text:
Oral history interview with Monty Lewis, 1964 June 25
Lewis, Monty, 1907-1997
Muralist, Painter, Designer, Educator
Collection Information
Size: 1 Sound tape reel, Sound recordings, 5 in.; 15 Pages, Transcript
Format: Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav files. Duration is 49 min.
Summary: An interview of Monty Lewis conducted 1964 June 25, by Betty Hoag, for the Archives of American Art.
Interview conducted at Coronado School of Fine Arts in San Diego, Calif. Lewis discusses his art training at the Art Students' League in N.Y., his study of mural and easel painting in Europe, and his freelance mural work before his involvement with the Public Works of Art Project. He describes the developing presence of mural art in New York with Diego Rivera's mural at Rockefeller Center and the 1939 New York World's Fair. Lewis tells of the Artists, Painters, and Sculptors Collaborators, a collaborative group interested in developing community art projects, and discusses the use of murals in the 1939 New York World's Fair and the different techniques used for those and other public projects.
Monty Lewis (1907-1997) was a painter, designer, muralist in New York and California.
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
The following oral history transcript is the result of a tape-recorded interview with Monty Lewis on June 25, 1964. The interview took place in San Diego, CA, and was conducted by Betty Hoag for the Archives of American Art, Smithsonian Institution.
BETTY HOAG: Mr. Lewis, you are director of this school at this time and you were on the Project in New York. Before I ask you about your experiences there I'd like to ask you briefly something about your own life, if you'll please tell us. When and where were you born and where were you educated?
MONTY LEWIS: I was born in Cardiff, Wales, in 1907. My art education was at the Art Students' League in New York from 1924 to 1928. I studied with Kimon (or Simon) Nikolaides and Hayes Miller primarily; and a short time with Boardman Robinson. In 1929, I had an award from the Tiffany Foundation.
BETTY HOAG: What kind was it?
MONTY LEWIS: A Tiffany Foundation award?
BETTY HOAG: Is it much like the Huntington Hartford fellowship here in which you go out to a special place to work?
MONTY LEWIS: Yes. In 1930 I had an award from the Guggenheim Foundation. That was a long time ago. I spent a year and a half in Europe. Of course in the interim previous to that I had done other work, like working on certain murals. I did some other work at Oyster Bay on Long Island in 1929 -30.
BETTY HOAG: Had you studied mural painting with any one person in particular before you did that work?
MONTY LEWIS: That was part of the overall study and activity, mural painting, easel painting. I did some freelance mural decorations, assisting other mural painters in private residences up on Fifth Avenue, in penthouses and things of that sort. Then in Europe, of course I traveled all over studying in museums and galleries, particularly in the field of mural composition and painting. I spent about eight months in Florence, Italy living in a 14th century palace right on the Arno.
BETTY HOAG: Cold?
MONTY LEWIS: Cold as it could be, yes! Ha, ha, ha. Freezing cold in the winter time. We had the fires going all day long. And we traveled all over Italy, Spain, England, France, Germany, Austria, Holland, Belgium and . . . .
BETTY HOAG: What a wonderful experience!
MONTY LEWIS: I spent about nine months continuously traveling to the museums, studying in museums, making studies of famous paintings, and doing a lot of research, that sort of thing. I came back here in 1932, I guess, sometime about then.
BETTY HOAG: Right back to the Depression?
MONTY LEWIS: Right into the middle of the Depression. As I recall, by 1934 the depression had gotten so bad that the government created the first Federal Project called the Public Works of Art Project, PWAP. Well-known painters were invited to participate. They were all the best-known painters and sculptors of the time, men like John Sloan, William Zorach, Kuniyoshi, Reginald Marsh –- any number you could think of who really had star-dust names.
BETTY HOAG: Were they contributing their work gratuitously?
MONTY LEWIS: No. They were invited to become part of the initial Project. Mrs. Juliana Force, who was then the Director of the Whitney Museum of American Art, was in charge of the Project. Goodrich was then connected with it as well, you know, as Director of the Museum of Modern Art.
BETTY HOAG: Let us come back to the Project later and first bring you out to California, find ut what you are doing here, and then return chronologically.
MONTY LEWIS: Well, I came out in 1942, during the first part of the war. I was having a big exhibition at the Art Students' League in New York in one of the big-name galleries –- murals and sketches and drawings, a great number of works, and the exhibition date ended on Dec.7, 1941, Pearl Harbor Day.
BETTY HOAG: So, that was the end of the show and also the end of the Project?
MONTY LEWIS: Yes, the end of the short at least. I don't know if it ended the Project. I'm not sure of that because I wasn't on the Project at that time. I was living out in New Jersey then. Let me see how it was. People at that time from California were in New York attempting to recruit certain types of artists to do some work out Here. They contacted me and I decided to go to California, although it was supposedly a very dangerous time, that first part of the war. I had a house in New Jersey and it was a good thing to get rid of it because it had twelve rooms. It kept me busy stoking fires all the time! Finally I told my family that I had accepted this thing and we were going out to California. But at any rate, with our three children, we started to drive West. And I had a serious accident somewhere down in Tennessee. I didn't get out here until three months later.
BETTY HOAG: Oh, what a shame. That wasn't much of a start for a new life, was it?
MONTY LEWIS: It was hectic out here at that time. Everybody was somehow getting onto the war effort, and I did try to get that kind of job.
BETTY HOAG: Was it with a motion picture studio? So many of the artists . . .
MONTY LEWIS: No. It was in one of the aircraft plants in engineering and technical illustration.
BETTY HOAG: I see
MONTY LEWIS: And I stayed there till the end of the war. During that time I was giving some evening classes. I tried to build up an art class, which I did. Then, right after the war, I got the school going.
BETTY HOAG: You started the school? I didn't know how long you'd been here.
MONTY LEWIS: Yes. I founded the school and its been going ever since. We've had good times and bad times.
BETTY HOAG: Then you are not just the director but you are the owner too?
MONTY LEWIS: Yes.
BETTY HOAG: I'm sorry that I didn't understand it when I introduced you.
MONTY LEWIS: It's all right.
BETTY HOAG: Well, thank you for bringing this up.
MONTY LEWIS: And We've been going steadily for almost 20 years now. Summer, winter, and all day, and half the night.
BETTY HOAG: I can't imagine you have regrets about that 12 room house in New Jersey. It's so beautiful out here!
MONTY LEWIS: No all I did there was to shovel snow. All winter long. To get the car out of the garage. It was terrible. Shovel the ground and shovel coal.
BETTY HOAG: That's one thing you don't have to worry about now.
MONTY LEWIS: No, I should say not.
BETTY HOAG: Just spray the bugs that get on the flowers. When did you first hear about the Project when you came back from Europe? Were all the artists in New York talking about it because it had just started about that time?
MONTY LEWIS: Well, I came back in 1932. It didn't start until 1934, I believe. When I came back from Europe I had several exhibitions in galleries on 57th Street in New York. I had some things at the mural show at the Museum of Modern Art when it first opened. First mural show they had. At that time it was in connection with Rockefeller Center. Rockefeller Center was going up, and the Museum of Modern Art had an exhibition of modern mural paintings in an attempt to show the trend, what contemporary American mural painters could do in connection with this possibility.
BETTY HOAG: Was this before Rivera's famous mural?
MONTY LEWIS: Yes, it was before Rivera's mural, yes.
BETTY HOAG: I didn't realize there was such interest in murals before that.
MONTY LEWIS: Before his mural in Rockefeller Center? Of course the interest in Mexican mural art was coming to the fore at that time. Most people who had some inclination and activity in the mural field were invited to participate in this show. Let's see, there were George Biddle, Henry Varnum Poor, Ben Shahn, Georgia O'Keeffe.
BETTY HOAG: The "skull and roses lady"?
MONTY LEWIS: Yes. And Reginald Marsh and Kimon Nikolaides, John McToca, quite a number. I still have the catalogue which I'll show you.
BETTY HOAG: Oh good. It must have been an interesting show.
MONTY LEWIS: It was a very interesting show, although it didn't go over well. It was the first modern mural activity actually, aside from Thomas Hart Benton who was attempting it at that time. He was trying to project his ideas into the mural field. It was the first time any murals in a modern vein had been developed. Stuart Davis –- quite a number of others. But I don't think the critics were very favorable to it.
BETTY HOAG: These were not actual murals?
MONTY LEWIS: No. These were cartoons and drawings. You see, we were given a particular project, a particular three-panel mural to design. It was to be concerned primarily with modern activity. One section of it was to be executed full-scale, 4 x 7' or 5 x 7', something like that, just one detail. But the entire mural was to be sketched. Our project was the sketch in the completed form.
BETTY HOAG: What was your subject? Do you remember?
MONTY LEWIS: Mine was "New York Holiday".
BETTY HOAG: What was that? Coney Island?
MONTY LEWIS: No. It was midtown New York with all the skyscrapers and buildings and people and that sort of thing. It was very interesting but nothing much came of it. Oh, let me see, what happened after that? Of course after that was Rivera in Rockefeller Center. He was given a job there with the Spanish architect, Jose Mario Sert. He was a fabulous sort of painter. Then there was a British painter who had rather a mild approach. I recall at that particular time when Rivera was painting his mural, I asked him if he wouldn't have his photograph taken with Sert but "nothing doing". Ha, ha, he actually refused.
BETTY HOAG: He wanted to be all alone for his picture?
MONTY LEWIS: Well, he didn't value Sert's work at all. Let me see. I may not be quite right here. I think they brought Sert in after the Rivera mural was toned down.
BETTY HOAG: To do one in its place?
MONTY LEWIS: To do one, in place of it.
BETTY HOAG: I see.
MONTY LEWIS: In the same location. It was the other painter, the British painter by the name of (........). The first part of the Public Works Project related on to artists invited to participate, then that moved into other phases, I suppose because the Depression got so bad at that time. . .
BETTY HOAG: Was this the time in New York when the artists banded together and formed the Artists' Union.
MONTY LEWIS: No, that came several years later, I believe, a couple of years later.
BETTY HOAG: After the Depression became even more severe.
MONTY LEWIS: Yes. The depression got more severe. Practically all the artists were in a very bad way. Of course we were all in a bad way, everybody was.
BETTY HOAG: But the professionals especially . . .
BETTY HOAG: Were you one of the invited artists?
MONTY LEWIS: I was one of the invited group, yes, the original group.
BETTY HOAG: Were you invited to do murals or easel paintings? Did you have a choice?
MONTY LEWIS: I had a choice, yes. Most of the artists just did what they had been doing. John Sloane and Edward Hopper I think were on it. All the well-known people were invited to participate. that I believe came the Works Progress Administration . . .Federal Works of Art. Projects which began with something else that was connected with the Washington office.
BETTY HOAG: At the same time when there were the Treasury commissions?
MONTY LEWIS: Yes. Edward Bruce became direct of that.
BETTY HOAG: That was the competitive one in which post office murals were awarded.
MONTY LEWIS: There were several areas of activity, I guess. Then all the various states took up the idea of the vast federal project, as you know. Most of the artists who are well-known today, who are big names today, sell their works for large prices, Most were connected with the Project at that time. There were very good artists, very fine artists.
BETTY HOAG: Pasadena had a wonderful show two or three Months ago. Did you get up for it? It was from the Museum of Modern Art and it was a "Before and After" show of 18 of them. And the "before" works were Project period works and the "after" works of course what they are doing today. It was just absolutely fabulous. Most of them were still in the same vein, you could trace the roots very quickly. I think it was quite an eye-opener to the community to realize how many Project people became really famous. Did you do any of the Treasury commissions?
MONTY LEWIS: No, I didn't do any Treasury commissions. I never submitted any work to the Treasury. Then in 1939, when the New York World's Fair came along, we had two mural societies, the National Society of Mural Painters (for which I was on the Board of Directors at one time) and the Mural Artists' Guild. They are both societies. The New York World's Fair of 1939 . . . let's see . . .I hope you don't mind these lapses?
BETTY HOAG: No.
MONTY LEWIS: We had a group called the Artists, Painters, and Sculptors Collaborators. It was the first group of its kind. It was formed in an attempt to get the New York World's Fair interested in certain types of developing art activity. This group was concerned with a community art center.
BETTY HOAG: You mean creating a physical center for them?
MONTY LEWIS: A physical one.
BETTY HOAG: For just mural work?
MONTY LEWIS: No, for painting sculpture and architecture. It was the first project of its kind since the early Greek days.
BETTY HOAG: Oh, how exciting!
MONTY LEWIS: And we had several sculptors. There were Jose Ruis de Ribera, William Zorach, Noguchi, and (. . .) Hockovie. For the sculptors connected with it. There was a famous Philadelphia architect associated with this group. And there were 10 or 12 general painters. We did this model which you can see here (he shows a photograph), which was the first developed community art center project.
BETTY HOAG: Oh, how beautiful! Was it built?
MONTY LEWIS: It was never built.
BETTY HOAG: But the whole project was shown at the Museum of Modern Art in New York. That is William Zorach's group. And here is Jose Ruis de Ribera. Now he's doing these things . . .
BETTY HOAG: Silver loop kind of things?
MONTY LEWIS: Yes. These are the first use of designed and developed sculptural forms like what are now seen often in children's zoos and playgrounds, the practical application of sculptural form.
BETTY HOAG: Were they used as playgrounds for children or were they just decorative for the fountain?
MONTY LEWIS: Well, these were in the center pool, yes. They were to be used that way somewhat: shapes to swim around and bump against in the basin. Noguchi did some . . .I don't quite remember what he did. I'm not too sure but some aspects of shapes to swim around and bump against the basin.
BETTY HOAG: This was certainly a forerunner.
MONTY LEWIS: It was a forerunner of sculptural playground equipment used all over this country. It cost about $400,000 to build, and although nothing came of it as far as the Fair was concerned, still a good many painters and sculptors who worked on it got jobs at the Fair, you see.
BETTY HOAG: I see; because of it.
MONTY LEWIS: To some extent, Zorach did some things and Fester did the RCA building. A great many others did other things, and so on and so forth. I worked on the Museum of Modern Man building.
BETTY HOAG: On murals?
MONTY LEWIS: On murals, yes. Oh a great many of us did work.
BETTY HOAG: Did it lead directly into any other work for you at the Fair?
MONTY LEWIS: Yes, I did a great many things –- including a big outside mural. And many of the others did other work. The whole project was exhibited at the Architectural League in New York. And the Museum of Modern Art showed most of it after that.
BETTY HOAG: For the tape, I'm going to give the name of the magazine. We are looking at the "Magazine of Art", May 1937. They have it available I'm sure back at the Archives.
MONTY LEWIS: It was the first real attempt to coordinate the three arts since the days of the Greeks. The Museum of Modern Art said that, anyway.
BETTY HOAG: Sounds likely. I certainly don't know of any other, do you?
MONTY LEWIS: No, but then, somehow or other people all went their own ways after that.
BETTY HOAG: It's too bad it was never built. It would have been a wonderful thing.
MONTY LEWIS: Yes, it would have been a wonderful thing because the ideas incorporated in it are now used extensively.
BETTY HOAG: Sometimes it takes this long for things to bear fruit.
MONTY LEWIS: It always does.
BETTY HOAG: What happened after that was over then?
MONTY LEWIS: The Fair continued for two years, although the artists who'd worked the first year weren't used the second. They just used the same things again. It was a wonderful fair, a much better fair than the one we have today. It was most exciting because all those things were new at that time. These things that they have at the present are sort of a rehash of the Fair of 1939.
BETTY HOAG: The catalogues of the 1939 Fair are very exciting.
MONTY LEWIS: Oh yes. All these things were just coming into being then, you see. It was very exciting: "The Temple of May" and the tremendous "Power Activity" and "Futurama" and General Motors thing. They just have the same things today. How long has it been?
BETTY HOAG: I'm afraid it's been 16 years.
MONTY LEWIS: 16 years? Fifteen years ago, yes. The same thing only that was larger, more exciting, it seems to me anyway. I spent about three months there. Practically every country in the world was represented and I don't think that is so with this year's fair.
BETTY HOAG: In fact, I think American art had a hard time getting into It at all, didn't it?
MONTY LEWIS: This year?
BETTY HOAG: Yes. I understand that Argentina withdrew so that they now are going to have one exhibit building for American art after all.
MONTY LEWIS: There was a tremendous lot of art work done in 1939. One man should be given a great deal of credit for much of the art activity In connection with murals. (Practically every building had murals on it.) That man was Earnest P. Chouteau. Earnest P. Chouteau was then art commissioner of the City of New York and he was a member of a governing board of the New York World's Fair at that time. He was also president of the National Society of Mural Painters. He laid out the color pattern of the Fair. There were certain areas of red, yellow, green, blue, red or white where all the buildings in that particular area were painted those colors. I doubt whether there was a building that didn't have some sort of mural decoration on it.
BETTY HOAG: I didn't realize that. It must have been wonderful!
MONTY LEWIS: There was a tremendous amount of mural work alone with the Diorama construction, that kind of thing and a great deal of sculptural work. And of course they had very large exhibitions of contemporary paintings. It was really an art fair. I was on the award jury for the selection of the best murals in the Fair.
BETTY HOAG: Oh, really?
MONTY LEWIS: There were so many of them we could hardly get around to see all of them.
BETTY HOAG: A great many artists from all over the country had done work on the Project earlier, hadn't they? Did they show any works from the Project? Perhaps because the government owned those things they couldn't.
MONTY LEWIS: You mean in the exhibits of American art?
BETTY HOAG: Yes. They must have, because Mr. Hard's "Aztec", for instance, was shipped back for the Fair.
MONTY LEWIS: Was it? I didn't think so.
BETTY HOAG: I believe it was.
MONTY LEWIS: I think probably one section was devoted to that. But they had so many exhibits. They had foreign exhibits of paintings, etc. I remember they had a wonderful exhibit of French contemporary tapestries. Magnificent things. It was when they were first being produced, you know.
BETTY HOAG: Yes. Was that Jean Larked?
MONTY LEWIS: Yes. That was Larked and his group. And tapestries by all well-known French painters at that particular time.
BETTY HOAG: Is that when the Ibizan industries were reopened for the first time in a hundred years or something?
MONTY LEWIS: Yes. Larked was the first to project and develop the new industry. They didn't have Michelangelo's "Pietas" or anything of that sort but they
BETTY HOAG: . . .managed to get along with their own?
MONTY LEWIS: Yes. They had international shows as well. It was really what you could consider a read art fair. Art all over the place, everywhere.
BETTY HOAG: Did you do any work on the Project after the Fair?
MONTY LEWIS: Yes. Then I was connected with the New Jersey Project. I became head of the mosaic aspect for the state.
BETTY HOAG: Oh really! Did they do much mosaic work there?
MONTY LEWIS: I introduced the mosaic craft to them.
BETTY HOAG: Oh, you did?
MONTY LEWIS: They started mosaic activity for the first time in connection with murals, contemporary modern art.
BETTY HOAG: Did you have any communication with Al King here in California at that time? He was doing the big Long Beach Auditorium which was employing hundreds of people at times. I wondered how you solved some problems which you must have had the same as he did -– having some workers who were excellent artisans and some who were not; times when the mosaics came out irregularly until something was done. He told me that in order to alleviate that he had all the tesserae cut in little squares and did not attempt to achieve a regular pattern. It was supposed to be an irregular thing, so that then people didn't lay them too carefully, it didn't show up. Did you run into that problem?
MONTY LEWIS: Well, I sort of trained most of the people connected with it.
BETTY HOAG: Oh, so they did lay them correctly?
MONTY LEWIS: I supervised the development of it. Primarily we used glazed tiles like these (showed photographs). Actually that was the first time those were ever used for mosaic tiles.
BETTY HOAG: Oh yes. Did you do your own grouting or did you . . .?
MONTY LEWIS: Oh yes, my own grouting. Here are so more photographs.
BETTY HOAG: Oh, good. How interesting. Was that done at the time?
MONTY LEWIS: Here are the ones that I designed (he designates photographs.
BETTY HOAG: About how many mosaic murals did the Project do, do you remember?
MONTY LEWIS: We didn't do too many. It took so long. Of course I don't know because I left there to come out here. There were 5 or 6 large floor mosaics in several buildings and two large wall mosaics.
BETTY HOAG: Were these for public buildings?
MONTY LEWIS: These were public buildings.
BJ: Courthouses or schools?
MONTY LEWIS: Schools and UNESCO buildings; mostly for schools. They were done about 1941, I believe, something like that.
BETTY HOAG: Did you do any fresco murals at the time?
MONTY LEWIS: I did some frescos in New York.
BETTY HOAG; On the Project?
MONTY LEWIS: Yes, a large fresco in New York –- a series of frescos, about 1500 square feet.
BETTY HOAG: My goodness! I hope you have some material telling about them.
MONTY LEWIS: I don't think I have any here....
BETTY HOAG: Were you active in any of the other Project work in New Jersey or did they have any other art projects?
MONTY LEWIS: Oh, yes, they had other art projects but I wasn't associated with any of the others. I was only there for about a year, I think.
BETTY HOAG: The mosaic one must have kept you busy anyway.
MONTY LEWIS: Yes. Of course, like all of the other projects, they had had them going for some time, painting and mural projects, that sort of thing. But I wasn't connected with it.
BETTY HOAG: Mr. Lewis, as a researcher, I find one of the things that is hard to do is to find names of people who were on the Projects. Do you remember any of them so I can send them to the Archives person in New Jersey who might be able to find some of the people who were working for you there?
MONTY LEWIS: Oh, gee . . .
BETTY HOAG: Or is it too long ago?
MONTY LEWIS: It's been a long time and I wasn't there very long.
BETTY HOAG: Yes. If any names occur to you later, I'd appreciate having you tell me.
MONTY LEWIS: All right.
BETTY HOAG: After you came out to California and started your Coronado School, I know that you were teaching mural painting here. As far as I know it was the only school at that time teaching people how to do fresco. That certainly was a direct result of your early training and part of your work on the Project, wasn't it?
MONTY LEWIS: To some extent you might say that, yes. Naturally it was a direct result of my studies in Europe because I had made a very considerable study of mu5rals in Europe –- mural methods and approaches, concepts and so on.
BETTY HOAG: I hoped I'd be able to bring out the point that it was because you'd done it on the project that you became interested, but obviously you were a mural painter before it started and you probably would have painted them anyway!
MONTY LEWIS: I'd done murals in public places and residences before the Project came into being. That is, my interest was in that field.
BETTY HOAG: Do you think that the Federal Project mural s aided or retarded the history of mural painting in this country?
MONTY LEWIS: Oh, as far a the murals go in this country, I don't suppose they had any real mural painting in this country until the Federal Arts Project came along –- at least vital mural painting. Most of the mural painting which was being done was a very academic type of glorified, pretty pre-Raphaelite sort of thing. There were one of two good mural painters, like John LaFarge. But most of the others were primarily imitations, starchy and worked over approaches, acceptable to the general public. However, a good many of the buildings that were being erected were primarily associated with other eras, too, and not contemporary in feeling or related in any way to our own contemporary society.
BETTY HOAG: To them "Carnegie Library murals" would be one way of identifying them, wouldn't it? Ha, Ha.
MONTY LEWIS: Probably I have that catalogue of the mural exhibition from the Museum of Modern Art here someplace.
BETTY HOAG: Shall I turn this off while you look?
BETTY HOAG: Is there anything else that you've thought of about the Projects that we should talk about?
MONTY LEWIS: I think the entire period of the projects themselves was unquestionably one of the most stimulating and inventive art movements this country has ever had, before or since.
BETTY HOAG: In general you think it was well worthwhile then?
MONTY LEWIS: Oh, unquestionably. There was a great movement of works done all of the country and they still exist. It gave a tremendous interest to the younger painters, and it gave assistance to so many of the great talents. It preserved the abilities of many of the important people in the arts. No telling what might have happened without it.
BETTY HOAG: The study of the whole period has been so neglected. I think it is only rather recently that we have because conscious of what good work was done. All over California there seems to be a revival of interest –- exhibits of works from the period.
MONTY LEWIS; I think there is no question about it. The stimulation it provided for real talent and real ability was probably greater than any other factor, from the point of view of the value for the country itself and for the artists.
BETTY HOAG: Yes. In a way it was rather like Italy at her great time, with guilds, wasn't it? You probably felt this with your group of mosaic workers where you had many people being trained. If you taught them to do this right it must have had that after-affect.
MONTY LEWIS: Well, I wouldn't make that comparison because of course in the guilds there were artists who projected through their whole lifetime the tradition and continuity of the arts. The Project sprang up out of nowhere and lasted a comparatively short time. The difference between the Federal Arts Project and the great renaissance development was of course that the Renaissance was a continuing development from the earliest medieval times all the way through the latter part of the 18th Century, over a period of several hundreds of years: a continuity of tradition and background, of development and growth. The Project came entirely "out of the blue", you might say, and ended just as quickly. So that continuity has been lost. If the interest nationally developed generation to generation then they might have something like a great Renaissance concept.
BETTY HOAG: I think we have two bills before the government now, one in California and one national, to get some kind of art sponsorship again.
MONTY LEWIS: National sponsorship of the arts, yes.
BETTY HOAG: It has been interesting for me to talk to the different people about how much it helped them having aid from the government that way. I wonder if it could be done again without involving politics?
MONTY LEWIS: It's very difficult.
BETTY HOAG: It is a thorny problem.
MONTY LEWIS: Yes, it is a thorny problem. It's always difficult. Of course the Renaissance did not have anything to do with government sponsorship, per se, you know. That whole mass of development had to do with artistic sponsorship entirely on a grand scale. The Church was a dominant factor of course, the governing sponsor. So there is a parallel there with the sponsorship of the federal government and in this particular period.
BETTY HOAG: Well, unless you have some more to add to this . . . ?
MONTY LEWIS: No, that's about what I can bring to mind at this point.
BETTY HOAG: I certainly appreciate your talking to me and telling me these things.
MONTY LEWIS: It was delightful to talk to you.
BETTY HOAG: It was very interesting. The Archives thanks you for the use of the things to be microfilmed also.
MONTY LEWIS: You're very welcome.
END OF INTERVIEW
Last updated... September 26, 2002
Transcript available on line at http://www.aaa.si.edu/collections/oralhistories/transcripts/lewis64.htm
Transcript available on the Archives of American Art website.
Quotes and excerpts must be cited as follows: Oral history interview with Monty Lewis, 1964 June 25. Archives of American Art, Smithsonian Institution.
McGlynn, Betty Lochrie Hoag, 1914-2002
Coronado School of Fine Arts
New Deal and the Arts Oral History Project
New York World's Fair
Painters -- California -- San Diego -- Interviews
Muralists -- California -- San Diego -- Interviews
Federal aid to the arts
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The Woodhaven Fire Safety House is open to all Woodhaven residents, groups, or schools for tour.
CALL: (734) 675-4918 or (734) 675-4916 for a 20 to 30 minute presentation.
This 32 foot mobile classroom is specially designed to teach children vital burn prevention and fire escape techniques through a fun and safe simulation of common hazards. The fire Safety House is equipped with a kitchen, bedroom, and living room, which feature the types of dangers children should look for.
The house fills with non-toxic smoke to teach the children to crawl low to safety. A heated door helps children choose the right exit. An escape ladder off the bedroom deck allows them to practice emergency escapes.
CAUTION: No person that may suffer from asthma, or any other respiratory condition or allergies should participate with the non- toxic smoke. Please tell the staff before the presentation and they will present the program without the non-toxic smoke.
In addition to the fire safety house we also have a severe weather simulator, which gives the public the possible effects of a severe weather problem in our area. We instruct the public on what to do, where to 90, and ideas to stay safe during such events like high winds and tornados.
The Fire Safety House is for children above 5 years.
The Severe Weather simulator is for children above 9 years of age.


2-hour CE unit online course for licensed healthcare professionals vital for providers serving Latino communities. Improving health outcomes is easy when you're culturally informed! Downloadable certificate of completion.
Easy-to-learn Spanish language basic training certificate progam for managers who need to communicate instructions to their Spanish-speaking housekeeping staff. BONUS: Includes a cultural competency component.
The Boot Camp Modules cover everything you need to know about pronunciation, spelling, written accents, and more! Divided into bite-sized chunks, with built-in redundancy, move through them at your own pace and measure your progress throughout. Video, audio and lots of practice!
A wide-ranging training program that teaches non-bilingual officers strategies for interacting with Hispanics on the job. Upon successful completion, officers receive a certificate qualifying them for in-service CE credits. Contact us about partnering to deliver this content.
Courting business relationships in Latin America is a delicate dance. Making a good first impression is the first step; maintaining a positive relationship is the ultimate goal. Avoid making the mistakes that could cost you a contract. Your hosts won't tell you when you unknowingly offend! Any one of the insights contained in this succinct, easy-to-read guide of cultural Do's and Don'ts could help you close the deal.
Deciphering the Latino Consumer is a practical guide to improving working relationships between Anglos and Latinos. It's the perfect resource for U.S. professionals, retailers and social service workers dealing with Spanish-speaking customers, clients and employees in their offices, their shops and their jobs.
William (Billy) Farias is not what one would call "diplomatic." He speaks his mind without reservation. This is contrary to the indirect mode of communication that most Latin Americans use, so when the Clearwater, Florida police department chose him as the liaison officer to head their new Hispanic outreach initiative in 2000, he faced a challenge.
Does the number 569 million sound like a lot to you? This is the population of Latin America. How about the 46.9 million Hispanics living in the United States? Hispanics already comprise the largest U.S. minority. If you want to attract the increasing purchasing power of the Hispanic consumer, learn more about the culture. Here's a good start.


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text:
kraftireader
sharing my love of reading, crafting, recipes, music and shopping bargains
The Summer of Chasing Dreams by Holly Martin #blogtour #bookreview #feelgoodfiction #romcom @HollyMAuthor
Posted in Uncategorized	by kraftireader
The Summer of Chasing Dreams written and self-published by Holly Martin is available NOW in ebook and paperback format.
To buy link: https://amzn.to/2HF0ytt
Eva is quite content with her life in London. In her job as a cover designer, she works at home, and often in her cosy pyjamas. She's happy to stay in her safe little world and not explore much outside of it.
She is the opposite of her mum, a free spirit who craved finding adventure and thrills in all corners of the world. But on the day her mum's will is finalised, Eva finds a list of all the dreams her mum wanted to achieve in her life. Things she never did because she fell pregnant with Eva.
Eva decides these dreams will not go unfulfilled – she is going to be brave and complete them for her mum. As Eva has no experience travelling the world, she hires a guide to go with her on this holiday.
Gorgeous but rude Thor Anderson is not the person she would choose to accompany her on this journey, but somehow she gets stuck with him. As they discover the world together Eva starts to think he might not be as bad as she first thought. She is swept away by Thor's kindness and mischievous sense of humour. But will it be a simple holiday romance or could this wonderful adventure lead to so much more?
I voluntarily reviewed an arc of this book. All opinions are my own and no content may be copied. However, authors and publishers may use elements of my reviews for quotes.
I am so pleased to be involved in the blogtour celebrating and promoting Holly Martin's latest novel: The Summer of Chasing Dreams.
Holly Martin has written a fabulously feel-good story with The Summer of Chasing Dreams. The author gave me a passport to happiness and I felt it ticked all the boxes on every page.
The author must have undertaken extensive research with this novel as each description of the sights, sounds, aromas of the destinations felt very real. Holly Martin placed me amidst the tourists and I lapped up everything that Eva saw for the first time and I chuckled over the little 'rookie mistakes' that only a true tourist could make!
Eva's story is one of fulfilling her late mother's forgotten dreams but also one of making new memories for herself. Not everything goes to plan and Eva's itinerary has a last minute change but she finds a way to make the mishaps and alterations work and she opens her eyes, heart and soul to experience life in all it's technicolour glory.
Gorgeous and uplifting and I truly did not want this story to end. This book is a passport to make you feel good.
Wonderfully adorable, full of fun and Danish delights! The perfect pick-you-up read!
To find out more about the author please visit the following pages:
Amazon Author Page: https://amzn.to/2Wg3H6a
Website: https://hollymartin-author.com
Twitter: http://www.twitter.com/HollyMAuthor
Facebook: https://www.facebook.com/hollymartinauthor/
feelgood fiction, Holly Martin author, Indie author, Romcom books	Leave a comment
The Pieces of You and Me by Rachel Burton #PublicationDayPush @bookish_yogi @HQDigitalUK @rararesources #bookreview #contemporaryromance #ThePiecesofYouandMe
The Pieces of You and Me written by Rachel Burton, publisher HQ Digital, is available NOW in ebook and audiobook format.
To buy link: https://amzn.to/2CrWwk5
They say time can heal all wounds…
When Jess and Rupert parted ways, it was the end of a great love story that might have been. Now ten years later, the very different paths they have taken in life will bring them back together for a chance meeting.
But with so much left unsaid about the break up neither ever recovered from and with each keeping their own devastating secrets, will they finally be able to make the fractured pieces of their love for one another whole again?
I am so pleased to be involved in the Publication Day Push for Rachel Burton and her latest novel: The Pieces of You and Me.
The Pieces of You and Me is Rachel Burton's third novel and although I've only read two of her books (including this one) I feel like this author's novels and her style of writing are going straight to my 'Favourite Author' list. The Pieces of You and Me was so effortlessly written with the words and the story flowing beautifully taking you on an emotive journey with Jess and Rupert.
Jess and Rupert were always destined to be together as they were born hours apart and lived close-by each other. Growing up they had become best friends and were always there for each other. But then as childhood grew into young adults their feelings developed into love and it was if they were the pieces of a puzzle that were meant to be together. However, life, or fate, played it's part and ten years ago hearts were to be broken and their lives went separate ways.
A lot has happened to Jess in the ten years since she's seen or heard from Rupert. She had to pick up the pieces of her heart and try and build them back together but they never truly fitted back correctly. Her personal life was to experience a huge hurdle that she would struggle to overcome and would still now find this hurdle rearing it's ugly head again.
Rupert's heart broke ten years ago when he walked out of Jess' life, he's had to face many new hurdles himself that took him by surprise and he's had a long battle to face of his own.
Now their paths have crossed again and it's as if the last ten years never took place. Feelings and memories come flooding back, but could they return to how they once were? Could their own battles in the last ten years leave barriers against their chance of happiness?
The Pieces of You and Me is such a beautiful story of a love that never gave up. It's also a story of struggling with what life has thrown your way. The author, Rachel Burton, has written with honesty and with sensitivity. You can feel the emotional heartache and the physical strains that life has thrown at Jess and Rupert. I was totally swept away by Jess and Rupert's story and was heartened by their plight.
Beautiful, honest, heart-warming and very uplifting.
Rachel Burton is the author of the international ebook bestseller The Many Colours of Us.
Rachel spent most of her life between Cambridge and London but now lives in Yorkshire with her fiance and their three cats. The main loves of her life are The Beatles and very tall romantic heroes.
Find her on Twitter & Instagram as @bookish_yogi or follow her blog at rachelburtonwrites.com. She is always happy to talk books, writing, music, cats and how the weather in Yorkshire is rubbish. She is mostly dreaming of her next holiday….
Social Media Links –
Twitter: twitter.com/bookish_yogi
Instagram: Instagram.com/Bookish_yogi
Facebook: https://www.facebook.com/Rachel-Burton-353151308524664/
Pinterest: http://www.pinterest.co.uk/rachelburton6/pins/
Contemporary fiction, Contemporary romance, HQ Digital, Rachel Burton, rararesources	Leave a comment
The Cornish Lady by Nicola Pryce #bookreview #blogtour @NPryce_Author @rararesources @CorvusBooks #HistoricalRomance #CornishSagaseries #HistFic #giveaway
The Cornish Lady written by Nicola Pryce, publisher Corvus, is available NOW in ebook and paperback format.
To buy link: https://amzn.to/2TSn3AY
Cornwall:1796
Educated, beautiful and the daughter of a prosperous merchant, Angelica Lilly has been invited to spend the summer in high society. Her father's wealth is opening doors, and attracting marriage proposals, but Angelica still feels like an imposter among the aristocrats of Cornwall.
When her brother returns home, ill and under the influence of a dangerous man, Angelica's loyalties are tested to the limit. Her one hope lies with coachman Henry Trevelyan, a softly spoken, educated man with kind eyes. But when Henry seemingly betrays Angelica, she has no one to turn to. Who is Henry, and what does he want? And can Angelica save her brother from a terrible plot that threatens to ruin her entire family?
I am so pleased to be involved in the blogtour celebrating and promoting the launch of Nicola Pryce's latest novel: The Cornish Lady.
The Cornish Lady is book four in the Cornish saga series by Nicola Pryce. Each book in the series can be read as a standalone and I have proved this notion as The Cornish Lady is my first introduction to the work of Nicola Pryce. Each story is set along the rugged coastline of Cornwall and we travel back in time to the late 1700's. Nicola Pryce creates strong female leads in each novel and The Cornish Lady is no exception with Miss Angelica Lilly taking centre stage.
Angelica Lilly is the daughter of a wealthy merchant and is keen to fulfil her late mother's wishes to marry a Lord. But one hot summer whilst visiting family friends her life is about to take a dramatic and enlightening journey. When Angelica's brother, Edgar, turns up looking dishevelled, distracted and acting rather bizarrely Angelica is starting to fear for his health and his new friendship with Lord Jacob Boswell. Does Jacob Boswell have an unhealthy control over her brother? A race to help her brother brings forth danger and drama, unearthing secrets involving embezzlement and exploitation.
I have to admit it did take me a little while to get into the story and characters but my goodness once the author changed gear in the storyline I felt myself engulfed by the drama and felt invested in the characters lives and was eager to learn what happened next.
The Cornish Lady was filled with drama, intrigue, mystery with a charming romance at the heart of the story. I'm now keen to learn more about the other books in the Cornish Saga series.
Nicola Pryce came to writing after a career in nursing. She has an Open University degree in Humanities and is a qualified adult literacy support volunteer. She is lives in the Blackdown Hills in Somerset and when she isn't writing she's probably gardening or scrubbing the decks. She and her husband love sailing and for the last twenty years they have sailed in and out of the romantic harbours of the south coast of Cornwall in search of adventure: it is there where she sets her books.
The Cornish Lady is her fourth book: The others are Pengelly's Daughter, The Captain's Girl, and The Cornish Dressmaker.
Nicola is a member of the Romantic Novelists' Association and The Historical Writers Association.
http://nicolapryce.co.uk
http://www.twitter.com/NPryce_Author
http://www.pinterest.co.uk/nicolapryceauth/
https://www.goodreads.com/author/show/15249833.Nicola_Pryce
https://www.facebook.com/nicolaprycebooks/
Giveaway to Win a signed copy of The Cornish Lady, a box of Cornish Fudge and some bookmarks (Open Internationally)
*Terms and Conditions –Worldwide entries welcome. Please enter using the Rafflecopter box below. The winner will be selected at random via Rafflecopter from all valid entries and will be notified by Twitter and/or email. If no response is received within 7 days then Rachel's Random Resources reserves the right to select an alternative winner. Open to all entrants aged 18 or over. Any personal data given as part of the competition entry is used for this purpose only and will not be shared with third parties, with the exception of the winners' information. This will passed to the giveaway organiser and used only for fulfilment of the prize, after which time Rachel's Random Resources will delete the data. I am not responsible for despatch or delivery of the prize.
http://www.rafflecopter.com/rafl/display/33c69494201
Cornish Saga series, Corvus Books, Historical Fiction, Historical Romance, Nicola Pryce, rararesources	Leave a comment
His Convenient Highland Wedding (The Lochmore Legacy, Book 1) by Janice Preston @JaniceGPreston @MillsandBoon #historicalromance #LochmoreLegacy
His Convenient Highland Wedding (The Lochmore Legacy, Book 1) written by Janice Preston, publisher Mills & Boon Historical, is available in ebook and paperback format from Thursday 21st March 2019.
To pre-order/buy link (amazon UK): https://amzn.to/2TJvQ8X
To buy direct from Mills & Boon: https://bit.ly/2Hte8Qn
Bought by her husband…
Bound by secrets of their past!
The start of The Lochmore Legacy – A Scottish castle through the ages! Earl's daughter Flora McCrieff brought shame on her family once, now she discovers she must wed impossibly rich but low born Lachlan McNeill. He's undeniably handsome, but a man of few words. Despite the attraction that burns between them, can she reach beyond his impeccable clothing to find the emotions he's locked away for so long…?
What is The Lochmore Legacy series?
The Lochmore Legacy is a captivating 4 book series with a difference; it's four individual stories written by four top-selling Mills & Boon historical authors: Janice Preston, Lara Temple, Elisabeth Hobbes and Nicole Locke. The stories are standalone novels but are linked by the setting of a castle in the Scottish Highlands and by a feud between two clans that has spanned centuries.
Book 1: His Convenient Highland Wedding by Janice Preston starts in 1841 in Castle McCrief were twelve year old Flora, one of the Earl's daughters is feeling abit miffed with her father's attitude towards her. Flora is a high spirited young girl and is full of ideas to help with the upkeep of the castle that is rapidly eating up the family's wealth. Her suggestions have been rebuked so many times she feels dispirited. With her temper still seething Flora goes off for a wander in the castle to work off her steam but during this time she makes a startling discover that frightens her to her core.
Seven years on and the discovery that Flora found still leaves Flora with a chilled fear and questions she's been afraid to ask. But now the castle is in bad disrepair and her father has virtually sold her off to a stranger and she is set to marry a wealthy gentleman. A man she's never seen or heard of before but his money is good for the family home.
Lachlan McNeill is a ruggedly handsome man that has worked hard the last few years earning his wealth. He's now bought himself a castle, a distillery and now a wife. His life is looking almost complete but there's a hidden sorrow within Lachlan that he's desperate to remedy. Life in the past was very difficult for Lachlan and his family and a tragedy has left him with a guilt he's struggling to overcome. Outwardly Lachlan looks the perfect husband but he's so overcome with the strain from the emotions brought on by his past that it's placing a barrier against any future happiness with his wife.
I loved this story set in the Scottish Highlands, Janice Preston described the setting perfectly and you could feel a sense of ruggedness of the land and the remoteness to the nearby city of Glasgow. Flora had two different personalities in the story, she was so vibrant as a young girl but by the time she was due to wed her father had knocked the spirit out of her. Once wed she was quite shy and reserved but her spirit from long ago was still there slowly simmering in the background.
With secrets in both Flora and Lachlan's past can the newlyweds help each other to overcome them? Will the feud from long ago lift it's ugly head and what is the startling find that Flora discovered?
His Convenient Highland Wedding is gorgeously romantic with a storyline that is filled with secrets, drama and charm.
The Lochmore Legacy looks set to be a fantastic, exciting series with romance firmly at the heart of the stories. I can't wait to read each story.
To connect and learn more about Janice Preston please visit the following pages:
Website: https://janicepreston.co.uk/
Twitter: http://www.twitter.com/JaniceGPreston
Facebook:https://www.facebook.com/janice.preston.author/
What's to come in The Lochmore Legacy series:
Book 2: Unlaced by The Highland Duke by Lara Temple
Published Date: 18th April 2019
To pre-order: https://amzn.to/2FayMkN
Book 3: A Runaway Bride for The Highlander by Elisabeth Hobbes
Published Date: 30th May 2019
To pre-order: https://amzn.to/2Cru5mb
Book 4: Secrets of A Highland Warrior by Nicole Locke
Published Date: 27th June 2019
To pre-order: https://amzn.to/2FgHHBc
And all the books in their glory …
Historical Romance, Janice Preston, Mills & Boon, Mills & Boon historical, The Lochmore Legacy series	3 Comments
Magnolia House by Angela Barton @angebarton @ChocLituk @rararesources #blogtour #bookreview #ContemporaryRomance
Magnolia House written by Angela Barton, publisher Choc Lit, is available NOW in ebook and audiobook format.
To buy link: https://amzn.to/2F66ER3
Rowan Forrester has it all – the happy marriage, the adorable dog, the good friends, the promising business and even the dream home after she and her husband Tom win a stunning but slightly dilapidated Georgian townhouse in London at auction.
But in the blink of an eye, Rowan's picture-perfect life comes crashing down around her and she is faced with the prospect of having to start again.
To make ends meet she begins a search for housemates, and in doing so opens the door to new friends and new beginnings. But could she be opening the door to new heartbreak too?
I am so pleased to be involved in the blogtour celebrating and promoting Angela Barton's latest novel: Magnolia House.
This was my first introduction to the works of Angela Barton and I really enjoyed it, Angela Barton places you into the hearts of the character's lives making you feel very welcomed and involved.
Magnolia House is an emotive journey for our characters in Magnolia House, especially our leading lady, Rowan Forrester.
Rowan and Tom Forrester were so excited with their new project renovating an old Georgian house in London. The move from the north west of England to the capital city was full of excitement and anticipation with a view of their professional and personal lives set to thrive in London. The house near Clapham Common sounded lovely and after four long months of work the couple were set to move in.
However, life was set to take a drastic turn for Rowan and her dreams were shattered. Rowan was now faced with an emotional struggle of piecing her life back together again in a city she felt lost in.
The new pieces of Rowan's life brought her opportune chances meeting people that were to make her life a little more bearable and they also brought much needed hope and light for the future.
Magnolia House is a story that takes you on an emotional rollercoaster with Rowan. It was dramatic, enlightening, inspiring, hopeful and had a wonderful underlying feeling of warmth. Angela Barton's beautiful descriptions of the renovations of the house make you want to find your own Georgian property to make your home. Magnolia House was a home that became broken but brick by brick it slowly felt the warmth from the glow of light and hope emanating from the windows and from new friendships and new beginnings.
Angela Barton was born in London and grew up in Nottingham. She is married with three grown up children and adorable four-year-old twin granddaughters. Angela is passionate about writing both contemporary and historical fiction and loves time spent researching facts for her novels. Having signed publishing contracts for three of her completed novels with Choc Lit's new imprint, Ruby Fiction, Angela is excited to be working alongside such a lovely team.
Angela and her husband, Paul, recently moved to France and planted a lavender field. She's looking forward to spending more time writing in the beautiful Charente countryside working from her new writing room, a beautiful shepherd hut. Angela is a member of the Romantic Novelists' Association and Nottingham Writers' Studio.
Website: https://www.angelabarton.net
Facebook : https://www.facebook.com/angela.barton3
Twitter: http://www.twitter.com/angebarton
Angela Barton, Choc Lit, Contemporary romance, rararesources	2 Comments
Knowing You by Samantha Tonge @SamTongeWriter #bookreview #PublicationDayBlitz @canelo_co @rararesources #KnowingYou
Knowing You written by Samantha Tonge, publisher Canelo, is available NOW in ebook and paperback format.
To buy links:
Amazon – https://amzn.to/2UyHvnk
Apple – https://geo.itunes.apple.com/gb/book/knowing-you/id1449854707?mt=11&uo=8&at=1000l5Q7
Google – https://play.google.com/store/books/details?id=aRiEDwAAQBAJ
Kobo – https://www.kobo.com/gb/en/ebook/knowing-you-6
An abrupt change; a new friendship; a dark secret…
Kind-hearted Violet has never fitted in, but despite being bullied at school is now content. She is dating ambitious Lenny, has her dream job in publishing and runs a book club at the local retirement home.
However, when her relationship with Lenny begins to falter, Violet, hurt and alone, seeks the advice of her new flatmate, Bella. She changes her image and with her head held high aims to show that she doesn't need Lenny in her life to be happy and successful.
Her long-term friends Mable and Farah worry about Bella's influence and slowly Violet starts to distance herself from them. When she was a child, her closest confidant and companion was a boy called Flint. Her mother didn't approve of their closeness and he suffered a terrible end. She won't let the same thing happen to Bella, no matter what anyone says…
Knowing You is about friendship and knowing who to trust with your deepest secrets; it's about taking control of your life and not being afraid to stand out. Perfect for fans of Ruth Hogan, Gail Honeyman and Amanda Prowse
I am so pleased to be involved in the Publication Day Blog Blitz for Samantha Tonge's latest novel: Knowing You.
Knowing You is an exceptionally written story by Samantha Tonge. The author has included a storyline dealing with many of life's struggles; bullying, grief, heartbreak, self-doubt, self-esteem all told with honesty and sensitivity. Samantha Tonge's writing felt so warm and comforting one minute and the next you are emotionally drawn in to the heart and mind of a young girl having to deal with such a traumatic event at a tender age. My heart ached for young Violet.
Knowing You is the story of Violet Vaughan who is now living her dream as an editor at an independent publishers in London. She shares a flat with her boyfriend Lenny who is an aspiring book agent. Life is looking up until Violet's heart is left broken. This heartbreak brings back memories of times that Violet wishes she could forget but these events in her past have shaped her life now.
The story travels back in time to 2001 to when Violet was 7 years old and she'd recently moved house and had started at a new school. Violet hid so much of her life from her mother in fear of upsetting her any further but the trauma from this time that had evoked so many emotions in Violet would take a dramatic turn. It's not until the final chapters of the book that the author spins her tale a final time leaving you breathless.
Knowing You is a story that would resonate with many and I would highly recommend it to young adults at secondary school as I feel the story would give many young people hope and be life affirming. I felt every emotional struggle and battle in young Violet and in the young adult she has become. A storyline that feels very current with social media implying certain images causing anxiety and self-esteem issues in many but it's a storyline that will never go out of fashion as the nature of people will always struggle with moments of self-doubt.
An exceptionally written story that is emotive, thought-provoking but filled with assurance and hope. I believe it's the author's best story yet.
Samantha Tonge lives in Manchester UK and her passion, second to spending time with her husband and children, is writing. She studied German and French at university and has worked abroad, including a stint at Disneyland Paris. She has travelled widely.
When not writing she passes her days cycling, baking and drinking coffee. Samantha has sold many dozens of short stories to women's magazines.
In 2013, she landed a publishing deal for romantic comedy fiction with HQDigital at HarperCollins and in 2014, her bestselling debut novel, Doubting Abbey, was shortlisted for the Festival of Romantic Fiction best Ebook award. In 2015 her summer novel, Game of Scones, hit #5 in the UK Kindle chart and won the Love Stories Awards Best Romantic Ebook category.
Twitter: http://www.twitter.com/SamTongeWriter
Facebook: https://www.facebook.com/SamanthaTongeAuthor
Website: http://samanthatonge.co.uk/
Canelo publishers, Contemporary fiction, Contemporary romance, rararesources, Samantha Tonge	Leave a comment
Fox Halt Farm by Celia Moore @CeliaMooreBooks @rararesources #blogtour #bookreview #debutnovel #giveaway
Fox Half Farm (revised edition) written and self-published by Celia Moore is available NOW in ebook and paperback format. The ebook is also included in the kindleunlimted scheme.
To buy link: https://amzn.to/2BzrEh1
Fox Halt on a £1.99 promotion until 12th April 2019
Opening on a cliff edge, Billy finds herself alone and betrayed. She believes everyone and everything she loves is threatened. Richard's world is aglow with wealth, love and unswerving family loyalty but then his perfect life crosses Billy's. He could save Billy, her beloved dairy cows and Fox Halt Farm but this young woman isn't in the mood to be rescued.
Nothing will stay the same. Should they trust each other? Will their secrets tear their lives apart?
Fox Halt Farm is hard to put down. The story cracks along and you are caught up in Celia Moore's vivid storytelling from the start. If you love novels by Jill Mansell, Fiona Valpy, Lucinda Riley, Maeve Binchy and Danielle Steel you will love this novel too!
I am so pleased to be involved in the blogtour celebrating and promoting the revised edition of Celia Moore's debut novel: Fox Halt Farm.
Fox Halt Farm is quite a compelling debut novel. The story starts with a young couple, Richard and Janette, on their honeymoon in Greece but something catches Richard's eye and he's startled to discover a young woman has fallen from the cliffs onto the shoreline. Desperate to help Richard was first on the scene. This was to become the start of an unorthodox, emotional journey for both Richard and the young woman who had fallen, Billy.
Back home in the UK Billy was so angry with Richard for saving her. Now a few years have passed and Billy is in her final year at university and a link to Richard is propelled towards her again.
Billy was quite a complex character who gives her heart out easily. She's very bright and focused in her studies but socially she folds up within herself and only has a small network of friends. One of her networks was her home back in Dartmoor, Devon on Fox Half Farm. Billy has fond memories of working on the farm with her parents, her Grandfather and her best friend, Tom. Fox Halt Farm was to prove to be a beacon of comfort, protection and hope for many.
Billy's life was about to become a whole lot more tangled when personal emotions become embroiled in business.
Fox Halt Farm is a story that spans two decades following the life of Billy after her eventful day in Greece.
The author, Celia Moore, has wound many twists and turns in this story and I few I couldn't see coming and when my head and heart recovered from this bolt I felt broken. Billy's vulnerability shone throughout the story but there was a hidden vulnerability within another character that once revealed led to catastrophic events.
An emotional and compelling debut novel with a chilling twist.
Celia Moore (1967-now) grew up on a small farm near Exeter. She had a successful career as a Chartered Surveyor working in the City of London before working her way back to Devon. In 2000, she left the office to start a new adventure as an outdoor instructor, teaching rock climbing and mountaineering. Today she gardens for a few lovely customers, runs and writes (accompanied at all times by a border terrier x jack russell called Tizzy). She is running the London Marathon in April 2019 for three cancer charities.
Facebook: https://www.facebook.com/celiamoore.books
Instagram: https://www.instagram.com/celiascosmos/
Pinterest: http://www.pinterest.co.uk/celiascosmos
Website: https://www.celiascosmos.com
Twitter: http://www.twitter.com/CeliaMooreBooks
The author has kindly offered a giveaway to win a £15 / $15 Amazon Gift Card (Open Internationally)
http://www.rafflecopter.com/rafl/display/33c69494203/
Celia Moore, Contemporary romance, Debut novel, Indie author, rararesources	1 Comment
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text:
Q: HP Z420/620/820 SAS controller support The HP Z420/620/820 series workstations have the Intel C602 chipset. They are coming up on ten years old, but E5-26xx v2 Xeons are still plenty of power and they use DDR3 dram, which is getting really cheap. They are no where near end of life.
The mainboard has two SATA 6Gbps ports, two SATA 1.5Gbps for optical drives, and there are four SAS/SATA 3Gbps ports. Starting with kernel 5.4.1 (I think) the needed drivers for the 3Gbps ports are no longer included. I've pinned the half dozen workstations I own at 5.4.0-58-generic or 5.4.0-70-generic.
My questions are:

*

*Is there some really good reason this particular piece of hardware was dropped from support?

*Is there a concise reference page for re-enabling support?

*Assuming this is just an oversight, how does one request that the driver be restored?

My experience with Linux started with Redhat 3.03, so I've had to build some kernels over the years, but it's been ... twenty years? This seems like a real nuisance in 2021.
This is the relevant stuff from dmesg for both SATA and SAS.
[    2.837517] ata1: SATA max UDMA/133 abar m2048@0xef44c000 port 0xef44c100 irq 44
[    2.837519] ata2: SATA max UDMA/133 abar m2048@0xef44c000 port 0xef44c180 irq 44
[    3.151867] ata1: SATA link down (SStatus 0 SControl 300)
[    3.151912] ata2: SATA link up 6.0 Gbps (SStatus 133 SControl 300)
[    2.825923] isci: Intel(R) C600 SAS Controller Driver - version 1.2.0
[    2.833679] isci 0000:02:00.0: OEM SAS parameters (version: 1.1) loaded (platform)
[    4.117144] sas: phy-1:2 added to port-1:0, phy_mask:0x4 (500110ad00f80978)
[    4.117437] sas: DOING DISCOVERY on port 0, pid:447
[    4.117658] sas: Enter sas_scsi_recover_host busy: 0 failed: 0
[    4.117691] sas: ata7: end_device-1:0: dev error handler
[    4.312036] sas: --- Exit sas_scsi_recover_host: busy: 0 failed: 0 tries: 1
[    4.322683] sas: DONE DISCOVERY on port 0, pid:447, result:0
[    4.322764] sas: phy-1:3 added to port-1:1, phy_mask:0x8 (500110ad00f80979)
[    4.322977] sas: DOING DISCOVERY on port 1, pid:447
[    4.323021] sas: Enter sas_scsi_recover_host busy: 0 failed: 0
[    4.323076] sas: ata7: end_device-1:0: dev error handler
[    4.323100] sas: ata8: end_device-1:1: dev error handler
[    4.511723] sas: --- Exit sas_scsi_recover_host: busy: 0 failed: 0 tries: 1
[    4.522282] sas: DONE DISCOVERY on port 1, pid:447, result:0

redpajama_set_name: RedPajamaStackExchange


The connection between log file switches and the media recovery checkpoints is just a little messier than I've described, and 11g has introduced two new parameters, _defer_log_boundary_ckpt (defer media recovery checkpoint at log boundary) and _defer_log_count (number of log boundaries media recovery checkpoint lags behind), defining this behavior. Effectively these parameters allow Oracle to be lazy about copying buffers to disk on media recovery checkpoints until a few extra log files switches have taken place. This type of mechanism has been in place since 9i—but with no visible controls—presumably in the hope that a little extra delay at peak processing periods would allow incremental checkpointing to spread the write load that an immediate media recovery checkpoint would cause.
session_cached_cursor : 设置此参数用以缓解 library cache load lock.
When you commit, the commit cleanout updates some of the changed data blocks by stamping them with a couple of SCNs. But the commit still takes only 60 bytes of redo – the changes to the data blocks are not logged i.e. they are delayed.When the block is subsequently updated by another transaction, the 'full' cleanout of the ITL and its row locks takes place. However, if you examine the redo generated at this point, you will find that it has been engineered to look as if the new update started from a fully cleaned out block. In this respect, the logging of the commit cleanout has not been delayed, it has been totally bypassed.


text:
Remembering to be proud | Windows and Mirrors
"The Art of Alzheimer's" features work by artists who have Alzheimer's or other types of dementia.
By Samantha Pak • August 13, 2019 1:30 am
It's the morning of Aug. 2 and I'm sitting across from Leonard Larson.
We're at the Skyline Retirement Community in Seattle and he's telling me about his art. As someone who was born in Centralia and grew up in the area, it's no surprise that he likes to paint landscapes — specifically trees.
"My dad was a logger so I grew up in woods," he said, adding that he likes to paint using oils as well as watercolors.
He also told me he's not able to do faces.
"That's very difficult to do," Larson, who goes by Lenny, said.
When he says all of this, it is not the first — nor last — time he tells me during our conversation.
Larson, who admits to having lost track of his age — maybe he's 89 or 90, he shrugs (but he's "young at heart") — has vascular dementia.
During our interview, he gives me the impression that he has been painting his whole life. But when I ask Dee Dunbar, a longtime friend who knew Larson about 10 years before his diagnosis, she tells me painting has never been something she has known about him. And aside from an oil painting in his home, whose origins are unclear, she said she has never seen any evidence that Larson has painted throughout his life.
Whether or not art has been part of Larson's earlier life, it is part of his life now. And some of the works he has produced in recent years are currently on display in The Gardens at Town Square, a senior living community in Bellevue.
His pieces are part of "The Art of Alzheimer's," an exhibit that celebrates "the creativity of persons living with dementia," according to its website, theartofalzheimers.org. The mission of the exhibit is to empower the artists to "enrich their lives through art within a dementia-friendly community."
"It all came from my mother," said Marilyn Raichle, who is the exhibit curator and director of "The Art of Alzheimer's."
Her mother had Alzheimer's from the age of 82 until she died at 96. Raichle said when her father died at 89, she and her siblings needed to find a way for their mother, who was the same age, to fill time. So they enrolled her in an art class through Elderwise, an organization focused on recognizing and nurturing the "value and wholeness of older adults, regardless of their cognitive or physical ability," according to its website, www.elderwise.org.
"She really thought [the art class] was stupid," Raichle said, adding that at that point, her mother hadn't painted since she was a child.
That said, her mother produced amazing paintings, she added. Raichle described her mother while painting as "totally there." She said her mother was joyful and expressed herself through painting.
There's this assumption about people with Alzheimer's and other types of dementia that they become "empty shells where people used to be," Raichle said. As a result, these individuals are not taken seriously. The goal of "The Art of Alzheimer's" is to tell a different story surrounding the disease and to treat people as human beings.
The exhibit features paintings by seven different artists from the greater Puget Sound area.
Raichle said when you think of someone with dementia, pride is not a common trait associated with them. But the sense of pride she has seen from the artists in the exhibit as well as from their families has been "profound." Raichle added that when people see the art their loved one has produced, it is often something they themselves are not able to do.
"I'm in awe of what they paint because I couldn't do it," she said.
I was also in awe when I visited The Gardens on Aug. 1 and was given a tour of the exhibit. While my creativity comes through my writing and I don't consider myself exactly artistic, I was very impressed by the pieces on display, and there was one in particular I really liked and could see it hanging somewhere in my apartment.
Dianne Miller reads about the artists featured in "The Art of Alzheimer's" exhibit, currently at The Gardens at Town Square.
Dianne Miller, a resident at The Gardens, said she and fellow residents were "eager to see the art," when they learned the exhibit would be coming to their community.
The exhibit opened at The Gardens earlier this summer with a gala reception with a few of the artists in attendance.
"We were just very supportive [of the artists and the exhibit] because it means a lot to us personally," Miller said about how Alzheimer's and other types of dementia affect so many people.
Miller's husband had a stroke at about Christmas last year and is a memory care resident in rehab at The Gardens.
"I would love to see my husband do something like this," she said about him taking art classes and painting.
Miller's husband is one of 24 residents in memory care at The Gardens. The residents usually have a diagnosis of dementia and/or Alzheimer's. The abilities of this population vary and can change with disease progression.
The Gardens is an integrated senior living community and also has 99 residents in independent and assisted living. Independent living residents care for themselves while assisted living folks might need a little help around their homes or with moving about.
Lenny Larson's painting, "Mt. Rainier," received the Residents Choice Award at The Gardens at Town Square, where it is currently on display as part of "The Art of Alzheimer's."
When "The Art of Alzheimer's" arrived at The Gardens, residents voted on their favorite painting. The winner was one of Larson's, who said the artists should be very proud of the fact that their work is displayed somewhere. It's a "feather in the cap," he said.
"The Art of Alzheimer's" will be at The Gardens through October, when it will move to University House in Seattle through March 2020. It will spend a month in Yakima before returning to the Eastside at Jefferson House in Kirkland. The exhibit will end at the Washington State Convention Center in Seattle before the pieces are returned to the artists in January 2021.
Windows and Mirrors is a bimonthly column focused on telling the stories of people whose voices are not often heard. If you have something you want to say, contact editor Samantha Pak at spak@soundpublishing.com.
Samantha Pak/staff photos Leonard Larson is one of the artists featured in "The Art of Alzheimer's" exhibit, which is currently displayed at The Gardens at Town Square.
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Welcome to the big show, Dori | Shiers
From cartoonist Frank Shiers:


A lot of people seemed pretty excited about this when I posted it on instagram, so I decided to do a quick first impressions of video and demo of it. Are you excited to try it out? Also, stay tuned for my reviews of the Michael Todd SonicBlend and blendSMART brushes (hint hint: feel free to subscribe so you don't miss them!). You can get the new Clarisonic Sonic Foundation Brush ($35) at clarisonic.com or Ulta.


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Ctesibius, a 3rd-century B.C. Greek inventor and mathematician, invented the first piston pump that could produce a jet of water propelled by compressed air—a fundamental advance that, with modern improvements, continues to be used today.
Imperial Rome, meanwhile, was the first civilization to enact mandatory building codes aimed at suppressing fires. After a devastating fire in 1st-century Rome, the emperor Nero ordered the city to be rebuilt with more non-combustible materials. Wooden structures gave way to those made of brick and stone, and empty areas between dwellings prevented many house fires from spreading to adjacent dwellings.
Until the Industrial Revolution, most firefighting technologies were modest attempts to control large urban fires that had already broken out. For many cities the fire "department" was the old bucket brigade. It took the machine age to develop a series of breakthrough technologies and fire prevention strategies that, taken together, would save millions of lives, protect cities from being destroyed, and transform urban building design.
First was the development of stringent fire codes for buildings. A huge 1845 fire in New York City demonstrated that even modest building restrictions were effective, as the fire stalled out when it reached areas rebuilt with stone, masonry, iron roofs, and metal shutters. After the Great Chicago Fire, the iron and steel industry developed new ways to forge fireproof iron columns and steel-frame buildings that could withstand much more heat, giving rise to Chicago's skyscrapers.
Next was the debut of the portable fire extinguisher, an invention that put out innumerable small fires before they got big. While cities experimented with early versions of soda-acid and glass grenade extinguishers emerged in the late 1800s, it wasn't until 1912 that Delaware-based Pyrene Company perfected the carbon tetrachloride extinguisher—a brass container containing fire-suppressing liquid that inhibiting the chemical reaction of the combustion process.
The emergence of fire escapes and emergency exits helped city planners think about life-saving capabilities on a larger scale. In 1903, the Iroquois Theater Fire in Chicago killed 602 people, with panicked theatergoers crushed trying to escape because nearly all of the theater's exit doors opened inward. The tragedy gave rise to the panic bar, the now-familiar trigger mechanism that allows users to open a door outward.
In the late 19th century, a New Jersey-based inventor, William Watkins, developed the heat-sensing automatic fire alarm, which automatically sent telegraph signals to the fire department when the hardware detected temperatures higher than a specified threshold, eliminating the need for people to report a fire. At the heart of the invention was what came to be known as the "Watkins thermostat," a unit that contained thin strips of metal that acted as heat detectors.
Arguably, the most effective modern fire-safety innovation has been the automatic sprinkler—a valve-controlled system that was activated by the melting of solder, patented in 1881 by inventor Frederick Grinnell. (In France, a sprinkler is still often called "le Grinnell.") Insurance companies and building owners were early adopters of the technology, seeing an effective and low-cost means to douse small fires before they spread.
Each of those advances contributed to much safer cities over the last 100 years.
Stricter building codes have saved thousands of buildings and greatly reduced the area of destruction caused by a single fire. The panic bar has eliminated the horror of people being crushed trying to exit large venues during a fire. (The Oakland warehouse fire in 2016, which killed 36 people, stands as a tragic example of what can still happen when building codes are ignored.) It's estimated that fire extinguishers put out more than five million fires annually in the U.S. Sprinklers reduce the chances of a fatality in a structural fire by 50-75 percent and average property loss per fire by 50-66 percent, according to the National Fire Protection Association.
Building codes are still evolving, too. For example, more robust fireproofing is required for buildings more than 75 feet tall, using materials that will be less likely to be dislodged by impacts or explosions. Additionally, radio coverage systems within buildings have been standardized to allow emergency personnel to better communicate within the building and with emergency responders outside the building.
Firefighting technology continues to expand. Recent advances include "Sensor-Assisted Fire Fighting," which feeds data taken from sensors located in burning buildings into computer models so that rescue services can accurately predict how fires will spread.
Most major urban fires these days result from a failure to comply with existing fire regulations. For example, the June 2017 blaze at a 24-story London apartment building that killed at least 80 people spread out of control largely because the building's exterior cladding was not sufficiently fireproof. But on the whole, firefighting advances have made large fires so rare in urban areas that some fire departments are reducing the size of their fire engines to better fit within narrow city streets—the great big trucks just aren't as necessary today as they were in the past.


text:
Александр Иванович Бужинский — советский хозяйственный деятель.

Биография
Родился в 1921 году в Москве. Член КПСС.

Участник Великой Отечественной войны в составе 821-го артиллерийского полка 289-й стрелковой дивизии, взят в плен, освобождён.

С 1945 года — на хозяйственной, общественной и политической работе.

До 1955 гг. — рядовой, инженерный и руководящий работник на Заводе имени Лихачёва в Москве.

В 1955—1992 гг. — заместитель генерального директора Московского автозавода имени И. А. Лихачёва по экономике.

C 1992 гг. — пенсионер.

За коренное усовершенствование технологии производства на основе ускоренного внедрения новейших достижений науки и техники на ЗИЛе был в составе коллектива удостоен Государственной премии СССР в области науки и техники 1981 года.

Жил в Москве.

Награды
 Орден Октябрьской Революции (27.04.1976)
 Орден Отечественной войны II степени (06.04.1985)
 Орден Трудового Красного Знамени (31.03.1981)
 Орден Дружбы Народов (10.06.1986)
 Орден «Знак Почёта» (30.07.1966)

Сочинения
 Бужинский, Александр Иванович. Паспортизация и аттестация рабочих мест в промышленности [Текст] / А. И. Бужинский, А. П. Глазунов ; [ред. Р. И. Копылова]. - М. : Экономика, 1989. - 158 с.
 Методика экономического анализа деятельности промышленного предприятия (объединения) / [А. И. Бужинский и др.]; Под ред. А. И. Бужинского, А. Д. Шеремета. - 2-е изд., перераб. и доп. - М. : Финансы и статистика, 1988. - 294,[1] с.; 21 см

Примечания

redpajama_set_name: RedPajamaWikipedia


As I said yesterday in my introduction, we went apple picking earlier than normal this year, so I've been staring at an enormous bowl of apples for over a week now. I've put them in lunches each day and let my apple-obsessed daughter snack freely, but that's still barely making a dent.
Over the weekend, I saw a recipe for Musselman's apple fritter breakfast bake. It called for 5 apples and some apple butter and croissants—man, I love croissants. I almost never let myself indulge in them, though, because they're basically flaky butter. Haha. Anyway, because of the croissants, I vetoed the recipe. Later that same day, though, we stopped at Wegmans and I saw a loaf of something called Apple Fritter Bread and I was like, "Yes please!" So I bought it. When I sliced off a piece after dinner, I noticed the inside of the loaf is kind of just a plain brioche bread with all the apple frittery goodness on the exterior. That got me to thinking: I bet I could sub this bread for the croissants and get something pretty similar if I decided to make that recipe.
I opened my refrigerator and discovered…no apple butter. What whhhhaaaaattttt?
Then my gaze traveled over to the apple bowl.
I could make apple butter.
I had a vague recollection of having made apple butter sometime before in these months of blogs. (Turns out I was right: it was October 9, 2016.) But that apple butter doesn't help me now because I NEED THIS FRITTER BAKE and it needs apple butter and I don't have any so I obviously need to remedy that situation.
I tried a new recipe, too, because why not? Also because it was about 10 at night when I was having this war with myself and I couldn't use any recipe that took less than, say, 10 hours to cook in my slow cooker while I was sleeping. Basically.
Turns out apple butter is at its best when it's cooked low and slow. So that's how I came to choose this particular recipe from Sugar Spun Run.
It still took me a little time to wash the apples (I scrubbed them with my produce brush because the skins stay on) and core them (I used my handy corer tool) and slice & dice them (it took me about a minute per apple—I know because, yes, I timed myself. Gotta make your own fun when you're working, people.) But then I set the timer, hit the sheets, and finished the process in the morning. After breakfast, I gave it a whirr with my immersion blender, stirred in vanilla, and let it go for another 2 hours while I went to the gym.
LOVING all the hands-off time involved in this recipe.
Core and dice apples. Place into 6-quart slow cooker.
In another bowl, combine sugars and spices (except vanilla), mixing well. Pour over apples and stir well to fully coat.
Stir to coat - taste a few. No worries!
Cook on low heat for 10 hours.
At the end of 10 hours, use immersion blender or food processor to process soft apples until smooth. (I used an immersion blender which was hella convenient. However, because I didn't want the metal of the hand blender scraping against the bottom of my slow cooker, I transferred the apples to a deep bowl and blended everything in there before transferring back to my slow cooker. It worked nicely.) Stir in vanilla extract.
Leaving the lid off, cook the pureed apples for another 2 hours on low. Stir occasionally.
Once finished, allow to cool (I let mine cool 45-60 minutes) before transferring to jars. Refrigerate.
Admittedly, this isn't a particularly photogenic recipe. It goes from being white to brownish to browner to deep brown. But the smell is divine and the taste? Can I just say, WOW? This stuff is perfectly smooth and deliciously spiced and it tastes amazing.
It can be enjoyed spread on toast or with cottage cheese or as a sub for apple sauce in baking or even eaten on its own.
What's more, I used 15 apples from my bowl and it still doesn't look like I touched them.


text:
Filtered by: Faculty
Data Privacy in the Age of Big Data
31 October 2018 Department of Computer Science , Faculty , News Media
As Singapore becomes a Smart Nation, concerns about privacy, surveillance and data collection becomes more pertinent as both structured and unstructured data is used. Associate Professor Anthony Tung shares his thoughts and research in data privacy in the Channel 8 News interview segment.
Preventing cyberattacks through smart network surveillance
Cyberattacks are a significant problem, but it can be difficult for organizations to distinguish the early stages of an attack from normal network traffic. Associate Professor Chan Mun Choon's lab is working on machine learning algorithms that can analyse large amounts of network data with the aim of detecting even novel forms of attack in real time.
Unhackable hardware for secure data sharing
When we want to collaborate but worry about data privacy, one solution is to create secure areas on individual devices which can interact with each other but cannot be accessed by the device's owner, or be used to hack the device owner's data. Associate Professor Chang Ee Chien's research group is working on using this idea to create new services in areas such as cloud storage and blockchain.
Smarter lifelong learning with AI
NUS has partnered SkillsFuture Singapore to develop artificial intelligence (AI)-based tools to help Singaporean working adults identify courses that support their career goals. These efforts dovetail with similar projects, such as the NUS career+ app recently co-developed by NUS Computing. "Recent advances in AI are well suited to the challenges of course recommendation and career guidance," said NUS Computing Associate Professor Min-Yen Kan. "Using methodologies like collaborative filtering and natural language analysis, we are optimistic that our research will support the creation of impactful technologies."
New faculty members join NUS Computing
17 October 2018 Department of Computer Science , Faculty
17 October 2018 – NUS Computing welcomes three new faculty members to the Department of Computer Science. They are:
Click It: Cloud Storage and Security
With the rising popularity of cloud storage, concerns about the security of cloud computing grow as hackers start targeting these storage systems. Associate Professor Chang Ee Chien shares his insights about cloud storage, as well as the benefits and costs of using cloud storage.
Online Shopping and the Science of Serendipity: NUS Computing Researcher Jack Jiang on Product Search in Social Commerce
11 October 2018 Department of Information Systems & Analytics , Faculty , Research , Feature , Digital Innovation in the Service Economy , Social Media & Digital Business , Data Science & Business Analytics
Have you ever gone to an e-commerce website with the intention of buying one specific thing, but then ended up with something totally different?
NUS Computing faculty members win teaching excellence award
01 October 2018 Department of Computer Science , Department of Information Systems & Analytics , Faculty
1 October 2018 – Three NUS Computing faculty members were presented with the Annual Teaching Excellence Award (ATEA) on 28 September 2018 for their high level of commitment to teaching.
Souping up parity games
26 September 2018 Department of Computer Science , Faculty , Research , Feature , Artificial Intelligence , Algorithms & Theory
It was a sweltering summer morning in July 2016, and the olive grove close to the town of Andria in the Italian countryside baked silently in the 40-degree heat. But what began as a quiet morning would soon descend into chaos.
NUS forms academic cryptocurrency think tank
18 September 2018 Department of Computer Science , Department of Information Systems & Analytics , Faculty , News Media
The CRYSTAL (Cryptocurrency Strategy, Techniques, and Algorithms) Centre was established by NUS Computing on 18 September. The new centre, an academic research laboratory and think tank, will be co-directed by Dean's Chair Assistant Professor Prateek Saxena and Associate Professor Keith Barrett Carter from the Department of Computer Science and Department of Information Systems and Analytics respectively.
Team Singapore wins one gold, two silvers and one bronze at the 2018 International Olympiad in Informatics
18 September 2018 Department of Computer Science , Faculty , Student
18 September 2018 – Team Singapore, led by Dr Steven Halim from NUS School of Computing and Dr Daren Ler from the Ministry of Education, won one gold medal, two silver medals and one bronze medal at the 2018 International Olympiad in Informatics (IOI) held from 1 to 8 September 2018, Tsukuba, Japan.
AI based Workforce Optimization Startup FriarTuck Raises S$5 Million Series A Financing from Philips and SEEDS Capital
10 September 2018 Department of Computer Science , Faculty , Alum , News Media
FriarTuck, a Singapore-based developer of enterprise software, has raised US$3.63 million in series A funding from Philips, the Dutch tech giant, and Seeds Capital, the investment arm of government agency Enterprise Singapore. FriarTuck is co-founded by Computer Engineering graduate Alan Sevugan and National University of Singapore Associate Professor Martin Henz. The startup develops artificial intelligence-driven tech solutions to make operations more efficient. Its WorkforceOptimizer platform runs the gamut of functions, from budgeting and payroll to managing employee shifts and supply chains.
Big Data Meets Influencer Marketing: NUS Computing Researcher Tuan Q. Phan Develops "Multinetwork Approach" to Going Viral
07 September 2018 Department of Information Systems & Analytics , Faculty , Research , Feature , Economics of IS , Data Science & Business Analytics
One of biggest challenges in marketing is the task of identifying influencers in today's large and complex social networks, such as Facebook or LinkedIn.
Blockchain gets better: moving beyond Bitcoin
24 August 2018 Department of Computer Science , Faculty , Research , Feature , Security , Systems & Networking , Algorithms & Theory
Steeped in every culture since the beginning of time are legendary figures of mythical proportions. The Greeks and Romans had Hercules, the Celts had King Arthur, and the Chinese had Sun Wukong. The tech world we live in today is no exception, and one figure that looms large is Satoshi Nakamoto.
PhD student wins first place in the Grand Challenge on DASH
06 August 2018 Department of Computer Science , Faculty , Student , Media
6 August 2018 – PhD student Abdelhak Bentaleb won first place in the Grand Challenge on Dynamic Adaptive Streaming over HTTP (DASH) at the IEEE International Conference on Multimedia and Expo (ICME) held from 23 to 27 July, at San Diego, California.
Assistant Professor Reza Shokri wins prestigious award for privacy research
02 August 2018 Department of Computer Science , Faculty , Security , Algorithms & Theory , Artificial Intelligence
2 August 2018 – Assistant Professor Reza Shokri was conferred the Caspar Bowden Award for Outstanding Research in Privacy Enhancing Technologies at the annual Privacy Enhancing Technologies Symposium, held from 24 to 26 July 2018.
A woman in a digital world
31 July 2018 Department of Computer Science , Faculty , News Media
In a series by NUS News which profiles some of the University's prominent females making waves in STEM, Professor Leong Tze Yun shares about how she entered into computing and the work she is involved in as Director of AI Technology at AI Singapore.
31 July 2018 Department of Computer Science , Faculty , News Media , Artificial Intelligence
31 July 2018 – NUS Computing Professor Leong Tze Yun is a forerunner in Singapore's artificial intelligence (AI) drive to power the future economy. As Director of AI Technology at national research and development initiative AI Singapore (AISG), Prof Leong works at the intersection of machine and human intelligence.
Blockchain technology could disrupt logistics industry
30 July 2018 Department of Information Systems & Analytics , Faculty , News Media
In a Channel News Asia feature story on blockchain technology, Associate Professor Hahn Jungpil discusses the benefits of blockchain and how it can adopted into businesses and industries.
Four new faculty members join NUS Computing
24 July 2018 Department of Computer Science , Faculty
24 July 2018 – Four new faculty members have joined the Department of Computer Science in NUS Computing. They are:


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Cogan (dezambiguizare)- nume de persoană de origine ebraică, răspândită și în Basarabia și România. Reprezentanți:
Beniamin Cogan- rabin și pedagog din Basarabia
Kevin Cogan- pilot de curse american
Moisei Cogan- grafician din Basarabia


Anyone ever done air pistol silhouette? Can I buy targets or are they custom made?
What rules govern air pistol Silhouette?
As for targets, there are many sources and the dimensions are available, in case you have someone who can fabricate them locally. There are also paper versions available and files, so you can print practice targets at home.
Have Fun! Silhouette shooting is quite enjoyable in all its calibers. Unfortunately, Silhouette has died off in many parts of the country.


I've been getting a lot of response to the ID's of these birds... the bird on the left is a Stilt Sandpiper, the bird in the middle is a Stilt Sandpiper, and the bird on the right is a Lesser Yellowleg.. I've learned a lot from these birds. When I saw the bird in the middle it appeared to be as large as the Lesser Yellowleg. A Stilt Sandpiper is 8 1/2 inches, and a Lesser Yellowleg is 10 1/2 inches. I couldn't figure out what sandpiper was as large as a Lesser Yellowleg. I figured out that the reason the middle Stilt looked so large to the others is that the left Stilt and the Lesser Yellowleg are standing in the water. The middle Stilt is not. This created sort of an optical illusion. I was told that you can't go by the size of these birds all the time. I appreciate all the help. What a lesson in these shorebirds. Thanks to all!
> shore bird, but I haven't a clue. Anyone know what it is?


Cape Verde is an archipelago situated 500km off the West Coast of Africa. Mano Mendi lives on the island of Santiago and is the last player of cimboa, a one-string violin used ot accompany the traditional batuque music. Through the portrait of Mano Mendi and the learning experience of To, a music teacher in the capital city of Praia, the film shows us how this music is rooted in the rhythms of everyday life.