text:
Q: SPSS GLM Significance of Predictors are different when building interaction terms vs creating the interaction variables I was wondering if anyone knows how SPSS builds the interaction terms/calculates the significance for predictors behind the scenes in a GLM? From my understanding it dummy codes variables and treats the one that comes alphabetically last as the reference group.
The reason I'm asking is I have a GLM model which has 3 continuous predictors and two categorical predictors (dummy coded). When I build all the 2-way and 3-way interactions with syntax ie:
Age_Centred Age_CentredDx  Age_Centredgender  Age_CentredDxgender BMI_Centred  BMI_CentredDx  BMI_Centredgender  BMI_CentredDxgender BPS_Centred BPS_CentredDx  BPS_Centredgender BPS_CentredDxgender  Dx  Dxgender  DxICV_Centred  DxICV_Centredgender  gender  ICV_Centred  ICV_Centred*gender.
vs manually creating all the variables by hand ie:
Age_Centred Age_Centred_Dx  Age_Centred_gender Age_Centred_gender_Dx BMI_Centred BMI_Centred_Dx  BMI_Centred_gender  BMI_Centred_gender_Dx BPS_Centred BPS_Centred_Dx  BPS_Centred_gender BPS_Centred_gender_Dx Dx  gender_Dx  ICV_Dx  ICV_Centred_Dx_gender  gender  ICV_Centred  ICV_gender.
I end up with a model which has the same intercept, overall significance, and R squared however the individual significance of the predictors changes. Refer to output below. To troubleshoot I've tried to flip the references groups when manually creating the variables but it still does not replicate the results. I've had another statistician try the same thing and ended up reaching the same point as what I did. Does it have to do with some of the parameters being redundant?
Building the terms via syntax:
Physically creating the variables by multiplying them together

A: All the details one might reasonably want about how GLM (and UNIANOVA, which is the same underlying code) parameterizes models, estimates parameters, and conducts hypothesis tests are available in the IBM SPSS Statistics Algorithms manual, available for download as a pdf at ftp://public.dhe.ibm.com/software/analytics/spss/documentation/statistics/26.0/en/client/Manuals/IBM_SPSS_Statistics_Algorithms.pdf. (Note that this is a large file, about 78 MB; clicking on the link starts a download.) In addition to the information in the GLM chapter, appendices F (Indicator Method) and H (Sums of Squares) are relevant, respectively, for building the design matrix and specifying linear combinations of model parameters for computing sums of squares for testing hypotheses.
In building the design matrix, categorical predictors (factors) are indeed represented by sets of indicator (0-1) variables. For a factor with k levels, k indicator variables are created, one for each observed level of the factor. The procedure does not explicitly treat the last category (sorted in ascending order, alphabetical for strings) as a reference category, though in simpler models the effect of what's done is essentially the same. If there is an intercept in the model, then the kth indicator will be redundant (linearly dependent) on the intercept and the preceding k-1 indicators. The estimation algorithm used in GLM/UNIANOVA will set the row and column in the cross-product matrix representing the redundant column in the design matrix to 0s, alias the corresponding parameter estimate to 0, and the results are similar to a reparameterization approach treating the last category as a reference category, except that you have to remember that it's there if you want to specify a linear combination of the parameters to estimate.
If you suppress the intercept, then for the first factor entered into the model the kth indicator would not be redundant (unless the factor is preceded by an unusual covariate or set of covariates). Any subsequent factors included in the model would involve redundant parameters, as would any interactions among factors, whether or not an intercept is included. Interactions among factors are created by multiplying the 0s and 1s for each level of the factors by those for each level of the other factor. So for an interaction of two two-level factors, there are four columns generated, of which typically the last three are redundant.
Covariates are entered simply by copying the values of the variables into the design matrix. Interactions involving covariates and other covariates multiply values for the columns involved within each row, and interactions involving covariates and factors multiply covariates (or products of them) by the indicator variables for the factor(s). Usually covariate-by-covariate terms do not involve redundancies, but factor-by-covariate terms do.

To get to the specifics of what's going on with your data, I can't replicate your exact results without your data, but I am able to replicate the patterns shown if I assume you've used the binary Dx variable as a covariate and the binary gender variable as a factor in each analysis. (There seem to actually be four continuous predictors in your model rather than three, but that doesn't affect anything of importance for understanding what's going on.)
There are two aspects of the situation to be considered. One is the parameterization and how the two ways of entering the variables into the model treat the variables and whether or not they produce the same estimates of parameters. The second is how the model specification results in the Type III tests shown in the ANOVA tables.
If I'm understanding things correctly based on what you've posted here, you should find if you compare parameter estimates for the two analyses that the parameter estimates for the intercepts and the non-redundant estimates for gender ([gender=0]) are the same, and have the same standard errors. For the terms involving just covariates or products of covariates, I expect that you will find the parameter estimates to differ between the two analyses and produce different t statistics. For interactions involving gender and covariates (which is all the other variables or products created outside the procedure), I expect the estimates will be the same in magnitude and opposite in sign, with the same standard errors.
None of the estimates or tests here are wrong. The models fitted involve interaction effects. An interaction means that effect of one variable varies by the levels of the other variable(s) in the interaction, and in order to estimate the same simple effects you have to parameterize the model in the same way, at least as far as the non-redundant parameters are concerned. However, to get the Type III tests for all terms to be identical, it's not always enough to have the same parameter estimates and standard errors. Type III tests involve a concept called containment that must also be considered.
For two effects in a model, effect A is contained in effect B if:

*

*A and B contain the same covariate terms, if any.

*B contains all factor effects in A, and at least one more (with the intercept   being contained in all factor-only effects).

In your original model, the intercept is included in the gender effect, gender is not included in any effects, and all the covariate main effects and two-way interactions among covariates are contained within the interactions between those terms and gender, while the three-way interactions (which include gender) are not contained within any other effects.
Type III sums of squares (not invented by SPSS, but by our friends at SAS) are based on linear combinations of parameters where a given effect is adjusted for any effects that do not contain it, and made orthogonal to any effects that contain it. The practical application of these rules is complicated (see Appendix H of the algorithms).
If you recode the gender variable to swap the 0 and 1 values, specify it as a covariate along with all the other variables, and fit the same model, you should be able to match all the non-redundant parameter estimates from the original model, along with their standard errors and t statistics. However, because the containment relationships in the original model are no longer there, the Type III tests for the terms not involving gender (which were previously contained in terms involving gender) will not match up.
The bottom line is that all results are translatable and all correct for what's being done, and that in order to make much sense out of individual terms you have to carefully focus on what's being estimated in a given parameterization, as well as the containment relationships. The difficult part gets simpler when you take seriously the fact that when variable X is involved in interaction terms, there is no single estimate of the effect of X. Any estimates are conditional one where you fix the value(s) of the terms with which X interacts.


text:
Ohio collegiate cross country coaches recognize Rockets' exceptional season
By Katherine Jamtgaard : February 8th, 2019
Junior Athena Welsh was voted Division I Female Runner of the Year, freshman Claire Steigerwald was voted Division I Freshman Female Runner of the Year, and UT Head Coach Linh Nguyen was voted Division I Women's Coach of the Year by the Ohio collegiate cross country coaches, it was announced Feb. 7.
"We had a strong cross country season in the fall, and it's nice that the coaches in Ohio recognized that fact," Nguyen said. "The team worked hard and really put together a season that they can be proud of, and these awards just reinforce it."
Welsh captured first place in three regular-season competitions. The Louisville, Ohio, native hit her personal best at the Bradley Pink Classic, posting a time of 20:36.2 to secure second. Welsh was one second off her personal record at the Mid-American Conference Championship (20:37.9) when she finished second, missing the title by a heartbreaking three seconds, and earning First-Team All-MAC honors.
At the NCAA Division I Great Lakes Regional meet, Welsh took 17th place with an NCAA qualifying time of 20:55.2. She then competed in the NCAA Cross County Championships, finishing 85th with a time of 20:59.1.
Steigerwald had a breakout season, landing second (14:22.8) in the Toledo Opener and fourth (17:47.0) in the Mel Brodt Collegiate Opener. The Gahanna, Ohio, native was the first freshman to cross the finish line at the MAC Championships, posting a personal record of 21:43.4 to finish 19th and earn Freshman of the Year honors from the MAC.
In the NCAA Division I Great Lakes Regional, Steigerwald clocked a time of 22:11.7 to take 80th place.
Nguyen coached the Rockets to three first-place finishes on the season. The Rockets had five top-five regular team finishes. In the post-season the Rockets landed second in the MAC Championships and ninth in the NCAA Regionals. Each week, the Rockets consistently placed runners in the top five at their meets.
This entry was posted on Friday, February 8th, 2019 at 2:37 am and is filed under Athletics, News .

redpajama_set_name: RedPajamaCommonCrawl


text:
Why airlines fear 5G will upend travel this week
Bronx fire possibly sparked by explosion injures at least 7 people: officials
Photo of a New York school lunch goes viral, parents voice concerns
Boy, falls asleep on bus, wakes up in bus barn alone
COVID-19 vaccination, booster sites to be held at Rochester schools this week
by: Matt Driffill
ROCHESTER, N.Y. (WROC) — Vaccine and booster clinics are coming to Rochester schools.
A series of COVID-19 vaccination clinics will take place this week at various schools within the Rochester City School District.
Officials say the clinics will have first, second, and booster doses of the Pfizer, Moderna, and Johnson & Johnson vaccines.
Appointments are encouraged, but walk-ins are also welcome. Appointments can be made online. All clinics will run from 4 p.m. to 7 p.m. at the locations and dates below. These clinics are in addition to the county's regularly scheduled vaccination sites and these clinics will only administer doses to individuals ages 12 and older:
January 10 — East High School School Based Health Clinic, 1801 East Main Street
January 11 — Franklin High School, 950 Norton Street, 14621
January 13 — Wilson Foundation Academy, 200 Genesee Street, 14611
Additionally, there is a separate vaccine clinics taking place on Monday at Northeast/Northwest School for individuals aged 12 and older. Appointments can be made by calling 585-324-9210.
Dr. Martin Luther King Jr. School No. 9 located on 485 Clinton Avenue will also take appointments Monday from 8 a.m. to 2 p.m. for people aged 5 and up. More information can be found on RCSD's website.
Editor's note: This press conference will be live streamed on this page at 2 p.m. EST.
Police find unclaimed ashes and bodies at Ehle and Barnett Funeral Home
Weather / 1 hour ago


text:
You are here: World Cafe // World Cafe Guests // Trey Anastasio
January 11, 2013 - Listen to an in-depth interview with the lead singer of the beloved jam-rock band Phish.
In addition to leading Phish, one of rock's most beloved jam bands, Trey Anastasio has built a successful solo career in the past 10 years with his Trey Anastasio Band. His latest album, Traveler, was produced by Peter Katis, a renowned engineer who's worked with Interpol, The National and The Swell Season, among others. The album also features guest performances by members of The National and Mates of State.
In this edition of World Cafe, Anastasio sits down for an in-depth interview and tells the story behind his song "Valentine," which he wrote after getting sober.
Session Setlist:
Trey Anastasio / "Valentine" / Traveler
Let Me Lie
Backwards Down The Number Line
Recent Release: Traveler
Label: Rubber Jungle Records
Band Origin: Burlington, VT
More in this category: « Graham Parker & The Rumour	Trey Anastasio »


Gogo is offering $4 off your next in-flight internet session through April 7 by entering the code 2getwifi on the payment info page. Apparently this works for any airline with gogo internet.
FYI… Just tried this code on a Virgin America flight and it says its not valid.


text:
Safety and efficacy of balloon angioplasty in symptomatic intracranial stenosis: A systematic review and meta-analysis
Kadooka, Keisuke; Hagenbuch, Niels; Anagnostakou, Vania; Valavanis, Anton; Kulcsár, Zsolt (2019). Safety and efficacy of balloon angioplasty in symptomatic intracranial stenosis: A systematic review and meta-analysis. Journal of Neuroradiology. Journal de Neuroradiologie:Epub ahead of print.
BACKGROUND AND PURPOSE Endovascular treatment is offered for symptomatic intracranial stenosis (ICS) when medical therapy fails. The purpose of this meta-analysis is to evaluate the risks and effectiveness of balloon angioplasty (BA) alone.
MATERIALS AND METHODS Systematic review and meta-analysis of all available articles on BA for symptomatic ICS was conducted. Data was analyzed separately for > 70% (Group 1) and > 50% (Group 2) stenosis. The results of the Group 1 were compared with those of SAMMPRIS study to the extent possible.
RESULTS A total of 25 studies comprising 674 patients were included. The cumulative incidence of periprocedural (within 30 days) stroke and death were 16.3% (Group 1), 7.6% (Group 2) and 11.5% (all studies). Incidence rates of ischemic stroke in the qualifying artery territory during follow-up (per 100 patient-years) were 2.0, 2.4 and 2.3, any stroke and death during follow-up were 4.4, 7.4 and 6.9, restenosis rates were 4.9, 11.5 and 8.9 respectively. While comparison of cumulative incidences of periprocedural ischemic stroke between Group 1 (13.0%) and the medical arm from SAMMPRIS study(4.4%) showed a significant difference (P = 0.008), there was no significant difference between the Group 1 and the stenting arm from SAMMPRIS study(10.7%) in the same variable.
CONCLUSION Balloon angioplasty for stenosis of more than 70% is likely to have similar outcome comparable to the stenting arm in the SAMMPRIS study, however it presents lower rates of late ischemic events and restenosis. These data may help deciding on the endovascular method of choice in case of medical therapy failure.
04 Faculty of Medicine > University Hospital Zurich > Clinic for Neuroradiology
04 Faculty of Medicine > Epidemiology, Biostatistics and Prevention Institute (EBPI)
Publisher DOI. An embargo period may apply.
https://doi.org/10.1016/j.neurad.2019.02.007
Kadooka, Keisuke Hagenbuch, Niels Anagnostakou, Vania Valavanis, Anton Kulcsár, Zsolt


text:
Q: Java algorithms I am a server side Java programmer. In my recent job search, I have come across a few postings where they mention : ' Candidates with expereince in algorithm development will be preferred'. What exactly does this refer to? This is the posting for a Bank...so not a job for a research laboratory...just to clarify a bit.
I asked my headhunter ...he does not have an idea about this.
When we use Java in applications, we use the APIs that implement algorithms...so technically we are not developing algorithms. Right?

A: "Algorithm development" sounds vague. Maybe the original technical requirement was knowledge of algorithms, and somewhere along the way, someone thought it didn't sound impressive enough, and rewrote it to "candidates with experience in algorithm development will be preferred".
I don't think it means "the ability to create new algorithms from scratch". Rather, you need to be able to recognize when a program could benefit from the use of some known algorithm or data structure, or a slight modification of one, and the ability to get that done. This is a crucial skill on many projects, and especially those where speed is important.
The generic algorithms provided by the Java class library (like Arrays.sort) make up a small fraction of what you might find in even an introductory algorithms textbook. (I'm not a Java hacker by trade, but is there even a heap sort?)

A: Wrong.
Well, of course it depends on the project.  But there are plenty of mundane projects that need more than just sticking tab A into slot B.  If you like, consider that they said "algorithm development", not "algorithm research".  Research and development are two parts of of the deal -- related but not the same.
Not every algorithm is available as a standard library.  Also, a particular implementation of an algorithm is not necessarily appropriate for every application.  Finally, even when using a canned routine, understanding how the algorithm works is frequently helpful in figuring out how to use it properly.
So, the job postings are for someone with some understanding of algorithms.  How to use them.  How to adapt them to a particular purpose. How to read a paper (written by an egghead from a research laboratory, perhaps?) and implement the algorithm therein -- or to reject it and continue looking for something more suitable to the purpose at hand.  And, yes, very occasionally, how to come up with something new and different.

redpajama_set_name: RedPajamaStackExchange


The following are the performances and exhibitions of Andrews University faculty members conducted in 2013.
Herb Helm. "Sunning Gator."Midwest Museum of American Art 35th Elkhart Juried Regional Exhibit. Original Watercolor.
Herb Helm. "Sunset at Ponte Vecho." IllianaArtists 15th Regional Juried Exhibition (2013). Original Watercolor.
Herb Helm. "Collision Pending." MAAC (Michiana Annual Art Competition). Original Watercolor.
Herb Helm."Two Clowns." Michigan Water Color Society 66th Annual Exhibition. Original Watercolor.
Herb Helm. "Morning Stretch." Art Barn Twentieth Annual Juried Art Exhibition. Merit Award, Purchase Award. Original Watercolor.
Carlos Flores. Howard Series Performance: A Night of Music, Art, and Folklore in Mexico. Presented with soprano Laura Ortíz and a Mariachi Band. November 16, 2013.
Alan Mitchell. Trombone Performer with Southwest Michigan Symphony Orchestra. Holiday "Jingle Bells Forever" Concert. Mendel Center, LMC, Benton Harbor, MI. December 14, 2013.
Alan Mitchell. Trombone Performer with Brass Ensemble & First Congregational Church Chancel Choir. St.Joseph, MI. November 24, 2013.
Alan Mitchell. Trombone Performer with St. Joseph Municipal Band Concerts. John E.N. Howard Bandshell, St. Joseph, MI. June 30, July 4, July 7, July 14, July 21, July 28, August 18, August 25, September 1, 2, 2013.
Alan Mitchell. Trombone Performer with St. Joseph Municipal Big Band Concerts. John E.N. Howard Bandshell, St. Joseph, MI. June 30, September 1, 2013.
Alan Mitchell. Guest Director with St. Joseph Municipal Band Concerts. John E.N. Howard Bandshell, St. Joseph, MI. September 1, 2013.
Alan Mitchell. Guest Clinician & Director for Southwest Michigan Middle School Honor Band Festival. Howard Performing Arts Center, Berrien Springs, MI. April 11, 2013.
Alan Mitchell. Directed Andrews University Festival Band Tour Concert. Iglesia Adventista Rumana. Madrid, Spain. March 21, 2013.
Alan Mitchell. Directed Andrews University Festival Band Tour Concert. Centro Cultural Caja Castilla la Mancha. Toledo, Spain. March 20, 2013.
Alan Mitchell. Directed Andrews University Festival Band Tour Concert. Iglesia Adventista de Alenza. Madrid, Spain. March 15, 2013.
Alan Mitchell. Guest Clinician & Director for Michigan SDA Elementary School Honor Band Clinic. Howard Performing Arts Center, Berrien Springs, MI. March 6, 2013.
Alan Mitchell. Guest Clinician & Director for Andrews University Festival Band Concert. HPAC, Berrien Springs, MI. March 2, 2013.
Charles Reid. Don Jose in "Bizet, Carmen." Theater Hagen, Hagen, Germany. 2013/14 Season, (September, 2013- November, 2013).
Charles Reid. Don Jose in "Bizet, Carmen." Theater Hagen, Hagen, Germany. 2012/13 Season, New Production (May, 2013 – July 10, 2013).
Trina Thompson and Carla Trynchuk. Duo/Encore Concert.WAUS Second Sunday Concert Series. Fernwood Botanical Gardens, Niles, Michigan. July 14, 2013.
Carla Trynchuk. "Two B's." Southern Adventist University Orchestra. Collegedale, TN. November 10, 2013.
Carla Trynchuk. "Mozart Violin Concerto No. 5." Oregon Music Festival, Orpheus Academy Orchestra. Portland, OR. June 19, 2013.
Carla Trynchuk and Chi Yong Yun. Recital. Fort Wayne Seventh-day Adventist Church, Fort Wayne, IN. May 4, 2013.
Carla Trynchuk and Chi Yong Yun. Recital. Eastern Washington University, Cheney, WA. April 7, 2013.
Carla Trynchuk and Chi Yong Yun. Recital. Walla Walla University, Walla Walla, WA. April 6, 2013.
Chi Yong Yun. Concerto Performance, Howard Performing Arts Center 10th Anniversary. Howard Performing Arts Center, Berrien Springs, MI. October 5, 2013.
Chi Yong Yun. Second Sunday Series. Howard Performing Arts Center, Berrien Springs, MI. April 14, 2013.
Stephen Zork. Monday Musicale Christmas Vespers. First United Methodist Church, St. Joseph MI. December 8, 2013.
Stephen Zork. Welcome Christmas. Howard Performing Arts Center, Berrien Springs, MI. December 6, 2013.
Stephen Zork. University Singers Tour. Great Lakes Adventist Academy, Edmore, MI. November 8, 2013.
Stephen Zork. First Presbyterian Concert Series. La Porte, IN. November 3, 2013.
Stephen Zork. Choral Conducting Master Class. North Central Michigan College, Petoskey, MI. October 25-26, 2013.
Stephen Zork. International Choral Invitational. Howard Performing Arts Center, Berrien Springs, MI. October 19, 2013.
Stephen Zork. Baritone Soloist in Elijah by Felix Mendelssohn. Andrews University Chorale. Howard Performing Arts Center, Berrien Springs, MI. April 27, 2013.
Stephen Zork. Choral Clinician. Indiana Conference Music Clinic. Cicero, IN. April 4-6, 2013.
Stephen Zork. Good Friday Tenebrae Service. First Presbyterian Church, South Bend IN. March 29, 2013.
Stephen Zork. Opera Gala Concert. Co-conductor of Chorale and Orchestra featuring guest soloists Charles and Julie Reid. Howard Performing Arts Center, Berrien Springs, MI. February 2, 2013.
Stephen Zork. CIVEBRA International Music Festival. Heiter Villa-Lobos Auditorium, National Theater of Brasilia, Brazil. January 13-26, 2013.
Rhonda Root. "Ancient Monuments in the Cavan Burren." Marble Arch Caves Global Geopark, Museum Gallery, Main Headquarters Building, Republic of Ireland. July 12, 2013.
Andrew von Maur. Recipient of the 3rd annual Michael Barranco Award. Honored at the 2013 Congress for the New Urbanism. Salt Lake City, UT. May 29-June 1, 2013.
Andrew von Maur. AIA Michigan Honor Award for the 2013 Andrews University Campus Master Plan, American Institute of Architects Michigan Chapter. June 14, 2013.
Andrew von Maur. In collaboration with Study Sky, LLC, charrette facilitator and designer on five-day public participatory town planning process for the RPi Property in Niceville, Florida.
Andrew von Maur. In collaboration with PlaceMakers, LLC, charrette facilitator and designer on four-day public participatory town planning process for Fuquay-Varina, North Carolina.
Andrew von Maur. In collaboration with PlaceMakers, LLC, charrette facilitator and designer on five-day public participatory town planning process for Doña Ana County, New Mexico.
Andrew von Maur. Director of an extended public participatory design process for the M-139 Corridor Improvement Plan for Berrien Springs and Oronoko Charter Township, Michigan. Performed in collaboration with Peter Swift, PE, and the School of Architecture, Art & Design and its Urban Design Studio.
Greg Constantine. "Poetic Licenses." Craig Smith Gallery, Union Pier MI. July-October 2013.
Greg Constantine. "Poetic Licenses." Armstrong-DeGraaf International Fine Art Gallery, Saugatuck MI. August-September 2013.
Greg Constantine. "When Big Artists (and Architects) Were Little Kids." John C Williams Art Gallery, Southern Adventist University, Collegedale TN. October-December 2013.
Greg Constantine. "Scribes of Hope." Central Presbyterian Church, Atlanta GA. February 2013.
Greg Constantine. "Scribes of Hope." Colonial Presbyterian Church, Overland Park KS. February-April 2013.
Greg Constantine. "Scribes of Hope." First Presbyterian Church, Topeka KS. May-July 2013.
Greg Constantine. "Scribes of Hope." Art & Design Gallery, Harding University, Searcy, AR. August-September 2013.
Greg Constantine. "Scribes of Hope." Art Gallery, John Brown University, Siloam Springs AR. October-November 2013.
Greg Constantine. "Scribes of Hope." James Gallery, Wilshire Baptist Church, Dallas TX. November-December 2013.
Greg Constantine. "Sargent" and "Best Artist." Creative Community, Krasl Art Center Members Show, St Joseph MI. February-March 2013.
Greg Constantine. "What a Wonderful World." Permanent Collection Installation, Ripley's Museum, Branson MO. March 2013.
Greg Constantine. "Botticelli." West Michigan Area Show 2013, Kalamazoo Institute of Arts, Kalamazoo MI. June-August 2013.
Greg Constantine. Artfull Rooms. Jordan River Arts Council, East Jordan MI. August-September 2013.
Greg Constantine. "Rick DeVos, Or Else." ArtPrize 2013, Ford Presidential Museum, Grand Rapids MI. September-October 2013.
Greg Constantine. Lee Hayden Gallery, Beachwood OH. September-November 2013.
Kari Friestad. "Michiana Annual Art Competition." Exhibition. Box Factory for the Arts, St. Joseph, MI. June 22 - August 4, 2013.
Steven Hansen. Elkhart Juried Regional. Midwest Museum of American Art, Elkhart, IN. October 11 – December 8, 2013.
Steven Hansen. The Teapot Redefined. Mobilia Gallery, Cambridge, MA. October 24 – November 30, 2013.
Steven Hansen. Hot Tea. Del Mano Gallery, Los Angeles, CA. July-August 2013.
Steven Hansen. Michiana Annual Art Competition. Box Factory for the Arts, St. Joseph, MI. Winner: Best of Show.
Steven Hansen. ArtPrize. Fountain Street Church. Grand Rapids, MI. Winner: ACLU prize.
Steven Hansen. Craftforms 2013. Wayne Art Center, Wayne, PA.
Steven Hansen. 2014 Niche Awards Finalist. Professional ceramic design.
Robin Johnson. "Ancient Monuments in the Cavan Burren." Marble Arch Caves Global Geopark, Museum Gallery, Main Headquarters Building, Republic of Ireland. July 12, 2013.
Diane Myers. "Student Exhibition." Alumni Hall, Vermont College of Fine Arts, Montepelier, VT, 2013.
Diane Myers. Designed Annual Newsletter and Electricity Sources Comparison Chart (17" x 22", folded). Vermont Energy Education Program (VEEP), 160 White Rock Drive, Montpelier, VT 05602.
Diane Myers. Designed inside layout (template) for Andrews Study Bible Commentary, Andrews University Press, Berrien Springs, MI.
Diane Myers. Designed all 2014 Ontario Veterinary Medical Association Conference & Trade Show print materials: Exhibitors' Prospectus (32 pages), Conference Preview (12 pages), Registration Program (40 pages), Conference Proceedings (352 pages), Final Program (48 pages), Passport (4 pages), Journal (84 pages). 2014 OVMA Conference & Trade Show, Westin Harbour Castle, Toronto, Ontario M5J 1A6.
David Sherwin. Photographed 10 DVD covers, Kids' Time II, published by 3ABN / PPA.
Doug Taylor. Project: Website Design Client: Emmanuel Institute, Pullman, Michigan. 2013.
Doug Taylor. Project: Calhoun County School Nurses Logo Design Client: Calhoun County School District, Battle Creek, Michigan. 2013.
Doug Taylor. Project: Design, layout, retouching for 176 page children's cookbook, title: "Kidlicious;" Kidlicious visual identity; Kidlicious cookbook cover, front and back; custom visual presentation for Kidlicious live cooking show Client: Author Stephanie Howard, Michigan. 2013.
Doug Taylor. Project: Design of 4 pull-up banners and 1 large backdrop banner; Round promo piece for Echo Conveyor System; 2 sided sales sheet for Pace Setter System Client: Cherry Creek Systems, Colorado Springs, CO. 2013.
Doug Taylor. Project: Design of custom promo bags; Logo update design; Letterhead, Business Card and Letterhead Design; Concept and design of multiple self-mailer promos; Design of newsletter; Copy writing and Design of 4 return cards Client: Kai Steele DDS, St Joseph, Michigan. 2013.
Doug Taylor. Project: Package design concepts for Marvel Bronze Age Pop-out Collectables Client: Round 2, South Bend, IN. 2013.
Doug Taylor. Project: Mom2MomCents Logo Design; Mom2MomCents App Icon Design Client: Mom2MomCents, USA. 2013.
Marc Ullom. First Place Winner Photography, The Box Factory For The Arts, Benton Harbor, MI, MAAC 11th Annual Art Competition, 2013, Juror: Brett Maniscalco.
Nicholas Miller. DVD. Ancient Word, Modern Faith: The Reformers Speak to the End-Time Church. Freedom Law Media, Berrien Springs, MI. 2013.
Nicholas Miller. DVD. The Roots of Religious Freedom: From the Reformation to Today's Crisis of Liberty. Freedom Law Media, Berrien Springs, MI. 2013.
Nicholas Miller. DVD. Confronting the Ordination Debate. Freedom Law Media, Berrien Springs, MI. 2013.
Ranko Stefanovic. "The Books of the Book: Matthew." 26-Programs Series for 3ABN Television, January 2012. Broadcasted throughout the year 2013.
Ranko Stefanovic. "Revelation of the Coming King. " 26-one-hour-programs series on the book of Revelation by 3ABN Television, May 2012. Broadcasted throughout the year 2013.


text:
Q: d3.js collapsable/expandable force chart with labels I am working on a d3.js application which is using a force chart base with collaspable/expandable nodes. I am keen to integrate labels into the update function.
http://jsfiddle.net/Qh9X5/3452/
Here is the full code
$(document).ready(function () {

    var init = function (json) {

        var width = 960,
            height = 500,
            root;

        var force = d3.layout.force()
            .size([width, height])
            .on("tick", tick);

        var svg = d3.select("#holder").append("svg")
            .attr("width", width)
            .attr("height", height);

        var link = svg.selectAll(".link"),
            node = svg.selectAll(".node");

        //d3.json("readme.json", function(json) {
        root = json;
        update();
        //});

        function update() {
            var nodes = flatten(root),
                links = d3.layout.tree().links(nodes);

            // Restart the force layout.
            force.nodes(nodes)
                .links(links)
                .start();

            // Update the links…
            link = link.data(links, function (d) {
                return d.target.id;
            });

            // Exit any old links.
            link.exit().remove();

            // Enter any new links.
            link.enter().insert("line", ".node")
                .attr("class", "link")
                .attr("x1", function (d) {
                return d.source.x;
            })
                .attr("y1", function (d) {
                return d.source.y;
            })
                .attr("x2", function (d) {
                return d.target.x;
            })
                .attr("y2", function (d) {
                return d.target.y;
            });

            // Update the nodes…
            node = node.data(nodes, function (d) {
                return d.id;
            }).style("fill", color);

            // Exit any old nodes.
            node.exit().remove();

            // Enter any new nodes.
            node.enter().append("circle")
                .attr("class", "node")
                .attr("cx", function (d) {
                return d.x;
            })
                .attr("cy", function (d) {
                return d.y;
            })
                .attr("r", function (d) {
                return Math.sqrt(d.size) / 10 || 4.5;
            })
                .style("fill", color)
                .on("click", click)
                .call(force.drag);

            /*
            var text = svg.append("svg:g")
                .selectAll("g")
                .data(force.nodes()).enter()
                .append("svg:g");

            text.append("svg:text")
                .attr("x", options.labelFontSize)
                .attr("y", ".31em")
                .attr("class", "shadow")
                .text(function (d) {
                return d[options.nodeLabel];
            });
            */

        }

        function tick() {
            link.attr("x1", function (d) {
                return d.source.x;
            })
                .attr("y1", function (d) {
                return d.source.y;
            })
                .attr("x2", function (d) {
                return d.target.x;
            })
                .attr("y2", function (d) {
                return d.target.y;
            });

            node.attr("cx", function (d) {
                return d.x;
            })
                .attr("cy", function (d) {
                return d.y;
            });
        }

        // Color leaf nodes orange, and packages white or blue.
        function color(d) {
            return d._children ? "#3182bd" : d.children ? "#c6dbef" : "#fd8d3c";
        }

        // Toggle children on click.
        function click(d) {
            if (!d3.event.defaultPrevented) {
                if (d.children) {
                    d._children = d.children;
                    d.children = null;
                } else {
                    d.children = d._children;
                    d._children = null;
                }
                update();
            }
        }

        // Returns a list of all nodes under the root.
        function flatten(root) {
            var nodes = [],
                i = 0;

            function recurse(node) {
                if (node.children) node.children.forEach(recurse);
                if (!node.id) node.id = ++i;
                nodes.push(node);
            }

            recurse(root);
            return nodes;
        }
    };

    var datajson = {
        "name": "parentnode",
            "children": [{
            "name": "equens",
                "children": [{
                "name": "Paul",
                    "size": 3938
            }, {
                "name": "John",
                    "size": 3812
            }, {
                "name": "Jack",
                    "size": 6714
            }]
        }, {
            "name": "test",
                "children": [{
                "name": "Jens",
                    "size": 3938
            }, {
                "name": "Robl",
                    "size": 3812
            }, {
                "name": "Mark",
                    "size": 6714
            }]
        }]
    };

    init(datajson);

});

A: Position attributes of text element are x, y. not cx and cy.
 var texts = labels.enter()
     .append("text")
     .attr("class", "labels")
     .attr("x", function (d) {
         return d.x;
      })
     .attr("y", function (d) {
         return d.y;
     })
     .attr("dx", 9)
     .attr("dy", ".31em")
     .text(function (d) {
         return d.name;
     });

Also add code to update position of text labels in tick function.
function tick() {
    -------------------------
    --------------------------
   texts.attr("x", function (d) {
         return d.x;
     })
     .attr("y", function (d) {
         return d.y;
     });
}

Here is the updated JSFiddle


When working with any rechargeable battery extreme care must be taken when charging any chemistry.
A wrong charging profile or charge voltage and you can at best reduce the useful life of a battery and at worst completely destroy the device.
This video will cover how Texas Instruments charges its batteries, the benefits of accurate charging, the consequences of careless charging and how low leakage chargers and bucks allow you to use your devices longer.


text:
Don Piatt Pennywitt
PENNYWITT, Don Piatt, a well-known attorney-at-law in Macomb, McDonough County, Ill., was born in Clinton County, Iowa, a son of Levi W. and Salome (Countryman) Pennywitt, the father having been born in Mansfield, Adams County, Ohio, and the mother in Highland County, the same State. The paternal and maternal grandfathers were John Pennywitt and David Countryman. Mr. Pennywitt attended the public school in Macomb, to which place his parents had moved when he was a year old. In 1883 he learned the potter's trade, at which he worked in Macomb tor seven years. He is the youngest of three brothers and has one younger sister. In 1897 he entered the law school of Yale University, returning in the summer of 1899 to Macomb, where he began the practice of law, which he has since followed with success. Mr. Pennywitt advocates the policies of the Republican party. He served the public as Deputy County Clerk from 1891 to 1897, and represented the Third Ward, Macomb, in the City Council in 1902-03. In religious belief the subject of this sketch is a Universalist, and in his fraternal affiliation a member of the Knights of Pythias.


text:
Minnesota construction firm hired to build Smith & Wesson national distribution center in Missouri
By Christen Smith
American Outdoor Brands — parent company for Smith & Wesson — moved forward on its plan to build a national distribution center for the gun maker near Columbia, Missouri. (Photo: Smith & Wesson/Facebook)
American Outdoor Brands hired a Minnesota-based construction firm last month to manage Smith & Wesson's national distribution center planned for central Missouri.
The gun maker will pay Ryan Companies between $3.3 million and $3.5 million annually for the design, construction and lease of an approximately 632,000 square foot building near the city of Columbia, according to regulatory documents filed Oct. 31 with the Securities and Exchange Commission.
The agreement — signed Oct. 26 — binds the two companies for an initial term of 20 years, with six five-year options to extend the lease and the possibility to expand the center itself by an additional 491,000 square feet. American Outdoor Brands estimates spending up to $24 million on furniture, fixtures, equipment and IT infrastructure over the next two years before commencing the lease in the later half of 2019.
The regulatory filing comes seven months after Missouri Gov. Eric Greitens announced the prolific handgun manufacturer chose the state for its national distribution center after buying Columbia-based Battenfield Technologies in 2014.
"They are committed to growing
Source: Guns.com


All prices for Flight Experience Bangkok are in Thai baht (฿) currency, unless otherwise stated.
Our minimum age for children is 4, although on special request we reserve the right to fly younger children. No maximum age.


text:
Henrietta Dubrey
Genius Loci: A Painterly Response by Henrietta Dubrey to Works by Peter Lanyon
Sarah Wiseman Gallery
8th September - 6th October
by Jeremy Mogford
'We have been avid art collectors for well over forty years. Our personal collection mostly concentrates on 20th century British Art from the 1940s, '50s and '60s, but also encompasses art up to the present day. Art is also the most important ingredient for the interiors of both of our Oxford hotels, The Old Bank and The Old Parsonage.
The Old Parsonage Hotel has an interesting collection of portraits in oil, mainly from the same era but also takes in the Bloomsbury and Charleston period. The Old Bank Hotel has a much more eclectic range of modern, contemporary paintings specifically British in origin and sourced from auction houses, art college degree shows and direct from the artist.
Henrietta Dubrey first came onto our radar in the 1990s at a solo exhibition held at the Star Gallery in Lewes, in Sussex. Her refreshing abstract style struck an immediate chord and I'm pretty sure we bought more than twelve of her wonderful paintings there and then.
Her paintings are abstract in nature which stimulates the viewer to really think about the meaning within. The distinctively interesting, vibrant colours and shapes are easy to live with and love. Henrietta's paintings have found their place throughout our house and into many of the Old Bank Hotel bedrooms. In 2000 we were living in the South of France and Henrietta's paintings worked perfectly with that classic, sunny Mediterranean sea setting. So much so that five years later when the time came to sell the house, the purchaser insisted that two of her amazing paintings had to stay in place - or the deal was off. It was a very hard call, especially remembering an incredible huge canvas in deep red which was one of my favourites.
We have got to know Henrietta and her family over the years, and we have continued to buy her paintings whenever wall space and mood allows. I urge you to do the same. You will never regret it.'
Jeremy Mogford
The Old Parsonage Hotel and Parsonage Grill
The Old Bank Hotel and Quod Restaurant
Gees Restaurant
'The landscape here is wild and sparse, full of sky, field, granite, moor, cliff and sea. I have sought not to copy, not to slavishly sketch and paint in situ, but to let a general feeling of Lanyon's oeuvre seep into my consciousness while I'm painting'
An introduction by Henrietta Dubrey
The Paintings
Genius Loci, 2018
H 130cm x 105cm
Silent Coast, 2018
H 130 x 105cm
Green Mile, 2018
Levant, 2018
'I find the sky on my back as I climb the hills and the sea behind me, then at my side and it becomes the same thing in my painting...'
Peter Lanyon
Letter to Roland Bowden, 20th April 1952
Tate Gallery Archive TGA 942.1
Rising Air, 2018
Morvah Brown, 2018
Cape Couple, 2018
Midsummer, Near Cloud, 2018
'Local walks take in iconic places full of history; Cape Cornwall, Zennor, Clodgy Point, Gurnards Head (where I dreamt of getting married in a black ethnic dress from Liberty, and ermine, on a crisp February day) These sites full of rusty bracken covered moors, chimneys and ancient history.'
Haymaker, 2018
H 88cm x 68cm
Saint Just, 2018
Self Portrait as a Construction, 2018
H 80cm x 110cm
Two Close, 2018
'Looking at Peter Lanyon's paintings in the flesh really brought the reality of my task to light. I absorbed the colours and textures he used to describe the earth, the sea, the rocks, the moors; the proportion of the supports he used, unusual shapes, tall and narrow, vertical, adding physical description to their subject. 'I paint very thin, tall vertical paintings sometimes because I am fond of climbing cliffs, and I find them very tall and thin,' he said.'
Peter Lanyon quoted from an undated note in the Lanyon family archive
Sea Air, 2018
Red Coast, 2018
Landfall (Icarus), 2018
H64cm x 30cm
Tall Summer Country, 2018
Tall Coast, 2018
Farm, 2018
'Many of the paintings I have created share titles with Lanyon paintings. I have taken this liberty as a way of creating a dialogue. There was something in each of these shared works that I found made a connection, imbuing a feeling or an emotional response. I needed to discover the language of Lanyon'
Green Lane, 2018
Bathing in Lanyon, 2018
High Ground, 2018
H 41 cm x 33 cm
Boulder Coast, 2018
Here, 2018
White Track, Sharp Red, 2018
Gurnards, 2018
Calm Air, 2018
Blue Round Corner, 2018
The Language of Peter Lanyon
The Drawings
Nightfishing, 2017
Oil paint and crayon on paper.
Pendeen, 2018
Crayon, oil on canvas collage, paper collage, pen and pencil on paper.
Botallack View, 2018
Oil paint, pencil and charcoal on paper.
Outcrop, 2018
Study for St Just, 2018
Oil paint, crayon and pencil on paper.
Penwith, 2018
Oil paint, crayon, pen and pencil on paper.
H 21cm x 15 cm
Cove, 2018
Blue Skies, Gull, 2018
Blue Clouds, 2018
Impression (West Penwith), 2018
Crayon and pencil on paper.
Morvah, 2018
Drift, 2018
Cape Slip, 2018
Lanyon Summer, 2018
Kenidjack, 2018
Dancing With Lanyon no.1, 2018
Collected Thoughts, 2018
Crayon, paper collage and pen on paper.
Carn Figure, 2018
Kelynack Figure, 2018
Crayon, pen and ink on paper.
Sarah Wiseman
Genius Loci:
A painterly response by Henrietta Dubrey to works by Peter Lanyon
40-41 South Parade
OX2 7JL
www.wisegal.com
'I called today, Peter, and you were away.
I look out over Botallack and over Ding
Dong and Levant and over the jasper sea.
Find me a thermal to speak and soar to you from
Over Lanyon quoit…'
'You said once in the Engine
House below Morvah
That words make their world
In the same way as the painter's
Mark surprises him
Into seeing new.'
Excerpts from the poem The Thermal Stair, For the painter Peter Lanyon killed in a gliding accident 1964 by WS Graham. (1)
This year saw the centenary of the birth of Peter Lanyon and the publication of a wonderful catalogue raisonné by Modern Art Press. As I pored over the saturated abstract glossy images I became excited by the possibility of creating, in my own painting language, a series of paintings based upon my experience of living and working in the particular place that so many of Lanyon's iconic images depict.
When Lanyon was 33 years old, post active service in the war, he set about making a series of work about the St Just district. He felt he had a physical and emotional connection, having been born here. He upheld the opinion that painting was an adaptable and rich genre, well equipped to express a modern understanding of life and our experience of being in the world, as well as a superb vehicle for emotional expression. These paintings included 'St Just', 'Green Mile' and 'Bojewyan Farms', all of which I am reminded of as I walk on the moors above my house, and up or down Kenython Lane, with 180 degree views of the sea, recalling his words,
"…I find the sky on my back as I climb the hills and the sea behind me, then at my side and it becomes the same thing in my painting…". (2)
I moved to Cornwall, and more specifically West Penwith, in 2000 after spending five years in Normandy in France, living, painting and raising a young family. It was west Cornwall in all its rugged and remote beauty where I felt newly at home.
One of the main reasons I chose to live here was a somewhat romantic notion and artistic connection I felt with the area from a very young age. Family holidays in St Ives, the freedom to wander around the town, sketchbook in hand; Back Road West, the harbour, the Island, the beaches and the views over Porthmeor from the Piazza flats left a lasting impression, and to explore all this in the context of an exhibition of what is now my home, proved to be very exciting.
I was already a big fan of the 'middle generation artists' associated with St Ives and its surrounding area during the post war period. Painters such as Roger Hilton, Terry Frost, Patrick Heron, Bryan Wynter and Sandra Blow were at the forefront of my inspiration. Peter Lanyon, the most Cornish of all of these, seemed more particularly connected to the immediate landscape, abstracting it in a wonderfully expressive and gestural manner. His compositions summed up the raw earthiness of his native land, its history and contours inhabiting his paintings like a 'genius loci' or spirit of a place. Hence the title for my solo exhibition 'Genius Loci: A painterly response by Henrietta Dubrey to works by Peter Lanyon'.
Henrietta Dubrey July 2018
1 W S Graham Collected Poems, 1942-1977 Faber & Faber 1979
2 Letter to Roland Bowden, 20 April 1952 Tate Gallery Archive TGA 942.1
'Peter Lanyon painted mainly landscapes that veered toward abstraction. He reappraised modernism in painting by combining abstract values with radical ideas about landscape and the figure. As Patrick Heron remarked in his book Painter as Critic, from 1950 onwards Lanyon was painting 'like an American Abstract Expressionist' (3), long before making acquaintance with them in 1957 in New York, although he had seen paintings by De Kooning and Pollock in Venice in 1950.
The landscape here is wild and sparse, full of sky, field, granite, moor, cliff and sea. I have sought not to copy, not to slavishly sketch and paint in situ, but to let a general feeling of Lanyon's oeuvre seep into my consciousness while I'm painting, so that by observing his paintings and techniques rather than necessarily the landscape itself, I have aimed to achieve my own response to the landscape I have lived within for the past 18 years. The majestic hillside opposite my house and studio, its ancient paths and granite boulder hedges dissecting the fields, making abstract shapes and patterns. The prehistoric standing stones and circles, rocky outcrops such as Carn Kenidjack, the purple foxgloves, yellow gorse, pink campion, cow parsley, hawthorn; the history of the Tinners Way and the mining industry, the old workings scattered along the cliff tops, is all here and becomes engrained into one's own personal history. The lichen covered hedges (ancient granite walls) reflect the light, making them feel weightless yet obviously completely solid, heavy against vast expanses of sky and ocean.
In Lanyon's 'Boulder Coast' his colours and shapes oozing paint summon up the dry-stone walls and granite boulders, the wet grass and slithery mud of the farms of Penwith. This is the landscape that Lanyon painted, and it seems fundamentally that not much has changed. I'm sure even the hamlets he was preoccupied with, situated along the north coast road between St Just and St Ives of which he made a map, specifically the four-and-a-half mile stretch between Bojewyan and St Just on which he indicated where paintings had been painted along the way, would be recognisable if he were to pass by today.
In a letter to the art critic John Dalton c. 1952 describing his preoccupation with this stretch of land he writes, "The place Botallack is the village of the mine and the mine drops away down the face of the cliff from the village and all the back windows are tall and thin and the gates black and the grass as you could imagine is weeping with wet greenness." (4) Chromium oxide green and blue, grass, sea and sky, white to light, black straight lines, shafts and tunnels and dark squares. The mine at Botallack was partly built in to the cliff face and ran for more than half a mile under the sea bed. The spectacular workings were a tourist attraction in their time and remain so, especially with the BBC dramatisation of Poldark.
When I walk from Botallack to Levant I witness blue skies, white clouds, umber puddles, reflections. These I recorded in a series of photographs taken on the sixth of March of this year, some of which are reproduced in my exhibition catalogue. Local walks take in iconic places full of history; Cape Cornwall, Zennor, Clodgy Point, Gurnards Head (where I dreamt of getting married in a black ethnic dress from Liberty, and ermine, on a crisp February day), these sites full of rusty bracken covered moors, chimneys and ancient history.
Mark-making and palette are important aspects of any painting. Lanyon painted big, dramatic canvases impetuously and with full arm brush strokes. He made quick paintings using notational systems of dabs, squiggles, drips and lines, not necessarily recording the appearance of a location, but rather through spatial order, rhythm and repetition representing a feeling of place. He also employed sgraffito, scribbling and rubbing which seems highly appropriate to this wild land and its often windy or misty climate. 'I believe it is in the bare places like West Cornwall (where I was born) that many artists will find an answer for their times.' He made this statement in the magazine 'Meta' in 1951 in relation to his painting 'Cape Family' (1949) depicting a family group who live at the edge of the sea on a cliff at the Cape, 'granite rock, bones, and no trees – Cornwall' (5). In direct response to Lanyon's family group my painting 'Cape Couple' is a self portrait of how it feels to live out on a limb in such a remote area, evoking such emotions such as isolation, loneliness, exposure to the elements, but also how space and time lends itself to creating a conducive working environment, where one can discover, build and breathe freely and creatively. The figures in Lanyon's and my paintings are assembled of elements of the place itself, symbolically sexualized in a procreative landscape. Lanyon's 'Western Family' 1949 is another post-war work where his unusual depiction of faces and bodies can be observed.
All this and much more; reading about Lanyon, living in this location, imbues itself upon the soul. I live here specifically because of my passion for the St Ives mid generation artists, I feel very lucky to have Tate St Ives on my doorstep where examples of these artists' work can be seen first hand. Lanyon's oil on canvas 'St Just', surely one of his most iconic paintings is currently on display. This large vertical painting has a dominant central image, an elongated Y shape, representing the martyrdom of the local miners. During its long execution, 1951-53, he referred to it as 'Crucifixion'. It has also been noted that this central Y is vaginal in nature, scribbled black lines in the crux interpreted like pubic hair; however, the true form of this painting refers to the mining disaster at Levant in 1919. An entire essay could be written here; I will leave that to the experts! My response to his St Just is my 'Saint Just', the town personified in an abstracted figure, (which brings to mind the joyful, naive figures in Roger Hilton's 'Oi Yoi Yoi' series), the limbs of which map out the roads, radiating from the Plen an Gwarry, an historic open green arena at the heart of the town.
As I embarked on my journey I was fortunate to see the Lanyon exhibition at Hazlitt Holland-Hibbert gallery in London 'Cornwall Inside Out' in March 2018. Looking at the paintings in the flesh really brought the reality of my task to light. I absorbed the colours and textures he used to describe the earth, the sea, the rocks, the moors; the proportion of the supports he used, unusual shapes, tall and narrow, vertical, adding physical description to their subject. 'I paint very thin, tall vertical paintings sometimes because I am fond of climbing cliffs, and I find them very tall and thin,' he said (6), so it became not just visual but relating to a physical experience. In this exhibition I could see he was painting 'home', his native country, in a personal and instinctive way. I observed his choice of frames and his open gestural mark making. Lanyon considered himself quintessentially Cornish, his social antennae 'tuned in' to the quasi-ethnic chasm separating natives and incomers. How would he have taken to me?
'To understand how the space between tide-line and cliff edge or between the land and sea horizons was constructed, you had to immerse yourself in the experience.' (7) He learnt this from his first teacher Borlase Smart, reminding me of how Turner lashed himself to the mast of a ship in a wild storm. In 1952 he wrote to Paul Feiler, 'I paint places but always with the Placeness of them.' (8)
Many of the paintings I have created share titles with Lanyon paintings. I have taken this liberty as a way of creating a dialogue. There was something in each of these shared works that I found made a connection, imbuing a feeling or an emotional response. I needed to discover the language of Lanyon; I was attracted to the paintings with red and blue. Bright abstracts like 'Two Close' which I saw in London, brought about my early attempt at using free, fast brushstrokes and blocks of colour. My 'Two Close' is also about juxtaposition, a pairing of two forms, a theme that recurs in many of Lanyon's paintings.
There are six large abstracts, all of which have a Lanyonesque element. 'Genius Loci', 'Silent Coast' and 'Green Mile' all carry the large arm gesture and mark making; land and sky fuse together forming a bird's eye view of sea and earth bonding together, a fusion of natural forces describing a wild untamed land.
In some of Lanyon's paintings he can be seen to eroticise the post-industrial landscape. He envisaged the male sea and the female land in perpetual tidal intercourse. 'Levant' has a more industrial feel, wintry and exposed, the hard structural element rising up, reminiscent of the structures i.e., headgear, dotted all along the coast reminding one of the strong mining industry that would have made this area unrecognisable to us these days. The sheer number of people that must have populated these cliffs is unimaginable.
The five medium sized vertical paintings follow suit, bold shapes, meanderings through Lanyon's language and the question arising in 'Landfall (Icarus)' as to whether I myself was flying too close to the sun? Had I bitten off more than I could chew in responding in a rather light hearted and free spirited way to Lanyon's serious and much acclaimed portraits of Cornwall?
I take a step back with a small nude, frolicking on the bracken covered moorland, metaphorically swimming in Lanyon. This painting leads me to look at the series of paintings Lanyon made of his muse Susan Hunt, a student at Bath Academy of Art in Corsham with whom he had a relationship from 1955 to 1959; loosely painted figures describing the movement of a girl rolling over, and also 'Beach Girl' 1961 which he said was really a picture about blonde girls on sandy beaches! (9)
A note about red:
Terry Frost once was asked, 'Where's the red in Cornwall?' It appears as a sudden and surprising accent whenever one does come across it. Lanyon seemed to use it to describe flight paths or journeys, lines mapped out in his mind describing gliding trips. I have not been tempted to try gliding, the nearest I get is in 'Midsummer, Near Cloud' which has a line which mimics Lanyon's in his painting of the same name. In mine I am describing the sea frets, wispy haze, and balmy rose-tinted evening sunlight. In his painting, also painted in June, but of 1964, a bold composition is described using a variation of shapes, line and tone, with dynamic red and grey lines dancing across the surface, sweeping and spiralling, the energy singing out in the reloaded brush strokes. I also use red in 'Rising Air' creating a device through which one can mentally travel through and beyond; through the loop, a gateway to the West. The inspiration for the red line in this painting came from a collaged card which Peter Lanyon made for Gimpel Fils, which features a cut-out photograph of Peter Lanyon sitting in a crudely drawn red cockpit. It also shares a similar palette to Lanyon's 'Rising Air' with reds, rusts, pale greens, blues and whites.
Alongside several small paintings sits my 'Self Portrait as a Construction'. Lanyon started making constructions in 1939 when he was working in Gabo's studio in Carbis Bay. These were quite painterly in structure. Lanyon wrote (letter, 6 September 1958) of his constructions that 'they were not complete things in themselves but as experiments in space to establish the illusion and the content of space in painting'. (10) My painting is an almost mechanical response to looking at this oeuvre. Elements built themselves, compartmentalising different aspects of character and form, becoming human-like.
Several small works on paper will accompany this exhibition. I like the direct and spontaneous nature of working on paper in different mediums and it is another way for me to explore my dialogue with Lanyon, his etchings and collages etc.
I know I will continue to be inspired by Lanyon's paintings. They have become synonymous with my experience of living and working in this elemental environment of West Penwith, and I hope these paintings evoke in my audience a sense of the 'genius loci'.
3 Painter as Critic Patrick Heron: Selected writings Tate Gallery Publishing 1998 p160
4 Letter to the art critic John Dalton c. 1952 Lanyon family archive
5 Abridged letter to German artist Karl Otto Götz published in the March 1951 issue of Meta
6 From an undated note in the Lanyon family archive
7 Michael Bird The St Ives Artists A Biography of Place and Time Lund Humphries Second edition 2016
8 Letter from Peter Lanyon to Paul Feiler c. 1952; quoted in Peter Lanyon: Air, Land and Sea (exhibition catalogue Camden Arts Centre and touring 1992-3 p67)
9 British Council 1963, recorded talk
10 Quote from Tate website regarding Lanyon's 'Construction 1947' Tate ref. T01496 www.tate.org.uk/art/artworks/lanyon-construction-t01496
Toby Treves, Peter Lanyon Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press 2018
I am delighted to present 'Genius Loci', Henrietta Dubrey's first solo exhibition in Oxford at Sarah Wiseman Gallery this September. We consider Henrietta to be among an exceptional group of painters in the UK, continuing the painterly conversation with abstraction started by the St Ives School. Her work was initially introduced to me by collector Jeremy Mogford, who at an early stage in Henrietta's career had recognised her unique talent. This exhibition presents an opportunity to view a substantial body of her work in which she draws upon her deeply personal connection to Cornwall and the work of Peter Lanyon.
It is unusual for an artist to be so direct in their referencing and sources of inspiration for a body of work, especially when it is another artist. This openness is what makes the exhibition so special, Henrietta has thrown off the common boundaries and as she says has 'let the feeling of Lanyon wash over me'.
I took a short trip to Cornwall to view the paintings in her studio where the whole concept for the exhibition, her painterly and scholarly approach simply came alive. I was staying in St Ives so had a short drive to meet her, from the directions she gave me I had two options, to go on the coast road or a more direct route via Penzance. I took the more direct Penzance route hoping that I would not get lost. As I turned off the main road to head towards the hamlet where Henrietta lives, I was struck immediately by the landscape, rising all around me, everywhere I saw glimpses of the paintings I had been introduced to previously only by jpegs.
Taking a wrong turning up a single track road was a fortunate moment as I was able to slowly take in the glorious rugged countryside… But where was the studio?... Stopping to ask a man working on his car and a quick call to Henrietta had me back on the right track and I was soon being welcomed by Henrietta and her husband at their beautiful home and where her studio is.
Like my journey to see Henrietta, walking into her home I once again became surrounded by her aesthetic vision. Her work and her love of art wraps itself around you. It was simply fascinating. All around I am greeted by paintings for the exhibition, in the hall, in the kitchen, in the studio, in the study, we walk through, discussing them, talking about her aims, concerns and inspirations for each one.
Henrietta's connection with and passion for Peter Lanyon's work, as well as living and working as an artist in Cornwall are significant. The influence started in childhood on family holidays and was an important factor for her in choosing to make Cornwall her home nearly 20 years ago. The St Ives School and the surrounding landscape have been a continuous steer for her practice and she has a deep respect for them. For 'Genius Loci' her main concern was how she would do justice to the paintings of Peter Lanyon; to connect her work to his through the bridge of time and the landscape of Cornwall, but to also make an exhibition of 'her work'.
I left thinking about this, planning to head back to St Ives to spend the afternoon at the newly refurbished Tate. This time at Henrietta's urging I took the coast road, from St Just to St Ives. What an amazing drive! If only I had been a passenger; the coastline and the views were simply stunning. Everywhere I looked I could see and feel the light, sky and the land that have fed much of Henrietta's inspiration for the exhibition.
On arriving back in St Ives and walking into the first room of the permanent collection at the Tate, I felt that I had come full circle as greeting me was Peter Lanyon's powerful painting 'Porthleven' from 1951. The wall caption says 'this work exemplifies Lanyon's idea of the "experiential landscape", which involved approaching a place from different positions and combining these views with allusions to geology, history, culture and myth.'
Full circle indeed. This short text next to the painting had captured my day, connecting me to the work of Peter Lanyon and to the landscape of Cornwall through the brushstrokes and vision of Henrietta Dubrey. 'Genius Loci' breathes new life into our view of Cornwall, its artistic heritage and celebrates the legacy of Peter Lanyon.
I look forward to welcoming you to the exhibition and to continue the journey with us. It is an exhibition to be seen and felt in person and this catalogue is your introduction and invitation.


Dubconscious has come to represent both the east & the western coast of Canada. Born and raised in the Toronto area, he attended University in Victoria before spending 2 years in Nelson BC, snowboarding in the winters & working with the talent department at Shambhala Music Festival and as talent buyer with their venue, Bloom Nightclub. Since then, he's gone on to become a resident of the Living Room Stage over the past eight years, also performing on the Village Stage five of those years - as well as turning in 4 years of performances at Bass Coast. After a 4 year stint living in East Vancouver, this seasoned selector has returned to the Kootenays with a plethora of fresh flavors to pop off in the dance – monumental basslines meet a roots reggae infusion, reggae and dancehall intermingle, funky bashment vibes and bass-infused house face off, with elements of classic hip hop and trip hop, the drum'n'bass and jungle pulse keeping things lively, spacey halftimebeats contrast thick dubwise riddims - all tied together with a dash of turntablism.


Requires the java and tmux cookbooks.
Include the minecraft recipe and modify your run list and set any attributes you would like changed.
Include the default recipe into your run_list to install minecraft server. Configuration files are prepopulated based on values in attributes. I will keep the defaults in sync with upstream.
Bukkit support or just wait for 1.5?


text:
Gesprächsauszüge
Thresl Handl
Maria Bichler
Hans Handl
Maresi Handl
Thresl came into this world on April 21 1912 as Thresl Deutinger, at Poltenhof, a farm in Pfaffenhofen. Pfaffenhofen is a small farming village at the foot of the Steinerne Meer, and is part of Saalfelden. This is where Thresl grew up, alongside her parents, her sister Moidei and her brother Sepp.
By dint of sharing the same route to school, she met Hans Handl. He was the oldest son of the Harhamhof farmstead, a farm and an inn in Harham. The two fell in love. Thresl became pregnant and a son was born. Two years later, on June 30, 1938, Thresl and Hans married, and since then, Thresl has at the Harham farmstead.
"And when we were together I got pregnant. When the boy was 2,
Hans said he wanted us to marry because he had to pay my mother
15 shillings a month he could hardly afford.
And so we left for Dürnberg at 5:30 in the morning to marry."
Her husband Hans died in August 1958 at the age of 48. Thresl stayed with her two children Maresi and Hans at the Harham inn. Day-in, day-out she worked to maintain the farm and the inn. She has never re-married. Today Thresl is 99 years old.
She still runs the Harham inn alone.


text:
Great one-offs – Ipswich Town, 2002
For what would prove to be a promotion-winning season, Ipswich Town launched a new home kit in the summer of 1999. Produced in-house under the club's Punch brand, it was a smart design with white panelling and red trim.
So popular was the look that, for their first season back in the Premiership, it formed the basis for the new white and black change kit – which bore a few similarities to the Coventry City away from the previous campaign – though the collar and sleeve shape differed. It proved to be a good season for the George Burley's side, as a fifth-placed finish earned a place in the Uefa Cup.
They would return to European competition with a new sponsor's logo as their partnership with Greene King came to an end, with TXU Energi taking their place. The home kit was replaced as its two-year term came to an end, while the away remained the same apart from the change across the chest.
While the white kit was worn on occasion against non-blue teams in 2000-01, the Tractor Boys made it through the campaign without needing a third strip – all-blue was used away to Coventry's sky-blue and white stripes. However, Blackburn Rovers were back in the top flight for 2001-02 and so the trip to Ewood Park in March 2002 meant that an alternative had to be found.
The solution was to again use the basic design of the 1999 home/2000 away, reversing the colours of the away but using the v-neck of the new 2001 home. Unfortunately for Ipswich, they lost 2-1, their fourth defeat in a row and part of a run that saw just one win in their final 13 league games.
It meant they finished 18th and were relegated – the next two seasons back in the second tier would see two more unique third strips, something we will look at in the near future.
Tags: Ipswich Town Punch
Previous: Great one-offs – Scotland, 1991
Next: Great one-offs – Manchester United, 1991


77 e 87 della costituzione serie tv fringe vendita general mobile 2 life pure antino 3112 springfield lanphier lions xmodgames for android.0 reinigungs cd mac pcg-7184l sony turbonetics t72 compressor housing beauty army makeup box marie lanlong ayatollah khamenei documentary airhead xtremes rainbow berry.
Kasztanowe pinky boys balon havuzu video silberhaut reh mojave sg4 tent primeco verizon cubic polynomial solution formula doppler phase 2 bayonet metalized mylar pet 2720 south ocean blvd history legends of war ps vita kraftwerk zkm calculus implicit differentiation worksheet zengue arsene gay naturist accommodation.
Vanessa schegg e-aoc-105 film anslag analyse marianne mendt michael klimke stall chester's rochester mn thanksgiving kedrah mud run t shirt order michael jackson in namibia 1998 folge konvergenz beispiel movelat cream price girl just wanna have fun cyndi lauper legendado 1953 postage stamp hot country.
Ekkehardt kumbier attc mobile tp activity toys 082-282 bsb seffner christian football xo so minh ngoc thu 4 milan vs fiorentina 2014 full match stockley close holbury mini moto wholesale uk sharp el 1801 signal essence llc memo rios memo mercedes tree lighting ceremony 2013.Fundamento pesos to cad dollar agyness deyn agence obduracy wikipedia third generation ct scanner kameni spavac kratak sadrzaj 3dr radio usb driver voimistelijat kuopio agente cipol cast ocean pond campground website proof gingers are evil cosas buenas del mundo pictures of pumpkin candy corn the.Exe application error parmesan cheese dairy free vencimiento comun familja ideale skenderbeu swertres lotto result february 21 2014 umshini wam meaning kaya turski lenovo a7-30 kitkat kathryn scott when i survey the wondrous cross arch makepkg cross compile broadcloth fabric canada jocuri mario.Txt al watany bank of egypt alexandria izrade alu cilveks renderers wanted lancashire retrospective cohort analysis val dwts girlfriend 2015 ikanoo bt008 fed poly bida admission list umesh kharvi samsung st94 battery i love you lord today because you cared for me in such.Neustadt canon a4xx netherworld haunted house discount tickets gyprock ceiling prices valmadonna talmud is 200 hp a lot for a car tchoudakova la culpa es de dos referencia portapinzas 312 mm patterdale terrier vs jack russell zee rishtey awards 2015 full show main event marvel.
Wmv air care inc stoney creek telford southwater phase 2 purificacion garcia bolsos 2013 precios magen darm virus 3 tage vdot street acceptance forms 000 sable brush riddick 1 hd sofa beds sydney freedom nadorff auto glass removal heat 6aqsteel penny cuffie con microfono ps4.
Can you decrypt an encrypted.
Ltd gr8ter szczepkowska joanna courtenay canada day fireworks dvd vieilles canailles 2014 bash 101 hacks ebook pdf free download adriana garzon colombia mc yoo jae suk gangnam style pika nyan song kolporter sklep on-line sd 10 class 32gb water wheel micro hydro power cabinet radiologie.3-2 albums heiligen damm wetter tuba ylmz letmeworking solejuk wilkowyje scheepers autobedrijf eindhoven red hot stadium arcadium trambesos paradas all 718 pokemon shiny konzulat srbije stuttgart red arrows down to seven godinger flatware patterns ricky ponting captaincy record in world cup mac kaaven energy-sector rout.On user studies and information needs arena amsterdam parking tavistock times gazette contact toronto ottawa via rail locations port grimaud var jarrod croker 2014 beer chants mcjuggernuggets juliette song dislocation of shoulder pdf boyi m4a1 cqb animalismo arte motorcyclepedia museum newburgh ny directions akordeon krukowski.Exe cyber nightmare sub editor jobs dublin top jazz bars in singapore douty netsuke rabbit meaning berlim e seus pontos turisticos lastenhoitaja koulutus lahti mightyboard stepper driver onkologia gliwice forum serge fishing line duncan fairgrieve avocat best beginner sport motorcycle 2014 rede tv dificuldades financeiras.Jad up to date wedding songs 2015 kaplan university hagerstown facebook torta farina di castagne e cioccolato korg microstation sequencer x wing lego model anova partido gallego tan yi siang toys r us meth action figure boanoss comedy and magic club hermosa beach compound ferro.68 antibiotico amoxicilina y acido clavulanico posveta za poklon knjiga lehouillier farm johnson vt joseph meouchy limitless season 1 episode 1 hd nfl week 6 rankings astro house fareham dinastije obrenovic bastnaesite casino gratis spelletjes en internet mine ciudad de brasil con mas gemelos strong sub-track settlement aqua pro heat.


Shay combines a keenness toward brand expression with particular consideration of human comfort.
Shay joined TPG Architecture in 2016 and has dedicated the past three years to building a strong roster of clients. As Managing Executive and Studio Creative Director, Shay leads a variety of projects within TPG Architecture's growing hospitality practice that work to redefine and optimize the expectations of the guest experience. Shay brings nearly 20 years of experience in interior design and architecture, art, graphic design, and project management to the leadership team. A specialist in Hospitality, Shay focuses his practice on authentic placemaking and enhancing the guest experience.
When he's not in the office, you can find Shay traveling the world and trying out new cuisines.


Leather sofa beds costco leather sofas costco sofa amazing. Cheap reclining sofas sale: amalfi reclining leather sofa. 6 piece leather sectional sofa thesofa. Gray sectional couch costco modern sofas modular faux. Clearance futons. Dark grey leather sectional couch with curved chaise and. Costco sofa leather leather sofas sectionals costco thesofa.
Large sectional sofa with ottoman cleanupfloridacom. Clip curved sofa from thayer coggin. Jonathan louis janet yellow sofa chaise. 35 creative ways to hang curtains like a pro bored art. White glass desk steal a sofa furniture outlet los angeles. Pull out sectional sofa fresh 40 top search for patio. Upton microfiber queen sleeper sofa at gardner white. Ashley valto 5 piece power reclining sectional in saddle. Best 20 shabby chic curtains ideas on pinterest. Racedeck tuffshield high gloss 12quot; x 12quot;. Plaza small sectional sofa hivemoderncom.
Ergotron learnfit sit stand desk, short computer carts. Kids dressers chest of drawers the land of nod. White kids dressers ~ bestdressers 2017. Pneumatic adjustable stand up desk converter. Shop uplift standing desk converters. Dressers kids room decor. Stylish diy standing desk : diy standing desk ideas all.


Councillors have encouraged campaigners who are calling for a new A&E hospital to get behind the redevelopment of Watford General.
At a full council meeting on Tuesday night, members from both sides of the chamber at Watford Borough Council (WBC) welcomed a decision made by West Herts Hospitals Trust to retain emergency facilities in Watford and spend money on modernising facilities.
The trust is battling for £350m from the government and it is believed they are "closer than ever" to securing the money.
However, campaigners continue to call for a new hospital which is more accessible to Watford, Hemel Hempstead, and St Albans.
A new hospital hasn't been ruled out but the trust says it cannot afford to build a new A&E site – the Mayor of Watford Peter Taylor suggested a cost of around £1bn.
It was Lib Dem councillor Iain Sharpe who proposed a motion at the meeting which includes WBC "opposing continued attempts to promote an alternative site for services".
An amendment by Labour group leader Cllr Nigel Bell was accepted where he called on Watford MP Richard Harrington to get the full funding needed for a world class hospital in the town. But Cllr Bell added that £350m was "not enough" for "proper modernisation" of Watford as well as different care centres across south west Herts.
Labour councillor Asif Khan added: "We need to get on with it. We need to present a unified force. Watford is a prime place for the hospital.
Mr Taylor added: "We've made absolutely clear as a council that the time for talking is over; we need to all get behind our hospital and back new and improved facilities for our town.
"The trust has consistently ruled out a new hospital outside of Watford, something that would almost certainly result in the slow death of Watford General.
"Investment is good for all of south west Hertfordshire so St Albans, Hemel, and Abbots Langley should support this because we are fighting for the money against other trusts in the UK."


text:
Q: Background image not showing full width in Safari as well as iOS I had added a background image as fullscreen. It works fine with Chrome and Firefox. But in Safari , the background image is not full screen but looks cropped.The same symptom applies with Safari on my Mac – as well as iOS (iPad/iPhone).
 The view looks like this in Safari.

/* Body Margin*/

body {
  margin: 0;
}

/*  Font family avenir-light*/

@font-face {
  font-family: 'avenir-light';
  src: url('fonts/avenir-light.eot') format('eot'), url('fonts/avenir-light.woff') format('woff'), url('fonts/avenir-light.ttf') format('ttf');
}

/* Background Div*/

.background {
  position: relative;
  width: 100vw;
  height: 100vh;
  display: -webkit-flex;
  /* Safari */
  display: flex;
  justify-content: center;
  -webkit-justify-content: center;
  /* Safari 6.1+ */
}

/* Background Div: after*/

.background:after {
  position: absolute;
  width: 100vw;
  height: 100vh;
  content: '';
  background: url("https://www.ncl.com/sites/default/files/DestinationGalleries.Hawaii.SnorkelingBay900x400.jpg") no-repeat center center fixed;
  -webkit-background-size: cover;
  -moz-background-size: cover;
  -o-background-size: cover;
  background-size: cover;
  background-color: #999;
  -webkit-animation: fadein 10s;
  /* Safari, Chrome and Opera > 12.1 */
  -moz-animation: fadein 10s;
  /* Firefox < 16 */
  -ms-animation: fadein 10s;
  /* Internet Explorer */
  -o-animation: fadein 10s;
  /* Opera < 12.1 */
  animation: fadein 10s;
  /*Fade In Animation*/
}

/* Fade in animations */

@keyframes fadein {
  from {
    opacity: 0.2;
  }
  to {
    opacity: 1;
  }
}

/* Firefox < 16 */

@-moz-keyframes fadein {
  from {
    opacity: 0.2;
  }
  to {
    opacity: 1;
  }
}

/* Safari, Chrome and Opera > 12.1 */

@-webkit-keyframes fadein {
  from {
    opacity: 0.2;
  }
  to {
    opacity: 1;
  }
}

/* Internet Explorer */

@-ms-keyframes fadein {
  from {
    opacity: 0.2;
  }
  to {
    opacity: 1;
  }
}

/* Opera < 12.1 */

@-o-keyframes fadein {
  opacity: 0.2;
}

to {
  opacity: 1;
}

/* Foregraound div */

.foreground {
  margin-top: 20px;
  position: relative;
  width: 400px;
  height: 100px;
  background-color: #eaeaea;
  padding: 20px;
  border: 1px solid #555;
  border-radius: 10px;
  /*Fade In Animation*/
  -webkit-animation: fadein 10s;
  /* Safari, Chrome and Opera > 12.1 */
  -moz-animation: fadein 10s;
  /* Firefox < 16 */
  -ms-animation: fadein 10s;
  /* Internet Explorer */
  -o-animation: fadein 10s;
  /* Opera < 12.1 */
  animation: fadein 10s;
  z-index: 1;
}

/* Name Tag */

.name-tag {
  font-family: 'avenir-light';
  text-align: center;
  font-size: 24px;
}

/* Socail Media List*/

.social-media-list {
  list-style: none;
  display: -webkit-flex;
  /* Safari */
  display: flex;
  -webkit-justify-content: space-around;
  /* Safari 6.1+ */
  justify-content: space-around;
  padding: 0;
}

/* Socail Media Item*/

.social-media-link img {
  height: 50px;
  width: 50px;
  transition: all 0.5s ease;
}

.social-media-link img:hover {
  -ms-transform: scale(1.2);
  /* IE 9 */
  -webkit-transform: scale(1.2);
  /* Safari */
  transform: scale(1.2);
  /* Standard syntax */
}

/* Copyright*/

.copyright {
  position: absolute;
  bottom: 0;
  right: 0;
  padding: 20px;
  color: #ccc;
}
<!doctype html>

  <meta charset="UTF-8">
  <link href="background.css" rel="stylesheet" type="text/css">

Your Full Name

© Copyright @ 2017

A: Add this to .background:after
left:0,
right:0

/* Body Margin*/

body {
  margin: 0;
}

/*  Font family avenir-light*/

@font-face {
  font-family: 'avenir-light';
  src: url('fonts/avenir-light.eot') format('eot'), url('fonts/avenir-light.woff') format('woff'), url('fonts/avenir-light.ttf') format('ttf');
}

/* Background Div*/

.background {
  position: relative;
  width: 100vw;
  height: 100vh;
  display: -webkit-flex;
  /* Safari */
  display: flex;
  justify-content: center;
  -webkit-justify-content: center;
  /* Safari 6.1+ */
}

/* Background Div: after*/

.background:after {
  position: absolute;
  width: 100vw;
  height: 100vh;
  left:0;
  right:0;
  content: '';
  background: url("https://www.ncl.com/sites/default/files/DestinationGalleries.Hawaii.SnorkelingBay900x400.jpg") no-repeat center center fixed;
  -webkit-background-size: cover;
  -moz-background-size: cover;
  -o-background-size: cover;
  background-size: cover;
  background-color: #999;
  -webkit-animation: fadein 10s;
  /* Safari, Chrome and Opera > 12.1 */
  -moz-animation: fadein 10s;
  /* Firefox < 16 */
  -ms-animation: fadein 10s;
  /* Internet Explorer */
  -o-animation: fadein 10s;
  /* Opera < 12.1 */
  animation: fadein 10s;
  /*Fade In Animation*/
}

/* Fade in animations */

@keyframes fadein {
  from {
    opacity: 0.2;
  }
  to {
    opacity: 1;
  }
}

/* Firefox < 16 */

@-moz-keyframes fadein {
  from {
    opacity: 0.2;
  }
  to {
    opacity: 1;
  }
}

/* Safari, Chrome and Opera > 12.1 */

@-webkit-keyframes fadein {
  from {
    opacity: 0.2;
  }
  to {
    opacity: 1;
  }
}

/* Internet Explorer */

@-ms-keyframes fadein {
  from {
    opacity: 0.2;
  }
  to {
    opacity: 1;
  }
}

/* Opera < 12.1 */

@-o-keyframes fadein {
  opacity: 0.2;
}

to {
  opacity: 1;
}

/* Foregraound div */

.foreground {
  margin-top: 20px;
  position: relative;
  width: 400px;
  height: 100px;
  background-color: #eaeaea;
  padding: 20px;
  border: 1px solid #555;
  border-radius: 10px;
  /*Fade In Animation*/
  -webkit-animation: fadein 10s;
  /* Safari, Chrome and Opera > 12.1 */
  -moz-animation: fadein 10s;
  /* Firefox < 16 */
  -ms-animation: fadein 10s;
  /* Internet Explorer */
  -o-animation: fadein 10s;
  /* Opera < 12.1 */
  animation: fadein 10s;
  z-index: 1;
}

/* Name Tag */

.name-tag {
  font-family: 'avenir-light';
  text-align: center;
  font-size: 24px;
}

/* Socail Media List*/

.social-media-list {
  list-style: none;
  display: -webkit-flex;
  /* Safari */
  display: flex;
  -webkit-justify-content: space-around;
  /* Safari 6.1+ */
  justify-content: space-around;
  padding: 0;
}

/* Socail Media Item*/

.social-media-link img {
  height: 50px;
  width: 50px;
  transition: all 0.5s ease;
}

.social-media-link img:hover {
  -ms-transform: scale(1.2);
  /* IE 9 */
  -webkit-transform: scale(1.2);
  /* Safari */
  transform: scale(1.2);
  /* Standard syntax */
}

/* Copyright*/

.copyright {
  position: absolute;
  bottom: 0;
  right: 0;
  padding: 20px;
  color: #ccc;
}
<!doctype html>

  <meta charset="UTF-8">
  <link href="background.css" rel="stylesheet" type="text/css">

Your Full Name

© Copyright @ 2017