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Q: Is there a production-ready cross-OS desktop HTML5 runtime? Sometimes I think I want to develop a standalone (needing neither a web server nor a browser to run) desktop GUI application for Windows, Mac OS X and Linux using HTML5, CSS and JavaScript to form the GUI.
But as far as I know, both Adobe AIR and Mozilla Prism are deprecated. What are other options for this task?
UPDATE: Responding to the answers and comments already got, I'd like to emphasize that the applications must work on Windows, Mac OS X and Linux without any serious modifications. The platform is to be actively developed and supported for all the 3 major PC OSes. Single-platform applications are not an option, neither are applications with limited support of one of them.

A: Based upon the solutions evaluated on http://blog.neamlabs.com/post/36584972328/2012-11-26-web-app-cross-platform-desktop-distribution, these should be the most relevant HTML5 Runtimes with regards to your requirements.

*

*XULRunner - Benefiting directly on Firefox development efforts, this is an extremely well-maintained solution with great cross platform support but with almost non-existant tooling or documentation for packaging and distribution other than those of Firefox and other open source XULRunner-based applications themselves

*Chrome Installable Web Apps - Like a Chrome web app with more desktop integration. No flash support.

*Mozilla Native Web Apps - Like a Mozilla Open Web App with better desktop integration. Still requires online installation through Firefox Marketplace.

*TideSDK (formerly Titanium Desktop) - Although it may appear to be the perfect solution all-round, the current state is that TideSDK is not nearly production ready (may change in a couple of months or so, due to active development)

*node-webkit looks very relevant, not sure about the "production-ready" part though.

A: One option is to use berklium.  It wraps all the nasty chromium stuff and makes it easier to embed browser functionality in your apps.

A: There's always Microsoft Silverlight (which does have implementations for Linux/etc. if you're concerned about that, as noted on the linked page).

Wait a minute, from what I can tell Adobe AIR is still being developed, with a stable release just this past month. It's only Linux that isn't getting official releases anymore, for some strange reason.

A: Opera Widgets is also of the kind you are looking for and is also deprecated, but can be turned on in opera:config as far as I know.

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Plants to Food - Colonial American Alcohol Trivia
Colonial American Alcohol Trivia
The Puritans loaded more beer than water onto the Mayflower before they cast off for the New World.
There wasn't any cranberry sauce, mashed potatoes, sweet potatoes, or pumpkin pie to eat at the first Thanksgiving. However, there was beer, brandy, gin, & wine to drink.
A brewery was one of Harvard College's first construction projects. That was to ensure a steady supply of beer for the student dining hall.
The early colonialists made alcoholic beverages from what was available. That included carrots, tomatoes, onions, beets, celery, squash, corn silk, dandelions, & goldenrod.
The distillation of rum became early Colonial New England's largest & most prosperous industry.
A traveler through the Delaware Valley in 1753 compiled a list of the drinks he encountered. All but three of the 48 contained alcohol.
The Reverend Elijah Craig, a Baptist minister, made the first Kentucky whiskey in 1789.
The distillation of whiskey led to the first test of federal power. It was the Whiskey Rebellion in 1794.
The laws of most American colonies required towns to license suitable persons to sell wine & spirits.
Colonial taverns were often required to be located near the church or meetinghouse.
George Washington, Benjamin Franklin, & Thomas Jefferson all enjoyed brewing or distilling their own alcohol beverages.
The Colonial Army supplied its troops with a daily ration of four ounces of either rum or whiskey.
Religious services, court sessions, & voting venues were often in the major tavern of Colonial American towns.
Thomas Jefferson wrote the first draft of the Declaration of Independence in a tavern in Philadelphia.
The first signer of the Declaration of Independence, John Hancock, was an alcohol dealer.
Before he took his famous ride, Paul Revere apparently had two drinks of rum.
The patriot Patrick Henry ("Give me liberty or give me death") was a bar tender.
President Martin Van Buren was born in his father's tavern.
Alewives in Colonial America brewed a special high proof "groaning ale" for pregnant women to drink during labor.
American Alcohol Trivia Resources:
Burns, E. The Spirit of America: The Social History of Alcohol. Philadelphia: Temple U Press, 2004.
Furnas, J. The Life & Times of the Late Demon Rum. Putnam's Sons, 1965.
Grimes, W. Straight Up or On the Rocks: A Cultural History of American Drink. NY: Simon & Schuster, 1993
Lender, M. & Martin, J. Drinking in America. NY: Free Press, 1982.
Meacham, S. Every Home a Distillery. Alcohol, Gender, & Technology in the Colonial Chesapeake. Baltimore: Johns Hopkins U Press, 2013.
Plants to Food - Washington's Mt Vernon - Syllabub with Sherry
Syllabub
Syllabub was a fashionable drink in Colonial America. Known in England since Tudor times, it was sipped or spooned from "special syllabub glasses, so that the effect" of highly whipped cream above, "contrasting with the clear liquid below could be fully appreciated."
Whether consumed as a spooned dessert or as a sipped beverage, syllabub has not lost its appeal in modern times. This version is based on popular eighteenth-century recipes by E. Smith and Elizabeth Raffald.
Juice and zest of 1 large lemon
1 cup sweet white wine
1/2 cup cream sherry
Combine the cream, sugar, and lemon zest in the bowl of an electric mixer.
Combine the lemon juice, white wine, and sherry, blending together well. Mixing on low speed, slowly pour into the cream mixture, whipping for about 10 minutes until the syllabub is light and foamy.
Cover the bowl with plastic wrap, and set in the refrigerator to chill for about 8 hours, or overnight, to let the flavors blend together. Stir the syllabub at least once while chilling to make sure the ingredients are thoroughly combined.
Pour the chilled syllabub into small wine glasses, cover with plastic wrap, and refrigerate for at least 8 hours, or overnight.
To serve, place the chilled glasses of syllabub on dessert plates set with long-handled spoons.
Garden to Table - Apples to Cider to Wine
Vinetum Britannicum, or, A treatise of cider and other wines extracted from fruits growing in this kingdom : with the method of propagating all sorts of vinous fruit-trees : and a description of the new-invented ingenio or mill for the more expeditious making of cider: : and also the right way of making metheglin and birch-wine : to which is added A discourse teaching the best way of improving bees. John Worlidge London : Printed for Thomas Dring, 1691
Most of the 17C & 18C emigrants to America drank hard cider. simply because water was thought not to be a trusted source of daily fluids, so beer, ale, fruit brandy, & cider were more sanitary substitutes. Apples were one of the earliest known crops in the English-speaking New World; ships' manifests show young saplings being carefully planted in barrels & many hopeful farmers bringing bags of seed with them. Within 35 years of the settlement of Jamestown in 1607, the land was turned to grow lucrative tobacco plus edible cash crops like rice, maize, & apples, since they also would have some commercial value in the markets of growing like London.
The earliest written mention of a cider press seems to have been on the Mayflower in 1620. Halfway through the journey, the ship was caught in a storm & one of its beams cracked badly enough to warrant the consideration of turning back to England. "The great iron screw" was taken from a cider press, helping brace the damaged beam to keep the ship from breaking up & make it to the New World. Nine days after the Puritans landed William Blackstone is recorded planting the 1st apple trees in the New England colonies. John Winthrop, governor of Massachusetts Bay Colony in 1632, recorded his tenants paying their rent on Governor's Island in 2 bushels of apples a year. In 1634, Lord Baltimore instructed settlers of the new colony of Maryland to carry across the sea "kernalls of peares & apples, especially of Pipins, Pearemains, & Deesons for maykinge thereafter of Cider & Perry."
Old-Time Recipes for Home Made Wines Cordials & Liqueurs (1919) by Helen S. Wright
General Rules for Making Cider
Always choose perfectly ripe & sound fruit. Pick the apples by hand. (An active boy with the bag slung over his shoulder will soon clear a tree. Apples that have lain any time on the soil contract an earthy taste, which will always be found in the cider.)
After sweating, & before being ground, wipe them dry, & if any are found bruised or rotten, put them in a heap by themselves, for an inferior cider to make vinegar.
Always use hair cloths, instead of straw, to place between the layers of pomace. The straw when heated, gives a disagreeable taste to the cider.
As the cider runs from the press, let it pass through a hair sieve into a large open vessel that will hold as much juice as can be expressed in one day. In a day, or sometimes less, the pomace will rise to the top, & in a short time grow very thick. When little white bubbles break through it, draw off the liquor by a spigot, placed about three inches from the bottom, so that the lees may be left quietly behind.
The cider must be drawn off into very clean, sweet casks & closely watched. The moment the white bubbles before mentioned are perceived rising at the bung-hole, rack it again. When the fermentation is completely at an end, fill up the cask with cider, in all respects like that already contained in it, & bung it up tight, previous to which a tumbler of sweet oil may be poured into the bung-hole.
After being made & barrelled it should be allowed to ferment until it acquires the desired flavor, for perfectly sweet cider is not desirable. In the meantime clean barrels for its reception should be prepared thus: Some clean strips of rag are dipped into melted sulphur, lighted & hung in the bung-hole, & the bung laid loosely on the end of the rag. This is to allow the sulphur vapor to well fill the barrel. Tie up a half-pint of mustard-seed in a coarse muslin rag & put it into the barrel, then put your cider in. Now add the isinglass, which "fines" the cider but does not help to keep it sweet. This is the old-fashioned way, & will keep cider in the same condition as it went into the barrel, if kept in a cool place, for a year. The sulphur vapor checks the fermentation, & the sulphur in the mustard-seed keeps it checked. We hear that professional cider dealers are now using the bisulphite of lime instead of the mustard-seed & the sulphur vapor. This bisulphite of lime is the same as the "preserving powder." It is only another form of using the sulphur, but it is more convenient & perhaps more effectual. Another method is to add sugar, one & a half pounds sugar to a gallon of the cider, & let it ferment. This makes a fermented, clear, good cider, but sweet. It lasts sweet about six months, if kept in a cool situation.
Preparatory to bottling cider it should be examined, to see whether it be clear & sparkling. If not, it should be clarified in a similar way to beer, & left for a fortnight. The night before it is intended to put it Into bottles, the bung should be taken out of the cask, & left so until the next day, when it may be bottled, but not corked down until the day after, as, if this be done at once, many of the bottles will burst by keeping. The best corks & champagne bottles should be used, & it is usual to wire & cover the corks with tinfoil, after the manner of champagne. A few bottles may be kept in a warm place to ripen, or a small piece of lump sugar may be put into each bottle before corking, if the cider be wanted for immediate use, or for consumption during the cooler portion of the year, but for warm weather & for long keeping this is inadmissible. The bottled stock should be stored in a cool cellar, when the quality will be greatly improved by age.
TO CAN CIDER
Cider, if taken when first made, brought to the boiling heat, & canned, precisely as fruit is canned, will keep from year to year without any change of taste. Canned up this way in the fall, it may be kept a half-dozen years or longer, as good as when first made. It is better that the cider be settled & poured off from the dregs, & when brought to boiling heat the scum that gathers on the surface taken off; but the only precaution necessary to preservation of the cider is the sealing of it air tight when boiling hot. The juice of other fruit can, no doubt, be preserved in the same way. To all tastes not already corrupted by strong drinks, these un-fermented juices are very delicious. The juice of the grape is better than wine a century old, & more healthy...
BOILING CIDER
To prepare cider for boiling, the first process is to filter it immediately on coming from the press. This is easiest done by placing some sticks crosswise in the bottom of a barrel,—a flour barrel with a single head is the best,—wherein an inch hole has been bored, & covering these sticks with say four inches of clean rye or wheat straw, & then filling the barrel to within a foot of the top with clean sand or coal dust,—sand is the best. Pour the cider as it comes from the press into the top of this barrel, drawing it off as soon as it comes out at the bottom into air-tight casks, & let it stand in the cellar until March. Then draw it out with as little exposure to the air as possible, put it into bottles that can be tightly & securely corked, & in two months it will be fit for use.
TO CLEAR CIDER
To clear & improve cider generally take two quarts of ground horseradish & one pound of thick gray filtering paper to the barrel, & either shake or stir until the paper has separated into small shreds, & let it stand for twenty-four hours, when the cider may be drawn off by means of a siphon or a stop cock. Instead of paper, a preparation of wool may be taken, which is to be had in the market, & which is preferable to paper, as it has simply to be washed with water, when it may be used again.
CIDER, TO PRESERVE & KEEP SWEET
1. To one barrel of cider, put in one pound of mustard-seed, two pounds of raisins, one-quarter pound of the sticks (bark) of cinnamon. 2. When the cider in the barrel is in a lively fermentation, add as much white sugar as will be equal to one-quarter or three-quarters of a pound to each gallon of cider (according as the apples are sweet or sour); let the fermentation proceed until the liquid has the taste to suit, then add one-quarter of an ounce of sulphite (not sulphate) of lime to each gallon of cider, shake well, & let it stand three days, & bottle for use. The sulphite should first be dissolved in a quart or so of cider before introducing it into the barrel of cider. 3. When fermentation commences in one barrel, draw off the liquor into another one, straining through a flannel cloth. Put into the cider three-quarters of an ounce of the oil of sassafras, & the same of the oil of winter green, well shaken up in a pint of alcohol. But one difficulty is said to pertain to this preparation of cider. It is so palatable that people won't keep it long.
CIDER CHAMPAGNE
Five gallons good cider, one quart spirit, one & one-quarter pounds honey or sugar. Mix, & let them rest for a fortnight, then fine with one gill of skimmed milk. This, put up in champagne bottles, silvered, & labelled, has often been sold for champagne. It opens very sparkling.
CHERRY CIDER
Seven gallons of apple cider, two quarts of dried black cherries, one pint of dried blueberries, one-half pint of elderberries, eighteen pounds of brown sugar.
DEVONSHIRE CIDER
The apples, after being plucked, are left in heaps in the orchard for some time, to complete their ripening, & render them more saccharine. They are then crushed between grooved cylinders, surmounted by a hopper, or in a circular trough, by two vertical edge-wheels of wood moved by a horse; after passing through which, they are received into large tubs or crocks, & are then called pomace. They are afterwards laid on the vat in alternate layers of the pomace & clean straw, called reeds. They are then pressed, a little water being occasionally added. The juice passes through a hair sieve, or similar strainer, & is received in a large vessel, whence it is run into casks or open vats, where everything held in mechanical suspension is deposited. The fermentation is often slow of being developed; though the juice be set in November or December, the working sometimes hardly commences till March. Till this time the cider is sweet; it now becomes pungent & vinous, & is ready to be racked for use. If the fermentation continue, it is usual to rack it again into a clean cask that has been well sulphured out, & to leave behind the head & sediment; or two or three cans of cider are put into a clean cask, & a match of brimstone burned in it. It is then agitated, by which the fermentation of that quantity is completely stopped. The cask is then nearly filled, the fermentation of the whole is checked, the process of racking is repeated until it becomes so, & is continued from time to time till the cider is in a quiet state & fit for drinking.
FRENCH CIDER
After the fruit is mashed in a mill, between iron cylinders, it is allowed to remain in a large tun or tub for fourteen or fifteen hours, before pressing. The juice is placed in casks, which are kept quite full, & so placed under gawntrees, or stillions, that small tubs may be put under them, to receive the matter that works over. At the end of three or four days for sweet cider, & nine or ten days for strong cider, it is racked into sulphured casks, & then stored in a cool place.
WESTERN CIDER
To one pound of sugar, add one-half ounce of tartaric acid, two tablespoonfuls of good yeast. Dissolve the sugar in one quart of warm water; put all in a gallon jug, shake it well, fill the jug with pure cold water, let it stand uncorked twelve hours, & it is fit for use.
CIDER WITHOUT APPLES
To each gallon of cold water, put one pound common sugar, one-half ounce tartaric acid, one tablespoonful of yeast. Shake well, make in the evening, & it will be fit for use next day. Make in a keg a few gallons at a time, leaving a few quarts to make into next time, not using yeast again until keg needs rinsing. If it gets a little sour, make a little more into it, or put as much water with it as there is cider, & put it with the vinegar. If it is desired to bottle this cider by manufacturers of small drinks, you will proceed as follows: five gallons hot water, thirty pounds brown sugar, three-quarters pound tartaric acid, twenty-five gallons cold water, three pints of hops or brewers' yeast worked into paste with three-quarters pound flour, & one pint water will be required in making this paste. Put all together in a barrel, which it will fill, & let it work twenty-four hours, the yeast running out at a bung all the time, by putting in a little occasionally to keep it full. Then bottle, putting in two or three broken raisins to each bottle, & it will nearly equal champagne.
CIDER WINE
Let the new cider from sour apples (ripe, sound fruit preferred) ferment from one to three weeks, as the weather is warm or cool. When it has attained to a lively fermentation, add to each gallon, according to its acidity, from one-half pound to two pounds of white crushed sugar, & let the whole ferment until it possesses precisely the taste which it is desired should be permanent. In this condition pour out one quart of the cider, & add for each gallon of cider one-quarter ounce of sulphite of lime, not sulphate. Stir the powder & cider until intimately mixed, & return the emulsion to the fermenting liquid. Agitate briskly & thoroughly for a few moments, & then let the cider settle. Fermentation will cease at once. When, after a few days, the cider has become clear, draw off carefully, to avoid the sediment, & bottle. If loosely corked, which is better, it will become a sparkling cider wine, & may be kept indefinitely long.
AMERICAN CHAMPAGNE (With Cider)
Seven quarts good cider (crab-apple cider is the best), one pint best fourth-proof brandy, one quart genuine champagne wine, one quart milk, one-half ounce of bitartrate of potassa. Mix & let stand a short time; bottle while fermenting. An excellent imitation.
CHAMPAGNE CIDER
Champagne cider is made as follows: To five gallons of good cider put three pints of strained honey, or one & one-eighth pounds of good white sugar. Stir well & set it aside for a week. Clarify the cider with one-half gill of skimmed milk, or one teaspoonful of dissolved isinglass, & add one & one-half pints of pure spirits. After two or three days bottle the clear cider, & it will become sparkling. In order to produce a slow fermentation, the casks containing the fermenting liquor must be bunged up tight. It is a great object to retain much of the carbonic gas in the cider, so as to develop itself after being bottled.
CHAMPAGNE CIDER, NO. 2
One hogshead good pale vinous cider, three gallons proof spirit (pale), fourteen pounds honey or sugar. Mix, & let them remain together in a temperate situation for one month; then add one quart orange-flower water, & fine it down with one-half gallon skimmed milk. This will be very pale; & a similar article, when bottled in champagne bottles, silvered & labelled, has been often sold to the ignorant for champagne. It opens very brisk, if managed properly.
BURGUNDY CHAMPAGNE (With Cider)
Fourteen pounds loaf sugar, twelve pounds brown sugar (pale), ten gallons warm water, one ounce white tartar. Mix, & at a proper temperature add one pint yeast. Afterwards, add one gallon sweet cider, two or three bitter almonds (bruised), one quart pale spirit, one-eighth ounce orris powder.
LEMON WINE (With Cider)
Four pounds sugar, one pound raisins (bruised), two gallons water. Boil, then add one gallon cider. Ferment, & add one quart of spirits, three-quarters ounce white tartar, a few drops essence of lemon. Observe to shake the essence, with a little of the spirit, until it becomes milky, before adding it to the wine.
MADEIRA WINE (With Cider)
To five gallons prepared cider, add one-half pound loaf sugar. Let it stand ten days, draw it off carefully, fine it down, & again rack it into another cask.
ELDER-FLOWER WINE (With Cider)
Take the flowers of elder, & be careful that you don't let any stalks in; to every quart of flowers put one gallon of water, & three pounds of loaf sugar. Boil the water & sugar a quarter of an hour, then pour it on the flowers & let it work three days; then strain the wine through a hair sieve, & put it into a cask. To every ten gallons of wine add one ounce of isinglass dissolved in cider, & six whole eggs. Close it up & let it stand six months, & then bottle it.
LEMON WINE, NO. 2 (With Cider)
PORT WINE (With Cider)
To ten gallons prepared cider, add one & one-half gallons good port wine, two & one-half quarts wild grapes (clusters), two ounces bruised rhatany root, three-quarters ounce tincture of kino, three-quarters pound loaf sugar, one-half gallon spirits. Let this stand ten days; color if too light, with tincture of rhatany, then rack it off & fine it. This should be repeated until the color is perfect & the liquid clear.
PORT WINE British Style (With Cider)
1. Two gallons damson juice, two gallons cider, three-quarters ounce sloe juice, one pound sugar, one pound honey. Ferment, then add one quart spirit, one gallon red cape, a little over one ounce of red tartar (dissolved), the same of powder of catechu, one-tenth ounce bruised ginger, one-tenth ounce cassia, a few cloves. Mix well with two tablespoonfuls of brandy coloring.
2. Two pounds bullace, ten pounds damsons, one & one-half gallons water. Boil the water, skim it, & pour it boiling hot on the fruit; let it stand four or six days at least. During that time bruise the fruit or squeeze it with your hands. Then draw or pour it off into a cask, & to every gallon of liquor, put two pounds & a half of fine sugar, or rather more; put some yeast on a slice of bread (warm) to work it. When done working, put a little brandy into the cask & fill it up. Bung it up close & let it stand six or twelve months; then bottle it off. This wine is nearer in flavor to port than any other. If made with cold water, it will be equally as good, but of a different color.
3. Five gallons cider, one gallon elder juice, one gallon port wine, one & one-quarter pint brandy, one & one-fifth ounces red tartar, one-fifth ounce catechu, one gill finings, one ounce logwood. Mix well & bung close.
RAISIN WINE (With Cider)
There are various modes of preparing this wine...For raisin wine without sugar, put to every gallon of soft water eight pounds of fresh Smyrna or Malaga raisins; let them steep one month, stirring every day. Then drain the liquor & put it into the cask, filling it up as it works over; this it will do for two months. When the hissing has in a great measure subsided, add brandy & honey, & paper.. This wine should remain three years untouched; it may then be drank from the cask, or bottled...Raisin wine is sometimes made in large quantities, by merely putting the raisins in the cask, & filling it up with water, the proportion as above; carefully pick out all stalks. In six months rack the wine into fresh casks, & put to each the proportion of brandy & honey. In cider countries & plentiful apple years, a most excellent raisin wine is made by employing cider instead of water, & steeping in it the raisins.
SHERRY WINE (With Cider)
To five gallons prepared cider add one quart spirits, three-quarters of a pound of raisins, three quarts good sherry, & a few drops oil bitter almonds (dissolved in alcohol). Let it stand ten days, & draw it off carefully. Fine it down, & again rack it into another cask.
SHERRY WINE - London Style (With Cider)
Twelve pounds chopped raisins, three gallons soft water, one pound sugar, one-half ounce white tartar, two quarts cider. Let them stand together in a close vessel one month; stir frequently. Then add one quart of spirits, one-quarter pound wild cherries bruised. Let them stand one month longer & fine with isinglass.
STRAWBERRY WINE, NO. 1 (With Cider)
Twelve gallons bruised strawberries, ten gallons cider, seven gallons water, twenty-five pounds sugar. Ferment, then add one-half ounce bruised orris root, one-half ounce bruised bitter almonds, one-half ounce bruised cloves, six ounces red tartar.
WHORTLEBERRY OR BILBERRY WINE (With Cider)
Take one & one-half gallons of cold soft water, one & one-half gallons cider, two gallons berries. Ferment. Mix five pounds sugar, four-fifths ounce tartar in fine power; add four-fifths ounce ginger in powder, one-half handful lavender & rosemary leaves, one & two-thirds pints British spirits.
Plants to Food - Washington's Mt Vernon - Punch with Rum
The popularity of punch is centuries old. East India merchants introduced it to the British in the late 1600s. William Byrd II, who founded the city of Richmond, referred to punch as "a very good, pleasant and healthful drink," and Virginians enjoyed the beverage at various social gatherings.
Punch is often mentioned in connection with the Washingtons, who served it at many of their receptions and as part of offering a hospitable welcome to guests at Mount Vernon. For example, Julian Niemcewicz, who visited from Poland in 1798, noted that when he arrived, Martha Washington "appeared after a few minutes, welcomed us most graciously and had punch served."
This sweet and tart libation comes together quickly and easily. Be advised, however, that it needs to be put in the refrigerator for several hours so the ingredients can marry and the punch can chill completely.
Water as needed
4 cups dark rum
2 cups French brandy
1. Mix the lime juice with an equal amount of water in a lidded 1-gallon jar. Add the sugar, and stir until dissolved. Stir in the rum and brandy, mixing until combined. Cover with the lid, and refrigerate for at least 3 hours, or until well chilled.
2. To serve, place ice rings adorned with lime slices (if desired) in a large bowl, and pour in the punch.
Plants to Food - Washington's Mt Vernon - Rum
In the matter of eating & drinking George Washington was temperate. For breakfast he ordinarily had tea & Indian cakes with butter & perhaps honey, of which he was very fond. His supper was equally light, consisting of perhaps tea & toast, with wine, & he usually retired at nine o'clock. Dinner was the main meal of the day at Mount Vernon, & usually was served at two o'clock. One such meal is thus described by a guest: "He thanked us, desired us to be seated, & to excuse him a few moments.... The President came & desired us to walk in to dinner & directed us where to sit, (no grace was said).... The dinner was very good, a small roasted pigg, boiled leg of lamb, roasted fowls, beef, peas, lettice, cucumbers, artichokes, etc., puddings, tarts, etc. etc." The General ordinarily confined himself to a few courses & if offered anything very rich, he would protest, "That is too good for me." He often drank beer with the meal, with one or two glasses of wine & perhaps as many more afterward, often eating nuts, another delicacy with him, as he sipped the wine.
Rum represented an important trade commodity between British North America and the Caribbean. Exterior Of The Curing House and Stills, Antigua, by William Clark, c. 1823, Courtesy, The British Library. [1786.c.9].
During the colonial era, rum was the preferred alcoholic drink of American colonists. By one estimate, colonists consumed 3.7 gallons annually per head by the time of the American Revolution.1 Naturally, when Britain sought to closely regulate and impose taxes on molasses, used in rum production, a spirited protest ensued. George Washington's political, military, and personal relationship with rum exemplified the centrality of the drink to colonial society and American independence.
English rum distillation originated in Barbados in the 1630s. Although England's Caribbean sugar colonies continued to produce the highest quality and best tasting rum, the mainland colonies in North America eventually took advantage of the growing demand for the popular drink. By the late seventeenth century, New England began distilling rum.
American production of rum boomed, as the colonies traded excess grains for molasses with Caribbean territories. By the English Navigation Acts, the colonies were restricted to trading for molasses with fellow English colonies. However, American colonial merchants flouted the regulations by smuggling cheaper molasses from French colonies, particularly Saint Domingue (Haiti), in the West Indies. With the 1733 Molasses Act, Britain imposed legislation aimed at limiting colonial access to foreign molasses. Instead, large-scale smuggling of molasses became even more commonplace. While the Molasses Act should have raised 25,000 pounds each year, British officials collected only 259 pounds in 1735.
The Molasses Act anticipated controversial British policies toward the American colonies in the 1760s. In 1764, Britain passed the Sugar Act, legislation that lowered taxation on molasses from six pence per gallon to three, yet encouraged the British Navy to put an end to smuggling. Upon discovering any contraband, the navy was permitted to seize half of the findings. In 1774, Robert Adam, a Scottish merchant residing in Alexandria, Virginia, wrote to George Washington arguing that rum should be imported "from the West Indies here, and not the Round about way from Philadelphia here at Second hand."2 The tight regulation of molasses, accompanied by a war on colonial merchants, conducted by the Royal Navy, ultimately contributed to the American Revolution.
Like other prominent colonists, Washington interacted with rum in many aspects of his life. For instance, in order to win election in the Virginia House of Burgesses in 1758, Washington attracted voters with charm, entertainment and rum. During his campaign, he supplied voters with 28 gallons of rum, 50 gallons of rum punch, and 82 gallons of wine, beer and cider.
Just as Washington used rum to gain political victory, he also used the drink to boost morale among his soldiers. In June 1779, Washington informed General Alexander McDougall: "I have written to the Commissary urging him if possible to have a pretty good stock of rum at the forts to supply more constantly the fatigue parties."3 Washington shared the view of many people at the time that liquor helped to keep tired people awake. A supply of rum could mean the difference between an exhausted soldier and one ready to wage war.
Finally, Washington used rum to stabilize plantation life at Mount Vernon. In exchange for a day's work, he gave his slaves an allowance of liquor. When Washington accused James Butler, an overseer at Mount Vernon, of allowing his slaves 36 pints of rum, Butler claimed that he had given a much smaller portion of "no more than a pint of rum & a pound of Meat to each man."4 Even as Washington supplied rum to his enslaved workers, he also mandated limits to the practice.
After the American Revolution, rum production continued in the British West Indies, but America's consumption of the drink significantly decreased. Instead, Americans turned toward whiskey production. Washington, too, reflected this trend, constructing his own distillery at Mount Vernon in 1797.
By Emily Niekrasz, George Washington University
1. Ian Williams, Rum: A Social and Sociable History of the Real Spirit of 1776 (New York: Nation Books, 2005), 166.
2. "Robert Adam to George Washington, 13 January 1774," The Papers of George Washington Digital Edition, ed. Theodore J. Crackel (Charlottesville: University of Virginia Press, Rotunda, 2008).
3. "George Washington to Major General Alexander McDougall, 28 June 1779," The Papers of George Washington Digital Edition, ed. Theodore J. Crackel (Charlottesville: University of Virginia Press, Rotunda, 2008).
Pogue, Dennis J. Founding Spirits: George Washington and the Beginnings of the American Whiskey Industry. Harbour Books, 2011.
Salinger, Sharon V. Taverns and Drinking in Early America. Baltimore: The Johns Hopkins University Press, 2002.
Thompson, Peter. Rum Punch and Revolution: Taverngoing and Public Life in Eighteenth Century Philadelphia. Philadelphia: University of Pennsylvania Press: 1999.
Williams, Ian. Rum: A Social and Sociable History of the Real Spirit of 1776. New York: Nation Books, 2005.
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Home News Relatives of ISIS
Relatives of ISIS
Derek Achong
Relatives of two women with eight children and two orphans of a former Islamic State (IS) Trinidadian fighter have sued the Ministry of National Security over its failure to answer their requests to have their relatives repatriated from the Al-Hol refugee camp in north Syria.
Attorneys Criston J Williams and Shanice Edwards, who are representing the group, filed the lawsuit after the ministry failed to meet the deadline for responding to their latest legal correspondence on Wednesday.
The judicial review lawsuit is scheduled to come up for a preliminary virtual hearing before High Court Judge Joan Charles, tomorrow.
In the latest letter sent on Tuesday, Edwards noted that she did not receive a meaningful response from ministry after writing three times in late July.
Stating that her clients have T&T citizenship or T&T lineage in the case of the orphans and some of the women's children who were born in Syria, she said that they are entitled to return home under local immigration laws and international refugee policies.
"In international human rights law, the basic principle underlying voluntary repatriation is the right to return to one's own country. As a collar of that right, states are duty-bound to admit their nationals and cannot compel another state to keep them," she said.
Through the lawsuit, the relatives are seeking to compel the ministry, through National Security Minister Stuart Young, to make a decision on whether they would be allowed or denied admission into T&T at a later date.
The group comprises of a 33-year-old woman her children ages six and 11; a 35-year-old woman and her children ages three, five, 10, 12, and 14 (youngest two born in Syria) and two orphans ages three and four.
The camp, controlled by Kurdish forces, housed over 14,000 refugees from over 60 countries, who came to the region to join the IS and have been displaced since its collapse.
Most residents have been experiencing the same difficulties in returning home as their countries also mull over their proposed repatriations.
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INVESTMENT EXTRA: Who will be the winners and losers from Budget and spending review after election?
By Simon French For The Daily Mail
Published: 17:13 EST, 1 May 2015 | Updated: 06:15 EST, 3 May 2015
The public sector last year spent £737billion. To put that into context, it equates to 38 per cent of the market value of the FTSE 100 companies, or 41 per cent of the annual output of the economy.
Even under the most ambitious deficit reduction plan on offer at this General Election, it is forecast the public sector will grow to spend almost £800billion per annum by 2020 – so almost regardless of the election result, the public sector will spend a cumulative £3.75trillion over the next five years.
How this colossal amount of money is allocated is highly relevant to shareholders of firms spanning a wide range of sectors.
So who will be the winners and losers from a post-election Budget and spending review?
Whether the next government is led by the Conservatives or Labour, they are likely to need to secure support from across party lines to be able to govern.
Compromise politics will probably be the order of the day and this lends itself to a strong regional flavour to public sector spending.
This localisation favours smaller UK-centred businesses, many of which sit outside the FTSE 100 and can more readily compete for the smaller-scale public sector contracts.
RUTH SUNDERLAND: A lucky escape for the London Stock... ALEX BRUMMER: FTSE chiefs face Labour wrath if Ed Miliband's...
Reinforcing this trend, the current government has successfully increased the proportion of contracts going to small and medium firms in this Parliament – with the Conservatives committing to raising this to 33 per cent in the next one.
It has been clear from this election campaign that not all areas of public spending will face equal pressures during the next Parliament. The Institute for Fiscal Studies notes that the spending plans of all the major parties leave 'much unanswered'. They are not kidding. The lack of clarity leaves voters – and shareholders – uncertain on how to position themselves.
So let's start with those areas of spending that we can predict with a fair degree of certainty.
The major parties have committed to ring-fence NHS spending and most pensioner benefits. This is one of the structural changes in government spending that will support firms within the healthcare sector, such as Spire Healthcare.
It also mirrors a trend across the world where the baby boomers are reaching retirement, which will spark a huge shift in spending.
Consumption is shifting in favour of the providers of care services and, in particular, pharmaceuticals.
Looking at other sectors, the public appetite for house building is on the rise after years where this was a toxic local issue. We like Redrow and Bovis Homes.
By contrast with these growth sectors, we expect government spending to fall in real terms across the areas that lack a protected commitment, such as the defence and justice budgets.
Outsourcing firms exposed to spending by these departments will feel the squeeze to both their margins on existing contracts and in the forward pipeline, with companies such as Serco at risk
On transport, some of the recent language from Labour shadow transport secretary Michael Dugher is enough to have investors running for the hills. A state-owned quango threatening to compete for rail franchises – this is alarming, and Stagecoach is among those exposed.
Despite these headwinds, the outsourcing sector has reacted well to five years during which Francis Maude and Danny Alexander have led the Coalition's attempts to drive efficiency in government spending – and saved £20billion in the process. During the next Parliament a similar magnitude of savings will need to be made – and the outsourcing sector has much to offer a cost-conscious government seeking to deliver public services at fair value to the taxpayer.
The outlook for the sector hinges on whether outsourcing is approached as part of the way to deliver better public services, rather than being seen as an impediment.
So investors will have their fingers crossed that the Conservatives are returned on May 7.
Simon French is senior UK economist at Panmure Gordon
INVESTMENT EXTRA: Who wins and loses in post-election spending review?


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Music Tours / The Colosseum At Caesars Palace To Celebrate Grand Reopening With Back-To-Back Evenings With Keith Urban Sept. 6 & 7, 2019
Fashion and Art / Revlon Introduces The Marvelous Super Lustrous Collection
Science and Tech / Deloitte Survey: Gadgets Advance to the Head of the Class This Back-to-School Shopping Season
Policy and Public Interest / Statement by U.S. Conference of Mayors on Trump Administration's Decision to Drop Citizenship Question on Census
Policy and Public Interest / Muslim-Jewish Group Applauds Bicameral Introduction of Bill to Combat Hate Crimes
MUSIC AND TOURS
The Colosseum At Caesars Palace To Celebrate Grand Reopening With Back-To-Back Evenings With Keith Urban Sept. 6 & 7, 2019
Ritz Herald	12, Jul	3 mins
PHOTO CREDIT: Keith Urban "Graffiti U" World Tour 2019
Tickets for Performances from Multi-GRAMMY Award Winner, CMA Entertainer of the Year and ACM Entertainer of the Year Go on Sale Friday, July 19 at 10 a.m. PT
In celebration of the grand reopening of The Colosseum at Caesars Palace, four-time GRAMMY Award winner Keith Urban will bring his acclaimed "GRAFFITI U WORLD TOUR" to Las Vegas for the first time with back-to-back evenings on Sept. 6 and 7. The performances from the reigning CMA and ACM Entertainer of the Year will mark the debut of the newly-enhanced Colosseum, as well as the first performances to utilize the venue's new general admission capability on the main floor, creating a high-energy entertainment experience for fans. The shows are scheduled to begin at 8 p.m.
Urban is one of the most explosive live performers in music today. His concerts are critically hailed the world over and feature many of his 24 chart-topping songs including Graffiti U's "Coming Home," RIPCORD's "Wasted Time," "The Fighter," his mega hit "Blue Ain't Your Color," and seminal No. 1's including "Somebody Like You," "Days Go By," "Long Hot Summer" and "Stupid Boy." His now legendary unpredictability has seen Urban performing with fans, with special guests, giving away used show guitars and performing solos perched atop audience seating.
General ticket prices beginning at $59, plus applicable tax and fees, go on sale to the general public starting Friday, July 19 at 10 a.m. PT at ticketmaster.com or in-person at The Colosseum at Caesars Palace box office. Members of The 'Ville, Keith Urban's official fan club, will have access to a presale beginning Saturday, July 13 at 10 a.m. PT.
Citi is the official presale credit card for Urban's performances at The Colosseum at Caesars Palace. As such, Citi cardmembers will have access to purchase presale tickets beginning Monday, July…
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PHOTO CREDIT: Kate Magdalena
Ritz Herald Music Tours Jul 1, 2019
Singing Glory Hallelujah In the Midst of the Nation's Conflicts
San Francisco-based singer/songwriter and recording artist Kate Magdalena releases a soaring new take on the traditional Civil War ballad, the "Battle Hymn of the Republic."
The hymn sings "Glory Hallelujah" in the midst of our nation's great conflicts, such as were witnessed during the Civil War, and again today as our country struggles to unite under a common vision of what it means to be American. The lyrics were written in 1861 by Julia Ward Howe to fit the tune of "John Brown's Body." Since that time, the song has evoked and expressed sentiments of real patriotism, as well as religious fervor. Kate took a liking to the song when she first heard it powerfully sung by Judy Garland to honor President Kennedy as the nation grieved his death. She hopes now to rekindle it as an inspiration for America today, as the nation prepares to celebrate the July 4th holiday.
"Battle Hymn of the Republic" is the third track from Kate's upcoming album "A Larger Dance" which is set to release in September 2019. To date she has released "Take Me to Church," by Irish singer Sinead O'Connor on country radio stations…
PHOTO CREDIT: Madonna in her new music video 'God Control'
Ritz Herald Music Tours Jun 28, 2019
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SiriusXM announced today that Madonna will launch an exclusive limited-run SiriusXM music channel, "Madonna's Madame X Radio," on Monday, July 1.
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Available Everywhere Now
By Ritz Herald /
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The meeting was opened with a prayer and pledge by Lodge Chaplain Scotty Davis. A dinner Pizza, Pasta and Salad was provided to the members prior to the start of the meeting. Our next regular scheduled Lodge meeting is Wednesday, September 7th at 5:00 pm. All members are encouraged to join us prior to the meeting (1630 hrs) for dinner. Sister Robinson won the $50 attendance award. She donated the check to the Cops & Kids Program.
Prior to the start of the meeting the Cobb Co. Police Explorers presented the lodge with a plaque thanking us for all of our support. In addition they announced they participated in the National Championships in Flagstaff Arizona and won their 8th straight State Championship in Forsyth Ga. One member Sgt. Barton was elected as a National VP to the governing board.
Twelve new members were accepted into the lodge.
Brother Stephens provided a 2016 Membership Report.
A financial report was distributed for members to view. A discussion was held on specific budget items such as Attorney Representation and other month expenses. All is well and in good order. The lodge and Charities Inc continue to be in strong financial condition. Copies are available at all lodge meetings.
Members are currently in progress with purchasing and distributing school supplies under our Back to School Program.
Ballots will be sent out by the State Lodge to all members regarding endorsements or non endorsements of candidates for President of the United States. All members are encouraged to vote and return your ballot.
Dues to join the lodge for new members are $78 for active officers and $25 for retired officers. The definition between active and retired officers is if you are still carrying a gun and performing law enforcement duties then you are considered an active officer.
No requests have been made for the month.
The 2016 trip is scheduled for Sept 28 - Oct 2, 2016 at the Sunset Inn in Panama City. Members should call 1-850-234-7370 to make your reservation. The reservation must be secured with the members credit card.
We received a $250 donation in memory of Fallen Officer Steve Gilner by his sister Victoria Gilner on the 17th anniversary of his passing. The funds will be deposited in our Cops & Kids account and will directly benefit children during the Christmas season.
Members voted to donate $300 to the Acworth Police Departments annual Shoot for the Horizon Pistol Tournament.
Brother Barry Banks is recovering from by-pass surgery.


A Twist on Cowboy Candy - Canning Homemade!
Prickly Pear Cowboy Candy. Leiza who makes amazing prickly pear jam decided to switch up the pickled jalapeno and added a bit of the juice to create a new twist on one of my favorite recipes.
From Leiza: The cactus are blooming now, but I canned juice to make peppers all year. They sell like crazy at the local rodeos and craft shows.
Thanks Leiza for your gorgeous contributions!
To prepare the jalapenos you can deseed them or just slice the jalapenos. Mix cider vinegar, prickly pear juice, sugar, and mustard seed to boil. Reduce for 5 minutes to a simmer. Add jalapenos at the simmer for 5 minutes more. Load sterilized jars with jalapenos first and add liquid filling the jars leaving a 1/4 headspace. Process in a water bath for 15 minutes. Makes 4 pints.
This is the Hawaiian Cowboy Candy with the prickly pear juice. Use the recipe above and add 2 cups of pineapple. Add equal amounts of the pineapple to each of the jars then add your jalapenos and then your prickly pear juice brine.


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Early voting for Palm Springs council seats begins Friday. Voters can cast ballots at City Hall
Voters can cast ballots both days from 10 a.m. to 4 p.m. at Palm Springs City Hall, 3200 E. Tahquitz Canyon Way.
Early voting for Palm Springs council seats begins Friday. Voters can cast ballots at City Hall Voters can cast ballots both days from 10 a.m. to 4 p.m. at Palm Springs City Hall, 3200 E. Tahquitz Canyon Way. Check out this story on desertsun.com: https://www.desertsun.com/story/news/politics/elections/2019/10/24/early-voting-palm-springs-council-seats-begins-friday/4090683002/
Keith Kohn, Palm Springs Desert Sun Published 4:13 p.m. PT Oct. 24, 2019
Photos: Meet the 2019 Palm Springs City Council candidates
Les Young is photographed at the Desert Sun offices in late September 2019. Omar Ornelas/ USA Today Network
Grace Garner Omar Ornelas/USA Today Network
Scott Myer is photographed at the Desert Sun offices in late September 2019. Omar Ornelas/ USA Today Network
From left, Grace Garner, Les Young and Scott Myer are photographed at the Desert Sun offices in late September 2019. Omar Ornelas/ USA Today Network
Adrian Alcantar is photographed at the Desert Sun offices in late September 2019. Omar Ornelas/ USA Today Network
Dennis Woods Omar Ornelas/USA Today Network
Peter Maietta is photographed at the Desert Sun offices in late September 2019. Omar Ornelas/ USA Today Network
Geoff Kors is photographed at the Desert Sun offices in late September 2019. Omar Ornelas/ USA Today Network
Michael Dilger is photographed at the Desert Sun offices in late September 2019. Omar Ornelas/ USA Today Network
From left Michael Dilger and Geoff Kors are photographed at the Desert Sun offices in late September 2019. Omar Ornelas/ USA Today Network
Palm Springs voters will be able to cast early ballots Friday and Saturday for their choices in three City Council races.
The Riverside County Registrar of Voters said early voting for the Nov. 5 consolidated general election begins Friday. Voters can cast ballots both days from 10 a.m. to 4 p.m. at Palm Springs City Hall, 3200 E. Tahquitz Canyon Way.
Early voting is also available at the Registrar of Voters office Mondays through Fridays from 8 a.m. to 5 p.m. and Saturdays, Oct. 26, and Nov. 2, from 9 a.m. to 4 p.m. The registrar's office is at 2720 Gateway Drive in Riverside.
Three seats for the Palm Springs City Council are up for election this year, the first year of elections by district.
Candidates for Palm Springs City Council speak at a cannabis forum hosted by the Coachella Valley Cannabis Alliance Network at the Mizell Senior Center on September 19, 2019 in Palm Springs, Calif. (Photo: Sam Metz)
Discussion on district elections began after the city received a letter from a Malibu law firm that threatened to sue the city for violating the California Voting Rights Act if it didn't make the switch.
Candidates in District 1, which mostly includes the area north of San Rafael Drive, are Scott Myer, a 58-year-old civil-rights attorney who has lived in the city for nearly four years; Les Young, a 68-year-old retired banker who has lived in Palm Springs for nearly a decade; Grace Garner, a 33-year-old attorney and second-generation resident; and Michael Shogren.
Candidates in District 2, which generally includes the area between San Rafael Drive and Vista Chino, are Adrian Alcantar, a 36-year-old hair salon owner who has lived in Palm Springs for a decade; Peter Maietta, a 51-year-old design consultant; and Dennis Woods, the 59-year-old Palm Springs Planning Commission chair.
Candidates in District 3, which mostly includes the area between Vista Chino and Ramon Road, are Mayor Pro Tem Geoff Kors, 58; Alan "Alfie" Pettit, 50, a popular drag performer; and Michael Dilger.
Elections in Districts 4 and 5 will be held in November 2020.
These Palm Springs residents are running for city council
Les Young, chairman of Palm Springs' Parks and Recreation Commission who also sits on the city's Police Advisory Board, is running in District 1 against businesswoman Summer Helene and attorneys Grace Garner and Scott Myer. Omar Ornelas/The Desert Sun
Adrian Alcantar is running to become the District 2 representative on the Palm Springs City Council. Courtesy of Adrian Alcantar
Dennis Woods, chair of the Palm Springs Planning Commission, is running to become the city's first representative from District 2. Courtesy of Dennis Woods
Peter Maietta is running for the District 2 seat on the Palm Springs City Council. Courtesy of Peter Maietta
Grace Garner is a candidate for Palm Springs City Council, February 12, 2019. Jay Calderon/The Desert Sun
Palm Springs City Councilmember Geoff Kors speaks at the campaign kickoff event for his district election, Palm Springs, Calif., March 30, 2019. Zoë Meyers/The Desert Sun
Scott Myer is one of several candidates running for a seat on the Palm Springs City Council in District 1. Courtesy of Scott Myer
Read or Share this story: https://www.desertsun.com/story/news/politics/elections/2019/10/24/early-voting-palm-springs-council-seats-begins-friday/4090683002/
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Q: Problem using GenTL.h: Can't find the corresponding library in GenIcam Package I'm working on a C++ console application that allows communication with GenICam compliant industrial cameras.
I installed the latest GenICam package and integrated it in my project. First I got the error message C1083: Cannot open "GenTL.h", so I moved this header to the include folder and realized, that there is no corresponding binary. Now I get the following error message:
LNK2001 Unresolved external symboll "__imp_GCInitLib".
I'm not sure how to fix it. I guess I need to integrate a further *.lib, but I can't find any in the package. Am I missing something?
Thanks for any help!

A: GenICam, or rather the GenAPI only handles the enumeration, unification (between different vendors), presentation of the camera features implementing GenICam.
GenTL on the other hand abstracts the transport interface and provides a standardized set of functions to the user.
So, if you want to work with camera features (GenAPI), you first need to work with a transport layer implementation to scan for cameras and communicate with them.
Being part of a standard means that the transport layer (GenTL) at least exposes the functions listed in GenTL.h but usually a lot more. Moreover, GenTL providers are - as you correctly stated - usually shared libraries which are provided by the manufacturer, usually suffixed with .cti.
Those can be dynamically loaded and the functions then used. Here is an example using a Basler GenTL provider:
#include <GenTL.h>
#include <dlfcn.h>
#include <dirent.h>

int main(){

    // Load DLL at runtime
    void *lib = dlopen("/opt/pylon/lib/pylonCXP/bin/ProducerCXP.cti", RTLD_NOW | RTLD_DEEPBIND);

    // Declare variables with variable definitions from GenTL.h
    GenTL::PGCInitLib GCInitLib;
    GenTL::PGCCloseLib GCCloseLib;

    // Dynamically bind GenTL functions to local function calls
    *reinterpret_cast<void**>(&GCInitLib) = dlsym(lib, "GCInitLib");
    *reinterpret_cast<void**>(&GCCloseLib) = dlsym(lib, "GCCloseLib");

    GCInitLib(); // Init GenTL provider

    // [Discover cameras, open port, load GenICam, do things]

    GCCloseLib();
}

This can then be compiled with
g++ -l ldl main.cpp -o TestGenTL


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What will be the mode of learning and do I need to visit anywhere to take this course?
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text:
Q: How to use Deep-linking? i am working on Deep-link from an Android application to connect my Android application. Now they are calling my app using below URI
kaip.deeplinkSandbox://payment?token=1p51ktwy2qK5sDwNBJy2kP11vK

So how to mention this on my app's Manifests file to open my app, when user trying this above from their app.
i want to seperate schema , host and path from the above deeplink data. Please help to finish this. Thanks!

A: Add this in your manifest file inside the  tag. Activity should be your Launcher activity
 <intent-filter>
            <action android:name="android.intent.action.VIEW" />

            <category android:name="android.intent.category.DEFAULT" />
            <category android:name="android.intent.category.BROWSABLE" />

            <data
                android:scheme="kaip.deeplinkSandbox" />
        </intent-filter>

And in your Activity,you can get the link like this:-
   Uri data = this.getIntent().getData();
   if (data != null && data.isHierarchical()) {
     String uri = this.getIntent().getDataString();
     Log.i("MyApp", "Deep link clicked " + uri);
   }

If any query, you can ask!!


text:
Taylor Swift Coaches The Voice Contestant on Ex John Mayer's Song: Watch
By Madeline Boardman
Case of the ex! Taylor Swift found herself in a bit of an awkward situation on Monday, Nov. 3, when she served as an advisor on The Voice.
The "Shake It Off" singer, 24, worked with Adam Levine to coach contestant Blessing Offor and was faced with an unintentional reminder of her past.
PHOTOS: Taylor Swift's High-Profile Flames
Offor informed the stars that he would be performing the 2002 hit "Your Body Is a Wonderland" — a song recorded by Swift's ex-boyfriend John Mayer.
Swift briefly dated Mayer in 2010 and seemingly referenced their relationship in her 2010 breakup single "Dear John" off of her chart-topping Speak Now album. She kept her composure as she worked with the performing hopeful, giving him tips on his performance.
PHOTOS: John Mayer's Famous Girlfriends
"That's an interesting choice," Levine, 35, said simply when Offor named his song of choice. Swift was then shown grooving along as the Voice contestant rehearsed, commenting on his rendition before reaching in for a hug.
The country-turned-pop crooner had some experience with the track, as she once performed it herself. Swift brought Mayer out as a special guest during a 2009 concert at Los Angeles' Staples Center, and the two singers did a duet to the single, which Mayer reportedly penned about another ex, Jennifer Love Hewitt.
PHOTOS: Taylor Swift's Red Carpet Style Evolution
Swift had another ex-boyfriend reference during Monday's show, when she was working with contestant Taylor Brashears. After Swift complimented Brashears on her stage presence, she responded, "I just put all my ex-boyfriends in the audience." Swift shot back, "Oh, I do that all the time."
Watch Swift's coaching gig in the video above, and her duet with Mayer in the video below!


text:
Heterosentis plotosi is een soort haakworm uit de familie Arhythmacanthidae. De wetenschappelijke naam van de soort werd voor het eerst geldig gepubliceerd in 1935 door Yamaguti als Arhythmacanthus plotosi.

Arhythmacanthidae

redpajama_set_name: RedPajamaWikipedia


Sculpture finds itself caught in a web here, since its 'history' is so radically different to that of painting. It does not contain the continuum of the post-Renaissance achievements found in painting. Only in the work of Rodin can one truly say that a new vision of the perception of sculptural form, equivalent to the radical contemporary moves in painting, exists, to which the words 'path to abstraction' could be applied. It remained for the post-Rodin sculptors to attempt a move on from his work; not the Bourdelle and Camille Claudel followers, but those with the insight to see that it was Rodin's perception that form could be radically reinvented (from nature) and reassembled, that was innovatory and inspiring for a new sculpture. Rodin himself considered his work a 'revival' of old lost values, and would not, I think, have understood the word 'abstract'. His astonishing ability to manipulate his material through the stretching and shrinking of proportions; his distortion of 'correct' anatomical parts; his perception of and insistence on the liveness of 'movement' as a sculptural force, would subsequently lead to his being perceived as part of the modern canon.
Chief amongst the younger sculptors who did have insights into Rodin's work which enabled them to make radical sculptural moves in their own right, were Matisse and Brancusi who reacted in totally different ways. From Brancusi's "flowers do not grow beneath great trees", he developed an austere carved primitivism; to subsequently turn to African art for inspiration which, it had been realized contained, inherently, a previously unknown 'abstract' vision of form. Matisse, whose work as a painter was as much responsible as Picasso and Braque for a new art, though not a 'sculptor,' consistently made innovative pieces which actually outdid the sculptors in the radical rephrasing of figurative form.
The impact of Picasso's collage and the constructions developed from it was profound: Laurens, Lipchitz, Archipenko, Boccioni, the Russian Constructivists; all attempted to develop new forms of sculpture-making from its example , but the model of an abstract sculpture had not yet, then, fully arrived. It was to be Picasso again who unwittingly, (i.e. unintentionally), laid the groundwork for a fully developed abstract sculpture to be, through the wildness of spirit in his 'constructions' and in his collaboration with Gonzalez, who subsequently developed his own forged and welded metal sculpture. A word must also be said of the impact of Surrealism which, in the twenties and thirties gave to sculpture a vocabulary of form-making which was 'organic' but not directly imitative of the human figure and 'abstract' in that sense. By mid-century, sculptors such as Chillida, David Smith and Jacobsen, had all ploughed a path for what was by then established as abstract sculpture. The constructivist movement and indirectly its influence on the early work of Moore and Hepworth had added to the perception of the term's meaning. This' abstraction' it must be said, competed with many other styles across a time frame of fifty years or so, and abstract sculpture was by no means seen as the dominant or only form of 'progressive' sculpture. Abstraction in sculpture in the first half of the 20th century is, then, a rather contentious label which could be more accurately described as being a vision of the world seen in hybrid plastic terms.
This paraphrase of history leads me inexorably to the work of Anthony Caro. Much commentary in abstractcritical/Abcrit centers on the early steel work of Caro as being central to the development of an 'abstract sculpture' that would stand on the same principles as had been advanced for painting. This vision of its role was accompanied, at the time, with the Greenberg/Fried view of its content being 'optical' rather than 'physical' or three dimensional. This was a new form of sculpture which departed extensively from the massing of volumes and their physical, tactile relationships of old. Sculpture could now operate freely in space without consideration of connections or gravitational limitations. It was truly 'abstract'. Earlier 20th C. abstract sculpture was therefore considered less radical than the new moves made by Caro from 1960 onwards. Abcrit commentators seem to be, on the whole, at one in the view that this period of Caro's oeuvre is the summit of his achievement, and that subsequent work, roughly from the mid seventies onward, rarely matched it. I do not so much want to examine the truth or otherwise of this opinion, as to unravel some of the underlying factors which have given rise to it.
Caro's work, as a comparatively young man, was part of an 'avant-garde' of British sculpture, succeeding the Butler, Chadwick, Armitage group, consisting in particular of similar-aged colleagues Paolozzi and Turnbull. If at all, Caro's influence during this period was less directly from his work than from the panache with which he promoted 'being a sculptor', its ambitions and possibilities, particularly with his students. His classes were conducted as if they were in a studio. Caro was a generous, energetic and outgoing personality and he projected this onto all who came into contact with him. Any younger sculptor who was embarking on his/her career at that time, and subsequently, could not remain untouched by his example, usually stylistically, but at the very least in ambition and dedication. Caro's sixties 'breakthrough' into abstraction, and the seminal Whitechapel show of 1963, have been amply covered by Abcrit commentators, notably by Alan Gouk. Any sculptor who saw this show would have been struck by the pure visual poetry it contained; it is hard now to recreate in one's mind, conditioned by endless reproduction, the impact of the sheer originality it conveyed.
Turning to Caro's post sixties changes of style and development of his range, we are faced with an enormous time span of forty plus years of constant experiment to find new directions, resulting in hundreds of sculptures. Doubtless, as many have assumed and written, this is in itself an admirable course of action, leading, as it inevitably did, to a huge variety in his work. In order to make any sort of qualitative assessment of so many in such a pot pourri of eclectic styles, one is faced with a sort of mental atrophy. Caro, from the outset, acquired a 'Picassoid' mantle, which matched his temperament, and which provided him with the career challenge that made his name. Obviously, there are moments of individual pieces, or even groups of pieces, being stunningly effective, at the very least as ideas. No output of sculpture in the 20th C. has remotely matched his; and his projection of a 'titan' image of creative energy was of supreme importance to his view of himself as a sculptor, and is unlikely to be matched.
The 'mini' period of post sixties steel sculptures, lasting roughly until the mid to late seventies, became the model for dozens of younger sculptors to build a foundation for their own work. Indeed , a 'school of Caro' became either a label of 'club membership', or alternatively, abuse; or something to escape from; only thereby adding to the power of his example. This example undoubtedly spread the acceptance of abstract sculpture across a far wider audience -whose tastes had been arrested at the example of Moore -than ever before, and likewise helped to make it part of our visual culture, a tremendous achievement for one artist. Given the huge range of Caro's work following this steel period, and given the fact that it would seem to be abstract artists, rather than commentators or critics, in particular, who perceive an aesthetic 'break' in his output between the sixties/early seventies work and the rest of his oeuvre, I think it would be of interest to attempt some sort of examination of the evidence as to whether or not this is so.
Firstly Caro's 'methods; of how he set about making sculpture, initially and subsequently. I have said, a long time ago, in a review of a coffee table book of Caro's sculpture, that he reminded me of a 'conductor' (musical) in the way he set about making his sculpture. I would like to take up this metaphor again because I think it has a great deal of relevance. It is commonplace for sculptors to use assistants, given the nature of the physical demands of the art, (and indeed it is only the advent of the 'artist as individual' in post Renaissance Europe that would make the practice of 'art manufacture' seem unusual). Even today most large scale sculptural projects require large numbers of assistants, and much smaller scale work is also produced with technical help of one sort or another. Caro's use of assistants, however, is I believe, much more intimately connected with the character and quality of his work than most. I use the word conductor advisedly, for it seems to me that following his initial 'wedding' with the crudities of rough steel construction sections, I beams etc., and not himself being a 'welder' in the Gonzalez/David Smith artisan sense, Caro very rapidly distanced himself from 'craft' and changed from a 'personal handling' style of working (a role which he had in fact been used to throughout his earlier modeling years), to a deliberately 'orchestrating' approach to constructing his works. From now on, and more forcefully as time and development went on into the seventies and eighties works and later, he took to intellectually projecting his making decisions via the conduits of his assistants or 'players' (instrumentalists). This technique enabled him far greater freedom of movement and change in his decision making. It nevertheless also began to produce a sense of a slightly impersonal 'aura' to the finished work. His mastery of the 'score' became more and more an 'interpretation' of an idea, rather than the realisation of an idea; a realisation which would normally be far 'messier' and subject to a more direct contact between the thought process and making process of the actual work. The 'Table Pieces' were, I suppose, the last series of steel sculptures Caro made which still retained a feeling of the personal hand-making involvement of the artist, even though they were professionally welded. They still exude an atmosphere of 'fiddling about' in the studio with the bits and pieces that are around, and gradually arriving at an idea of what they should be doing which is not preconceived and dictated. The parts, how they connect, what the connected parts do in relation to each other, the directions and movements between them, all still retain a sort of innocence which is not filtered through the instrument of a 'composer' directed 'making machine'(which his assistants represented).
It is, in my view, undoubtedly the case that this methodology, that Caro developed and expanded in its sophistication from this period onwards, enabled him to 'experiment' in ways that would have been too inhibiting otherwise for practical and technical reasons. It gave rise to the enormous riches of different styles of sculpture making: bronze, fired clay, paper, wood, silver, and others; but always strained through the filter of 'orchestration '. Sculptural originality can of course emanate from this sort of experimentation, but did it emerge from contemplation of the nature and characteristics of the use of these varying materials and the demands of their handling, or was it preordained from his imaginative 'vocabulary' and imposed by way of the technical instrumentalists? I ask this advisedly, not as a suggestion that the works achieved thereby are in some way 'inferior', but that their effect on the viewer conveys a slight taking away of the sheer enjoyment to be had from sculpture's ability to involve one in the physical and optical pleasures of an imaginative involvement with 'matter' and its manipulation. Perhaps some of the reservations that have been expressed in Abcrit commentaries have something to do with this perception? I have a feeling that Caro himself was aware, to some extent, of the potential effects of the way he worked, but that the 'Picasso' syndrome of ever-wider variety and exhaustion of the possibilities being made available was too strong to be gainsaid or abandoned.
I turn to another aspect of Caro's work which I think we are obliged to confront; that of 'subject matter'. Abcrit commentators are not at one as to whether or not there is such a thing in abstract art, and certainly it is, if anything, an even more contentious issue in sculpture than in painting, with which the largest numbers of them are involved. Caro himself turned to 'narrative' sculpture making, and certainly would not have wanted to be involved with what he would have seen as 'narrow definitions'. However, the issue arises, and arises as much with his abstract work. Whether or not an abstract sculptor has a 'subject(s)' in mind, the finished object will inevitably give rise to suggestive images in the viewer's mind. Most agree that Caro's sixties steel work had a purity, simplicity and originality that placed it on a new plane of what abstract sculpture could mean. Whatever images could have been raised as descriptive of what the sculpture 'looked' like, fell by the wayside of inadequacy; these sculptures were 'themselves' and nothing else. Even the later sixties more 'romantic' pieces, with shaped elements rather than the austere 'I' beams, still project themselves as objects without precedence and thereby establishing an 'abstract' form of 'thing' which was sufficiently unlike anything familiar in sculpture or in the real world.
.There were many discussions in the sixties concerning the use of 'manufacturing processes' for sculpture and the use of industrial techniques; which invariably ended with the conclusion that it was the end result that mattered and not the procedures. True, but, as I have said, fraught with dangers that can easily turn into a dictatorship of means. The point about Caro's own (and others)'sixties' sculpture's construction was that it incorporated a sort of innocence in the way it made use of material and techniques, an innocence which was almost naïve in its lack of sophistication. This 'innocence' was dissipated later on by the elaboration of his working methods and the ability it gave to produce on an enormous scale. Had Caro, in his later work, chosen to involve himself more directly with the handling of his materials and perhaps been less 'in love' with the wonderful world of scrap steel; thus imposing as a consequence, a discipline which would be much more that of a 'soloist' in his 'music making', it is possible that the perceived characteristics of the later works would have been less predictable in their formulation.
This article is not attempting to make a qualitative assessment of individual sculptures or groups of them, by Caro. Nor is it an attempt to formulate a directive of which works have the most outstanding impact or originality. It is possible that there has been more general influence from his 'later' periods of work, than from the pioneering early group; and certainly more widespread variety of criticism and literary analysis. Very few, if any, of these latter, have concentrated much on addressing the issues of sculpture-making raised above, issues which, I believe, are central to any real understanding of Caro's achievements. This raises the vexed question of the impact and influence of his work on the younger generations of sculptors already in mid career and on those starting out and what effect it has had on the development of new ideas in abstract sculpture? If his output can be categorized as encompassing a range of qualities from opticality (later pictorialism); free spatial movement; disregard of gravity or connection (other than practical); and later on compositional variety; richness of material; surface and texture; and indeed on into reference (narrative); monumental scale; and involvement with architecture; a vast range of qualities to be encompassed by one man's work, it, presumably would be the case that at least some of these aspects would reappear in more recent sculpture. It is curious, however that very few working abstract sculptors today seem to remain involved with obvious Caroesque characteristics, and he seems to remain rather more someone to react against than to emulate. In fact, the essential characteristics of Caro's working methods seem, if anything, to have got in the way of being passed down. It is almost as if his construction of a sculpture-building empire and its methods, has come to be seen as unable to deal with the real issues of taking abstract sculpture forward into new territory conceptually. Very few, if any abstract sculptors working today could or would want to be 'conductors' in the sense I have outlined. Very few would choose to be in the thrall of the steel 'vocabulary', even if working in that material. Very few, it would seem, would wish to be involved with such a vast range of expanding 'sculpture' across such enormous swathes of aesthetic territory. Younger abstract sculptors, as has been well documented in Abcrit (and that does not even include those working outside the UK) see themselves, of necessity, as needing to be in absolute personal physical command of the processes they are using, much as a painter would be; believing their individual handling and command of the material is vital to making genuinely 'plastic and spatial' decisions necessary to arriving at original advances in what abstract sculpture can achieve and where it should go next and how. Steel is just 'material', like any other, and even if it still retains its seductive qualities, these must be firmly kept under control.
In conclusion, Caro occupies a unique place in the evolution of abstract sculpture. Certainly his coup de foudre of the changeover from figurative expressionist modeling to that of a stumbling innocent adventurer into the new territory of constructed abstraction was a seminal moment, both for abstract sculpture itself and for those younger sculptors who were embarking on finding their own 'voices', as well as future generations looking for an inspirational model of what it is to understand professionalism and dedication as a sculptor.
Hi Tim, I enjoyed you piece. One of the things about Caro that stands out for me is his musical instinct. He composes – not only from found pieces – but also in the sense of creating structures that reveal themselves, and come to completion, over time. This sense of opening possibilities and allowing them to come in and out of resolution is a standard trope of modern musical development. I once heard an interview on Radio 4 in which he said that he listened to classical music, and said [approximately] 'I might be listening to a Schubert quartet and hear that he does something, and think to myself- why can't I try that'. This is particularly true of his [in my opinion better] earlier work. In this the use of negative space is like a note or notes that are sustained and rhythmically articulated- the space between allows them to sing and to interact in complex ways with their neighbouring shapes. Another musical aspect is his openness to beauty and grace as experiences, sometimes to the point of charm and facility- very Italian. His sculptures are intensely lyrical, felt in every detail- even if 'stuck together'. The later work becomes much more literal in its references and the forms become literally present, and often heavy, rather than created within the complexity of the negative space.To pursue the analogy rather unkindly, the later work becomes either like a melodramatic opera, or a half baked [literally] pantomine. But perhaps once one has done the best so well there are only the murkier regions of aesthetic experience left to explore, if one has to keep moving on?
It might well be also that the experience of making by telling others what to do will inevitably alienate oneself from the original sources of inspiration that were found in the direct engagement with the material.
Dear Tim,That is a great read and I enjoyed it as though it was part of a series to be continued next week.It had many of the qualities of your own work,thoughtfull nuance and complexity.I am rare in being a total Caro fan,as I was of John Hoyland.What I learned from them is the importance of real generosity of spirit.This was their markers as men,and Sheila shared it too.Judgement was for later,immediately we had work to be done.I was truly amazed at Tonys last sculptures with coloured plexiglass sheets,as the yellow effected everything else you looked at ,including the shadows.I am a Painter and realise the intensity and depth of commitment of the St.Martins sculptors,which I dont attempt to match.Its the tremendous work ethic and extraordinary friendship ,support and brotherhood that marked Tony out as a truly outstanding human being .We fell out ,notably at Triangle in 86 when he attempted to aggrevate us into dealing with post -modernism .I regret that now and miss him and Sheila terribly on the English scene .We that are left have to quit negative carping and rise to the challenge not only to make better,more-original art but effect the way it is seen and help young people to rise to this most difficult of challenges.