text:
RICHARD LONG with Robert C. Morgan
SUSAN BEE with Phong H. Bui
GRACIELA ITURBIDE with Sara Roffino
MERLIN JAMES with Louis Block
CRAIG KALPAKJIAN with Yasi Alipour
Letter from Dusseldorf
By Toby Kamps
Landscapes of the South
By Susan Breyer
Arlene Shechet: Skirts
Joanna Pousette-Dart
By Barbara A. MacAdam
Georges de La Tour: L'Europa della Luce
By Bartolomeo Sala
Angela Fraleigh: Sound the Deep Waters
By Ann C. Collins
Jutta Koether: 4 the Team
By Alfred Mac Adam
Julian Schnabel: The Patch of Blue the Prisoner Calls the Sky
Rita Ackermann: Mama '19
By Charlotte Kent
Jordan Casteel: Within Reach
By Nina Wolpow
Jana Euler: Unform
By Katherine Siboni
Jennifer West: Future Forgetting
By Olivia Gauthier
Kelly Akashi: Mood Organ
Nicole Eisenman: Sturm und Drang
By Phyllis Tuchman
Zsófia Keresztes: Glossy Inviolability
By Veronika Molnar
Jennifer Bolande: The Composition of Decomposition
Christopher Wilmarth: Sculpture and Drawings from the 1970s
By Jan Avgikos
Alison Rossiter: Substance of Density, 1918-1948
By Zach Ritter
Totally Dedicated: Leonard Contino, 1940-2016
By Robert R. Shane
Donald Judd: Maker, Baker
By Elizabeth Buhe
Against, Again: Art Under Attack in Brazil
By Sumeja Tulic
A Delian Mode: Dear Delia
By Israel Lund
Robert Frank: After The Americans
By Lyle Rexer
From the Threshing Floor
Guest Critic: Norma Cole
Goodbye Pork Pie Hat
By David Marriott
Thresh:
By Cole Swensen
Notes on The New Threshing Floor
By Cedar Sigo
The Trajectory of a Bullet Never Shot
By Susan Briante
from Another Sky
By Dale Martin Smith
Mirage As Errata
By Will Alexander
By Laura Moriarty
A chessboard drawn by the child Kuba
By Erín Moure
[Exemplary Title in the Theme of "From the Threshing Floor "] [?]
By Carlos Lara
Three Threshing Floors
By Susan Gevirtz
By Aaron Shurin
from A Thousand Times You Lose Your Treasure
By Hoa Nguyen
Video Tryouts for an American Grammar Book
By Farid Matuk
The Prayers of the Saints
By Steven Seidenberg
Shokoofeh Azar's The Enlightenment of the Greengage Tree
JOHN GALLAHER with Tony Leuzzi
MARIE MUTSUKI MOCKETT with Eric Farwell
ELAINE KAHN with Rachel Rabbit White
Emily St. John Mandel's The Glass Hotel
By Yvonne C. Garrett
Samuele F.S. Pardini's In The Name of The Mother
By Fiore Sireci
Talking to My Sons about Varoufakis—and the Economy
By William Stroud
Mary South's You Will Never Be Forgotten
Quarantine Hall
Dance Punks Punk Dance
By Steve Erickson
Outline: A Festival for All Seasons
By Scott Gutterman
By Martin Longley
A Dancer's View: Pavel Zuštiak's Hebel
By Doug LeCours
Tales of Hopper: The Additive Adaptation from Painting to Dance
By Hannah Foster
OXANA CHI and LAYLA ZAMI with Gillian Jakab
By Gillian Jakab
MATIAS PIÑEIRO with Jessica Dunn Rovinelli
PIETRO MARCELLO with Dan Sullivan
Before the Circus Left Town: Rachel Mason's Circus of Books
By Daniel Gerwin
Let Constraints Set You Free
By Billy McEntee
DAVE HARRIS with Kimber Lee
Building an Invisible Theater
By Karen Thorla
A selection of virtual theater spaces to gather in
Diary of a Foreigner in Paris
by Curzio Malaparte, translated from the Italian and French by Stephen Twilley
Shark Fins
by Enrique Serpa, translated from the Spanish by Andrew Feldman
inSerial: part sixteen The Mysteries of Paris
By Eugène Sue, translated from French by Robert Bononno
Entering the Glitch: EMMALEA RUSSO with Sarah Hicks
By Leopoldine Core
By Nikki Wallschlaeger
By Benjamin Friedlander
from Water & Power
By Alli Warren
By Tony Towle
Love Mountain
By Emmalea Russo
Rosanna Mclaughlin's Double-Tracking: Studies in Duplicity
By Esmé Hogeveen
The Saddest Thing Is That I Have Had to Use Words: A Madeline Gins Reader
Gustav Metzger's Writings
By Joseph Nechvatal
Patrick de Vries's Alberto Giacometti and the Perception of Reality
By Isabella Boorman
S/HE IS (STILL) HER/E
Lia Gangitano
Edley ODowd
William Breeze
Roxy Farman
Clarity Haynes
Akiko Hada
Leigha Mason
Alan Russell
Ron Athey
Jarrett Earnest
Meena Ysanne
Benjamin Tischer
Jane Ursula Harris
Enok Ripley
James Birch
Jordi Valls
Marie Losier
Paul Bee Hampshire
Susana Vico Valero
Genesis Breyer P-Orridge on he/r art
Editor's Note: End Times Politics
Fear is more powerful than facts
By Natalie Baker
Life Comes At You Fast
By Jason E. Smith
A Day without Women
By David Schmidt
Diary from a Genocide in the Making
By Margaret M. Seiler
Art In Conversation
A Conversation with and about Imi Knoebel
Imi Knoebel, Raum 19 [Room 19], 1968. Hardboard, wood, stretcher. Nic Tenwiggenhorn.
Because it is continuously evolving and shifting shape, Imi Knoebel's abstract art eludes easy description or categorization. Born in Dessau, Germany, in 1940, Knoebel makes playful, fearlessly experimental paintings, sculptures, installations, and works on paper that range from spare to multiplex and geometric to freeform, occasionally in the same work. Although they include a wide range of other materials, their primary ingredients are painted wood panels. Often fitted with bare wood skirts at their perimeters, they stand proud of the wall or are shaped, stacked, or abutted, blurring distinctions between two and three dimensions. Everything the artist makes is free of recognizable imagery, except a series from 1970 in which he used tiny dots of white paint to add an additional star to photographs of galaxies and a handful of projects incorporating found objects or photographs. Knoebel's works have been called minimal, hard-edge, and eccentric abstraction, but all of these terms fall wide of the mark. As one curator noted, words "simply roll off their surfaces."1
A number of hallmarks unite Knoebel's strikingly diverse body of work. Among them are surprising colors and forms, bravura brushwork, and impeccable details—especially around edges. For example, the six 19 11/16 × 13 5/8-inch, acrylic-on-wood paintings composing Grace Kelly III 1-6, 1994, consist of a vertical panel surrounded by four flush-fitted, square-section bars, the deep sides of which are left unpainted. These sections are arranged so that those on top overlap the sides and those on the bottom rest between them. Each of these individual components is covered in even, lengthwise strokes of different soft, dusty hues, including yellows, blues, reds, pinks, and browns. These colors circulate throughout the group, moving from middles to and around margins and joining new shades in each component painting. In doing so, they create a subtle dance of change and iteration. As its wryly evocative title suggests, the work calls to mind the beguiling pastels of the American actor's classic Technicolor films. It also recalls the dynamic equilibriums of Piet Mondrian's rectilinear designs and something of the look and feel of macarons, confections the artist's daughter bakes at her pastry shop. First and foremost, however, Knoebel's works foreground their own formal devices. When not strictly descriptive, their names, given after the work is completed, hint at Knoebel's life and enthusiasms but also serve as oblique reminders to his viewers to use their own creative powers to find ways into and out of their resplendent self-containment.
Imi Knoebel, Grace Kelly III 1–6, 1994. Acrylic, wood, 6 pieces, each 250 x 170 x 9 cm. Nic Tenwiggenhorn.
Asking, famously, "What can I say that my works don't?" Knoebel is renowned for his reticence about and indifference to the rhetoric surrounding his work.2 In his career, he has given only a handful of on-the-record interviews, most of them to his friend and classmate at the Kunstakademie Düsseldorf in the late 1960s, artist and activist Johannes Stüttgen. In person, however, Knoebel, a trim man with an elegant mane of brushed-back white hair and alert, bespectacled blue eyes, is friendly and open. He is happy to discuss his interests and methods, which are as eclectic and original as the things he makes.
We meet in the kitchen of the artist's spacious, tall-ceilinged townhouse in central Düsseldorf for an afternoon of conversation. Knoebel's wife Carmen, his longtime manager and former proprietor of the city's legendary art and music bar Ratinger Hof, joins the discussion. So does Stüttgen who, with Knoebel, was a student of the legendary artist, activist, and educator Joseph Beuys in the late 1960s and today works to promulgate his professor's belief that each individual must envision a communal future based on creativity. Carmen gives a precise overview of her husband's career. Stüttgen, who has written extensively on Knoebel's work, serves as an expansive, cosmically oriented foil to the laconic, down-to-earth artist. What follows is a reconstruction and interpretation of the conversation in German from memory and handwritten notes.
Stüttgen begins the conversation by proposing that Beuys's Wärmetheorie, or theory of heat-energy is key to understanding Imi's art: "There is a warmth, a presence in Imi's work that draws the viewer in." He also throws out the theory that global warming is nature's response to humanity's inner coldness. Knoebel listens intently but says nothing. He too is a product of his time with Beuys, but he took a different path through the professor's class—one grounded in the fundamentals of working in the studio.
"I was studying at a very boring, Bauhaus-inspired school of applied arts in Darmstadt and wanted to get away," he says. "Luckily, I had a great friend and collaborator in Imi Giese (1942–1974)." (Their shared first names derived from their habitual greeting, "Ich mit ihm," or "I with him.") "Together, we discovered a host of things that inspired us. One was the music of free-jazz musician and composer Ornette Coleman. We would follow him on tour. Another was the art of Kazimir Malevich and his Suprematist movement. Both seemed radical and extreme." Discoveries like these pointed to a way out of their conventional paths for the young artists.
Imi Giese, Imi Knoebel, Über IMI und IMI von IMI und IMI [About Imi and Imi by Imi and Imi] , 1969. Poster for the film. Nic Tenwiggenhorn.
In 1964, the Imis saw the now-famous photograph of Joseph Beuys leaving a Fluxus festival in Aachen with a bloody nose after being assaulted by an angry audience member. They knew they had to go to him—"to feel his presence, his aura—to become disciples . . . perhaps in the Buddhist sense that the student must seek out the teacher," Knoebel says. Malevich was their ideal of a radical, revolutionary artist; Beuys was a real, contemporary example. Originally enrolling in the graphic art department at the Kunstakademie Düsseldorf, the pair, who with their shaved heads and workers' overalls, resembled the Russian revolutionaries they so admired, petitioned Beuys to take them on as students. "We had nothing to show him but said we would do great things as his students." Without hesitating, Beuys gave them the keys to Room 19, a studio adjacent to his legendary classroom Room 20. He gave the Imis one year to prove themselves.
"Once Beuys took us on, we sat at a table in Room 19 wracking our brains about what to do," Knoebel remembers. We had no idea where to begin. Thankfully, Imi [Giese] had the courage and presence of mind to make a start. He started poking holes in sheets of paper with the needle point of a compass. I started drawing straight lines with a pen. Imi was my greatest influence. He drove us to follow our interests and put them in motion." Although they were close, the Imis collaborated only a few times, most notably on a "film," Über IMI und IMI von IMI und IMI (About Imi and Imi by Imi and Imi). It ran only in real time and real life in the form of the duo's carousings at the Intermedia festival in Heidelberg in 1969.
It was through their projects in Raum 19 that the Imis met Stüttgen. Prominent in the freewheeling, philosophical Ringgespräche (discussion circles) in Beuys's Room 20, Stüttgen wondered what the Imis' rudimentary, repetitive activities had to do with their teacher's expanded concept of art. Imi and Imi were headstrong, he says, expressing little interest in the artistic theories or provocations that were the order of the day at the Kunstakademie. Yet Stüttgen felt a deep resonance with the artists. He describes them as his "bodyguards," warmly supportive colleagues who always attended but never participated in his talks. Later, after watching Knoebel make thousands upon thousands of line drawings that eventually were enclosed in five filing cabinets in the work 250 000 Zeichnungen (250,000 Drawings), 1969–1973/75, Stüttgen had a revelation: the duo had instantiated Malevich's concept of "liberated nothingness." They had made manifest the Suprematist idea of an art apotheosizing pure feeling over representation. He would later celebrate Knoebel and Giese's artistic search as a grand redemption of modernism:
It was the total impaction of the total demand of an all-inversive art that was substantiated by nothing other than itself: the 'image of imagelessness,' the 'liberated nothingness' (K.M.). Everything was suddenly clear; nothing else would ever be valid. And all at once this validity was doubly valid: The 'liberated nothingness' liberated the nothingness of two men in waiting. Nothingness encounters nothingness! A path was initiated. Nothing else existed except the black square and its demands. Not talent, none at all, at least not of the type that would matter here, only the certainty of this will; this self-consciousness without end that is initiated in nothingness, the pure bliss of two I(s), two 'Imis', literally two good-for-nothings, who are ready to do anything, who are extricated, and who are now waiting for their chance… . They had very tangibly gotten ahold of nothingness3
In fact, Knoebel would take on Malevich's 1915 milestone of abstraction and abnegation, Black Square, in his own large painting Schwarzes Kreuz (Black Cross), 1968. This work consists of a long black rectangle bisected perpendicularly at its midsection by a shorter bar and hung canted to the right. Swiss curator Konrad Bitterli regards this leap into the three-dimensional pictorial space of a panel painting as a logical conclusion of the two-dimensional line drawings. He also calls the homage to the Russian Suprematist a "secularization" of the crucifix and an emblem of the "programmatic process of emptying" defining all of Knoebel's nonobjective art.4
Later in 1968, Knoebel would use this classroom to create the eponymous, career-defining sculptural installation Raum 19. Infinitely reconfigurable, it consisted of 77 components made from raw spruce and flat and curved panels of Masonite—boxes, right angles, cylinders, and panels. Full of potential and mystery, this collection of ghost shapes created a veritable warehouse of ur-forms that the artist would reconsider and recreate throughout his career. Masonite, an inexpensive processed-wood material popular after World War II, became an important and oft-recurring material in Knoebel's work. It was vastly underappreciated, he believed, especially for its smooth and warm brown surfaces. A later version, Raum 19 III, 2006, is augmented by Batterie (2005), a boxlike structure made of aluminum panels painted phosphorescent green. As it glows in the dark, it testifies to the work's abiding power in his oeuvre and recalls Beuys's energy-transfer theories. Where most of his contemporaries were grappling with the ramifications of May '68, Knoebel occupied himself with the most basic formal and structural concerns: measurement, proportion, craftsmanship. Given physical form in Raum 19, these foundations, rather than any overarching vision, provided Knoebel's creative spark.
Of course, Düsseldorf in the 1960s was the headquarters of the Zero Group. This international consortium of artists was looking for an aesthetic ground zero after that century's catastrophes. Knoebel knew the work of Lucio Fontana, Yves Klein, and other members but says they "floated above the ground." His head, he admits, was filled with wild ideas, but he resisted the totalizing statements of members like Otto Piene, who said the group was questing for "a zone of silence and of pure possibilities for a new beginning as at the count-down when rockets take off."5 Instead, Imi and Imi styled themselves as the workers at the academy. They grappled with the ineffable as a tradesperson might, using everyday materials, handicraft, and their own powers of discernment. For this reason, Knoebel always called himself a "painter." He was grounded in his materials and their power and potential—in contrast to the Zero Group's transcendentalism and Beuys's utopianism.
Like his contemporary, American process artist Richard Serra, Knoebel developed a form of autopoiesis by letting the process of working with materials and forms in the studio drive his artistic program. But where Serra and Minimalist sculptors like Donald Judd with whom he was associated emphasized industrial materials and fabrication techniques, Knoebel took a more lyrical, craftsperson-like approach. Naturally, given his prolific practice and the scale of his works, Knoebel employs a team of skilled technicians. However, they work shoulder-to-shoulder with him, supporting and amplifying the scope and reach of his tactile, investigative methods. This open, human factor, plus the fact that the artist's hand enlivens all stages of the process, provides much of the warmth that Stüttgen described at the beginning of the conversation.
In Stüttgen's conception, Knoebel arrives at a form of pure abstraction through a process that is elemental and warm-blooded. He calls Knoebel's approach "thinking without thoughts," an idea the artist has affirmed, saying,
When I am asked about what I think about when I look at a painting, I can only answer that I don't think at all; I look at it and can only take in the beauty, and I don't want to see it in relation to anything else. Only what I see, simply because it has its own validity.6
Steadfastly nonrepresentational, Knoebel's works, whether manifestly material like Raum 19 or approaching immateriality like the line drawings or his 1968 light projections from a moving vehicle onto city streets, are grounded in lived experience in ways that the work of his more rigid and procedurally oriented transatlantic counterparts are not. They are, Stüttgen says, the products of Knoebel's personal, hands-on search for art's highest and purest forms. As such, they must follow the dictates of this quest, wherever it takes the artist. On this and all topics regarding what his work might represent, Knoebel is silent. Declining to engage in any discussion of the transcendent power of abstraction, he answers a question about his experience of visiting the Rothko Chapel in Houston with Palermo in 1975 with a laughing "Americans pray too much." He and Carmen would rather discuss Niklas Luhmann's system theories, Jaimie Branch's jazz trumpet, or Chuck Berry, Jerry Lee Lewis, and Holger Czukay's rock 'n' roll. He does, however, admit his undying love for the visual force of Rothko, Pollock, Newman, and the greats of American postwar abstraction.
This is not to say that Knoebel's method is entirely spontaneous. The walls of a room in his capacious, multi-story studio in a former architectural detail factory are covered with many hundreds of samples of colored construction paper that that he selects from to make his "Messerschnitt" ("Knife-Cut") collages. The jagged, curvilinear, and polyhedral shapes filling in these serve as repositories for future forms and hues and relate directly to the stained-glass windows he designed for France's Reims Cathedral, the only commission he has ever accepted. His practice of letting colors and designs incubate stems from the artist's memories of discussions with his friend, painter Blinky Palermo. In 1975, Knoebel wanted to move beyond his predominantly black-and-white palette and use a green but could not decide which, so he drew Palermo, a renowned colorist, into a months-long quest for the perfect shade. His compatriot's death in 1977 prompted Knoebel to embrace vivid color in the 24 Farben-für Blinky (24 Colors-For Blinky), a memorial group of large, shaped acrylic-on-wood paintings of the same year, in the collection of DIA. Resembling spikier and chromatically higher-keyed versions of Ellsworth Kelly's shaped canvases and wall reliefs derived from sense memories, Knoebel's abstractions commemorate an artistic friendship forged through a deep, shared interest in the relationship between color and form.
Imi Knoebel, 24.1.1986, 1986. Wood, hard fiber, found pieces. 6 pieces: approx. 291 x 233 x 82 cm. Cube: H 173.5 x W 174 x D 37. Cabinet: W 49. Nic Tenwiggenhorn.
Scale models and plans for the artist's periodic stock-taking installations also dot the studio. As counterpoints to the regular, serial method by which he develops new motifs, Knoebel also assembles and displays groups of objects based on past and current ideas. These mini self-surveys give Knoebel space to reappraise and reenergize. For example, the museum-scale Kernstücke (Core Pieces), 2015, contains 21 parts inspired by new and old bodies of work. Each part of Kernstücke represents a key idea from the artist's past series or the one-off Zwischenwerke, or "In-Between Works," that crop up outside of them. And each of its components, although inseparable from the whole, is given a unique name and one or two dates, depending on whether the year it was made differs from that in which its concept was first developed. Occasionally, too, Knoebel makes multipart and room-scale installations as memorials. 24.1.1986, 1986, named for Beuys's death date, uses lengths of metal pipe, found wood, and a bare tree trunk standing in a found-wood box abutting a closed, rectangular Masonite structure to commemorate the alchemical powers of his teacher. Eigentum Himmelreich (Property of the Heavenly Kingdom), 1983, remembers the tragically short life of Knoebel's early artistic doppelgänger Imi Giese through a wide variety of found, constructed, painted, and assemblage-d objects, including the ladder his friend used to hang himself—each of which suggests order or chaos.
Stüttgen sketches a torus to diagram his conception of Knoebel's method. The artist starts with nothing but his own selfhood—the hole in the donut—and proceeds from there until he makes something he knows will appeal to his audience and thereby function in the real world—the outer ring. Drawing arrows suggesting a continuous infolding, he illustrates a feedback-continuum of subjectivity and objectivity. Through a material object, an abstract work of art, Knoebel establishes a direct connection between subjects, between maker and perceiver. Stüttgen also graphs the cursive word "ich," or "I," which is not ordinarily capitalized in German, with directional arrows paralleling its letters and landing back on the dot of the "i." As in the secret extra star he added to his 1970 Sternenhimmel (Starry Sky) photographs, Knoebel's art begins and ends with this tiny "ego point"—an immaterial locus from which anything can materialize. (He also points out that "ich" forms the heart of "Nichts," German for "nothingness.") Similarly, Stüttgen believes that the "Sandwich" paintings conceived in the early 1990s, consisting of plywood panels separated by a layer of paint visible only where it drips out along the edge, are key exemplars of the artist's inside-to-outside-to-inside methodology: "It is no coincidence that Imi's birthday is December 31. Every ending is a new beginning." Knoebel's genius, he believes, is knowing when his subjective process will result in something objectively good and internally valid. Thus, Stüttgen asserts, the artist's work exists in Lebenszeit and Weltzeit—in life time and world time: it is personal and universal.
For this reason, Stüttgen claims that Knoebel is the "last modernist":
Malevich's Black Square obliterated the image; Duchamp's Fountain of 1917 opened up the entire world to art; and Beuys's expanded concept of art posited that life itself could be an artistic act. When he arrived at the Kunstakademie, Knoebel knew that everything had been done. What Imi and Imi were doing at the Kunstakademie in 1964 was looking for a beginning, pondering the question 'what do I want to be?' In a time of aesthetic exhaustion, Knoebel is free precisely because he doesn't know what to make. He goes into the studio each day searching for a beginning through his work. It's a matter of zero versus one. When you're looking for a beginning, a one, you must start at zero.
In this sense, Stüttgen posits, his friend "has no late works, only early works, because it comes from the future." His art is immaculate and ever-renewing because it always starts from zero. At this point the Knoebels joke that VEB-Kontor, 1990/97/98, (Publicly Owned Enterprise-Office) a Masonite and mixed-media work containing 7000 palletized and plastic-wrapped boxes of the now-defunct East German laundry detergent brand IMI, advertised as "Gegen groben Schmutz" ("Against Tough Dirt"), may be testament to the artist's search for purity.
Imi Knoebel, Figura Psi, 2019. Acrylic, aluminum, 239 x 173 x 4.5 cm, box (picture + HL) 219 x 279 x 25 cm. Ivo Faber.
It is possible to conceive of Knoebel's work as beautiful manifestations of Kant's theory of noumenon and phenomenon and the quest for the ultimately unknowable essence of things through perception. Certainly, in his fresh, searching experiments with color, shape, and volume, the artist reaches for base reality, a state of raw consciousness and perception more than any self-aware ideation. On this and all topics regarding what his work might represent, however, the artist remains silent—as usual. In the end, though, Stüttgen has identified a universal force and source of warmth in his friend's art when he says that zero, the beginning of Knoebel's ongoing, committed search for primal beauty, represents "the point where you wake up." A childlike wonder at the splendors of art and a willingness to pursue them wherever they may lead him is central to the artist's project. It inspires his ongoing "Kinderstern" ("Children's Star") series of paintings, which are sold through a foundation he established with Carmen to support human rights for children. And this same evergreen sense of awe galvanizes his newest works. The "Figura" series, large, rambunctious tangles of thick brown, yellow, green, and red strokes of acrylic on shaped aluminum panels, is sparked by watching his young granddaughter's unsuccessful attempts to stay within the lines of her coloring books.
Carsten Ahrens, "The Schattenräume of Imi Knoebel," Imi Knoebel: Dass die Geschichte zusammenbleibt exh. cat. (Berlin: Kewenig, 2019), p. 51.
Imi Knoebel quoted in Kate Connelly, "Artist Imi Knoebel: If You Want to Stay Alive You Have to Do Something Radical", The Guardian, https://www.theguardian.com/artanddesign/2015/jul/15/artist-imi-knoebel-if-you-want-to-stay-alive-you-have-to-do-something-radical (accessed 28 February 2020).
Johannes Stüttgen, "The Insistence on the Beginnings, the Beginning. The Core Pieces." Imi Knoebel: Kernstücke exh. cat. (Krefeld: Kunstmuseum Krefeld, Museum Haus Esters, 2015), p. 84-85.
Konrad Bitterli in Imi Knoebel: Linienbilder exh. cat. (Cologne: Kunstmuseum St. Gallen, 1999), pp. 33-34, translated and quoted in Imi Knoebel: Works 1966-2014 exh. cat. (Wolfsburg, Germany: Kunstmuseum Wolfsburg, 2015), p. 45.
Piene, Otto. "Otto Piene: The Development of Group Zero." The Times Literary Supplement, no. 3262, September 3, 1964, p. 812+
Imi Knoebel quoted in Johannes Stüttgen, "I Wouldn't Say Anything Voluntarily Anyway!": Johannes Stüttgen in Conversation with Imi Knoebel," Imi Knoebel: Works 1966-2014 exh. cat. (Wolfsburg, Germany: Kunstmuseum Wolfsburg, 2015), p. 24.
Toby Kamps
Toby Kamps is the director of external projects at White Cube Gallery and is an Editor-at-Large for the Brooklyn Rail.


text:
Former Editor Can't Believe Shit College Newspaper Is Printing
SEE MORE: human interest
NEW YORK—Troy Bartell, 22, former editor-in-chief of Boston University's student newspaper The Daily Free Press, said Monday that his once-prestigious paper is in "free-fall," and is now printing only "ridiculous, brutally incompetent shit."
"This is lousy, lousy journalism," said Bartell, who still scours the paper's online edition for typos despite graduating in May 2006. "The way they covered the School of Management's Casino Night this year was a slap in the face. Complete and utter fluff. Don't tell me what the people were wearing, damn it—tell me who won the raffle at the end of the night, and what the prizes were."
Bartell reads some bullshit about the new DVD players in the College of Communication.
"You can tell that the new people onboard just don't give a shit, and believe me, that sort of thing starts at the top," Bartell continued.
Bartell, a journalism major who was promoted to editor-in-chief in January 2005 after one year as Campus Affairs editor, now works as a part-time receptionist for a Manhattan public-relations firm. Bartell had a distinguished career at the Free Press, breaking the news of the appointment of a new English Department chairman in 2004, and writing a three-part series on the revamped trash-can design in the student union.
Believing that his tenure "set a strong, rigorous example for quality news writing," Bartell, who often travels back to Boston to attend college parties thrown by members of his old newspaper, is saddened that none of the staff has followed his example. Everything in the paper, he claims, from the coverage of the school's annual Activities Expo to the campus radio station-sponsored date auction, has been "complete bullshit."
"Without fail, every time I look at the Free Press, I just cringe with embarrassment," Bartell said. "Their reporting is so lax, they might as well print propaganda straight from the BU president's office. Oh Christ, don't give them any ideas, Bartell."
Bartell was particularly critical of the coverage of the School of Engineering's "Welcome Back" Barbecue in September, saying that none of the hard-hitting questions were asked, such as whether vegetarian alternatives were available.
Bartell's fears of a decline in journalistic integrity were further augmented by a profile of the new dining-services director, which failed to include information about the recent increase in meal-plan fees and the new two-pieces-of-fruit-per-student policy.
"[New Editor-In-Chief] Casey [Aclin] has been a real disappointment," Bartell said. "In a story last Monday, instead of saying 'Dean of Students Charles Baker,' it just said 'Dean Baker.' That's a blatant disregard of Free Press style rules that never would have flown on my watch."
"Never," he continued.
But the lowest point, Bartell said, came in December during the Student Union Assembly elections.
"I still have a lot of sources at the school—a lot," Bartell said. "From Day One of that fraudulent campaign, more than half of the candidates had been illegally leafletting the student union, which could result in fines. And what did my paper do with that bombshell? One graph in one story, no more. Talk about burying the lede. Where's the drive, the curiosity here?"
The former editor-in-chief has repeatedly volunteered to return to the Free Press offices and educate the staff on proper news-writing and copyediting techniques, but no one has yet taken him up on his offers.
Bartell said he's concerned for the future of the publication that he described as "a labor of love that sustained me through my college years."
"At this rate, I wouldn't be surprised if the entire student body began ignoring the news content all together, and only picked up the Free Press to do the crossword puzzle," Bartell said.

redpajama_set_name: RedPajamaCommonCrawl


text:
New state website offers resources for aging drivers
The first Baby Boomers started turning age 65 in 2011, and by 2030 all living Baby Boomers will be older adults. Like people of all ages, older adults consider mobility essential to conducting the activities of daily life, staying socially connected with their world, participating in activities that make life enjoyable, and increasing quality of life.
Michigan Secretary of State records show that more than 1.3 million residents over the age of 65 have a driver's license. Helping maintain lifelong safe mobility is everyone's responsibility, including aging adults, families and friends, and professionals who interact with aging adults. Now these groups have a new resource to help keep Michigan's older adults safely mobile for as long as possible: The Safe Drivers Smart Options: Keys to Lifelong Mobility website.
The website, which is part of an overall statewide strategy, was officially launched by Secretary of State Ruth Johnson on December 7 during Older Driver Safety Awareness Week. The website provides valuable information and resources about driving, mobility, and aging that are specific for aging drivers, their families, and professionals who work with them.
"I'm very excited that we now have a comprehensive, easy-to-navigate resource that provides opportunities for driver self-assessment, educational information to keep people driving for as long as possible, and resources to guide drivers, families and professionals through the driving retirement process when necessary," said Paula Kartje, Occupational Therapy Supervisor at the U-M Drive-Ability program.
For the past two years, UMTRI's Behavioral Sciences Group has been working with various state agencies to help develop and launch the Safe Drivers Smart Options website and strategy. Over the next year they will evaluate the strategy.
"Older adults, like the rest of us, prefer to get around by driving. However, because of age-related medical conditions and the medications used to treat these conditions, older adults are more likely to experience declines in safe driving abilities. The website and strategy are designed to not only to help Michigan's older adults continue to drive safely but to also help ease the transition to stopping driving when necessary," said Dr. David W. Eby, UMTRI research professor.
A Statewide Strategy
The Safe Drivers Smart Options website reflects a statewide strategy to address the mobility needs of Michigan's aging population. The goal is to make sure drivers, their families and professionals have the tools needed to keep aging individuals safe and mobile, whether that's behind the wheel of a car or using other community transportation options. The resources provided through the website will help:
Aging drivers in assessing their driving skills, finding classes and training specifically for mature drivers, identifying issues that may adversely affect their driving ability, developing strategies that allow them to continue driving safely, and understanding what to do when the time comes to stop driving.
Families and friends talk with aging drivers about their driving and any problems that are evident, provide resources for families to assist aging drivers in retiring from driving and in finding alternate sources of transportation.
Connect healthcare professionals, law enforcement personnel, and other professional caregivers that work with older adults to resources to better evaluate the needs and concerns of aging drivers, identify physical and mental health issues that impede driving and develop coping strategies to enhance mobility safely.
"A major strength of the website is that it brings together information and resources that research shows are effective in supporting the needs of an aging population," said Dr. Lisa J. Molnar, UMTRI associate research scientist.
Creation of the website and strategy was a joint effort involving UMTRI, the Michigan Department of Transportation, Secretary of State, and Michigan State Police, along with the expertise of numerous other state and private sector organizations that provided resources.
"When MDOT initiated the idea for an older driver safety strategy in 2013, we knew it had to be a joint effort with a variety of partners," said David Wresinski, Transportation Planning Bureau director for the Michigan Department of Transportation. "These include healthcare, social services, and public safety officials. It's a great example of government and non-governmental organizations working together."
Twenty-one partner organizations were involved in the development of the strategy and a list can be found on the website.
Michigan Secretary of State news release
Safe Drivers Smart Options: Keys to Lifelong Mobility
UMTRI Behavioral Sciences Group
Older Driver Safety Awareness Week: December 7-11, 2015


IPAC Manitoba is pleased to announce the winner of the 2018 Condo Award!
Established in 1982, the Willard J. Condo Award celebrates student excellence in public administration. The award is distributed annually to the best paper on public administration or public policy written by a student at a Manitoba university or college. Papers are nominated by professors or instructors.
An award ceremony and paper presentation event will occur at a date to be determined.
Congratulations to Ms. Kanhai and Ms. Darragh!
Previous Previous post: 2019 Conference Planning: Feedback Wanted!
Next Next post: 2019 Conference Planning – What's new?


Back line trim is here to stay! Get on the water to experience the future of kite control! Ocean Rodeo is once again leading the industry, this time with the introduction of back line trim technology. Our first generation Stick Shift bar was a brand new concept to the industry in 2017 with a completely new and innovative approach to trim control! No more arguing, back line trim control is here to stay! Overwhelming user feedback shows, back line trim control is far better than traditional front line trim! The newly updated Stick Shift features a number of fine adjustments, including a much more compact and well finished 8th generation trim loop assembly!
The Stick Shift 2.0 is 52 cm length.
Comes complete with a 20" HD Kite Leash. Heavy duty 2.5cm (1") wide webbing with flat elastic core. Corrosion resistant stainless clip with neoprene cover. Punch Out (push away) release cuff with pin and loop reset.
Twist the Sidewinder to add power, bump or nudge to depower with hands-on control in even the most gusty or overpowered conditions. Micro or macro power adjustments to match the conditions! Quarter turns deliver 1cm of trim, five full rotations sheets in 21cm of direct 1:1 trim adjustment! Instantly depower your kite with a swift downstroke motion on the knob or bump for incremental depower. With only one moving part, the simple open design allows rapid flushing of debris, easy inspection of all parts and simple maintenance if required.
The easily adjusted, single handed, on-the-fly bar stopper! The Stick Shift's ultra clean front line set-up offers up to 1.2 meters (3'9") in sheeting range. Realize the full sheeting range of your kite by pushing the stopper out to your maximum reach. New riders can slide the stopper completely out to maximum throw for near total depower on SLE kites by simply just letting go of the bar. All styles of rider will appreciate the flexible stopper positioning for specific moves.
The Groove Bar's carbon composite build delivers unparalleled strength while setting the new standard in lightweight bars. Ergonomically shaped for comfort, the under bar U channel houses the trim line and is easily flushed of all debris, ensuring smooth and reliable trim adjustment every time. Plush molded EVA grip with integrated bar floats deliver float, superior grip, and tangle free back lines. For cold conditions the plush EVA grip and Carbon Polymer bar is warmer on the hands than Aluminum tube bars.
The Helix Force Tensioned rear lines ensure clean paying rear lines even with slack back line. This feature is crucial when rigging on the beach, allowing you to easily depower your kite before launch, even with no tension on the back lines. Helix Force Tensioning provides perfect spooling every time, regardless of line tension from the kite.


China's securities watchdog on Wednesday published a guideline on the implementation of science and technology innovation board at the Shanghai Stock Exchange.
The science and technology innovation board will focus on companies in high-tech and strategically emerging sectors such as new generation information technology, advanced equipment, new materials, new energy and biomedicine, the China Securities Regulatory Commission (CSRC) said in a statement.
The move also aims to push for integration of internet, big data, cloud computing, artificial intelligence and manufacturing sector, according to the statement.
The CSRC vowed to step up oversight on companies listed at the new board and crack down on illegal activities such as fraudulent issuance and false statement.
The Shanghai Stock Exchange will solicit public opinion on detailed rules regarding the new board in the next 20 days.


text:
Annabeth Rosen (born 1957) is an American sculptor best known for abstract ceramic works, as well as drawings. She is considered part of a second generation of Bay Area ceramic artists after the California Clay Movement, who have challenged ceramic traditions involving expression, form and function and helped spur the medium's acceptance in mainstream contemporary sculpture. Rosen's sculptures range from monumental to tabletop-sized, and emerge out of an accumulative bricolage process combining dozens or hundreds of fabricated parts and clay fragments and discards. Reviewers characterize her art as deliberately raw, both muscular and unapologetic feminine, and highly abstract yet widely referential in its suggestions of humanoid, botanical, aquatic, artificial, even science-fictional qualities. Critic Kay Whitney wrote that her work is "visceral in its impact, violent even, but also sensual and evocative" and "floats between the poles of the comic and the mordant."

Rosen has exhibited at venues including the Los Angeles County Museum of Art (LACMA), Contemporary Arts Museum Houston, Virginia Museum of Fine Arts, Kyoto Municipal Museum of Art, and Yingge Ceramics Museum (Taipei). Her work belongs to the public collections of LACMA, the Museum of Fine Arts Boston, Philadelphia Museum of Art, and Virginia Museum of Fine Arts, among others. She has received a Guggenheim Fellowship, Pew Artists fellowship, Joan Mitchell Artists Award, and United States Artists award. Rosen is a professor of art at University of California, Davis.

Early life and career
Rosen was born and raised in Brooklyn, New York. She received a traditional education in ceramics at New York State College of Ceramics at Alfred University (BFA, 1978), before enrolling in graduate studies at the Cranbrook Academy of Art (MFA, 1981). She began a teaching career in 1985, serving at institutions including the School of the Art Institute of Chicago, Rhode Island School of Design, Tyler School of Art and Architecture, University of the Arts, and Bennington College. In 1997, she moved from the east coast to Davis, California to accept a position as the Robert Arneson Endowed Chair at the University of California, Davis.

Rosen has been recognized through inclusion in several major ceramics surveys, including "The American Way" (Aberystwyth Arts Centre, 1993, traveling), "Color and Fire: Defining Moments In Contemporary Ceramics," (LACMA, 2000), "American Ceramics 1950-1990" (Kyoto Museum of Art, 2002), "Bay Area Ceramic Sculptors: Second Generation" (Daum Museum, 2004), "Overthrown: Clay Without Limits" (Denver Art Museum, 2010), and "New Blue and White" (Museum of Fine Arts Boston, 2013). She has received wider attention in her later career, most notably through a twenty-year survey including more than 120 sculptures and works on paper created over two decades, "Fired, Broken, Gathered, Heaped" (2017–9), that was mounted at the Contemporary Arts Museum Houston, Cranbrook Art Museum, and Contemporary Jewish Museum in San Francisco.

Work and reception

Critics have described Rosen's work as conceptually complex, combining feminist concerns, humble materials and craft, decoration, labor-intensive processes, and a highly formal rigor. They suggest that her idiosyncratic approach is both grounded in traditional ceramics training and knowledge and dedicated to challenging the norms of the medium. Her work demonstrates the versatile and art-historical character of clay, recalling the Funk humor of Robert Arneson, the expressionism and scale of Peter Voulkos, and work by other ceramic innovators such as Viola Frey, Ken Price and Betty Woodman. Writers place equal weight on Rosen's postminimalist merging of formalism with emotion and intuitive gesture, which links her to sculptors Eva Hesse, Jackie Winsor, Yayoi Kusama and Lynda Benglis, among others.

Rosen's sculpture generally combines precariously balanced and structurally dense forms, packed gestural surfaces, and expressively applied glazes. Critics often note its disruption and displacement of perception, with shifts between detail and whole and micro- and macro-scales, which convey the psychological and symbolic through tactile qualities and figurative or architectural senses through physical presence. She constructs her sculptures using a hands-on, accumulative process analogous to growth patterns that—atypically for ceramics—includes openness to chance, accident, technical "disasters" and ongoing experimentation; the process includes glazing, firing, wrapping or binding shards (with wire or elastic bands), re-firing and re-glazing, and combining wet and fired clay, among methods.

Drawing also represents an important part of Rosen's practice. Her immersive, mostly ink, gouache and acrylic works often consist of entire surfaces covered with repeated, wave-like gestural marks. Like her clay pieces, they emphasize painterly gesture, accumulation, immediacy, and conceptual and formal experimentation, and according to Art in America critic Glenn Adamson, attest to the "importance of furious, iterative mark-making to her practice."

Earlier work
Rosen's work in the first half of her career reflected her traditional ceramics training and—particularly after the move to California—an interest in nature. It ranged from tall ceramic outdoor sculptures to slashing geometric black-ink drawings to thick, plate- and tile-based slabs that sprouted dense, vertical accumulations of modeled organic forms. In the latter works, critics noted affinities with historical architectural ornamentation—della Robbia's terra-cotta plaques, decorative aspects of Gaudi and Louis Sullivan, or the swarming statuary of Hindu temples—as well as with geological cross-sections. Sample (1999) is a representative piece, consisting of a roughly 10' by 16' grid of squares, dense with squirming, tentacular forms stacked in two layers and elevated on a steel stand. Maria Porges deemed the yellow-glazed work "a baroque, feminist-inflected riposte to Carl Andre's dour modular floor pieces: nature's fecundity riffing on the sometimes-humorless dryness of Minimalism."

Rosen's show "Moving in Place" (2003) featured abstract, squatty agglomerations of forms suggesting emergent seedpods, gourds, fruit and human organs with surfaces of chalky white slip fired over deep-colored glazes (e.g., Chromus, 2000). Reviews compared the works' ghostliness to the white-powdered faces of classical Chinese theater, African face painting, or the aftermath of an unknown disaster. Writing about the stalky, bulbous work Cinctus I (2003), Ken Johnson likened it to an "ancient mold of spooky, moonlit antiquity [whose] weighty, slightly menacing muscularity" offered an exciting alternative to the typical refinement of ceramics.

"Mash-ups," "Bundled constructions" and "Mound" sculptures

In the mid-2000s, Rosen turned to more loosely composed pieces she called "mash-ups" and "bundled constructions," which ranged from pedestal- (e.g., Squill, 2006–7) to human-sized. Reviewers noted the wide range of natural and cultural associations the sculptures conjured—scholars rocks and garden gnomes, barnacles proliferating on rocks, beehives, alien plants or ritual objects. The larger works typically consisted of numerous, individually modeled biomorphic elements, piled and bound together with wire or rubber strips and seemingly about to topple, which were held upright by tall metal armatures resting on casters, like wheel carts. Their rounded, globular forms—alternately wormlike, bulbous, knobby, vegetal or organ-like—were often glazed in vivid shades of green and yellow, and in some cases intertwined with black and white tubular shapes in notably asymmetrical assemblages.

Kenneth Baker wrote that pieces such as Bunny (2011)—a dense cluster of writhing forms capped by a tuberous yellow figure—exhibited "a pitch of comic grotesquerie" making them appropriate "emblems of a culture in which voiceless instinct expresses itself as excess—of accumulation, consumption, impulsiveness or power." In 2014, David Cohen characterized such works as "monumentally goofy tours de force of constructional complexity and formal singularity [with] sculptural personae that are as defiantly present as they are elusive or ambivalent to characterize." He and others likened their surprisingly animated human qualities, alternately, to Medusa, absurd Philip Guston works come to life, writhing souls in a scene from Dante, and "the sinewy contortions" of the Mannerist sculptor Giambologna.

In the latter 2010s, Rosen began producing mound-like works resembling tilting haystacks, rocky cliffs or melting snowmen. These included smaller pieces such as Boogaloo (2015)—a fired manganese purple and white ceramic mass with cracked glaze and a primordial look—and enormous works like Wave II (2017), an undulating white-and-black striped mass of bulbs and tubes that "reclined" on a steel armature and evoked both water in motion and a posed odalisque. Rosen's exhibition, "Tie Me to the Mast" (P.P.O.W., 2017), included Bank and Parcel (2011–8), two six-foot-high towers composed of tubes, gourds, balls and blobs wired and piled on a wheeled dolly that Art in America called "hilarious in their pendulous anthropomorphism."

Awards and public collections
Rosen has been awarded fellowships from the Pew Center (1992), United States Artists (2016), and John S. Guggenheim Foundation (2018). She has received awards from the National Endowment for the Arts (1979, 1986), Pennsylvania Council on the Arts (1988), Joan Mitchell Foundation (2011) and American Academy of Arts and Letters (2018), and was elected into the American Craft Council College of Fellows in 2020.. She has been awarded artist residencies from The Fabric Workshop and Museum, Bemis Center for Contemporary Arts, Watershed Center for the Ceramic Arts, and University of the Arts (Philadelphia).

Rosen's work belongs to the public collections of the Los Angeles County Museum of Art, Philadelphia Museum of Art, Crocker Art Museum, Daum Museum of Contemporary Art, Denver Art Museum, Everson Museum of Art, Fine Arts Museums of San Francisco, Museum of Fine Arts Boston, Oakland Museum of California, and Virginia Museum of Fine Arts, among others.

References

External links
"What Matters to Annabeth Rosen?", UC Davis

1957 births
Living people
American women sculptors
New York State College of Ceramics alumni
Cranbrook Academy of Art alumni
University of California, Davis faculty
Pew Fellows in the Arts
National Endowment for the Arts Fellows
Bennington College faculty
Artists from Brooklyn
Sculptors from New York (state)
20th-century American sculptors
20th-century American women artists
21st-century American sculptors
21st-century American women artists
American art educators
Crafts educators
Fellows of the American Craft Council
American women ceramists
American ceramists
American women academics

redpajama_set_name: RedPajamaWikipedia


text:
The Mustang 2-class patrol boat, also known as Project 18623, is a Russian Coast Guard vessel. The patrol craft were originally designed to be operated by the Ministry of Fisheries, but those duties were transferred to the Coast Guard in 1998. The boats were designed for general border protection and fisheries duties.

Design
The patrol craft are constructed with an aluminum hull and superstructure and can operate in sea states up to 5. They were designed by the Redan Bureau. The 4th boat, Sokol was designated as a communications boat. The boats are equipped with 2 Zvezda M-470 diesel engines, and are equipped with weapons to engage surface targets. PSKA-816, and 818 are a part of the Caspian Flotilla, PSKA-817 is a part of the Baltic Fleet.

See also
List of ships of Russia by project number

References

Patrol vessels


text:
After nearly two years of podcasting, we've decided the time is ripe for a re-launch of sorts, making The No RipCast fresher and snappier, whilst still retaining its key features.
First up this month, we used Mark Davison's marvellous review of the latest album from The Knife, Shaking The Habitual, as a jump-off point for a discussion on why artists nowadays don't seem to be as politicised as their outspoken predecessors. It's a rich and diverse topic, and we didn't get the time to cover it fully in the time we had. For example, we barely touched on the role of hip-hop, and there wasn't a chance to discuss Pussy Riot. With that in mind, we'd certainly welcome your thoughts on the aspects we missed, as well as feedback on the actual feature itself.
Second up, rather than a big list of all the albums we've been listening to, we've refined it down to each writer bringing in one track from an album - old or new - that's been rocking their world this past month. Therefore, we're discussing the recent Francis Bebey retrospective (featuring New Track), the new mixtape, Acid Rap, from the up-and-coming Chance The Rapper (featuring Good Ass Intro) and the debut album that never was from Jai Paul (including Jasmine).
Finally, we take on a micro-genre that appears to have been killed off as quickly as it originally appeared: vaporwave. It was extensively profiled by Dummy Magazine last year, and had its death knell sounded in February by Chicago Reader, so we decided it was high time we got a handle on it to see whether its influence had permeated beyond its own community.
You can subscribe, rate, review and download The No RipCast at iTunes, or stream using the widget below.
Let us know what you think of the all-new podcast, and happy listening!
14 May, 2013 - 08:38 — No Ripcord Staff


text:
Home Entertainment Cartoons Diana trains in WONDER WOMAN: BLOODLINES clip
Diana trains in WONDER WOMAN: BLOODLINES clip
World Premiere of "Wonder Woman: Bloodlines" on Friday, October 4 at New York Comic Con
Taimur Dar
Just head of its NYCC premiere this weekend, Warner Bros. Home Entertainment has released a Wonder Woman: Bloodlines clip. Check it out below:
Warner Bros. Home Entertainment (WBHE) returns to New York Comic Con with two spotlight events – the World Premiere of the latest DC Universe Movie, Wonder Woman: Bloodlines, and a celebration of the 20th anniversary of Batman Beyond and its upcoming remastered release on Blu-ray – over the October 3-6, 2019 weekend at the Javits Center.
Presentations will include a film premiere and never-before-seen remastered footage, discussions with production/acting talent, a special autograph signing, and exclusive prizes for inquisitive fans. Both of the WBHE panels will be held on NYCC's Main Stage.
The cast and filmmakers of Wonder Woman: Bloodlines will be hosting an autograph signing – on exclusive-to-NYCC mini-posters – on Friday, October 4 from 4:00-4:45pm.
Here's a breakdown of the Warner Bros. Home Entertainment panels at New York Comic Con (names in bold are confirmed to attend):
Friday, October 4 – 7:45-9:45 – Main Stage
World Premiere of Wonder Woman: Bloodlines
Warner Bros. Home Entertainment, DC and Warner Bros. Animation invite New York Comic Con attendees to experience the World Premiere of the latest DC Universe Movie, Wonder Woman: Bloodlines. In the film, Amazon princess Diana of Themyscira chooses to save fighter pilot Steve Trevor and return him to his home in America – setting in motion one of Wonder Woman's most captivating chapters. Fulfilling the role of both ambassador as well as protector, Diana soon earns the name Wonder Woman from the gracious people of Earth. Equally strong in body, heart and will, she makes it her mission to help a troubled young girl enlisted by a deadly organization known as Villainy, Inc., whose criminal members have their sights set on invading Themyscira. Prepare for a thrilling quest packed with brutal battles, mysterious mythology and endless wonder! See the film, then stay for an entertaining panel discussion with stars and filmmakers. Rosario Dawson (Jane the Virgin, Rent, Luke Cage) returns as the voice of Wonder Woman for the sixth time, leading a sensational Wonder Woman: Bloodlines voice cast that includes Jeffrey Donovan (Fargo, Burn Notice) as Steve Trevor, Marie Avgeropoulos (The 100) as Silver Swan, Adrienne C. Moore (Orange Is the New Black) as Etta Candy, Kimberly Brooks (DC Super Hero Girls, Mass Effect, Winx Club) as The Cheetah & Giganta, Courtenay Taylor (Regular Show, Fallout 4) as Dr. Poison, Constance Zimmer (Entourage, House of Cards) as Veronica Cale, Nia Vardalos (My Big Fat Greek Wedding) as Julia Kapatelis, Michael Dorn (Star Trek: The Next Generation, Star Trek: Deep Space Nine, Arrow) as Ferdinand, Cree Summer (Batman Beyond, Rugrats) as Hippolyta, and Mozhan Marno (The Blacklist, House of Cards) as Dr. Cyber. Producer Sam Liu (Reign of the Supermen) and Justin Copeland (Batman: Hush) co-direct from a script by Mairghread Scott (Justice League Action). James Tucker (Batman: Hush) is executive producer. Warner Bros. Home Entertainment presents Wonder Woman: Bloodlines on Digital starting October 5, 2019, and on 4K Ultra HD Combo Pack and Blu-ray Combo Pack on October 22, 2019.
Sunday, October 6 – 1:45-2:45pm
Batman Beyond 20th Anniversary
Produced by Warner Bros. Animation, Batman Beyond won two Emmy Awards and three Annie Awards as it captured the imaginations of a new generation of Batman fans, setting new standards for super hero storytelling with innovative designs, outstanding voice acting and an intriguing approach to DC's iconic characters and stories. The series also spawned an acclaimed animated film, Batman Beyond: Return of the Joker. Come celebrate the series' 20th anniversary and its upcoming remastered Blu-ray box set release with key members of the Batman Beyond creative team, led by the voices of Batman, Terry McGinnis and Dana Tan – Kevin Conroy (Batman: The Animated Series), Will Friedle (Boy Meets World, Kim Possible) and Lauren Tom (Futurama, King of the Hill) – alongside producer Alan Burnett (Batman: The Animated Series), director James Tucker (The Death of Superman, Wonder Woman: Bloodlines) and some potential surprise guests. Batman Beyond: The Complete Series Deluxe Limited Edition box set arrives from Warner Bros. Home Entertainment on Digital starting October 15, 2019, and in a stunning Blu-ray box set on October 29, 2019.
WBHE panels will be live-streamed for fans unable to make the trek to New York. Please check the NYCC website (www.newyorkcomiccon.com) for streaming details.
Warner Bros. Home Entertainment will host the World Premiere of "Wonder Woman: Bloodlines" on Friday, October 4 at New York Comic Con.
Produced by Warner Bros. Animation and DC, the feature-length animated film arrives – accompanied by the DC Showcase animated short Death, inspired by Neil Gaiman's "The Sandman" – from Warner Bros. Home Entertainment on Digital starting October 5, 2019, and on 4K Ultra HD Combo Pack, and Blu-ray Combo Pack on October 22, 2019.
In "Wonder Woman: Bloodlines," Amazon princess Diana of Themyscira chooses to save fighter pilot Steve Trevor and return him to his home in America – setting in motion one of Wonder Woman's most captivating chapters. Fulfilling the role of both ambassador as well as protector, Diana soon earns the name Wonder Woman from the gracious people of Earth. Equally strong in body, heart and will, she makes it her mission to help a troubled young girl enlisted by a deadly organization known as Villainy, Inc., whose criminal members have their sights set on invading Themyscira, Diana's paradise home. Prepare for a thrilling quest packed with brutal battles, mysterious mythology and endless wonder!
Adrienne C. Moore
James Tucker
Justin Copeland
Mairghread Scott
Mozhan Marn
Wonder Woman: Bloodlines
Previous articleREVIEW: BURY THE LEDE ticks a lot of boxes, but sometimes lacks cohesion
Next articleNYCC '19: Marvel to spotlight Kamala Khan, DAWN OF X, RUNAWAYS, and more
Taimur Dar is the Digital Media Producer and Marketing Expert for the Beat. He has earned a master's degree in marketing intelligence from Fordham University and has provided branding strategies for various companies and organizations. His name is pronounced like the first two syllables of "tomorrow" in case you were wondering.
The Comic Book Shopping Experience aims to build a new platform...


text:
Sixth Formers Give Brexit Views On ITV London News!
Sixth Formers appeared on ITV London news on Wednesday 12 December after being interviewed by ITV journalist and producer, Ria Chatterjee, on their opinions of Brexit.
The interview came on the day Prime Minister Theresa May faced the confidence vote of Tory MPs. The girls and boys were therefore asked poignant questions on their standings on Theresa May's future, how Britain looks to the rest of the world and Brexit going forward. The students articulately expressed their opinions from all sides of the political spectrum, answering Ria's questions with considered answers.
Arjun Clare, Year 13 student, said:
"It was a very educational experience, and a good opportunity to express our views as young people are not often invited to do so."
Ria Chatterjee commented:
"It's great to see young people politically engaged with such strong opinions and obviously well-read and knowledgeable on the issue. It's hopeful for the future to know that young people are prepared to engage this way."
Stephanie Rogers, Head of Sixth Form, added:
"Our students demonstrated a deep and considered understanding of the implications of Brexit, not just for our country's future, but for theirs. I was most impressed by their ability to articulate their views clearly and to acknowledge the importance of maintaining democratic principles throughout the process. How refreshing it was for young people to be asked for their views on an issue which will impact them most of all. Their interest and engagement in political matters bodes well. I was incredibly proud of each one of them."


text:
SPOILER: Indy Lights takes on the "Tricky Triangle"
By Chris EstradaJul 6, 2013, 7:34 PM EDT
WARNING: Today's Firestone Indy Lights Pocono 100 from Pocono Raceway will be broadcast Friday, July 12 at 7 p.m. ET on NBC Sports Network. If you don't want to know who won the seventh round of the 2013 Lights championship until Friday night, we advise that you do not read any further.
Indianapolis 500 runner-up Carlos Munoz is back at the top of the Firestone Indy Lights championship after claiming his third victory of the season at Pocono Raceway, leading wire-to-wire to win the Pocono 100 over his American title rival, Sage Karam.
Munoz started on the pole and quickly put a massive gap between himself and the rest of the field. With no yellows to bunch up the field, the Colombian went on to take the checkered flag by a whopping 16.4 seconds over Karam, who grabbed second place from Gabby Chaves with two laps remaining in the 40-lap event.
For Munoz, victory at Pocono was a relief after suffering through poor outings in the last two events at Milwaukee and Iowa, both of which Karam won.
"It's nice to be back into victory after tough weekends in Iowa and Milwaukee," said Munoz, who took a four-point lead over Karam in the championship. "I knew if I could get a little bit of a gap from second, I could pull away because I was really fast all weekend. A consistent race, and I didn't make any mistakes.
"I knew I had a great car to be alone. Yesterday [in the Open Test], I was not happy in traffic. But we made a few changes this morning. I knew if I was alone, I could make a gap."
Karam, who was looking to win in front of his home crowd, said that he and Chaves attempted to reel in Munoz by running in lockstep. But he quickly realized that it was an impossible task.
"We tried," said Karam. "[Chaves and I] stayed nose to tail for 30 laps, hoping that was going to do it. It should have. We should have been able to catch him. But we couldn't. He was so fast. We knew after Lap 1 it was going to be no chance."


text:
Cheilosia pollistriata är en tvåvingeart som beskrevs av Huo, Ren och Zheng 2007. Cheilosia pollistriata ingår i släktet örtblomflugor, och familjen blomflugor. Inga underarter finns listade i Catalogue of Life.

Källor

Örtblomflugor
pollistriata


text:
ACCEPTED

#### According to
International Plant Names Index

#### Published in
Mem. Wern. Nat. Hist. Soc. 5:331. 1826

#### Original name
null

### Remarks
null

redpajama_set_name: RedPajamaGithub


text:
UWI benefits from Mastercard donation of 200 laptops
(L-R) Dalton Fowles, Country Manager for Mastercard in Jamaica & Trinidad and Pro Vice-Chancellor and Principal of The UWI Mona, Prof. Dale Webber flanks two members of the Guild of Students, The UWI Mona (centre L-R)): Devaraine Rowe, Vice President and Jovaughn Bailey, Cultural and Entertainment Affairs Chairman (CEAC). All were pictured at the handing-over exercise hosted at The UWI Mona in November.
Global pioneer in payment innovation and technology, Mastercard, donated today 200 laptops to the University of the West Indies, (The UWI) Mona. The donation was made in the company's effort to support students in need of devices to facilitate remote and online learning and assessment. The Handing-Over Ceremony was hosted at the Mona Campus on Thursday, November 12, 2020.
"This is a very special day for us. It is an honor to help some of the UWI Mona students to transition to online learning as they face the new normal challenge. Sustainability is embedded in everything we do at Mastercard as a result of our philosophy "Doing Well by Doing Good", implemented to build a better world where people can develop their full potential", commented Dalton Fowles, Country Manager for Mastercard in Jamaica & Trinidad.
Addressing the handing-over ceremony, Pro Vice-Chancellor and Principal of The UWI Mona, Prof. Dale Webber stated that "Mastercard connects millions of customers and financial institutions, and today, they are connecting students with their classrooms, and for this we at The UWI Mona are grateful."
Prof. Webber noted that since there are a limited number of laptop devices, this donation is a welcomed addition to the pool of devices that the University will be able to offer to students. He thanked Mastercard for joining with other members of the private sector who have answered the call to support students in these difficult times. He explained that the devices will be placed in the libraries for all students to have access.
Students, he explained, will be able to apply for and keep the devices for as long as they need; and where students keep the devices for an entire semester, they will be required to return it no more than two (2) weeks after their last exam. He further assured that the university is constantly doing needs assessment, to ensure these devices go to the students in need. The UWI Mona Library, Prof Webber explained, will manage the distribution of the devices as a 'library loan,' similar to a book loan, and the devices will eventually be available for another generation of students.
Fowles finalized by saying: "A year ago, Mastercard decided to expand the company's presence in the Caribbean, with the establishment of the Jamaican office to deliver, develop, and innovate a secure payment ecosystem for all the residents and visitors of the island. Our sense as a member of society is to be responsible for bringing benefits to people and partners, and creating a more inclusive world through our products, programs, and partnerships. May these 200 laptop computers we are donating be the vehicles and right tools for your growth, full of Priceless Possibilities".
President of the Guild of Students, Mr Sujae Boswell said he is approached almost on a daily basis by students who are in need of devices, especially laptops which are more suitable for research and examinations, and so he is pleased to see that the pool of devices available to students have been increased in this significant way.
"This is definitely a master class move from Master Card. The online learning environment brings untraditional issues that are directly linked to access, through this donation, MasterCard has enabled greater access to the online learning environment for our students. On behalf of the student body, thank you for moving to connect my fellow students with their institution through this donation. I thank you for your foresight, investment and confidence in my generation, and in the future graduates of this great institution," Mr Boswell said.
On April 14, 2020, The UWI Mona moved to an on-line method of teaching and learning. Presently, 1500 of the courses offered at the Mona Campus are only available online. To that end, the system requirements for students for on-line/distance learning are internet access, and a device. However, approximately 20% of our Jamaican students did not have access to computers, to attend the on-line classes and examinations.
In closing, Prof Webber said the goal is to have 100% of students having access to a device. "So far, donations of this kind by the private sector, international companies like Mastercard, international organizations and The UWI Alumni Associations (Jamaica Chapter and others) give me a great sense of optimism that this is absolutely possible."


Am I mis-remembering an FAQ somewhere regarding GSC Magus and Familiar?
Subject: Am I mis-remembering an FAQ somewhere regarding GSC Magus and Familiar?
Did GW ever clarify what happens with GSC Magus when it takes a Familiar? The Familiar doesn't have the CHARACTER keyword, nor does it have a rule like Ammo Runts or Grot Orderlies do giving it the keyword when being shot at, so does taking a Familiar make the whole unit lose CHARACTER protection in the Shooting Phase or not? I swear I could remember they FAQed this, but it's not in the Xenos 2 Index FAQ so I don't know if I am just making things up in my head now.
Edit: Of course, it's in the Designers Commentary. Good work GW on making CRITICAL INFORMATION not even in the proper FAQs.
Designers Commentary has always had the same weight as other FAQ documents. It is a proper FAQ to all intents and purposes. Sorry it doesn't fit your agenda.
Sorry it doesn't fit your agenda.
That 'putting things in logical places' agenda.
The "I decide what counts as valid FAQs and locations" agenda... cf the time he complained anything on WHC wasn't legit.
To be fair, BCB isn't saying it isn't legal here, just that (like a lot of us) we wish GW would streamline the FAQs somewhat so that what could be in a main rulebook FAQ isn't scattered acress three or four different FAQs.
It was somebody else on another thread who was trying to not treat the Designer's Commentary as a FAQ when you pointed out something in that addressing the issue.(I had to check to make sure we weren't back in that other thread when I clicked to see new responses and came in with BCB's post not showing on my screen in order to show the new posts).
Warhammer community is not a rules source. This is entirely different... the information being split into a bunch of different places, and not represented in the FAQs, makes the ruleset really difficult to understand.
Warhammer community is not a rules source.
Yes, it is. Its the official FAQ/errata/rules update place now.
To be precise, it is one of the places where Games Workshop is hosting the errata and FAQ downloads now.
Even more irritating, FAQs and Commentaries do nothing to change a rule, that's what the Erratas do. But I guess actually changing the wording of rule to fit your intent is far more difficult for people to grasp then reading a "How We Play It" FAQ or Commentary.
Megavolt wrote: They called me crazy…they called me insane…THEY CALLED ME LOONEY!! and boy, were they right.
So then why bother with Errata at all?
What are the other places ?
Errata indicate where a rule will have the wording changed in future printing.
Not for GW, the designers commentary and stepping into a new edition never existed as print medium. And they probably never will.
The point is that instead of addressing the issue by changing how a rule is written, GW would just presents an FAQ in which they describe how they feel it could be played and leave the actual rule's wording alone. The Errata was used to fix their own proofreading errors rather than actually alter rules that were unclear.
After having just checked them out, they seemed to have corrected some of this behavior in recent months, thankfully.
Let's see, they've been posted on the Games Workshop model shop site and the Black Library site at random times without any instruction that they changed where they were posting the new versions. If it has been solely within the Community site for the last 6 months, that is a great step forward in consistent communication for them.
No, it is not just irritating to me when they do not change the written word, but certain individuals treat it as if the terminology has actually changed. The difference between RAW and RAI is the difference between Errata and FAQ/Commentary.


text:
Q: How to add websocket support to an ingress resource in Kubernetes on IBM Bluemix? When the client tries to connect our ingress defined endpoint via a wss:// request, the app returns 400 bad request, which according to socket.io docs is due to missing headers removed by load balancing proxies like nginx.
apiVersion: extensions/v1beta1
kind: Ingress
metadata:
  name: my-ingress
  annotations:
    nginx.org/websocket-services: service-name
spec:
  tls:
    - hosts:
        - www.myhost.com
  rules:
    - host: www.myhost.com
      http:
        paths:
          - path: /
            backend:
              serviceName: service-name
              servicePort: 80

From the logs in the IBM provided ingress controller it seems to be a fork of this nginx ingress controller. Which says that the annotation nginx.org/websocket-services adds support for websockets by adding directives to the generated nginx conf to pass the required headers. We have tried this as per above but to no avail.
Has anyone had any success making this annotation work?
Any workarounds for adding to the generated nginx conf?
Any IBM people know if this functionality was intentionally removed from the fork? And if there is any way to add support for websockets in the IBM version of Kubernetes?

A: Websockets is not currently supported, we are working on adding it and I will update here when it is available.
Thank you
Edit: Websocket support is available in all regions, the annotation for it is:
  annotations:
    ingress.bluemix.net/websocket-services: service-name

redpajama_set_name: RedPajamaStackExchange


text:
Habs Game Report: Montreal salvages vital point in shootout loss to Boston
Canadiens are eight points out of a wild-card playoff spot in the Eastern Conference.
Pat Hickey • Montreal Gazette
Jan 13, 2018 • Last Updated January 13, 2018 • 3 minute read
Boston Bruins' Jake DeBrusk scores on Canadiens goaltender Carey Price during second period action in Montreal on Saturday, Jan. 13, 2018. Photo by Graham Hughes /THE CANADIAN PRESS
The bottom line: Brad Marchand scored the winning goal in the fourth round of a shootout to give the Boston Bruins a 4-3 win over the Canadiens on Saturday night at the Bell Centre. Paul Byron and Jake DeBrusk matched goals to open the shootout, but there were five misses before Marchand potted the winner. The single point for the shootout loss left the Canadiens eight points out of a wild-card playoff spot in the Eastern Conference.
Danault out indefinitely: The Canadiens lost the services of centre Phillip Danault, who was knocked unconscious when he was struck in the head by a Zdeno Chara slapshot with 1:37 remaining in the second period. Danault lay motionless on the ice for five minutes. When he regained consciousness, he attempted to get back to his feet, but he collapsed after getting to his knees. While the medical staff brought out a gurney, officials decided to suspend the remainder of the period and play it after the intermission. Danault was carried off the ice on the gurney and taken by ambulance to hospital for observation. The Canadiens reported he was awake and moving at hospital.
All even after one: Max Pacioretty gave the Canadiens a 1-0 lead when he scored at 3:22 of the first period on the rebound of a shot from the blueline by rookie defenceman Victor Mete, who was making his first appearance since helping Canada win the gold medal at the world junior championships. Pacioretty had a couple of swipes at the loose puck before bouncing it off Tuukka Rask's skate. It was the 11th goal of the season for Pacioretty, who has scored in each of the last three games. Marchand tied the game with a power-play goal at 17:48. Marchand got a step on Byron and converted a perfect pass from Patrice Bergeron. The Canadiens missed an opportunity to go ahead 2-0 at 15:30 when Charles Hudon took a back pass from Alex Galchenyuk and rattled a slapshot off a post.
Back and forth: The Bruins grabbed the lead for the first time when they took advantage of a sloppy line change and De Brusk was able to skate in alone and beat Carey Price at 2:55 of the second period. Nicolas Deslauriers pulled Montreal even when he picked off a pass from Chara in the neutral zone and then beat Rask at 5:45 with s perfect shot along the ice on the blocker side. The Canadiens regained the lead when Galchenyuk scored a power-play goal at 8:51. It was his 11th of the season and the 100th of his career. The Bruins tied the game once again at 17:42. Jordie Benn blocked Chara's shot from the blueline, but David Krejci buried the rebound.
Specialty items: While Galchenyuk scored a power-play goal, the Canadiens failed to take advantage of their opportunities with the extra man. They went 1-for-4 with only two shots on goal. The Bruins scored on their only power play.
Coming attractions: This is the first of five games in eight nights for the Canadiens. They are home to the New York Islanders on Monday (7:30 p.m., TSN2, RDS, TSN-690 Radio) . The Canadiens hit the road for games Wednesday in Boston and Friday in Washington before wrapping up the week with yet another game against the Bruins next Saturday at the Bell Centre.
phickey@postmedia.com
twitter.com/zababes1
Stu Cowan: Tomas Plekanec hoping to end his career with Canadiens
Victor Mete rejoins Canadiens after winning junior gold for Canada
Leaving $8.5M on table began Canadiens' slide | Hi/O Bonus


Weatherproof Outdoor Waterproof Light Boxes incorporating the latest SMD technology!
These products are made using a 65mm wide, silver aluminium extrusion. The key-lockable, hinged front panel opens and closes easily and smoothly. Gas stays support the front panel while the image is being changed.
The frames incorporate the latest SMD technology which is 50% brighter than standard LED, and come with low voltage power adaptors that have been tested and approved to NZ standards!
Please send me a quote for the Outdoor Lightbox, A2 (#BH85502).
Please send me a brochure for the Outdoor Lightbox, A2 (#BH85502).


Grounding lines for 5 North Greenland glaciers from ERS-1/-2 SAR and Sentinel-1 SAR interferometry.
Format is shape-files, produced by ENVEO, Austria.
be found in the CCI Product User Guide.
"ESA Greenland_Icesheet_CCI, Grounding Lines from SAR Interferometry"


The Starflash collection features 12 new limited edition eyeshadows and 4 limited edition kohl eyeliners. As the collection's title suggest, all of these shadows have a bit of flash to them and what's not to love there? Even a few of the eyeliners have a bit of flash to them.
Dreammaker – frosty yellow gold.
Grand Entrance – frosty neutral peach beige.
Bold & Brazen – frosty light copper.
Sunset B. – frosty clean mid-tone pink.
Lotusland – frosted pinky lavender with gold pearl.
Talent Pool – frosty blue green with gold pearl.
Mink & Sable – frosty olive green.
Smoke & Diamonds – frosty dirty taupe.
Glamour Check! – frosty reddish brown.
Top Hat – frosty dirty indigo.
Star By Night Frosty mid-tone blue.
Raven – intense black with red pearl.
Orpheus – intense black with gold pearl.
Mystery – rich black with green and teal pearl.
What did you pick up? I am loving Smoke and Diamonds, the frosty taupe color is just gorgeous. It's no wonder it's sold out online but check out your local counter, you may be in luck.


text:
California crackdown on vaccine exemptions…
NewsNews Based on facts, either observed and verified directly by the reporter, or reported and verified from knowledgeable sources.
California crackdown on vaccine exemptions moves one step closer to becoming law
Bill targets "unscrupulous physicians" who hand out fake exemptions
By Hannah Wiley, Sacramento Bee | Sacramento Bee
PUBLISHED: May 22, 2019 at 3:33 pm | UPDATED: May 23, 2019 at 3:52 am
A bill that would crack down on medical exemptions for mandatory vaccines passed the California Senate floor on Wednesday, bringing the state one step closer to gaining control over who gets to pass on vaccinations.
Senate Bill 276 targets "unscrupulous physicians" who state Sen. Richard Pan said are administering "fake" medical exemptions for children who should be vaccinated.
"SB 276 assures students who truly need medical exemptions will receive them and that the schools they attend maintain community immunity to keep them safe," Pan, D-Sacramento, the proposal's author, said in a written statement. "Through passage of SB 276, we are taking a preventive approach to keep schools safe for all students by applying a model successfully used in West Virginia, which has not experienced measles in a decade."
The measure requires the Department of Public Health to create a form that doctors must fill out to grant a medical exemption. State public health officials would determine if the exemption is appropriate.
The exemptions then go into a database overseen by public health officials who can monitor which doctors are routinely giving exemptions and for what reason. If the exemption is denied, doctors would have an opportunity to appeal the decision.
The bill passed a Senate Health committee last month after more than a thousand parents and family members lined up to offer nearly six hours of testimony and protest against the bill. Opponents of the measure say it infringes on the parent-child-doctor relationship and vaccine-skeptics raised concerns over whether immunizations are healthy for children.
Medical professionals who testified during April's committee hearing said vaccinations promote "herd immunity," meaning that when the majority of people get their shots, kids who can't get vaccinated are still protected. They say vaccination levels should reach 95 percent in a community to protect kids who cannot receive vaccines for health reasons.
The bill, which is co-sponsored by the California Medical Association, the American Academy of Pediatrics, California and Vaccinate California, is moving through the Legislature during one of the largest measles outbreak in the country. The Department of Public Health confirmed 45 cases in California as of May 15, out of 880 nationwide.
The bill is Pan's second attempt to curb vaccine exemptions in California. A 2015 law eliminated personal beliefs from a list of reasons to not vaccinate a child enrolling in California schools.
Pan earned a 24-10 vote in the Senate, and SB 276 now heads to the Assembly before it has a chance to reach Gov. Gavin Newsom's desk.
Measles hits 25-year high: 704 cases in 22 states, CDC says
Map: Measles outbreak strikes California
Maureen McCormick decries anti-vaxxers using 'Brady Bunch' to promote agenda
Two California universities quarantine more than 300 students and staff in measles outbreak
"Vaccinating our patients is one of the most important tools pediatricians have to prevent illness and death," said Kris Calvin of the American Academy of Pediatrics, California. "It is the rare physician who does not take this responsibility to heart, but they put all of us, our children and our communities, at risk."
Hannah Wiley, Sacramento Bee
Sen. Rand Paul puts hold on 9/11 responders funding bill
"We need to at the very least have this debate. I will be offering up an amendment if this bill should come to the floor, but until then I will object," added Paul, who voted in favor of President Donald Trump's $1.5 trillion tax cut. That tax cut is helping drive a deficit increase.
US braces for a dangerously hot weekend
More than 100 local heat records are expected to fall Saturday, according to the National Weather Service. Most won't be record-daily highs but record-high nighttime lows, and that lack of cooling can be dangerous, meteorologists say.
Congo's Ebola outbreak declared a global health emergency
This is the fifth such declaration in history. Previous emergencies were declared for the devastating 2014-16 Ebola outbreak in West Africa that killed more than 11,000 people, the emergence of Zika in the Americas, the swine flu pandemic and polio eradication.
Watch: Elon Musk is making implants to link the brain with a smartphone
Bay Area-based Neuralink will develop Bluetooth-enabled devices to implant in brain.


The Colorado Avalanche enter this weekend with a 16-16-8 record. If there is one major deficiency on this team, it's defense. They have been allowing 2.9 goals per game. While some blame could be pinned on goaltending, the defenseman have not been playing well.
During Tuesday night's win against Chicago, goaltender Seymon Varlamov saved 54 shots on goal during the course of the game, en route to a 2-0 shut out. While there are other problems on this twelfth-ranked squad, they can't expect to advance to the playoffs without improving in the defensive zone. The team plays two games at home this weekend, which are both winnable games against teams without premiere offensive talents. The average price for Avalanche tickets this weekend is $67.43.
The Senators roll into the Pepsi Center experiencing similar struggles to the ones that the Avs have faced this season. Their 16-15-8 record is obviously close to identical, and they have struggled to stop the puck from entering the net. They have been getting some nice production from their forwards such as Kyle Turris, who has 27 points this season. Regardless, they lack an elite player to put the puck in the net, which plays to Colorado's strengths. The average price for Senators vs. Avalanche tickets is $56.96. You can get into the Pepsi center for as little as $11.00. This is the least expensive game of two this weekend.
The Dallas Stars come skating into the Pepsi center on Saturday night for the most expensive game of the weekend. Tickets are going for an average price of $74.90. The least someone is going to have to pay to see this game is $21.00. The Stars have been able to score with ease this season, as they have been averaging over 3 goals per game as a team. This is thanks to Tyler Seguin, who leads the NHL in goals with 26, and is second in the NHL in points with 47. Seguin leads this attack against the poor Avalanche defense, which could let Seguin have a field day if he is not covered well. Regardless, the Stars find themselves on the outside of the playoff picture, trying to get in. This game features two teams who need the points to keep pace in the Western Conference playoff hunt.
Tagged Avalanche, NHL, Semyon Varlamov, Tickets. Bookmark the permalink.


By Car: From Bangkok, take highway 7 (Bangkok-Chonburi motorway) from Lad Krabang or the km maker 8 on Bangna-Trat Road. Get off the motorway at Ban Beung junction, and continue with highway 344 (Ban Beung-Klaeng Road) until you reach highway 3 at Klung district of Chantaburi. Go further pass Khao Saming district until you reach Trat. The total distance is approximately 314 kilometers.
By Bus: From Ekkamai bus terminal, there are VIP, first class and second class buses to Trat. The journey takes around 4 hours.
From Mo Chit bus terminal, there are first class buses to Trat, The journey takes around 5 hours.
By Plane Bangkok Airways plane files to Trat twice a day, the journey takes around 40 minutes.
1. Laem Ngob Port: Located 17 km from Trat town, tourists could find minibus to Laem Ngob Port at the fresh market in downtown. The boat to Dan Kao Port at Koh Chang leaves from 07.00 am to 05.00 pm. The journey takes around 1 hour.
2. Center Point Port: Located 23 km from Trat town, before reaching Ao Thammachart is Center Point Port. The large ferry to Dan Kao Port at Koh Chang leaves from 06.00 am to 08.00 pm. The journey takes around 1 hour.
Ao Thammachart Port actually has 2 ports.


Horace Mann offers a rich variety of artistic experiences in all divisions. Arts offerings grow in number and complexity as the students' abilities mature and their artistic skills strengthen. One important goal is placing the arts in historical, cultural and social contexts while at the same time stimulating the development of personal vision and self-expression in our students. Students are encouraged to expand their understanding of worldly phenomena and to process and transform their experience through music, dance, action and/or visual representation. Students develop creativity and innovation, personal style, observational skills and an awareness of multiple perspectives.
In the Visual Arts, students are guided through a program that balances the development of technical skills and conceptual ingenuity. Children are exposed to a rich variety of media starting in the Nursery Division, where the focus is on exploration of materials in 2-and 3-dimensions. Formal art instruction begins in the Lower Division. In the Middle and Upper Divisions, course offerings increase in sophistication and specificity to include more formal and focused work in photography, sculpture, ceramics, print making, drawing and painting, video and film production and multimedia studies.
The Music program encourages students to develop a love and appreciation of music. In the Nursery and Lower Divisions, instruction incorporates physical movement and rhythm instruments. Students are exposed to elementary recognition of notes and rhythmic patterns as well as listening skills. Formal study of instruments is introduced in the Lower Division. Students may continue instrumental instruction in the Middle and Upper Divisions. Advanced topics in the history and appreciation of music, music theory, and the use and influence of technology help students to enhance their understanding of the art.
Dramatic play and movement activities are an important part of both the Nursery and Lower Division programs. Formal instruction in dance and theatre begins in the Middle Division. Theatre and Dance provide students with an experience of physical and vocal freedom and coordination. Through instruction and direct experience, students acquire the tools of stagecraft, appreciation of history and style, and the confidence to create plays, set designs, choreography and dramatic characterizations.


Meet Marisol McDonald. This free-spirited Peruvian-Scottish-American girl is headed straight into the hearts of young readers everywhere. Renowned author Monica Brown wrote this lively series to bring her own experience of being multiracial to life. Fans of the award-winning Marisol McDonald series will be encouraged to embrace their own uniqueness like Marisol who takes pride in her individuality.


We needed a platform to test our new MICILE / Arduino user interface. The robot hand and arm seemed like something complex enough to really give the concept a comprehensive workout. The project allowed us to use a MICILE Tablet, an Arduino Uno board (and sensor shield) to easily control a robot arm. The interface is clean and simple. We think you will find that the the MICILE Tablet is a great compliment to any Arduino project. All the code can be found at www.micile.com.
-D/C power supply the one pictured here is overkill, a 5V wall power supply will work fine or a 6V wall wart.
The first thing you will have to do is load the MICILE_Arduino_Uno_Sketch app (available on the MICILE website) on the Aruduino board. Make sure your Arduino board is connected to your computer. Click on the "MICILE Arduino Uno Sketch" button and the .txt file will open. Copy the code. Open a new Arduino sketch, paste the code in, and press the "upload" button.
Clip the Arduino Sensor Shield 5.0 to the Arduino Uno board to allow the servo wires to be plugged in. I lost the screws to attach the wires, so instead soldered them to the board. When the new board arrives, I will replace it.
Attach your Arduino Uno board and sensor shield to a DC power supply. I actually tried modifying a cheap, 5V power supply that I ordered from China, but it was too much power. (A better quality 5-volt power supply should work fine.) Instead I used the first one shown here (attached to the Arduino), and it worked perfectly.
Connect the pins from the robot hand to the Arduino board. I used pins 3 and 5. Then modify the Python code to reflect the pins you connected to. Be sure to connect the brown or black pin to ground.
Download the code, called Robot Hand from the MICILE website. Upload the code to the MICILE IDE Browser, open the project, and run the code. For complete directions on using the MICILE Tablet, see the user guide on the MICILE website. The user interface shown above is what you will see on your MICILE Tablet when you run the code. Press the buttons to control the code and see what you can get your robot hand to pick up.
Using the same setup (5V DC power supply, MICILE Tablet, Arduino Uno board, and Arduino Sensor Shield) you used for the robot hand, try connecting the robot arm instead. Assemble the kit properly as per the manufacturers directions. There are five servos included in the kit. You should label them to correspond to the pin numbers on the Arduino board you will be plugging them into. I labeled mine "3" (claw to open and close), "5" (claw to rotate), "6" (wrist), "9" (elbow), "10" (shoulder) and "11" (arm to rotate). You can see which numbers we used by checking the Python code we used. You will find this code on the MICILE website. Press the button that says "Python Zip Files- Robot Arm" (shown in the image above.) This will download the code to your downloads file.
You will then upload the code to the MICILE IDE browser. Open the project and run the code as you did in the previous robot hand project.You will see the user interface shown above on your MICILE tablet. Press the demo button to see the robot go through a preprogrammed set of motions, or press each button individually to manually move your robot around.
Why I use 5v from my dc power supply, the servo worked like a bit confusing.. it didnt move according to the angle given??
Hello. It is not possible to buy Micile. I tried it on Amazon, but I never received it. Could I replace Micile tablet with another brand? Many thanks for reply.
smoothly robot arm movement ...Well done.
Can you please tell the specifications of the servo motor which you have used?
Thank you, I have fixed it now.


The Singapore team of 25 managed to secure 3rd position overall with 5 gold, 9 silver, 8 bronze. The team manager was Mr Rohaizad and the team was coached by Khoo Zhihao and Nicholas Tey.
Photos and results courtesy of Khoo Zhihao and Nicholas Tey.