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Tilikva australská (Tiliqua scincoides) je druh scinka. Nativně se vyskytuje v Austrálii a na ostrovech Tanimbar a Babar v provincii Maluku v Indonésii.

Popis
Jedná se o suchozemského ještěra měřícího až 60 centimetrů na délku a těžkého až 1 kilogram. Má statné tělo a krátké nohy. Má proměnlivou barvu, ale obecně má pruhovaný vzor. Jazyk má modrofialovou až kobaltově modrou barvu. Kvůli charakteristicky modrému jazyku a zvědavé povaze je v západních zemích populární jako společenské zvíře.

Tato ještěrka je aktivní ve dne. Je všežravá, živí se hmyzem, plži, žábami, jinými plazy, drobnými ptáky, malými savci, mršinami, některým rostlinným materiálem, ovocem a houbami. Je ovoviviparní, vajíčka se líhnou uvnitř těla samice; rodí pak 5 až 25 živých mláďat na vrh. Je známo, že tento druh žije více než 30 let. Je to přizpůsobivé zvíře, které často nachází stanoviště v městských a předměstských oblastech, včetně obytných oblastí Sydney. Ještěrka je v těchto oblastech považována za prospěšnou, protože pojídá i zahradní škůdce, jako jsou slimáci a hlemýždi.

Když je ohrožena, může zasyčet a odhalit svůj modrý jazyk, čímž zaskočí potenciální predátory. Existují tři barevné morfy tilikvy: albín, divoký typ a melanistický. V teplém prostředí mají divoký typ tilikvy a melanistická tilikva kůži s nižší odrazivostí ve srovnání s albínem, proto mohou tito dva ještěři zahřívat svá těla rychleji.

Galerie

Reference

Scinkovití


The EVICR.net Educational Programme is constituted by modules of webinars.
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After attendance of each webinar you will be asked to fill in a short evaluation questionnaire.
A certificate will only be issued upon attendance in the three webinars and with the completed evaluation questionnaire.


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We had a beautifully blessed Christmas--rather a quiet one; just my family and I in our mountain home. We slept in on Christmas morning, then relaxed pretty much all day, played games, laughed heaps, ate ham sandwiches (a Christmas tradition), drank tea, opened gifts, and over-all enjoyed the day celebrating Christ's birth.
This Christmas was different. I don't know how, and I can't explain it, but it was definitely different. There was still joy, and happiness, but it was somewhat subdued; it wasn't the impatient waiting for gifts, and the frantic opening like it has been in past years, and although I enjoy and love my gifts, the day wasn't completely wrapped up (ha, that expression fits perfectly, eh?) in receiving gifts.
Perhaps it was the knowledge that so many people were hurting on Christmas day; after the tragedy in Connecticut, it was impossible to forget the pain so many people were going through. And I don't want to forget. I don't want to live in sorrow, but I want to understand, feel and be able to truly grieve with those suffering. I've never been one who expresses my feelings well, but this... it made me see how special moments are. How special life is, and how much people truly mean to me.
The remainder of the week has been quiet; with the usual tid-bits of cleaning, playing games, taking pictures of random snow-falls, laughing in the cold air, and cuddling by the wood-stove with a good book, and my (new) MP3 player, listening to Josh Groban, and simply enjoying the chance I have to live. As this quote says, living is the greatest thing in the world. We take it for granted, because it is just something we've always done, but it only takes a moment for the gift of life to be taken away.
This new year, I want to truly live. To live passionately, fully, heartily, lovingly. It is so important to make the most of the time we have--we think "oh, we're young. We'll have forever." but a life time isn't as long as it seems. It only takes a moment for forever to be in the past.
Have a Happy New Year, friends! A new year; a new set of numbers. Today will only be here once--and then it's gone forever. Make the most of it, y'all. I'm going to.
Gorgeous pictures! How do you size them on blogger?
Our Christmas was the same kind of different as yours... with not so much of a rush for presents, but just enjoying all the family and things that we have. HAPPY NEW YEAR!
This is so lovely, Mikailah dear!!! Our Christmases sounded very much alike - drinking tea, laughing lots, sitting by the fire, and sleeping in...I think maybe perhaps 'twas different because we're growing up? But it was lovely all the same.
I love all the pics. Happy new year for you!
I love this Mikailah! Our Christmas felt a little different too (and not just because we were sick). I think it's a part of growing up.
Lovely Mikailah. Christmas felt a little different for me too.
Merry [late] Christmas!!! This post was lovely and I love your home. I feel like each post I read, I am slowly getting the picture puzzle of your home put together. And I like that- you aren't afraid of who you are or where you come from. Above a lot of things, I cherish that in a person.
You are so right, Mikailah! Loved this post!
Mmm, we traveled to New Mexico to visit my grandparents and out the window I saw lots of landscape that looked just like the land around your house. My eyes were fairly glued to the window for quite a lot of teh 14 hour trip!
And, again, I gotta agree with Gabby; after I read your posts I want to stop what I'm doing and go live my life.(Her posts inflict the same desire too! I think you're in cahoots!) Also, you've really helped change my definition of "Photogogenic" and the way I photography things.
These pictures are beautiful and your words, too!
here in portugal it doesn't snow, so it makes it for me even more magical!


The Face of Battle : Study of Agincourt, Waterloo and the Somme by John Keegan. Editor: Penguin Books Ltd. Enjoy this book on your E-Reader and in the format you prefer... The Face of Battle is John Keegan's 1976 classic – at the time landmark – account of warfare from the perspective of individual soldiers.
--John Crace, Amazon.co.uk --This text refers to the Hardcover edition. From Publishers Weekly In a riveting narrative that puts diaries, letters and action reports to good use, British military historian Keegan (The Face of Battle, etc.) delivers a stunningly vivid history of the Great War. He is equally at easeAand equally generous and sympatheticAprobing the hearts and minds of lowly boss rc 3 loop station pedal manual pdf Master military historian John Keegan's groundbreaking analysis of combat and warfare The Face of Battle is military history from the battlefield: a look at the direct experience of individuals at the "point of maximum danger."
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text:
ENUT - Escola de Nutrição
DEALI - Departamento de Alimentos
DEALI - Artigos publicados em periódicos
Please use this identifier to cite or link to this item: http://www.repositorio.ufop.br/handle/123456789/4807
Title: Incidence of binge drinking in a cohort of university students of the south-east region of brazil, 2010-2011.
Authors: Guimarães, Nathalia Sernizon
Aguiar, Aline Silva de
Lima, Cláudia Aparecida Marliére de
Costa, Juliana Inácio
Fausto, Maria Arlene
Keywords: Alcoholic beverages
Longitudinal data
Citation: GUIMARÃES, N. S. et al. Incidence of binge drinking in a cohort of university students of the south-east region of brazil, 2010-2011. Journal of Nutritional Therapeutics, v. 2, n. 4, p. 228-234, 2013. Disponível em: <http://www.lifescienceglobal.com/home/cart?view=product&id=902>. Acesso em: 08 nov. 2014.
Abstract: Objectives: The aim of the present study was to evaluate the prevalence and incidence of binge and at-risk alcohol consumption among new-entrant students in a public university in the South-East Region of Brazil. Methods: Longitudinal study undertaken with a random sample of undergraduates (N=1,168) in the first semesters of 2010 (n=256) and 2011 (n=183). In order to evaluate drinking patterns, participants were classified as abstainers, light, moderate, binge or heavy binge drinkers. The Alcohol Use Disorders Identification Test (AUDIT) questionnaire score was used to define the risk categories for consumption: low risk, risk, harmful use and probable dependence. Statistical analysis was undertaken using Stata software, version 11.0. Results: Amongst the 256 students evaluated, 51.6% were women and 64.5% were aged 􀀁19 years. The prevalence of consumption of alcoholic beverages was 75.8%. The average age of onset of alcohol consumption was 15.71.9 years. The incidence of binge + heavy drinkers was 2.6/100 persons per year, with vulnerability shown in individuals of male sex and of age 19 years or more. The incidence of risk level drinkers was 2.0/100 persons per year and greater for individuals of male sex and younger than 19 years. Conclusion: The students of this institution are at high risk for problems associated with alcohol use.
URI: http://www.repositorio.ufop.br/handle/123456789/4807
metadata.dc.identifier.doi: http://dx.doi.org/10.6000/1929-5634.2013.02.04.7
metadata.dc.rights.license: All the published articles by Journal of Nutritional Therepeutics are under a Creative Commons License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal. Fonte: Journal of Nutritional Therepeutics <http://www.lifescienceglobal.com/pms/index.php/jnt/about>. Acesso em: 02 jan. 2017.
Appears in Collections: DEALI - Artigos publicados em periódicos
ARTIGO_IncidenceBingeDrinking.pdf 74,24 kB Adobe PDF View/Open

redpajama_set_name: RedPajamaCommonCrawl


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Theatre Seven offers a bold 'In the Heart of America'
War is a bloody, ugly thing. It changes people, f*cks with their minds, turns nervous young boys into soulless killing machines. Yet, it can also bring people together in unexpected, life-changing ways. Naomi Wallace's 1994 play, In the Heart of America, uses the Gulf and Vietnam wars as a jumping off point to explore these ideas.
Wallace blends historical accounts of the My Lai Massacre (I had to wiki it, too) with the fictional story of a Palestinian-American woman (Fawzia Mirza) on the hunt for her brother (Anthony DiNicola), who has gone missing while serving with US troops in the Gulf War. To find him, she enlists the help of a Kentucky-fed platoon-mate (Nick Vidal) who, it soon becomes obvious, was more than just a fellow soldier.
(Truth: I lifted that plot summary from press materials because I'm far too hungover from last night's Honor Awards to effectively condense Wallace's sprawling play.)
Now this is the story that drew me in — the search of a lost brother and the relationship between the two Gulf soldiers.
But then Wallace has to go and muck it up. I had difficulty making sense of her inclusion of events and characters from the Vietnam war, which exists in parallel in the play's dreamlike (or, rather, nightmarelike) reality. Rather than elevate the action, it confounds things. Suddenly we're watching a "Platoon" play alongside a "Not Without My Brother" play, which might be fine if she found an effective way to make the two worlds coexist. Instead, we have a pair of underwritten stories that compete with each other.
However, Theatre Seven of Chicago's production is so strong, so well-realized, so compellingly acted and directed (by Brian Golden), it's easy to overlook the play's shortcomings.
Want to see some kick ass acting? Catch this play. Vidal was a standout in Red Twist's That Face, and after seeing his work here, it's clear he's one of those actors who *lives* the role. Thrilling stuff. As his war buddy, DiNicola brings a sense of hopefulness and sensitivity, which magnifies the play's darker inner workings. Mirza, whose character spends most of the play in search mode, does a great job breathing life into this underwritten role.
And special kudos to the design team of Lizzie Bracken (set) Claire Chrzan (lights), Jeff Kelley (sound) and Kyle Hamman (video). Together, they take us into a bombed out hotel room that morphs into the respective nightmares of the key players. Stunning work, guys.
"In the Heart of America" plays through April 1 at The Greenhouse Theater Center. More info here >
February 29|12 March 2|12 Bob BullenTheatreChicago, Greenhouse Theatre Center, Naomi Wallace, theater, Theatre, Theatre Seven of Chicago
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HR Focus - News Digest - Spring 2016
The United States DOL Gets Involved in the Reporting of Work-Related Injuries
According to the United States Department of Labor (DOL), a policy requiring an employee to immediately notify the company of a work-related injury is retaliatory and discourages reporting injuries. The DOL articulated its claim in a lawsuit recently filed against US Steel Corporation.
US Steel Corporation suspended two workers for five days because the individuals reported work injuries a few days after the work incidents occurred. In both situations, the employees claim their delay in reporting was because they did not experience symptoms when the accidents took place. Once they became symptomatic, they notified the company of the incidents.
The DOL is seeking for US Steel Corporation to reverse the disciplinary actions and reimburse the injured employees for wages lost during the five-day suspension. Additionally, the DOL is requesting a ruling prohibiting enforcement of a policy that requires employees to report work-related injuries or illnesses less than seven days after the person becomes aware of the condition.
EEOC Proposes Increased Reporting Burden for Many Employers
The Equal Employment Opportunity Commission (EEOC) announced a proposed change to the Employer Information Report (EEO-1) that many employers are required to file annually. The proposed changes will take effect in September 2017 and would require covered employers to provide aggregate data on pay ranges and hours worked along with information already collected. This new pay data will provide the EEOC and the Office of Federal Contract Compliance Programs with information regarding "pay disparities across industries and occupations" and will help to "strengthen federal efforts to combat discrimination." The EEOC states this information would also help employers voluntarily comply with the law and help all agencies "assess complaints of discrimination, focus agency investigations and identify existing pay disparities that may warrant further examination."
Spring Cleaning May Prevent MiOSHA Violations
Instead of throwing things away, do you save things thinking that you may eventually need them? Having a "pack rat" mentality may result in a number of Michigan Occupational Safety and Health Administration (MiOSHA) violations. The most obvious violation is the housekeeping rule (R408.10015) which, in general, requires that all workplace aisles, passageways, storerooms and service rooms be kept clean and orderly. However, other violations may exist including blocked exits (R408.10632(1)), lack of accessibility to fire extinguishers (R408.10831(1)), blocked electrical panels (R1910.303(g)(1)) and lack of accessibility to eye/body wash stations (R325.47201(3)). The next time you are walking through your business, you might want to look for these obvious violations.
Scalia's Death Could Result in the Continuation of Mandatory Union Dues for Public Workers
The death of Justice Antonin Scalia could give unions a reprieve in a suit that could restrict the ability of unions to require dues from public workers. Following oral arguments in January, most expected the Supreme Court to overturn the Appeals Court decision in Friedrichs v. California Teachers Association and overturn a nearly 40-year-old standard allowing union fee mandates for all public employees. Without Scalia, the justices would likely be evenly split. In the case of a 4-4 tie, the Supreme Court would issue a one-line ruling saying the lower court decision stands, which would affirm the ruling favoring the unions. The Supreme Court could also delay the case pending the appointment of a new justice, which could mean a year-long delay until the justices can rehear the case.


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Meet the Leadership Behind MarginPoint
Vince Sheeran
Vince started his career as a Systems Analyst working on large scale development projects. He held various sales and sales management positions with software industry leaders including Tesseract and Epicor Software.
He held multiple positions with Epicor including VP & GM of Clientele, VP of Marketing and Senior Vice President of Worldwide Sales & Operations. Vince is a senior executive with over 30 years of experience in the Software and Business Services Industries. He has built global organizations through both acquisition and organic growth.
Vince next served as the President and CEO of UltraLink, Inc. where he was responsible for transforming the business into a well-respected Benefits and HR services provider for customers such as American Airlines, AT&T, Dow Chemical and IBM. He was also the CEO of Wherify Wireless where he was responsible for overhauling the product strategy and building an open Location Based Services (LBS) software platform.
Vince holds a B.S in Management and Management Information Sciences from the Moore School of Business at the University of South Carolina.
Soheil Raissi
Soheil is a strategic technology leader with diverse experience in innovating and delivering enterprise-class platforms and software solutions across a broad range of industries including supply chain, financial services, pharmaceutical, healthcare, insurance and automotive.
Prior to joining MarginPoint, Soheil was the Chief Information & Technology Officer at A-Mark, a Fortune-500 precious metal trading company. He was also the Managing Principal and Chief Technology Strategist at Maptics, a digital transformation and software development company with focus on big data, business intelligence and data analytics. Prior to that, Soheil was the CEO/Founder of FastPoint Technologies, a SaaS solution provider in the pharmaceutical market that linked manufacturers, distributors, and pharmacies to secure the supply chain and improve product security and patient safety.
As Vice President of Products & Services at rfXcel, Soheil was responsible for product development, implementation and support services of enterprise Software as a Service ePedigree and Track & Trace solutions. As Vice President of Products & Services at TigerLogic (Raining Data/Pick Systems), Soheil was credited with leading the R&D efforts to create the first NoSQL Database Server and Native XML Database for Big Data and Distributed Database Systems.
Soheil serves on the advisory board of several technology companies and is an active member of Southern California SIM. He is also a mentor at the UCI Executive MBA program. His prior affiliations include Advisory Committee Member of World Wide Web Consortium (W3C) and MIT Auto ID Labs.
Richard Pytak
With over 30 years of experience in accounting and finance, starting with 14 years in public accounting -most recently as Senior Manager at PricewaterhouseCoopers LLP - and then as Chief Financial Officer and/or Treasurer of publicly traded companies, including manufacturers, distributors and an airline, Rick has an extensive background in facilitating the growth of companies through refining existing initiatives and identifying new opportunities.
As Chief Financial Officer, Rick brings extensive financial management experience to MarginPoint, including in the areas of mergers, acquisitions and capital raising. Rick holds a B.S. in Accounting from Canisius College in New York and is a certified public accountant.
Matthew Christus
Chief Customer Officer
Matthew has over 20 years of software industry experience. Prior to MarginPoint, Matthew served in several executive roles at Epicor Software during his seventeen-year tenure. During Epicor's revenue growth from $30M to $1B, Matt successfully built and grew teams in Product and Customer Support Services as well as Business Operations.
He led the effort to define and build Epicor's Customer Engagement Strategy, including the launch of its global Customer Advisory Board. Most recently he collaborated with CPO and CEO on global organizational business decisions based on product strategy and market opportunity.
Matthew holds a B.S. in Political Science and Government & Economics from the University Minnesota – Twin Cities
Scott Berlin
Scott brings extensive experience to Marginpoint, leading all product, digital and corporate marketing. He has 25+ years of global experience in the software industry having served in various leadership roles in Marketing, Sales and Business Development.
Prior to joining MarginPoint, Scott was Head of Digital and Demand Generation at Predixion Software, responsible for developing and implementing the global digital strategy, marketing operations and driving lead generation for the organization.
Scott began his career in sales and spent over 10 years with Electronic Arts. He holds a B.S. in Business Administration from San Francisco State University
Sally Swoboda
Director of Product Management
Sally joined MarginPoint in 2017 as Director of Product Management and is responsible for leading an experienced product team responsible for definition and execution of the product roadmap.
Before joining MarginPoint, she spent the previous 17 years at Sage working with mid-market ERP software in positions within customer support, research and development and product management. Her most recent role was Sage X3 Global Distribution Product Manager, where she was responsible for leading the global alignment of the product roadmap, including supply chain, inventory management and eCommerce. Her experience includes distribution, manufacturing, and financial domains. She brings a strong business acumen and is a passionate voice of the customer.
Sally holds a B.A. in Business Administration and Management Information Systems from California State University, Fullerton.
Uel Nesbitt
Uel has 20+ years of direct sales and sales management experience in the enterprise and mid-markets for the Software and Services industry. He brings to MarginPoint a history of establishing long-term customer partnerships and a strong focus on their success.
Prior to joining MarginPoint, Uel worked for several innovative start-ups providing analytics platforms in healthcare, retail, and financial services, as an enterprise sales leader and product/vision evangelist. Prior to that, he has an extensive background in CRM/ERP and Customer Experience applications.
Uel holds a BBA from the Fox School of Business at Temple University, Philadelphia.
Contact MarginPoint
Call us to reach Sales, Support or Billing. We're available Monday through Friday 5 am – 5 pm Pacific.
Chat with us live right now.
We can answer questions quickly via chat for your convenience.
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The one secret to making money online if you ask most business experts is visibility. They will ask us are you being visible? Or they will say we have a limiting belief about being visible.
The underlying truth is – sure, if no one knows you're offering or selling something how will they know it even exists to take it?
But here's the thing visibility works both ways. You, as the seller, can see me, the customer. In the past few weeks, several contacts on FB have sent me messages asking to partner with me on their projects. To spread the word, be affiliates, provide content, etc.
Except the messages were very obviously cut and pasted. Now I'm not asking you to write out 500 paragraphs to each person when the info is the same but take the time to at least make the intro about me. Ask me how I am doing. How is the project I'm working on going. Heck, even how is your cats? Go on my newsfeed and find something you're interested in about me. Please be interested about me before you send me a message on FB asking me to do something for you.
If this isn't a step you can take – send me an email. It's less personal. You can be less personal. I can delete it there easier than the FB message.
Studies show though, when we call customers by their name, even if it's initially shocking to them, they buy more with us.
It gets harder when your brand hits thousands and millions but even Team Forleo sends cards & flowers to people in this group to share in their successes years after they paid the money to get in.
How can you see your customers?


El Alisal - Charles Lummis' historic home in Los Angeles - is hosting a very special open house on December 11 from 3 to 6 pm. There is no charge, although an RSVP is requested by December 2 (call 323.222.0546).
200 E. Avenue 43, Los Angeles CA 90042 (Highland Park). Map & directions here.
Okemos, Michigan: Schaberg House, an especially well-preserved and unaltered example of Wright's Usonian style built in 1950, will be sold off along with its accompanying large parcel of land on November 30. Oak Brook-based Inland Real Estate Auctions will handle the auction; bidding will begin at $595,000, and a deposit of $75,000 is required to bid.
Schaberg House is a 3,800 sq ft, 5 bed, 4 bath home which has had next to no alteration from Wright's original drawings. One small addition was made in 1964 by Wright's apprentice, John Howe; its pristine and original condition could make seeking landmark status quite easy, should the new owners wish to pursue this option.
Frank Diliberto, Inland Real Estate's president, says that "Wright enthusiasts have turned out in vast numbers to consider bidding on the two Wright homes we've auctioned. They are finding that the auction process is a tremendous way to establish quickly the true value of Wright homes, which because of their uniqueness have long been extremely hard to value. This has strong and increasing appeal to Wright homeowners, who often have to market their homes for years on the conventional market in order to identify the value that the auction establishes in just one day."
The five-acre site is almost completely surrounded by 150 acres of natural woodland; while the site may be particularly attractive to developers, nobody is suggesting that the house itself, which is in excellent condition, be removed or torn down to make room for other structures.
Berkeley's Panoramic Hill neighborhood is now a designated Federal Historic District. This neighborhood, full of homes - large and tiny - overlooking the UC Berkeley campus, looks down (as the Berkeley Daily Planet notes in their article on the subject) on Berkeley's first entry on the National Registry of Historic Places, a tiny laboratory in room 307 of Gilman Hall where Wahl, Seaborg and Kennedy discovered plutonium.
The neighborhood boasts numerous well-maintained Craftsman homes, including a number of famous "Berkeley Brown Shingles." Local residents, under the aegis of the Panoramic Hill Association, applied to join the Register after they learned of the University's plan to add extremely bright night-time lighting to its stadium, which would have drowned out much of their expansive night-time view of the Golden Gate and San Francisco. UC Berkeley's plan must now be reconsidered in light (no pun intended) of its impact on nearby areas, specifically the new Historic District.
Homes in the neighborhood include structures by such architects as Bernard Maybeck, Ernest Coxhead, Julia Morgan, John Hudson Thomas and William Wurster. BAHA - the Berkeley Architectural Heritage Association - held a house tour on Panoramic Hill last year, which took advantage of the hilly neighborhood's many hidden walking paths. Here are a few pictures and some press coverage from their 2005 tour ; more pictures - including some of a wonderful Walter Steilberg 1930 cottage - taken by Ron Sipherd, are up on his site.
note: We apologize to Daniella Thompson, whose photograph we used without permission.
Harry Wakefield, the Editor of Mocoloco.com, alerts us to Ted Wells' Living Simple: an "audioblog" (each entry is actually a podcast) devoted to a wide range articles on both humanist and modernist architecture and design issues. In between the Richard Neutra and Bradd Pitt-on-architecture bits is an excellent three-part tour of the Greene & Greene in Long Beach exhibit (October 2005 through October 2006) at the Long Beach Museum of Art. I think this may be the first Arts & Crafts podcast!
note - from Ted's page, simply pick the "direct download" link at the bottom of each entry, or use that URL in iTunes or other audio player. The sound quality is quite good.
Jeffrey Hunt's work is a fusion of Japanese and Craftsman styles and mixes a variety of woods. The long horizontal lines, grids and rigid angles of the work make it especially complementary to a Prairie home (like this Frank Lloyd Wright-influenced chair), although his work might be the taste of anyone interested in Asian-influenced Arts and Crafts. His more angular modern work is also quite attractive.
Hunt lives and works in Nevada City, a small town in the foothills of the northern Sacramento Valley.
the Fort Wayne Journal Gazette takes a look at Thom and Leslie Beers' "neo-Japanese Craftsman" house and the art collection it contains.
Have you seen an article on historic home or A & C related issues in your local paper? Let us know!
Last year, Keith Wiesinger of the Wilson Crafts Guild had the opportunity to see the Byrdcliffe traveling exhibit and wrote up an excellent review for us. I was recently given a copy of the book Byrdcliffe: an American Arts & Crafts Colony, produced by the Herbert F. Johnson Museum of Art as a catalog for the exhibit, and have spent the past few days reading it.
To call it simply a catalog of a museum exhibit, though, is to do a disservice to the book and its authors. An ethnography of the Byrdcliffe community, a personal history of its founders, and a very thorough meditation on what drew them together and the philosophy that informed their work - that's a far better description of this book. Editor Nancy Green is the Senior Curator at Cornell's Johnson Museum, and she's assembled a number of extended essays here: a very complete history of Byrdcliffe, by Tom Wolf; her own essay on "the Reality of Beauty," tying Whitehead to Ruskin, Morris and their reactions to Victorian culture; Heidi Nasstrom Evans' inquiry into the life and work of Jane Byrd McCallWhitehead, the cofounder of the Byrdcliffe school and backbone of the community itself; Robert Edwards' excellent and well-illustrated dissection of Byrdcliffe furniture; Tom Wolf's general discussion of art at Byrdcliffe; a catalog and examination of Byrdcliffe ceramics by Ellen Denker and a very thorough analysis of Byrdcliffe architecture and its relationship to the natural landscape of the Catskills.
I myself had seen Byrdliffe furniture before, but had no knowledge of the utopian community that spawned the movement, or the art school that generated the simple and subtle Byrdcliffe glazes and White Pine(s) pieces. The beautifully rustic handpainted tiles, bowls, vases and other usefully everyday objects are relatively rare today, of course, and there were never many made to begin with, but I was still surprised that I didn't know much at all about such an important part of American A&C ceramics history.
The book is well-illustrated but is by no means a "coffee table" picturebook; while it's more than a catalog, it is a catalog, too, with pages upon pages of accessioning data relating to the hundreds of items in the exhibit and their provenance. The essays are not too dense to pick up and read for pleasure, though, unlike many such books, and I think anyone interested in the roots of American A&C - or looking for new inspiration in their own work - will find quite a bit worth reading and looking at in what has been until recently a relatively forgotten corner of the A&C world. I'm glad that Byrdliffe is getting its due in the publication of this book and the production of the exhibit, which I suggest you see when it comes to a museum near you.
My only problems with the book are aesthetic. Perhaps it would have been slightly more accessible if it were a bit more of a "coffee table" gift book. I don't think the essays should be reduced in length, but higher quality printing, better paper (the softcover shows wear within a few hours of reading), a bit more editing of the photographs, and inclusion of more of them - and larger use of the best! - as well as a less-dense layout would have improved it tremendously. However, I hope that doesn't dissuade anyone who is interested in the philosophical underpinnings of the movement and the history of A&C in this country from reading the book; it provides a glimpse into the transferrence of English A&C to American that is missing (obviously) in the recent catalog of the V&A show, and takes a backseat to the objects themselves in the catalog of the LACMA show. It is very much worth reading.
Founded in 1979, the Johnson Partnership is located in Seattle and does both restoration / remodel jobs as well as new residential projects throughout the Northwest (as well as commercial and preservation work). From the type used on the opening page of their website, I could tell that A & C aesthetic meant a lot to them; the combination of Asian and Craftsman influence in their work is particularly refreshing to see from a new home builder! Their new site is full of downloadable PDFs profiling particularly noteworthy projects, as well as a few video walkthroughs, and is definitely worth checking out.
Almost every single one of their projects reflects a true dedication to A&C ideals. The level of detail in their woodwork is refreshing - it's as if cabinetmakers decided to build houses, which isn't far from the truth; architectural principal Larry Johnson is one of Seattle's most knowledgeable people when it comes to Arts & Crafts design, and architect Howard Miller is a furniture designer, woodworker and ceramacist (who also lists his skills as "enthusiastic husband" - glad to know they have a sense of humor, too).
What makes their skillset and focus especially interesting to me at least is that Lani Johnson, the environmental planning principal, brings preservation and landscape to the forefront - everything they build is situated so precisely in the landscape - just as it would have been for the founders of the movement. Their respect for the fidelity of the original architect's vision in a remodel job is equal to the respect they have for the land a new house will be built in, and that is impressive when so many builders don't consider the latter at all.
This 12-page PDF is excerpted from Taunton's Updating Classic America: Bungalows by M. Caren Connolly and Louis Wasserman. It details a particularly interesting remodel / restore of a Seattle bungalow with great external stone features and a terrific kitchen.
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Christian and Christen Gladu, Bungalow Plans, Gibbs Smith, Salt Lake City, 2002.
The second coming of the arts and crafts movement brings with it a revival of many of the aspects of original era. In Bungalow Plans, Gladu and Gladu continue the tradition of disseminating house plans originally promoted by pioneers like Gustav Stickley who, through magazines and catalogs, offered the broad middle class architectural drawings - plans of simple, affordable, well designed homes - that incorporated the Arts and Crafts ideals of John Ruskin and William Morris.
The Gladus offer 25 bungalow plans in their book, each accompanied by photographs, text, and information on designers and builders. Their aim is not only to show different kinds of homes - everything from 600 square foot garlows (not yet in my on-line dictionary, but apparently garage and other "accessory" units) to 4000 square foot "ultimate" bungalows - but to provide practical advice on adapting stock plans to modern, especially environmental, concerns. Introductory chapters put the plan book approach in historical perspective and offer useful context on "bungalow anatomy" and building costs. A section on resources concludes the volume.
Richland, WA sits along the Columbia River, on the historic Lews & Clark trail. The town, incorporated in 1910, was mostly razed by the US Army to make room for a new bedroom community for Manhattan Project workers at the nearby Hanford Nuclear Reservation. The population soared from 300 to 25,000 in July and August 1943; unfortunately, this runaway growth required the destruction of the vast majority of the town's existing structures, and almost all of its residences. The army knocked down the homes to make room for new, "modern" tract homes, but a very few of the original houses - mostly built between 1907 and 1935 - were saved from the wrecker's ball. Most of those that still stand are Craftsman or inspired by Craftsman and Prairie styles; Jeremy Wells of the East Benton County Historical Museum has put together photographs of and a bit of commentary on these structures.
The new planned community of Richland was designed in less than 90 days. Construction of new streets began on March 20, 1943, and the first house completed - a "B-house," one of the "letter houses" named in the convention used for the 26 new plans (A-Z) - was finished on April 28, 1943.
After Maybeck's large family house on Buena Vista burnt down in 1923, it was never rebuilt, nor did he build another large house for his family. Instead, over the following years, he and his family built several cottages all in the same neighborhood, some on the site of his original house. Maybeck had purchased large parcels of land in the North Berkeley hills and 2751 Buena Vista was one of two houses, essentially the same design but rearranged to fit the site, that he designed and built during the depression to keep his staff and craftsmen working. Over the years, various family members moved in and out of their 8 different houses, all cotages except for "Hilltop" in Kensington. 2751, however, seemed to be the heart of the extended family, where Ben and Annie lived for several years and to which Wallen, Jacomena and the twins eventually returned. It embodies many of Maybeck's notions about what an ideal home should be; modest, free of adornment, well-integrated into its site, amidst the lush foliage and with views of the bay. The many decks extend the interior outside, the height of the living room, the arched beams and the floor-to-ceiling metal sash windows add drama, atmosphere and light.
In more recent years, it has had a new foundation, drainage and retaining wall added (1998), a new furnace, electrical upgrades and a new roof and roof deck off the kitchen (2005). Jacomena wrote in her book, Maybeck, A Family View, that a workman told Maybeck "I believe you have put the house partly on the next lot," to which Maybeck replied, "Oh, well, move the lot line." This was finally done in 2004.
a small reading or coffee table (from Canadian Home Workshop magazine).


text:
Carlsen's choice
by Oliver Reeh
2/13/2015 – Tactics can seem deceptively simple, particularly when seeing an engine analysing grandmaster games. Strange, however, how difficult it is to find the right move and to calculate variations properly when playing yourself. It is easier if you solve tactical puzzles regularly. In the ChessBase Magazine and his tactics column Oliver Reeh helps you to do so.
"Simple yet aggressive!" Enjoy this new exciting DVD by Simon Williams. Let the famouns Grandmaster from England show you how to gain a very exciting yet well founded opening game with the London System (1.d4 d5 2.Bf4).
With his passed a-pawn White of course wants to win, but Black is threatening 41...Nf2+ picking up the rook d1. Exchange sacrifice, flight forward or repeating move - what would you choose?
A) 41.Rxd4
B) 41.Kg2 Nf4+ 42.Kg3 Ne2+ 43.Kg4 Rf4+ 44.Kh5 Rf5+ 45.Kxh6
C) 41.Kg2 Nf4+ 42.Kh1 Nh3 (=)
Oliver Reeh in ChessBase Magazine
Do you like these lessons? There are plenty more by tactic expert Oliver Reeh in ChessBase Magazine, where you will also find openings articles and surveys, endgames, and of course annotations by the world's top grandmasters.
NEW! ChessBase Magazine #164 (Feb./March)
Introduction by Karsten Müller
Review ChessBase Magazine #164:
http://en.chessbase.com/post/chessbase-magazine-164-a-day-well-spent
http://en.chessbase.com/post/chessbase-magazine-164-a-day-well-spent-2
Oliver Reeh Oliver Reeh is an International Master, lives in Hamburg, and plays for the "Hamburger Schachklub" in the "Bundesliga". He is a long-time member of the ChessBase team, and regularly entertains and educates readers with his tactic column in the ChessBase Magazine. He is also co-author of the popular DVDs on Bobby Fischer, Mihhail Tal, Alexander Alekhine, and José Raul Capablanca appearing in the ChessBase Master Class Series.


text:
The Stalinist order, the Putinist order
Private life, political change and property in Russian society
Maxim Trudolyubov
The "Stalinist order" continues to lurk in aesthetic forms and written documents; from an architectural perspective, it lives on as long as the buildings survive. And merges with the new order, in which the new "elite" buy up the same buildings and imitative newbuilds for artificially inflated prices.
The project in which we live
I was born in a place wholly deprived of urban space, even though it was the USSR's biggest city – Moscow. The area consisted of identical residential blocks (just as in the neighbouring estate) and, as a child, it failed to leave any significant imprint on my memory. I remember everything there was inside, but nothing outside. I can recall only the pond beside our block, because it was the sole place of interest in the district. Occasionally, we used to travel into the centre of town to admire the buildings there, as though we were visiting a museum. This was the city. Here you could take a walk but surely not live (I couldn't imagine anyone living in the Kropotkinskaya area). Whereas in our area, it was possible to live – but there was nothing of interest to encourage you to go out walking. All you had to do was get to the doorway and vanish inside. I couldn't take seriously any attempts to establish a flowerbed by the entrance to our block – I felt rather sorry for the flowers planted in that little hollow, lined with cement. You wanted to get past the plants, and the old lady seated by the entrance, as quickly as possible, just to get indoors. For me, as for many people who grew up in similar residential tower blocks, the most important thing was the interior.
Housing for families of workers from "Rocket and Space Corporation Energia" in Korolev, Moscow area. Photo: Korolev Sun Times. Source: Flickr
This was a very simple space. The architect or, more probably, the engineer who had designed it was constrained by available funds – there could be no spiral staircases or bay windows. We lived in box rooms, just like everyone else. It seemed quite natural to me that my best friend's flat, where I spent almost as much time as at home, was identical to ours. Literally so – for even the coat rack in the hall was the same, as were the chandeliers. The bookshelves were also similarly installed, and the books in them no different from our own.
Life was confined to our apartment, of course, but I was also aware of the presence of people living upstairs and next door. Flats with paper-thin walls are places where people are constantly reminding each other of their presence. Like anyone who grew up in an apartment of this type, I knew the voices of the people next door and those upstairs. The neighbours next door used to quarrel loudly at times, and one of the children was learning to play a musical instrument – though the attempt seemed limited to performing scales. Occasionally something heavy could be heard tumbling to the floor in the flat upstairs – a piece of furniture? A beam? But on a working day, in the morning, there was almost total silence; and you could hear far further than the nearest neighbouring box room. It would seem to me, sometimes, that I could hear someone reading aloud to a child.
To my grandparents, a life with no exterior aspect seemed a joy. I can remember the stories they told about moving into their nine-storey block. The flat was better than a room in a communal apartment or in a wooden barrack, far better. People wouldn't be watching you. These were glad tidings indeed. You'd be able to go to the lavatory when you wanted, you'd be able to wash in your own bathroom. From a harsh world of intense struggle for survival, a world where nothing was private, where there was only the public, you had come to have a home of your own. You had somewhere to hide. So what if it was a prefabricated box room made of panels produced in a building construction factory? This was the only available option.
Economic law governs our actions and our minds.
Housing is the problem of our times. Social stability depends upon it. In a
period of renewal, the first duty of architecture is to bring about a revision of values, a revision of the constituent elements of the home. Mass-production is based on analysis and experiment. Heavy industry should focus on working out and producing the elements essential for the construction of housing on a mass scale. We must create a spirit of mass-production, a spirit of mass home construction. We must establish the idea of a building as an industrial article, manufactured on a grand scale, and encourage the aspiration to live in such buildings. If we eliminate from our hearts and minds the set notion of what a home should be, and look at the issue critically and objectively, we shall arrive at the idea of "the house as a machine for living", an industrial product that is healthy (also in the moral sense of the word) and beautiful – just as the working tools, inseparable from our existence, are beautiful.
These lines were written in the 1920s, by Le Corbusier, who made the distinction between architects and engineers. He predicted that architects, who had forgotten about the primary purpose of the home and become wholly absorbed by décor, would soon be put in their rightful place. They would have nothing left to do: "We no longer have the funds to erect historical souvenirs." Meanwhile, the role of engineers would grow and they would take the reins in the community. Of course Le Corbusier could not have imagined how firmly engineers would grasp the communal reins in far distant Russia. It would not have occurred to him that in his own lifetime, in the 1960s, thanks to the industrialization of construction by Nikita Khrushchev, an entire society would grow up and be educated inside "industrial products".
We became that society. The "governance of economic law" was translated into the language of the resolutions of the Central Committee of the Communist Party of the Soviet Union: "The Central Committee of the CPSU and the Soviet of Ministers of the USSR note that the superficial, ostentatious and overindulgent aspect of architecture has become prominent in the work of many architects and organizations undertaking architectural projects, which does not correspond to the line of the Party and the Government on matters of architecture and construction." The five-storey residential block which appeared thanks to this new political line (copied in the 1950s from a French prototype by the engineer Vitaly Lagutenko) proved a lifeline for millions. Later, nine-storey blocks appeared, like the one in which I grew up, constructed from rough, grey panels. Later still, the 16-storey blocks arrived, together with all those other examples of "machines for living", as attractive as working tools and inseparable from our lives.
Have we developed "the aspiration to live in such buildings" that Le Corbusier hoped for? Of course we have. For the majority of us, this is home. Even today, for most people, it is the only opportunity to create a small space of their own even today – never mind that it's in a box room in a huge residential block. To experience the outside world we can go to the centre of town, just as we did when we were children. Or, better still, we can travel to other cities and other countries where we can have a good look at the external environment and even stay for a while. An old house in an old European city is like a souvenir. You want to pick it up and take it home.
It's perfectly clear which kind of house you'd want to take away, and which you wouldn't. Like many others who live in faceless buildings, I have developed a very specific attitude to architecture. Soviet constructions – multi-storied, residential blocks made of prefabricated panels – define the appearance of most Russian cities to this day. No doubt that is why the attraction of rationalist avant-garde architecture, with its levelling impact, seems so incomprehensible in this context. Most buildings erected during the brief Rationalist, Constructivist period in the second half of the 1920s and early 1930s, need to be culturally rehabilitated, so the contemporary Russian schoolboy can learn to distinguish between examples of buildings created by the avant-garde movement, and the simplified copies run off in Soviet and post-Soviet times. A severe approach to form, functionality, the growth of a building from "within" (from the internal space not the façade) …all this became the basis and language of world architecture in the twentieth century. But it means almost nothing to us in Russia. The functionality and beauty of Constructivism was pushed out by mass construction. Our architects were given the opportunity to create an environment and build over vast areas according to their own plans – something most of their colleagues abroad never experienced. But economic law proved extremely harsh. The environment came to play no part at all. It was almost as though it didn't exist.
Architects including Le Corbusier and his Soviet colleagues Konstantin Mel'nikov and Moisei Ginzburg, seriously attempted to force people into a pre-existing project, "to invent" the future and populate it with living human beings. But the buildings they erected came to be used in ways that proved very different from those originally proposed by the authors of the project. In order for people to be comfortable in a communal household, the shared recreation areas, washing rooms and dining rooms would have had to function, and be serviced, to the highest possible standard. But the resources were never available. A severe housing shortage meant that communal areas were needed for accommodation. The shared recreation spaces dreamt up by architects were divided into rooms; lavatories were left uncleaned; food had to be cooked in box rooms. The occupants were not happy.
The creators of the project were persuaded that people would come to love their homes in time. They were convinced that they had picked the right moment. "The unacceptability of these buildings, in practice, given the specific conditions of the time, was generally explained by saying that they had been introduced too early. It was assumed that, in due course, society would 'mature' enough to accept the way of life that communal blocks were intended to cultivate." But in fact, like most fantasists, the authors of these projects were behind the times. If genuine communes developed at all, they emerged from attempts by workers to resist a hostile social environment. During the years of the civil war, social aggression forced supporters of Soviet power to come together and form domestic communes. Architects picked up the notions of communal housing from these communities, merging them with utopian ideas from the past. But once socialism had triumphed, people (who now felt they were living in a country they owned) needed not defence installations, but comfortable urban housing. This remained confined to the realm of fantasy.
Plebs and patricians
We, in Russia, understand architecture instantly and unconsciously. Anything that is tall, exceptional and redolent of "the elite" is unattainable. It is acquired in return for service to the state or for untold sums of money. "Elite quality" establishes value – no matter how this expression may be understood at any given time. It may be a flat in a Stalinist tower block, a detached brick fortress or a sterile-looking, minimalist house. Equally, any building that has no features or character at all is a product not of architecture but of engineering. Engineers were the social levellers, forbidden to indulge in excessive ostentation, and forced to invent buildings that were, as far as possible, identical.
In order to understand the merits of simplicity, one needs to have experienced both complexity and luxury. Only those who have tired of complicated spaces, garish facades and an excess of decorative architectural features can appreciate the distilled elements of modern architecture, its vast spaces and featureless concrete surfaces. But the people who had no choice but to function in a world where architects and engineers stood opposed, did not understand either space or decorative features and, on the whole, did not even have their own home. Most Soviet people lived (and, in Russia, continue to live) in a world invented by engineers constrained by lack of funds. They have known no alternative. Khrushchev's five-storey residential blocks, known as Project K-7, were intended to save the country from homelessness. And so they did. But the five-storey model also became the prototype for numerous prefabricated clones which continue to be reproduced today. Buildings survive longer than people and if, fifty years ago they were built as a lifeline, they are now being replicated out of inertia and a sense of inevitability.
All this shows how a temporary, "experimental" decision (for the five-storey blocks were thought of as a temporary measure) can become a permanent feature of daily life, with no existing alternative. It is an example of how, in a major plan, a small diversion can become a highway. We become dependent on a chosen route very quickly – consider how a field track is formed. It becomes increasingly difficult to shake off our dependence* – just as it is hard to get out of any rut. Mass produced multi-storey blocks were an excellent solution for the Soviet state, because the Soviet economy knew how to create "output" and organize a form of mass production in which quantity was more important than quality. This was a solution for many residents of barracks and communal flats, but it also proved to be a trap.
With the appearance of the free market, everything was expected to change. It was assumed that demand would affect supply. But it turned out that in free market conditions, manufacturing plants were profit-making assets. Directors realized that industrial complexes could be privatized and that money could be made by producing the same panels as before – sometimes with a slightly modernized design. Either way it was far quicker and cheaper than building individual residential blocks. This is one of many examples indicating that technologies and policy decisions can have a more powerful effect than revolutions.
The residential blocks designed by Soviet engineers and planners were transformed into real estate, and areas with multi-storey blocks came to be deemed "non-prestigious" (according to post-Soviet geographical coordinates). This split into "prestigious" and "non-prestigious" is enhanced by the fact that old, five-storey blocks are being demolished and replaced by panel buildings that create the impression – as they did 50 years ago – of recent settlements that have not yet developed into towns. "If we demolish all five-storey blocks and build new ones in their place, we shall simply replicate what we want to leave behind: that is to say – 'new suburbs'", the architecture critic Andrei Kaftanov wrote before the launch of the programme to demolish the five-storey blocks. "These areas won't become more upmarket because residential blocks of the K-7 series have been replaced by series P-44. They won't be towns. They will be the next generation's settlements."
Mass construction and the relative financial accessibility of flats encouraged the development of multi-storey housing. The residential blocks built by engineers – as opposed to the buildings designed by architects for the elite – became homes for ordinary people; homes plucked out of the natural environment in which the population could hide and sleep. The attempt to build a level society failed, however. Social engineering suffered total defeat. But civil engineering has left us with a legacy of "mass", multi-storey housing that will stay with us for the foreseeable future.
Architecture is for patricians, engineering is for plebs. This division can be traced back to ancient Rome where, during the period of the Late Republic, social inequality came to be reflected in both lifestyle and housing. Only a few could afford a villa, a domus. The detached house was a sign of high social and financial status. Villas were the successors of country estates, adapted to urban needs. They had an inner courtyard or atrium, and an outer courtyard or garden hidden inside the building, behind thick walls. Homes for the middle class and the poor – insulae – were a supremely urban invention. They were multi-storey constructions (with up to seven floors) with box rooms available for rent. Roman poetry and correspondence is replete with complaints about the appalling conditions of life in insulae: lack of space, poor hygiene, costliness and danger.
Have living conditions changed over the past 2000 years? Firstly, there is the fact that, sadly, today we have many thousands of big cities, whereas Rome was once unique. Second, for many people, life away from the natural environment and outside the domain of architecture is no longer inevitable. In Russia, the real home, the place where people escape from the city, is the dacha, which I shall discuss separately. Every culture formulates its own answers to housing issues. One way to measure progress may be to look at the proportion of people who can afford the luxuries of erstwhile patricians or kings, and are in a position to design and create their own space for living.
If a person of moderate means can take out a loan and build a house in any style, creating the space he would ideally want, then progress has been made. The more people there are who can afford a personal utopia, the more affluent the community. A society in which only a few can possess their own utopia, and in which an elite structure is valued, has not fully matured. Ideally, everyone should build what he needs – that is to say, a house. For a house is a refuge, from work, for example, or the state, or crowds. The house is also an aspiration – to happiness, for example. That is why, looking at private houses one sees not just exhibitions of competing purses, but displays of perceptions of happiness.
Happiness and order
In a broader sense, buildings and the environment into which they have been fitted may be said to be an expression of order, an architectural reflection of the established rules of the community in a given territory. Living in box room apartments, privately and away from the community, we have arrived at a mirror image of life in the ancient polis. The ancient Greek polis was a socialized city. The look and design of a private home were of little importance to an ancient Greek because he spent very little time there. In the city-states of classical times, houses were so simple that if we were to find ourselves in the residential quarter of Athens in the fifth century B.C., we would not recognize this as the famed city of Athens. The house was not an object of financial value, or an object of pride, because it exerted no gravitational pull. Attention was focused on the square, the stadium and the temple.
The road to the predominance of privacy in our daily lives, in economics, and in the way we interact socially, was very long. Today privacy may seem natural to us but it is worth remembering that, in classical Greece, the private luxury home, as well as the art of portraiture – representing a particular person with all his individual traits – were unknown.
The notion of privacy was culturally absorbed in a gradual way, displacing and overshadowing the idea of a common order. But the process was irreversible. The art of construction, the aspiration to decorate the home with mosaics, paintings and marble statues, developed as individual lives became increasingly isolated, and the gap between the poor and the rich increasingly pronounced. In the end, images of ideal relations between private and public life survived as cultural ideas. They remain vibrant, and embodied in physical reality, thanks to architecture in its highest manifestations. There can be no doubt that this is architecture's greatest mission. It can be no coincidence that the word "order" is so often used to identify and interpret different architectural forms.
Life lacks consistency and order. This is true both externally and within ourselves as human beings. That is why humanity tries as far as possible to establish rules and limits. Architecture is a visible manifestation of our eternal and insatiable yearning for order. The well-known comparison between architecture and music is not entirely satisfactory because it touches only the exterior, the decorative aspect. It may be that gothic and baroque churches have a musical quality. It is more helpful, however, to discuss architecture in terms of different notions of order that fluctuate from age to age or from one construction to another, even though the buildings may be contiguously positioned in a single city.
A building is a representation of an ideally constructed world. The Russian church offers an architectural representation of the hierarchy of created beings, in the heavens and on the earth. This notion of order survived Soviet times, when churches were put to other uses – as warehouses, hostels, even swimming pools. Inside, anything could happen, but the exterior form of the church continued to carry its message. Even if icons were removed and walls stripped it remained clear where the earth was and where the heavens were, which was the domain of the laity and which the domain of the clergy.
Notions of order also find expression in a Russian peasant hut; a workers' barrack; a communal apartment; a Stalinist skyscraper; an elite house built for members of the Central Committee of the CPSU; or the Black Sea palace built "for Vladimir Putin". Similarly, the Villa Rotonda designed by the Italian architect Andrea Palladio conveys a specific conception of order, as does "Fallingwater" by Frank Lloyd Wright, or a caravan, a fisherman's cabin, or a nomad's tent. Some people may perhaps feel unsuited to the environment in which they have found themselves. They will seek to overcome the status quo and escape their wooden barrack or their panelled residential block. Images of order and happiness, tested by others before them, will help to suggest where they should aspire to go. Yet the notion of order conveyed by the Soviet residential blocks around us is especially distinctive.
The Stalinist order
Stalinist buildings may attract attention and hold appeal because they display much that is excessive, strange and out of proportion – towers, stucco and giant arches. The architects of these edifices were ready to challenge the Russian climate, as well as human dimensions, by building spacious Italian loggias in the centre of Moscow where people could sunbathe. These buildings seemed to say – to any Soviet citizen who had ventured out of his hostel-like lodgings and come to the city centre – this is a place for the elect. Engineering is for plebs; architecture is for patricians. Those who live here are superior. In these buildings, even the climate is different; they have the Mediterranean sun, we have a clouded sky and perpetual cold.
The Stalinist style appeared as soon as the Soviet commander had grasped the substance of the new architecture and was in a position to convey it to his subjects. Now that the new social order had taken shape, tools were needed to maintain it. There was the secret police, forced labour, social organizations created by the authorities – and this was fine, but these were tools of restraint and oppression. An attractive visual aesthetic was required. And so the aesthetic reflecting the lifestyle of the new aristocracy came into being: tall buildings crowned with columns of the "Stalinist order"; huge edifices, imperiously declaring the unassailability of the Soviet hierarchy and built, quite literally, to provoke envy.
In the Soviet lexicon, the word "order" acquired a new meaning. An "order" for a flat was a document sanctioning private ownership in a country where private ownership did not exist. This was, of course, an evident return to Ivan Grozny's practice of conferring property as a reward for service. The state granted "orders" for apartments in new buildings with towers and columns to those who flew particularly high, to those who achieved fame, and of course to those who led the country. An ordinary person could only fantasize about becoming a pilot, a general or an artist. But the professions of the other residents in these buildings did not even bear dreaming about. They were directors, ministers, deputies and specialists indispensable to the regime: engineers, painters, or writers.
The word "order" had another meaning, however. It was also an arrest warrant. We know of many cases (the House on the Embankment is of course the most renowned) where, soon after a housing order was granted, an arrest order would follow. The authorities might grant you a licence for a private life in return for faithful service. But they retained the right to decide to what extent your service was indeed loyal. If service was no longer judged to be faithful then a private life was no longer your due. Instead you would be despatched into the communal life – to a prison camp. That was the "order", that was the way things were.
A beautiful, desirable, and well-located home in Russia has a moral dimension, as well an architectural one. I am not referring to religious movements or ideologies that do not acknowledge private ownership, or indeed to Rousseau's certainty that civilization, with its passion for establishing boundaries, had blighted humanity. I am referring once again to the link between private ownership and service to the state.
In Autumn 1933, the poet Osip Mandelstam acquired his first personal home – the only one he ever had. It was an apartment in the cooperative house for writers in Nashchokinsky pereulok. He was to enjoy little of his settled life, however. In May 1934 he was arrested there: the housing "order" was followed by an "order" for his arrest. It is thought that the main cause were his verses about Stalin ("We live without sensing the country beneath us…"), but during his interrogations he was asked about a poem directly linked to the flat in Nashchokinsky pereulok, "The apartment is as quiet, like paper…":
And the accursed walls are thin
There is nowhere to run now
And like a fool playing a comb
I am made to perform – for someone
I read rationed books
I listen to sycophantic speeches
And sing a terrible lullaby
To the child of the kulak
Only some kind of inventor
Who combs out the flax from a kolkhoz
Who blends ink with blood
Would deserve such an impalement
Only some kind of honest traitor
Boiled alive in the purges like salt
Who keeps a wife and children
Would swat a moth in this way
Nadezhda Mandelstam recalls that the writing of this poem was prompted by a single brief exchange with Boris Pasternak. Pasternak came to look at the Mandelstams' new apartment and, as he left, remarked: "Well, now you've got a flat, you can write poetry."
O.M. was furious […] He was deeply convinced that nothing can ever prevent an artist from doing what he must, and that – on the contrary – prosperity is not a stimulus for work. Around us a fierce battle was being fought over the rationed amenities offered to writers, and in this battle an apartment was considered the greatest prize. A little later, small dachas also began to be offered as a reward for services[…] Boris Leonidovich [Pasternak]'s words struck home. O.M. cursed the apartment and proposed that it should be returned to those for whom it was intended – honest traitors.
There is nothing in Mandelstam's poetic sensibilities to suggest a Tolstoyan or otherwise philosophical rejection of private ownership. Maldelstam was infuriated by the inference that creativity could be directly dependent on service. Pasternak had made a good natured remark, most probably without a second thought, about daily living arrangements and home as the best place for work. Instead, Mandelstam had heard the suggestion that a home is not bought but, at best, provided in return for playing a comb, and at worst for betrayal and blending ink with blood. "The curse on the apartment was not intended to advocate homelessness, it was an expression of horror at the price exacted for it", Nadezhda Mandelstam writes.
The extraordinary price demanded by the state for basic amenities had no financial equivalent and was an essential constituent of Soviet life. The profound inhumanity of the Soviet regime lay not just in the fact that it killed and harmed people physically, but that it wounded them morally. This intent may not have been specified in the Party programme, but the leadership nevertheless pursued a policy that imposed moral humiliation on the educated sector of society, and those who demonstrated a spirit of independence. Compromise, denying oneself the right to creative freedom in art and science, was encouraged by the distribution of privileges, flats, food, and money. An uncompromising position, creative freedom and independence were punished by material deprivation, arrest or death.
The very existence of this appalling choice on a daily basis compels us to look at Soviet life in a specific way. The price for every expression of independence, any refusal to act in step, was extremely high. Those who chose to take this route were great human beings and should be remembered. The dilemma whether to co-operate with the regime or not was particularly acute in Stalinist times, but later the choice wasn't easy either. Only the degree of risk varied. If you played by the rules, you were rewarded with those "rationed amenities" (though there were never any guarantees). If you did not play by the rules, you could lose not only your ration, but your profession and your life. The choice of non-action at home, or departure abroad (in Brezhnev's time, once emigration became possible) was in many cases both honourable and tragic. We shall never know the names of all those who would not collaborate, failed to realize their talents, and were never heard of again because they refused to compromise, and thereby lost their voice.
These were times when survival and creative fulfilment, unstained by betrayals or other ignominies, were the most one could hope to achieve in life. But only an isolated few succeeded in this. Consequently, those enviable buildings for the elite were inhabited by people who had made the requisite pacts with themselves. One could envy their success, or one could be horrified by the ways, means and contacts they must have used to become part of the "elite".
Stalinist architecture, the high rise buildings in particular, hold an attraction I find hard to explain. This may be quite simply aesthetic, the presence of some kind of feature against a backcloth where individuality and expressiveness were the exception. I mentioned the fact that life in multi-storey blocks, built by Soviet engineers, seemed deprived of any external side. The environment itself appeared to intensify people's self-absorption, and their immersion in a family life concealed within those panel box rooms.
The superficial attraction is also encouraged by the fact that people have lived in these buildings for a long time. The story of these blocks, and of many of those who once lived there, is both fearsome and chilling – but it is nevertheless history. Furthermore it is a story understandable to most people living today – unlike pre-revolutionary history, which has little connection with life today because links with pre-revolutionary Russia were broken so long ago. But a fascinating building cannot be created by architecture alone. Stalinist elite edifices are not just monuments to architectural "excess", but also to oppression dressed up as valour. Servility and perfidy became their turrets and filigree grilles.
In the 1960s and 1970s, the authorities began to build unnoticeable, but very good, mansion flats on the upper floors. Everything was significant: an austere lack of décor, a large area, a "western" design, additional rooms, even fireplaces and underground garages. The floor on which an apartment was built might indicate a specific place in the hierarchy. There is a well-known building on Granatny pereulok in Moscow where one of the floors, built especially for Brezhnev, has higher ceilings than all the others. But one can see this only if one looks carefully: the extraordinary superiority of the homes designed for the nomenklatura was not meant to be striking – unlike the décor of Stalinist buildings.
The turrets, the layout and the high ceilings embellished the absence of freedom that characterized any conditional ownership, any possession dependent on service. If a home is provided by way of recompense for work, service or success, it can also be taken away. Under the Bolsheviks, the state in effect rescinded the reforms of the previous 150 years and annulled the right to private ownership established prior to the revolution. Land, a home and other privileges associated with ownership came to be held conditionally: they were wholly dependent on decisions made by the authorities.
Having disposed of the law, the authorities also disposed of any independent actors. Arguably, the Soviet system went even further than Ivan the Terrible in terms of destroying independence. In effect, all signs of prosperity were transformed into privileges or benefices, if you will – much as in early medieval Europe. All material well-being was rationed. In this way, architecture became part of a vast project in which Soviet people lived out their lives, and which they sought to escape at the first possible opportunity.
The Putinist order
Because conditional ownership is so precarious, it is secured only by the strength of centralized power. It is natural for a human being to aspire to move from an insecure form of possession to unconditional ownership: that is to say from dependence to independence. The events that unfolded in Russia after the collapse of the Soviet Union reflected a shift from conditional ownership to full private ownership. But, as the past 20 years have shown, the process was considerably more difficult than it may have seemed at the start.
It is interesting to note that the "Stalinist order" has not entirely been relegated to the past, either as an aesthetic form or as a written document. In the architectural sense, the order lives on as long as the buildings survive. Demand for real estate in the buildings once inhabited by the nomenklatura remains as high as ever, although it is gradually being eroded by the appeal of a new "elite style" which either imitates Stalinist architecture (take, for example, the residential district behind the university in Vorobevye Gory in Moscow, with its characteristically commanding name "Dominion") or aspires to be emphatically minimalist and contemporary (consider the "golden mile" on Ulitsa Ostozhenka in Moscow). It is noteworthy that the present age has not yet produced its own aesthetic style. It isn't possible to identify a "Putinist" order; there is no unity of style or place, as in Soviet times. Freedom of movement complements a freedom of stylistic choice.
But the word "order" in the sense of privileged access on the one hand, and sanction for arrest on the other, has not lost its meaning. Indeed, a particular dynamic may be traced in connection with this. In the pre-Putin years, especially in Moscow under Mayor Yuri Luzhkov, representatives of the political elite, and people who served them, could receive apartments for reduced prices from the municipal government. This denoted a gesture of goodwill on the part of the state, based on an agreement with the city of Moscow. It was how Moscow paid for its liberties. Today, civil servants receive a small subsidy from the state for the purchase of a home, while high-level officials have certain privileges which are not made public and details of which are known only through the rumour mill.
However, most of those who want to be associated with the "elite" have to buy a home appropriate to their status for artificially inflated prices. Inordinate sums of money have to be paid for the best houses in the most desirable locations in the city or suburbs. A (symbolic) "order" is granted not for living space, as in Soviet times, but for the opportunity to earn these "inordinate sums" without which the space cannot be acquired. But this kind of property is hardly necessary to anyone who knows the real value of money. The purchase of real estate for an evidently inflated price is a form of payment for access to big money, and returns a certain proportion of funds to a corrupt pot. This, the distinctive Putinist "order", is a permit that opens doors into the official cum business class. And it is indispensable to those who have earned enough money but need to demonstrate that they belong to the new aristocracy.
It is quite possible that in future this practice may continue to grow. The consortium of investors who sold part of TNK-BP to the state oil company Rosneft is receiving persistent hints that any money received should be invested in Russia. Recently Putin has said that, in the course of a new wave of privatization, packages of shares in Russian companies should be sold on Russian trading platforms. Previously there had been repeated calls for big "offshore" capitalists to place their funds in Russian assets. It is known that pressure is being put on them privately as well. This would suggest that representatives of business circles close to the authorities, and their clients, will find they have to "buy Russian" – and no one is promising them fair prices.
Translated by Irena Maryniak
First published by Eurozine (English version)
Contributed by Transit © Maxim Trudolyubov / IWM / Eurozine
#Russia #USSR #post-communism
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text:
The Young and the Restless News: Doug Davidson Reveals Heartbreaking Loss
Young & The RestlessSpoilers
By Joanna Mazewski On Jun 27, 2019
The Young and the Restless star Doug Davidson (Paul Williams) has revealed a very heartbreaking loss. The actor took to his Twitter account to share the news that his fur baby has passed away. Here's what you need to know.
According to Doug, his beloved cat died from cancer. He shared a photo of his furry family members and captioned it with, "We lost our boy to cancer on Wednesday. He was a brilliant soul who helped me through some incredibly difficult times. May God rest his soul."
It didn't take very long for Doug's fans to share their condolences with the daytime television star. Some of them posted comments such as, "Very sorry to hear this, Doug. But you can tell he was well cared for and loved, and he knew it! May the wonderful memories of a loyal companion stay with you always," along with, "So sorry, Doug. I feel your pain as I lost my sweet cat, Pebbles, on May 6th to cancer as well. The unconditional love we receive from our pets makes their loss so devastating. Wishing you peace and love during this heartbreaking time."
We lost our boy to cancer on Wednesday. He was a brilliant soul who helped me through some incredibly difficult times. May God rest his soul. pic.twitter.com/ApMJ87fT0Q
— Doug Davidson (@DougDavidsonYR) June 22, 2019
Another fan wrote, "I'm so sorry Doug! We love our fur babies. You were so supportive when I lost my beloved Corgi Comet. I'm so sorry for you and your family."
Meanwhile, it looks as though Doug will be seeing a lot of action in the coming weeks on the canvas. His character Paul Williams is in high demand in Genoa City these days, as there are several dramatic storylines going on at once! We have a feeling that he might be helping the Newman family out in their ugly custody battle for Christian.
You all are so amazing. Thank you so much for your compassion. I know we all have our pain. I appreciate all your love and kindness
With Adam Newman (Mark Grossman) on one side and Nick Newman (Joshua Morrow) on the other, fireworks will go off for sure! Thankfully, Paul will manage to come to the rescue as he always does, right? Needless to say, fans will have to tune in to find out what will happen next. In the meantime, our hearts and condolences go out to Doug and his family.
Soap Opera Spy is a leading source for everything linked to The Young and the Restless. Check back regularly for Y&R spoilers and news! As always, more detailed Spoilers and Breaking news will appear here on Soap Opera Spy.
Joanna Mazewski
Joanna Mazewski is a writer and editor who is happily married with two children and their rescue pup. She first began her career as a PA for one of the original James Bond screenwriters, Kevin McClory. These days she spends her time traveling to all corners of the globe, shopping online and hiding her secret stash of different flavored Kit Kat bars from her kids.
Coronation Street Spoilers: Carla Makes A Shocking Decision
Days of Our Lives Spoilers: Haley Shows Up On JJ's Doorstep – Couple Declares Their Love


text:
A community from npj Microgravity
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Tatiana Borisova
Professor , Palladin Institute of Biochemistry NAS of Ukraine
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Palladin Institute of Biochemistry NAS of Ukraine
Express assessment of neurotoxicity of particles of planetary and interstellar dust
Behind the Paper, npj Microgravity
This community is not edited and does not necessarily reflect the views of Nature Research. Nature Research makes no representations, warranties or guarantees, whether express or implied, that the content on this community is accurate, complete or up to date, and to the fullest extent permitted by law all liability is excluded.
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npj Microgravity Community is a multidisciplinary forum in which to further research in the microgravity environment. This research is needed not only to develop advanced exploration technologies but also to take advantage of the unique aspects of microgravity environments in order to advance fundamental scientific understanding. It is a place for international collaboration, sharing knowledge and bringing about new research insights and opportunities. The community supports the aims of the npj Microgravity journal in providing a thorough understanding of the scientific impact and future of microgravity research.


text:
package mesosphere.marathon
package api.v2

import com.wix.accord._
import com.wix.accord.dsl._
import mesosphere.{UnitTest, ValidationTestLike}
import mesosphere.marathon.core.pod.BridgeNetwork
import mesosphere.marathon.raml.GroupUpdate
import mesosphere.marathon.state.Container._
import mesosphere.marathon.state.PathId._
import mesosphere.marathon.state._
import mesosphere.marathon.test.GroupCreation
import play.api.libs.json.{JsObject, Json}

import scala.collection.immutable.Seq

object ModelValidationTest {

  implicit val groupUpdateValidator: Validator[GroupUpdate] = Group.validNestedGroupUpdateWithBase(PathId.empty)

  case class ImportantTitle(name: String)

  private implicit val mrImportantValidator: Validator[ImportantTitle] = validator[ImportantTitle] { m =>
    m.name is equalTo("Dr.")
    m.name is notEmpty
  }

  def createServicePortApp(id: PathId, servicePort: Int) =
    AppDefinition(
      id,
      networks = Seq(BridgeNetwork()),
      container = Some(Docker(
        image = "demothing",
        portMappings = Seq(PortMapping(2000, Some(0), servicePort = servicePort))
      ))
    )
}

class ModelValidationTest extends UnitTest with GroupCreation with ValidationTestLike {

  import ModelValidationTest._

  "ModelValidation" should {
    "A group update should pass validation" in {
      val update = GroupUpdate(id = Some("/a/b/c"))

      validate(update).isSuccess should be(true)
    }

    "Model validation should allow new apps that do not conflict with service ports in existing apps" in {

      val existingApp = createServicePortApp("/app1".toPath, 3200)
      val conflictingApp = createServicePortApp("/app2".toPath, 3201)

      val rootGroup = createRootGroup(apps = Map(existingApp.id -> existingApp, conflictingApp.id -> conflictingApp))
      val result = validate(rootGroup)(RootGroup.rootGroupValidator(Set()))

      result.isSuccess should be(true)
    }

    "Multiple errors within one field of a validator should be grouped into one array" in {
      val empty = ImportantTitle("")

      validate(empty) match {
        case Success => fail()
        case f: Failure =>
          val errors = (Json.toJson(f) \ "details").as[Seq[JsObject]]
          errors should have size 1
          (errors.head \ "path").as[String] should be("/name")
          (errors.head \ "errors").as[Seq[String]] should have size 2
      }
    }

    "Validators should not produce 'value' string at the end of description." in {
      val validApp = AppDefinition("/test/group1/valid".toPath, cmd = Some("foo"))
      val invalidApp = AppDefinition("/test/group1/invalid".toPath)
      val rootGroup = createRootGroup(
        groups = Set(createGroup("/test".toPath, groups = Set(
          createGroup("/test/group1".toPath, Map(
            validApp.id -> validApp,
            invalidApp.id -> invalidApp),
            validate = false
          ),
          createGroup("/test/group2".toPath, validate = false)),
          validate = false)),
        validate = false
      )

      validate(rootGroup)(RootGroup.rootGroupValidator(Set())) should haveViolations(
        "/apps//test/group1/invalid" -> "AppDefinition must either contain one of 'cmd' or 'args', and/or a 'container'."
      )
    }

    "PortDefinition should be allowed to contain tcp and udp as protocol." in {
      val validApp = AppDefinition("/test/app".toPath, cmd = Some("foo"), portDefinitions = Seq(PortDefinition(port = 80, protocol = "udp,tcp")))

      val rootGroup = createRootGroup(groups = Set(createGroup("/test".toPath, apps = Map(validApp.id -> validApp))))

      val result = validate(rootGroup)(RootGroup.rootGroupValidator(Set()))
      result.isSuccess should be(true)
    }
  }
}

redpajama_set_name: RedPajamaGithub


Cloakroom (downstairs with toilet, basin) off the utility room.
Bedroom 1 with kingsize double bed and ensuite. Cupboards & drawers.
Family bathroom with P shaped bath, power shower over, toilet and basin. Marble floor.
Kingfisher sitting on our decking - fishing in the small stream!


May WotM – Helga Hufflepuff!
Home Lexicon Blog What's New May WotM – Helga Hufflepuff!
The Wizard of the Month calendar on Jo's site has been updated to show the new WotM for May and it's none other than our dear Hogwarts founder… Helga Hufflepuff!


Having a lot of fun and learning the basics of singing, dancing and acting from professional, working actors.
We do not allow parents to stay and watch classes for both the comfort and safety of all the children.
Do they need to have had former training?
Comfortable clothing that does not restrict movement (school uniform is be fine) and trainers, plimsolls or similar soft footwear. To avoid injury,no boots or sturdy shoes, no bare feet or socks.
Do they need to bring anything?
A water bottle (definitely) and a small snack if they need one.
It varies depending on the type of class, the size of the venue and the age of the children. The teacher/pupil ratio is extremely good for our regular classes, currently varying from 1:4 to 1:8.
Initial introductory session is free for our drama classes (excluding workshops and those who have attended workshops or classes previously) and £10 for our West End Performers class . Thereafter, you can pay by internet banking directly to our account. Fees are charged by the term and are non refundable. Please see our Terms and Conditions.


A number of firms have defended the benefits of quarterly reporting, following a tweet by President Trump in August which called the US' Securities and Exchange Commission (SEC) to investigate the benefits of moving from quarterly reporting to semi-annual reporting.
EY US urged the SEC to exercise caution, due to the potentially 'far-reaching implications' of changing a fundamental reporting process, by expanding its outreach efforts beyond evaluating written comments to include opinions of other stakeholders such as investors.
The Big Four Firm said that its general belief is that the 'quarterly reporting process functions effectively but could benefit from targeted improvements that would reduce the compliance burden on companies while maintaining investor protection'.
The firm showed its support for retaining quarterly reporting for all domestic registrants, apart from possibly a few exceptions, due to a belief it increases transparency and due to its contribution in making the US public capital markets 'so successful'.
Deloitte US described the SEC disclosure regime as the 'bedrock' on which the US capital markets are built and therefore believe it is important for 'at least quarterly' reporting to take place.
From a mid-tier viewpoint, BDO US said it believes there are 'substantial benefits to investors, registrants, and auditors from the existing periodic reporting system'.
The firm said that benefits include quality and consistency of financial reporting, greater audit quality, and internal control benefits.
Despite support for retaining quarterly reporting, a number of firms expressed the view that disclosures in quarterly reports can be extensive.
BDO noted that they can include a significant amount of detail that may not be materially different from information reported in the most recent annual report which may make discerning the key highlights for the quarter more difficult.
Similarly, RSM US suggested that to ease some of the burden of reporting, the SEC could consider removing certain disclosure requirements that are duplicative with annual disclosures or are not material to investors.
The IAB has contacted a number of firms and will update this article when comments are received.


1st-dress.com Reviews - Sweet 16 Dresses Reviews, Write Sweet 16 Dresses Reviews with Surprise Rewards.
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