On November the 22nd the Turkish city of Nilüfer won the 2017 Transformative Action Award with their Nilüfer Citizen's "Republic" submission.
The city of Nilüfer entered the contest with it's submission titled Towards an Exemplary Participatory Local Democracy; Nilüfer Citizen's "Republic", in which they focused on the following issues: Decarbonization; Climate change; Social inclusion and integration; and local economies and employment.
These three issues gave birth to the following Transformative Actions: The establishment of "Nilüfer Neighborhood Committees-NC"; the establishment of the "Nilüfer Innovation Center-NIC"; and, the founding of the "Nilüfer Energy Cooperative-EC". These three endeavors represent Transformative Actions that aim to secure a "livable and inclusive" city, which has been the highest singular vision of the municipality. NCs act as the foundation stone of grassroot, citizen democracy and decision making; NIC as the organisational hub of social innovation; and, EC as the harbinger of the future energy democracy based on local, renewable energy.
Nilüfer Energy Cooperative-EC has already created a surge in participatory social innovation in Nilüfer, with a 33% rise in implemented innovative service projects and a ~3% rise in citizen satisfaction in just one year after its creation. NIC has doubled applications to international collaborative projects. The digital entrepreneurship and digital inclusion platforms that are presently being created by NIC will provide training and educational resources for low skilled adults to advance their digital competencies, thus enhancing their employability, and will additionally create an easy to use interface for all citizens wishing to register complaints and suggestions. The organisational innovation system is expected to enhance innovation capacity in local governments and the public sector. Seven events were organised with youth, NGOs, Neighbourhood Committees and employees to increase innovation awareness from August 2016 in NIC. 230 participants joined these activities.
The three Transformative Actions by Nilüfer have, and will continue to have, significant sociocultural and economic impacts. The culture of grassroot participation in local affairs demonstrated by Nilüfer, in the highly centralised political culture of Turkey, has already created revolutionary reverberations. The impact of NCs on local sustainable living via direct involvement of citizens in pavement, bike routes and park extension plans by the local government shows that increasing public space, not only in physical terms but also in "how to live one's life" terms, will be in the sight of the NCs. Encouraged by positive feedback from NCs, participatory planning has also recently been tested on the ground by the municipality in the Konaklı Neighbourhood.
The NIC, as the hub of social-innovation, is also a perfect "move to match" by the municipality, allowing for this grassroot movement to be increasingly visible and effective in the organisation of daily sociocultural and economic life in the city. The critical moment will be provided by the merging of citizens empowerment with the flowering of local economic creative activity, which is planned to be triggered by smart entrepreneurial culture and niches (via NIC digital platforms) and the consciousness in the public of transforming the energy supply architecture, at once the most visible, immovable and constant feature of modern life, through its huge generation-transmission-distribution infrastructures and remote/removed local association with local citizens. Small-scale, co-operatively owned renewable energy generation and use, replacing the centrally-owned corporate energy sector, is the single most spectacular example of the emancipatory modern movement for economic justice that has proven itself radically in many regions around the world. The present modest beginnings in Nilüfer, via the formation of the energy cooperative, raises hopes for a truly participative, cooperative economy.
The city of Nilüfer is one of the Replicate Project's follower cities, and as such has been deeply involved in the betterment and smartification of it's districs by building new and upgraded energy, mobility and ICT service and infrastructure systems.
You can find more information about Nilüfer's Smart City activities by visiting the following link.


Bob Dylan, in a scene from a new video for the song "Just Like Tom Thumb's Blues."
This version of "Just Like Tom Thumb's Blues," Dylan's third take of the song, is a bit slower and moodier than the one that appeared on Highway 61 Revisited. It's one of the many alternates available on the latest release in the Dylan bootleg series, Vol. 12 The Cutting Edge 1965-1966, a collection of outtakes and other jewels he recorded during a 14-month period of prolific genius that resulted in the albums Bringing It All Back Home, Highway 61 Revisited and Blonde On Blonde. Dylan recorded more versions of "Just Like Tom Thumb's Blues" than he normally did for an album. He eventually settled on the 16th take for the final version.
The newly produced video was created by Damian Rodriguez using film footage shot by D.A. Pennebaker on Dylan's tour of the British Isles in 1965 (black and white) and 1966 (color).
Music can provide a space for healing, feeling and thought. Following the terrorist attacks in Paris, including at a show in that city's Bataclan concert hall, we were compelled to play music with a meditative tone, songs that allow space and time for reflection. A tune Bob Boilen found himself playing all weekend was by Hiya Wal Âalam, a band featuring members from Tunisia, Palestine and Sweden. It's culture-blending music and perfectly pensive.
Shovels & Rope's new album of covers, Busted Jukebox Vol. I, took a village to create. The folk-rock duo of Cary Ann Hearst and Michael Trent called in their talented friends and collaborators to tackle songs from Elvis Costello, Nine Inch Nails and Guns n' Roses, just to name a few. Each tune is imbued with Shovels & Rope's signature sound and the individual influence of the guests on each track.
Imagine creating the best work of your life, some of the best music of its day, and no one cares. Now imagine playing those songs 47 years later to a screaming and loving bunch of fans and getting what seems like a hero's welcome. That's part of the story of The Zombies, who played the classic 1968 album Odessey and Oracle, along with a set of other hits and brand new songs, live in Washington, D.C. last month. Now we have their nearly note-for-note live reproduction of Odessey and Oracle for you here.


AMC has set an August 12th premiere date for the ten-episode second season of its horror anthology series "The Terror". Additionally, the first batch of photos from the new episodes has arrived.
"The Terror: Infamy" is set during World War II and follows a series of bizarre deaths that haunt a Japanese-American community, and a young man's journey to understand and combat the malevolent entity responsible. Derek Mio, Kiki Sukezane, Cristina Rodlo, Shingo Usami, Naoko Mori, Miki Ishikawa and the one and only George Takei star.
Alexander Woo and Max Borenstein executive produce with Woo serving as showrunner. Ridley Scott, Dan Simmons, David W. Zucker, Alexandra Milchan, Scott Lambert and Guymon Casady also executive produce.
The first season, based on the novel by Dan Simmons, dealt with the famed story of the HMS Terror and HMS Erebus in their attempts to discover the Northwest Passage in 1847. The first season was the number two new drama on cable for the current television season, and one of the most critically acclaimed new shows of last year.
Like the first season, the second will be distributed internationally via Amazon Prime Video.


text: lein run -u "http://ivan:password@localhost:8080"

redpajama_set_name: RedPajamaGithub


text:
Pak has no locus standi on J&K: Rajnath Singh to Japan's Prime Minister
CM Jakhar September 3, 2019
Defence Minister Rajnath Singh on Monday told Japanese Prime Minister Shinzo Abe that Pakistan has no "locus standi on Jammu and Kashmir, which is an integral part of India." Rajnath Singh also conveyed to Japanese Prime Minister Shinzo Abe that India's decision to end the special status of Jammu and Kashmir will benefit the people of the region.
According to the officials, in the annual Indo-Japan defence ministerial talks, the two sides discussed ways to further strengthen the existing bilateral defence cooperation and resolved to adopt new initiatives to achieve peace and security in the region.
The ministry said the defence minister also discussed abrogation of Article 370 of the Indian Constitution and said talks and cross-border terrorism originating from Pakistan cannot go together.
"The lndo-Pacific vision was discussed at length with an expression of India's preference for a rules-based order along with centrality of Association of South East Asian Nations (ASEAN) and inclusiveness and security for all," the Defence Ministry said in a statement.
"Had an extremely fruitful ministerial level dialogue with Japan's Defence Minister Takeshi Iwaya in Tokyo. We discussed the full spectrum of India-Japan defence cooperation," Rajnath Singh tweeted.
"The regular interactions between Prime Minister Narendra Modi and Abe put the special strategic and global partnership between India-Japan on a higher pedestal", Rajnath Singh said.
The CEO's Forum followed by a Business-to-Government (B2G) meeting will also be held in Seoul . The meeting will include the participation of members of defence industry from both sides. The meeting will be conducted with the aim to encourage India-ROK defence industry cooperation.
"The focus of the visit to South Korea will be to explore new areas of defence cooperation including co-development of military hardware," the official said.
CM Jakhar
A news enthusiast by hobby, CM is the founder of Prediction Junction. He is always passionate to dig into the latest in the world and has a natural way of depicting his analysis and thoughts. His main motive is to bring the true and recent piece on where the world is heading.
ICJ ordered US to suspend 'humanitarian' Iran sanctions
Turkey could play 'mediator role' in Russia-Ukraine crisis: Erdogan
China is ready to make a deal with US: Chinese official
IDF strikes Syria, killing 3, after rockets fired at Golan Heights

redpajama_set_name: RedPajamaCommonCrawl


– Marin Luther King. Jr.
We'll finish our letter S projects and activities!
This week's letter is T. We'll talk about all kinds of transportation ( air, water and land ) and make tractors and helicopters!
Using our play trains, cars and truck we'll play letter and number match.
We'll explore our senses of taste ( salt/ sugar taste test ) and touch ( using different materials to differentiate soft, smooth, fluffy, sticky and rough ).
We'll play " Packing the Toolbox " — following directions and building vocabulary.
We'll make and snack on edible turtles ( green apples, green grapes and raisins).
This week's letter is S. Miss Jess is creating outer space projects with the children. The projects will be on display at our open house on Saturday, February 23rd.
We'll make suns and snakes, play "I Spy" in our classroom and outside ( weather permitting) and snack on strawberries.
We'll play Simon Says Stretch and paint with string!
We are working in our workbooks and alphabet review books ( practicing proper grip and control).
We'll read There's No Place Like Space (Tish Rabe) and Little Miss Somersault ( Roger Hargreaves).
This week's letter is R. We'll make rainbows, trace Rs, search for rectangles is our room, practice rhyming and snack on raisins and rice cakes!
On Wednesday Dr. Fusco will visit to talk to us about healthy teeth. Also on Wednesday, we'll celebrate Valentine's Day with special snacks and crafts!
With Valentine candy hearts we'll practice sorting and counting.
With "broken hearts" we'll match numbers (1-10), letters (A-R) and our names!
We'll review letters A-P and numbers 1-10.
This week's letter is Q. We'll make queens and quilts and paint with Q-tips!
We'll read Quick, Quack, Quick ( Marsha Arnold ) and Quack ( Phyllis Root ).
We'll make edible snowmen for a special snack: apples, pretzel sticks and mini chocolate chips!
And he had a carrot nose.
Was looking for his lunch!
We'll do letter Q and numbers 4 and 5 searches!


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SFD by RDGAudio is a Virtual Effect Audio Plugin. It functions as a VST Plugin.
SFD is our win32-bit Audio VST Plugins for Echo and Delay. It's algorithm is based on dual side by side audio emphasis technology.It gives you the flexibility to control two channels, Left and Right channel separately.That means if you adjust one channel it won't disturb the other. Unlike other Stereo Delay VST plugins we have added two side by side channels which gives you the flexibility to make wide Stereo signal from a complete Mono sound or Audio signal.
It is dual by it's nature and we have designed it with our famous 'Side by Side' algorithm.Now you can easily create a Stereo Dual vocal type effects from any Mono Vocal. It's built in Low Pass and High Pass filters can easily cut your unwanted frequency from your Audio.That means now you don't need an Eq in your mix buss after a Delay Plugins.Most amazing fact is we didn't add the filter section for global purpose. We have designed the filter section for it's two channels separately, so that one filter (lets say High Pass filter of Channel Left) will not disturb other channel anyway.
Full Stereo based on dual side by side audio emphasis technology.
Dual Left and Right for Stereo Mix buss.
Surround Echo for Surround Mix buss.
Real (Hardware type) pitched modulated effect during changing delay times.
Two Modes: Sync Mode & Free Mode.
High pass and Low pass for Individual channel.
No dry knob so Audio signal will not be over gained during Audio Gain Staging.
Insert it in Send Return track/buss or as Insert Effects in side DAW.
Available in 32-bit VST plugin format.
All Windows VST supported DAW.
Supports 32-bit and 64-bit Windows OS.
Supported OS Windows XP SP 3, Vista, 7,8 & 10.
RAM 1GB (2 GB Recommended).


UPDATE: The Pound Sterling US Dollar (GBP/USD) exchange rate has dropped further over the course of today's session, with inter-bank rates currently sat at $1.2732.
Brexit uncertainty has dented the Pound, as despite the US consumer confidence figures for November showing that confidence has fallen for the first time in five months – from 137.9 to 135.7 – the picture still remains positive for the USA.
Last month was an 18-year high for consumer confidence, although this slip is not necessarily a bad thing, with Americans still confident they can find a job as the unemployment rate is currently at a 48-year low and job openings are currently near record highs; they are just unsure their income will grow at a faster pace next year.
UPDATE: The USD Chicago Fed National Activity Index showed a better-than-expected raise from 0.14 to 0.24 despite a predicted rise to only 0.18, causing a slight drop in the GBP/USD exchange rate.
The Democratic Unionist Party (DUP) have warned UK Prime Minister Theresa May that she should not rely on their support for the withdrawal agreement, which suggests that she may struggle to find the support, as more than 90 Tory MPs have publicly expressed disapproval of the deal.
The Pound US Dollar Exchange Rate (GBP/USD) remained volatile over the past week as a mixture of US-China trade tensions and Brexit continued to cause instability.
UK Prime Minster Theresa May was able to get the EU Withdrawal Act passed by the European Commission, with a unanimous agreement despite the threat from Spain to vote against it if the issue of Gibraltar was not explicitly addressed.
While the withdrawal agreement may have been passed by the EU, the difficulties now lie in getting the deal passed through Parliament.
Theresa May faces a range of opposition to the deal, including from the Democratic Unionist Party (DUP), whose leader Arlene Foster stated that it 'goes against everything' her party has been promised.
The tensions between the US and China ahead of the G20 Summit this week have caused anxieties in currency markets, which in turn raised doubts over whether the planned interest rate hikes by the US Federal Reserve would go ahead.
The soft US data seen last week also weakened the 'Greenback', especially the US durable goods figures, which plummeted to a worse-than-expected -4.4% despite a predicted fall of 'only' -2.6%.
The US Markit PMI figures released at the end of last week's session furthermore saw a drop in the figures despite predicted growth, with the composite falling to 54.4 from a previous 54.9.
Pound traders saw Brexit take centre stage for the duration of last week's session, with the speech on Tuesday by Bank of England (BoE) Governor, Mark Carney revealing that his organisation had been preparing for the possibility of a no-deal Brexit since June 2016.
GBP/USD Exchange Rate Forecast: Could there be Further Volatility as the G20 Summit Approaches?
Looking ahead to the remainder of this week's session, the Pound US Dollar (GBP/USD) exchange rate is likely to face pressure as Brexit remains in the spotlight.
The focus of the G20 Summit in Argentina this week is likely to fall on the activities on the side-lines, with the hope that tensions between the US and China will cool, soothing down the trade spat between the two trade giants.
The main aim of Chinese leader Xi Jinping will be to get the United States to refrain from raising tariffs on Chinese products in January, despite the predictions that it is unlikely the US are going to let them slide.
The GBP/USD exchange rate could see a potential jump when the USD consumer confidence index for November is released on Tuesday, with a decrease forecast compared to last month.
That aside, focus is likely to remain on political events over the next week, with Brexit set to be the main driver for GBP/USD going forwards.


It all begins with a simple question:"How can our customers and prospects tell the difference between us and our competition?" Here's what I find absolutely amazing -- the most prevalent answer I hear from highly successful and sophisticated marketing leaders in a wide array of industries is: "I don't know."
Distinction is like a vaccine for your organization. If you don't know what distinguishes you from your competitor -- or, if the answer is "price" - then I believe that you are probably doomed, in the long run.
In one of my earlier books, I described the fortunate set of circumstances that enabled me to play the role of the villain in a highly-regarded German movie, "Stroszek" by the esteemed director, Werner Herzog. This marvelous event in my life later afforded me another unlikely opportunity -- to become a film critic, with my commentaries syndicated across the U.S. and around the world.
Several years ago, I attended a reception in Hollywood, and had the occasion to meet the best in the business, Roger Ebert. To my delight and surprise, the famed critic remembered the terrific review he gave my solitary attempt at acting. Roger asked me to sit with him and his wife, and we began a warm and fascinating conversation.
Roger asked me, "Scott, how many movies are you normally seeing in any given week?" My answer was that the usual total was one - the film I would be reviewing for that week's broadcast. He responded, "Many of the people in this profession are seeing one or two movies a day! The little off-beat, quirky, odd, foreign or independent film captures our attention because they are a bit different! When you are overwhelmed with such boring similarity, you begin to perceive that 'different' IS 'better'!
The remarkable Pulitzer Prize winning journalist and critic taught me a great lesson I now call "The Ebert Effect": When someone, from their perspective, is inundated with indistinguishable choices, they perceive a product, service, approach, or experience that possesses a specific point of differentiation to be superior.
Because this effect means that different is perceived to be better, we must realize that there are four steps -- I call them the "Four Cornerstones of Distinction" -- that create what every organization, and professional, needs in today's volatile economy.
The first Cornerstone is Clarity. To grab attention and guarantee satisfaction, you have to be precise about who and what you are. You cannot differentiate what you cannot define.
The second Cornerstone is Creativity. Distinctive organizations find some unique twist, some original spin to put on the interaction that they have with customers.
The third of the Cornerstones is Communication. And, while we often hear about the importance of that topic, what our research clearly shows is that today's customer wants to be engaged by a compelling narrative. Tell the story of your product, your company, and your service in a manner that involves customers and prospects.
The final Cornerstone is Customer-Experience Focus. This more than the old "focus on the customer" line we've heard for years. Today's customer centers purchase decisions as much on feelings as facts and figures. In other words, how they feel about your marketing -- and the experience and emotional connectivity they have with your organization and people -- are the primary determinates of what they will buy and refer.
The easiest tactic for you is simply to continue what you are currently doing. Let me emphatically state my belief that this is also the most dangerous approach.
Because of the Three Destroyers of Differentiation discussed in the previous post, your job - organizationally and individually - is only going to continue to grow in difficulty. However, if you begin today to chart a fresh approach based upon the Four Cornerstones of Distinction, you can begin to enhance your organization -- while you nurture and grow yourself.
The Three Destroyers of Differentiation by Scott McKain There was a time not too long ago when Chevy owners felt superior to those poor souls driving a Ford -- and vice versa. A person gained identification through the goods that they purchased, the stores where they shopped, the institutions where they invested -- no matter the level of price or sophistication of the product. Now, however, over the past several years we have seen the homogenization of practically everything.


text:
Q: Laravel 4 Common Assets I am attempting to transition from CodeIgniter to Laravel for a new application. I've done something similar to the following in CodeIgniter, but it isn't working as I expect in Laravel. I have the following code as my BaseController in Laravel 4:
class BaseController extends Controller {
    private $css_files = array('bootstrap3.min.css');
    private $js_files  = array();

    protected function setupLayout()
    {
        if ( ! is_null($this->layout))
        {
            $this->layout = View::make($this->layout)
                        ->with('css_files',$this->get_css())
                        ->with('js_files',$this->get_js());
        }
    }

    private function get_css(){
        return $this->css_files;
    }

    public function add_css($css_file){
        $this->css_files[] = $css_file;
    }

    private function get_js(){
        return $this->js_files;
    }

    public function add_js($js_file){
        $this->js_files[] = $js_file;
    }

}

And I'm trying to be able to add js and css assets dynamically :
class LoginController extends BaseController {
    protected $layout    = 'layouts.main';

    public function index(){
        $this->add_css('login.css');

        $this->layout->content = View::make('auth.login');
    }
}

View Code :
<head>
    <meta charset="utf-8">
    <meta name="viewport" content="width=device-width, initial-scale=1.0">
    <title>APP NAME</title>
    @foreach( $css_files as $css )
        {{ HTML::style("css/{$css}") }}
    @endforeach
</head>

If I make the accessor methods public and call them from the LoginController, they show the added css files as expected.

If I add the login.css file name into the css files array directly, as the bootstrap css is, it works as expected.

What am I doing wrong that's causing the css files to not show up from the BaseController to the LoginController? Am I going about it the wrong way? Thanks in advance for helping!

A: setupLayout() will be called before your LoginController.
As such, the reference to $this->css_files will only have the bootstrap CSS file in it.
To (hackily) get around this, pass the css and js arrays by reference, like so:
$this->layout = View::make($this->layout)
    ->with('css_files', &$this->css_files)
     ->with('js_files', &$this->js_files);

redpajama_set_name: RedPajamaStackExchange


text:
1990-1995 Ford Taurus Police Package
The first-generation Taurus was launched in 1985 as a 1986 model to strong fanfare and sales, replacing the slow-selling mid-size Ford LTD. (The full-size Ford LTD Crown Victoria remained as part of the Ford line up.) The release of the Ford Taurus was one of the most anticipated ever, mostly because it was a first in car design and also the start of new quality standards for Ford. At the time of the Taurus's debut, Ford had been producing mainly rear-wheel drive cars, and Chrysler and General Motors were offering more front-wheel drive vehicles up to midrange including the Chrysler K platform and A-body Chevrolet Celebrity. With the introduction of the Escort and Tempo, Ford was making a transition to front-wheel drive.
1990 – Introduction of Ford Taurus Police Package
This was the year the Police Package Taurus was introduced. This model was basically a low level Taurus with a few extra goodies and upgrades. The most major upgrade would be the high output 3.8L with dual exhaust pipes peaking out under the rear bumper. The suspension was basically taken from the Taurus SHO. The police package came with a 140 MPH "Certified Calibration" speedometer and some even got the dog dishes (14″ steel wheels with center cap). It also received a new grille with several cooling slots on both sides of the Ford oval. 1990 was the only year the police package was governed. The speed governor was set at 110 MPH, and the rev limiter was set at 5500 RPMs. 1990 models also used the AXOD transaxle, which was unable to shift into overdrive at wide open throttle.
The police package included:
SHO steering rack
Heavy-duty transmission cooler (tube-in-fin design, like a radiator)
Stiffer springs
Heavy-duty strut mounts
Thicker sway bar (24mm front, 25 mm rear)
Steel front endlinks
Heavy-duty subframe
4-wheel disc brakes w/ ABS
1991 Ford Taurus Police Package
The new AXOD-E (AX4S) allowed shifting into overdrive. The speed governer was also removed so the top speed was drag limited to about 129 MPH (with lightbar and other accessories added).
The Ford Taurus received its first redesign in late 1991 for the 1992 model year. Still based on the same chassis, every exterior body panel (with the exception of the doors) was restyled. In spite of the extensive changes, few modifications were made to the successful styling; in the marketplace, the redesign was largely released as a mid-cycle facelift. In terms of size, the 1992 Taurus gained several inches in length and over 200 pounds in curb weight. Following market demand, the new Taurus was available solely with V6 engines and automatic transmissions. The Taurus SHO made its return, with an automatic transmission option joining the manual transmission.
The interior was also completely redesigned for 1992. As part of the redesign, the Ford Taurus gained a passenger-side airbag as an option, which became standard in 1993 on 1994 models, becoming the first mid-size sedan sold in the United States with standard dual airbags.
The Police Package Taurus was also redesigned. It looked like a low level Taurus and still had dual exhaust, and 140 MPH "Certified Calibration" speedometer. The speedometer gained a million mile odometer this year. Other items that were carried over:
Instead of cooling slots on both sides of the Ford logo on the grille, it now had a wide single slot under the grille. It still came with the 14″ steel wheel with center cap. The high output 3.8L was modified to put out more power. Modifications include:
New head design (open chamber for slightly lower compression)
More agressive cam profile
Increased webbing on the lower block to increase rigidity
A water-to-oil engine oil cooler helps to keep things cool
Transaxle's final drive ratio is 3.37:1
Reinforced transaxle bellhousing
New engine and transmission strategy
These modifications provided the 3.8L V6 with 160 HP and 225 ft-lbs of torque. In full cruiser dress (lightbar etc.), the Police Package has a drag limited top speed of 129MPH. In detective dress, top speed is in the upper 130s.
No change.
The Police Package gained 21# injectors.
Demise:
The Taurus police package had problems with it's front wheel drive transaxle holding up, the car didn't prove to be very popular, and it was often strongly outsold by Ford's own Crown Victoria.
The police package was discontinued after 1995. Even though some law enforcement agencies used the Ford Taurus after 1995, an actual police (interceptor) package would not return on the Ford Taurus until 2013.
Michigan State Police Test Results (1990 & 1995):
Difference Between A 1992 Police Package and SHO Ford Taurus:
They have the SHO suspension in them are 300 lbs lighter. The main differences between the Police Pkg Taurus and the regular 3.8 Taurus are as follows:
160 hp Police vs 140 hp std
225 lbs ft torque Police vs 215 lbs ft std
3:37 Final Drive Ratio Police vs 3:19 std
Unique Police Motor Heads #F15Z-6049-B
Unique Police PCM #F2DZ-12A650-6A
Steel instead of nylon fuel lines


After 9/11, when President Bush used the word "crusade" in one of his speeches, it raised red flags in Europe. Why do those battles — ones which Christians eventually lost — still important? There were two books on this topic and both WSJ and The New York Times had reviews.
← Why read Historical Fiction?
You might find Amin Maalouf's The Crusades Through Arab Eyes quite useful for a counterpoint to Western views of the crusades.


5 double tickets to be won in this year's knowitall.ch competition!
The Château de Vullierens will open for the Easter weekend for the first time. The opening will be held on April 21st, Easter Sunday. Families are invited to search around the property in a giant hunt for clues and puzzles to solve, leading to the garden where their reward awaits: a Lindt chocolate rabbit! Younger children will be on the hunt for little bells but will, of course, receive a yummy chocolate rabbit too!
The Iris Festival, a beautiful spectacle featuring 50,000 flowers, including 400 different varieties, spread out over an area of 4 hectares. Open until 16 June 2019, this year's festival has got off to a great start with 13 new iris varieties on display!
In addition to the iris plantations, there are also 5 themed gardens, including the Jardin du Châtelaine, which features 2000 new tulips bulbs – so don't delay if you want to see these at their best! Muni's Garden, Daria's Garden, Secret Garden and Dorianne's Garden also have their own unique characteristics that are sure to delight all gardening enthusiasts.
Like previous years, the flowers are accompanied by an exhibition of large outdoor sculptures, including 3 new pieces by Etienne Krähenbühl and Manuel Torres. In all there are now 52 sculptures, created by 12 different artists, laid out within the grounds of the Château to monumental effect! There will also be a colorful display of art on show in the Gallery of the Château, with work by Claude Augsburger, Urs-P. Twellmann, Christine Gaillard and Matteo Gonet.
After beginnings influenced by the abstract and purist movements in 1920s, Berger turned to a less abstract model with more order, before returning to abstraction as early as the end of the 1950s. In search of new expressive means, the artist continued for into his 70s in the lithographic adventure, which solidified his reputation.
The Swiss National Museum – Château de Prangins is showcasing the best Swiss press photography of 2017 in the 27th Swiss Press Photo exhibition. This eagerly awaited annual exhibit proves once again that in addition to informing, press photographs can also open a window into the soul.
Divided into six categories the Swiss Press Photo revisits the key events of the last year, from the momentous to the anecdotal.
The 2018 "Photographer of the Year" title goes to 44 year-old Guillaume Perret, for his series entitled "Daniela – la traversée du cancer" about a 67 year-old woman suffering from breast cancer. With great sensitivity, his reportage documents her ordeal and optimism following an operation and chemotherapy. One of the images from the series also earned him first place in the "News" category.
The Art of the Brick: an imaginary world of one million colored LEGO© bricks on display at Palexpo!
This autumn, Palexpo will host one of its most colourful exhibitions to date: The Art of the Brick! Read down to the bottom to enter our competition to win a package of 4 tickets, a Fr. 72.- value!
From 4 October 2018 to 6 January 2019, the American artist, Nathan Sawaya, will present some of the most amazing examples of his creative sculptures, made out of millions of colored LEGO© bricks.
Having toured the world with his masterful creations, Sawaya has earned a reputation for presenting poetic installations which pay tribute to the collections of our great museums. He is well known for providing his own unique and often humorous interpretation of classical works such as the Mona Lisa, Vermeer's Girl With a Pearl Earring, or Venus de Milo.
Following its huge success last year, Découv'Art will return to the Terre Sainte region for a weekend of open door events and artistic demonstrations.
Taking place over the weekend of 29 to 30 September, Découv'Art will provide the general public with the opportunity to meet local artists at work in their own workshops. In total, 13 artists and 1 art gallery located across 6 villages will open their doors throughout the weekend. Click here to find out more about each of the participating artists.
Many of the artists will also provide demonstrations of the techniques that they use in their projects. Sculpting, painting, ceramics, glass-making, photography, illustrating, pottery, woodworking, and sewing are just a few of the trades that you can expect to see on your tour of the workshops.
This is a rare opportunity to see for yourself the level of creative dynamism which prevails in this region, and to chat with the artists about their work, their sources of inspiration, and the techniques and materials that they use.
Win a great family day out at the Fête d'Eté in Le Châble with lunch included!
15 free invitations to be won for Yatouland's water park in Vernier!
Garden Party invitation to celebrate HM The Queen's 92nd birthday!
Château de Prangins kicks off 20th anniversary celebrations with appeal for 500 volunteers!
Lausanne History Museum reveals new permanent exhibition to public at grand reopening in April!


Always good quality when refueling with hydrogen, no impurities that damage the fuel cell: Professor Andreas Schütze and his research team from Saarland University are working with partners to develop a sensor system that constantly monitors the quality and purity of hydrogen directly at the fuel pump.
The Baden-Württemberg Minister of the Environment Franz Untersteller and Minister of Economics Nicole Hoffmeister-Kraut have asked the Federal Government in a joint letter to financially support the project "HyFab-Baden-Württemberg – Research Facility for Fuel Cells and Hydrogen".
SANTA BARBARA, CA — HyperSolar, Inc. (OTCQB: HYSR), the developer of a breakthrough technology to produce renewable hydrogen using sunlight and any source of water, announced today that the stability test of its proprietary fully integrated hydrogen production device had reached 566 hours breaking the company's own record for wireless self-contained solar hydrogen device. The design of the device will serve as the foundation of the Company's first generation commercial renewable hydrogen generator.


text:
Jan Van Der Veken (born 10 April 1975) is a Belgian illustrator.  Born in Ghent, he studied graphic design and typography at the Sint-Lucas School of Architecture in Ghent, where he studied under Ever Meulen (Eddy Vermeulen) and other instructors.

Van Der Veken developed his own artistic style, inspired by the atoomstijl (Atomic style), a 1980s "relaunch" of the Ligne claire.  He launched his own design company, Fabrica Grafica.

Van Der Veken specializes in book covers and posters, but also creates illustrations for various newspapers and magazines.  He illustrated the covers for the 7 December 2009 and 11 January 2010 issues of The New Yorker.

External links
 Fabrica Grafica website
 Drawn and Quarterly biography
 Comichouse biography

Belgian illustrators
1975 births
Living people

redpajama_set_name: RedPajamaWikipedia


text:
Butch Camp - VHS
Model:08272843
What's a nice guy to do if he just isn't able to find the man of his dreams? This is the dilemma that's befallen Matt (Paul Denniston), a sweet-natured but shy gay man who was dumped by his boyfriend three years ago. Matt is somewhat jealous of his roommate Danny (Bil Ingraham), whose evenings are dotted by a series of one-night stands, but Matt's interest in Danny fades when he moves out without warning, taking the furniture with him. Besides, Matt isn't interested in casual sex so much as (of course) someone to love. Tired of being walked on in life and love, Matt joins Butch Camp, a training facility for the less macho among us, where manic dominatrix Samantha Rottweiler (Judy Tenuta) whips her charges into shape. To enable her troops to fit in better with the manly outside world, Samantha gives each of the inmates a homework assignment: they have to go to (gasp!) a sports bar and pick up a woman. Needless to say, Matt is not looking forward to this project, but he goes forth with grim determination, swilling beer and objectifying women with the best of them, until he meets Janet (Jordan Roberts), who is about to give her boyfriend Rod (Jason Terisi) the old heave-ho. Matt takes one look at Rod and senses there's something about him that Janet hasn't quite figured out. This deliberately broad and politically incorrect comedy was something of a switch for writer/director Alessandro de Gaetano, whose previous project was the horror/sci-fi adventure Project: Metalbeast. ~ Mark Deming, Rovi


Every interaction with a customer is a reflection of the business, nonprofit, or organization you represent. You are expected to always treat them with courtesy and respect as well as know more than what's listed in your job description. In "Delivering Knock Your Socks off Service", Peformance Research Associates offer suggestions for consistently delivering excellent customer service.
The customer isn't always right – but they are always the customer. If something goes wrong, regardless of whose fault it is, involve your customers in the process of finding a resolution. Ask them how they would like to see things resolved. It doesn't mean you can do exactly what they want every single time, but it does give them a sense of control. This also tells them their input is important.
Complaints are a gift even though they may not feel like it when they happen! A great line from the book say "problems exist when the customer says they do". When the customer complains, they are giving you an opportunity to right the wrong or learn what you can do better.
The authors also offer suggestions on how to listen and how to ask the right questions so you can really learn from your customers, rather than making assumptions about what they want. Don't forget to regularly thank your customers. They have options every single time they make a purchase from you. If they're happy with you, don't be afraid to ask for referrals. Follow the advice in this book and you'll find yourself delivering knock your socks off service in no time.
Disclaimer: I received this book for free from AMACOM. I was not required to write a positive review.


New York Restaurant Week has officially kicked off — much to the chagrin of NYC foodies.
For the uninitiated, Restaurant Week is when hundreds of establishments, from fine dining standbys to hip new eateries, offer special prix fixe lunches and dinners for $25 and $38, respectively. The event actually runs four weeks, through August 16th.
Restaurant Week was started in 1992 by Tim Zagat and Joe Baum, and has become a massive hit in the past 21 years. More than 300 restaurants across the city are participating this season.
There are a few places out there where the special prix fixe is as good a deal as the regular menu (here are a few restaurants that are worth checking out). But by and large, foodies groan when the bi-annual event rolls around.
At first glance, Restaurant Week seems like a win-win for both restaurants and guests. Customers pay a fixed (and ostensibly lower) price while getting to try a new restaurant and its specialties.
But here's the thing: There are a ton of people who turn out for Restaurant Week. "Amateur eaters" are seduced by the seemingly low prices and a desire to experience a high-end or new NYC restaurant. Thanks to them, wait times can stretch on, and service may lag due to the sheer volume of orders and tables.
The quality of food often drops, too. Cheaper types of fish like salmon, or meats like chicken breast, that may not appear on the standard menu show up on the prix fixe as a way for owners to save money with the "special" Restaurant Week menus.
For example, none of the Restaurant Week entrées offered at Le Cirque this year — like Roasted Free Range Chicken and Grilled Atlantic Salmon — are on either the regular lunch or dinner menus.
Portions are often smaller as well. A common complaint I've heard from friends who go out during Restaurant Week (and experienced myself) is that salads or entrées are reduced to half their size at their favorite spot.
Taking all of this into consideration, those $25 and $38 prix fixe costs suddenly don't seem like the best deal. Since drinks, tax, and tip aren't included in those "flat" fees either, diners looking for cheap eats would be better off turning to Groupon, LivingSocial, or OpenTable's Spotlight to get a better deal with items that are actually on the regular menu.
Restaurant Week can certainly be great for restaurants — it amps up exposure and brings in new customers during winter and late summer, two of the slowest times of the year.
"NYC Restaurant Week is a good opportunity to showcase your restaurant to people who may have otherwise not dined with you," Chris Leahy of Midtown's Lexington Brass told us.
But it can also have the opposite affect. Crowds and long wait times annoy a restaurant's best customers, and those deal-seeking diners are not necessarily going to come back. Which is really bad, given that increasing repeat business for restaurants is one of the main goals of a publicity program such as Restaurant Week.
It can also be rough on the servers who schlep for unappreciative diners throughout the three-week event: "In some restaurants, servers aren't so happy," Anthony Mardach, the Director of Operations for Porter House (which offers a similarly-priced prix fixe year-round), told us. "It can lower the check average, and servers can make less money."
Once tax and drinks are factored in, guests realize they're spending as much as $50 for that "$25 lunch." With cheap eaters, it's the servers' tips that take the hit.
Do your research— some menus might be dumbed down, especially the ones that are usually $100+ a person. Try to find restaurants that stick as close to their main menu as possible (check out what this year's Restaurant Week menus look like here).
Make a reservation, especially at your favorite spot. Restaurant Week is always busy, and you might not be able to get in.
Don't be afraid to call if a restaurant is booked. Sometimes, restaurants will extend their promotions after Restaurant Week (or offer the prix fixe year round). Plus, it never hurts to make sure there are no cancellations!


text:
\section{Introduction}

Wormhole physics has crept back into the literature since the
analysis of classical traversable wormholes performed by Morris and
Thorne \cite{motho}.
Intuitively speaking such wormholes are tunnels linking widely
separated regions of space-time from where in-going causal curves can pass
through and become out-going on the other side.
The most striking feature of this unconventional arena is the possibility of
constructing time machines. It has been shown that generic relative
motions of the two wormhole's mouths, or equivalently generic gravitational
redshifts at the mouths due to external gravitational fields might
produced closed timelike curves \cite{mothoyu}.
A fundamental
difficulty associated with traversable wormholes, even in the
absence of closed timelike curves, is the requirement of
gravitational sources that
violate the weak energy condition (WEC) in order to support them.
Geometrically this could be understood as a breakdown of
Hawking-Penrose singularity theorems \cite{hawpen}. Instead of becoming
singular the timelike or null geodesic congruences diverge at the
wormhole throat. Attempts to get around the violation of WEC for
static wormholes in
General Relativity (GR)
have led some to look at wormholes in non-standard gravity theories, such
as $R + R^2$ theories \cite{hoch},
Moffat's non-symmetric theory
\cite{mof}, Einstein-Gauss-Bonnet theory \cite{bha}, and Brans-Dicke
(BD) theory
\cite{bdwh}. Nevertheless, for static wormholes, the violation of WEC is a
necessary consequence, no matter how many extra degrees of freedom
one wishes to endow upon the theory. Thus, in the case of static
BD wormholes,
the BD scalar ends up as the ``carrier'' of
exoticity.
The bottom line is that WEC is violated
for all static wormholes \cite{vishoch}. Within dynamical wormholes,
it was shown that multiplying  a static spherically symmetric line element by
an overall time dependent conformal factor it is possible (depending on
the explicit form chosen for the conformal factor) to either postpone the
violation of WEC, to relegate it to the past, or else to restrict its
violation to short intervals of time \cite{kar,ewh}.
The bizarre gravitational interactions of Einstein-Cartan (EC) theory have
proved to be usefull in the prevention of singularities \cite{Trau}. Thus,
these interactions emerge as the most attractive mechanism to obtain
the ``flash''
of ``exotic'' matter required to thread an evolving wormhole geometry.
The present letter reports our findings in regard to spherically
symmetric classical wormhole solutions in $U_4$ theory.

\section{Evolving wormholes endowed with torsion}

The differentiable
spacetime manifold of EC theory  has a non-symmetric
affine conection\footnote{In what follows,
greek indices $\mu,\nu,\dots,$
run from 0 to 3; square brackets
denote antisymmetrization while parenthesis symetrization,
and we set $G$ = $c$ = 1.}.
Its antisymetric part, the torsion tensor
$S_{\mu\nu}\,^\eta \equiv \Gamma^\eta_{[\mu\nu]}$,  is
linked to the spin angular momentum of matter $\tau_{\mu\nu}\,^\eta$. The field
equations of $U_4$  theory are found to be \cite{hel},
\begin{equation}
R_{\mu\nu} - \frac{1}{2} g_{\mu\nu} R_\eta\,^\eta = 8 \pi \Sigma_{\mu\nu}
\label{!}
\end{equation}
\begin{equation}
S_{\mu\nu}\,^\eta + \delta_\mu^\eta S_{\nu\alpha}\,^\alpha - \delta_\nu^\eta S_{\mu\alpha}\,^\alpha = 8 \pi
\tau_{\mu\nu}\,^\eta
\label{!!}
\end{equation}
where
$\delta_\mu^\nu$ is the Kronecker delta, and $g_{\mu\nu}$ the metric
tensor with signature -2. $R_{\mu\nu}=R_{\eta\mu\nu}\,^\eta$,
with $R_{\mu\nu\eta}\,^\alpha$ the
curvature tensor of the Riemann-Cartan connection $\Gamma_{\mu\nu}^\eta
=\{_{\mu\nu}^\eta\}+
S_{\mu\nu}\,^\eta-S_\nu\,^\eta\,_\mu+S^\eta\,_{\mu\nu}$, being
$\{_{\mu\nu}^\eta\}\,$
the Christoffel symbol of the metric. $\Sigma_{\mu\nu}$ is the
stress-energy tensor,
\begin{equation}
\Sigma_{\mu\nu} = (\rho + \Pi) u_\mu u_\nu - \Pi g_{\mu\nu} + \Delta
\Pi \left[ c_\mu c_\nu + \frac{1}{3} (g_{\mu \nu} - u_{\mu} u_\nu) \right]
+ 2 \,q \,c_{(\mu}u_{\nu)}
\end{equation}
with $\rho$ the energy density, $\Pi =  1/3\, (p_r + 2 p_\perp)$,
the isotropic pressure, and $q$ the energy flux.
The anisotropic pressure, $\Delta \Pi$, is the
difference between the local radial and lateral stresses $p_r$,
$p_{\perp}$. $u^\mu$ is the four velocity and $c^{\mu}$ is a space-like
unit vector in the radial direction.
If one substitutes Eq. (\ref{!!}) in Eq.
(\ref{!}), after a bit of algebra one arrives at the combined field equation,
\begin{equation}
R^{\mu\nu}(\{\}) - \frac{1}{2} g^{\mu\nu} R_\eta\,^\eta (\{\}) = 8 \pi
\tilde{\sigma}^{\mu\nu}
\label{E}
\end{equation}
with
\begin{equation}
\tilde{\sigma}^{\mu\nu} \equiv \sigma^{\mu\nu} + 8 \pi \,
[-4\tau^{\mu\eta}\,_{[\alpha}\tau^{\nu\alpha}\,_{\eta]} - 2
\tau^{\mu\eta\alpha} \tau^\nu\,_{\eta\alpha} +
\tau^{\eta\alpha\,\mu} \tau_{\eta\alpha}\,^\nu + 1/2\, g^{\mu\nu} \,
(\,4 \,\tau_\xi\,^\eta\,_{[\alpha}
\tau^{\xi\alpha}\,_{\eta]} + \tau^{\xi\,\eta\alpha} \tau_{\xi\,
\eta\alpha}\,)]
\label{S}
\end{equation}
$\{\}$ means that the quantities have been computed for the
Riemannian part, $\{^\eta_{\mu\nu}\}$, of the affine connection and are the
same as in GR. $\sigma^{\mu\nu}$ is the metric energy
momentum tensor,
\begin{equation}
\sigma^{\mu\nu} = \Sigma^{\mu\nu} - \nabla^{\star}_\lambda
(\tau^{\mu\nu\lambda} - \tau^{\nu\lambda\mu} + \tau^{\lambda \mu \nu})
\end{equation}
with $\nabla^{\star}_\lambda = \nabla_\lambda \,+ 2\,
S_{\lambda\rho}\,^\rho$, being $\,\nabla_\lambda$ the covariant
derivative with respect to the affine connection $\Gamma_{\lambda\rho}^\mu$.
The spin tensor is given by,
\begin{equation}
\tau_{\mu\nu}\,^\eta = s_{\mu\nu} u^\eta
\end{equation}
with the constraint,
\begin{equation}
s_{\mu\nu} u^\nu = 0
\end{equation}
where $s_{\mu\nu}$ is the spin density. The quantities
$\sigma^{\mu\nu}$ and $\tau_{\mu\nu}\,^\lambda$ are microscopically
fluctuating, thus, one has to compute an average of Eq. (\ref{S}) in
order to obtain an equation for bulk matter.
In taking the average of a spherically symmetric, isotropic system
of randomly oriented spins, it is found that the spin average itself $<
s_{\mu\nu} >
= 0 $, while the spin square terms $<s _{\mu\nu}s^{\mu\nu} > \neq 0$.
Hereafter we shall drop the averaging signs $<>$, but bear in mind that we
are dealing with microscopically averaged quantities.

Let the spacetime metric to assume the diagonal form,
\begin{equation}
ds^2 = \Omega (t) \, \{ \, e^{2\,\Phi(r)^{^{\pm}}}\,\, dt^2 - e^{2\,
\Lambda(r)^{^{\pm}}} \,\, dr^2 - r^2\,\,
d\Omega_2^2 \,\}
\end{equation}
with $\Omega (t)$ a conformal factor finite and positive defined
throughout the domain of $t$, $\Phi$ the redshift function, $\Lambda$ the
shape-like
function, and $d\Omega_2^2$,
the $S^2$ line element. The signs $+$, $-$, are used to represent quantities
in the upper and lower universes respectively.

In the spirit of \cite{karsah}, we make the Ansatz $\Phi = -
\alpha/r$, where $\alpha$ is a positive constant to be determined.
This choice guarantees that the redshift function $\Phi$ is finite
everywhere, and consequently there are no event horizons.
The application of the
field equations (\ref{E}) leads to the following expressions,
\begin{equation}
 \frac{3 \,\dot{\Omega}^2 \,e^{2\alpha/r}}{4\,\Omega^3} + \frac{2 \,\Lambda' \,
e^{-2\Lambda}}{r \, \Omega} + \frac{1}{r^2 \, \Omega} - \frac{e^{-2 \Lambda
}}{r^2 \,\Omega} = 8 \pi \rho - 16 \pi^2 s^2 = 8 \pi \tilde{\rho}
\label{e1}
\end{equation}
\begin{equation}
\frac{3\,\dot{\Omega}^2 \,e^{2\alpha/r}}{4\,\Omega^3} + \frac{ 2 \,\alpha
\, e^{-2\Lambda}}{r^3\, \Omega} - \frac{\ddot{\Omega} \, e^{2\alpha/r}}
{\Omega^2}
- \frac{ 1}{\Omega \, r^2} + \frac{ e^{-2\Lambda} }{\Omega \, r^2} =
8 \pi p_r - 16 \pi^2 s^2 = 8 \pi \tilde{p_r}
\label{e2}
\end{equation}
\begin{equation}
 \frac{3 \, \dot{\Omega}^2 \, e^{2\alpha/r}}{4\, \Omega^3}
- \frac{\ddot{\Omega}\, e^{2\alpha/r}}{\Omega^2}
- \frac{e^{-2\Lambda} \,\alpha}{r^3\, \Omega} - \frac{\Lambda'\,e^{-2 \Lambda}}
{r \, \Omega} + \frac{\alpha^2 \,e^{-2 \Lambda}}{ r^4 \,\Omega} -
\frac{ \alpha\, \Lambda'\,
e^{-2 \Lambda}}{\Omega \, r^2} =  8 \pi p_{\perp} - 16 \pi^2 s^2 = 8
\pi \tilde{p_{\perp}}
\label{e3}
\end{equation}
\begin{equation}
\frac{ \dot{\Omega} \,\alpha }{r^2
\, \Omega^2}
= 8 \pi q \,\, e^{\Lambda} \, e^{ \alpha/r}
\label{flujo}
\end{equation}
with $s^2 = 2 s_{\mu \nu} s^{\mu \nu}$ the square of the spin density.
In the expressions given above, dashes denote derivatives with respect
to $r$ while dots, derivatives
with respect to $t$.
Following the procedure presented in \cite{ewh}, we shall look for
analytical wormhole solutions independet of the conformal factor
$\Omega(t)$. In order to do so, let us impose the constraint,
\begin{equation}
\rho -  \Pi = \frac{ \Upsilon (t) \, e^{2\alpha/r}}{ \Omega(t)}
\end{equation}
or equivalentely,
\begin{equation}
 \frac{\ddot{\Omega}\,e^{2\alpha/r } }{\Omega^2} +
\frac{e^{-2\Lambda}}{3\, \Omega} \left[ \Lambda' \left(
\frac{4}{r} + \frac{\alpha}{r^2} \right)  +  \frac{2e^{2\Lambda}}{r^2} -
\frac{2}{r^2} - \frac{\alpha^2}{r^4} \right]
 =   \Upsilon (t)  \frac{e^{2\alpha/r}}{\Omega(t)}.
\label{traza}
\end{equation}
Actually, the definition of $\Upsilon$ is needed
so as to obtain the complete behavior of the equation
of state. With this degree of freedom, it is straightforward to obtain the
desired temporal evolution of the metric \cite{ewh}. Therefore, in what
follows, we shall
analyze the stationary part of Eq. (\ref{traza}).
After separating variables, the radial part of equation (\ref{traza}) can
be rewritten in the compact form,
\begin{equation}
\frac{2 e^{2\Lambda}}{r^2} + \Lambda' \left( \frac{4}{r} +
\frac{\alpha}{r^2}\right) = \left( \frac{2}{r^2} + \frac{\alpha^2}{r^4}
\right).
\label{radial}
\end{equation}
The change of variables $\Lambda = {\rm ln} \chi$ transforms Eq.
(\ref{radial}) into a Bernoulli equation, which integrates straightforwardly
to,
\begin{equation}
e^{-2 \Lambda} =\frac{c_{_2} \zeta^2 + c_{_3} \zeta^3 + c_{_4} \zeta^4 +
c_{_5} \zeta^5 + c_{_6} \zeta^6 + c_{_7} \zeta^7 + c_{_8}
\zeta^8 + c_{_9} \zeta^9+  e^{2/\zeta} \zeta^8 {\cal K}\,}
{(4 \zeta +1 )^9}
\label{lambda}
\end{equation}
with $\zeta = r/\alpha$,  ${\cal K}$ an integration constant, and the
coefficients $c_{_i}$ are listed in Table I.
Since the mouths of the wormhole, for a fixed value of $t$, must connect
two asymptotically flat
spacetimes the
geometry at the wormhole's throat is severely constrained. The so-called
``flaring out'' condition asserts that the
inverse of the embedding function $r(z)$, must satisfy $d^2 r/dz^2 >
0$ at or near the throat \cite{motho}. Stated
mathematically,
\begin{equation}
-\frac{\Lambda'\, e^{-2\Lambda}}{(1-e^{-2\Lambda})^2} > 0.
\label{fo1}
\end{equation}
Moreover, the precise definition of the wormhole's throat (wormhole's
minimun radius) entails
a vertical slope of the embedding surface,
\begin{equation}
\lim_{r \rightarrow r_{_{\rm th}}^+}
\frac{dz}{dr} \, = \lim_{r \rightarrow r_{_{\rm th}}^+}\, \pm\,
\sqrt{e^{2\Lambda} - 1} = \, \infty.
\label{fo2}
\end{equation}
Equations (\ref{fo1}) and (\ref{fo2}) will be satisfied if and only if
\begin{equation}
\lim_{r \rightarrow r_{_{\rm th}}^{^+}} e^{-2\Lambda} = 0^+,
\label{fo}
\end{equation}
thus, in order to
fix the constant ${\cal K}$, we must select a value for the
dimensionless radius ($\zeta_{_{\rm th}} > 0$) such that Eq. (\ref{fo}) is satisfied.
As an example, let us impose $\zeta_{_{\rm th}}$ = 1,
which sets ${\cal K}  = -\,798517.5 \,e^{-2}$ and
$r_{_{\rm th}} = \alpha$. It is easily seen that,
as $\zeta \rightarrow \infty $, $e^{2 \Lambda^{^\pm}} \rightarrow 1$.
In this way the nonmonotonic coordinate $\zeta$ (dimensionless
radius) decreases from $+\infty$ to a minimum value $\zeta_{_{\rm th}}$,
representing the location of the throat of the wormhole and then
increases from $\zeta_{_{\rm th}}$ to $+\infty$. Because of the ill behavior of
the radial coordinate
$r$ near the throat, the spatial geometry is better studied by introducing
the proper radial coordinate, $dl\,=\,
\pm \,e^{\Lambda}\, dr$, which is well behaved throughout the spacetime
ranging from $-\infty$ to $+\infty$ with $l=0$ at the throat. In this way, if
$l \rightarrow \pm \,\infty$, $dz/dr \rightarrow 0$, i.e. far from the
throat in both radial directions the space become asymptotically flat,
while if $l \rightarrow 0$,
$dz/dr \rightarrow \infty $, yielding a vertical slope of the
embedding surface. The aforementioned properties of $\Lambda$, together with
the definition of $\Phi$, bear out that
the metric tensor describes two asymptotically flat spacetimes
joined by a throat for each fixed value of $t$.

Concerning the status of WEC's violations, extensions of
Hawking-Penrose singularity
theorems for EC theory have been already performed \cite{k}. The inequality,
\begin{equation}
\left(\, \tilde{\sigma}^{\mu\nu} - {1 \over 2} \, g^{\mu\nu}\,
\tilde{\sigma}_\eta\,^\eta\,
\right)\,
\xi_\mu\, \xi_\nu \geq 0
\end{equation}
that must hold for all timelike unit vectors
$\xi^\mu$, generalizes
the strong energy condition in EC theory. The corresponding
generalization for WEC is given by the inequality,
\begin{equation}
\tilde{\sigma}^{\mu\nu} \xi_\mu\, \xi_\nu \geq 0
\label{WEC}
\end{equation}
that must hold for all timelike unit vectors
$\xi^\mu$.
It is easily
seen following the procedure sketched in \cite{ewh} that the
dynamics of the geometry lets one move the energy condition violating
region around in time leading to a temporary suspension of the need for the
WEC violation. This hardly solves the problem since struts of ``exotic''
material are still required at least in an infinitesimal time interval.
It is possible to address this problem in $U_4$ theory with a
distribution of matter with square spin effects overwhelming
the mass terms. Hehl et al \cite{hel} have
estimated the required critical
density $\rho_{\rm_C}$ for such a situation.
In the case of a spin fluid of neutrons with isotropic pressure,
$\rho_{\rm _C} \approx 10^{54}$ g cm$^{-3}$,
which is orders of magnitude larger than the
density at the center of the most massive neutron stars.
In the case of electrons, the estimated value is
$\rho_{\rm _C} \approx 10^{47}$ g cm$^{-3}$.

\section{Outlook}

It was shown that EC theory admits evolving wormhole geometries
which could hide a ``flash'' of exoticity in the torsion tensor.
In spite of the
very restrictive conditions upon the matter density, the very early universe
might provide a fruitful scenario for wormholes to rise.  Unfortunately,
the functional forms of the conformal factor $\Omega (t)$
associated with realistic descriptions
of the expansion of the universe cannot be used for the enlargement of
these wormholes (see the discussion about spherically symmetric
time-dependent wormholes of ref. \cite{haifa}).

\acknowledgements

This work has been partially suported by FOMEC.

\begin{table}
\caption{Coefficients of the function $e^{-2 \Lambda}$}
\begin{tabular}{ccccccccc}
$c_{_2}$  & $c_{_3}$ & $c_{_4}$ & $c_{_5}$ & $c_{_6}$ & $c_{_7}$
& $c_{_8}$ & $c_{_9}$ \\ \hline
2 & 70 & 1071 & 9310 & 49805 & 164493 & 311622.5 & 262144
\end{tabular}
\end{table}

redpajama_set_name: RedPajamaArXiv


Clinicians Dr. Alicia W. Walker and Dr. Jabarie Glass invite you to join us for a day of singing! Get a great start on your choral year with foundations for healthy singing and beautiful tone.
On your own. Explore UofSC's campus!
Event time: Registration 8:30 a.m.; Clinic 9:00 a.m.–3:00p.m.
Be sure to register your students by the deadline whether you are prepaying or plan to bring your payment the day of the clinic. You must, however, pay for the number of students you register (you may substitute students as necessary). If you need to cancel for any reason, you must do so by the registration deadline, otherwise payment will be required (music and t-shirts will already be ordered and cannot be returned).
For questions, contact the choral office at 803-777-5369 or email choral@mozart.sc.edu.


Employee handbooks, like that rare bird the Yellow Pages, are often found hanging out propping open doors. There seems to be an intercompany tussle to see whose can be crowned driest of them all. But in the right hands, an employee handbook can be a powerful vehicle for attracting the right employees, communicating values, and inspiring change.
Zappos has truly raised the bar for placing incredible emphasis on cultural fit (they take it so far as to offer new hires $3,000 to leave at the end of the first week – allegedly this is rarely collected!). The Zappos Culture Book is complete with employee insights on Zappos' culture, as well as photos, core values, and plenty more.
The question is how do you translate that incredible emphasis on culture into something as dry as an employee handbook without losing your audience? There's only one option of course, turn that dry old handbook into an action-packed comic of course! Zappos' employee comic book (handbook) stars a grandmother explaining how to play nice to her grandson in an around about way of sharing all the potentially sapping policies and procedures they have to include.


Responding to questions involving topics on mental health is challenging even for the most experienced librarian. In Caring for the Mind, participants will learn how to effectively provide mental health information at their libraries. Participants will learn about the best electronic resources to consult as well as ways to improve their print collections. Best approaches for handling interactions with emotional patrons will also be discussed. Other topics covered include: bibliotherapy; assessment/testing; and the future of mental health.
This one hour interactive webinar will increase participants' skills for providing mental health information for care providers and the public.
Responding to questions involving topics on mental health is challenging even for the most experienced librarian. In Caring for the Mind, participants will learn how to effectively provide mental health information at their libraries. Participants will learn about the best electronic resources to consult as well as ways to improve their print collections. Best approaches for handling interactions with emotional patrons will also be discussed. Other topics covered include: bibliotherapy; assessment/testing; and the future of mental health. This class will increase participants' skills for providing mental health information for care providers and the public.
NLM resources covered in this class include MedlinePlus, Drug Information Portal, DailyMed, and Pillbox as well as other NIH and freely available authoritative resources. This is a variable credit class. The number of CE credits is tied to how much time and effort is expected of the learner to complete the class. Please check the scheduled instance for the actual number of credit hours offered.
Gain awareness of mental health issues.
Learn to respond to challenging reference questions for mental health information.
Be informed of tools for collection development and mental health research including the latest web sites and databases.


The recent rain, a quick melt and new snow has resulted in rapidly rising river levels.
As a precautionary effort, the Club will be laying down sandbags to mitigate the risk of rising waters on the Boathouse. Please, we need your help. Members and volunteers are asked be at the club starting at 4:00 PM today (Thursday March 17th).
At 12:30 PM today, water levels are at 15.31 ft. James. The river is rising approximately 3/4″ per hour or 1.5′ per day.
Remember! Many hands make light work.


text:
Elizabeth du Gué Trapier (1893-1974) fou una experta en art espanyol. Després de graduar-se en biblioteconomia, va formar part d'un selecte grup de dones escollides per Archer Milton Huntington, centrant el seu estudi en pintures i dibuixos.

Elizabeth du Gué Trapier va néixer el 5 d'abril de 1893 a Washington DC. Va morir el 15 d'octubre de 1974 a Hightstown, Nova Jersey. Miss Trapier va dedicar la major part del seu treball a la Hispanic Society of America. Durant quatre dècades, com a comissària de pintures a aquesta institució, va publicar diversos estudis sobre la història de l'art espanyol. La seva monografia sobre Velázquez, publicada l'any 1948, és un text bàsic, i els seus catàlegs, llibres i articles sobre Josep de Ribera, Goya, El Greco, Valdés Leal i altres artistes espanyols, són de gran importància en la Història de l'art. Miss Trapier va rebre l'Orde del Mèrit Civil l'any 1968, la Medal of Arts and Literature i la Medalla Mitre. A més, pels seus anys de treball a la Hispanic Society of America fou guardonada amb la Medalla Sorolla d'aquesta prestigiosa institució.

Referències

Historiadors de l'art
Persones de Washington DC
Morts a Nova Jersey
Historiadors de l'art estatunidencs


text:
SHUMON BASAR ON 'AGE OF YOU' AT JAMEEL ARTS CENTER
by Rebecca Anne Proctor
Jenna Sutela, I Magma, 2019. Courtesy of Jameel Arts Centre. Photo by Daniela Baptista
The curator, Shumon Basar, speaks with Rebecca Anne Proctor on how the exhibition charts the loss of a former version of self amidst an increasingly digital landscape
Rebecca Anne Proctor [RAP]: What is Age of You about and what inspired to staging of the exhibition?
Shumon Basar [SB]: Age of You is an exhibition by myself, Douglas Coupland and Hans Ulrich Obrist, with design by Daly & Lyon, and it's about how our sense of individuality has changed, first because of technology, and even more recently, because of the pandemic. We chose the title "Age of You" because in the 21st century, the most valuable resource in the world isn't oil or gold; the most valuable resource is how you feel, and how your feelings are turned into tradable data and information. In a sense, every single one of us is at the center of this new world, this new reality, and this new kind of economic power.
Shumon Basar Portrait
RAP: In the hyper-tech world that we are living in where Instagram culture and the digital sphere has in many ways replaced a large part of our physical reality, why is this show so pertinent to today's world?
SB: Change happens so quickly today — and the changes are so profound — we're going through what I call "change vertigo." I don't know about you, but I wake up every morning to something entirely new. What I took for granted yesterday, I can't anymore today. And then the pandemic made this feeling even more extreme. Things that we thought were constants (like being able to get on a plane or go to the shops or hug a loved one) are suddenly impossible or complicated. The pandemic has made us exist on screens, as data streams, as interminable Zoom calls, as voice-notes, as expressive emoji. Is there any going back? It seems ridiculous, now, to talk about "first life" (the physical) and "second life" (the digital) as though they are separated anymore. "Age of You" is interested in how our sense of being individuals, or collectives and crowds, are morphing because of these ruptures in the fabric of reality. What have we become? What are we turning into?
RAP: The exhibition is based around Basar/Coupland/Obrist's latest book, The Extreme Self, a sequel to their previous title, The Age of Earthquakes: A Guide to the Extreme Present. How did you adapt the ideas found in the book to an exhibition format?
SB: The Age of Earthquakes was an homage and an update of Marshall McLuhan's The Medium is the Massage (1967). This time our spirit guide is a book called The Age of Extremes from 1994 by Eric Hobsbawm, the great Marxist historian. It's a book that holds shared importance for all of us. Hobsbawm's 20th century starts off with the infamous gunshot in Sarajevo in 1914 and ends with the collapse of the Soviet Empire in 1991. Put in simple terms, one could say that the 20th century was dictated by a war of ideologies: on the one hand, there was Communism, which prioritised the collective, the State. And then, there was Capitalism, which elevated the wants, needs and rights of the individual. What we say in our book and exhibition is that, "the Age of You is the new Age of Extremes." It's what is already defining the course of the 21st century. In terms of formats, our books feel like exhibitions — or even, meme accounts. They're collisions of text and images, which are sourced this time from over 70 artists, designers, musicians and technologists. So, it wasn't a stretch to plan the exhibition (which was shown in its first iteration at MOCA Toronto in late 2019) and the new book (which comes out in Spring 2021) in parallel. They feed each other.
Yuri Pattison, Untitled (iOS emoji content aware fill), 2021. Courtesy of Jameel Arts Centre. Photo by Daniela Baptista
RAP: How did you work on the exhibition with the other curators, Douglas Coupland, and Hans Ulrich Obrist?
SB: The exhibition is just one possible form of expression of what really happens between us: an infinite conversation that's over a decade old now, and still counting. Where our interests overlap is: trying to make sense of the present moment, as it mutates into the next present moment. In order to do this, you need to be interested in everything. Fashion, gadgets, economic theory, celebrity gossip, scientific research, and, mostly, people. But then each of us also brings a set of specific unique skills. Douglas is one of the best known writers in the last 30 years. But he's also been a visual artist for even longer than that. Hans Ulrich Obrist is without a doubt the most informed and connected curator of our times, with an archive of interviews that measure in thousands of hours of recording. And I believe what I am able to do is synthesise the complex materials we deal with, into something like a whole, in close collaboration with Wayne Daly, our graphic designer.
RAP: The exhibition is very much conceptual in format. How did you select the participating artists?
SB: There are over 70 visual contributors to the book and the show, and then another dozen who contribute in situ works for the show. We have criteria when deciding who to invite. We insist there's breadth in geography — from Asia to the Americas — and also in generation. So, there are contributors one might call "Generation Z" and then there are extremely well established, venerated figures. We have more women than men, and also, crucially, people whose gender identification goes beyond those two binaries. Lastly, it isn't just artists. There are fashion designers, musicians, technologists. It's really a polyphony of voices and visions.
Sara Cwynar, Soft Film, 2016. Courtesy of Jameel Arts Centre. Photo by Daniela Baptista
RAP: What are some of the highlights of the show's "13 immersive chapters" and how do the works show how the remaking of our interior world as the exterior world is driving humanity into a greater state of uncertainty?
SB: The pandemic has pushed us faster and further into the 21st century. Things that were predicted to happen in decades' time are suddenly all happening right now. In Satoshi Fujiwara's photographic installation, he's asking us if we still feel safe or scared being in crowds. In Trevor Paglen's film, he's showing us how machines see the world and see us. Since many of us spend most of our waking lives staring at screens now, it's important to understand how these systems work. And in Sara Cwynar's film, she's talking about how we define ourselves by the things we order online. As we know, online shopping has rocketed over the last year, while many famous shops and stores have closed down. Our relationship to online items is only going to increase from now on, and with it, the entire universe of shopping.
Satoshi Fujiwara, Crowd Landscape, 2021. Courtesy of Jameel Arts Centre. Photo by Daniela Baptista
RAP: The show seems to conclude on a bleak note: The Age of You seems ultimately about the loss of You. Do you agree? If yes, why?
SB: Your position is valid by itself! And I find it very persuasive. Perhaps, the way I'd phrase it is: what is lost is a former version of yourself. However, it's replaced by a new version — this "Extreme Self" — like an operating system update. The reason the last item in the show is a latex cast of David Bowie is because David Bowie was one of the original "extreme selves" from the 20th century. He was born as David Jones. He realised that in order to achieve what he wanted to achieve, he had to invent a character: David Bowie. And then David Bowie invented a character: Ziggy Stardust. Then Bowie killed Ziggy off. And for years and years, Bowie reincarnated again and again as different characters, with fully formed back stories, personalities and styles. Isn't this what we do online these days? Is your Instagram "you" really "you" or an idealised, invented version of "you"? One of the chapters in the book says, "You are multiplying." So, it's not so much the loss of you, as it is, the endless multiplication of you — known and unknown, intended and unintended — that marks this moment.
Trevor Paglen, Behold These Glorious Times!, 2017. Courtesy of Jameel Arts Centre. Photo by Daniela Baptista
RAP: What do you, Coupland and Obrist believe is the next stage of our current Age of You?
SB: Douglas says that he thinks the biggest change will be the inability to handle or exist inside the physical world. For decades in Japan they've had a demographic called hikikomori, and there's over a million of them. According to Wikipedia:
Hikikomori are reclusive adolescents or adults who withdraw from society and seek extreme degrees of isolation and confinement. Estimates suggest that half a million Japanese youths have become social recluses, as well as more than half a million middle-aged individuals.
The only time hikikomori ever leave the house — if they do — is in the middle of the night to maybe go to a 7-Eleven or a Lawson for snacks. The "real world" no longer exists for them. Being hikikomori is like anorexia or hoarding in that once the tendency is in operation, it's already too late to fully rectify. I then told Doug that, there was a meme that emerged when COVID-19 reached the Western hemisphere. It said — and here I paraphrase — that with everyone in the world shutting themselves indoors, all the hikikomori can finally go outside. But he still believes that it'll be the opposite! He says, "I know that the 'virtual world replacing the physical world' is a very old idea, but if you're asking for a visual of life in 2030, then I think that's going to be it." We'll have to wait and see.
THE EXPERIMENTAL CATALOGUE | NADA RAZA
INTERSECT 21 | DESIGN HIGHLIGHTS
Rebecca Anne Proctor February 24, 2021
The exhibition trilogy The Architecture of Transformation, curated by Sam…
ARCHITECTURAL PROWESS AT EXPO 2020 DUBAI
A display of intelligent solutions and pure ingenuity, Expo 2020…


text:
Carl A. Morris, né le  à Yorba Linda en Californie, et mort le , est un artiste-peintre américain.

Biographie

Il a étudié à l'Art Institute of Chicago ainsi qu'à Paris et à Vienne. Il a ouvert le  par le biais du Federal Art Project lors de la Grande Dépression. Il a rencontré sa femme, la sculptrice  lorsqu'il était recruté en tant que professeur au centre. Parmi les autres enseignants notables du centre, figurent  et Clyfford Still. Déménageant à Seattle en 1940, ils ont rencontré Mark Tobey et sont devenus des amis pour la vie.

Notes et références

Voir aussi

Bibliographie

Liens externes

Naissance à Yorba Linda
Peintre américain du XXe siècle
Élève de l'École de l'Institut d'art de Chicago
Naissance en mai 1911
Décès en juin 1993
Décès à 82 ans


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Buzzards In Love
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text:
Authors Tayari Jones, Pearl Cleage at Emory to Discuss Mentorship, Writing
By Emory Libraries | Sept. 10, 2018
Pearl Cleage (left) and Tayari Jones (right, by Nina Subin) will discuss mentorship and writing at 7 p.m. Thursday, Sept. 27 in the Cox Hall Ballroom.
VIDEO: Creativity Conversation with Pearl Cleage, Alice Walker, and Valerie Boyd
Author Tayari Jones joins Emory University faculty April 16, 2018
Writer Pearl Cleage places her archive at Emory Aug. 28, 2012
Rose Library finding aid: Pearl Cleage papers
Arts and Culture, Humanities, Events, Libraries, Emory College, MARBL
SisterWriters: An Evening with Pearl Cleage and Tayari Jones
Thursday, Sept. 27, 2018
Cox Hall Ballroom at Emory University
569 Asbury Cir., Atlanta, 30322
6:15 p.m. Doors open
7 p.m.: Discussion and Q&A, followed by book signing by both authors
There are no seats remaining as of Sept. 18, and registration is now closed.
New York Times best-selling author Tayari Jones joins Pearl Cleage, the nationally recognized playwright, poet, novelist, and social activist, to discuss mentorship and writing on Thursday, Sept. 27, at 7 p.m. in the Cox Hall Ballroom. Books will be for sale at the event, and a book signing will follow.
Doors will open at 6:15 p.m., and guests must be seated by 7 p.m. The event is open to the public at no charge, but registration is required for this event.
Jones, who becomes an Emory creative writing faculty member this fall, is a graduate of Spelman College, where a class taught by Cleage fostered a passion for writing that set the course for her career. Jones' "An American Marriage" and Cleage's "What Looks Like Crazy on an Ordinary Day" (also a New York Times best-seller) were both Oprah Book Club selections. Cleage, whose papers are housed at the Rose Library, has written 18 books and plays; several of the plays have been staged in theaters around the country.
"The Rose Library is thrilled to welcome these two exceptional authors to reflect together on their experience and relationship as writers, and to share their insight and inspiration with the students and writers in the audience," says Jennifer Meehan, Rose Library interim director. "It is an honor to host Tayari Jones for her first library event as a new Emory faculty member, and to continue the library's long association with Pearl Cleage whose papers reside in the Rose Library where they are available for use by scholars and students."
Rose Library instruction archivist Gabrielle Dudley says Cleage and Jones are among those featured in the library's current archival exhibit "She Gathers Me: Networks Among Black Women Writers."
"The exhibit uses the archives to explore the writing networks among contemporary black women writers," says Dudley, who curated the exhibit. "The relationship between Pearl Cleage and Tayari Jones underscores the interconnectedness of the writing circles and reveals how these connections could develop over time. The growth of their relationship from teacher and student to that of friends and 'SisterWriters' is a testament to the power of representation and mentorship."


text:
Georges St-Pierre Returns to The MCU For 'The Falcon and the Winter Soldier'
Production is back on for the Marvel Studios' Disney+ series The Falcon and the Winter Soldier. Today, Just Jared shared some exclusive set photos featuring some of the cast and has confirmed the return of Georges St-Pierre's Georges Batroc.
In the photos, which you can see below, also gives us a looks at Emily VanCamp as Sharon Carter/Agent 13 and Desmond Chiam who will be playing an unconfirmed character.
Also todday, Sebastian Stan released a behind the scenes photo of him and Anthony Mackie, giving us a peek at their new suits.
Read: Jonathan Majors Joins Marvel Studios' Third 'Ant-Man' Movie
Mackie and Stan return as Sam Wilson aka The Falcon and Bucky Barnes aka The Winter Soldier. Also reprising his role in The Falcon and the Winter Soldier is Daniel Bruhl as Baron Zemo, who orchestrated the events of Captain America: Civil War. Newcomers to the MCU for the series include Wyatt Russell (son of Disney Legend Kurt Russell) is John Walker "U.S. Agent." With Cle Bennett, Carl Lumbly, Desmond Chiam, Miki Ishikawa, Adepero Oduye, and Erin Kellyman, all in unknown roles. There have been reports that the Dora Milaje, who protects the king and the royal family of Wakanda in Black Panther, will also make an appearance.
All six episodes of the miniseries will be directed by Emmy nominee Kari Skogland (The Handmaids Tale, The Punisher), with Derek Kolstad (John Wick) apart of the writing team. Some reports surfaced that the series could have some sort of massive viral threat, and will introduce the villain turned hero team The Thunderbolts.
Source: Just Jared
Tags: Disney plus Disney+ Georges St-Pierre Marvel Marvel Studios The Falcon and the Winter Soldier
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Fry onions for a few minutes.
Add water as necessary to make a smooth sauce.
Bring to a slow boil, reduce heat, simmer for ten minutes.
Serve with grilled or roasted Chicken, , or meat, or boiled cassava (manioc) tubers, plantains or yams.


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Recently, I'm ashamed to admit, I learned the song "Southern Nights" was written by the late, great, New Orleanian Allan, Toussaint. For years, it never occured to me that anyone other than Glen Campbell wrote it, given his version was a 1977 hit. This new knowledge sent me down a rabbit hole of listening to various live versions of the song by Toussaint. My favorite ended up being his beautifully played take on "Allan Toussaint's Songbook," which was released in 2013, two years before the musician's death while on tour in Madrid, Spain. In it, between the piano refrains and the familiar chorus, he tells stories about growing up in Louisiana, trips to the country, visiting with his Creole relatives and the old houses that he jokes were always old; that they were built old. I quickly added the song to a summer Spotify playlist I was creating in anticipation of the many evenings we'll spend on the porch this season, grateful that the heat of the day will have given way to a slightly more bearable version of hot.
It's of course never really cool in New Orleans in the summer. But that doesn't stop us from enjoying our outdoor spaces. In this issue, we are celebrating time spent outside.
From our pool decor spread in Trendwatch on page 38, to the outdoor entertaining feature, "Up on the Roof," on page 66, and our annual pools, porches and patios feature on page 76, there is sure to be plenty of inspiration to help you beat the summer heat.
Or, if not beat it, at least enjoy it in style.
Mix yourself a refreshing cocktail, put on your favorite hot weather tunes and get outside. Whether it's time spent poolside, on the patio, on a rooftop or on the porch, you're sure to enjoy those Southern nights. Cheers!


text:
/* tslint:disable */

import { ConcreteRequest } from "relay-runtime";
export type CommerceOrderParticipantEnum = "BUYER" | "SELLER" | "%future added value";
export type CommerceOrderStateEnum = "ABANDONED" | "APPROVED" | "CANCELED" | "FULFILLED" | "PENDING" | "REFUNDED" | "SUBMITTED" | "%future added value";
export type CommerceFixFailedPaymentInput = {
    readonly clientMutationId?: string | null;
    readonly creditCardId: string;
    readonly offerId: string;
};
export type NewPaymentRouteSetOrderPaymentMutationVariables = {
    input: CommerceFixFailedPaymentInput;
};
export type NewPaymentRouteSetOrderPaymentMutationResponse = {
    readonly commerceFixFailedPayment: {
        readonly orderOrError: {
            readonly order?: {
                readonly state: CommerceOrderStateEnum;
                readonly creditCard: {
                    readonly internalID: string;
                    readonly name: string | null;
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                    readonly postal_code: string | null;
                } | null;
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            readonly actionData?: {
                readonly clientSecret: string;
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            readonly error?: {
                readonly type: string;
                readonly code: string;
                readonly data: string | null;
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    } | null;
};
export type NewPaymentRouteSetOrderPaymentMutation = {
    readonly response: NewPaymentRouteSetOrderPaymentMutationResponse;
    readonly variables: NewPaymentRouteSetOrderPaymentMutationVariables;
};

/*
mutation NewPaymentRouteSetOrderPaymentMutation(
  $input: CommerceFixFailedPaymentInput!
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            street1
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          id
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        error {
          type
          code
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      }
    }
  }
}
*/

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                          (v7/*: any*/),
                          (v2/*: any*/),
                          (v8/*: any*/),
                          (v9/*: any*/)
                        ]
                      },
                      (v10/*: any*/)
                    ]
                  }
                ]
              },
              (v11/*: any*/),
              (v12/*: any*/)
            ]
          }
        ]
      }
    ]
  },
  "operation": {
    "kind": "Operation",
    "name": "NewPaymentRouteSetOrderPaymentMutation",
    "argumentDefinitions": (v0/*: any*/),
    "selections": [
      {
        "kind": "LinkedField",
        "alias": null,
        "name": "commerceFixFailedPayment",
        "storageKey": null,
        "args": (v1/*: any*/),
        "concreteType": "CommerceFixFailedPaymentPayload",
        "plural": false,
        "selections": [
          {
            "kind": "LinkedField",
            "alias": null,
            "name": "orderOrError",
            "storageKey": null,
            "args": null,
            "concreteType": null,
            "plural": false,
            "selections": [
              (v13/*: any*/),
              {
                "kind": "InlineFragment",
                "type": "CommerceOrderWithMutationSuccess",
                "selections": [
                  {
                    "kind": "LinkedField",
                    "alias": null,
                    "name": "order",
                    "storageKey": null,
                    "args": null,
                    "concreteType": null,
                    "plural": false,
                    "selections": [
                      (v13/*: any*/),
                      (v2/*: any*/),
                      {
                        "kind": "LinkedField",
                        "alias": null,
                        "name": "creditCard",
                        "storageKey": null,
                        "args": null,
                        "concreteType": "CreditCard",
                        "plural": false,
                        "selections": [
                          (v3/*: any*/),
                          (v4/*: any*/),
                          (v5/*: any*/),
                          (v6/*: any*/),
                          (v7/*: any*/),
                          (v2/*: any*/),
                          (v8/*: any*/),
                          (v9/*: any*/),
                          (v14/*: any*/)
                        ]
                      },
                      (v14/*: any*/),
                      (v10/*: any*/)
                    ]
                  }
                ]
              },
              (v11/*: any*/),
              (v12/*: any*/)
            ]
          }
        ]
      }
    ]
  },
  "params": {
    "operationKind": "mutation",
    "name": "NewPaymentRouteSetOrderPaymentMutation",
    "id": null,
    "text": "mutation NewPaymentRouteSetOrderPaymentMutation(\n  $input: CommerceFixFailedPaymentInput!\n) {\n  commerceFixFailedPayment(input: $input) {\n    orderOrError {\n      __typename\n      ... on CommerceOrderWithMutationSuccess {\n        order {\n          __typename\n          state\n          creditCard {\n            internalID\n            name\n            street1\n            street2\n            city\n            state\n            country\n            postal_code: postalCode\n            id\n          }\n          ... on CommerceOfferOrder {\n            awaitingResponseFrom\n          }\n          id\n        }\n      }\n      ... on CommerceOrderRequiresAction {\n        actionData {\n          clientSecret\n        }\n      }\n      ... on CommerceOrderWithMutationFailure {\n        error {\n          type\n          code\n          data\n        }\n      }\n    }\n  }\n}\n",
    "metadata": {}
  }
};
})();
(node as any).hash = '5c256b32143277ea1317c4f02753b657';
export default node;


Round handle tote with zip closure. 15" w x 11 1/4" h x 5" d. Synthetic. Available only in Navy/White.
Kelsie Bag is rated 4.8 out of 5 by 4.
Rated 5 out of 5 by Aby from Awesome This is a beautiful bag with solid leather.I can not wait for Ashro to get size 8 for shoes to match.
What color is the metal trim? Some pics show silver. Others look gold.