From the latest obligations for occupational and safety footwear, to consulting activities and the development of new cutting-edge materials… for over 30 years, this Vigevano centre has been providing key insight and irreplaceable support to footwear manufacturers, who have found and continue to find it to be an important partner for innovation, the monitoring of regulations, analyses and test, and quality certifications.
Engineer Bellotti, what are the latest PPE obligations for occupational and safety footwear?
Category II and III PPE must be certified by a Notified Body before being placed on the market.
What changes is the Certification's underlying legislative reference: the essential requirements of health and safety in PPE, previously set down by Directive 89/686/EEC, have now been replaced by the new PPE Regulation (EU) 2016/425, which supersedes the Directive as of 21 April 2019.
• Category II and III PPE that is placed on the market before 21 April 2019 can still be certified in accordance with the Directive. Their certificates will remain valid until 21 April 2023, unless there are updates regarding the harmonized standards (standards that describe how to verify the conformity of PPE with the requirements of health and safety).
PPE placed on the market after 21 April 2019 must be certified in accordance with the Regulation.
• After 21 April 2023, all Category II and III PPE will have to be certified in accordance with the Regulation.
When comparing it to the Directive, it's important to remember the Regulation introduces the concept of validity (duration) of the Certificate, which has now been set at 5 years from the date of issue.
The Regulation also includes the concept of PPE traceability: the CE marking must include a series of elements in addition to the complete address of the manufacturer.
Monitoring of the European regulation: in which way will CIMAC help footwear manufacturers align themselves with the mandatory obligations?
CIMAC has always participated in work groups dedicated to analysing regulations, both nationally and internationally: we play an active role and are aware of any changes right from the start. We participate in all phases regarding the application of regulations, as well as in ensuring product conformity through experimentation.
We have always made our expertise and experience available to everyone, both through meetings and educational seminars, as well as through newsletters, to ensure the information we have on hand is the latest.
What about new tests for footwear? What is the most innovative technology you apply to safety footwear in your laboratories?
If we're talking about CE markings and relative products tests, the obligations of health and safety are established by the Regulation (and previously by the Directive) as well as by the harmonized standards.
So, the study and development of new materials is mostly based on the evolution of the regulation.
And the Certification Body must keep pace with these changes.
In this sense CIMAC is already set to test anti-perforation toe-caps and inserts in accordance with the EN ISO 22568 standard (that will replace the current EN 12568 regulation), just like it ready to undertake anti-slip and footwear outsole perforation tests, which are also currently being revised.
We have all the equipment needed to carry out all the tests required for Certification, including even the most specific kinds of tests, like protection against radiant heat (for Firefighter footwear) and against cuts by hand-held chainsaws (a requirement of forest service footwear).
Study/development of new materials: what are the latest innovations you propose to companies that produce safety footwear?
The market requires highly breathable fabrics, self-cleaning materials, materials capable of minimizing on-the-job impacts, and extremely light and flexible footwear, which means materials with a low density.
These are some of the trends.
In CIMAC, we can support research and development through specific tests.
As attentive observers of the market, what does CIMAC consider to be the latest safety footwear trends?
Protection and reliability are always priority, but today also the look plays an important role.
Occupational and safety footwear are increasingly similar to shoes for leisure time.
In fact, numerous brands associated with sports and free time are producers of safety footwear.
Wearers of safety shoes also value fashion: technological evolution is accordingly joined by aesthetic research.


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Q: Xamarin Xcode 9 Preview not available in VS 17 Preview Version 15.3 Following this tutorial by Xamarin Release I have successfully completed steps 1 - 13. As well as downloaded Xamarin.Mac and Xamarin.iOS 10.99. However when I open my project, Xamarin iOS remains the wrong version.

Yes Visual Studio Preview Version 15.3.0 Preview 7.0 is installed and the tutorial is Preview 3.0. My release is more recent so it should not be an issue.
If I search in File Explorer I see that I have Xamarin.iOS.dll version 10.14 installed. Why is it not installing Xamarin iOS 10.99?

A: After deleting and reinstalling all Xamarin components and running through the tutorial again, I was able to successfully install version 10.99.
Even though this is the latest version Xamarin updater still asks if you would like to update. Upon accepting it reverts to the latest stable version. DO NOT UPDATE if you wish to maintain 10.99

redpajama_set_name: RedPajamaStackExchange


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11 Philadelphia Eagles need to be eliminated before the 2022 season – NBC10 Philadelphia
Vita Walton January 18, 2022 6 min read
11 eagles who must go in 2022 Originally appeared NBC Sports Philadelphia
Soon, Howie Roseman and Nick Siriani will be sitting down and figuring out who needs to go and who needs to stay.
We figured we'd help them.
With the 2021 season in the rearview mirror, here's a look at the 11 players (and one coach) the Eagles need to move on from. Some slam dunks. Some calls are tough. Some have had disastrous seasons. In fact, some have not played badly but are getting old or too expensive. A couple are Super Bowl champions.
But everyone's time eventually comes, and this group needs to go for one reason or another.
JJ Arcega-Whiteside: Sixteen Sidon in three years. JJ Arcega-Whiteside is the third WR team in NFL history to be drafted in the first two rounds to play at least 40 games in their first three seasons and have 16 assists or fewer. The other two are Bobby Crespino of Brown (6 catches from 1961 through 1963) and Gerald McNeil, also of Brown (14 catches from 1987 through 1989). So JJAW was the least productive WR drafted in the first or second round in over 30 years. I give him credit for working hard to become a functional special team so that he can at least help the team in some way. But that's not why the Eagles recruited him. time to move on.
Derek Barnett: One of the biggest underachieving first-round picks in Eagles history, all Barnett has to show for five seasons is 21 sacks. Or exactly 10 less than Mike Mamula had in his first five seasons. Of the 74 defensive goals conceded in the first half of the first round since sacks became official sackings in 1982 and have started at least 45 games, only 16 have had fewer sacks in the first five seasons. Barnett has made just under $23 million and has a cap figure of $10.05 million this year. He only managed to get two bags, and tied for 168th place in the league. Barnett will count $7.25 million in dead money if the Eagles release him, but it's a move they need to make.
Brandon Brooks: It hurts because Brooks is a Hall of Fame man and played at such a high level for the Eagles from 2016 through 2019. But he's played two games in the past two years, hasn't finished a season in good health since 2017, and turns 33 next summer, playing a center be The Eagles have some depth in them now with Landon Dickerson, Isaac Sumalo, Jack Driscoll, Nate Herbig and Soa Obita. Cutting Brooks would yield $15.74 million in dead money, but keeping him would count $19.44 million against the Eagles cap. I just don't see Brooks as part of this team's future.
See also The NFL's Best Christmas Day Plays: Colts, Packers Gain Big Wins
Subscribe to the Eagle Eye Podcast
Apple Podcast | google apps | spotify | Stitcher | Article 19 | Watch on YouTube
Michael Clay: The Eagles special teams, very well led by Dave Vaib, have really struggled this year. Arryn Siposs ranked 30th out of 36 punters, the Eagles ranked 28th in average kick return, 29th in average kick return, 24th in kicks covering kicks, and 28th in overall kicks. The only special team area where the Eagles weren't among the worst in the NFL was goal kicking, and Clay has said multiple times that he's not a kicking coach and has nothing to do with Jake Elliott's success. The Eagles' special teams ran into wild card games with Galen Rieger floundering, some poor kicks and poor production in the second leg.
Jordan Howard: This really has less to do with Howard, who gave the Eagles his all when he was healthy, and has less to do with Kenny Jenwell, who needs more involvement in the attack alongside Miles Sanders. And Boston Scott, too. Howard gave the Eagles a good boost mid-season, but frequent injuries are worrying. If the Eagles get banged up and need a back and it's available, I'm fine to return it. But Gainwell in particular needs a few more touches. He made every chance he got. Howard is a sore indoor runner, but Gainwell is a more versatile player as a runner and receiver and only 22 years old.
Ray Didinger and Seth Joyner broke the Eagles' loss to the Buccaneers in the Wild Card round of the NFL Playoffs.
Ryan Kerrigan: Despite 1 sacks he's played against one-legged Tristan Werfs in the wild card game, this season has been disastrous for the former Washington Pro Bowler four times. Kerrigan finished the regular season without sacks, three tackles and one tackle for a loss at 330 shots over 16 games. Kerrigan and Zach Wood of the Saints have been the only defensive end in the NFL to play in at least 16 games this year without scoring a sack. Wood did not play a moment defensively. I don't want to say Kerrigan has been going through these moves this year, but… sometimes you can just tell when a player is ready to move on to the next stage of their life.
See also Lone Star State receiver sticks to 'WRU', Tigers energy says
Anthony Harris / Rodney MacLeod / Steve Nelson: All three of them played really hard this year and gave their all. McLeod in particular has been a fantastic eagle for six years and has been a fixture in the Super Bowl defense, and I have an enormous amount of respect for him as a person and as a player. But MacLeod will turn 32 this summer, Harris turns 30 and Nelson turns 29 on Sunday. They are all free agents. The Eagles need to get younger, faster and more athletic in high school, they need the elite back-end playmakers for a match against the fast young WRs they face most weeks. Darius Sly had a great year and so did Avonte Maddox in the slot. But the Eagles in the past four years have ranked 25th, 22nd, 29th and 20th in interceptions. That must change. This secondary needs an overhaul.
Galen Rigor: Only six WRs in NFL history were drafted in the first round, started at least 20 games in their first two years, and had less than 700 yards. Only three since 1977: Raiders' Darius Hayward Bay in 2009 and 2010, Nelson Agulor in 2015 and 2016 and Jalen Regor in 2020 and 2021. This year Rigor became the sixth WR drafted in the first round since 1977 to start at least 12 games She has just under 300 yards and only the third ever was not a rookie—along with Tex Coulter of the Giants in 1947 and Larry Burton of the Saints in 1976. I don't care about $7.84 million. He has to go. It must be. Come on, hoy!
See also Kyrie Irving returns: Here's what the Nets PG needs to prove in Wednesday's season debut versus the Pacers
Read: The Eagles Waited Too Long to Engage Smith vs. Boss
Hassan Ridgway: When was the last time you noticed Ridgway on the court? He had a sack, a tackle loss, three quarterback hits, a tackle loss in the opening game against the Hawks and then…nothing. Ridgeway played 373 shots in the defensive tackle this year – just 83 fewer than Milton Williams – and barely caused a ripple. He got sent off late in the Lions game when the Eagles were leading 38-0. But for a six-year veteran, it was basically invisible after opening. Javon Hargrave, Fletcher Cox and Milton Williams will all return next year, but Jonathan Gannon plays four men inside and four men outside, so the Eagles will have to upgrade across the defensive line, and it will be important to replace Ridgway with someone who can make at least some impact.
Jenard Avery: The Eagles have to upgrade their squad in a big way, and while I think TJ Edwards and Devon Taylor will have roles in defense next year, I'd advise Alex Singleton to return to a smaller role as an essentially special team. Avery, a trade deadline acquisition in 2019, has played a lot this year – 358 shots, the third most among midfielders, with very little impact. Avery, who tasked the Eagles with a fourth-round pick, is a free agent and this trial must be terminated.
Aryn Sebos: Siposs made a strong start and averaged 46.3 yards per kick over 10 games. Last eight games, he averaged 40.3 — the worst in the NFL in the second half of the season. This is the lowest average chaser for the Eagles during the second half of any season since 2002, when Lee Johnson averaged 38.8. Siposs finished 30th out of 36 gamblers with an overall average of 43.9 and a net worth of 38.7, which ranked 31st out of 36 gamblers. His contradiction was on full display in Tampa, when he hit 58 yards and 49 yards but also 27 yards and two 36 yards. It is a liability and must be replaced.
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redpajama_set_name: RedPajamaCommonCrawl


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Connect the World? The Bay Area Can't Even Connect Its Trains
A New Light Rail System Underscores the Frustrations of California's Richest Region
The northern terminus of SMART, the new light rail system officially opening this weekend in the North Bay, is the Sonoma County Airport Station in Santa Rosa. But after my 8-year-old son and I disembarked from an Alaska Airlines flight, we learned that the airport is more than a mile away from the train.
We didn't know how to bridge this transportation gap. My son wasn't up for a long walk. There is as yet no shuttle from plane to train. The public bus that would take us in the train's …
By Joe Mathews | August 28, 2017
Golden Gate Bridge Train Service? It's Time to Get on Board
California's Iconic Span Needs Rail Transit, Both for Symbolism and for Sonoma's Sake
By Joe Mathews | April 6, 2017
If California is as serious about public transit as its urban leaders claim, why isn't there a commuter rail service running over the Golden Gate Bridge?
There's no good reason why …
L.A. to Vote on Whether It's a Metropolis
I Appreciate an L.A. Where I Can Rely on Transit and Walking, but a Backlash Threatens
By David Gershwin | March 4, 2017
Will Los Angeles finally admit it's a metropolis? And if so, what kind of metropolis does it want to be?
That may seem a strange question, given the size of the …
When You Ride the Bus, You Ride With Big Data
Will Public Transit Apps Create Customers or Citizens?
By Lisa Margonelli | June 29, 2016
When I first arrived in San Francisco in 1988, I often took a bus called the 22 Fillmore, which ran from Potrero Hill, made a right turn near the Castro, …
The Downsizing of the City of Outsized Dreams
L.A.'s Ambitions Have Given Way to Trepidation
by Joe Mathews | October 15, 2015
Has Los Angeles downsized its dreams?
In the last century, Southern Californians dreamed so big and global that the size of our aspirations came to define this place. We created a …
Once Upon a Time, the City of Angels Was Defined by Sprawl, Cars, and Racial Conflict
Now We're Clustering More in the Center, Slowly Gravitating Towards Public Transit, and Finding Ways to Be More Inclusive
By Manuel Pastor | October 15, 2015
People think they know three things about Angelenos and our aspirations. The first is that we want our own space and will embrace sprawl and long commutes to get it. …


BMW Routes is an interactive route planning program that allows the driver transfer his own route suggestions or routes recommended by BMW to the navigation system and call these up as needed.
You'll find several route suggestions for Germany and other European countries at www.bmw-routes.com. Every route has its own character, formed by the route profile, landscape and destinations along the way – sometimes demanding curves come to the fore and at other times there are picturesque buildings, museums, etc. Every route suggestion has detailed information and pictures about possible interim stops as well as restaurants and hotel tips.
BMW ConnectedDrive contract customers can import all routes to their navigation device via BMW Online and edit them there, e.g. change destinations and stops. In addition, even the driver's own routes can be transferred to the vehicle. This is done using a USB stick and the USB interface in the BMW or by saving it beforehand in BMW Online.
A requirement for using BMW Routes is the intuitive operating system iDrive as well as the Professional Navigation system.


After getting your fill of shopping and cuisine in Hong Kong, head to Bangkok to see the temples and markets before finishing in Phuket, where you'll relax on the sunny beaches of Thailand's south.
International airfare on Cathay Pacific, local airfare, taxes, transfers, 3 nights Hong Kong, Victoria Harbour Dinner Cruise, 3 nights Bangkok, 5 nights Phuket and breakfast daily.
Price is per person based on twin/double, subject to availability. Pricing reflects discount. Savings listed are the total savings based on two people (twin/double). Please visit trip page for full terms and conditions. FD#14652.


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Recycled plutonium poses challenge for Japan
SHIGEHISA FURUYA, Nikkei staff writer January 08, 2014 06:10 JST
TOKYO --A spent-nuclear-fuel reprocessing plant is the prerequisite for full-fledged sustainable operation of nuclear power plants, as spent fuel rods are processed rather than stored. But the recycling may be as much a problem as it is a solution for Japan.
Japan Nuclear Fuel has been building a reprocessing plant in Rokkasho, Aomori Prefecture, since 1993. Technical problem after technical problem has delayed construction, leaving the project more than 15 years behind schedule.
As a result, spent nuclear fuel at the country's nuclear power plants has been piling up over the years in storage pools. They are nearly full with unprocessed fuel rods.
Bringing the recycling plant on line will help unclog the flow in which spent fuel is transported from power plants to Rokkasho for reprocessing and uranium and plutonium are extracted. That is a step absolutely necessary for many of the nation's nuclear power plants to restart. Utilities hold high hopes that the reprocessing plant will go into operation as quickly as possible.
The question is what to do with plutonium, which can be recycled as fuel or could be used to make nuclear weapons. One major challenge Japan faces is that it may not be able to use up the recovered plutonium in power generation, as it initially planned. Plutonium can be used for power generation in the form of mixed-oxide (MOX) fuel, consisting of both uranium and plutonium.
A fast breeder reactor that the Japan Atomic Energy Agency operated in Fukui Prefecture was previously seen as the venue to consume MOX fuel for power generation. But after a series of technical troubles, the reactor remains shut down. Another way to use MOX fuel, in pluthermal power generation at conventional nuclear power plants, has not been widely adopted.
Plutonium can be used to make nuclear weapons, so its production and possession are strictly controlled. Japan is the only non-nuclear-armed nation allowed to reprocess spent nuclear fuel.
But if the country cannot find a way to use plutonium, it will only keep piling up. The current situation in Japan could raise concerns in the U.S. government, which takes the nonproliferation of nuclear weapons seriously. It could potentially impact Japan-U.S. talks on renewing their agreement on civil uses of atomic energy, which is due to expire in 2018.
Japan to require internet users to pay 5G maintenance fees
Abe vows to tackle demographic and diplomatic challenges
Japan's Skylark restaurant group to cease 24-hour operations
China says 17 new cases in virus outbreak, Wuhan to restrict large gatherings


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American Housing Is Insane
COMMENTARY | Approximately half of the Manhattan luxury-condo units that have come onto the market in the past five years are still unsold.
By Derek Thompson, The Atlantic
How Wealthy Towns Keep People With Housing Vouchers Out
Section 8 vouchers should give low-income people the opportunity to live outside poor communities. But discriminatory landlords, exclusionary zoning and the federal government's hands-off approach leave recipients with few places to call home.
By Jacqueline Rabe Thomas, ProPublica
The Places Where Growth in Home Values Could Lag in 2020
New survey results offer predictions for where gains in home values could be strongest and weakest during the year ahead.
America's Love Affair with Single-Family Housing Is Cooling, but It Won't Be a Quick Breakup
COMMENTARY | In the past year, Minneapolis and the state of Oregon have voted to allow multi-unit housing in neighborhoods where currently only single-family homes are allowed.
By Robert Parker and Rebecca Lewis, The Conversation
These Are The Most Highly Regulated Housing Markets
A new study finds that a number of coastal metropolitan areas have some of the most stringent guidelines for residential development.
With New Democratic Majority, Virginia Sees a Push for Denser Housing
Facing an affordability crisis, the state is floating an "upzoning" bill that would legalize duplex housing in any place that currently bans it.
By Kriston Capps, CityLab
Lessons on Rebuilding Low-Cost Rental Units After A Disaster
The National Low Income Housing Coalition examined the loss of low-cost rental housing in New Jersey after Hurricane Sandy, recommending steps that can be taken by other communities to preserve or rebuild.
Vermont Needed More Workers. Moving Grants Are Drawing People from Out of State
The Lasting Health Effects of Moving to a Wealthier Neighborhood
New research found that young children from low-income families who moved to neighborhoods with less poverty through housing vouchers spent less on health care as adults.
By Emma Coleman
HUD Spends Millions on Lead Abatement. Why Are Public Housing Authorities Still Struggling?
An estimated 62,000 public housing units around the country need lead abatement.
By Teresa Wiltz, Stateline
The Right to Eviction Counsel Is Gaining Momentum
As New York City Mayor Bill de Blasio expands tenant protections, a pair of U.S. senators introduce the Eviction Crisis Act to help renters get legal help.
Cities Increasingly Enacting Bans Restricting Homeless People, Report Says
In the last three years, more cities have prohibited camping, sleeping in public, sharing food, and living in vehicles.
Fix California's Housing Crisis, Activists Say. But Which One?
As a controversy over vacancy in the Bay Area and Los Angeles reveals, advocates disagree about what kind of housing should be built, and where.
By Benjamin Schneider, CityLab
Concerned About Her City's Lack of Affordable Housing, a Councilwoman Decided to Build Some
Jillian Johnson, mayor pro tem of Durham, N.C., is constructing a duplex next to her house with the goal of renting its two units to low-income families who need stable housing.
Congress Questions Airbnb Over Scam Host Allegations, Compliance With Local Laws
Six members of the U.S. House of Representatives wrote to Airbnb to request a briefing to address concerns about the company's ability to vet rentals.
The West's Population Boom Leads to Development Backlash
Heavy traffic and rising home prices are some of the downsides to having more residents.
By Sophie Quinton, Stateline
State AG to Investigate Findings of Discrimination by Realtors
A multi-year investigation by Newsday found a range of troubling practices by real estate agents on Long Island, New York.
What a Trillion-Dollar Housing Pledge Looks Like
Representative Ilhan Omar's Homes for All Act would fund the construction of 12 million new homes in the U.S. over 10 years, mostly as public housing.
How One City Council Member Plans to Make Renting Less Expensive
Security deposits can eat up most of renters' savings. One elected official in Cincinnati wants to offer a different option.
A Green New Deal for Public Housing
The Green New Deal for Public Housing Act would commit up to $180 billion over a decade to upgrading 1.2 million federally owned homes.
What Role Can Manufactured Homes Play in Affordable Housing?
Members of the Senate Committee on Banking, Housing and Urban Affairs expressed support for a bill that would encourage state and local governments to consider manufactured homes as part of affordable housing strategies.
What's Missing From Apple's $2.5 Billion Housing Plan
Apple is the latest tech giant to commit funds to California's housing crisis. But experts say the largest barrier to housing is not money; it's political will.
By Laura Bliss and Sarah Holder, CityLab


Sometimes truth is stranger and funnier than fiction. That's the idea behind Urban Myths, the Sky Arts comedy series, which sees real events get fictionalised for TV. No wonder then that the night Freddie Mercury dressed up Princess Diana as a male model and took her clubbing in London, is the subject of the first episode of the third series, then.
The comedy sees Bodyguard star Sophie Rundle play the people's princess, with Man Like Mobeen's David Avery as Mercury. Yonderland's Mathew Baynton also joins the cast as Kenny Everett.
The story about how the princess, the popstar and the controversial comedian went out for a night to gay bar, the Royal Vauxhall Tavern, in the late 1980s has become the stuff of urban legend. As has the disguise that allowed Princess Diana night of anonymity – a cap, some sunglasses and an army jacket.
The story first came to life when Cleo Rocos published her biography The Power of Positive Drinking back in 2013. The actress. and friend of Everett, went on to reveal that Princess Diana and Mercury had spent the day "drinking champagne in front of reruns of The Golden Girls with the sound turned down".
The Queen singer's eventful life has been the subject of much attention since it got the biopic treatment last year.
The film Bohemian Rhapsody has been a massive box office success, with actor Rami Malek picking up almost every best actor award going during awards season for his turn as Mercury.
Read more: Rami Malek wins Best Actor for Bohemian Rhapsody at BAFTAs.
In fact, when the Mr Robot star was asked about what his favourite story about the Queen frontman was earlier this year at the Screen Actor's Guild Awards, it was Mercury's night out with the princess that he cited.
This Urban Myths episode won't be David Avery's first time portraying Mercury on screen. He eyelinered up last year when he played the singer in an earlier Urban Myths episode about Live Aid. At the time he tweeted a picture of himself to fans.
Drama lovers will also recognise Avery from his time playing Freddie Hamid in hit BBC drama The Night Manager with Toms Hiddleston and Hollander.
The Urban Myths episode will air on Sky Arts on April 10, at 9pm.


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Rebates galore as Blacktown District Soccer FA welcomes players back
The Blacktown & Districts Soccer Football Association (BDSFA) is welcoming players back to football with open arms in 2022, offering over $200,000 in rebates to 2021 players who return to the sport this year.
This sizeable investment in ensuring that players return to Australia's most popular participation sport was a considered decision of the BDSFA Board, according to General Manager Adam Fairley, who said the Association wanted to do everything in its power to help ensure that clubs could count on the return of last season's players.
"Our main focus is retention and having our 2021 players return to their club and to football in general," he said.
"It's been two tough years for the football family and returning players turning 5-to-11 in 2022 will receive a $10 rebate, 12-17-year-olds will receive $15 and those who are 18 and over will receive $40.
"If every player from last year returns, that's the equivalent of over $200,000 in rebates."
The BDSFA's 24 clubs cater to over 10,000 players, with the Association boasting a proud history going back over 40 years of delivering an exciting and accessible football competition to the region.
With competitions starting for players as young as five and going up to over-35s, there really is a team and a competition for all players in Blacktown to participate in.
A large portion of the Association's growth over the last few years has been attributed to the rise and rise of the women's game in Australia.
In 2022, the BDSFA's women's competition, known as the Phoenix League, will again be run in conjunction with the Granville Districts Soccer Football Association. Entering its 6th season, the Phoenix League aims to increase participation in female only competitions, provide competitions that match the skill level of those teams playing within them, provide a positive experience for all participants, spectators, and the like, provide strong governance for all participants and collate resources ensuring a better experience for all participants.
"Females are pleasingly becoming a larger percentage of our player base," Fairley said.
"With the Women's World Cup being hosted in Australia and New Zealand in 2023, everyone is predicting the female game will continue to grow and we are always looking for ways to attract female footballers to our clubs."
However, diversity and inclusion doesn't stop there for Fairley and the BDSFA.
"Football is for all. Blacktown is a diverse city with a large, growing population, with a lot of the growth coming from people born overseas," he said.
"We are looking to embrace the many cultures within our city and we welcome players to come on board regardless of nationality or gender to play our game."
To reach these growing population bases within the city, the BDSFA will be launching a marketing campaign across different segments of the Association which can then be promoted to community leaders from various backgrounds and cultures to reach potential players within their respective communities.
Players based in Blacktown and surrounds can find their local club by simply heading to the BDSFA website and getting in touch with their local clubs.
Whether experienced players or complete novices, new and returning players can head to https://bdsfa.com/clubs/ to find their football home.
Check out which clubs you can register for in the BDSFA area below.
Filed Under: Association News


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Hong Kong Museum of History
Hong Kong Zoological & Botanical Gardens
Hong Kong Ocean Park
Golden Bauhinia Square
Stanley Market
HK Museum of Coastal Defence
Hong Kong Science Museum
A Symphony of Lights
Madame Tussauds Hong Kong
Wong Tai Sin Temple
Hong Kong Coliseum
Central-Mid-Levels Escalator
Jockey Club-Happy Valley
Shek O
Aberdeen Fishing Village
The Avenue of Stars
Dragon's Back
Sha Tin Racecourse
Cheung Chau Island
Hong Kong Wetland Park
Facts to Know about Hong Kong Museum of History
Chinese Name: 香港历史博物馆 Pronunciation: Xiānggǎng Lìshǐ Bówùgǔan
Best Visiting Time: All year round
Suggested Visiting Hours: About 4 Hours
Museum Area: 17,500 square metres
Building Time: 1975
Address: 100 Chatham Road South, Tsim Sha Tsui, Kowloon, Hong Kong, China
Admission Ticket Fare: Free (There may be a charge for some special temporary exhibitions.)
Function: Preserving the cultural heritage of Hong Kong, and promoting public awareness and interest in the development of Hong Kong's history and museum's unique cultural heritage
Dates Opening Hours
Monday, Wednesday to Friday 10:00-18:00
Weekends & Public Holidays 10:00-19:00
Christmas Eve and Chinese New Year's Eve 10:00-17:00
Note: The museum is closed on Tuesdays and the first two days of the Chinese New Year. It will be open when Tuesdays concur with Public Holidays.
Introduction of Hong Kong Museum of History
Hong Kong Museum of History was founded in 1975, and part of its collection comes from the City Museum and Art Gallery which was established in 1962. The museum was moved to Chatham Road South, Tsim Sha Tsui in 1998. The shape and colour of the Hong Kong Museum of History are in harmony with the adjacent Hong Kong Science Museum and forming a museum portfolio.
The exhibition themes of the Hong Kong Museum of History are mainly divided into the Theme of Natural History and the Theme of Cultural History, focusing on the 6,000 years history of Hong Kong. The theme of each exhibition area was taken into consideration when conducting the inner decoration, which is exquisite, realistic, and represents the feeling of experiencing the scene through time and space.
The display of the exhibition is divided into three parts:
(1) The natural environment of Hong Kong;
(2) The unearthed cultural relics, ancient stone carvings, and ancient kiln sites which reflect human activities in Hong Kong;
(3) The development of Hong Kong from a small fishing village to a metropolis.
The museum has more than 45,000 pieces of collections, which are divided into four categories: Archaeology, Local History, Folk Custom History, and Natural History. Among the Folk Custom History collections, there are Chinese traditional fishing boat models, fishing equipment, traditional agricultural tools, and daily utensils, etc. In terms of the Natural History collection, it mainly includes rocks and minerals from all over the world as well as butterfly and mollusc shells commonly seen in Hong Kong.
Branch Museums of Hong Kong Museum of History
Hong Kong Museum of Coastal Defence
In addition to the main museum located in Chatham Road South, the Hong Kong Museum of History has five other branch museums, namely, the Hong Kong Museum of Coastal Defence in Shau Kei Wan, the Fireboat Alexander Grantham Exhibition Gallery in Hong Kong Quarry Bay Park, the Lei Cheng Uk Han Tomb Museum in Sham Shui Po, the Law Uk Folk Museum in Chai Wan, and the Dr. Sun Yat-Sen Museum in Acropolis Road, Central, Hong Kong Island.
Located on Tung Road, Shau Kei Wan, the Hong Kong Museum of Coastal Defence covers an area of about 34,200 square meters. Managed by the Leisure and Cultural Services Department, the museum consists mainly of old Lei Yue Mun Fort with a history of more than one hundred years. The Lei Cheng Uk Han Tomb Museum mainly includes the Lei Cheng Uk Han Tomb which was discovered by the Hong Kong Government in 1955, and two exhibition halls that introduce the history of the Han Tomb and display the unearthed cultural relics. Lei Cheng Uk Han Tomb was listed as a declared monument in 1988. Built in the 18th century, the Law Uk is the only ancient village house in Chai Wan and it was listed as a declared monument in November 1989. The Fireboat Alexander Grantham Exhibition Gallery mainly displays the fireboat Alexander Grantham which was made in Hong Kong in 1953 and retired in 2002. The Dr. Sun Yat-Sen Museum mainly introduces the life story of Sun Yat-Sen, the father of the Republic of China, and his connection with Hong Kong.
Development of the Hong Kong Museum of History
With a history of more than 100 years, the history of the museum can be traced back to the 1870s.
In the former Hong Kong City Hall, the main collection of the museum includes books, atlas, and animal and plant specimens. With the demolition of the former City Hall in 1947, the museum ceased to serve.
In 1962, a new Hong Kong City Hall was completed and opened, and the "City Museum and Art Gallery" was set up, marking the official launch of modern museum services in Hong Kong. In 1969, the museum was renamed "Hong Kong Museum and Art Gallery" and was managed by the former Urban Council.
In July 1975, the Hong Kong Museum and Art Gallery was divided into the "Hong Kong Museum of Art" and "Hong Kong Museum" to further expand the museum's services. The Hong Kong Museum of Art continued to use the site of the Hong Kong City Hall, and the Hong Kong Museum was settled in an office with a total area of 700 square meters in the Star House, Tsim Sha Tsui, Kowloon.
In 1983, the Hong Kong Museum was relocated to Kowloon Park. With the continuous development of the museum, there was a need to build a bigger museum.
In 1995, the government implemented the construction of a permanent site next to the Hong Kong Science Museum on Chatham Road South, Tsim Sha Tsui.
In 1998, the Hong Kong Museum was officially changed its name to "Hong Kong Museum of History", and a new modern museum with a total area of about 17,500 square meters was opened. Since 2000, the museum has been managed by Leisure and Cultural Services Department.
Exhibition at the Hong Kong Museum of History
The exhibition hall in the museum consists of a thematic exhibition hall with an area of 1,000 square meters and a permanent exhibition hall of "Hong Kong Story" which includes eight permanent exhibitions with a total area of 7,000 square meters. The "Hong Kong Story" exhibition hall mainly displays Hong Kong's natural environment of 400 million years as well as the historical development and cultural heritage of 6,000 years.
The eight permanent exhibitions consist of the Natural Environment, Prehistoric Hong Kong, the Dynasties: From the Han to the Qing, Folk Culture in Hong Kong, The Opium Wars and the Cession of Hong Kong, Birth and Early Growth of the City, The Japanese Occupation, and Modern Metropolis and the Return to China.
The exhibition area includes two parts: "Landform and Climate" and "Animals and Plants". After entering the exhibition hall, visitors could get a better understanding of the location of Hong Kong by observing the terrestrial globe. On the way ahead, it is a time tunnel paved with fake stones. There are also rock and fossil specimens in this area, which display the geology and landform of Hong Kong for 400 million years. The movie showed here is "Hong Kong's Natural Lifeline", which is a film summarizing the geological evolution of Hong Kong.
Prehistoric Hong Kong
According to archaeological data, human activities have been carried out in Hong Kong as early as 6,000 years ago in the Neolithic Age. Most of their ancestors lived by the sea. In addition to displaying the prehistoric stone, pottery, and bronze artifacts unearthed in Hong Kong, this exhibition area has also built a 42 meters long beach scene, which imitates the scenes of cooking meals, building houses, and making stone tools and ornaments.
The Dynasties: From the Han to the Qing
This exhibition area introduces the development of Hong Kong from the Qin and Han Dynasties to the Qing Dynasty mainly through cultural relics coming from Hong Kong and Shenzhen.
The film in this area is "Han Dynasty Tomb of Lei Cheng Uk". The film is about four minutes.
Folk Culture in Hong Kong
The exhibition area introduces the colourful life and customs of four major ethnic groups in Hong Kong and South China. Three traditional buildings stand in the centre of the exhibition hall, introducing the traditional wedding ceremony of local people and the custom of lighting during the Lantern Festival. This exhibition hall also introduces the farming life of the Hakka people. The film showed here is "Hong Kong Heritage", in which visitors can acquire a comprehensive and in-depth understanding of Hong Kong's local folk customs.
The Opium Wars and the Cession of Hong Kong
The Opium Wars
After losing the first Opium War, China was forced to cede Hong Kong to Britain. This exhibition area not only introduces the origin, process, and influence of the Opium War but also describes the opening of the New Sea Route, the Portuguese's Management of Macao, the Thirteen Hongs of Canton, the early Sino-British relations, etc. To make visitors better understand the history of the war, the Humen Fort, the defensive fort of the Qing army against Britain during the First Opium War, was rebuilt in the exhibition hall. The film in the fort is "From Trade to War", which will describe the development of Sino-Western relations and the whole process of the First Opium War.
Birth and Early Growth of the City
This exhibition area is a three-storey classical European building with a seaport scene and an enlarged old photo of Kowloon in the background. There is also an old Western yacht that moored on the seaport. Behind the building is an antique street, with tea shops, tailor shops, pawnshops, groceries, tea houses, post offices, banks, and business firms on both sides. Visitors can better understand the life of Hong Kong people before the war here. The films in the exhibition area are "Hong Kong's Transportation" and "Hong Kong Moments".
The Japanese Occupation
This exhibit is designed as an air-raid shelter. Dating back to December 25, 1941, after 18 days of arduous resistance, British colonial officials headed by Governor Mark Aitchison Young of Hong Kong surrenders to the Japanese. From then on, Hong Kong went through a dark period of three years and eight months. In this area, visitors can have a better understanding of the life of Hong Kong people during the Japanese occupation period by visiting the exhibits, historical photos, and films. The title of the film in the exhibition area is "Three Years and Eight Months".
Modern Metropolis and the Return to China
The first half of the exhibition area introduces Hong Kong's rapid development in housing, industry, finance, and trade through multimedia programs and simulated barber shops, cinemas, and Trade Fair venues in the 1960s, displaying the social-economic situation and the development of popular culture in Hong Kong after the war. The second part introduces the whole process of Sino-Britain negotiations, the signing of The Joint Declaration, and the ceremony of The Return of Hong Kong through cultural relics, souvenirs, and important documents. The exhibition concludes with a large-scale multimedia program on relations between Chinese mainland and Hong Kong after the war.
There are three films in this exhibition area:
The first: Hong Kong Films and Television Programs in the 1960s-1970s. The film is about 10 minutes, and the room can seat 40 audiences.
The second: Natural Disasters. The film is about 6 minutes, and the room can seat 10 audiences.
The third: A Review of Sino-Hong Kong Relations from 1841 to 1997. The film is about 10 minutes, and the room can seat 40 audiences.
How to Get to Hong Kong Museum of History
Take bus KMB 5C, 8, 8A, and get off at the Hong Kong Museum of History Station.
Take bus KMB N216, N241, N271, N281, or Kowloon Green Minibus No.8, and get off at Hong Kong Polytechnic University Station.
By Subway
Route 1:Take MTR Tsuen Wan Line and get off at Tsim Sha Tsui Station (Exit B2). Walk eastward to Chatham Road South and then walk along Chatham Road South to the north and you will see the museum on your right.
Route 2: Take MTR East line and get off at Hung Hom Station (Exit D1). Walk westward along Cheong Wan Road for about 700 metres and you will see the museum at the crossing of Cheong Wan Road and Chatham Road South.
Chinese: 请带我去香港历史博物馆。English: Please take me to the Hong Kong Museum of History.
If you go to the Hong Kong Museum of History from Hong Kong Central, it takes about 15 minutes (about 60 HKD).
If you go to the Hong Kong Museum of History from Hong Kong West Kowloon Railway Station, it takes about 8 minutes (about 25 HKD).
If you go to the Hong Kong Museum of History from Hong Kong International Airport, it takes about 40 minutes (about 280 HKD).
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Author: Xueying Lin
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The RapFest makes a triumphant return to the airwaves with the third episode of their well-received and highly anticipated cipher series. Fans anxiously await each series, to see who's going to be next–and up next. Series three finds RapFest knocking it out of the park once again, with We The Best Music Group's Vado, hailing from Harlem, and fan favorite Saigon, of Brownsville, Brooklyn, paired with UpNext selection Rahzel Jr, who does more than hold his own alongside these rap titans. Miami based producer Streetrunner, whose Grammy winning catalogue includes Lil Wayne, Nicki Minaj, and more, provides the backdrop for the trio to showcase their talents.


Drinking water is something we forget so easily. Unless you are super dehydrated and about to faint with your head spinning. That's a little too late to remember. Don't you think?
Cultivating a habit of drinking enough water every day is so essential for proper body functioning and keeping away from infections and diseases. Yes, it is as simple as drinking enough water daily.
Sometimes, we may overdo the whole drinking water is important concept and drink too much than the "enough". Well, to stay well-hydrated, there is an approximate amount of water that you should be drinking everyday to keep your body in the best functioning order. And instead of going to a healthcare professional, the healthcare professional can come to you!
Presenting to you three great apps that are genius in keeping track of your daily water intake according to your body functioning and helping you stay healthy and glowing!
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My Water Balance helps you see how much water you really are drinking from all the fluids that you drink in a day and how much you should be drinking. It sets a goal and tracks your progress towards that goal, without any unnecessary fluff. It gives you freedom in selecting your reminders and it also helps you understand differences in your overall mood based on how much water you've had.
Aqualert customizes the whole process of water drinking for you. You can choose and change different containers of ounces to suit your needs and it tells you when you are fully hydrated. As you keep meeting your water drinking targets, Aqualert gives you badges to celebrate and help you understand better how you are helping yourself stay healthy. You get a Body Function Badge if you meet your water drinking targets thirteen days in a row, a Skin and Muscle Badge for 27 days, and a Health and Beauty Badge for 99 days. A prize at every accomplishment of water drinking? That sure sounds interesting!
Drinking water is very important and easy to forget. With these fun apps, you can make sure you drink the right amount daily and enjoy the perks of being healthy!


Today, I am so excited to dive deeper into learning about Akashic Records with Patricia Missakian.
The Akashic Records can help leaders listen to "the quiet voice" inside their heads, and Patricia has helped thousands of students discover their life purpose through their Akashic Records. She is an international Akashic Records Mentor for spiritual entrepreneurs.
Listen in to today's show we talk about Akashic Records and how they can support your spiritual development.
I'm excited to introduce to you Siddiqi Soul Ray!
Siddiqi is a certified health and wellness coach, a fitness instructor, and an acclaimed photographer. She photographs soul portraits to help her clients see themselves with their soul power.
On today's show, Siddiqi rants about self image dysmorphia and showing up authentically.
I think you'll love her incredible insights and words of wisdom.


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Solo exhibitions include: greengrassi, London, 2018; Walter Knoll, London, 2015; PEER, London, 2013; greengrassi, London in 2012, 2008 and 2005; and Art Now, Tate Britain in 2006. Group exhibitions include: CONDO, Proyectos Ultravioleta Guatemala City with greengrassi, London, 2017; El Curso Natural de las Cosas, La Case Encendida, Madrid, 2016; Quiz 2, MUDAM, Luxembourg, 2016; Accadra' domani, Museo Marino Marini, Florence, 2015; The Library Vaccine, Artists Space, New York, 2014; Quiz, Ensemble Poirel, Nancy, 2014; British Art Show 7, Nottingham Contemporary, Hayward Gallery, London, and touring, 2010-11; Legende, Domaine De Chamarande, Paris, 2008; East International, Norwich, 2007; How to improve the World, Arts Council Collection, Hayward Gallery, London The Way We Work Now, Camden Arts Centre, London, 2005.
Karin Ruggaber makes sculpture as well as producing artist's books. She works with a range of different media considering materials in relation to their dynamic and association with particular activities, or representational function. Recent works include relief sculptures based on an invented and self-generating vocabulary of form and materiality, using materials such as concrete, plaster, fabric and wood. Coming out of a studio-based practice the work centres on ideas around figuration, ornamentation, aspects of touch and the relationship to architectural scale; core interests are a sensory experience with architecture, looking at the imaginary and intangible components of perceived values and their translation into public space. Principles of ordering and layering are set against the roughness and imprecision of material and surface. Ideas around architecture as manifestation of aspects of territory - as something that holds rather than can be held - form part of the wider project and narrative for the work.
The Rock Room Project is a research and exhibition project I have set up in 2013 in collaboration with the Department of UCL Earth Sciences and UCL Museums. Working with the neighbouring context of Earth Sciences generates opportunities and questions which lie on the edge of exhibition making, looking at matter, materiality and form, as well as the fantasies surrounding the disciplines. The core of the project until 2016 was an annual 1-day pop up exhibition at the UCL Rock Room. This revolves around attempts to find new forms of exhibition making, to look at the potential of collaboration and of thinking about material and sculpture through all the senses. We explore spaces that represent other forms of logic, beliefs, knowledge and disciplines such as geology, astrophysics, or applied art. Features and events include annual UCL Earth Sciences Laboratory tours to the Rock Physics, Micropaleontology and Geochemistry Laboratories, the UCL Regional Planetary Image Facility, the UCL Marine Engineering wave machine and the Anechoic Chamber. A 1-day Sculpture Park was held at the UCL Mullard Space Science Laboratory in Surrey in March 2015 and June 2016. A workshop and symposium on "Poison" was held at the UCL Rock Room in 2016, involving 1980s perfume ads, a geochemist, a perfumer, an Anti-Brexit campaign as well as a 16th century field surgeon's manual courtesy of UCL Special Collections.
Events for 2016/17 included a workshop with a bespoke perfumer on the relationship between the sense of smell and the sense of touch, a talk by an animal geographer, and an experiment in the UCL Ice Physics Laboratory, set at minus 15 degrees.
In 2018 we received a UCL Dean's Strategic Fund Award for a series of workshops on "Animal Perspective". Events include a Scent and Atmosphere workshop in the UCL Anechoic Chamber, a workshop on movement with choreographer Siobhan Davies, as well as working with the presence of dogs.
2017 - present Senior Lecturer, Slade School of Fine Art, UCL. Head of Graduate Sculpture.
2015 - 2017	Senior Lecturer, Slade School of Fine Art, UCL. Acting Head of Graduate Sculpture.
2007 - 2015 Lecturer, Slade School of Fine Art, UCL. Graduate Sculpture and PhD programme.
2000 - 2016	Associate Lecturer, Chelsea College of Art & Design, UAL. BA Fine Art.
2012 - present	Visiting Lecturer, Royal Academy Schools, London.
2011 - present	Visiting Lecturer, Goldsmiths College, London, BA Fine Art.
2006 - 2009	Visiting Lecturer, Ruskin School of Drawing and Fine Art, Oxford.
2001 - 2008	Associate Lecturer, Camberwell Collge of Arts, UAL. BA Sculpture.
Visiting Lecturing includes RCA, Akademie der Bildenden Künste Stuttgart and Mozarteum Universität Salzburg.
2017-20 External Examiner, BA Fine Art, Newcastle University.
2013-16 External Examiner, BA Sculpture, Edinburgh College of Art. University of Edinburgh.
2013-16 External Examiner, MA Art and Space, European Art Practice, Kingston University.
2014-16 External Examiner, Graduate Diploma Creative Practice, Kingston University.
2008	External Examiner, MFA Fine Art, Reading University.
2014 Mentor, OUTPOST Norwich, Resident Artists Members' Exchange with FKSE Budapest.
2008 - present: Low Tech Casting Workshop: Slade Summer School; Ruskin School of Fine Art & Drawing, Oxford; Chelsea College of Arts; Mozarteum Universität Salzburg.
Group exhibition at Belmacz, London, curated by Cullinan Richards and Steph Huang. This itinerant, temporary study collection is made up of artist's ashtrays from personal collections as well as bespoke pieces; sentimental, symbolic and idiosyncratic. Participating artists: Aaron Tan, Ab Rogers, Alexander Shchrenkov, Alexis Teplin, Alison Crawshaw , Arnaud Desjardin, Asta Meldal Lynge, Axel Koschier, Bernhard Rappold, Camilla Løw, Carla Åhlander, Céline Condorelli, Charlott Weise, Claudia Kugler, Coco Crampton, Cullinan Richards, Dan Coopey, Daniel Ferstl, Diango Hernández, Dominic Cullinan, Duccio Maria Gambi, Eleanor Vonne Brown, Emiliano Maggi, Emma McCormick-Goodhart, Esther Windsor, Fiona Banner, Florian Meisenberg, Francis Upritchard, Frauke Boggasch, George McCallum, Georgia Sowerby, Gernot Wieland, Giulio Delvè, Hamish Morrow, Hanako Geierhos, Hanna Mattes, Jack Burton, Jaehyung Park, Jemima Stehli, Jenny Runacre, Joel Tomlin, Johanna Magdalena Guggenberger, Joshua Lieberman, Karin Ruggaber, Kathy Slade, Katrin Plavčak, Lina Viste-Grønli, Lynda Wilson, Magdalena Drwiega, Markus Wüste, Martino Gamper, Matthias Kaiser, Michela de Mattei, Mikael Brkic, Milena Dragicevic, Min Hogg, Morten Skrøder Lund, Myfanwy MacLeod, Nick Masters, Nicole Wermers, Noah Sherwood, Oskar Korsár, Paul Housley, Paul Kindersley, Peter Fillingham, Phillipa Horan, Philipp Fleischmann, Rob Branigan, Rut Blees Luxemburg, Salvatore Viviano, Sam Chermayeff, Sam Dargan, Sarah Dobai, Sarah Staton, Simon English, Simon Popper, Siro Cugusi, Sophie von Hellermann, Steph Huang, Stephanie Theobald, Steve Sinclair, Tori Wrånes, Ursula Meyer, Uta Kögelsberger, Urara Tsuchiya, Vanessa Disler, Veljko Markovic.
Collaboration: Karin Ruggaber and Anne Ryan, 'A Shipwreck in Stormy Seas with Sirens on the Rocks' after Charles François Lacroix de Marseille, (A Fountain), 2018 Group exhibition with Perienne Christian, Barbara Einzig Benedict Ernst and Helen Morse Palmer, David George, Alison Gill, Clair Joy, Florian Roithmayr, Karin Ruggaber and Anne Ryan, Clare Stent, Suzanne Treister. Curated by Clair Joy.
Group exhibition with Alastair Mackinven, Alexis Zelda Stevens, David Auborn, Edgar—Walker, Fran Meana, Frank Kent, Hiroko Nakajima, Holly Hendry, Imran Perretta, Ivan Maximov, Jennifer Campbell, Jonathan Kipps, Joseph Townshend, Josh Langan, Karin Ruggaber, Katja Larsson, Keef Winter, Lauren Keeley, Luke Gottelier, Nathaniel Rackowe, Paloma Proudfoot, Peter McDonald, Robbie Fife, Rory Biddulph, Rutie Borthwick, Sam Regan, Sara Strandby, Simon Faithfull, Susie Olczak, Teal Griffin plus special guests. Curated by Jon Kipps.
Drawing Biennial 2017 offers insights into how artists contend with a world in rapid and disorienting flux. A snapshot of contemporary drawing practices, the exhibition includes more than 240 new and recent works on paper by leading international artists. Exhibited work: Money #2, 2017 (Series of 5).
Curated by Stefan Benchoam. With Elisabeth Wild, Giuseppe Gabellone, Felipe Mujica, Naufus Ramírez-Figueroa, Karin Ruggaber and Johanna Unzueta. Condo 2.
Pioneering collector of women artists, Valeria Napoleone, brings world class contemporary art to Touchstones Rochdale Art Gallery for Going Public – The Napoleone Collection. This exhibition will show personal highlights from Valeria Napoleone's unparalleled private collection. With her first acquisition in the mid-1990s, Valeria Napoleone established a collection with a singular purpose; to champion the work of women artists and redress the gender imbalance she saw within the art world. Spanning from painting and sculpture to photography and installation, Valeria's remarkable collection has gone on to represent some of the most important female artists of the past 20 years.
Group exhibition with Matthias Bitzer, Sophie Bueno-Boutellier, Manuel Canu, Robert Davis, Koen Delaere, Aleana Egan, Carsten Fock, Jan S. Hansen, Alexandra Hopf, Stefan Müller, Bernd Ribbeck, Karin Ruggaber, Holger Schmidhuber Han Schuil, Niels Trannois, Claudia Wieser. Curated by Jackie Herbst.
Group exhibition curated by Tania Pardo. With Adolfo Schlosser, Herman de Vries, Fernando García, Fernando Buenache, Nicolás Paris, Daniel Steegmann Mangrané, Irene Grau, Karin Ruggaber, Federico Guzmán, Francis Alÿs, Milena Muzquiz, Elena Aiztkoa,and Betty Woodman. The conceptual point of departure for the exhibition is the text "I Work Like a Gardener", written by Joan Miró and first published in 1983 in the journal Los cuadernos del Norte.
Going Public: International Art Collectors in Sheffield show highlights from one of Europe's finest private collections of twentieth century and contemporary art. With her first acquisition in the mid-1990s, Valeria Napoleone established a collection with a singular purpose; to champion the work of women artists and redress the gender imbalance she saw within the art world. Spanning painting and sculpture to photography and installation, Napoloene's remarkable collection has gone on to represent some of most pioneering female artists of the past 20 years.
Group show with Sam Bakewell, Catherine Biocca, Gareth Cadwallader, Shelagh Cluett, Kulisek/Lieske, Simon Ling, Jennifer Packer, Jennifer Pastor, Colin Pearson, Karin Ruggaber and Soroku Toyoshima.
Group exhibition curated by Froso Papadimitriou. With Huang Lanya, Ching-Yao Chen, Misaki Kodama, Sara Karin Fisher, Froso Papadimitriou and Karin Ruggaber. The exhibition is aiming to explore the factors that affect artistic expression in the UK and Taiwan such as art trends, the socio-political context, education and cultural references and the impact they have on contemporary painting both in subject matter and technique.
Group exhibition of work by artists who are currently members and studio holders at Cubitt. Presented by Darbyshire, London. Part of Cubitt's 25th anniversary since it was founded at Goodsway in Kings Cross. Cubitt is an artist-led organisation based in Islington, London. Founded by a group of artists in 1991, Cubitt consists of a non-profit gallery, 32 artist studios and a locally-focused education programme.
QUIZ 2, SUR UNE IDÉE DE ROBERT STADLER, curated by Robert Stadler and Alexis Vaillant. The objects gathered together for the exhibition defy pre-established categories such as sculpture, product, furniture, etc. They intrigue us, leaving us perplexed and, above all, incite great freedom in terms of apprehending and appreciating them. These barely-recognisable and stimulating things go beyond the usual "art or design?" or "art and design?" formulas, rendering the question of the status of objects obsolete and aiming to explore the state of things today through their incongruous, astonishing or falsely recognizable forms.
Solo exhibition at Walter Knoll, London. Curated by systems. Karin Ruggaber projects a fictional space onto modernist design of the kind represented by the manufacturer's brand. Walter Knoll is a leading international manufacturer of upholstery and design furniture. Their products create spaces for living: with classic and modern designs characterised by their comfort and longevity. systems' project consists of a series of investigations into the legacy and present possibilities of modernist design, extended through publication, writing and exhibition.
Façade Project for Deptford Lounge.
Relief # 128, 2015. Installation of a relief sculpture onto the façade of Deptford Lounge. Public project for Deptford X. Curated by Janette Parris.
an ongoing archive of artist's books curated by Gregorio Magnani. with anonimo, kasper andreasen, diana artus, blisterzine, daniel gustav cramer, mariana castillo deball, michael dean, arnaud desjardin, johanna drucker, melissa dubbin & aaron s. davidson, karl holmqvist, takashi homma, brian kennon, louis lüthi, sara mackillop, kristen mueller, sophie nys, asher penn, chiara pergola, simon popper, lucy powell, alessandro roma, karin ruggaber, christoph schifferli, izet sheshivari, rachel simkover, erik steinbrecher, mladen stropnik, derek sullivan, nik thoenen & lorenzo le kou meyr, peter tillessen, erik van der weijde, jean-michel wicker the exhibition is dedicated to the most recent phase in the history of artists' books. these are works of art that borrow the format and the particular modes of distribution and consumption of the book; they are not books replicating works of art, but works of art that exist exclusively through the format of the book. all the books selected are either self-published or participate in a minor economy of small independent publishers. their modes of production and circulation, as well as the conditions under which they are housed and experienced, create and reinforce their content.
Group exhibition with Jo Addison, Eric Bainbridge, Matthew Ferguson, Robert Filby, Pierre-Charles Filipo, Georgina Hayes, Simon Newby, Karin Ruggaber, Yonatan Vinitsky.
Everything is About to Happen: An ongoing archive of artists' books selected by Gregorio Magnani. The Library Vaccine presents a number of discrete collections of books in order to sample art's distinctive relationship to the book form in its singularity, and in its states of reproduction, distribution and accumulation. The exhibition addresses the book as a particular technology, and in its collective state of the private collection, reading room or library, as a social machine – registering social and personal histories, and articulating structures of knowledge and value through the relations between its parts.
Group exhibition curated by Dan Coopey. With Rupert Ackroyd, Aaron Ange, Nicholas Byrne, Alex Dordoy, Graham Ellard & Stephen Johnstone, Paul Housley, Alexis Marguerite Teplin, Ruairiadh O'Connell, Karin Ruggaber.
Group exhibition about the relationship between art and design objects curated by Alexis Vaillant and Robert Stadler, Ensemble Poirel, Nancy, France. With Ron Arad, Ronan & Erwan Bouroullec, Aaron Curry, Thea Djordjadze, Konstantin Grcic, Roger Hiorns, David Musgrave, Manfred Pernice, Tobias Rehberger, Ettore Sottsass, Ricky Swallow, Nicole Wermers, Franz West, Heimo Zobernig and others. Catalogue edited by Robert Stadler and Alexis Vaillant. With texts by Kirsty Bell, Claire Brunet, Emily King, Edouard Montassut, Robert Stadler and Alexis Vaillant.
Selections from the Arts Council Collection. Group exhibition at Nottingham Contemporary selected by Alex Farquharson. Artists include Tomma Abts, Armando Andrade Tudela, Frank Auerbach, Francis Bacon, Anna Barriball, David Batchelor, Zarina Bhimji, Karla Black, Peter Blake, David Bomberg, Christine Borland, Martin Boyce, Varda Caivano, Anthony Caro, Helen Chadwick, Adam Chodzko, Prunella Clough, Bernard Cohen, Harold Cohen, Keith Coventry, Cathy De Monchaux, Richard Deacon, Jeremy Deller, Rita Donagh, Garth Evans, Barry Flanagan, Elisabeth Frink, Gilbert and George, Laura Godfrey-Isaacs, Paul Graham, Alexis Harding, Raphael Hefti, Barbara Hepworth, Thurston Hopkins, John Hoyland, Zebedee Jones, Emma Kay, Philip Lai, Peter Lanyon, John Latham, Mark Lewis, Hilary Lloyd, Kenneth Martin, Gustav Metzger, Alan Michael, Yoko Ono, Eduardo Paolozzi, Kathy Prendergast, Bridget Riley, Karin Ruggaber, Colin Self, Walter Sickert, Daniel Sinsel, Lucy Skaer, Richard Smith, Jem Southam, The Hackney Flashers, Wolfgang Tillmans, Amikam Toren, William Tucker, Mark Wallinger, Rebecca Warren, Richard Wentworth, Rachel Whiteread, Cathy Wilkes, Stephen Willats, Cerith Wyn Evans. Virtually every significant artistic movement since the Second World War is touched on in this major exhibition drawn from The Arts Council's own national collection, curated by Nottingham Contemporary's Director Alex Farquharson. Spanning seven decades of art made in Britain, Somewhat Abstract shows the work of 70 artists, eight of them Turner Prize winners. Abstract art is the exhibition's starting point. Yet as its title suggests most of the art works are near-abstract, rather than truly abstract. They are works in which the world has undergone a transformation. The image has lost its definition to become something else, while still retaining a sense of where it came from.
Group exhibition at Krinzinger Projekte, Vienna. Curated by Ursula Maria Probst. With Marina Abramović, Ida Applebroog, Tauba Auerbach, Monika Baer, Clarina Bezzola, Juliette Bonneviot, Louise Bourgeois, Ulla von Brandenburg, Johanna Calle, Beatrice Caracciolo, Naia del Castillo, Angela de la Cruz, Katrina Daschner, Tacita Dean, Aleksandra Domanović, VALIE EXPORT, Marina Faust, Female Obsession, Mary Frank, Pamela Fraser, Sonja Gangl, Isa Genzken, Michela Ghisetti, Dorothee Golz, Katharina Grosse, Jitka Hanzlová, Kathi Hofer, Judith Hopf, Roni Horn, Anna Jermolaewa, Birgit Jürgenssen, Maureen Kaegi, Kerstin Kartscher, Luisa Kasalicky, Laleh Khorramian, Erika Giovanna Klien, Alena Kotzmannová, Alicja Kwade, Marie-Jo Lafontaine, Maria Lassnig, Louise Lawler, Sonia Leimer, Natalia LL, Liza Lou, Dorit Margreiter, Ursula Mayer, Chiara Minchio, Şükran Moral, Martina Nehrling, Meret Oppenheim, Laura Owens, Danica Phelps, Amalia Pica, PRINZGAU/Podgorschek, Agnieszka Polska, Pushpamala N., Rivka Rinn, Judith Rohrmoser a.k.a. Jaye, Signe Ross, Karin Ruggaber, Eva Schlegel, Toni Schmale, Nora Schultz, Constanze Schweiger, Nino Sekhniashvili, Elfie Semotan, Cindy Sherman, Esther Stocker, Despina Stokou, Ingeborg Strobl, Meg Stuart, Urszula Tarasiewicz, Maria Temnitschka, Tatiana Trouvé, Julia Vecsei, Sophie Whettnall CALL ME ON SUNDAY is the second of several parts of the long-term series CCC (curators collectors collaborations) initiated by Krinzinger Gallery - a starting point for the interconnection of international collectors and curators. Inspired by the consequent attitudes of the collectors Valeria Napoleone (London) and Alexia Stuefer (Vienna), who limit their collections to artworks by female artists, CALL ME ON SUNDAY focuses on 77 artistic positions by female artists. The Krinzinger Projekte's exhibitions spaces therefore display oeuvres of international artists in private collections and arranges them in a dramaturgically intertwined setting. The exhibition also makes references to the legendary show "Eccentric Abstraction" by US-American curator and critic Lucy Lippard, that took place in New York in 1966 and - deviating from what the title would suggest - addressed the subjects of strong, autonomous, female corporeality and lifestyle.
Group exhibition curated by Camilla Wilson and Mary Maclean. With Peter Fillingham, Dave Hanger, Mary Maclean, Jess Macneil, Caroline McCarthy, Karin Ruggaber, Camilla Wilson, Eleanor J Wright, Emily Wolfe. Inhabited space, both private and public, is the subject of this exhibition. It suggests that the experience of interior and exterior architectural space is expressed by the part rather than the whole, the fragment rather than a totality. The fragment is asymmetrical, dynamic, occupying a moment of internalised attention, as the agent of an unresolved narrative.
NUI Galway Art Gallery, Ireland.
Group exhibition curated by Katrin Plavcak and Cullinan Richards. With Monika Baer, Luca Bertolo, Hanna-Mari Blencke, Andrew Bick, Varda Caivano, Ben Cottrell, Milena Dragicevic, Béatrice Dreux, Olivier Guesselé-Garai, Sophie von Hellermann, Sigrid Holmwood, Robert Holyhead, Ursula Hübner, Johanna Kandl, Jutta Koether, Rannva Kunoy, Antje Majewski, Marzena Nowak, Katrin Plavcak, Reto Pulfer, Gunter Reski, Cullinan Richards, Karin Ruggaber, Christian Schwarzwald, Ulrika Segerberg, Noah Sherwood, Dillwyn Smith, Esther Stocker, Monica Tap, Alexis M Teplin, Caragh Thuring, Corinne Wasmuht, Marcus Weber, Sue Williamsn e Amelie von Wulffen.
Group exhibition curated by Adrian Schiesser: With Stefan Gross, Karin Ruggaber, Liam Gillick, Mustafa Hulusi, Sarah Morris, Tiago Carneiro da Cunha, Fayçal Baghriche, Kapwani Kiwanga, Michel Bo Michel.
Group exhibition with Pio Abad, Jonathan Baldock, Josh Blackwell, Jim Lambie, Hew Locke, Alex Pollard, Eva Rothschild, Karin Ruggaber, Renee So. Curated by Jenny Brownrigg. This exhibition looks at the ideas contemporary practice has around adornment, exploring cultural, social and material aspects. It looks at the status that detail and embellishment has now in contemporary practice. The highly detailed Mackintosh Museum welcomes this examination also, with the building itself influenced by the Arts & Crafts Movement that Charles Rennie Mackintosh and his peer group were part of.
Solo exhibition of newly commissioned work. Exhibition funding through Henry Moore Foundation Project Grant and Elephant Trust.
Curated by Drawing Room directors, over 200 artists are invited to make an original drawing in any medium on an A4 sheet of paper. The Biennial presents an insight into contemporary artists approach and relationship to drawing, often exposing the first intimations of a new body of work, providing insights into previously hidden working processes or revealing atypical modes of work. Exhibited work: Dogs, Money & Houses #2, 2013.
Group exhibition curated by Florian Roithmayr. With Caroline Achaintre, Jess Flood-Paddock, Alex Heim, Hilary Koob-Sassen and Karin Ruggaber.
Kino Babylon am Rosa-Luxemburg-Platz, Berlin, Germany.
"Shorts", 9 video clips produced in collaboration with Sarah Staton. Screening at Flights of Fancy, Verein zur Förderung von Kunst und Kultur am Rosa-Luxemburg-Platz, Berlin. Curated by Jaspar-Joseph Lester and Susanne Prinz.
Solo exhibition at greengrassi, London.
Solo exhibition of new work made in response to the space of the 19th century Swiss Church and its recent renovation by architects Christ and Gantenbein.
Inaugural group exhibition at Firstsite's new public gallery designed by Rafael Vinoly Architects. One of four commissioned artists including Michaela Eichwald, Aleksandra Mir and Danh Vo. Curated by Michelle Cotton.
Group exhibition curated by Sarah Staton and Simon Bill. With Eva Berendes, Enrico David, Karin Ruggaber, Sarah Staton, Simon Bill.
Group exhibition curated by Michelle Cotton and Rob Tufnell. With works by Henri Gaudier-Brzeska, Steve Claydon, Keith Coventry, Anthea Hamilton, Mark Leckey, Dereck Jarman, Eduardo Paolozzi, Ezra Pound, Daniel Silver and others.
Now firmly established in the art world calendar Drawing Biennial presents the latest developments in contemporary drawing and demonstrates the crucial role that drawing plays in contemporary art practices.
Group exhibition of photography curated by Bruce Haines. Just Photography brings together a cross-generational gathering of artists from Europe for whom photography exists either as dominant practice or a more casual endeavour. Presenting a range of works from the 1980s to the present day, through their various formal, conceptual or performative experiments, their photographs seem historically to be ambiguously located in time. Artists: Ketuta Alexi-Meskhishvili, Tim Braden, Bianca Brunner, Hugo Canoilas, Ernst Caramelle, Lourdes Castro, Raphael Danke, Jane England, Jason Evans, Adam Gillam, Melissa Gordon, Ilana Halperin, Anne Hardy, Raphael Hefti, Alex Heim, Jessica Mallock, Andrew Mania, Rudolf Polanszky, Sam Porritt, Dan Rees, Sophy Rickett, Karin Ruggaber, Monika Schwitte, Lindsay Seers, Miroslav Tichy and Li Yuan-chi.
National Touring Exhibition curated by Lisa Le Feuvre and Tom Morton organised by the Hayward Gallery, London. "The British Art Show is widely recognized as the most ambitious and influential exhibition of contemporary British art. The 39 selected artists have been chosen on the grounds of their significant contribution to contemporary art in the last 5 years." The exhibition toured from Nottingham Contemporary in 2010, to the Hayward Gallery, London, Glasgow Museum of Art and venues in Plymouth during 2011.
Drawing Biennial 2009 presents the latest developments in contemporary drawing and demonstrates the crucial role that drawing plays in contemporary art practices.
Group exhibition. The Real curated by Fergal Stapleton. With Phyllida Barlow, Tom Burr, Anne Damer, Audrey Reynolds, Karin Ruggaber, Fergal Stapleton and Martin Westwood.
Group exhibition curated by Alexis Vaillant at Chamarande, Essonne. "Created for Department Domain de Chamarande - its 17th century castle, hunting lodge, ice-house, and chapel - the exhibition brings together works of 47 international artists. The works interrogate the artificiality of the current world and render up intensified visions of it…" Artists include David Altmejd, Roger Hiorns, Gedi Sibony, Pae White and Lisa Yuskavage.
Group exhibition, Cell Project Space. Curated by Bob Matthews. With Alexandra Bircken, Kaye Donachie, Ian Hunt, Mark Titchner and others.
Group exhibition selected by Matthew Higgs and Marc Camille Chaimowicz. Installation of 19 relief sculptures onto the facade of Norwich Gallery. Arts Council Lottery Grant.
Group exhibition curated by Henry Coleman including Pae White, Mark Titchner, David Musgrave and others.
Group exhibition curated by Bruce Haines. With Markus Amm, Helene Appel, Eva Berendes, Ellen Gronemeyer, Alex Heim, Karin Ruggaber and Nicole Wermers.
Solo exhibition at Art Now, Tate Britain. Karin Ruggaber - From hard to soft.
2006 marks the sixtieth anniversary of the Arts Council Collection. The Arts Council Collection is the largest loan collection of post-war British art in the world. Since 1946, it has acquired some 7,500 works - including over 700 sculptures and installations - for loan to exhibitions and public spaces across the UK and beyond.
Exhibition curated by Sophie von Hellermann, in conjunction with Elfriede Jelinek reading.
Present Future, greengrassi. Artissima 11, Turin, Italy.
A solo exhibition at Present Future, Artissima 11.
Vanderborght, Dexia Art Centre, Brussels, Belgium.
Group exhibition curated by Elena Filipovic. With Goshka Macuga, Simon Moretti, Karin Ruggaber, Veit Stratman and Anton Vidokle.
Kunststiftung at Landesvertretung Baden-Württemberg, Berlin. Group exhibition of scholarship holders.
Group exhibition at Corvi-Mora and greengrassi, London. With Allen Ruppersberg, Roger Hiorns, David Musgrave, Lisa Yuskavage, Silke Otto-Knapp, Tomma Abts, Jim Isermann and others.
A project by Goshka Macuga. Curating Contemporary Art, RCA.
Performance evening at Orgelfabrik, Karlsruhe. Curated by Rainer Ecke.
Group exhibition at 15C, London. Curated by Frank Hannon. With Artlab, Bob and Roberta Smith, Karin Ruggaber, Luke Gottelier.
Haus der Kunststiftung, Stuttgart, Germany.
Solo exhibition at Haus der Kunststiftung, Stuttgart. Kunststiftung Baden-Württemberg.
Group exhibition at greengrassi, London.
Group exhibition and publication, Arthouse, Dublin. Curated by Arthur R Rose.
Year-long exhibition project curated by Mark Dickenson and Martin Clark. Curating Contemporary Art, Royal College of Art.
Solo exhibition at Arthur R Rose, London.
Conference at Kettle's Yard, Cambridge organised by Florian Roithmayr. Humility of Plaster is a two-year research and exhibition project by Florian Roithmayr exploring the materiality of collections housing plaster moulds and casts across Europe, enabled through a new partnership between the Museum of Classical Archaeology, Kettle's Yard, and Wysing Arts Centre. The conference at Kettle's Yard includes contributions from invited speakers from a range of moulding and casting workshops, exploring practical making, plaster casting techniques and collection strategies. Invited speakers include Dr Rebecca Wade, assistant curator Henry Moore Institute, Leeds, Alex Massouras, Ruskin School of Art, Oxford, Thomas Lefeuvre, L'Atelier de Moulage, Paris and artist Karin Ruggaber. Presentation abstract: My presentation focusses on recent explorations and ideas around casting, making, figuration and visibility. I will talk about my studio floor as a ground for material thinking, composition and making, my teaching and research projects, and my fascination with moulds, 19th century plaster casts and the paper squeezes of Alfred Maudslay. My research centres on our experiences, imagination and fantasies around materials, processes and larger ordering systems, and on the instinctual and haptic knowledge embedded in our interactions with them.
"Studio floor series, 2017" is an artist's book/publication commissioned by Bloomberg SPACE. It is an exploration of the studio floor are as an arena for material thinking, composition and making. Published as part of "Physical Information", an exhibition series and symposium organised by Rupert Norfolk. It is part of an exhibition series co-curated by Rupert Norfolk and Henry Coleman at Bloomberg SPACE 2016/17, exploring how physical objects can generate alternative experiences in an increasingly abstract world.
Publication produced for undone/beings/very at Walter Knoll, London. Karin Ruggaber's fictional carpet proposals merge image and texture to create an imaginary layer upon which items of furniture might be differently grounded. Carpets are conventionally used in the showroom to coordinate furniture groupings and suggest both a naturalistic space of conversation and an ideal space of rational exchange.
House of Voltaire 2014 is a collaboration of the independent arts organisation Studio Voltaire and fashion house Chloé and is a biennial temporary pop-up shop selling art works, furniture and fashion by leading contemporary artists, in support of the not-for-profit gallery and education programme of Studio Voltaire.
Edited and foreword by Valerie Napoleone. Text by Jennifer Higgie, Mark Hix. "The collector Valeria Napoleone has made a name for herself by exclusively collecting the work of living women artists, but she has no other limitations--just that the work be something she wants to "live with." With this book, she combines her two chief passions, pairing her favorite artworks with recipes from her homeland, Italy."
Presentation of my research into fantastical architecture and the integration of the rational with the imaginary - introducing three different manifestations and philosophies around visibility and form through my recent research trips to Tirana/Albania (mayor Edi Rama's city wide facades project); Dornach/Switzerland (Rudolf Steiner's Goetheanum and Anthroposophical colony) and Southern Romania to source upscale villas built by the Roma.
"Villas" is an image-based book portraying a series of upscale villas built by the Roma in Southern Romania. In 2010 I undertook a road trip from Istanbul to Romania in an attempt to find these largely undocumented buildings. Mostly built with basic machinery or by hand, they are striking in their untutored and direct realisation, style referencing and ambitious scale, mostly layed out for large family clans. The buildings often remain empty after completion, or are used for storage rather than lived in, the act of their realisation taking precedence over their actual use. "Villas" is made in relation and parallel to my sculptural work, looking at the extreme and contrasting sculptural language and raw physicality of this architecture. My wider project and research interest is based on the idea of "fantastical architecture" and a material realisation of an imaginary inner world into a vocabulary of sculptural form.
Artist's book documenting and recording the particular architecture and use of ornamentation in the suburb of Yeşilyurt in Istanbul, Turkey. The book touches on ideas of decoration, ornamentation and organisation of space in relation to sculpture.
The book examines the relationship between materiality, surface and ornament within the city's architecture. Published with Camden Arts Centre, London alongside "The Way We Work Now", 2005.
Konzerthaus Liederhalle was made in response to the architecture of a concert hall in Stuttgart, Germany built in 1955. The book portrays the building and its functionality, form and incongruous use of materials. The architecture is a mixture of various styles and building methods essentially with a view to integrating its purpose, which is to frame and enable music, visually into the design and making.
Contributors: Andrew Bonacina, Dave Carbone and Mathew Brotherhood, Babak Ghazi, Margarita Gluzberg, Will Hunt, Elizabeth McAlpine, Dawn Mellor, Sadie Murdoch, Rupert Norfolk, Michael Raedecker, Karin Ruggaber and Saskia Olde Wolbers. Centrefold is a limited edition publication in scrapbook format, with a print run of no more than 60 copies. Centrefold attempts to record a non-linear (local) art history through the view of an artist (Aramesh), rather than echo how art is recorded and fictionalised by art historians. To date six scrapbooks have been created, the title of each taken from a socio-political issue at the time of its production. Centrefold is held in major public institutions and in private collections.


Faculty at the University of Michigan are essential in our DEI effort. This section includes resources that are not only beneficial to support their efforts, but also includes a list of faculty advisors that are able to guide individuals and groups on a range of topics related to DEI. If there's a U-M resource you're aware of that is not listed or you can't find what you're looking for, please contact diversitymatters@umich.edu.
Computing and information technology assistance for people with temporary or permanent disabilities.
Aims to improve our campus environment for faculty in four general areas: Recruitment, Retention, Climate, Leadership.
Education on the changing meanings of U.S. citizenship and national belonging, including a variety of ethnic studies programs, including Arab and Muslim American studies, Asian/Pacific Islander studies, Latina/o studies, African American studies and Native American studies.
Part of the University's annual Investing in Ability Week observance, the Game honors military veterans, reduces stigma, and promotes accessibility and disability awareness.
An intellectual gathering place of clinicians, social scientists, bioethicists, and all others interested in improving individual and societal health through research, education/outreach, and service.
Enhances educational outreach at the University of Michigan through the scholarship of engagement toward developing a diverse community of scholars: it supports faculty, staff and student groups in developing and implementing educational outreach programs.
The recognition that public policy initiatives must be understood within the context of growing societal diversity. The center builds on intellectual resources from around the university as well as those already present at the Ford School to address relevant programs and interests.
CRLT offers a variety of services and programs for faculty who are interested in pursuing new and innovative approaches to teaching, want to learn more about teaching methods relevant to their courses, or want to consult about ways to improve their teaching and their students' learning.
Provides U-M students with practical skills and insights to tackle complex social challenges and catalyze a career in social impact.
Dedicated to improving higher education generally; accomplishing this with specific expertise in organizational behavior and management, public policy, academic affairs, and student development, assessment, and evaluation.


text:
Women Honorees
BronzeLens Submissions Open October 15, 2022
BronzeLens Film Festival is no longer is accepting submissions for the 13th Annual BronzeLens Film Festival.
However, submissions for the 14th Annual Festival in 2023 will open
BronzeLens seeks to showcase films by seasoned as well as the "next generation" of filmmakers that are by, for and/or depicting people of color, particularly of the African Diaspora. The Festival features outstanding films and workshops, Master Classes and Conversations about the art and business of filmmaking. Previous partners have included WarnerDiscovery, BET, Seed and Spark, Microsoft, and many others.
BronzeLens Film Festival has been approved as an Academy Awards® qualifying festival for the Short Film Awards.
Recipients of BronzeLens Film Festival qualifying awards will be eligible for consideration in the Short Film category of the Academy Awards® without the standard theatrical run, provided the film otherwise complies with Academy rules.
Please join our mailing list to be up to date on the most recent BronzeLens news, including submissions deadlines.
The BronzeLens Film Festival of Atlanta, Georgia is a non-profit organization, founded in 2009, that is dedicated to promoting Atlanta as a film mecca for people of color, to showcasing films created by people of color and providing networking opportunities that will develop the next generation of filmmakers.
© 2022 by BronzeLens Film Festival. All rights reserved.
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This 5×54 stick offered a significant power punch with smooth and mellow flavors. Construction was excellent with a great burn and draw all the way down, on the loose side with just the right amount of resistance. Smoke time was just over two hours and you REALLY don't want to rush it any more than that. Body was a solid medium with smooth flavors of tobacco and leather with a nice little pepper and spice kick on to the long finish. The flavors were pretty consistent all the way down, and the strength was very full, giving me a bit of a rush from the very start. This is definitely a stick to sit down with and RELAX and enjoy! Thank you very much to Berger & Argenti for generously donating this for review, it is as always, greatly appreciated! To get your hands on these please contact them directly at 1-800-815-1155.


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The perfect quick fix for great looking hair between washes -simply spritz on for clean, fresh looking hair with added body and texture. No water required!
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Pressurised container. Protect from sunlight. Do not pierce or burn after use. Do not spray on a naked flame or any incandescent material. Keep away from sources of ignition, no smoking. Avoid spraying in eyes. Do not apply to broken or irritated skin. Not for intimate hygiene use. Use only as directed. Intentional misuse by deliberately concentrating and inhaling the contents can be harmful or fatal.
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text:
Q: Changing passwords in XML file with BASH or XMLStarlet I have a bunch of XML that is used by a Java application. There are multiple "addService" blocks in the XML document but I am only interested updating the services used by MySQL connection.
Below is a sample block of XML data that require the password to be changed. How can I change the password value in in that block using BASH or XMLStarlet?
  <Call name="addService">
<Arg>
  <New class="org.mortbay.jetty.plus.DefaultDataSourceService">
    <Set name="Name">DataSourceService</Set>
    <Call name="addDataSource">
      <Arg>jdbc/MySQL</Arg>
      <Arg>
        <New class="com.zaxxer.hikari.HikariDataSource">
          <Arg>
            <New class="com.zaxxer.hikari.HikariConfig">
              <Set name="dataSourceClassName">com.mysql.jdbc.jdbc2.optional.MysqlConnectionPoolDataSource</Set>
              <Set name="maximumPoolSize">15</Set>
              <Set name="leakDetectionThreshold">10000</Set>
              <Call name="addDataSourceProperty">
                <Arg>url</Arg>
                <Arg>jdbc:mysql://localhost:3306/db?zeroDateTimeBehavior=convertToNull&useSSL=false</Arg>
              </Call>
              <Call name="addDataSourceProperty">
                <Arg>user</Arg>
                <Arg>test</Arg>
              </Call>
              <Call name="addDataSourceProperty">
                <Arg>password</Arg>
                <Arg>some_password</Arg>
              </Call>
            </New>
          </Arg>
        </New>
      </Arg>
    </Call>
  </New>
</Arg>

Here's another XML block that requires password changes:
    <Call name="addService">
            <Arg>
                    <New class="org.mortbay.jetty.plus.DefaultDataSourceService">
                            <Set name="Name">DataSourceService</Set>
                            <Call name="addDataSource">
                                    <Arg>jdbc/MySQL</Arg>
                                    <Arg>
                                            <New class="com.jolbox.bonecp.BoneCPDataSource">
                                                    <Set name="driverClass">com.mysql.jdbc.jdbc2.optional.MysqlConnectionPoolDataSource</Set>
                                                    <Set name="jdbcUrl">jdbc:mysql://localhost:3306/db?zeroDateTimeBehavior=convertToNull</Set>
                                                    <Set name="user">test</Set>
                                                    <Set name="password">some_password</Set>
                                                    <Set name="acquireIncrement">5</Set>
                                                    <Set name="minConnectionsPerPartition">5</Set>
                                                    <Set name="maxConnectionsPerPartition">50</Set>
                                                    <Set name="idleConnectionTestPeriod">30</Set>
                                            </New>
                                    </Arg>
                            </Call>
                    </New>
            </Arg>
    </Call>

A: Like this:
xmlstarlet ed -u '//Arg[text()="jdbc/MySQL"]//Call[@name="addDataSourceProperty"][3]/Arg[text()="some_password"]' -v new_password file