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Multifunctional, all-season pants made of a strong, lightweight, fast-drying stretch-woven nylon/spandex blend with 40-UPF sun protection and a DWR (durable water repellent) finish.
Patagonia has worked with bluesign technologies since 2000 to evaluate and reduce resource consumption in our materials supply chain, and to assist us with managing the chemicals, dyes and finishes used in the process. bluesign technologies, based in Switzerland, works at each step in the textile supply chain to approve chemicals, processes, materials, and products that are safe for the environment, safe for workers, and safe for end customers.
In 2007, Patagonia became the first brand to officially join the network of bluesign® system partners.
Any fabric you see that's bluesign® approved offers the highest level of consumer safety by employing methods and materials in their manufacture that conserve resources and minimize impacts on people and the environment.
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Now, when we turn to inquire of ourselves what the reason of this Retrogressive Movement may be, I think the superficial reply, given when we glance merely at the surface of our public life, would be this: that the Retrogressive page: 22 Movement of late years has been entirely the work of that organisation known throughout South Africa as the Afrikander Bond; and which has in recent years attained to such influence that it apparently coerces Ministry after Ministry, bending them to its will. But a deeper examination will, I think, show us that the Bond alone would not have been able to produce this movement. Another influence, working into the hands of the Bond, has given it for a moment the power of forcing this retrogression upon the country.
But before we turn to consider this secondary influence, page: 23 let us glance at the Bond itself.
The Afrikander Bond was in its origin one of the most beneficent and desirable institutions that have appeared in South Africa. It banded together, and aroused to healthy interest in the affairs of the State, a large body of men who, hitherto unorganised and isolated, had not taken that share in the government of the State which their numbers would have justified, and who were therefore unduly disregarded and possibly even unjustly dealt with.
Started originally (as was inevitable under the circumstances) as a more or less racial page: 24 organisation, and opposing Boer as Boer to Englishman as Englishman, this tone, nevertheless, as time passed, quickly modified itself. To-day the organisation is merely an organisation which draws together and unites for common purposes a number of the early colonists and others holding certain views on social and political matters, and in no way is it a merely racial organisation. To this extent it forms a healthy and desirable element in our public life. Left to itself, and having no adventitious power given it by an extraneous intervention, I believe that, so far from being an evil, the existence of the page: 25 Bond would awaken and maintain that healthy friction and interaction of opposing views which is necessary to keep pure and healthy the stream of political life.
But what has this extraneous influence been which has acted upon the Bond, removing it from its healthy position, and enabled it to obtain for the moment an undue power of enforcing its retrogressive views and methods upon the whole Cape Colony?
To explain this influence it will be necessary to examine carefully the nature and power of that small band of Monopolists to whom we before referred.

subset: commoncrawl


text:
Illinois Public Media News
In-depth reporting from WILL, NPR, the Associated Press, and other sources
Contact WILL News at firstname.lastname@example.com
(Jeff Bossert/WILL)
March 12, 2013
(Ellen Webber for NPR)
March 11, 2013
New Voices For The Voiceless: Synthetic Speech Gets An Upgrade
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Death Toll Rises As Philippine Military Tries To Regain Control Of Marawi
Jim Bunning, Hall Of Fame Pitcher And Former U.S. Senator, Dies At 85
G7 Summit Ends Without U.S. Joining Consensus On Climate Change
White Supremacist Charged With Killing 2 In Portland, Ore., Knife Attack
Foreign Policy Thinker Zbigniew Brzezinski Dies At 89
Life-Without-Parole Sentences For D.C. Sniper Thrown Out By Judge
Military Mortuary Employee Allegedly Offered Peek At John Glenn's Remains
Confessed Killer Pleads Guilty To 7 Murders Over A Dozen Years In South Carolina
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Stay connected with us to get the latest health and fitness news, innovative workouts, healthy recipes and wellness tips.
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It's time we rescued beets from our childhood nightmares—when they were little better than bland wedges scooped out of a can. Roasted beets are delightful, sweet but very earthy and aromatic—great for a side salad.
Nutrition Profile:
Diabetes Appropriate
Gluten Free Diet
Healthy Weight
Heart Healthy
High Fiber
Low Calorie
Low Carb
Low Cholesterol
Low Sat Fat
Low Sodium
Serves 8
Prep Time 15 min
Total Time 105 min.
Step 1
Preheat oven to 400°F. Divide beets between 2 pieces of foil; bring edges together and crimp to make packets. Roast until the beets are just tender when pierced with the point of a knife, about 1 1/4 hours. Unwrap the beets and let cool.
Step 2
Meanwhile, whisk oil, vinegar, mustard, honey, salt and pepper in a small bowl to make dressing.
Step 3
When the beets are cool enough to handle, slip off the skins. Cut into 1/2-inch cubes and place in a large bowl. Add celery, shallot and the dressing; toss to coat well. Serve at room temperature or chilled.
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Sized for everyday use and light travel, the Surplus Sutton Mid-Volume duffle features a removable shoulder strap, multiple storage sleeves and durable black copper oxide hardware finishes.
10.25"(H) x 20.25"(W) x 10.25"(D), 28L
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Last Modified: Wednesday, February 06, 2013 8:00 PM
By Johnathan Manning / American Press
A Sulphur man already serving prison time for child pornography was sentenced Wednesday to 20 years for molesting a family member.
Fourteenth Judicial District Court Judge Wilford Carter sentenced Lester Hugh Golden, 32, to 20 years in prison, to run concurrent with the more than 17 years he is serving on the child pornography charge.
Originally charged with five counts of aggravated rape and eight counts of aggravated incest, Golden pleaded to two counts of aggravated incest.
Golden is not eligible for parole and must register as a sex offender for the rest of his life, according to Holly Carter, district attorney spokeswoman.
"He has given her (the victim) a life sentence, so I'm asking you to give him the maximum," prosecutor Shunette Thomas told Carter.
Carter gave him 20-year sentences on both counts to run concurrent.
Carter said he had been troubled whether to run the sentences concurrently, but did so because Golden was helpful in the investigation and showed remorse even though he believed some of that remorse was "displaced."
Thomas said the girl was 7 years old when Golden began molesting her; it continued for six years. Golden said it did not start until she was "about 11."
Golden also disputed some of the facts of the molestation that Thomas presented in court.
Golden was sentenced in federal court in July. Officials said he tried to join a child pornography website multiple times and that his computer held 1,600 images and 75 videos of child pornography.


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In an orgy with multiple males: when two or more penises get entangled in what resembles a mess of noodles.
Josh and I were smashing a couple of dudes last night and we thought it would be pretty cool to make a spaghetti jumble and pour tomato sauce on it.
by Mr. Bait November 03, 2010


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Student barred from high school graduation
Student only participated in extracurricular activities at the school
GRACE, Idaho - A local high school senior was barred from participating in a graduation ceremony at Grace High School Wednesday night.
Matt Van Buren actively participated in Grace High School extracurricular activities.
But academically, he was home schooled through the Idaho Virtual Academy.
Therein lies the dilemma between the school district saying he's not a Grace High School student, and Matt and his parents saying he is.
It started during his junior year, when Matt's grades and GPA were plummeting. He and his parents decided to bring him home and see if that would help.
"Our son and a lot of other kids benefit from home school better than they do in that class environment," said Joe Hardy, Matt's father.
Joe and Denise Hardy say Matt excelled away from the distractions of friends in the classroom.
"When people ask where I went to high school, I'm not going to say I went to the Idaho Digital Virtual Academy," said Matt. "I'm going to say I went to Grace."
Matt says his ties to the school were deeper than academics. He was a Grace High School athlete -- lettering throughout his sports career.
But Superintendent Jamie Holyoak says Matt isn't considered a student.
"He just didn't take our course work, in our district, from our staff," Holyoak said. "We use that to vet our graduates for participation in commencement."
The Hardys don't buy it. They claim they spoke with the principal of the school in February, asking if he could participate, and the principal brought back an answer from the superintendent – no.
Denise said in their conversation, the principal mentioned thoughts about the school district not wanting to set a precedence of students going to school online or at home and then being allowed to participate in the ceremony of a school they weren't academically a part of.
The Hardys believe the school district is worried about losing money to kids going to be home schooled, something the superintendent says is a real worry, but not the basis for the denial.
They began to appeal to Holyoak several times, but were never able to get a hold of him directly.
Students in Matt's school even purchased a cap and gown for him, expecting him to be at the ceremony and walk with them.
Then, the Hardys say in a school board decision on May 23, the school board concluded he didn't meet the credit requirements in the subject of history. The Hardys stated in that meeting the school board said they denied him walking in the ceremony because Grace High School requires two more history credits than he had completed.
However, requirements for the Idaho Digital Virtual Academy are the same as Grace High School, along with all the schools across the state.
"I absolutely feel this is a matter of discrimination," said Joe.. "It's because he wasn't there, so they lost money on him as far as being an academic student, and that's what it's all about."
Holyoak says the district wants what's best for each individual student.
"We're proud of him, and we really love him," he said, "and we want the best for him in the future."
But for this lineman MVP on the football team, who's family even received bills for Matt as a Grace High School student, and who is featured in their yearbook as a senior, he feels very much a part of the high school.
Holyoak, who received his master's degree online, said he understands the reasons Matt went to the Idaho Virtual Academy, but as they have their own ceremony, he should go to theirs, instead of wanting to participate in a graduation ceremony for a school he did not go to.
"I feel bad he's going to view this as a missed opportunity," Holyoak stated, "because missed opportunities are hard to get back."
"Most the community thinks I'm getting shafted a little bit," Matt said. "I guess it is what it is."
Idaho law says students can enroll in a home school program and still participate in extracurricular activities at public schools, but that doesn't mean they are a student of that school.
The Idaho Virtual Academy's graduation is on Thursday, May 30. Matt and his family said they will not be attending.


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Weird coppery metallic look in my SS black...
I just shot the box of my truck with Nason SS solid black and when the sun hits it directly, it has kind of a dusty coppery look to it--almost as if there are billions of tiny bubbles in it. I thought it was covered in pollen, but I cleaned it off and it's definitely in the paint.
I shot a different gallon of the same paint on the cab and it looks fine. Anybody have any idea what this might be?
Kind of soul crushing. The end of a 4 year project and the box is always going to look dirty...
Last edited by wyomingclimber; 08-14-2010 at 04:47 PM.
my guess would be that someone mixed it wrong unless it was a straight toner. i know at one time sherwin williams had a black toner that they recalled because it had a brown tint in the sun. if you already know this i don't mean to offend you but there are many different black paint codes could have been a human error mixing it? i hate to say it but if you like the cab i would sand down and reshoot the bed. where did you get the nason a paint store or oreilly auto parts
I got it at a paint store.
It doesn't look like another color--the color seems right, it just looks kind of like it has billions of tiny bubbles in it. Almost as though someone put metallic in it.
I use a LOT of Nason ....did the cab and the bed get painted out of the same gallon if so how much time went by? sometimes the ingrediants settle and need a LOT of stirring...also there should be a list of the formula on a sticker stuck to the can are there any reds or russets in it??? if the bed was painted with a differnt can of paint you need to bring it back and have them GIVE you another one .THEY screwed up the mix.... it happens all the time with one dummy at the paint supply store I use, soI found out who knows paint the best and I make sure the same guy mixes my paint every time its very easy to make a mistake mixing especially if the guys not on the ball as with those auto part stores that dont specalize in paint...
are you sure your no looking at solvent pop (very small bubbles in the paint from spraying to heavy or not letting the first layer dry enough before spraying another, the bottom layer of paint solvents are trying to escape through the top causeing a tiny air bubbles). this won't cause a copper look but will make it look like it has a little flake in it
did you use the same brand/grade reducer on all the panels?
I definitely used all the same stuff.
I looked up solvent pop and it seems that the surface wouldn't be completely smooth, which it is. This is in the paint. I don't have the old can to compare the formulas.
Weird and a little depressing. But at least the stupid truck is finally black. Now to get on sanding out all the drips...
on the bright side if you do decide to repaint the bed it wont take near as much paint to match it
You didnt paint a copper colored car before this one did you?????
I think the coppery-ness of it is just the way the sun its it and its interaction with the black. They really look like billions of tiny bubbles.
As most always on stuff like this only YOU can tell us what the difference is! You see, if you used the same exact paint to paint both things and one of them looks different than the other YOU did SOMETHING different! There is no other explanation, it is pure and simple logic, SOMETHING was done different.
Be it, more or less air pressure and it is solvent pop. It could have been laid on too wet so some toner in the color (most "Blacks" are made from a formula like any other color) came to the top. Your substrate color of the bed was different (different primer color). There isn't the same amount of coats and you are seeing the primer thru it. You didn't overlap as much and it is thin and you are seeing the primer thru it. You moved faster, again, it is thin and you are seeing the primer thru it.
SOMETHING was different in the application on those two parts, think long think hard, you did SOMETHING different.
Edit, I just re-read your post. You shot a DIFFERENT GALLON of the "same paint", that makes all the difference in the world. First off, this doesn't change the fact that you need to look at all the things YOU did as I pointed out to count out all factors. If all those factors are the same, then it MUST be the paint, right? Just using logic, if everything you did was the same on both cab and bed then the only variable is the paint it's self.
And as I write in the "Basics of Basics" on choosing a color and buying your paint. (Click here)
Tip 5. After you have your color picked for goodness sakes dont be a cheapie when buying your paint. Figure out how much youll need for the whole job. We are talking every thing you plan on painting, outside, inside, dash, jambs, trunk, everything. When you have an idea how much, add at the very least 20% more. If one gallon is enough, buy another quart. Buy all the paint you will need before you start painting anything. Get a few extra gallon cans and use them to intermix ALL the paint. You then have all the paint you need, no mismatched parts, no running out, you are set to go. If you have a that quart left over when you are done, so what? Running out of paint is NOT pretty, it is a disaster in many cases. Now, why intermix? This is a VERY painful lesson you dont want to learn the hard way. This is it in a nutshell, if you were to go to the paint store and have three gallons of the same formula mixed you would end up with three different colors! I will bet you a dollar, here is why. Some toners are very strong, just a drip will change the color. A couple of different people could mix them, some people mix better than others. There are other variables such as one toner used gets emptied and the next toner used has more solvent in it because it is new and has less strength. Now, these colors may not be that different. If you were to paint three different cars with those gallons you may not even see it. But if you were to paint your hood, fenders, and quarters with the three different gallons you sure would! I repeat, this is a VERY painful lesson you dont want to have to learn the hard way, BUY ALL YOUR PAINT UP FRONT.
Last edited by MARTINSR; 08-15-2010 at 09:36 AM.
The truth is that the only place this will be noticeable is on the fenders when they're in bright sun. And even then, the casual observer would probably just think it's metallic. Or dirt since, as a practical matter, I only wash my cars once every two years.
I bought two gallons and mixed them, thinking that would be enough for a truck. Ended up shooting 3 gallons, but fortunately I had the presence of mind to do the entire front with the first two. The box doesn't ever touch the front.
Much more important at this point is probably that I properly cut and buff it. Some of the drips can only be described as Biblical in proportion
If you got a lot of runs, I say it is solvent pop or toners settling in the thick, wet, film.
You may find yourself in trouble when you go to cut and buff those runs. Runs will often be full of air and toner concentrations and be a different color!
If you want this truck nice, I think you are going to be re-painting that bed.
But think about it long and hard before you do. I think with the minor flaws once it is all put together it will meet your expectations, which is what is most important.
No, no. I shot two gallons of intermixed paint, then another gallon. It's that last gallon that I had problems with.
Man, I hope where I have drips isn't a problem. That's all I need...
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Is caused by left lane whores, which can be male or female.
The rest of the article:Grand Rapids, Michigan (CNN) -- There is a place for people who enjoy soaking in the beautiful colors of fall and all the other amazing scenes of nature as they drive down the open highway.
It's called the right lane.
If you're sightseeing or rubbernecking in the left, get your butt over.
Why is that rule so freakin' hard to follow?
As drivers, we do a lot of things that irritate each other.
We signal but never turn.
We turn but don't signal.
We forget who is supposed to go next at a four-way stop sign.
But nothing comes close to the level of irritation that comes from being stuck behind someone doing 55 in a 65 in the far left lane. Drive the speed you want, but why infringe on the rights of those in a hurry? To me, that's giving the rest of us on the road the finger in the most passive aggressive -- "Who me?"-- way possible. In fact, I would much rather have someone pull up beside me, roll down their window and flip me the bird as they go driving by than be trapped behind this vehicular anarchist.


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hi all
I am new to this site but have been visiting this website as guest for quite a while now
I will be giving my CEH exam tom, so was going through some review questions when i came across this 1 question that is confusing me..can any of the experts please give the correct answer..thanks
Bob is going to perform an active session hijack against Company. He has acquired the target that allows session oriented connections (Telnet) and performs sequence prediction on the target operating system. He manages to find an active session due to the high level of traffic on the network. So, what is Bob most likely to do next?
Take over the session
Guess the sequence numbers
Confused between these 2 options.. in my opinion it would be Take over session as he has performed sequence prediction on the target operating system, but the review guide i have says it would be guess the sequence numbers
so can any1 help me with this query??
Thanks alot
P.s.:- I might post some more questions i am confused about later as well..thanks in advance :-)


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Search for specific clinical trials that are underway using the keyword search below.
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NINDS Disorders is an index of neurological conditions provided by the National Institute of Neurological Disorders and Stroke. This valuable tool offers detailed descriptions, facts on treatment and prognosis, and patient organization contact information for over 500 identified neurological disorders.
View a list of studies currently seeking patients.
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The Intractable Childhood Epilepsy Alliance is a non-profit 501c3 organization dedicated to improving lives of children affected by intractable epilepsy through evidence-based information, advocacy for appropriate medical treatment including compassionate use and Orphan drug products, promotion of drug development, data collection through patient registries, and funding of research that will lead to a cure for intractable childhood epilepsies.
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Performance has been an important issue for Java developers ever since the first version hit the streets. Over the years, Java performance has improved dramatically, but tuning is essential to get the best results, especially for J2EE applications. You can never have code that runs too fast.Java Peformance Tuning, 2nd edition provides a comprehensive and indispensable guide to eliminating all types of performance problems. Using many real-life examples to work through the tuning process in detail, JPT shows how tricks such as minimizing object creation and replacing strings with arrays can really pay off in improving your code's performance.Tuning J2EE applications bears many similarities to tuning J2SE apps, but important and specific considerations apply. For this reason, Java Performance Tuning, Second Edition includes four new chapters: a new chapter on J2EE application tuning in general followed by chapters on tuning JDBC, servlets and JSPs, and EJBs.Java Performance Tuning offers common-sense advice about what to tune and what to leave alone, emphasizing techniques that provide big performance gains with minimal code restructuring. It gives you crucial guidance that helps you tune without destroying your program's architecture. Blindly changing things in an effort to make a program run faster is a great way to create buggy, unmaintainable code. Java Performance Tuning teaches you to work efficiently and effectively, resulting in code that is robust, maintainable, and fast.Java Performance Tuning, Second Edition shows you how to:
Jack Shirazi is an independent consultant. He was an early adopter of Java, and for the last few years has consulted mainly for the financial sector, focusing on Java performance. Before using Java, Jack spent many years tuning Smalltalk applications. Jack's early career involved research in theoretical physics and bioinformatics. Jack has publications in the field of protein structure and is proud to have contributed to some of the core Perl5 modules.
View Jack Shirazi's full profile page.
Our look is the result of reader comments, our own experimentation, and feedback from distribution channels. Distinctive covers complement our distinctive approach to technical topics, breathing personality and life into potentially dry subjects. The animal on the cover of Java Performance Tuning is a serval (Leptailarus serval). This long-legged cat is found in most parts of Africa, except for very dry areas of the continent, such as the northern regions around the Sahara Desert. Servals range in color from light brown to a darker reddish brown (some servals are entirely black); their coats are covered with dark spots that merge into stripes along the upper part of their backs. The pattern of their markings varies geographically; servals from wetter areas have smaller, finer spots, while those from drier areas have larger marks. Servals can grow up to 3 feet long and 20 inches tall at the shoulder, making their legs very long in proportion to their bodies. They use this height to their advantage, as they are able to see movement in the tall grass in which they hunt for the hares, rodents, and small birds they like to eat. Their big ears and highly developed auditory systems enable them to hear the high-pitched, ultrasonic sounds made by rodents-- they are even able to hear them tunneling underground -- and they can also leap up to 10 feet into the air to catch birds. Emily Quill was the production editor and proofreader for Java Performance Tuning, Second Edition. Ann Schirmer was the copyeditor. Linley Dolby and Philip Dangler provided quality control. Ellen Troutman wrote the index.Emma Colby designed the cover of this book, based on a series design by Edie Freedman. The cover image is a 19th-century engraving from the Couvier Pictorial Archive. Emma Colby produced the cover layout with QuarkXPress 4.1 using Adobe's ITC Garamond font.David Futato designed the interior layout. This book was converted to FrameMaker 5.5.6 by Joe Wizda and Judy Hoer with a format conversion tool created by Erik Ray, Jason McIntosh, Neil Walls, and Mike Sierra that uses Perl and XML technologies. The text font is Linotype Birka; the heading font is Adobe Myriad Condensed; and the code font is LucasFont's TheSans Mono Condensed. The illustrations that appear in the book were produced by Robert Romano and Jessamyn Read using Macromedia FreeHand 9 and Adobe Photoshop 6. The tip and warning icons were drawn by Christopher Bing. This colophon was written by Leanne Soylemez.
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(4 of 4 customers found this review helpful)
Good book, old java but still useful
By Greg Bielewski
from Undisclosed
Comments about oreilly Java Performance Tuning, 2nd Edition:
I read this book and have to say that it was really good. Bad thing is that it is about quite dated and only one JVM. I bought the book after being inspired by Stan who wrote interesting article with different approach When optimizing - don't forget the Java Virtual Machine (JVM) (http://bigdatamatters.com/bigdatamatters/2009/08/jvm-performance.html) . I wanted to tune my application as much as possible and this book was very helpful in this task. Oh by read I mean, read and tune!
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(3 of 3 customers found this review helpful)
an excellent book full of useful tips
By vernetto
I have been developing in Java for 10 years and I had no clue about lots of trick that are taught in this book. A real eye opener.I only wish there was an edition for Java 5....
(2 of 3 customers found this review helpful)
a good book, but do you really need it?
By aFuqua
Java Performance Tuning would be a good book to have if you have a seriously performance intensive application or for someone who just really dug performance issues. But it wouldn't be of interest to most people. Most programmers should be able to do all the performance tuning they need to do with a program like Optomizeit.
Java Performance Tuning, 2nd Edition Review
By Someone
Just great. I didn't buy this book, because I wasn't impressed with the first edition, but this really is a totally different book.
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Exchange Dates to Remember
Spring 2018 Applications
Applications Due:
September 22, 2017
September 28, 2017
September 29, 2017
All in all, I loved my experience at SOAS, as it enabled me to learn about international development and commercial law from amazing professors and gave me the opportunity to interact with students from all over the world.
Studying in London was one of the most memorable experiences of my life. SOAS is an incredibly diverse school with students from all over the world. The rich diversity in my classes was probably the best aspect of my academic experience. The classes were interesting and also taught by professors who engaged on a plethora of topics concerning different legal issues that dominate world affairs.
The School of Oriental and African Studies (SOAS) is part of the federal University of London, which was given its Royal Charter in 1836. The School was established in 1916 and has become the world's largest center for the study of Asia, Africa and the Middle East.
The School's unrivaled reputation is built upon strong academic foundations including the size and expertise of its faculty, the scope of its library and its capacity for language teaching. Students at SOAS study law from the perspective of economic and social development through courses that take an interdisciplinary approach. Students register for masters level courses in the area of human rights law, development law and international comparative law.
Islamic Law
The course presents an overview of Islamic law in its historical and contemporary aspects in the Muslim world, from a comparative perspective. Based on modern English-language scholarship, the course covers legal history and jurisprudential developments as well as contemporary applications of Islamic law. In its consideration of legal history and jurisprudence, the course focuses on contemporary scholarship and the critical theoretical debates currently underway in the field. Family law is a particular focus in the sections on contemporary applications, including material from UK courts as well as from the Middle East and South Asia.
Indigenous Land Rights
The primary aim of this course is to explore the political, socio-cultural, and historical dimensions of Indigenous rights claims to land in settler-colonies. The course will specifically examine the jurisdictions of Canada, Australia, South Africa and the USA but will also examine theoretical work which applies to other jurisdictions. The course will critically engage with the concept and political practice of property, including the relationship between property and sovereignty. The course will also examine legal and other political responses to indigenous rights claims to land in different jurisdictions and transnationally. The course resonates with other LLM courses offered at SOAS such as 'Colonialism, Empire and International Law', 'Justice, Reconciliation and Reconstruction in Post-conflict Societies' and 'Development, Environment and Law in the South'. However this course explicitly focusses on the question of land rights in settler colonies. Indigenous populations in settler colonies face conditions of poverty, continue to be politically marginalized on the grounds of race, are presently engaged in struggles for legal rights to land, and for recognition of past and present colonial injustices. These populations thus share much in common with populations in Asia, Africa and the Middle East in historical, political, economic and socio-legal terms.
Law and Natural Resources
This course examines international, regional and national legal and institutional arrangements concerning the conservation and use of natural resources. It introduces legal principles relevant to the conservation and use of natural resources in international and national law. This course focuses on the international law aspects of natural resource use and conservation, the North-South dimension and on individual developing country case studies.
Natural resource regulation is analyzed within the broad conceptual framework of the notion of sustainable development. As a result, this course examines simultaneously economic development aspects of natural resource regulation, social development aspects and environmental aspects. This course specifically seeks to make the links between the exploitation of natural resources for macro-economic development and subsistence and other uses of natural resources for food security and health needs as well as the links between use for economic development and conservation, for instance, in the context of broader policy challenges such as climate change.
Law and Policy of International Courts and Tribunals
This course examines international institutional efforts for resolving international disputes, including both adjudicatory (courts and tribunals) and non-adjudicatory (mediation, conciliation etc) institutions and processes.
The course considers the legal and policy issues that influence choices as to different approaches to disputes (for example negotiatory or adjudicative) and the choice of a particular forum (or fora).
The course focuses on the law and practice of the International Court of Justice, the European Court of Justice, the European Court of Human Rights, the WTO Appellate Body, The International Tribunal for the Law of the Sea, ICSID, and the International Criminal Court.
The capital city of England and the United Kingdom, London is home to Buckingham Palace, the Tower of London, the London Eye, Big Ben, Parliament, St. Paul's Cathedral, the National Portrait Gallery, the British Museum, the British Library, Kew Gardens, Palace of Westminster Abbey, and Kensington Palace to name just a few popular sites.
With numerous theaters, concert venues, museums, and sporting events sprinkled throughout the city, students will have a truly bewildering number of options for exploration. With central access to train, bus, and air travel, London offers easy trips to other areas of the country as well.
As a student in the University of London system, you will be a part of 18 colleges, 10 institutes and over 170,000 students worldwide. As a member of the student union, you will become a part of this vast student network. In part due to these resources, being a student in London does not mean that you have to spend a fortune to explore the city. There are plenty of activities meant for a student budget, such as walking tours, museums and galleries or use of the public parks
Laura Hayes
Email: email@example.com
Study Abroad - http://www.soas.ac.uk/studyabroad/file36982.pdf
Telephone: 011-44-20- 78984402
Fax 011-44-20-78984759
E-mail: email@example.com
Sophie MacLeod
Study Abroad Coordinator
SOAS, University of London
Russell Square, London WC1H 0XG
Tel: 011-44-2078984125
firstname.lastname@example.com www.soas.ac.uk
LLM Information: http://www.soas.ac.uk/law/programmes/llm/llm/
International Student Services: https://www.soas.ac.uk/admissions/international/
For more information on Study abroad- http://www.soas.ac.uk/studyabroad/
Information for International students – http://www.soas.ac.uk/registry/file93494.pdf


text:
IN.gov - Skip Navigation
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Local Office
Harrison County Division of Family Resources
2201 Concord Avenue NW, Suite 120
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Telephone/Fax Number: 800-403-0864
Office Hours: Monday - Friday, 8:00 a.m. - 4:30 p.m.
Regional Manager: Nancy Lowry
Deputy Regional Manager: Denise Harter


text:
8 Nights in Greece: Athens, Mykonos, and Santorini
go-today • Athens, Greece
Escape Kit
- Two Nights in Amalia Hotel in Athens, Three Nights in Mykonos Palace in Mykonos, and Three Nights in Kallisti Hotel in Santorini (Hotels Subject to Change)
- Round-Trip Airfare from USA to Athens
- Half-Day Guided City and Island Tour of Mykonos
- Athens-by-Night Guided Tour with Dinner and Folkloric Show
- Economy-Class Ferry Transfers to Each Island
- Round-Trip Airport and Hotel Ground Transfers
- Daily Breakfast
- All Taxes Included
Greece's contributions to history, science, and philosophy aside, the country's tradition of mythology and mysticism—plus its well-preserved ruins—make it an otherworldly destination for sophisticated travelers. Add to that its craggy coastline, iconic white cliffside homes, and inimitable cuisine, and you've got a vacation destination unlike any other on earth.
Escape to this eons-old civilization that stands teetering on the edge of an illustrious past and an ever-promising future, with this seven-day trip to Greece—courtesy of go-today—in which you'll travel to two islands and the country's capital.
After landing in Athens, a go-today repre88276-memory-foam-mattress?ref=Deal102512_536_4620email" style="display:block;">
|view deal


text: The Cowboys' best pass rushers need to be rushing the passer, not dropping into coverage: In the 3-4 system, as we all know, the primary pass rushers are the two outside linebackers. This is problematic, however, as opposing offensive coordinators can find ways to scheme players like DeMarcus Ware and Anthony Spencer into coverage - usually by placing multiple receiving threats on one side of the formation. In 2012, Ware played 896 snaps against passes and was asked to drop into coverage 64 times (seven percent of the time). Spencer went into coverage almost 20 percent of the time (172 out of 872 passing plays). 4-3 defensive ends, on the other hand, almost never drop into coverage (Ware was in coverage once all season from a 4-3 DE position). In other words, in a passing league in which defensive priority one must be to put pressure on a quarterback, a scheme in which the players who are most likely to do that can't be in position to do so is, frankly, suicide. http://www.bloggingtheboys.com/2013...to-replace-rob-ryan-part-i-what-wasnt-working


text:
If Dan Kaercher can learn to draw at the Villages Folk School, then most of the rest of us can, too. The class offerings range from traditional arts to blacksmithing to knitting and are taught in each of the scenic and historic Villages of Van Buren County.
Hosted by Dan Kaercher, Iowa's Simple Pleasures features Iowa travel destinations, restaurants, events, parks, recreation and more. Produced by Iowa Public Television, the series highlights fun things for Iowans to do, see and taste, right here at home.
Kaercher: I'm all about having a good time, and if I learn something at the same time, all the better, which is exactly what happened when I visited several communities in Van Buren County. Ever want to step away from your busy lifestyle and experience a simpler time? Well, this Simple pleasure is located in a quaint little corner of Southeast Iowa, the Villages Folk School. It offers classes for anyone wanting to learn traditional, time-honored skills or study the fine arts. The uniqueness of this school is not only the classes offered, but the location. There's no school building housing at all. The classes actually take place all over the scenic, historic, and enchanting Villages of Van Buren County.
Lammert: Van Buren County is beautiful, I think, year around. Every season there's something new to look at. And the fact that they hold the school -- the classes in different locations, not just one, they utilize all of the county, and I think that's a -- that's a plus.
Kaercher: Gin Lammert is one of the many artists who not only lives in Van Buren County but teaches at the Villages Folk School as well. The manager of the school, Ken Burns, shares some stories of students from the classes. We had a man last weekend, never painted in his life. And he sat on the riverbank up in Betonsport, and we looked across the river with the old covered bridge and the colored leaves of the trees behind. And he's sitting there with his easel, sitting on a chair, and he said to me, he said, "Ken, I've never done this before in my life," he said, "But this is absolutely incredible." Classes run anywhere from $20 to $200. It just depends on the class they decide to take. Like our blacksmithing class is a $200 class for two days, 9-5. There are four people with four forges, so they have an opportunity to work all day long with a qualified artist/instructor next to them. What I'd like to say about Bill Printy, who has been a blacksmith in Bentonsport since the '70s, is that he's turned the working of iron into a fine art. And the young man who came from Minnesota who saw this on the internet and he asked his mom, "Could I go down and take a blacksmithing class," at the time he asked that, he had no idea that his great-grandfather was the person who was instrumental in getting this blacksmith to this area. So when that story began to unfold and that young man realized that he's pounding on a forge in the same time where his great-grandfather worked his woodworking business, I think it began to show some maturity in him that you wouldn't expect in a thirteen year old. And I think it made a real change in him, and I think it will be something he carries with him the rest of his life.
Lammert: There's a lot of talented people here. They've grown up in this area, moved away, had careers in other forms. A lot of retired people have come back. Some have dabbled in the arts before, and I've met a lot of people in theater, the visual arts, and all the humanities here.
Kaercher: I'm sure everybody has a talent in their own way, but have you ever spotted any, like, real talent that others would recognize?
Lammert: Yes, yes. Again, with some of the students that I get, they have been exposed to visual arts before, maybe have taken a few classes in a community college or had a minor in an art degree in school and haven't drawn or painted for a long time. It just kind of reawakens that inspiration inside themselves.
Kaercher: I'm sure that's very satisfying, but there must be challenges too to doing this.
Lammert: The biggest challenge is if you don't like to get dirty, this isn't a medium for you.
Kaercher: You're going to get your fingers --
Lammert: You're going to get your hands dirty, and if you're not careful, you'll have it all over your face or on your clothes. I'm new to pastels. I first thought it was too messy, but then I found out that you can always clean your hands off.
Kaercher: What kind of feedback do you get from your students?
Lammert: I have had some say they were so inspired that they've continued to work on their own, and that's why I'd like to teach.
Kaercher: Now, gin, for the novices, what's the hardest thing? Are they afraid to draw that first line and what have you?
Lammert: What's the hardest thing I think of is breaking that stick of pastel. The first time I had gotten a set of pastels, they come pristine and they're perfect. There's paper on them. And picking it up and realizing the best way to use them is you have it break them in half. That I think is the hardest thing.
Kaercher: Some people really have to be pushed to get past that mentality of doing it right?
Lammert: Well, what I teach, there's no really right or wrong to do it. It's self-expression and it's amazing what will come through once you relax and break that first stick. With so many great classes to take and beautiful scenery to take in, the Villages Folk School makes living the arts easy.
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text:
plz help .. i need a advice
am planning to study CEH .. but i dont know from where i should start
my knowledge about computer is good
i didn't study computer but i know normal thing about it
i just want to know before i enter the CEH class
1- what pre knowledge i should have ?
2- and is CEH is Only CEH as one course or it have Branchs???
what i mean when i GO to sign for a CEH course they will ask me
what field of CEH you want to study
am kind of lost here so plz people any idea???
and what is the best way to start coz i do anything just to reach the CEH course


text:
On a visit to the files at the Auckland Museum, author David Hastings watched white-gloved archivists tenderly handle original pages from an old newspaper with respectful care.
The scene struck a chord.
"It occurred to me then that the paper from yesterday is destined for fish and chips. But the paper from 150 years ago is a treasure of knowledge and information."
For the past couple of years, Hastings has been digging into this storehouse, poring over the very first newspapers that appeared on the unpaved streets of Auckland. The former newspaper editor used microfilmed copies for his research - rather than inspecting the carefully curated papers from the past - and figures that he read hundreds of copies of the country's earliest editions.
The result of his work - Extra! Extra! - is a breezy history of the Queen City's 19th century titles, the editors who shaped them, the owners who rose and fell with them and the reading public who decided whether the black-and-white publications prospered or died.
It was a vigorous time. Competition was cut-throat and rival papers leaped on their opponents' blunders.
When rumour swept Auckland in 1850 that colonial Governor Sir George Grey was preparing to grant independence to the southern provinces and shift the capital to Wellington, David Burn, editor of the Southern Cross, let rip, accusing Grey of having a "malignant personality" and abusing his power over the region.
At the rival New Zealander, editor Dr John Bennett - whose paper supported the Governor - published a scoop about Grey's intentions and gloated about his competition: "Its day is nearly gone."
Bennett's hopes were too optimistic. The Southern Cross lasted until 1876, when it threw in its lot with another morning paper, the New Zealand Herald. But well before then, reports Hastings, on at least one memorable occasion, the paper tipped a bucket on its daily rival.
Once again, the Governor was close to the heart of the story, as tensions between Pakeha settlers, Grey's administration and Maori in the Waikato edged closer to war.
For the newspapers of the time, events to the south of Auckland were fundamental to the security of the young colony.
At the time the New Zealander was consistently beaten to the punch by the Cross' ability to break stories. Under the hammer, the New Zealander succumbed to the appeal of rumour when reporter Frederick J. von Sturmer heard of a massacre of 10 Pakeha near Wairoa.
The atrocity suggested the theatre of guerrilla war was spreading. Von Sturmer sought corroboration from the skipper of the Sandfly, a Navy gunboat which had arrived in Auckland from Wairoa.
Satisfied, von Sturmer wrote his story and, on July 30, 1863, the New Zealander published the scoop.
Except it wasn't.
"He fell into a rather elementary trap," remarked Hastings. "What the skipper was really telling him was he'd heard the story too."
The upshot of what Hastings calls "one of the great blunders of New Zealand journalism" was the appearance of official notices around the city correcting the error and appealing for calm and, from the rival Southern Cross, a dig in an editorial.
"A rumour of these murders having been committed reached us too but being only a rumour we abstained from giving publicity to it," the paper crowed.
If anything, the New Zealander was slow to learn. It found the going tough against the Cross, expertly led by editor and professional journalist Robert Creighton and his network of war correspondents.
In April 1864, the New Zealander sensationally reported that the southern Waikato settlement of Maungatautari had fallen, with the loss of 60 British lives and 160 Maori.
The story was fiction. The Cross published more thorough accounts from the Waikato conflict while the New Zealander, Auckland's first enduring newspaper, edged nearer to its end. Fire eventually killed it off in May 1866. By some accounts the paper fell victim to losing touch with its readers.
Hastings, who as the former editor of the Weekend Herald knows a thing or two about staying in tune with readers, thinks it's closer to the truth to say the New Zealander failed because too often it was beaten to the story.
Of the newspapermen he got to know through his research, Hastings considers Henry Brett the best of the lot. A compositor by trade, Brett was a terrific reporter, resourceful and tough.
One rival complained he was "slippery as an eel". His bristling energy helped make the Evening Star a runaway success.
"You can see from reading the bits and pieces he left behind that he was a demon for hard work and getting the story first."
Brett's most memorable scoop sums up the 19th century reporter's life. From his Parnell Ridge home, Brett could make out the flagpole on Devonport's Mt Victoria, which signalled when a vessel was approaching the harbour. On a spring day in 1868, Brett, shipping reporter for the Herald, grabbed a waterman and dashed out to the Lord Ashley, a steamer coming from the East Coast. A packet tossed off the vessel to Brett's rowboat held sensational news of a massacre at Poverty Bay. By mid-afternoon, the Herald had published a special edition, the town rang to the paperboys' cries of "extra, extra", readers stirred by a big story lapped it up and rival publications were left scrambling to match the yarn.
From his immersion in Auckland's early newspaper culture, Hastings was convinced that readers were well served. Even if news was not delivered within the blink of a digital eye, it came as soon as horses, ships or the telegraph made it available. Even then, communication was all about speed.
When Mt Tarawera erupted in 1886, the papers were crammed with coverage. One young reporter made a difficult journey to confirm the destruction of the famous Pink and White Terraces, told his boss in Rotorua, and the dramatic news was sent by telegraph to Auckland.
Says Hastings: "The reporting was absolutely first rate when you consider they couldn't file from a laptop or a mobile phone. They got to people and told their stories. They were spectacularly good at that sort of thing."
The story shows, observes Hastings, that more than a century later, the world of news still throbs to the same rhythms.
The papers that did best and thrived had a keen sense of what their readers wanted, and were determined to beat their rivals to the stories that mattered.
Extra! Extra! How the people made the news by David Hastings (Auckland University Press, $45) goes on sale March 8.


text:
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text:
Council hears dog park update
Sheridan Wilson, local 4-H member leading the charge in creating a dog park in Pequot Lakes, visited the Pequot Lakes City Council on Tuesday, Nov. 5, to give an update on her efforts.
Fundraising sits at just under $1,000, Wilson said. An area for the park was staked out at Sibley Park. Documents from Wilson show the area of the park is 6,350 square feet.
Some council members were concerned that would be too small and recommended exploring other site possibilities as well as the Sibley Park option.
One location suggested by the council is the area behind the city's water plant, which city staff already mows. Wilson said she'd considered that location but was concerned that some of the smaller trees growing there might not make it.
Other locations were also suggested, and Wilson said she'd look into those options. The council tabled any action on the dog park so Wilson and the parks and recreation committee could explore other locations.
In other business Nov. 5, the council:
• Approved a contract for police services with the city of Jenkins in the same amount as last year.
• Heard a request from the wellness committee to improve the city's wellness program for its staff. The committee is exploring the possibility of offering time off in exchange for points earned through healthy lifestyle choices. The committee is still working out the details. The council requested information on the cost of the program if every participant received maximum rewards (time off) for their points earned.
• Approved an increase in benefits to the fire department. The increase shows no cost to the city and results from return on investments made by the fire department's relief association.
• Learned the new fire truck will arrive in May or June of 2014.
• Passed a loitering ordinance. Police Chief Eric Klang said the ordinance will allow officers to cite loiterers who don't respond to verbal warnings from police. He said there are loitering issues with young adults hanging out in parking lots and some panhandling in town, and the ordinance would be "another tool in the toolbox" to address issues that come up periodically.
• Appointed council member Tyler Gardner to look into streetscape opportunities for changes that will be made to North Washington Street.
• Approved a request for proposals for legal services for the city.


text:
Kim Kardashian & Kanye West: What Their Baby Will Look Like
Kim and Kanye now have a little one on the way — but what will the baby look like? Check out these pics of what baby 'Kimye' could look like!
Kim Kardashian, 32, and Kanye West, 35, have some killer genes, so we're sure that their baby is going to be gorgeous!
We took pictures of Kim and Kanye and combined them to see what their little one might look like. No matter what, this kid has the genetics to be both a knockout and a Grammy Award-winner!
Kanye was the first to announce the news that he and Kim are expecting a child. At his concert in Atlantic City on Dec. 30, he interrupted his own song to say, "stop the music and make noise for my baby mama," referring to Kim who was in the audience.
Kim joined in when she took to her official website to gush about her baby news on Dec. 31.
She wrote, "It's true!! Kanye and I are expecting a baby. We feel so blessed and lucky and wish that in addition to both of our families, his mom and my dad could be here to celebrate this special time with us. Looking forward to great new beginnings in 2013 and to starting a family. Happy New Year!!! Xo."
After being friends for years, Kim and Kanye began dating in April. Since then, the duo has been inseparable. We're so excited that Kim and Kanye are starting a family together!
HollywoodLifers, do YOU think Kim and Kanye's baby will be cute? Vote below!
Watch Kanye Announce Their Baby News On Stage
— Jenny Pickard
More Kim and Kanye News:
- Kim Kardashian's Pregnancy Will Be Theme For New Reality Show
- How Khloe Kardashian Really Feels About Kim Kardashian's Pregnancy
- Kim Kardashian Confirms Pregnancy: I Wish My Dad Was Here For This


text:
All I had to do was take one step off the elevator to see that the Durham, N.C., Public Works Department was putting forth a big effort to interact with residents and visitors.
The touchscreen interactive display in the lobby was the first indication that communication is a top priority. "This lets citizens find out the type and details of projects," says GIS/CAD Administrator David Cates. "We're constantly updating the maps and general information so that anyone can get specific details quickly and easily."
Durham is known as the City of Medicine, no doubt because it's where Duke University's historical and world-renowned array of medical facilities call home. Public works employees work hard to maintain a home-like environment for nearly 223,800 residents.
"Keeping up with a growing population and development that supports an ever-changing city is why we needed to change our as-built submission process," says Will Hughes, GIS coordinator and quality-control architect of the department's GIS as-built digital tool. "Today we can process 80 stormwater structures into our existing GIS in one minute or less."
This type of progress doesn't happen overnight, or without a lot of pre-planning and dedicated effort. "We started slow, kept progressing, and now, five years later, we're proud that our approach worked," he says.
It started back in 2005 when public works decided to update its Development Review Handbook. Two years later, a combined digital submittal standard was added to the handbook that clearly states that PDF and CAD files are to be submitted at the same time as any mylar or other final project document.
While these initiatives were progressing with external stakeholders, so were behind-the-scenes efforts.
A custom-designed tool that facilitates the direct import of .txt files (comma-delimited text files) was constructed to support the new standard. The import tool was created within ESRI's Arc Map using Microsoft's Visual Basic for Applications (VBA) and ESRI's Arc Objects.
"It allows the user to open a form, which is much easier to control and understand, and enter information about the project and the spatial location of the features directly into the form," says Hughes. "We have a great sample and step-by-step directions on our Web site. Since we're trying to make our process as simple and direct as possible, no password is required. And, of course, we're always available to walk the client through the process.
"After the import form is complete, a series of procedures is initiated. The custom tool automatically initiates a series of procedures that reads the files and pulls the data directly into a versioned geodatabase." The custom VBA tool (script) within ArcMap consists of one form and one module. The form is used to point to the data files (text files); the module reads the data files and loads the data into the GIS.
"Sounds simple, and it is, but it took us awhile to figure out how to make all the pieces come together," says Hughes.
In July 2007, the new tool was ready. "We didn't require the data files for the first six months, but now we require them for every project. The data files are comma-delimited text files that contain the spatial information and attributes for utility structures; for example, ID, NORTHING, EASTING, ELEVATION, SIZE, MATERIAL, YEARBUILT. There are two data files per water, sewer, and storm utility system for a total of six files. One file contains the point information, the other contains the "from" and "to" identifiers for drawing in the pipes."
For some reason, the usual resistance to change didn't happen. "I guess it's because we took the time up front to involve the right people," says Cates.
The change is important because it enhances data integrity. Without data integrity, the next time someone steps up to the touchscreen and asks it to display the details about a public asset, the information they'd receive could be wrong.
Then it won't matter how fast or fancy the computer is.
— Janet Jackson (email@example.com),
Web Extra
We search so you don't have to! For direct links to Durham's digital submittal standard and step-by-step directions for contractors, click here.


text:
The Last Windrow: My stint with ROTC
I don't know what got me to thinking about my old college ROTC class the other day. Perhaps it was my note to my publisher in South Dakota in which I lamented my SDSU Jackrabbit's sudden demise at the NCAA basketball playoffs.
But, whatever it was brought back memories of my two special years of obligatory ROTC service at South Dakota State.
From what I remember, South Dakota State University was what they called a "land grant" university. I never really understood what that phrase meant and I've been to lazy to look it up, but one of the duties of those who attended a "land grant" college during those years was to enlist for two years in an ROTC program operated by the Army or the Air Force.
This was during the Vietnam era when just about every second lieutenant that graduated ended up in the jungles of Vietnam. Hence, very few of us who wore the Army green were all that enthused about learning military techniques and tactics.
But, there was no choice about it and I dutifully stood in line at the beginning of the year, waiting to collect my uniform and shoes from the Quartermaster, a guy who looked as if he'd chewed nails for breakfast and ate the boards for lunch. I don't think he really liked students much.
Our drill instructor was a sergeant major with enough stripes on his sleeves to make a quilt. He had no humor toward college geeks who really didn't want to be in his presence anyway. He told me once that fighting in the jungle was a piece of cake compared to trying to make a bunch of acne-faced, awkward, clumsy freshmen and sophomore students march in line.
His face would turn vivid red and the veins would stick out in his neck when he called a reverse pivot and all hell broke loose on the drill floor.
I knew our sergeant was in trouble when it came the day for rifle training. We were all issued M-1s, which must have weighed about 10 pounds apiece. The heavy, clumsy rifles were a long way from the sleek Remington .22 caliber that I was fond of using. The Army issued rifles felt like clubs in the hands of my fellow cadets.
We tried learning to march and pivot without tearing each other's heads and I must admit that my high school experience in marching band really paid off on that ROTC parade floor. I was doing reverse pivots, oblique march and guide right with the best of them. I noticed my sergeant was not yelling at me as much as he was the other cadets. Sergeant Major told me he might even promote me for my expertise. I didn't know if that was a good thing or not.
Then we came to the exercises using the rifle. We were taught port arms, order arms, at rest and other maneuvers I can't remember. But I do remember having to open the bolt of the rifle with one hand and putting your fingers down inside the bolt to release the action.
It was a tricky job to get your fingers out of the rifle without having your thumb come out looking like a swollen red turnip. Blood could be seen scattered across the gym floor as those less accomplished than I mistimed their rifle release. I remember seeing a number of purple thumbnails at the snooker table after that exercise.
But, all good things must end and it ended up the same way with me, ROTC and the Army. My elevated blood pressure eliminated me from continuing on to advance ROTC and I can't really say I was dismayed about not being promoted. I never really wanted to tour Vietnam anyway.
And, I'm happy to say that our beloved sergeant major finally got his wish and got shipped back for his third tour of duty. When his plane left the ground in Brookings and he gazed down at that ROTC armory with a bunch of college kids marching in the front door, I'd bet a big smile crossed his ruddy face.
"Atten Hut"!!
See you next time. Okay?


text:
The new castaways of "Survivor: Gabon" have been revealed by CBS. The upcoming seventeenth season will premiere with a two-hour episode on September 25th and will be broadcast in HD, a first for the series. Exile Island will return, but since the show filmed on Gabon's coast, it will just be called "Exile". That's not the only change says host Jeff Probst "When you go to Exile this time you can either get a clue that will help you find the hidden immunity idol or you can get 'instant comfort'-a nice thing to sleep on, some food, some fruit. Depending upon the time, we'll make the temptation bigger and bigger. The idea was to see if anybody would be dumb enough to choose comfort over the only thing that guarantees you to stick in the game, which is immunity."
The season will begin with the castaways divided into two tribes by a schoolyard pick'em and then they immediately compete in their first challenge. Jeff Probst also touched on this season's tag line 'Earth's Last Eden'. "In a strange coincidence to Earth's Last Eden, good vs. evil emerges as a major theme this season. I think the audience will quickly identify with one group or the other."
For pictures and bios of the cast, click here!
Wednesday, August 27, 2008
"Survivor 17: Gabon" Cast Revealed
Categories: survivor
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The Little Castle of Downtown Berkeley
Berkeley City Club • Berkeley, CA
Escape Kit
- A One-Night Stay for Two
- Continental Breakfast
- Combine Vouchers to Stay for Up to Three Nights
The Destination
Berkeley is the mellow, intellectual middle child of the Bay Area family. North of Oakland and across the Golden Gate from San Francisco, this city has a reputation for being a low-key college town and home to some of the most enlightened thinkers in the Golden State. Along with the academic crowd comes an appreciation for cultural offerings, offbeat boutiques, and locally sourced cuisine. And did we mention its vast swaths of green space? It all comes together to make a downright delightful town.
The Digs
Just one block from the downtown campus of UC Berkeley, the lovely Berkeley City Club is a historic landmark nicknamed the "little castle." Once upon a time, Hearst Castle architect Julia Morgan designed this building as a women's social club complete with verdant gardens, interior courtyards, a ballroom, and a heated indoor swimming pool. Its magical elegance has only grown in the intervening years. Step into your guest room, where a soft bed and views of the Berkeley Hills or San Francisco Bay await.
The Diversions
Step out the door and turn the corner onto Telegraph Avenue for excellent boutique shopping. The hotel is only six blocks from the Downtown Berkeley BART station and public transportation in case you'd like to venture farther afield. Later, waltz through the Regional Parks Botanic Garden to see native plants of the Golden State in bloom. In the evening, you can catch a live performance at the Berkeley Repertory Theatre, Cal Performances, or Freight & Salvage Coffeehouse—all within a half-mile of the hotel.
"We are self-professed architectural history junkies and made a pilgrimage to this lovely building. We were not disappointed. Loved to walk through the rooms, admiring the details, the gardens, and the timeless feel."-- TripAdvisor
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Engberg, Siri. "Ellsworth Kelly." In Bits & Pieces Put Together to Present a Semblance of a Whole: Walker Art Center Collections, edited by Joan Rothfuss and Elizabeth Carpenter. Minneapolis, MN: Walker Art Center, 2005.
© 2005 Walker Art Center
For more than fifty years, Ellsworth Kelly has worked to refine elements of the observed world into rigorous abstraction with a bold clarity and elegance. In doing so, he has demonstrated remarkable versatility as a painter, sculptor, draftsman, photographer, and printmaker. "My work has always been about vision, the process of seeing," he notes. "Each work of art is a fragment of a larger context… . I've always been interested in things that I see that don't make sense out of context, that lead you into something else."1 His flat, immaculate compositions of pure line, simple forms, and saturated, unmodulated color are, in essence, found images, distillations of architectural details, shadows, plants, and other subtle forms that often might be overlooked. The contour of a leaf, the arch of a bridge and its reflection in water, and the soft curve of a hillside seen from the road have inspired paintings and sculptures alike.
Kelly's early art training was in the academic mode. He studied at the Pratt Institute in Brooklyn from 1941 to 1942, and, after serving in the armed forces in Europe from 1944 to 1945, he returned to the United States to study on the G.I. Bill at the School of the Museum of Fine Arts, Boston. In 1948, he returned to Paris, where he lived and worked until 1954, producing an important body of paintings, drawings, collages, and photographs. Since then, he has lived and worked in New York State. Though Kelly's work has been aligned with Pop Art, Color Field Painting, and Minimalism, it is more aptly placed along the fringes of these movements. Because he worked in Paris, his development in the 1950s occurred independently of such artists as Jasper Johns and Robert Rauschenberg, whose art was a direct reaction to the then-dominant style of Abstract Expressionism. Kelly's first mature works made in France predated by more than a decade the paintings of Frank Stella, Brice Marden, and other Americans associated with Minimalist Art in the 1960s.
From his early collages made in Paris to his large, freestanding sculptures, Kelly has continually searched for ways whereby his art might compose itself through chance—his forms, he has stressed, are shapes that "have always been there."2Drawing Cut into Strips and Rearranged by Chance, made in 1950, borrowed a technique used by Dadaist Jean Arp, whom Kelly had met in Paris that year.3 It also was influenced by the artist's correspondence with composer John Cage, who, during their first meeting in Paris in 1949, showed Kelly some cut Japanese fabric stencils that he had been collecting from Paris shops.4 The collaged composition recombines fragments from two of Kelly's rejected drawings. Though the order in which the strips are arranged is random, the artist nonetheless pasted them to the paper in a deliberate row to avoid overlap, and thus any reference to depth, since the illusion of flatness was now of paramount importance in his art.5
Kelly returned to New York in 1954, and soon after moved to Coenties Slip, a former landing place for wooden ships in lower Manhattan that housed a community of artists, including Robert Indiana, Agnes Martin, and Jack Youngerman, in deserted sail-making lofts. It was here that he made the painted aluminum sculpture Gate in 1959. He once described the work as taking shape by chance from an X he outlined on an envelope: "I folded it and cut it and it stood. I did it almost without thinking, almost as if I didn't decide."6 The X-configuration used in the sculpture occurs frequently in Kelly's art of the late 1950s. Though it retains an element of flatness and frontality, Gate was a pioneering piece for the artist in that it marked the first time one of his forms moved fully off the wall, breaking ground for his sculptures in the round (which were initiated that same year) as well as for large-scale, freestanding indoor and outdoor pieces, which he has executed to this day in various metals and in wood.
It was also while living in Coenties Slip that Kelly painted Black Curve (1962). The painting is related to five canvases from the early 1960s that were composed of free-drawn curves executed in various colors. He has often worked in cycles, alternating between the curve, the rectangle, and other forms that interest him, moving freely between painting, sculpture, and works on paper. The curve in this painting was made during a period when the artist's shapes were often organic. After 1969, his curve paintings and wall reliefs were always "fragments of a circle," based on geometric figures rather than found contours.7
From his earliest paintings, Kelly has been interested in liberating color and form from content, asserting that the painting is an object, and the white wall, essential to the perception of the piece, is its ground. Red Green Blue (1964) is one of the few canvases executed in the 1960s in which he chose not to separate the colors into individual panels, a practice he had begun during his years in Paris. Kelly's interest in flat, unmodulated color is evident in the painting. Though not interested in texture and gesture, he nonetheless avoids a mechanized look, and strives for his hand to be apparent in the finished surface.8
Red Yellow Blue III (1966) is one of the first works he created as a large-scale, multiple-panel painting. By separating the vivid panels, Kelly forged a concrete relationship between the primary colors, seen as pure forms, and the white wall, read as a field or ground. The scale of the work creates ambiguous boundaries, as color continuously assumes part of one's peripheral vision. "I am less interested in marks on the panels than the 'presence' of the panels themselves," the artist remarked in 1969. "In Red Yellow Blue, the square panels present color."9 One of the first of his generation to realize the possibilities of the shaped canvas, Kelly had been creating numerous works by the late 1960s in which his forms were the paintings themselves. In the double canvas Yellow/Red (1968), the positioning of the joined, shaped panels on the white wall is key, as the work becomes a study in perspective. Though perceived as pure, hard-edged shapes, both Red Yellow Blue III and Yellow/Red can be traced to Kelly's observant eye, as they recall the artist's photographs of shadows cast by open barn doors in the New York countryside.
Kelly considers his three-dimensional work to be a natural extension of his painting. Since 1959, he has explored the notion of a "folded" form in a variety of freestanding and wall-mounted works. Green Rocker (1968) is one of a group of floor pieces, many of which were painted in two colors, one on the top, one on the underside. Green Rocker, however, is a monochrome, since its planes are flattened to a greater degree, permitting an intimate relationship between the work and the gallery floor. While the title seems to allude to a rocking chair or a child's hobbyhorse, the sculpture is stationary, its movement merely implied. The curved, oval contours and color also relate to the delicate line drawings of plants and leaves—particularly water lilies—central to Kelly's work since the 1950s.10
Double Curve (1988), an outdoor sculpture in bronze commissioned for the Minneapolis Sculpture Garden, has its origins, like many of Kelly's three-dimensional forms, in earlier paintings, drawings, and studies. The eighteen-foot-tall totems that compose this piece derive from, among other sources, his Brooklyn Bridge series of paintings from the 1960s and the 1959 painting Rebound. They also relate to a 1976 pressed-paper pulp work he made at the print workshop Tyler Graphics Ltd. in 1976. The standing forms of the sculpture have been likened to stele, upright stone slabs used as markers that appear throughout the history of art. They activate the garden space in which they are sited, forming a relationship with grass, trees, and particularly sky, all of which provide the background for the work.
Throughout his career, Kelly has used abstraction as a means for viewing the world with coherence and clarity. His works articulate his concerns about form, color, and their relationship to physical space, and present in themselves an opportunity to examine his process of seeing.
Kelly in conversation with Mark Rosenthal, January 1991, New York. Cited in Mark Rosenthal, ed., Artists at Gemini G.E.L. (New York: Harry N. Abrams Inc., 1993), 83. ↩
Kelly, interview with Henry Geldzahler, in Paintings, Sculptures and Drawings by Ellsworth Kelly (Washington, D.C.: Washington Gallery of Modern Art; Boston: Institute of Contemporary Art, 1963–1964), unpaginated. ↩
Arp's work Collage Arranged According to the Laws of Chance (1916–1917) was made by dropping pieces of torn paper onto a larger sheet, and gluing them where they fell. ↩
"I met John Cage in 1949 for two days. He was staying at the same hotel. He introduced himself to me, and I didn't know who he was then; but a friend of mine said, he's one of the new music people. I showed him one of my first abstract things, and he was the first to make me feel like maybe I could do something." Kelly interview with Peter von Ziegesar, "How Chance Operations Guide Work: An Interview with Ellsworth Kelly," FORUM 14, nos. 2–3 (June/July, 1989): 26. ↩
Yve-Alain Bois, "Kelly's Trouvailles: Findings in France," in Yve-Alain Bois, Ellsworth Kelly: The Early Drawings 1948–1955, exh. cat. (Cambridge, Massachusetts: Harvard University Art Museums, 1999), 23. ↩
Kelly, interview with Henry Geldzahler. ↩
Artist's statement, March 21, 1996 (Walker Art Center Archives). ↩
Kelly began this painting in New York in September 1964 and finished it in October at Joan Miró's graphic studio in the town of Levallois, France, prior to its first showing in Paris. Artist's statement, April 2, 1974 (Walker Art Center Archives). ↩
Kelly, "Notes from 1969," in Barbara Rose and Ellsworth Kelly, Ellsworth Kelly: Paintings and Sculptures 1963–1979, exh. cat. (Amsterdam: Stedelijk Museum, 1979), 32. ↩
In 1952, while living in France, Kelly visited Monet's studio in Giverny, where he saw the artist's late water lily-paintings and shortly afterward painted a green monochrome canvas. ↩
Engberg, Siri. "Ellsworth Kelly." In Bits & Pieces Put Together to Present a Semblance of a Whole: Walker Art Center Collections, edited by Joan Rothfuss and Elizabeth Carpenter. Minneapolis, MN: Walker Art Center, 2005.
© 2005 Walker Art Center
The form of my painting is the content. My work is made of single or multiple panels: rectangle, curved or square. I am less interested in marks on the panels than the "presence" of the panels themselves. In "Red, Yellow, Blue," the square panels present color. It was made to exist forever in the present, it is an idea and can be repeated anytime in the future. Ellsworth Kelly, 1969


text:
Greetings from Oxford!
I'm taking the liberty (and have the privilege) this evening of posting below Katherine Williams' account of a tour that a few of us took the yesterday of the new organ at Keble College. I'll be brief here (though I also take the liberty a few times below of annotating Katherine's account with a few bits of information and some images). Cheers, and now I turn you over to Katherine:
"I am not a particular fan of organ music so my knee-jerk reaction to Stuart Patterson's offer of a tour of reputedly the finest organ in Oxford was initially negative. I think what hooked me was the idea of touring a organ. I must confess a downright embarrassing lack of knowledge about organs, so the possibility of "going inside one", as Stuart promised was just too much to pass up. Can one go–not just look– inside of a guitar, a piano, a clarinet?
The Keble College chapel housing this mysterious walk-in organ was gorgeous. I have slipped into many of the chapels here in Oxford for evensong and such and the history and weight of the centuries sits on their honey-colored-stone bones with a solemnity fit for kings. The chapel at Keble, built of brick, is lighter airier; mosaics depicting stories from the Bible brighten the walls, but the show-stopper, for me at least, were the organ pipes themselves. Like none I have ever seen, their chocolate color and whimsical patterns added an almost childish fun to the nave, not something one expects to encounter in a church–not purposefully anyway. I'm not sure if that was the intent of the designer (this is a very new organ, only built and installed in the last few years) but, like the mosaics, it worked to lighten the space. One could imagine worshipping a God in love with creativity here.
After climbing a very narrow stone corkscrew of a staircase, we were lead to the organ loft. The very nice man giving us the tour, whose name I have forgotten*, sat at the four-tier keyboard and showed us the basics of how a pipe organ works. This is where knowing nothing, nada, zilch is sometimes freeing. Because I knew nothing, everything was a wonder. "Why he plays another (fifth), larger keyboard with his feet!" and every two rows of pulley-stops corresponds to a strata of keyboard. With his right foot he opened and closed a flue (this is most certainly not the correct term, but after he explained its function that's the image that stuck–flue) which alters the amount of air pushing through the pipe, creating depth in tone. He began by demonstrating the different effects each pipe brings to a particular note. Then he started adding layers of sound by pulling out more stops thus driving the air through more than one pipe at a time. The effect was like swimming in chocolate in minute and sprinting over a meadow of flowers the next, truly mesmerizing. If it was this much fun to listen to, imagine the thrill of playing with such an instrument.
*[Our tour leader was the very generous and talented Simon Whalley, Fellow and Director of Music at Keble who is also a composer.]
For the grand finale he unlocked a door leading into a small room directly behind the organ's keyboards. This room was indeed the organ's guts. We weren't allowed to walk in, but peering through and around the door many more pipes than were visible from the sanctuary–wooden pipes, pipes that looked like they were made out of sheet metal, round pipes, square pipes–lined one wall, while the opposite wall and floor were covered with wires and pulleys. There was a narrow wooden catwalk through the center of the crowded room with a ladder at the further end leading up to a second tier of pipes and controls. (For all I know there may have been more levels beyond that, but I'll stick with what I saw.)
I walked away from the afternoon with perhaps only a cupful of knowledge about organs, but every time I hear one now at evensong or such, I will sip that cup with delight.
Thank you Keble College and thank you, Stuart."


text:
A Chapelry in the parish of Sheffield, from its consecration in 1825, until it became a parish in its own right in 1848. Population included in Sheffield. The Church, dedicated to St. George, is one of Sheffield's four 'Million Act' churches.
Please note: For an explanation of the abbreviations and the meaning of those dates which are in italics, please see the Yorkshire Parish Registers main page.
The above register information was correct when the book was published (1998). However registers may be moved from one Register Office to another. If you know that any of the above data is incorrect, please drop me a line via the link at the bottom of this page.


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I'll be Beekeeping for the very first time this Spring with my father and I'm being told different advice concerning different things.
I'm sure you know how that goes when you are just starting out
Some people tell me that I should not wear gloves while some say that I should. Which is confusing me since most Beekeepers I see are indeed wearing them.
Does anyone have any advice on whether I should wear gloves or not?
I ordered a Bee Suit and gloves come with it yet some people are telling me to just keep them in my pocket and not actually wear them unless needed.
I'm unsure of what I should do
Thank you so very much for any help


text:
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These Parmesan-flavored puffs have an elastic consistency somewhat like mochi, the Japanese dough made from pounded glutinous rice. It's hard to stop eating them, especially when they're warm.
Nutrition Profile:
Diabetes Appropriate
Gluten Free Diet
Low Carb
Serves 30
Prep Time 20 min
Total Time 50 min.
Step 1
Position rack in center of oven; preheat to 350° F. Coat a baking sheet with cooking spray.
Step 2
Place starch in a medium bowl. Combine milk, oil and salt in a small saucepan and bring to a boil over high heat. Pour over the starch and stir until crumbly and blended. When the mixture has cooled slightly, stir in egg, egg white and cheese. Knead the dough until smooth, 3 to 5 minutes. It will be dry, yet hold together.
Step 3
Pinch off 1 tablespoon of dough at a time and roll into a ball. Place 20 balls on the prepared baking sheet for the first batch. Bake the balls until puffed and golden on the bottom, about 20 minutes. Repeat with the remaining dough. Let the cheese puffs cool for a minute or so before serving warm.
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