text:
On Villanova's 2016 capitals 2018 washington wholesale jerseys nfl
Ryan was in his 76 games as Cleveland's starter, making the Pro Bowl three years in a row from 1964. The Wolverines lost two other running backs that were on the 2018 roster. The total has stayed under in five of their last six Big East games. He was a team captain in 2017, again starting 12 of 13 games and earning third-team all-conference accolades — but as a receiver . He used his reliable targets as he leaned mostly on Chris Hogan and James White, and the Patriots opened the game with an impressive touchdown drive. The 24-year-old has a 5 ERA, 1 WHIP and 17 K:BB over 18 innings and will likely take the mound next week against the Cubs. He scores nike nfl jerseys everywhere he's been. The Nike NFL Jerseys Wholesale only reason the Buckeyes are not ranked higher is because of Nike NFL Jerseys Wholesale their relatively easy schedule. White did his job wholesale jerseys nfl as NHL Hockey Jerseys well as any visitor in the extreme heat. 24 at Wembley Stadium. Speaking of Cooper, he was knocked out of the game in the first quarter on a clear-cut helmet-to-helmet hit by Seattle defensive back Bradley McDougal. 3 overall pick set a Wholesale NBA Jerseys slew of team passing records, and he was the OC in 2017, when the Jaguars went to the AFC title game and almost beat New England on the road. Every week you say the same thing and I'm sticking by it: I feel like we can get a win, middle linebacker Myles Jack said Wednesday as the Jaguars began preparing to play the Pittsburgh Steelers at TIAA Bank Field Sunday at 1 p.m. You eliminate all that and just Wholesale NBA Jerseys go out there and do what you do best and have fun with it.
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They are performing in the context of the 30th edition of the Hello Jazz Festival 2015 (the former Skoda Jazz Festival). Two years ago we had the chance to see Herbie Hancock at Bozar during the same festival. If you are a jazz lover, the Hello Jazz festival is something to keep in mind.
Flagey studio 4, Friday 20/11/2015, 08:15 pm.
You can buy tickets on the Flagey website for €23 (or less if < 26).


text:
John Rakowski (born 16 March 1948) is an Australian boxer. He competed in the men's bantamweight event at the 1968 Summer Olympics.

References

External links

1948 births
Living people
Australian male boxers
Olympic boxers of Australia
Boxers at the 1968 Summer Olympics
Boxers from Brisbane
Commonwealth Games medallists in boxing
Commonwealth Games bronze medallists for Australia
Boxers at the 1966 British Empire and Commonwealth Games
Bantamweight boxers
Medallists at the 1966 British Empire and Commonwealth Games

redpajama_set_name: RedPajamaWikipedia


text:
How White Collar Fraud Can Lead to a 75-Year Prison Term
Posted Sep 20, 2017 by Tad Nelson | White Collar Crime
There is a popular misconception that white collar crimes are treated less harshly by the criminal justice system in Texas than violent felonies. The reality is that prosecutors–and judges–are often more keen to "throw the book" at white collar defendants because fraudulent acts can harm hundreds or thousands of people. White collar crimes also tend to enrich the defendant personally, which can lead judges to show little or no mercy at sentencing.
Judge Insists She's Not "Heartless" After Doubling Recommended Sentence for Terminally Ill Woman
For example, a Houston woman was recently sentenced to 75 years in federal prison for taking part in a Medicare billing fraud scheme. According to the U.S. Department of Justice the defendant, who owned and managed a home health agency, colluded with others to submit "over $10 million in false and fraudulent claims" for services that were either medically unnecessary or never actually performed. Prosecutors said the defendant "falsified medical records to make it appear as though the Medicare beneficiaries qualified for and received home health services." She also "paid illegal kickbacks" to individuals who "recruited" Medicare beneficiaries.
The defendant was tried in Houston federal court last year. A jury found the defendant guilty on a total of seven counts, including health care fraud and money laundering. The Justice Department said that four other defendants previously entered guilty pleas in connection with the same Medicare fraud scheme.
At a sentencing hearing held on August 11 of this year, U.S. District Judge Melinda Harmon surprised many observers when she more than doubled the prison sentence recommended by the Justice Department. Federal sentencing is subject to a set of guidelines, with various "enhancements" applied based on the nature of a defendant's crimes. Here, the prosecution said the guidelines justified a 35-year prison term.
The defendant's attorney, in contrast, argued for a more lenient sentence, primarily because his client is dying. Sadly, the defendant is undergoing treatment for stage 4 breast cancer, which is incurable. "If there is any Defendant that stands before the Court that deserves a below-guideline sentence," the defense attorney pleaded in court, it was his client, who has had to undergo chemotherapy "while she's shackled."
But this plea apparently fell on deaf ears. While Judge Harmon explained, "I am not a heartless person," she said "the way the law works" required her to issue a sentence of 900 months (75 years) in jail. The judge also ordered the defendant to repay the government over $13.2 million. The defendant plans to appeal her conviction and sentence to the U.S. Fifth Circuit Court of Appeals, according to her attorney.
Are You Under Investigation for Fraud?
This case illustrates how deadly serious the government takes fraud. Obviously, most defendants are not facing trial while simultaneously undergoing treatment for a terminal illness. But a 75-year prison term is effectively a death sentence for anybody. That is why, if state or federal prosecutors suspect you are involved in any kind of fraud scheme, you need to speak with a qualified Houston white collar crimes defense lawyer right away. Contact the Law Offices of Tad Nelson & Associates at (281) 280-0100 today if you need immediate legal assistance.

redpajama_set_name: RedPajamaCommonCrawl


"Paloma's arrival, with news of Elsewhere and the possibility of a world free of the fatal bond between twins, has given Cass and the resistance a hope worth fighting for.
But they are facing a Council more powerful and ruthless than Cass could ever have imagined, willing to unleash weapons from long-buried past to maintain their power over Alphas and Omegas alike.
As stunning Fire Sermon trilogy comes to a close, the final struggle between Zach and Cass has begun – a struggle that will jeopardize not only the future of Elsewhere but the future of the world.
After reading The Fire Sermon and The Map of Bones last year, I knew I had to see the trilogy out and preordered The Forever Ship as soon as I could. I feel that you do need to have read the previous two books to understand what is going on.
The Forever Ship picks up pretty much straight after the events in The Map of Bones. Cass, Piper and Zoe are travelling with Paloma (from Elsewhere) to New Hobart, which is the Omega stronghold. Zach turns up begging for help to escape from The General, The Ringmaster and Piper keep trying to get information from him, but he will not give it up until Cass tortures herself to get it out of him.
Oh my gosh, that was such a rollercoaster! I wanted to read it and not put it down, but at the same time I wanted to savour the story and let it drag out a little. I went through a lot of emotions, and the twists totally shocked me. The ending is completely not what I expected and I want to know more about what happens afterwards.
My favourite characters are Cass, Piper, Zoe, Elsa and Paloma. I do also like The Ringmaster, he has grown on me with each book, but there are times when I want to hit him as well. It was really interesting to see the relationships between Alphas and Omegas and how they differ in this book compared to the previous two.
I cannot pick a favourite part, I loved so much of it, however, I do really love the bits where Cass and Piper are together. I think that Cass has finally found her voice in this book and I really enjoyed her parts standing off against The Ringmaster. I love the fact that this book resonates so much in today's society, which is sad in the fact that we do not treat everyone equal, and that we look down on physical and mental difficulties/disabilities, this can also be directed to sexuality, gender, race and a whole multitude of other things. It also resonates with the political climate at the moment, in the fact that this is a potential outcome of a nuclear war and that we should stop and think about what our leaders are potentially bringing us towards.
The Forever Ship is the final book in The Fire Sermon trilogy, so it is wrapped up, but there is possibilities of what could happen afterwards. I would love to know what does go on.
While reading this book, I described it as the culmination of the resistance against the Council. I would recommend for teenagers and adults, even if you are not into dystopian novels I would recommend it for the deeper issues that are portrayed. 5 out of 5.


Slang. the act or practice of following someone persistently or stealthily, especially online: Twitter and LinkedIn creeping is a normal part of my day.
advancing or developing gradually so as to infringe on or supplant something else: creeping inflation; creeping socialism.
There are some stats to explain why the age of nominees is creeping up.
A creeping sense develops that Judy fled not just a stifling culture but a genuine existential threat.
Unseen and unknown, he lived in secret, creeping into homes in the dead of night and surviving on what he could steal.
What creeping advances the government has been able to make on some fronts are being matched by setbacks.
It has a creeping stem, and grows from one to two feet high.
He had ridden about thirty miles, and twilight was creeping on.
If you come to think of it, this may be why science always has moved so slowly, creeping on from point to point.
Beyond, the heavy after-sea was still rolling; but the Dazzler was creeping up in the shelter of a rocky island.
He was carrying his boots and creeping along in his socks—which must be why you never heard him, sir.


text:
First-Year Law Student
Cost of Attendance 2018-2019
Utah Resident Living with Parents Utah Resident Living on Campus Utah Resident Living Off Campus Non-Resident Living with Parents Non-Resident Living On Campus Non-Resident Living Off Campus
Tuition & Fees $28,354 $28,354 $28,354 $37,011 $37,011 $37,011
Room & Board $2,520 $10,314 $10,980 $2,520 $10,314 $10,980
Books & Supplies** $3,676 $3,676 $3,676 $3,676 $3,676 $3,676
Travel $1,278 $1,278 $1,278 $1,278 $1,278 $1,278
Loan Fees $376 $376 $376 $376 $376 $376
Miscellaneous $3,708 $3,708 $3,708 $3,708 $3,708 $3,708
TOTAL $39,912 $47,706 $48,372 $48,569 $56,363 $57,029
** The budget includes the onetime $2,300 cost incurred for the purchase of a laptop computer. The 2018 – 2019 cost of attendance budget ("COA") above is for the nine-month academic year and is set by the University Office of Financial Aid. Summer school students have an additional COA created for that term. The COA for a student with children under the age of 12 may be increased—depending on the age of each child—$3,700 – $5,225 a year for child day-care expenses. The "Total" figure at the bottom of each column is the maximum amount that a student in that status may qualify for in financial aid. A student may not receive more than that total amount in a combination of loans, scholarships, work-study, or tuition waivers. The amounts for the five categories of costs in the chart are established using federal guidelines that refer to a variety of sources in determining the COA for an average student.
2018-2019 Tuition & Fees Schedule
Credit Hours Resident
Tuition & Fees Non-Resident
1-8 Credits $7,311.21 $9,475.56
Block II
9-16 Credits $14,177.19 $18,505.88
First-year students are enrolled for
15 credits per semester
This Cost of Attendance Budget (COA) chart is for the nine-month 2018-2019 academic term. If a student attends summer school, an additional COA is created for that period. The "Total" figure at the bottom of each column is the maximum amount that a student in that status may qualify for in financial aid. A number of programs assist you in financing your legal education, including merit and need-based scholarships, fellowships, summer stipends, loans, and part-time employment. Check out our financial aid page for links to these resources. Tuition information is available at http://fbs.admin.utah.edu/income/tuition/.
A student may not receive more than that total amount in a combination of loans, scholarships, work-study, or tuition waivers. The amounts for the six categories of costs in the chart are established using federal guidelines that refer to a variety of sources in determining the COA for an average student. The COA for a student with children under the age of 12 may be increased, depending on the age of each child, $3,700-$5,225 a year for child care expenses.
Non-Resident Classification
Like non-resident students at the School of Medicine and the School of Dentistry, College of Law students will not be eligible for residency reclassification once they begin their law school studies, and will pay tuition at the non-resident rate for the duration of those studies even during approved "Leaves of Absence." This University institutional residency policy supersedes all other means of qualifying for residency reclassification as outlined in the Board of Regents Policy R512 with the exception of the "Military Service" exceptions found in R512.6.
Admissions Quick Links
Recruitment & Events Calendar
Request a Mailed Brochure
Download a Brochure Online
Admitted Students (password protected)
FREE LSAT Prep Course
UofU LSAT Prep Course-"PREPLAW" for 20% off
Contact Admissions office
Get in touch with admissions by email, or by calling (801) 581-7479.
Reyes Aguilar,
Associate Dean for Admissions and Financial Aid
Isabel Moreno,
Associate Director for Admissions and Financial Aid
Susan Baca,
Operations Manager for Admissions and Financial Aid
Admissions Links
ABA Required Disclosure (Standard 509)
Brochures & Publications
Law School Profile
Visiting & Transfer Students
Residency for Tuition
Tuition Schedule
Why choose SJQ?


text:
"""
Re-usable snippets to provide a consistent look across templates
without repeating code.

Docs:
https://docs.djangoproject.com/en/1.8/howto/custom-template-tags/
"""

from django import template

register = template.Library()

@register.inclusion_tag('tree_cell.html')
def tree_cell(tree):
    """
    Standardize tree listings
    """
    return {'t': tree}

@register.inclusion_tag('map_div_headers.html')
def map_div_headers():
    return {}

@register.inclusion_tag('map_div_js.html', takes_context=True)
def map_div_js(context, center_latitude, center_longitude, zoom_level, map_div_id):
    """
    Standardize map display

    zoom_level should be 14 or higher for individual trees.
    map_div_id may be: map or tree-map
    """
    return {
        'geojson': context['geojson'],
        'zoom_level': zoom_level,
        'center_latitude': center_latitude,
        'center_longitude': center_longitude,
        'map_div_id': map_div_id
    }

@register.inclusion_tag('supplemental_content_div.html')
def supplemental_div(content):
    """
    Standardize supplemental content listings

    Might not be possible if genus and tree content diverge
    """
    return {'c': content}

redpajama_set_name: RedPajamaGithub


text:
Charles Simonton Moffett Jr. (geboren 19. September 1945 in Washington, D.C.; gestorben 10. Dezember 2015 in Fishers Island (New York)) war ein amerikanischer Kunsthistoriker.

Leben
Charles Simonton Moffett Jr. kam 1945 als Sohn von William A. Moffett, Jr. und seiner Frau Faith Locke Phelps in Washington D.C. zur Welt. Sein Vater war Admiral und sein Großvater, William A. Moffett, war Konteradmiral der United States Navy. Er besuchte zunächst die St. George's School in Middletown (Rhode Island) und anschließend das Middlebury College im US-Bundesstaat Vermont, das er 1967 mit einem Bachelor in Anglistik abschloss. Danach studierte er am Institute of Fine Arts der New York University Kunstgeschichte und beendete 1971 sein Master-Studium.

Mit einem Stipendium der Ford Foundation folgte eine erste berufliche Tätigkeit am Nelson-Atkins Museum of Art in Kansas City (Missouri). Danach arbeitete er als Experte für Gemälde des 19. Jahrhunderts für das Auktionshaus Sotheby-Parke Bernet und für die private H. Shickman Gallery in New York City. Moffett wurde anschließend Assistent von John Walsh, dem Kurator für niederländische und flämische Malerei am Metropolitan Museum of Art. Seine erste Ausstellung, Van Gogh as Critic and Self-Critic, kuratierte er ebenfalls am Metropolitan Museum. Große Beachtung fand 1974 die Ausstellung Centenaire de l'Impressionnisme/Impressionism a centenary exhibition, die in Paris und New York anlässlich des hundertsten Jahrestages der ersten Ausstellung der Impressionisten zu sehen war und zu dessen Kuratorenteam Moffett gehörte. In den Folgejahren etablierte sich Moffet als Experte für die Malerei des Impressionismus. Er wirkte mit an der 1978 im Metropolitan Museum gezeigten Ausstellung Monet's Years at Giverny: Beyond Impressionism und war maßgeblich beteiligt an der Manet-Retrospektive 1983 in Paris und New York. Im selben Jahr ging er als Kurator an die Fine Arts Museums of San Francisco, wo er 1986 die Ausstellung The New Painting: Impressionism 1874-1886 organisierte, die auch an der National Gallery of Art in Washington D.C. zu sehen war. 1987 wechselte er als Kurator an die National Gallery of Art und kuratierte dort in den Folgejahren Ausstellungen zu Paul Gauguin und Paul Cézanne. Von 1992 bis 1998 leitete er als Direktor die Phillips Collection in Washington D.C. und organisierte hier Ausstellungen zum Impressionismus wie The Impressionists in Winter: Effets de Neige und Impressionists on the Seine: A Celebration of Renoir's Luncheon of the Boating Party. Ab 1998 begann arbeitete er für das Auktionshaus Sotheby's als Stellvertretender Vorsitzender und war für impressionistische, moderne und zeitgenössische Kunst zuständig.

Charles Moffett starb 2015. Er war in dritter Ehe mit Lucinda Herrick verheiratet. Aus seiner zweiten Ehe stammen zwei Kinder.

Werke (Auswahl)

 Van Gogh as critic and self-critic, Metropolitan Museum of Art, New York 1973
 Centenaire de l'Impressionnisme, Galeries Nationales d'Exposition du Grand Palais, Éd. des Musées Nationaux, Paris 1974 und Impressionism a centenary exhibition, Metropolitan Museum of Art, New York 1975, ISBN 0-87099-097-7. (Herausgeber zusammen mit Anne Dayez, Michel Hoog)
 Manet 1832 - 1883, Galeries nationales du Grand Palais, Paris und  Metropolitan Museum of Art, New York, Abrams 1983, ISBN 0-87099-359-3 (zusammen mit Françoise Cachin, Juliet Wilson Bareau)
 Impressionist and post-impressionist paintings in the Metropolitan Museum of Art, Abrams, New York 1985, ISBN 0-87099-317-8.
 The new painting, impressionism 1874 - 1886, National Gallery of Art, Washington und Fine Arts Museums of San Francisco, Phaidon, Oxford 1986, ISBN 0-7148-2430-5.
 Impressionists in winter, effets de neige, Phillips Collection, Washington, D.C., Wilson London 1998, ISBN 0-85667-495-8.

Weblinks
 Paul Richard: New Phillips Director in Wings, Artikel in der Washington Post vom 6. Mai 1992
 William Grimes: Charles S. Moffett, Curator Who Focused on Impressionists, Dies at 70, Nachruf in der New York Times vom 11. Dezember 2015

Kunsthistoriker
US-Amerikaner
Geboren 1945
Gestorben 2015
Mann
Absolvent des Middlebury College


Place Rice, Chicken Broth and 1/2 jar Green Curry Sauce in pot with lid and bring to boil, reduce heat to medium low and cover. Simmer until all liquid is absorbed, about 20 minutes. Remove from heat and let sit covered for 5 minutes. Place Rice, remainder of Curry Sauce, Shrimp and Bell Pepper in a bowl and toss to incorporate all ingredients.
Serve on Lettuce or Cabbage Leaves or just place on serving plate.
Could you use couscous in this recipe? If so, what type of couscous and how much would you use in place of the uncooked rice? Would you use 1 1/2 cups of uncooked couscous?
I would use Israeli couscous, I like the larger size for a salad. How much depends on how you want the shrimp/couscous ratio to be. If you want more shrimp than in the photo use less couscous, if you want it to be the same then use the 1 1/2 cups. I personally like more shrimp and more Green Curry flavor and would use 1 cup. Hope this helps.
Does damned Flying Monkeys must be up to some mischief again!!
thai green curry is suits with seafoods and rice…..
Thank you Dentist Chef! Appreciate your stopping by!


2016 Roof, 2016 Kitchen, City Water, Privacy Fence, this home features a large all wood Brandy Wine Kitchen with custom granite counter tops and new appliances. There is new desert beige tile laid diagonally throughout the home and new carpet in the bedrooms; new tile showers, new fixtures, new paint inside and out and professionally landscaped. Come see today.
This listing is courtesy of Center Point R.E. Invest. LLC.


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Let The Heavenly Spa by Westin cater to your group's needs, whether on site at our beautiful resort or by having our team come to you! From bachelorette parties to corporate events, we work with you to create a relaxing and memorable experience.
Treat your employees to a revitalizing session hosted by our professional team. We can work directly with you and your Westin meeting planner to plan activities that are both fun and a special treat to make your team feel valued. Bring in our massage team for chair massage sessions or set up interactive stations for guests to develop their own lotions, oils, and fragrances.
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With spa food and beverage, complimentary with groups contracting 30+ appointments per day.
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Queen's owns a number of identifying marks, the use of which is strictly controlled and protected under the Trademarks Act of Canada. Examples of these are the Queen's logo and the word marks "Queen's," and "Queen's University", "Tricolour' and "Gaels". These word marks are marks of the University regardless of the particular style in which they are printed or used.
Only officially recognized departments, divisions, groups and individuals of the Queen's University are permitted to use Queen's University trademarks.
Queen's identified and marked product must be obtained from a trademark licensee of the university. The licensee will follow the guidelines for use prescribed in the trademark licensing agreement and in the agreement's Code of Conduct to ensure that the Queen's name, trademarks and images are used in good taste and are manufactured under humane and non-exploitative conditions.
Non‑exclusive licenses to manufacture and sell product bearing the Queen's marks are granted through the Office of the Vice-Provost and Dean of Student Affairs.
As a matter of policy, all trademark licensees of Queen's or authorized users of Queen's trademarks, must provide royalties to the University for the use of those marks. These royalties fall under the terms of their licensing agreement, unless they have received a waiver of royalties from Student Affairs.


text:
De titel van een "Geëerd Medewerker van het GOSP" (Russisch: "Почетный Сотрудник ГУСП") wordt toegekend aan medewerkers van het Directoraat voor Speciale Programma's van de President van de Russische Federatie (GOSP) en medewerkers van de daaraan ondergeschikte organen voor het verrichten van "bijzondere diensten die bijdroegen aan het overwinnen van de uitdagingen waarmee het Directoraat voor Speciale Programma's van de President van de Russische Federatie wordt geconfronteerd".

Aan de titel is een op de borst gedragen schildvormige onderscheiding verbonden. Deze "Нагрудный Знак «Почетный Сотрудник ГУСП»" werd in het decreet №26 van 28 december 2001 ingesteld. Het is een ministeriële onderscheiding.

De onderscheiding toont een gouden rijksappel tegen de achtergrond van de Russische vlag met daaromheen onderdelen van het embleem van het Directoraat voor Speciale Programma's van de President van de Russische Federatie. Deze zeer geheime organisatie is belast met de zorg voor de bunkers van de Russische regering.

Dit directoraat kreeg op 23 maart 2000 in een Presidentieel Decreet een eigen embleem toegewezen. Het Kremlin koos als symbool een aan het symbool van de veiligheidsdienst (en de vroegere KGB) ontleend wapenschild. Dit wapen combineert onderdelen van de oude tsaristische heraldische vormentaal zoals de gekroonde dubbele adelaar en de rijksappel met het schild en het zwaard van de KGB en de Russische driekleur. De beschermende taak van de GOSP komt in het wapen en daarmee ook in de daarvan afgeleide onderscheiding, goed tot uitdrukking.

Zie ook
 Ministeriële onderscheidingen van de Russische Federatie

Onderscheiding in de Russische Federatie


On Q Designs boasts beautiful statement jewelry with a twist... Kate Qualley Peterson sculpts them by hand using a unique metallic clay. Each beautiful piece is like wearing a bronze sculpture, and we love that no two pieces are exactly alike. Her colorful compositions are truly wearable works of art!
Kate Qualley Peterson, I make bronze jewelry from a relatively new technique known as powdered metallurgy. Aka, metal clay.
My jewelry is quite organic, colorful and unique. I know of no other artist working in bronze whose work resembles mine. In a world where jewelry makes up a good percentage of the booths in a show, this is very important. I like working large and the bronze allows me to do this and still keep the price reasonable.
Yes. I've been a maker all my life. I remember staying after school to draw a portrait of my first grade teacher. Whether making my own clothes from my designs or sewing stall curtains for horse shows, designing the house my late husband and I built together or drawing our horses, I always have to be creating something in some form.
Yes, but I'm a retired school teacher. I didn't start making to sell until I was 55. Like many, I started making jewelry. Then someone would ask me to make one for them, then I started buying materials wholesale and I had all this inventory—I had to find a way to market it and—voila, I was in business.
Traditional jewelry techniques left me a little cold—sawing and soldering. But I loved hand built pottery and this is a little like that only in miniature. I like the direct, get my hands dirty, contact of the clay. Mind you, it's not really clay. It's only called that because of the texture. It's really pure metal.
I kiln fire many times to get "raku-like" color. The Midwest is also not a hotbed for metal clay artists. The nature of the material makes the look very different from jewelry made from traditional techniques. One is not better than the other. They are just different.
Check out more of Kate's designs online, and be sure to stop by her booth at the Minneapolis Gift & Art Expo, November 3-5, 2017 at the Minneapolis Convention Center!
Living in the "State of Hockey," we have no shortage of hockey fans here in Minnesota. After having no luck finding hockey themed clothing for their family, Kelly and Jose Meza started GoodWood Hockey. They wanted to share their family's love of the game by creating high quality apparel to showcase your hockey pride.
We are GoodWood Hockey (I'm Kelly) and we create and manufacture hockey-inspired casual apparel.
We are really excited to launch a new line of shirts that focus on different hockey states across the US and Canada. It will be great to get these and our other shirts into retail outlets in different regions of the US and Canada.
We have 2 different holiday shirts available this year. The "Happy Hockey Days" shirts will be sold all season long on www.goodwoodhockey.com as well as the Minneapolis Gift & Art Expo. We will also have exclusive holiday sale items and a fun free gift at the Expo!
The high quality and feel of the garments and the thought that we put behind the designs are what we hear the most often. It was really important to us not just to make graphic T shirt, but to make sure that we used socially responsible garment manufacturers and that the shirts had a great feel to them. We like to say that we won't sell a garment to your family until it has been worn and approved by ours.
It is so hard to pick just one! The Ice Cleaner shirt has a special place in my heart because my sister, who is a Florida based artist, hand sketched the Zamboni that is printed on the shirt. All of our designs are one-of-a-kind, however the Ice Cleaner is truly a piece of hand made art!
I was holiday shopping for hockey T shirts for my kids and a little frustrated with the lack of variety out there. I ordered a few things and when they arrived, the quality was low and the options, especially for girls, were really boxy. My husband casually suggested that I start my own company. Two years later, here we are. The only hockey apparel company out there to offer original designs for everyone in the family!
We work hard to create unique designs that cater to multiple demographics. We work with all different genders and ages to create designs that are thoughtful toward all types of hockey-lovers and their family members. We love hearing customer feedback and design ideas!
Living in the "State of Hockey" has an obvious influence on our company. Living in the Twin Cities drives a lot of our ideas as our customers, and even just the hockey culture here, are at the core of our business and inspiration.
Our biggest inspirations are our own kids! We also feature several designs each year in which we donate a portion of the profits to a featured charity. Right now, our Live.Love.Hockey. design is helping provide clean water to those in need through the global organization charity:water.
"Good wood" is a hockey term used to describe solid contact with the puck on the ice. My husband was very enthusiastic about naming our company GoodWood Hockey, and it works on many levels. It resonates with those in the hockey community who are familiar with the term. Through GoodWood Hockey, we want to provide high quality products, and getting "good wood" on the puck usually results in a high-quality shot. Additionally, it works well with our mission to do good in the community through our "Hockey for Good" program.
Check out more of GoodWood Hockey's designs online, and be sure to stop by their booth at the Minneapolis Gift & Art Expo, November 3-5, 2017 at the Minneapolis Convention Center!
These fun, whimsical fleece products are the work of Jennifer Karas, mother of two and the designer behind Olivia's Kloset. Jennifer sews her puppets, hats, and bags by hand, and each piece seems to have it's own personality. We love the way her bright colored fabrics bring the characters to life. Monster enthusiasts and kiddos alike will find something special from Olivia's Kloset!
The business is called Olivia's Kloset. My mother, father, my children Olivia and Oskar and myself all work together to run the business. My mother and I sew, create, and design together. My father keeps our paperwork in order and offers love and support. My children are a constant source of inspiration, love, and are my reason for everything. We create fleece monster hats, puppets, dolls, gloves, purses, bags, dresses, and much much more.
What do customers love about your products?
We make items that make people laugh. When people are in our booth it is next to impossible to have a bad day. We bring emotion whimsy imagination and the child out in everyone. For a brief moment you can step into the closet and play no matter how young or old no matter how good or bad your day might be. We try to bring a piece of magic and laughter to everyone we meet.
Why did I start working in this craft?
When I got pregnant I was a bronze sculptor and that didn't really work with being pregnant. So about a year after my daughter was born I asked my mom to teach me to sew. I knew I wouldn't be able to be a stay at home forever so one thing led to another of me and my mom spending time together and we made a hat, then another, then we just really fell in love with it and decided to take a chance. I liked that I could work from home and be with my children at the same time. I wouldn't change it for the world and feel so lucky to be able to wake up everyday and say this is what I do.
What has been my favorite moment since creating your business?
Every moment is my favorite even the bad ones the cranky, the hard, the emotional, the difficult and the moments that are absolutely perfect and beautiful because they have made the entire journey and path that I have found. I suppose the best moment is seeing my mom, dad and my kids proud of me and seeing the way people light up when they see our work.
Olivia is my daughters name Oskar is my sons name and Karas is my married name. When I was pregnant I was a very nervous pregnant woman and me and my ex husband liked the idea that their initials we OK. It felt like no matter what thinks would be OK. So it only seemed natural to name it after my kids. Kloset came from the idea that anything can be found in a closet and in the beginning we were not sure at all what we were making if it would sell so we wanted to keep our options open to all possibilities.
Check out more of Jennifer's designs online, and be sure to stop by her booth at the Minneapolis Gift & Art Expo, November 3-5, 2017 at the Minneapolis Convention Center!
Colin Schroeder of Turned Write Handcrafted Art creates stunning, high quality writing utensils that are sure to become an heirloom in your family. His wide variety of styles and patterns will appeal to anyone on your list. It is Colin's goal to bring more beauty to the products and utensils that we use every day, and we think he's definitely accomplished that!
My name is Colin Schroeder, I am a woodworker located in Southeastern Minnesota and I specialize in functional art pieces you can use in your everyday life.
Recently I've been developing a pen using vintage postage stamps cast in acrylic resin. I use actual stamps from the 1930's through the 1960's to create a truly unique pen.
They appreciate the idea that an item you use in your everyday life can be a beautiful work of art. The fact that all of the pens and other items I use can be refilled also appeals as it gets away form a disposable lifestyle.
Yes, My wife and I started doing this full time a little over 4 years ago, prior to that this had been a part time business but we decided it was time to increase the number of shows I do and see if I can make a living at this.
I was always a woodworker but in 2009 I decided to start turning on a lathe and after gifting things I made to people it was suggested that I try my hand at a few art shows. One thing led to another and the demand for the things I make kept increasing so I started doing this full time and bought a building to work out of to move the business out of the garage.
I find the unique possibilities in different materials is a great catalyst to creation. Each piece of wood or acrylic is unique even those from the same source have a different look depending on where it came from and how it is finished. I also find the challenge of finding new ways to use different materials can spur me on to develop new ways of looking at something.
Keep trying, You never know where something you try will lead you. I like to say there are no mistakes, just design opportunities!
Check out more of Colin's beautiful work online, and be sure to stop by his booth at the Minneapolis Gift & Art Expo, November 3-5, 2017 at the Minneapolis Convention Center!
We are totally in love with the sleek, modern design and bold colors of Taki Watches! St. Paul, MN native David Spencer creates his designs inspired by the Scandinavian architecture of his hometown. With their clean lines and endless color combinations, there's a Taki watch for everyone on your list!
Taki and TOKYObay! We are a small, family-oriented company that prides itself on providing our customers with high-quality, inexpensive watches and accessories bursting with color and fresh designs.
The focus of Taki Watches is pure design and a diverse color palette, allowing everyone to match a beautiful timepiece to any chosen outfit. Our sister company TOKYObay blends modern design with classic style, providing a wide selection of luxury, neo-vintage watches and accessories at an affordable price. Genuine leather straps perfectly compliment the stainless steel bezels, and Japanese movements make for accurate timekeeping.
As an eyeglass designer for close to 20 years, our owner and designer David Spencer always looked for a watch that connected to his own design style, which means a clean, simple design with a lot of color. Growing up in St. Paul, Minnesota, David has always been influenced by the surrounding Scandinavian architecture: the pure simple lines that define the design comes from that part of the world.
We love the magnetic energy that surrounds the experience, and being able to meet our customers in person and help them find the perfect gift!
Check out Taki Watches' products online, and be sure to stop by their booth at the Minneapolis Gift & Art Expo, November 3-5, 2017 at the Minneapolis Convention Center!
With a background as a freelance graphic designer, Will Western has created his own style, drawing inspiration from graffiti art and classic portraiture. His detailed athletic portraits have even captured the attention of local sports celebrities with a commission by Twins player Dan Gladden. We love Will's expressive line work and color technique!
My name is Will Western, I am inspired by creativity and the appreciation of sharing my work with everyone. My portfolio consist of exclusive urban apparel, graffiti, exquisite illustrations, and sport celebrity portraits on found paper, fabrics, and panels.
Recently finished a commissioned oil painting for Minnesota Twin's, Dan Gladden. This art piece was inspired by the "World Series" Championship win in 1987.
I remember my father hand-drawing fighting ninja characters, and I began practicing by re-drawing my father's characters, then eventually began creating my own fighting characters from imagination. I remember I was in the 1st grade.
Minnesota has influenced my work tremendously. The art community of Minnesota supports the fellow artists here and can be very lucrative all year round.
I have always been intrigued by art that can relate to an audience of many on different levels. When I'm creating art I try to relate to my audience in the best way I know how to. I want to make that connection.
The meaning of GULLY is to be street, gritty, or gangsta. The movement "Keep it Gutter" represents graffiti style artwork and hand-made apparel.
Vending allows me the opportunity to give live demonstration of my craft and the ability to network with artist and potential buyers.
Check out more of Will's work online, and be sure to stop by his booth at the Minneapolis Gift & Art Expo, November 3-5, 2017 at the Minneapolis Convention Center!


I have been using the parallel version for a while and can report that it does exactly what is says on the "Tin".
I only have 2 C2050's in my machine and so I am seeing speed up between 1.5 and 1.66 depending on size of system and cutoff used.
It's worth noting that in general on X64 based machines you rarely see better than 1.7x going from 1 to 2 processors so 1.5 to 1.66 is very good when you think about the power per card that the 2050's represent. I am keen to extend the experiment up to 4 cards. I should also mention that this is all done over PCI-X and not via infiniband. The motherboard I have should enable me to run 4 x C2050's at full 16x on the PCI-X so when I can get hold of another couple of cards I will let you know what I find. I really do hope that NVIDIA sort out the GTX 480/580 issue.
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"I Was Born Defective": What It Means to Be a Woman in Sharon Pollock's Blood Relations
February 1, 2019 by Essay Writer
"Regardless of what we might think of our gender, we can only live that gender through the body we have."
Throughout Sharon Pollock's play Blood Relations, the plotline focuses on the life of Lizzie Borden and her day-to-day experience as a woman who does not conform to feminine expectations. The play is set in the late nineteenth century, a time when women were viewed as a subordinate group within society. The bodies that people were born into determined the gender roles they were supposed to fulfill. Those gender roles, however, were created by the men of the society. In Blood Relations, Lizzie is pressured to conform to the feminine gender role simply because she has the body of a woman. The play chronicles Lizzie's resentment of and rebellion against the male-structured ideology in an attempt to change what it means to be a woman in her society.As the protagonist of the play, Lizzie Borden is faced with the stereotypes of women during her era. She was born and raised in the nineteenth century, when women were expected to be complacent daughters and obedient wives and homemakers. Lizzie, however, refuses to conform to those societal conventions despite the body she was born into. She is very headstrong throughout the play; her constant battle against societal norms constricts her life and ultimately leads to the murder of her parents. Throughout the play, the convention of "being a lady" causes conflicts between Lizzie and those around her, especially Mrs. Borden: "She's incapable of disciplining herself like a lady and we all know it" (Pollock, 22). Mrs. Borden constantly badgers Lizzie throughout the play because Lizzie does not conform to feminine gender roles. From the beginning of the play, it is evident that women faced well-defined boundaries that they were unable to cross. Mr. Borden, Lizzie's father, refers to keeping women in line as a task like "training horses":
Now Andrew, I've spent my life raisin' horses and I'm gonna tell you somethin' — a woman is just like a horse! You keep her on a tight rein, or she'll take the bit in her teeth and next thing you know, road, destination and purpose is all behind you, and you'll be lucky if she don't pitch you right in a sewer ditch. (17-18)
Mr. Borden believes that men ought to keep their women in line in order to stop them from interfering with their "man's world." Being born into a woman's body during the nineteenth century limited the options available to an individual — women were not allowed to do what men could. Lizzie, however, often refuses to do what the men around her tell her to do.The constant discord between Lizzie and her father makes it evident that she refuses to adhere to societal conventions. Lizzie is constantly forced to listen to her father bring up the idea of marriage: "Just listen to me, Lizzie… I'm choosing my words, and I want you to listen. Now… in most circumstances… a woman of your age would be married, eh? Having children, running her own house. That's the natural thing, eh? [Pause.] Eh, Lizzie?" (34). Because Lizzie is a woman, it is only "natural" for her to conform to the convention of marriage even if she is not interested in the suitor, such as Johnny MacLeod, an old widowed man. That convention appears to be quite one-sided: Harry, Mrs. Borden's brother, does not seem to be married, nor is he pressured into getting married. Instead, he is commended for not having to bear any children: "You're lucky you never brought any children into the world" (32). Because Lizzie was born female, though, she is considered a failure for the very thing Harry is being praised for. Lizzie, however, refuses to marry someone just for the sake of doing so. It is not something she naturally feels, and ultimately will not do despite wanting to please her father. "Papa? … Papa, I love you. I try to be what you want, really I do, I try… but… I don't want to get married. I wouldn't be a good mother, I–" (37). The idea of being forced into motherhood is not something which comes naturally for Lizzie; she does not have the nurturing maternal instinct that she believes women meant to be mothers should have. When Mr. Borden speaks to Lizzie about marrying Johnny MacLeod, Lizzie refuses the idea and says that she does not want to be married or assume the role of a "housekeeper" (36). Lizzie's natural instinct blocks her from "performing" what everyone else expects of her.Lizzie recognizes that something is different in herself compared to the other females around her. She sees that she is nothing like her sister Emily, who is completely complacent and often adheres to the social norms of what it means to be a woman. Because of the contrast between Lizzie, Emily, and even Mrs. Borden, Lizzie questions herself and wonders if something could possibly be wrong with her:
[D]o you suppose there's a formula, a magic formula for being a "woman"? Do you suppose every baby girl receives it at birth, it's the last thing that happens just before birth, the magic formula is stamped indelibly on the brain Ka Thud!! […] and through some terrible oversight… perhaps the death of my mother… I didn't get that Ka Thud!! I was born… defective. (32)
This quote perfectly describes Lizzie throughout the play. She was born into a body and given a socially constructed role for which she is not suited. All of the women around her have a certain perception of what it means to be a woman. Lizzie, however, defies all of these social conventions — not out of spite, but because it does not come naturally for her to act the way society expects her to. Even if she tries to make her father happy, the part of her that rejects these social norms leads her to believe that she must be defective — that she can only be considered normal by adapting to the gender role she was assigned when born a girl. That quote leads the audience to believe that if those who do not fit into the neat categories of entirely male or entirely female are "different" and should be considered as "outsiders." Lizzie is segregated throughout the play to the point where she is made to feel alienated by even the closest members of her family.This segregation by Lizzie's family leaves her with more resentment and only pushes her further away from her assigned gender role. Naturally, during the late nineteenth century, women could not work, nor did they have the option to live on their own away from their families. In contrast, that is all Lizzie desires:
Lizzie: I want out of all this… I hate this house, I hate… I want out. Try to understand how I feel. Why can't I do something… Eh? I mean… I could… I could go into your office… I could… learn how to keep books?
Mr. Borden: For god's sake, talk sensible. (37)
Lizzie strongly dislikes living at home around the very people who stop her from being herself; she is desperate to break free from the world in which she is confined. While Lizzie does appreciate the material comforts that her family provides to her, she ultimately craves the acceptance and encouragement to live her life freely. Instead, Mr. Borden constantly tells Lizzie to smarten up and "think sensibly," as though what she is saying is completely ludicrous. At the time, however, Lizzie's dreams were slightly farfetched. As a woman, she only had what her father or husband provided to her. Lizzie's nonconformity hinders her ability to have what her father would naturally have given to her. She loses her property rights to Harry, and her inheritance slowly diminishes as she refuses the idea of marriage. It is as though Lizzie's refusal of gender roles creates the necessity of punishment by her father as a way to shock her into conformity. Even Mrs. Borden, the woman who constantly quarrels with Lizzie, is aware of the inequalities between men and women: "You know, Lizzie, your father keeps you. You know you got nothing but what he gives you. And that's a fact of life. You got to come to deal with facts. I did" (40). By saying "I did," Mrs. Borden admits to having, at one point or another, questioned the gendered norms of what it means to be inside of a woman's body; over time she inevitably learned to settle and conform to the societal conventions around her. The men surrounding Lizzie and Mrs. Borden are the ones who create meaning for the female gender. Therefore, Lizzie ought to listen to what her father tells her because, ultimately, he provides for her and financially supports all that she does, something she could not do on her own.It is evident from the play's use of symbolism that the female body is controlled by the men around them. Lizzie's freedom to be who she wants to be is constricted by Mr. Borden. That relationship can be seen through the symbolism of Lizzie's birds, which represent the freedom she wishes to have but is unable to attain. The birds have the ability to fly away, but they are constricted by the cage in which they are enclosed. The cage represents society's conventions, which restrain Lizzie from "flying away." Lizzie's father is aware of what the birds mean to Lizzie, and he tries to protect them from others: "It's those little beggars next door. Hey! Hey get away! Get away there! … They break into the shed to get at my birds and Papa gets angry" (28). Similarly, Mr. Borden tries desperately to protect Lizzie's "differences" from others who want to break into her cage. In a strange way, it is almost as though he understands Lizzie's conflict and has sympathy for her. In many parts of the text, he scolds her for being the way she is and immediately after consoles her by saying, "There Lizzie" (38). The symbolism of such exchanges is that in a male-dominated society, women have only as much freedom as the men around them permit:
Mr. Borden: [I]f Lizzie puts her mind to a thing, she does it, and if she don't, she don't.
Harry: It's up to you to see she does. (31)
Mr. Borden has the ability to constrict Lizzie because she is a woman, showing that females are a subordinate, powerless group. With the same power that Mr. Borden has to give Lizzie freedom, he also has the ability to take her freedom away. He realizes that although he may be able to protect her, the rest of society would ultimately not be able to understand her. Characters such as Harry and Mrs. Borden refuse to accept Lizzie and push Mr. Borden to constrict her. In fact, it is Harry who causes Mr. Borden to crack. After having an argument with Lizzie, Harry returns with an axe, saying that someone had gotten into the birds. Mr. Borden, furious with Lizzie because of their altercation, goes to the birds with the axe and kills them one by one (46) in an attempt to kill her freedom and shock her into conformity. As a female, Lizzie only had as much leeway as her father provided her; her "freedom" as a woman is constructed by a man. Sharron Pollock's Blood Relations is a play used to show how women are expected to live out their lives according to a preset formula simply because of the bodies into which they were born. However, Pollock uses Lizzie Borden as a way to push those conventional norms of what it means to be a woman. Women are not all the same, just as men are not. Some will not marry, while others go on to have many children. Inheriting a woman's body does not provide preset guidelines of how one ought to live. Instead, it provides a means to live depending on personal preferences. That is what Lizzie Borden longs for, and what she ultimately achieves only after the murder of her parents.
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Recently (May 17 2018), Square Enix invited the press to an event in Santa Monica, California where they were able to play a brief demo of Kingdom Hearts 3 featuring Olympus (Hercules World) and Toy Box (Toy Story World). Several exciting mechanics and characters made an appearance specifically Ralph from Wreck-It Ralph as a type of Link (Summon) as well as Ariel from the Little Mermaid. Not to mention, Dissidia NT made a subtle cameo in Tox Box. At the event, exactly the people you would expect were there. Excecutive Producer, Shinji Hashimoto, Co-Director, Tai Yasuke, and Director/Creator Tetsuya Nomura. Below are some of the highlights and videos, also we will have an official release for KINGDOM HEARTS 3 early next month!


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What will the Golden State Warriors look like without Steph Curry?
Andre SnellingsESPN
According to reports, Stephen Curry will be out for about the next month with a shoulder injury. What will the Golden State Warriors look like without him? That's neither a rhetorical question, nor a setup for a conversation about whether the team should panic about their postseason aspirations. I mean, legitimately, what will the production on the Warriors look like on a game-to-game basis with their MVP unavailable?
Let's explore.
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Every year, in the month before the NBA season, I project the box score production for every rotation-level player in the NBA (note: I'm currently updating those productions once per week for those still interested in drafting new fantasy hoops leagues, now that the fantasy football season is winding down). I use several different techniques in these projections, but when accounting for the absence of a previously high-usage player, one approach is to focus more on which teammates are likely to fill the vacuum of shots, passes and turnovers and extrapolate from that direction. Another approach is to focus more on the minutes played, as in who is most likely to fill those minutes, and how would their previous per-minute production translate to those bigger minutes?
For this Warriors team, minus Steph, I'll lean on both of those approaches. Curry is 12th in the NBA with a 31.1 Usage Percentage this season, accounting for 20.2 field goal attempts (including 11.6 3-point attempts), 5.2 free throw attempts, 6.8 assists and 3.1 turnovers per game. Those are some pretty big statistical shoes to fill. The teammate who's most likely to step up as an understudy is honorary third Splash Brother Jordan Poole, another combo guard comfortable with high-volume shooting from deep as well as leading an offense.
At the end of last season, Curry was injured on March 16 and missed most of that game and all of the last 12 games before the playoffs. In those contests, Poole filled in for Curry in a role very similar to what he'll likely be asked to do this season. In fact, let's use Poole's production from that month of action earlier this year as a template for his expected production this time around:
Poole: 26.0 PPG (8.4-for-19.6 FG, 4.2-of-11.1 3PG, 5.0-of-5.3 FT), 5.9 APG and 3.2 TO/G; 35.3 MPG
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These numbers are very interesting, because they were taken from a previous time period, but they could have very easily been extrapolated using the time- and production-vacuum approaches mentioned above. If you were to take Poole's per-minute averages from his first 23 games this season, multiply them by 35.3 MPG and increase all his shot attempts by 10%, you would get almost exactly the numbers he averaged in Curry's absence at the end of last season. As a double-check, that helps convince me that these are very reasonable estimates for Poole for the next month.
Next up, OG Splash Brother Klay Thompson. Thompson was still working his way back into game shape last season when Curry was out, and started this season doing the same. Thus, neither a direct sub of last season's last month numbers nor an extrapolation based on this entire season are likely to be accurate. But, in the last 10 games that he played even with Curry in the line-up, Thompson has established a level of production more commensurate with his typical value than his season-long averages while playing 33.1 MPG. If we take his averages over that 10-game span, then apply the same 10% increase in his shot attempts across the board, Thompson's Curry-less offensive projections would be:
Thompson: 25.2 PPG (9.0-of-20.0 FG, 5.1-of-11.4 3PG, 2.1-of-2.3 FT), 2.5 APG, 1.4 TO/G, 33.1 MPG
The scoring and 3-pointers might be a tinge aggressive, but it's within the realm of possibility. I'd likely consider those the best-case scenario numbers, and expect something more in the 23 PPG, 4 3PG range as an average. Thompson still isn't quite as explosive as he used to be, and without Curry drawing opposing defenses Thompson may not get quite as high a percentage of good looks from deep for the next month. But, he also may get more chances to handle the ball and attack the paint, which could help his shooting percentage slightly but could also come with a slight uptick in turnovers.
Andrew Wiggins is the third already-volume scorer on the Warriors that could be asked for more with Curry out. Wiggins has missed the last five games with a groin strain, and is still listed as out for Friday, but he has been cleared to return to practice and presumably will return well before Curry. Wiggins has scored in double figures in every game this season, but he's fluctuated between 10 points (most recently in the third game before his injury absence) and 36 points (the game before his injury absence). That fluctuation was largely due to the presence of so many scorers on the Warriors though, and with Curry out he should get more consistent looks. He was playing better as the season progressed, with a solid level established over his last 13 games. Wiggins has averaged more than 20 PPG multiple seasons in his career, and he shoots the 3-pointer more often and more accurately now than he ever has before. Applying the same 10% increase in his shot attempts over his last 13 games as with the guards, Wiggins' offensive estimates sans Curry would be:
Wiggins: 22.3 PPG (8.7-of-16.1 FG, 3.9-of-8.0 3PG, 1.0-of-1.7 FT), 1.7 APG, 1.7 TO/G, 32.4 MPG
Wiggins could also see a slight uptick in rebounds, since Curry hit the glass harder than his guard replacements, putting him around eight boards per game.
Draymond Green is the de facto point guard, often even when Curry plays, but his scoring chops are not worth depending on these days. He could increase his assists in Curry's absence, though, up over eight per game.
Finally, let's look at the player most likely to absorb the majority of Curry's minutes: guard Donte DiVincenzo (available in 97.7% of ESPN leagues). Of the players off the bench that could see an uptick in minutes, including both Moses Moody and Jonathan Kuminga, DiVincenzo is best suited to earn full-on sixth man minutes akin to Poole's current 28.4 MPG. DiVincenzo has played minutes on that order several times in his career and should be able to handle them this month. DiVincenzo was injured earlier in the season, and over his last nine games has improved compared to when he first returned. If we estimate 28.4 MPG for him, given his per-minute numbers from the last nine games, his projections for the next month would be:
DiVincenzo: 12.3 PPG (4.3-of-10.7 FG, 2.5-of-7.0 3PG, 1.8-of-2.1 FT), 3.1 APG, 2.1 TO/G, 28.4 MPG
Curry is a player that can't really be replaced. But, while he's out, the Warriors will redistribute minutes and shots to try to fill that vacuum. This is one exercise in projecting what their new numbers might look like. For those looking to make moves in fantasy leagues, in DFS games, or in the daily props market, hopefully these can act as reasonable touchpoints to help guide your decisions.
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They are finding weak countries that have dictatorial governments, with rich material resources and no infrastructure. They go in. They prop up the dictatorial governments. And they get a big cut of the timber and energy.


These notes give some grounding to my text Writing with Fungi, Contagious by situating it within my broader, ongoing process of thinking with the artistic practices of Terike Haapoja and Essi Kausalainen, while tracing out further resonant threads between their works. Moreover, the following situates my writing within the lived embodied experience that is not only inseparable from but actively feeds into this production of thought. This is what urges my writing on.
Essi Kausalainen. Lovers. 2017. Beyond Telepathy. Somerset House Studios. Photography by Tim Bowditch.
I open the door to the small overgrown back garden and take a deep breath. The air feels fresh, despite the warnings of unprecedented pollution levels in the city today. It must linger here in this tiny refuge too - invisible, insensible.
Getting chilled I reluctantly return indoors, turn the dehumidifier on, hoover the carpet once again. Hanging yet another spider plant on the wall, I remind myself to check the list of air-cleaning plants - provided online by NASA. Futile battle perhaps. I will never master the art of air purification amidst this dense cocktail emanating from the traffic, the spongy Victorian brick walls, the everyday chemicals from the past and the present. I open all the windows wide again. The boundary between indoors and outdoors collapses even while a difference persists - like in every breath, inside out, outside in. My writing takes place on this very threshold.
Luce Irigaray has written on the forgetting of air in European culture and philosophy - the essential element that provides us with an invisible dwelling everywhere and a medium necessary for the reception and passing on of all sensory messages, including these words of mine: 'Breathing is an organiser for living itself and for the coexistence between living beings' (2016: 28-31). As my breathing becomes more and more troubled - indoors and outdoors - am I incapable of living these co-dependencies? Or, am I suffocated by the increasingly impossible place allocated to me in a culture that has forgotten air in its insistence on hierarchical dichotomies, impermeable boundaries, and aggressive extraction of value from all that is deemed other to the Anthropos - my female, middle-aged embodied being included?
For certain, I am short of breath due to the intensifying violent onslaught of the rise of fascism and ecological urgency, both so deeply felt today. The boundaries of my self are porous, traversed by myriad flows and forces - contagions ranging from bacterial to emotional. No taxonomies or measurements could explain all the trouble away as either subjective psychosis or physiognomic deficiency. I am out of order, part and parcel of a disorderly world.
Terike Haapoja. Closed Circuit – Open Duration. Venice Biennale 2013. Nordic Pavilion. Dialogue detail. Photography by Ugo Carmeni.
A retreat is needed now to a moonlit garden where trees spoke back and the soil breathed, in the Nordic Pavilion at the Venice Biennale 2013. This was a garden dramatically unlike the surrounding miniature world order staged both in the constellation of national pavilions and in the European garden tradition of the Giardini di Biennale. A series of works by Terike Haapoja under the title Closed Circuit - Open Duration suggested another approach to what has been deemed disorder, the ceaseless move towards diversification and transformation - it cannot be contained yet it may be listened to and breathed with.
Here my breath called for the trees to respond and they breathed back through photosynthesis, translated into a whistling sound. Yet their breath is radically different to ours and cannot be reduced to a mirror even though it does reverse the human process of oxygen consumption. What is at stake here is a much more complex entanglement, where interiority is enmeshed with the exterior. The breath is just one of the numerous life sustaining border crossings. It does not imply dissolution of the embodied subject, yet suggests that interiority and singularity are founded on plurality and entwinements of all sorts. Furthermore, other beings and things may well have interiorities of their own too, as Haapoja argues (Elfving & Haapoja 2016). In this scenario I am more than one and have no longer exclusive ownership of mental agency or the privilege to externalise all unbounded materiality to the bodies of others.
The abundant alien life that is part of the artist's face bears witness to this, in a microscopic image blown up to a planetary scale that looms like a moon above the garden. The expulsion of all these tiny others would not reinstate the unity of the subject but most probably destroyed its face - and beyond - thus undoing the very foundations of its identity. Under this moonlight, I stepped cautiously onto flagstones to cross a pool of water. There were ripples, not on the immediate surface of the water but elsewhere, projected back to the space as a spectral image.
Haapoja's garden makes tangible how our coexistence can manifest in audible and visible reciprocity but may also have unexpected, temporally and spatially removed affects. The technologies of mediation are laid bare here, yet as such they allow the viewer intimacy with rather than access to the trees and other co-inhabitants in the space. This intimacy - unlike immersion - demands the acknowledgement of irreducible differences and, consequently, responses that may come in unpredictable and untranslatable forms. I take a deep breath and am viscerally entangled in the indeterminacy of communication and contagion that we - I, the trees, the soil, the other viewers - never really pre-exist.
Terike Haapoja. Closed Circuit – Open Duration. Venice Biennale 2013. Nordic Pavilion. Installation view. Photography by Ugo Carmeni.
The air becomes thick - with projection and anticipation, messages inseparable from the means - around Haapoja's trees as in a recent performance by Essi Kausalainen. Lovers (2017) continues Kausalainen's work inspired by mychorriza, the symbiotic relationship between plants and fungi. In the performance the bodies of two performers never physically meet yet their distinct movements resonate with one another, not unlike the voices of the two singers framing this event of coming together. Like in the case of plants and fungi, symbiotic co-becoming does not imply fusion as opposed to detachment. Nor does it happen merely in embodied entanglements but also across complex spatial and even temporal distances. The air between is charged as a space of encounter, no longer a void to be bridged but a medium necessary in co-dependence.
Kausalainen's performance does not so much attempt to capture - whether through embodied or narrative representation - the mychorriza as an alternative model of coexistence applicable to human relations. Rather, her series of performances appear as experiments with different practices and processes of co-dependence and communication. Empathic identification is not an option here, yet imaginary leaps and play with diverse means of mediation at hand - words, harmonies, tulips, office chairs - may allow for contagious openings of thought as well as sensibilities beyond sense making.
Transformative potentially to all the parties involved, compassion can thus become contagion that ruptures the aggressively guarded illusion of self-containment - not unlike the shared breath. Trouble surely lies in all contagions, with numerous dangers, yet also joy that comes with the capacity to breathe, to think, to write. After all, 'single vision produces worse illusions than double visions or many-headed monsters', as Haraway has argued (1991: 295).
A deep breath - in and out - no longer allows me simply to become centred. Rather I begin to pay closer attention to the plants that I attempt to breathe better with. They can never fully exorcise the trouble. The research on the air cleaning qualities of houseplants has entwined with the instrumentalisation of plants in the construction of inhabitable new colonies. How else could we approach these generous green cohabitants of ours? My much loved albeit awkward monstera plant comes to mind, as I have yet to find information on its purifying properties. What is so monstrous about it?
'The promise of monsters is a regenerative politics, an invitation to explore new ways of being in touch, new forms of becoming, new possibilities for kinship, alliance, and change', Karen Barad writes (2015, 410). Rather than aiming at cleaning and restoring some lost state of purity, or an imagined original balance and order, this is a call to weave novel relations. It is a matter of care and responsibility - responsiveness and respect - also for that which troubles. The entanglement of our fates and the attentiveness this demands, is way more complex than any service or barter economy. My codependence with the monstera is simply not scalable to any, however sophisticated, carbon exchange.
For collaborative survival at the time of mass extinctions, we need to protect the existing and build new refuges for diversity, Anna Tsing argues. Contamination is what makes diversity, she writes about mychorriza (2015: 29). These refuges cannot therefore be escapes, enclosures, exceptions, elsewhere. The breathlessness, lived by so many today, is not merely a matter of air purity and climate control - quite the contrary, perhaps. Sealed units cannot breathe. My writing has to then also become a breathing practice.
Barad, Karen. 2015. 'Trans*/Matter/Realities and Queer Political Imaginings', in GLQ: A Journal of Lesbian and Gay Studies. Vol. 21. No. 2-3, pp. 387-422.
Elfving, Taru & Haapoja, Terike. 2016. Altern Ecologies. Emergent Perspectives on the Ecological Threshold at the 55th Venice Biennale. Helsinki: Frame Contemporary Art Finland.
Haraway, Donna. 1991. Simians, Cyborgs and Women: The Reinvention of Nature. London: Free Association.
Irigaray, Luce. 2016. Through Vegetal Being. New York: Columbia University Press.
Tsing, Anna. 2015. The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins. Princeton: Princeton University Press.


Research Project: Investigating Mobile Genetic Elements (Viromes and Plasmidome) and the Ecology of Microbial Community and Resistance Gene Reservoirs Towards Under..
The objectives of the research are to investigate mobile genetic elements (viromes and plasmidome) towards understanding the emergence and ecology of antimicrobial resistance in beef cattle production, and to evaluate a novel direct fed microbial as an alternative to antibiotics.
ARS investigators at USMARC will conduct studies with beef cattle in which cattle have been raised in the absence or presence of antimicrobials to determine the potential role that dietary and therapeutic antimicrobials may play in the dissemination of antibiotic resistance. ARS scientists will collect samples of cattle ruminal fluid and feces, feedlot surface materials, swabs of cattle hides, and runoff from feedlot pens, and monitor animal performance (gain and intake) relative to the production scheme. Samples will be monitored for antibiotic resistant E. coli and Enterococcus by USMARC scientist and sub-sample provided to UNL for sequencing and antibiotic residue testing. ARS scientists will conduct a study in feedlot cattle to evaluate the benefits of a direct fed microbial to improving animal performance and reducing liver abscesses.


From the Nature Neuroscience Abstract: "The last decade has witnessed enormous growth in the neuroscience of empathy. Here, we survey research in this domain with an eye toward evaluating its strengths and weaknesses. First, we take stock of the notable progress made by early research in characterizing the neural systems supporting two empathic sub-processes: sharing others' internal states and explicitly considering those states. Second, we describe methodological and conceptual pitfalls into which this work has sometimes fallen, which can limit its validity. These include the use of relatively artificial stimuli that differ qualitatively from the social cues people typically encounter and a lack of focus on the relationship between brain activity and social behavior. Finally, we describe current research trends that are overcoming these pitfalls through simple but important adjustments in focus, and the future promise of empathy research if these trends continue and expand. - Zaki, J. and K. N. Ochsner (2012). "The neuroscience of empathy: progress, pitfalls and promise." Nat Neurosci 15(5): 675-680.


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FL Skaters Air on TV
Two Florida contest skateboarders made national airways this week when their skating skills opened the doors for an opportunity to be part of a national television commercial for Office Max and Office Depot. The two office supply companies merged last year in a big deal on the New York Stock Exchange. More to come as the story is finalized for publication.
It all started a couple months ago when a talent agency in Naples, FL began searching for skateboarders who could "drop in a huge half pipe". That announcement captured the attention of several skaters in Florida who tried out at the casting call in Miami. But before you could go to that actor audition, Schilling Advertising Agency, from New York City mandated that each skater needed to film themselves dropping in a big ramp and say a couple of corny punchlines. (It was obvious they agency wasn't that well versed in the skate scene.)
The talent agency submitted 31 applications in total to the casting agent for the top 3 jobs which included $2,500 for the main role, and two (2) $250 background skater roles. Two skaters earned some cash, as Titus Massinello and Will Schumatti were selected and asked to return the day before the shoot to prep them for their roles. Both were well above what the agency needed in skill level for their roles as "extras". The main role was secured by an actor Mavrick Moreno who had to spit out the line "Cool computer, where'd you get that?"
Titus and Will both made the most of it, basically getting paid to skate in Brian Piccolo Skate Park in Cooper City, FL. When the commercial aired on national television this month on ABC, NBC, CBS channels just in time for "back to school", both boys were not visible in the tv ad, though Will made the opening scene (see the blurry image of a skater on a ramp in the upper left corner) hahaha. Pretty funny we thought!
On a side (and funny) note. The Director tried to control the rambunctious skaters who did what skaters do best, skated! And when he said "Cut!", the two just kept skating. When the Director yelled "ACTION!" it really didn't matter because the skaters were already skating (lol). When it was over and the Director screamed "that's a wrap!", as you can guess, the two didn't even hear him; they just kept skating. In fact it was tough to get them two out of there when the shoot was finally over!
The entire production was licensed in Florida by Highland Talent payments.


The Foundation is organised around our board of directors, which includes representatives of Maisons du Monde as well as external experts. The board of directors sets the major orientations of the Foundation and selects the projects that will be supported for three years.
Gilles Petit is the CEO of Maisons du Monde and the Chairman of the Maisons du Monde Foundation. After a career with the Promodès-Carrefour group, then at the head of Elior, he took the reins of Maisons du Monde in 2015.
Cécile Ostria has been the CEO of the Nicolas Hulot Foundation for Nature and Mankind since 2002. With a PhD in plant biology, she has been involved in many scientific research projects in South America.
Catherine Filoche is the corporate secretary of Maisons du Monde, which she joined in 1998. She is in charge of corporate legal affairs, international franchising and B2B.
Stéphane Rivain is a forestry expert, consultant and auditor. He is the associate director of Oréade Brèche, an environmental and development consulting firm.
Charles-Edouard Vincent is a social entrepreneur, founder of Emmaüs Défi, a back-to-work skills training program and "social innovation laboratory" combating exclusion. In 2015, he founded Lulu dans ma Rue, a social enterprise offering neighbourhood concierge services.
Fabienne Morgaut, Director of the Foundation and CSR Director of Maisons du Monde.


05/19/2018 05/19/2018 Lexi MartinLeave a Comment on Now a C.L.A.S.S. Evaluator with the APDT!
Now a C.L.A.S.S. Evaluator with the APDT!
The APDT (Association of Professional Dog Trainers), offers a C.L.A.S.S. (Canine Life and Social Skills) certification. This is an educational program that is designed to promote training focused on the use of positive reinforcement and to strengthen relationships between humans and their canine companions. The mission of C.L.A.S.S. is to promote positive relationships through positive training methods.
This approach both develops and safeguards harmonious relationships by maintaining trust with our pet dogs. You and your dog can earn your Bachelor's (B.A.), Master's (M.A.), or Doctorate (Ph.D.) by registering and participating in a C.L.A.S.S. evaluation. Successfully completing each C.L.A.S.S. level is like earning an academic degree in real-life skills with your dog!
As a new C.L.A.S.S. Evaluator I can now test you and your dog(s) for all three levels! So get your leashes and lets get to training!


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Tag: Climate Change
Solar charged phones launched in Tanzania
Tanzanians have been urged to use environmentally friendly mobile phones to support global initiatives to reduce the impact of climate change.
The call was made by the Minister of State in the Vice-President's Office (Environment) Dr Batilda Buriani in Dar es Salaam on Thursday when launching the environmental friendly mobile phone which will run on solar power.
She said the mobile phone which has been launched by Vodacom Tanzania will help to preserve the environment and reduce dependence on electricity.
She said the cellular phones have come at the right time when Tanzania and other countries in Africa are facing serious power problems.
She said though the number of mobile phone users in Africa has increased by 50 percent, millions more cannot access the service due to power problems.
Dr Buriani said the solar charged cellular phones will help Tanzanians living in rural areas to get relevant agricultural information especially on markets.
"People in rural areas have for years not benefited from mobile phone services due to power problems, but currently they can enjoy modern communications by simply exposing their cellular phones to light", said Dr Buriani.
She said Tanzania becomes the second country in East Africa to use the solar charged mobile phones after Uganda launched it last month. Vodacom Tanzania Director Dietlof Mare said his company was improving the communication industry by giving customers modern advanced products.
He said since most Tanzanians in rural areas are low income earners, they have decided to sell the solar charged phones at affordable price of 50,000/-.
Mare said his company has so far been successful in its recent M-PESA service with more than one million people registered to use it countrywide. He said more than 16bn/- is transacted through M-PESA every month.
Posted on October 27, 2009 by GodfreyPosted in PV, Solar EnergyTagged Climate Change, electr, Solar PV, Tanzania, Telecommunication. Leave a comment
UN climate change negotiations end with no answer to reduce greenhouse gas emissions
The UN climate change negotiations which ended yesterday in Bangkok have largely failed to deliver any substantive progress to reduce greenhouse gas emissions.
In a statement issued yesterday in Dar es Salaam, Saleemul Huq, senior fellow in the climate change group at the International Institute for Environment and Development, said the negotiations have also failed to transfer technology and finance from rich to poorer nations for adaptation and mitigation, leading to serious questions about the political commitment of the industrialized nations.
Huq, who is also a lead author of the Intergovernmental Panel on Climate Change said;
"Last month, President Obama, Prime Minister Gordon Brown and other leaders of industrialised nations all lined up to say how committed they were in tackling climate change and reaching an effective agreement on how to do this when UN negotiations end in Copenhagen in December."
"This gave the world high expectations for the international negotiation session that has run for the past two weeks in Bangkok," he added
"But it seems like the negotiators from industrialised nations either didn't follow their leaders' speeches or haven't been receiving any new instructions because in virtually every aspect of the talks, there has been minimal progress of any substance," he said.
The G77/China group of 132 developing nations said that the EU is trying to "divide and conquer" developing nations and detract attention from their own broken promises.
There was virtually no progress on new targets for developed nations that are party to the Kyoto Protocol to cut their emissions, despite them being legally bound to agree new targets, he said.
The G77/China accuses the United States and the European Union of trying to kill the Kyoto Protocol, the only legal agreement that commits nations to reduce their emissions of greenhouse gases. The EU as a party to the protocol is legally bound to agree new targets for a post-2012 period.
In the negotiations focusing on ways to tackle climate change by reducing deforestation, the European Union has removed a provision that would protect against the conversion of natural forests to plantations, threatening impact for biodiversity and forest-dependent people.
"One area of hope is that countries are now reaching agreement that adaptation is essential to protect people and economies in the developing nations," said Huq.
The UN Framework Convention on Climate Change binds rich countries such as the United States and European Union member states to provide funding for developing nations to adapt and mitigate climate change.
Posted on October 16, 2009 October 16, 2009 by GodfreyPosted in Climate ChangeTagged Climate Change. Leave a comment
International legal regime inadequate to tackle climate change, says NGO
The Foundation for International Environmental Law and Development (FIELD) has said that international law is inadequate to deal with millions of people forecast to become `climate exiles' in the face of escalating climate change.
A statement issued yesterday in Dar es Salaam by Inter Governmental Panel on Climate Change, (IPCC), said during the occasion to mark its twentieth anniversary today, FIELD would highlight how international legal framework is unprepared to deal with the victims of climate change.
"Although estimates vary, between 200 million and one billion people could become displaced by climate change by 2050," the statement read in part.
The statement said although some of these figures have been questioned, it is clear that the international community needs to prepare for the likelihood that some small island countries and low-lying territories will be lost.
As climate exiles have no standing in existing international law, this raises unprecedented legal challenges said FIELD in the statement.
"There are currently no legal frameworks or guidelines that can provide assistance or protection for people crossing borders because of displacement due to climate change," the statement added.
Climate change is expected to hit developing countries the hardest. Its effects—higher temperatures, rising sea levels, food insecurity and more frequent weather-related disasters—pose risks for agriculture, food, and water supplies causing chaos for millions of people. The so-called 'climate hotspots' – low lying islands, coastal regions, large river deltas and underdeveloped regions – remain in danger of catastrophic environmental change.
Particularly vulnerable are small island states. The entire population of the CarteretIslands of Papua New Guinea, are the first people to be officially evacuated due to climate change. Others, such as Kiribati or the Marshall Islands, may disappear completely or become uninhabitable making their populations stateless. Kiribati has already started searching for a new home for future generations, according to the statement.
Under current international law, any climate-induced, cross-border migrations from these areas would trigger little of any protection or provide aid, it added.
FIELD Director Joy Hyvarinen said in the statement: "International refugee law focuses on those who are persecuted for political, racial or religious reasons. It was not designed for those who are left homeless by environmental pressure".
"Migration in itself is not bad, but migration forced by climate change is a tragedy and the international legal framework needs to be adjusted to help climate exiles and deal with statelessness and compensation."
So far IPCC has suggested that more than 600 million people currently living in low-lying coastal zones – 438 million in Asia and 246 million in least developed countries – will be directly at risk to potential threats of climate change in this century.
Posted on October 16, 2009 October 16, 2009 by GodfreyPosted in UncategorizedTagged Climate Change. Leave a comment


Offline Media Present in Timeline Warning?
I'd love to see a pop-up warning when I try to output a timeline with offline media through render, image creator and mix-down.
I had this happen recently (on a ref, thankfully) where I had RX'd a fade out and that piece of audio was offline when I ran the ref output. The sliver was so small when zoomed out that you cannot see any yellow at all. My workaround now is I've added a button for 'select offline media' and now before every output, I click on that and then hit an arrow key to see if the cursor jumps to anything. This works but a fail-sail would be great.


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Der Aenus-Preis wird seit 2001 an Unternehmen, Vereine, Organisationen etc. vergeben, die sich im Gebiet der oberösterreichisch-bayerischen Inn-Salzach-Euregio um grenzüberschreitende Zusammenarbeit bemühen.

Der Preis ist eine Initiative des Braunauer Journalisten Reinhold Klika von der Agentur Innblick und wird von zahlreichen Organisationen und Unternehmen unterstützt. Prominente Ehrengäste bei der Preisverleihung waren bisher Wirtschaftskammer-Präsident Christoph Leitl, Außenministerin Benita Ferrero-Waldner, EU-Kommissar Franz Fischler, Erhard Busek, Othmar Karas, LH Thomas Stelzer usw.

Preisträger
2001
 Grenzgänger-Landesverband Oberösterreich
 Unternehmen F & K Delvotec aus Braunau am Inn
2003
 Geothermie Braunau am Inn-Simbach am Inn
 Inn-Salzach-Euregio-Jugendorchester
 Grenzoffensive
2006
 Krankenhaus Braunau und Simbach
 Musikhauptschulen Schärding und Ruhstorf an der Rott
 Gemeinden Wernstein am Inn und Neuburg am Inn
 Verein FEPO

2008
 Messe Braunau
 Personenkomitee Kopfing
 Ornithologische ARGE Unterer Inn

2011
 Druckerei Vierlinger
 Rotes Kreuz (grenzüberschreitender Rettungsdienst)
 2014
 Arnstorfer Tafel
 Alpenvereine Braunau und Simbach
 heuteessen.com
 2017
 Bürgerinsel Burghausen
 "Turbo"-HTL Braunau
 Hochwasserhilfe Feuerwehren im Großraum Braunau-Simbach und im Raum Schärding-Neuhaus

Weblinks
 Aenus-Homepage

Auszeichnung (Oberösterreich)
Braunau am Inn
Erstverleihung 2001