotted the billboard through the windows of the coach and the children erupted into cheering. When they got off the coach, they stood underneath the poster, pointing at themselves in excitement before posing for a photo underneath. They chatted in awe about how weird it felt to see their class picture at the side of the road, and about how special that felt. School trips are always memorable, but I suspect nothing will compare to the time they saw themselves alongside other London landmarks.
As we pulled up to Tate Britain, a few started chanting 'Tate Britain! Tate Britain!' in anticipation. Once in the exhibition within the Duveen Galleries, there were gasps and guesses at how many photos there might be, as we walked past the walls covered in pictures.
There must be a hundred million here! Wait... there's more!
The children were invited to disperse, and they hurried off to try and find not just their own photo but schools of friends and family too.
School trips to see Steve McQueen Year 3
Over the next five months, thousands more children will have the same excitement of coming with their class to see their photo. On the visit, they will be able to view their photo up close on a screen, and a member of Tate staff will show the children their photo situated in the gallery too. Classes will then have the opportunity to make the most of the trip with some self-guided activities around other galleries at Tate Britain.
Children's experiences at the photo sessions
Seeing the children engage with artwork hanging in such a major gallery which they feature in felt powerful to me. Over the past year, I have read daily updates from our photographers visiting all the schools and attended sessions myself and heard time after time how much children enjoy art and their views on its importance at school. Yet many also felt as though it might not be for them because they weren't 'good' at it, or that they didn't get to do it enough at school because 'it wasn't learning like English and maths'. This view of art was one that teachers were often keen to take on and respond to. It was inspiring to see how many teachers used this session and the resources to plan more creative activities and opportunities exploring their identity and community.
We recently asked pupils about their experience of Year 3. One pupil said: "I am really proud to be in the Tate Britain and on a billboard. I love being shown to London and I am proud to have the chance to be in the Tate." Another felt it brought his class closer together saying, "when the photographers came it made me feel like my class were a big family." Even months on from the photographers' visits children have had lasting positive impressions, with children from one school thinking back on it:
I like how it wasn't a boring photo thing, they made it into a fun game. The games made us get into the spirit of having the photos done.
I felt really happy and joyful that we were fortunate enough to actually be a part of it, and it's going to be in a gallery open to the public which means that the public will see us in the gallery.
We made every effort to be as inclusive as possible, with sessions tailored to each school's need. For example, some schools had shorter workshops with sensory focused games that helped create a sense of community between children who might not usually collaborate in lessons. One of the highlights for me over the workshops I attended was seeing the fun that children had when playing games involving the whole class, and how proud they felt about being part of something together. Another was hearing the questions they had carefully scribbled on scraps of paper, and seeing the wonderful artwork they produced, often from the resources made available to help teachers engage further with the artwork. These resources are free and available to download here.
And you can read more about the sessions and the photographer's experiences of visiting schools here:
A day in the life of a Year 3 photographer
Classroom activity: Reading the photograph
Working with teachers
In order for the children to participate and enjoy the experience, adults had to make sure lots of things were in place, with lead teachers at schools often going out of their way to accommodate the project staff. We made sure the whole process was as smooth as possible for the schools and teachers involved and worked hard not to be disruptive to busy timetables. There are also over 6,000 teachers and educators featured in the photos so we wanted them to enjoy it too! Communication was key in this both before and after the session, and logistics and timings had to be considered in scheduling - particularly when navigating the politics of who could use the coveted hall and when!
Photographers' assistants!
Safeguarding was paramount throughout all aspects of the project, with every child featured in the exhibition submitting a parent/carer consent form to their school, along with an extra one for schools involved in the outdoor exhibition. If for whatever reason a child could not feature in the picture (including those who chose not to despite having consent in place) they were still involved in the games and activities. To make sure they felt part of the process, they had the chance to act as photographer's assistants during the photo itself – often resulting in envious questions from their classmates about how it felt being a photographer.
Children's superpowers
For those schools who were featured on billboards, we worked with the NPSCC and London Connected Learning Centre on a duty of care programme, which included staff briefings to ensure the focus could be maintained on the children's welfare and wellbeing. Facilitators then visited those schools to deliver another workshop for the children centred around digital citizenship - giving them space to talk about their feelings about being featured on the posters. This enabled them to consider what the reactions of the public could be and when they might need to talk to a trusted adult.
They were also encouraged to consider how to be responsible photographers themselves and understand when it might not be appropriate to share a picture, which is a topic of growing importance in the current digital world. The overall aim though was to keep the focus positive and help them to celebrate being in such a unique project - and celebrate their unique identities too. Most of the sessions ended in delightful illustrations of themselves as superheroes with their own special super-power, showing a special talent they had.
To the future...
From a love of science and being able to do backflips, to teaching people to never give up and making other people happy; from wanting to be artists, computer programmers, gold medal winners, or even astronauts moonlighting as photographers – we have learnt that the future generation of London are talented and they have big hopes for the future. My hope is that this artwork, and others to come, continue to inspire the young to engage with art, and have fun while they're at it.
LOTTIE HAMER, CLASS TEACHER, ABACUS BELSIZE, CAMDEN
My class and I were so privileged to be a part of such an enormous and joyful project that marks a moment in history and celebrates the reality and range of what childhood in London is. The photographer really captured the individuality of each child even though they were being asked to conform.
KERRI SELLENS, CURRICULUM LEAD AND ART SPECIALIST, LANSBURY LAWRENCE PRIMARY, TOWER HAMLETS
The relationships that form within a class are very special, and this project captures that moment. The children enjoyed learning about photography through interacting with the photographer and loved the drama activities accompanying the session to encourage deeper thinking about why our community is special.
You can find out more about Year 3, including A New Direction's role in the project, here.
Marina Lewis-King
Programmes Officer
Tate Year 3 Project enters last term of photography
All posts by Marina Lewis-King
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Krzyżowanie, hybrydyzacja – proces, w wyniku którego z komórek (zwykle gamet) osobników o odmiennym genotypie, w istotny sposób różniących się pewnymi cechami genetycznymi, powstaje organizm potomny, zwany mieszańcem (też hybrydą, krzyżówką lub bastardem). W taksonomii termin stosowany jest w odniesieniu do krzyżowania różnych taksonów, czego wynikiem jest powstawanie mieszańca taksonomicznego (międzygatunkowego, międzyrodzajowego). W zoologii i hodowli zwierząt proces krzyżowania zwierząt spokrewnionych gatunków określany jest mianem bastardyzacji. W szczególnych sytuacjach (w hodowli in vitro lub w wyniku szczepienia) dojść może do powstania mieszańców wegetatywnych, będących mieszaniną komórek lub tkanek pochodzących od różnych taksonów.

Hybrydyzacja w obrębie jednego gatunku (między podgatunkami, odmianami, rasami) może doprowadzić do zjawiska określanego jako heterozja, czyli wybujałości mieszańców.
Osobniki heterozyjne charakteryzuje większa płodność, lepsza żywotność, wyższa plenność itp. W wypadku hybrydyzacji międzygatunkowej mieszańce mogą być jednak niepłodne. Przykładem udanego "mariażu" międzygatunkowego może być wyhodowany sztucznie mieszaniec o nazwie pszenżyto, będący krzyżówką międzygatunkową pszenicy i żyta.

Krzyżowanie w naturze

Naturalna hybrydyzacja jest częstym zjawiskiem wśród roślin i zwierząt. Przykładowo we florze brytyjskiej stwierdzono występowanie w naturze 780 różnych mieszańców (przy 2,5 tysiąca gatunków rodzimych). Niektóre rodziny wykazują większą skłonność do tworzenia mieszańców (w tym także międzyrodzajowych), np. wiechlinowate i storczykowate (wśród storczykowatych zsyntetyzowano ponad 75 tysięcy różnych mieszańców). Między niektórymi gatunkami mieszańce powstają z taką łatwością, że w zasadzie występują wszędzie tam, gdzie w pobliżu rosną gatunki rodzicielskie (np. rozpowszechnione są mieszańce brzozy brodawkowatej i omszonej oraz kuklika zwisłego i pospolitego). Wśród roślin występują też mieszańce trzech i większej liczby gatunków, powstające w sytuacji, gdy mieszaniec zachowuje płodność i miesza się ponownie z kolejnym gatunkiem. W Szwecji sztucznie zsyntetyzowano w ten sposób mieszańca 13 gatunków różnych wierzb. Zjawisko hybrydyzacji wśród zwierząt swobodnie występujących w naturze jest słabiej zbadane, tym niemniej wśród ptaków, które są pod tym względem najlepiej zbadana grupą zwierząt, 9%-16% gatunków hybrydyzuje. Ekologiczne i ewolucyjne znaczenie międzygatunkowej hybrydyzacji jest przedmiotem sporów. Niektórzy naukowcy uważają mieszańce za "ślepą uliczkę ewolucji", ponieważ mieszańce często są sterylne lub wykazują obniżoną płodność a ich dostosowanie jest zazwyczaj niższe od osobników gatunków rodzicielskich. Z drugiej strony zastosowanie metod molekularnych w badaniach populacyjnych i filogenetycznych wykazało, że epizody hybrydyzacji pozostawały w ścisłym związku z wieloma radiacjami adaptatywnymi (np. pielęgnic w Wielkich Jeziorach Afrykańskich, zięb Darwina na wyspach Galapagos). Hybrydyzacja międzygatunkowa miała znaczenie także w ewolucji naczelnych – jak się okazuje, introgresja allelu mikrocefalin z archaicznej linii hominidów miała pozytywny wpływ na ewolucję wielkości mózgu u nowoczesnego Homo sapiens.

Krzyżowanie w zootechnice

W hodowli praktycznej termin krzyżowanie obejmuje najczęściej kojarzenie osobników należących do różnych ras. Krzyżowanie zwierząt prowadzi się dla osiągnięcia dwóch celów:
 krzyżowanie hodowlane przez wprowadzenie do stada pożądanych genów lepszego stada lub rasy w celu trwałego ich przyswojenia (krzyżowanie uszlachetniające, wypierające oraz rasotwórcze)
 krzyżowanie użytkowe, wykorzystujące zjawisko heterozji wśród mieszańców (krzyżowanie międzyrasowe, krzyżowanie wewnątrzrasowe)

Każde z nich może posługiwać się zwierzętami zinbredowanymi lub nie: krzyżując samce zinbredowane i niezinbredowane samice mamy do czynienia z krzyżowaniem szczytowym; w krzyżowaniu używającym samic mieszańców wyróżnia się krzyżowanie przemienne, rotacyjne oraz podwójne.

Rodzaje krzyżowań:
 krzyżowanie twórcze – ma na celu wytworzenie nowej rasy. U bydła trwa 30-40 lat.
 krzyżowanie uszlachetniające – ma na celu poprawienie genotypu rasy, poprzez krzyżowanie rasy szlachetnej z rasą miejscową.
 krzyżowanie wypierające – polega na zastąpieniu genów danej rasy genami innej, o pożądanych cechach i uzyskanie mieszańców, aż do prawie całkowitej zmiany genotypu rasy rodzimej w rasę wypierającą. Takie krzyżowanie jest prowadzone, aby wprowadzić nową rasę zachowując jednocześnie zdolności adaptacyjne rasy rodzimej i zmienić produkcyjność mniejszym kosztem i przy mniejszych nakładach pracy, niż w przypadku zakupu stada czystej rasy i jej przystosowywania do nowych warunków przez kilka pokoleń.
 krzyżowanie przemienne – prowadzenie w celu uzyskania heterozji, krzyżowanie 2 ras szlachetnych.
 krzyżowanie towarowe – prowadzone w celu uzyskanie heterozji mieszańców pod względem cech użytkowych.
 krzyżowanie międzygatunkowe – dwóch pokrewnych gatunków.

W zależności od celu prowadzonej hodowli krzyżowanie dzieli się na:
 krzyżowanie proste – krzyżowanie dwóch osobników rodzicielskich AA x BB
 krzyżowanie wielokrotne – kojarzenie krzyżowki (mieszańca) powstałej w wyniku krzyżowania prostego z innym osobnikiem posiadającym znane i pożądane cechy (AA x BB) x CC
 krzyżowanie zwrotne – AA x BB i BB x AA
 krzyżowanie wsteczne – (AA x BB) x AA – zwiększające liczbę genów odmiany AA w potomstwie

Krzyżowanie w hodowli roślin
Krzyżowanie stanowi najskuteczniejszą metodę rozszerzenia zakresu zmienności genetycznej, co jest podstawą skuteczności selekcji w uzyskaniu postępu hodowlanego. Skrzyżowanie dwóch odmian o wąskim zakresie zmienności danej cechy może prowadzić do wystąpienia potomstwa o znacznie przekroczonym zakresie zmienności obojga rodziców (tzw. transgresja). Ponadto krzyżowanie umożliwia uzyskiwanie pożądanych rekombinantów (hodowla rekombinacyjna), np. dziedziczenie żółtego/zielonego zabarwienia i pomarszczonej/gładkej powierzchni nasion grochu zgodnie z genetyką mendlowską. W hodowli heterozyjnej skrzyżowanie wysoce homozygotycznych rodziców uzyskanych przez samozapylanie (co u roślin obcopylnych prowadzi do depresji wsobnej) może spowodować znaczny wzrost bujności, wigoru i plenności w pokoleniu F1. Zjawisko to nie utrzymuje się w kolejnych pokoleniach.

Można wyróżnić następujące typy krzyżowań:
 krzyżowanie proste – krzyżowanie dwóch odmian A × B;
 krzyżowanie zwrotne – krzyżowanie, w którym odmiany przemiennie występują jako mateczne i ojcowskie (A × B) i (B × A);
 krzyżowanie wsteczne – krzyżowanie mieszańca z jednym z rodziców (A × B) × A lub (B × A) × B.
 krzyżowanie wypierające – polega na wielokrotnym krzyżowaniu potomstwa z jednym z rodziców (krzyżowanie wsteczne) w celu przeniesienia do cennej odmiany jednej pożądanej cechy.
 krzyżowanie wielokrotne – krzyżowanie, w którym łączy się w nowej odmianie cechy wielu komponentów, np. A × B i C × D, a w następnym roku (A × B) × (C × D)

Krzyżowanie roślin składa się z następujących części:
 przygotowanie kwiatostanów do kastracji – polega na pozostawieniu najlepiej rozwiniętych kwiatów, stwarzając większą szansę na zawiązywanie nasion.
 kastracja – polega na usunięciu pylników przed rozpoczęciem ich dojrzewania. Kastrację przeprowadza się za pomocą ostrej pęsety. Zabieg wymaga precyzji, ponieważ nie można uszkodzić słupka, okwiatu, ani doprowadzić do wysypania się pyłku i zapylenia własnym pyłkiem pozostałych kwiatów. U niektórych roślin można stosować kastrację termiczną przez zanurzanie wiechy w gorącej wodzie (np. ryż). Kastracja chemiczna polega na zastosowaniu alkoholu. U niektórych roślin kastrację można zastąpić wymywaniem pyłku wodą (np. sałata). U samoniezgodnych roślin obcopylnych kastracja może nie być konieczna. U jednopiennych roślin rozdzielnopłciowych kastracja polega na usuwaniu męskich kwiatów lub kwiatostanów.
 izolacja – polega na izolowaniu wykastrowanych kwiatów od obcego pyłku. Stosowane są w tym celu torebki z wodoodpornego papieru lub pergaminu, u roślin owadopylnych – gęsta siatka lub gaza. W przypadku roślin rozdzielnopłciowych izoluje się kwiaty i kwiatostany żeńskie.
 zapylenie – naniesienie pyłku roślin ojcowskich na znamiona słupka lub strzepywanie go nad wykastrowanymi kwiatami roślin matecznych. Przeprowadza się je w porze intensywnego pylenia, zwykle nad ranem. Samoniezgodne owadopylne gatunki można zamknąć wraz z zapylającymi owadami pod wspólnym izolatorem. W przypadku braku zgodności terminu kwitnienia roślin matecznych i ojcowskich pyłek można przechowywać w ściśle określonych warunkach.
 opieka nad zapylonymi kwiatami – zapewnianie właściwej izolacji do czasu zakończenia kwitnienia i dbałość o odpowiednie etykietowanie.

Zobacz też
 krzyżówka testowa
 panmiksja
 krzyżowanie wybiórcze
 hodowla roślin

Linki zewnętrzne
 Ustawa z dnia 10 grudnia 2020 r. o organizacji hodowli i rozrodzie zwierząt gospodarskich ()

Przypisy

Bibliografia

Taksonomia
Zootechnika
Genetyka

redpajama_set_name: RedPajamaWikipedia


text:
THE TERROR BY THE FLAMING LIPS
March 20, 2013 - (Burbank) - THE TERROR by THE FLAMING LIPS has a new U.S. release date of April 16th (U.K release date remains April 1). As previously mentioned The Terror is THE LIPS' thirteenth studio album and was produced by long-time collaborator Dave Fridmann and THE FLAMING LIPS at Tarbox Road Studios. Multi- instrumentalist Steven Drozd considers the music they've created on this album as; "a mood that might possibly suggest elements of Popol Vuh, Silver Apples, and Suicide."
Wayne Coyne explains, "Why would we make this music that is The Terror - this bleak, disturbing record...? I don't really want to know the answer that I think is coming. Maybe this is the beginning of the answer."
The Terror is a bold and expressive journey that has evolved over THE LIPS' nearly 30-year tended garden of sonic delights that ebbs and flows with extraordinary splashes of light and shade, pleasure and pain, sadness and hope, and the knowledge that to expect the unexpected is half the fun of THE LIPS experience.
THE TERROR will be available as a special Direct To Consumer, Limited-Edition Silver Vinyl double-LP set, housed in a two-pocket gatefold jacket with printed sleeves. Those who pre-order will receive an instant download of "Sun Blows Up Today" and the digital album delivered on release date, April 16th. Suggested retail price is $35.98.
THE TERROR CD edition pre-order includes an instant download of "Sun Blows Up Today" and the digital album delivered on release date, April 16th. Suggested retail price is $10.98. Go to:http://store.flaminglips.com/ for pre-order details on both.
In other LIPS news, the band hosted two magic events at SXSW this past week, including a no-frills first-ever performance of YOSHIMI BATTLES THE PINK ROBOTS in its entirety live from The Warner Sound at The Belmont in Austin, TX. The intimacy of a small room packed to the bricks was the perfect setting to see the band up close performing some the songs from their certified gold album for the first time ever without any stage production made for special night. The show was filmed live by NPR. Details of when the show can be viewed will be announced shortly.
Even more impressive was the first-ever performance of THE TERROR in its entirety the following night at Auditorium Shores, which set an all-time attendance record for a show at that venue in the history of SXSW drawing in excess of 30,000 attendees. Jim James of My Morning Jacket (who opened the show) joined the band on-stage for a particularly moving version of "Do You Realize??". The Auditorium Shores show was broadcast live by Sirius/XM.
Again, here's the track listing for The Terror:
Look...The Sun Is Rising
Be Free, A Way
Try To Explain
You Lust
You Are Alone
Butterfly, How Long It Takes To Die
Turning Violent
Always There...In Our Hearts


text:
Television, Uncategorized
THE PUNISHER Season 2 Gets a Premiere Date and First Promo Trailer
Marvel's The Punisher was a hit on Netflix back in 2017, with a second season being ordered shortly afterwards. Now, marketing has finally begun, as Netflix has announced the premiere date for season two. Spoiler: It's going to be very soon.
The Punisher season two will be released on Friday, January 18th. To announce the date, Netflix released a promo trailer featuring Frank Castle and returning foe Billy Russo, who has a new look after his facial injuries in season one.
The new season comes at a time where Netflix's Marvel future is looking incredibly bleak. Last year, the company cancelled Iron Fist, Luke Cage, and Daredevil. This only leaves The Punisher and Jessica Jones with new seasons this year. And if the current track record is any indication, this will be the last time we see Jon Bernthal's Frank Castle. Hopefully not, but…
Stay tuned for more as we have it.
MarvelNetflixnewsThe PunisherTV
DOOM PATROL: Brendan Fraser cast as Robotman
THE MANDALORIAN SPOILER Review: Episodes 1×07 and 1×08- "The Reckoning/Redemption"
ARROW Gets a New Showrunner for Season 7


For over 25 years, CMC has shipped coal to the St. John's River Power Plant in Jacksonville, FL, which is scheduled to close next month. And for almost a decade, Host has had the honor of serving as their ship agent at the discharge port.
We'll treasure the relationships we've made for many years to come, and we thank everyone who made this business possible.


The PhD of Architecture–Engineering–Construction Management (PhD-AECM) Program is jointly offered by the School of Architecture and the Department of Civil & Environmental Engineering.
The PhD-AECM degree program is intended for practitioners, researchers, and educators in engineering, architecture, construction management fields, and other professionals in the building industry who wish to be pioneers and advanced leaders in management technologies and their application to the built environment. The nominal length of the program is five years. Advanced standing during the admissions process can alter the expected time period.
Please feel free to contact Track Chair Erica Cochran Hameen with questions about the PhD-AECM program.
The first two years are intended for the tooling up of candidates to undertake research in an academic setting and their intended areas of research, by taking classes, participating in research projects, selecting their advisory committee members, completing their "game plan," and taking the qualifier exam. This exam is administered by the candidate's advisory committee and has two parts: written and oral. The courses candidates take are tailored to their direction of research and background knowledge, as determined through conversations with their principal advisor. For a checklist of subjects to be covered, see the PhD-AECM curriculum. For additional and up-to-date information on these and other course offerings (course descriptions, schedules, instructors, etc.) please visit the University's Schedule of Classes (SOC) webpage.
The third year of the PhD program is devoted to the development of the PhD dissertation proposal based on the work completed in the first two years. In the fourth year, the proposal is publicly defended and the work on the dissertation commences. In the fifth year, the dissertation work is completed and publicly defended. Approvals of these milestones are judged by the candidate's advisory committee and approved by the SoA Graduate Committee.
For details and regulations about the Game Plan, Qualification, Proposal, and Dissertation processes, as well as additional details and regulations, please see the most recent version of the Graduate Student Handbook, available in the Graduate Student Resources section of this website's footer below.
The PhD-AECM curriculum is customized based on the experience and needs of individual students. Please contact Erica Cochran Hameen, the program track chair, with questions about the PhD curriculum.
The Architecture–Engineering–Construction Management faculty is comprised of experienced educators from the School of Architecture, the Department of Civil & Environmental Engineering, and the Heinz College of Public Policy & Management. This interdisciplinary faculty provides a strong foundation for gaining both breadth and depth of knowledge in this multifaceted program.
For more information about CMU's PhD-AECM program, please contact Erica Cochran Hameen, PhD-AECM Track Chair.
For program-specific questions, please refer to the information below (coming soon).