Modern Taste: Art Deco in Paris 1910-1935
Modern Taste: Art Deco in Paris, 1910-1935 offers readers an opportunity to appreciate, examine, assess and enjoy an artistic movement that defies easy definition but which has been described as "the last of the total styles": Art Deco.
Comprehensive and beautifully designed, Modern Tasteincludes nearly 400 works in a wide array of media: painting, sculpture, furniture, fashion design, jewelry, film, architecture, glassware and ceramics are all represented, alongside the photography, drawings and advertisements that helped create "the modern taste."
The book aims to question the almost total absence of Art Deco from the history of modern art and from curatorial practice, and to vindicate--as some exemplary cases did in the wake of the Deco revival from the 1970s onwards--not only the evident beauty of Art Deco but also the fascination exerted by this singularly modern phenomenon with all its cultural and artistic complexity.
546 pages, Hardcover


The biological sciences are becoming more and more data driven. Technological advancements have led to a huge increase in the generation of biological data. Data analysis, required to extract insights from this data, is often the rate limiting step in biological research. This book will help make your data analysis more effective.
If you want to learn how to use the command line to install and run software this book is for you. The command line is used throughout the book and you will quickly gain familiarity with the most important commands. You will also learn how to install software and how to work on remote machines. The latter will be important if you want to run bioinformatics software on your institutes high performance cluster.
You will learn how to write your own data analysis scripts. The book starts off by explaining fundamental computing concepts, teaching you how to think like a computer. You will then learn how to use Python by creating a script to analyse the GC-content of a bacterial genome. There is also a chapter on data visualisation that teaches you how to work with R. Furthermore, programming best practises are highlighted and explained throughout the book.
Early on you will learn how to use version control to track changes to your projects. Furthermore, the concept of using automation to ensure reproducibility is explored in detail.
Important concepts and jargon are explained as they are introduced. No prior knowledge is required. Just a willingness to learn, experiment and have fun geeking out.
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My name is Tjelvar and I am a biologist that has drifted into computing.
I did my undergraduate and PhD in biochemistry. During my PhD I found myself drifting into computing. This process was largely guided by trial and error and was quite painful. At the time there were not many resources for helping biologists make this transition.
After my PhD I wanted to learn more about professional software development (and chemistry) and got a job as an application scientist at a company that developed software and databases for the pharmaceutical industry. During this time I was fortunate enough to work with great people and learnt lots about coding, programming best practises and software development processes.
After six years the lure of biology and academia became too much and I got a job as a scientific computing lab manager in a world leading plant research institute. In this role I am constantly coming into contact with people that are in the same position I was in 12 years ago; biologists needing to learn more about computing.
This book is my attempt to provide a resource for these biologists drifting into computing.


Since signing with Risen Books, I’ve undertaken to read every release in the house. Not too hard, since they’re a brand new company; but they’re issuing new titles every couple months, so the collection is growing.
The Jihad’s Messiah
by Nick Daniels
Jihad Series, Book 1
Publisher: Risen Books
Release: Fall, 2011
A sort of Left Behind gone Arabic, the story opens in 2024 Iraq, approximately three and a half years after the Rapture. A devout Muslim and a major general in the Iraqi army, Farid Zadeh is an avid admirer of Caliph Al-Mahdi, the charismatic leader of Iraq. Enjoying an astonishing rise to power and calling himself “the Awaited One,” the caliph promises to convert the world to Islam—a goal the loyal Farid approves of.
He also hopes to be promoted soon, and looks forward to being the point of Al-Mahdi’s spear. But Brigadier General Hussai has similar ambitions. When he falsely accuses Farid of being not only a Zionist but also a spy for Russia, Farid flies to Jerusalem, seeking to prove his loyalty to Al-Mahdi and to Allah.
No grass grows under his feet, and the pages turn fast as the reader races with Farid to vindicate himself. But before he succeeds, Al-Mahdi’s united Arab states attack Israel, putting Farid on the wrong side of both parties in this new war. That’s bad for Farid, but good for the reader, as the tension ratchets up another notch.
The entire story is written in present tense. The protagonist’s scenes are written in first person; the rest are in third person. Some might like this method. Personally, I’m okay with the present tense part, but the switch between first- and third-person points of view distracted me, and I had to pause to get my bearings at every transition.
Though I’m not a fan of apocalyptic fiction as a rule, this adventure, daring on the part of the author as well as the protagonist, paints a fairly likely scenario–including the projected dates. Readers familiar with biblical prophecy will recognize and anticipate a number of events, nodding, “Ah, yes. That sounds about right.” But however you feel about end-times prophecy, you’ll find the book a wild ride.
I won’t spoil the conclusion, but I do want to share with you my favorite line, which comes near the end. A Christian Bedouin is speaking to a Jewish woman about his faith, and she reminds him a person doesn’t change religions without good reason. She asks, “Why would I become a Christian?”
Predictably, the end of this book isn’t the end of the story; the conclusion leaves you hungry for the next volume in the series. I plan to snap it up as soon as it’s available—and the only thing I can imagine preventing me from doing so would be if the Rapture occurs before it’s released.


Open all year round
Would you like to learn even more from your visit to the Jardin des Plantes (Garden of Plants)? Are you passionate about natural, earth and human sciences? The Museum’s libraries contain some 2 million documents for you to peruse!
Monday, Wednesday, Thursday and Friday: 9 am - 7 pm
Tuesday: 1 pm - 7 pm
Saturday: 10 am - 7 pm
Closed on Sundays and public holidays; Saturdays in July and August; from July 29, 2023 to August 15, 2023 included; from December 23, 2023 to January 1, 2024 included.
More information: bibliotheques.mnhn.fr
open to all
open to all researchers on presentation of ID
Access via 38 rue Geoffroy Saint-Hilaire or the Jardin des Plantes
Located at the heart of the Jardin des plantes, the Bibliothèque centrale (Central Library) is set out on two floors:
- the Media Library, on the ground floor
- the Research Library, on the 2nd floor
The Media Library
On the ground floor, the Media Library collections are open to all for browsing: here you will find reference works and practical guides dedicated to botany, zoology, ecology, prehistory, palentology, science history, gardening, and landscape art. A collection adapted to a young audience awaits budding naturalists and the curious.
If you come to the Media Library, you will also be able to admire the famous Cabinet of Curiosities assembled by Joseph Bonnier de la Mosson, a wealthy 18th-century scholar. Acquired by Buffon for the Jardin du Roi (King’s Garden), the cabinet is listed as a historic monument. Also on display are the full-scale hippopotamus sculpted in 1931 by François Pompon and the model of HMS Beagle, the famous vessel used by young Charles Darwin for his 2nd expedition.
The Research Library
Do you need to do some research using the library’s specialist collections? On the 2nd floor you will find books and journals (printed and electronic versions), maps, manuscripts, scientific and institutional archives, drawings, photographs, art works and objects
Throughout your visit, library staff will be on hand to guide you and help you find what you are looking for.
Attached to the Bibliothèque centrale, the Museum’s Library Network also is made up of fifteen specialist research libraries.


Review: “Love to Love You, Donna Summer,” premiering on HBO Max on Saturday, uncovers the career of the late singer-songwriter and her life outside of her fame.
Editor’s note: The following article is an op-ed and the views expressed are the author’s own. Read more opinions on theGrio.
Donna Summer, the Queen of Disco.
After viewing the documentary “Love to Love You, Donna Summer,” the truth is she was more of a queen of cinema.
Summer had a “love-hate relationship” with the infamous moniker that linked her to popular music genre of the 1970s, according to sister Mary Ann, one of the voices in the HBO Max documentary premiering on Saturday. The crooner was proud to be “queen of anything,” but the film unveils that her public persona was a character. It was more of a costume that she put on than a reflection of her true self.
With Summer’s daughter Brooklyn Sudano as co-director, the documentary is a revealing and an intimate look into the many sides of her superstar mom. It’s a loving tribute to a woman who tried to be all things to her fans and family, all while exposing her inner turmoil since childhood.
Recording artist Donna Summer performs at the “Partnership for Public Service Inaugural Gala” on May 29, 2003, at Cipriani’s restaurant in New York City. (Photo by Lawrence Lucier/Getty Images)
“I’m trying to figure out the many pieces of who mom was,” Sudan said in the film. “She was complicated.”
The complication is examined in great, unfiltered detail, as Summer says in the movie, “I have a secret life.”
This life was not wild and uninhibited, however. Her persona as Queen of Disco was the fantastical alter ego, while the Donna Summer behind closed doors was silly, simple, curious and internally tortured.
“Love To Love You” is told chiefly through narration via Summer’s past interviews and testimonials from those who knew her — mostly her children and siblings. It’s thrilling to see so much rare footage of Summer unearthed for this film, giving the audience more profound insight into just how multi-faceted she was.
The film begins with an extreme close-up of Summer’s eyes, wandering with wonder, as her breakout single full of hedonistic moans, “Love to Love You, Baby,” plays in the background. It’s the perfect place to start this film because it’s such a compelling contrast of what the viewer is about to see: two women occupying the same body.
Summer, raised by Christian parents and influenced by Mahalia Jackson, never meant “Love to Love You, Baby” to be what it was. She said it was just a concept she wrote for another songwriter to develop and pass on to another artist. She was shocked at the audience’s reaction to this sexually explicit track, initially dubbed “sex rock” before it was disco.
From there, we learn who Summer was before the fame: her upbringing in Boston, her moving to New York and being cast in “Hair,” her coming of age in Germany when “Hair” traveled to Europe.
One of the genuinely intriguing parts of the film is when she becomes a mother after giving birth to her first daughter, Mimi, with her first husband. Still feeling youthful and ambitious, she gets divorced, and Mimi goes on to be raised by Summer’s parents back in Boston. Throughout the rest of the film, Summer’s feelings of guilt from being away from her daughter gradually unravel in a brilliantly paced way.
(L-R) Singer Donna Summer and musician/producer David Foster perform onstage during the ‘Great Performances: Hitman Returns – David Foster
Summer’s relationships with men also play a big part in the film. After divorcing her first husband, she became entangled in a physically abusive relationship with a man named Peter Mühldorfer, who was threatened by her success. Summer’s saving grace came when she met her future husband, Bruce Sudano. This encounter swiftly went from a musical collaboration to a secret love affair until Peter was out of the picture after a beating put her in the hospital.
The film explores Summer’s confession that a pastor sexually abused her as a child, and she and her family unpack how that affected her and her relationships with men going forward. This context makes her professional partnership with producer Giorgio Moroder all the more critical.
Summer said in the film that Moroder was a “redeeming factor” regarding the men in her life. He was one of the only men she knew that earned and kept her trust. Together, they made history, crafting innovative dance music like “I Feel Love,” “Last Dance,” “Bad Girls,” “Hot Stuff” and more.
The music, however, never takes a backseat to the personal story. We get insight into Summer’s approach to recording. She described her style to be more like acting than singing. This isn’t just because she’s singing and performing with a persona unlike her natural side, but also because of her affinity to tell stories with her music.
Summer had a fantastic knack for executing deftly conceptual music landscapes, whether in an entire album, such as “Once Upon a Time,” or in the form of songs, like “Bad Girls” and “Dim All the Lights.” The viewer will feel newfound respect for Summer as a songwriter, arranger, and producer. And the concert footage, starting with a rare clip of her singing in “Hair” as a teenager to 1999’s Live and More Encore” on VH1, shows that the older she got, the better her voice became.
“Love to You Love, Donna Summer” is a beautiful window into one of the most important Black singers of the 20th century.
Matthew Allen is an entertainment writer of music and culture for theGrio. He is an award-winning music journalist, TV producer and director based in Brooklyn, NY. He’s interviewed the likes of Quincy Jones, Jill Scott, Smokey Robinson and more for publications such as Ebony, Jet, The Root, Village Voice, Wax Poetics, Revive Music, Okayplayer, and Soulhead. His video work can be seen on PBS/All Arts, Brooklyn Free Speech TV and BRIC TV.
TheGrio is FREE on your TV via Apple TV, Amazon Fire, Roku, and Android TV. Please download theGrio mobile apps today!
The post Donna Summer documentary unveils who Queen of Disco truly was appeared first on TheGrio.


Let's start with the painfully obvious. Sewing is a domestic activity, and as such, has generally been in the domain of women's responsibilities. Prior to the advent of feminism, home sewing was wrapped up in all the other messy notions that prompted the need for women's liberation: the erasure of women into undervalued roles and social conditions that didn't allow for sustainable life choices choices outside of marriage and motherhood. (Just for the record: I am not bashing homemaking. I am merely glossing over several decades of women's history! I'm not sure which should offend you more.) With the publication of The Feminine Mystique and the evolution of first wave feminism, women began to detach themselves from domestic work and hence, home sewing became a less popular - perhaps even ridiculed - activity. We have the second wave of feminism to thank for many legal rights that women now have. But sadly, this era also saw the further decline of home crafts. For some, sewing might even have been considered an anti-feminist activity.
This idea has, thankfully, largely been criticized by third wave feminists, who, for the most part, rejected the idea that to gain power women must inject themselves into traditionally male activities and give up any aspirations of domestic bliss. As these feminists saw it, disowning any activity that was traditionally feminine further compounded the cultural notion that women's work is meaningless - that to do work of importance, we must take on traditionally male roles.
Feminism took a pronounced turn for the crafty with the publication of Stitch 'n Bitch, the book single-handedly responsible for making knitting cool again. Authored by Debbie Stoller, founder of the feminist magazine Bust, the book is both a how-to and a decidedly feminist call to action. The beautifully written chapter "Take Back the Knit" speaks volumes about the relationship between feminism and crafting. It's a gem of a chapter all around, but my favorite passage is this:
"Betty Friedan and other like-minded feminists had overlooked an important part of knitting when they viewed it simply as part of women's societal obligation to serve everyone around them--they had forgotten that knitting served the knitter as well."In other words, crafts like sewing and knitting are nourishing to the soul, not just the home. Reflecting this idea, women today are far more likely to sew for themselves - because it feeds their creativity and sense of beauty - rather than a sense of gendered obligation. We live in a very exciting time in which feminism, punk DIY aesthetics, and eco-consciouness have converged to create a new crafting movement. And instead of feeling oppressed by sewing and other domestic arts, feminists now often use them as a means of connection to each other and to our creative selves.
But here's my question: why hasn't sewing become an emblem of crafty third-wave feminism in the way that knitting has? For whatever reason, sewing hasn't become a craft of choice for hip feminists, despite publishers' attempts to find the Stitch 'n Bitch of sewing. Sewing (or at least couture and vintage sewing) does seem to have less of a punk aesthetic than knitting - a bigger push towards refined methods rather than a scrappy DIY aesthetic. But I think we seamstresses need to start holding our own as crafty feminists!
What do you think? Do you see your sewing as feminist?


This is a great book for Aerospace professionals. It has a very complete content and exercises.
This book contains graduate level math and physics concept. Thus to grasp the concepts of this book you might be graduate student at least. Also, this book is great for aerospace professionals who work in the space industry.
The book begins introducing the principles of orbital dynamics. Then it moves into more complex subjects such us interplanetary trajectories, orbital maneuvers. Thus, this book gives the reader a broad view of all the most important concepts.
The book contain exercises with solutions to help better understand the concepts.


We are entering the Copernican Year
The 550th anniversary of its patron's birth will be celebrated by the Nicolaus Copernicus University in Toruń with the World Copernican Congress.
Create a alumni email account to log in to NCU services:
- alumni profile,
- use the library catalogue (details of how to use your card as a library card),
- set access to the Eduroam Wireless Network (WiFi) at NCU.
Options available in the alumni profile:
- updating data,
- applying for a duplicate card,
- management of the alumni library account,
- management of club and event notifications,
- managing newsletters.
The catalogue of services will expand.
The best at the university
Traditionally, the University Senate awarded the titles of 'Best Graduate', 'Best Student' and 'Best Student-Athlete' at NCU, as well as 'Best University High School Student'.
Help for Ukraine
Ladies and Gentlemen,
we wish to inform you about the actions which the University authorities have decided to take in relations to the war in Ukraine.


SMITHSONIAN INSTITUTE SUGGESTED READINGS
This letter from the Smithsonian’s
Department of Anthropology is in response to your inquiry regarding the Book of
The Smithsonian considers the Book of
Mormon a religious document and not a scientific guide. The Smithsonian
Institution has never used it in archaeological research and has found no
archaeological evidence to support its claims.
You might wish to consult the following
Coe, Michael D. and Rex Koontz. Mexico.
5th rev. and expanded ed. Thames & Hudson, 2002. (A well-written, authoritative
summary of Mexican archeology.)
Coe, Michael D. The Maya. 6th fully
rev. ed. Thames & Hudson, 1999. (A general summary of the archeology of the
Coe, Michael D. and Richard A. Diehl. In
the Land of the Olmecs. 2 vols. Univ. of Texas Press, 1980.
Fagan, Brian. Ancient North America: The
Archaeology of a Continent. 3nd ed. Thames & Hudson, 2000.
________. Kingdoms of Gold, Kingdoms of
Jade: The Americas Before Columbus. Thames & Hudson, 1991.
Freidel, David, Linda Schele, and Joy
Parker. Maya Cosmos: Three Thousand years on the Shaman’s Path. 1st
Quill ed. William Morrow & Co., 1995.
Hammond, Norman. Ancient Maya
Civilization. Rutgers Univ. Press, 1982.
Hunter, Milton R. and Thomas S. Ferguson.
Ancient America and the Book of Mormon. Kolob Book Co., 1950. (The
Mormon point of view is presented.)
Jennings, Jesse D. Prehistory of North
America. 2nd ed. McGraw Hill, 1989.
Jennings, Jesse, editor. Vol. 1.
Ancient North Americans. Vol. 2. Ancient South Americans. W. H.
Lamberg-Karlovsky, C. C. and Jeremy A.
Sabloff. Ancient Civilizations; The Near East and Mesoamerica. 2nd ed.
Waveland Press, 1995. (Chapter 4 discusses the first Mesoamerican civilization
and its origin. Very readable.)
Larson, Stan. Quest for the Gold Plates:
Thomas Stuart Ferguson’s Archaeological Search for The Book of Mormon.
Freethinker Press, 1996.
Marcus, Joyce. Mesoamerican Writing
Systems: Propaganda, Myth, and History in Four Ancient Civilizations.
Princeton University Press, 1992.
Papers of the New World Archaeological
Foundation. Brigham Young University, 1952-. (Published results of archeological
investigations in Mesoamerica by the Foundation, supported by the Mormon
Riley, Carroll L. et al., editors. Man
Across the Sea: Problems of Pre-Columbian Contacts. Univ. of Texas Press,
197l. (A collection of articles, mostly by well-qualified specialists,
concerning transoceanic contacts.)
Sabloff, Jeremy A. The New Archaeology
and the Ancient Maya. Scientific American Library, 1994.
Sabloff, Jeremy A. Cities of Ancient
Mexico: Reconstructing a Lost World. Thames & Hudson, 1990.
Schele, Linda, and David Freidel. A
Forest of Kings: The Untold Story of the Ancient Maya. William Morrow & Co.,
Schele, Linda. The Inscription on Stela
5 and Its Altar. Copán Mosaics Project, 1987.
Wauchope, Robert. Lost Tribes and
Sunken Continents. Univ. of Chicago Press, 1974. (Chapter 4 covers Mormon
theories, setting them in the context of other nonscientific schemes. Author is
a well-qualified specialist on Mexican archeology.)
Williams, Stephen. Fantastic
Archaeology: The Wild Side of North American Prehistory. Univ. of
Pennsylvania Press, 1991. (See the chapter "Archaeology and Religion: Where
Angels Fear to Tread.")
Thank you for your interest in
the Smithsonian Institution.
WORD FAITH INDEX
CATHOLIC CHURCH INDEX


Gems of Qur'anic Wisdom
This is a quick glimspe into the vast treasure of Qur'anic verses. Fifteen minutes before the adhaan for Salaatul Esha every Monday, Wednesday and Friday, our scholars will choose relevant verses from the Qur'an and highlight some of the lessons for us.
Last Ten Days of Ramadan: Qiyaam has begun! Starting from 2:00am to 3:00am!
Qur'anic recitation in Tarawih
Each Night, our Huffaz recite approximately one Juz' of the Qur'an. Below you will find the portions to be recited with links to translation and commentary.
Saturday, July 11> Surah Al-Mulk , Surah Al-Qalam , Surah Al-Haqqah , Surah Al-Ma'arij , Surah Nuh , Surah Al-Jinn , Surah Al-Muzzammil and Surah Al-Muddaththir
Sunday, July 12> Surah Al-Qiyamah , Surah Al-'Insan , Surah Al-Mursalat , Surah An-Naba' , Surah An-Nazi'at , Surah 'Abasa , Surah At-Tawkir , Surah Al-'Infitar , Surah Al Mutaffifin , Surah Al-'Inshiqaq , Surah Al-Buruj , Surah At-Tariq , Surah Al-'A'la , Surah Al-Ghashiyah , Surah Al-Fajr , Surah Al-Balad , Surah Ash-Shams' and Surah Al-Layl
Monday, July 13> Surah Ad-Duhaa , Surah Ash-Sharh , Surah At-Tin , Surah Al-'Alaq , Surah Al-Qadr , Surah Al-Bayyinah , Surah Az-Zalzalah , Surah Al-'Adiyat , Surah Al-Qari'ah , Surah At-Takathur , Surah Al-Asr , Surah Al-Humazah , Surah Al-Fil , Surah Quraysh , Surah Al-Ma'un , Surah Al-Kawthar , Surah Al-Kafirun , Surah An-Nasr , Surah Al-Masad , Surah Al-'Ikhlas , Surah Al-Falaq and Surah An-Nas
Recitation of the Quran: Completed
Wednesday, June 17> Al-Fatiha and Al Baqarah Verses 1-183
Thursday, June 18> Al Baqarah Verses 184-286 and Aali Imram Verses 1-20
Friday, June 19> Aali Imram Verses 21-149
Saturday, June 20> An-Nisaa Verses 1-147
Sunday, June 21> An Nisaa Verses 148-176 and Al Ma'ida Verses 1-120
Monday, June 22> Al-An'aam Verses 1-165
Tuesday, June 23> Al-A'raf Verses 1-206
Wednesday, June 24> Al-Anfal Verses 1-75 and Al-Tawbah Verses 1-93
Thursday, June 25> Yunus Verses 1-88 and Hud Verses 1-49
Friday, June 26> Hud Verses 50-123 and Yusuf Verses 1-111
Saturday, June 27> Ra'd Verses 1-18 and Nahl Verses 1-87
Sunday, June 28> Israh Verses 1-42 and Kahf Verses 1-82
Monday, June 29> Taha Verses 1-97 and Anbiya Verses 1-57
Tuesday, June 30> Al-Anbiya Verses 58-112 and Hajj Verses 1-78 and Noor Verses 1-18
Wednesday, July 1> Shu'ara Verses 1-227
Thursday, July 2> Naml Verses 1-End of Surah and Qasas Verses 1-88 and Ankaboot Verses 1-44
Friday, July 3> Ankaboot Verses 44-End of Surah , Surah Ar-Rum , Surah Luqman , Surah Sajdah and Al-Ahzab Verses 1-30.
Saturday, July 4> Al-Ahzab Verses 31-End of Surah. , Surah Saba , Surah Fatir and Surah Ya-Sin verses 1-21.
Sunday, July 5> Surah Ya-Sin Verses 22-End of Surah , Surah As-Saffat , Surah Saad and Surah Az-Zumar Verses 1-31
Monday, July 6> Surah Az-Zumar Verses 22-End
Tuesday, July 7> Surah Az-Zukhruf , Surah Ad-Dukhan and Surah Al-Jathiyah
Wednesday, July 8> Surah Al-'Ahqaf , Surah Muhammad , Surah Al-Fath , Surah Al-Hujurat , Surah Qaf and Surah Adh-Dhariyat verses 1-30.
Thursday, July 9> Surah Adh-Dhariyat completion , Surah At-Tur , Surah An-Najm , Surah Al-Qamar , Surah Ar-Rahman , Surah Al-Waqi'ah and Surah Al-Hadid
Friday, July 10> Surah Al-Mujadila , Surah Al-Hashr , Surah Al-Mumtahanah , Surah As-Saf , Surah Al-Jumu'ah , Surah Al-Munafiqun , Surah At-Taghabun , Surah At-Talaq and Surah At-Tahrim
Saturday Night Iftar Lecture Highlights
1. June 20th 2015> Another Ramadan Another Opportunity
2. June 27th 2015> Introduction to Dr. Wael Shihab
3. July 4th 2015> Mercy, Forgiveness, Redemption: Who Can Ask For More?
3. July 11th 2015> Iftar Lecture #4
Other Useful Ramadan Resources
Watch IIT UStream Channel Live >The Transforming Power of Fasting
Watch Tarawih Prayer LIVE from Makkah!> Tarawih Prayers Live from Makkah
Watch Dr. Abdullah Hakim Quick's "Light Upon Light" speech.> Light Upon Light


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Major Russian Painter - Meir Axelrod 1902-1970
The work of Meir Axelrod provides a uniquely comprehensive and sensitive view of the life of Russian Jews from the 1920s to the end of the 1960s. Born in a Byelorussian Jewish settlement, a survivor of pogroms, forced to leave his home together with his family during the World War I, a student and later a teacher at the famous Vkhutemas and member of the "4-Arts" Society, he exhibited his work throughout the world.
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Notwithstanding the curse was pronounced upon the Earth that it should bring forth thorns and thistles, there is a flower upon the thistle. The world is not all sorrow and misery. God‘s great book of nature is open for us to study, and from it, we are to gain more exalted ideas of His greatness and unexcelled love and glory. He who laid the foundation of the earth, who garnished the heavens and the stars in their order, He who has clothed the Earth with a living carpet, and beautified it with lovely flowers of every shade and variety, would have His children appreciate His works, and the light in the simple, quiet beauty, which He has adorned their earthly home.
Christ sought to draw the attention of His disciples away from the artificial to the natural : “if God, so, clothe the grass of the field, which today is, and to morrow is cast into the oven, shall He not much more clothe you, O ye O little faith?” Why did not our heavenly Father carpet the earth with brown or gray? He chose a color that was most restful, the most acceptable to the senses. How it cheers the heart and refreshes the weary spirit to look upon the Earth, clad in the garments of living green! Without this covering the air would be filled with dust, and the Earth would appear like a desert. Every spire of grass, every opening, bud and blooming flower, is a token of God‘s love, and should teach us a lesson of faith and trust in him. Christ calls our attention to their natural loveliness, and assures us that the most gorgeous array of the greatest king that ever wielded an earthly scepter, was not equal to that worn by the humblest flower. You who are sighing for the artificial splendor which wealth alone can purchase, for costly paintings, furniture, and dress, listen to the voice of the divine teacher. He points you to the flower of the field, the simple design of which cannot be equaled by human skill. (Review and Herald, October 27, 1885, White)


It's Snow Joke!
Our first book review is by Maddie N., a fabulous third grader who has done loads of reading this summer!
It’s Snow Joke!
by Nancy Krulik
One snowy day at school, Katie asks her friends if they would like to go skiing.
Her friends, Jeremy and Suzanne said they’d love to go! But…they didn’t know how to ski!!!
So they decided to take a ski lesson. Everything seemed to be going well. Katie and her friends were actually skiing! But then, Katie turns into her ski instructor!!! Read It’s Snow Joke! to find out what crazy things happen next!
I really enjoyed this book because I love to ski. I also love Katie Kazoo books because Nancy Krulik is an amazing author. She gives a lot of detail about the setting, and her characters are very funny and interesting. She also puts facts/jokes and recipes in the back of the book!!! I would recommend this book to anyone who is looking for a fun chapter book.
Thank you, Maddie for this recommendation! If you have a book you want to share- please let me know~ Happy Reading!


Tagged by RACHEL!
1. What is one of your favorite genres? Children’s books.
2. What is your least favorite genre? Textbooks… amen, rachie.
3. What is your all-time favorite book? Angus, Thongs, And Full-Frontal Snogging
4. What is the first book you remember reading? We Went to the Beach Just Grandma and Me OR Horton Hears a Who
5. Do you prefer books or audio books? Books.
6. Who are your favorite authors? Austen, Dahl, Dodie Smith, Louise Rennison, Robert Burns, Rachel Ashcraft, etc.
7. How many books do you read in a year? Whole books? I don’t know… I frequently pull books of my shelf and open them to a random page and just read particularly when I can’t sleep or I’m really stressed or procrastinating.
8. Do you buy books or borrow them from the library? I have a book buying problem that I got from my sister most likely.
9. How many books do you own? I have 2 bookcases plus a box full of books that don’t fit on the shelves.
10. What is your most prized book? I wasn’t allowed to keep any of my own books when I moved out so all of my books are equally treasured.
11. What are the worst books you have ever read (or tried to read)? Hmmmm… I didn’t like the giver. It was sad. I will surely be stoned for that, though.
12. Have you read any modern day sequels you liked? Hmmm…. None that I can think of…….
13. What is your favorite quote from a book? Anything snappy that Elizabeth says to Darcie in Pride and Prejudice.
14. Who is your all-time favorite male character? Darcie. I <3 Douche Bags sometimes.
15. Who is your all-time favorite female character? Definitely Georgia from the Georgia Books.
16. What highly recommended book have you not liked? The Giver.
17. A character you love to hate? Mrs. Bennette… elizabeth’s mother.
18. Do you belong to a book club? Does me forcing all of my friends to read the Georgia books count? Kendie and I once had a twilight book club where we’d sit and read together. It was awesome.
19. What was the last book you purchased? The latest Georgia book but I can’t read it ‘til south Africa on Thursday.
20. What are you reading now? A Teaspoon of Courage… my gramma got it for me for Christmas!
21. What book made you cry the hardest? The Lion, The Witch, and the Wardrobe when Aslan dies.
22. What book made you laugh the most? Once again, Georgia Books.
23. What is your favorite children's book (one you would choose to read to your kids)? HORTON HEARS A WHO!!!!!!!!!!!!!!!!!!!!!
24. If you were to choose a book to give as a gift, what would it be? Georgia books… starting to think I’m obsessed?
25. List 5 books you have read more than once: Pride and Prejudice, The Witches, Angus Thongs and Full-Frontal Snogging, The Lion, The Witch, And the Wardrobe, and I Capture the Castle.
26. What is your favorite book made into a movie? I love the Count of Monte Cristo movie MORE than the book (rarely the case).
27. Did you like the book or movie better? Oops…. See above.
28. What book would you like to see made into a movie? Hmmm… I would love them to make more Georgia movies.
29. Do you prefer hardcover or softcopy? HARDCOVER!!!!
30. Do you leave the dustcover on while you are reading a book? Nah… it get’s all folded and wrinkley.
31. Where do you usually read? Everywhere: my bed, my bathroom floor, my bedroom floor, my car, work, school, church…….
32. When do you usually read? Early in the morning I read my scriptures but at night is when I do most of my leisure reading.
33. Do you keep a TBR (to-be-read) list? GOODREADS!!!!!!!!
34. Do you usually have more than one book that you are reading at a time? Frequently. Especially when in school.
35. Do you remember how you developed a love for reading? Dad reading to us every night before bed… sometimes he’d do the voices which made it fun. I’m pretty sure it all started with the fact that he ALWAYS let us pick which book to read so we always read books we LIKED to read.
36. Who do you tag? Charlie? Anyone who likes to discuss books. :D


The Mystery of Becky Sue Peterson
|LaSAlle Public Library|
|305 Marquette Street / LaSalle, IL / 61301|
|Jul 18, 2013|
|6:00 PM - 7:30 PM|
Becky Sue Peterson was a 17-year old Galva, IL girl whose remains turned up in southern Bureau County in November, 1977. In spite of vigorous investigation at the time, by at least 6 different agencies, no arrests were ever made in the death This presentation looks at the basics of her death, the initial investigation, the follow up, and Trey Barker’s own questions into her death.
Hailing from Midland Texas, self-professed band geek, composer, theater techie, and writer Trey Barker, is currently a sergeant with the Bureau County Sheriff's Office. He has more than 150 short story credits, two novels, a collection, a non-fiction book about his year living with cancer, a play, and even some bad love poetry to his credit.
This program is free and open to the public. For any questions, please contact the LaSalle Public Library at 223-2341.


Stelarc and the Chimera: Kant's critique of prosthetic judgment.
(Aesthetics and the Body Politic)
Art Journal, March 22, 1997
The organ must be a tool producing other organs - each consequently reciprocally producing the others. No artificial tool can answer to this description, but only that tool from whose resources the materials for all the other tools (including artificial ones) are drawn. And only then and in this way can such a product be designated an organized and self-organizing being.
- Kant, Critique of Judgment, 1790
Tools have always been considered outside of the body. They have extended perception, enlarged the vision, and generated other models for the world. Today technology is no longer exploding out from the body, in an external fashion, but is imploding and sticking to the skin. It is imploding and entering into the interior of the body.
- Stelarc, interview in L'Autre Journal, 1992
Kant's Critique of Judgment remains a text that seems incapable of exhausting its futures.(1) Since its hasty composition and publication in 1790 it has been used to theorize an extraordinary range of artistic practices ranging from romanticism to historicism, from the formalism of Abstract Expressionism to the sublime materiality of l'informe. In their turn each practice has transformed the theoretical text, bringing to the foreground aspects and turns of argument that previously were overlooked or excluded from consideration. The Critique has consequently become a locus of the very aesthetic reflective judgment that it theorized, one whose criteria of aesthetic judgment are themselves transformed in the event of judging a practice. Yet in spite of this history of constant transformation, the text remains enigmatic and still gives the sense of having barely been read.
The capacity of Kant's text to transform itself before a seemingly alien practice may be exemplified by confronting it with the practice of the Australian performance artist Stelarc. In the face of this artist's performances - explorations of the limits of the body and its potential invasion and transformation by technology - the Critique would seem finally to have reached its limit. How could this text, with its dissection of aesthetic judgments, its censure of young rogues imitating birdsong, and its praise of ornate wallpaper, help us understand a performance by Stelarc? It does so by virtue of the transformation it undergoes in the face of Stelarc's professedly anti-philosophical, "physiological" practice. In this encounter of artistic practice and theoretical text, the Critique is wrenched out of its accustomed circuits of interpretation and left strangely changed, reorganized, with some of its more enigmatic passages clarified and some of the violent exclusions of its reception hitherto redressed.
The customary reading of the Critique of Judgment (or Judgment-Power) begins and usually ends with part 1 of the text, which focuses on the "Critique of Aesthetic Judgment." For generations of readers it is the analysis of the judgments of the beautiful and sublime that is the proper object of Kant's aesthetics, to the exclusion of the analysis of teleological judgment in part 2 of the book and the extensive "First Introduction," where Kant frames the Critique in terms of the relations among technics, life, organization, and matter. Since Schiller's Aesthetic Education,(2) most readings of the Critique have assumed that the text is concerned with the beautiful and sublime and with the aesthetic judgment as the mediator between the realms of intelligible freedom and natural necessity. In this light, the third Critique would not seem the obvious choice for reading before attending a Stelarc performance. However, when read in the light of Stelarc's concerns with technology and the body, the Critique undergoes a sea change and ceases to be just a critique of aesthetic, but also a proleptic critique of prosthetic judgment.
Stelarc's performances have moved from the theatrical, skin-hooked body suspensions of the 1960s and body imaging of the 1970s to an exploration of the relationship between the body and technology in the prosthetic work of the 1980s and 1990s. The latter performances trace two linked trajectories: the first, conservative direction involves the augmentation of the body's natural powers through the resources of technology, while the second, more radical direction proposes the thoroughgoing technological reorganization of the body.
In the work pursuing the first trajectory, such as the Tokyo performance of The Third Hand of 1981 and the 1986 and 1990 Tokyo and Melbourne performances of Amplified Body, Laser Eyes, and Third Hand, Stelarc remains with the traditional logic of prosthesis, supplementing his body with the prostheses of a third arm, amplification, and laser eyes.(3) In the latter work Stelarc begins to reorganize the circuits of the human body, coupling the prosthetic eyes with his heartbeat, and thus anticipating the logic of the second trajectory, which points to a total technological reorganization of the body. This was taken further in subsequent works such as Host Body/Couple Gestures: Event for Virtual Arm, Robot Manipulator, and Third Hand of 1992, which connected the artist's stomach muscles to motor prostheses, and more recently in work with STIMBOD software, such as Fractal Flesh of 1995 which permits not only a local reorganization of the parameters of the body, but also can provide an interface with remote signals through the Internet.(4) In these works, Stelarc confronts the human body with its technological prosthesis, overcoming their antagonism by a computer-choreographed dance in which the body and technology are opposed and yet advance toward an awkward harmony. This staging of the prosthesis, with its cables twisted around the body and its flickering screens controlling the movement of body and technology, is peculiarly archaic, combining pretechnological ritual dances with intimations of the exemplarity of Christ. Stelarc's work, in other words, approaches the condition of liturgy.
In the later work, Stelarc begins seriously to explore the second trajectory of his prosthetic performances already anticipated in his theoretical reflections. In these, Stelarc speculates on the potential for the complete technological reorganization of the human body, a development that entails the redefinition of the limits of human physiology; this is a process by which the body becomes "an object for redesign." The redesign that Stelarc envisages entails a thorough reconsideration of the logic of prosthesis. Instead of regarding the prosthesis as a supplement to the human body, it is now seen as already an integral part of its organization and consequently as a site for its potential reorganization.(5) Stelarc sees his work as a contribution to the reorganization of the human body promised by technological developments, especially in the realm of nano-technology. He said in 1992: "With the micro-miniaturization of technology (nano-technology) there is the new perspective of the body perhaps colonized by synthetic micro-organisms. Perhaps to control our body, perhaps to reinforce our immune system."(6) With this development Stelarc anticipates a thorough reorganization of the body that would technologically overcome the existing logic of prosthesis and replace it with a thoroughly prosthetic body no longer subject to the limits of human life: "Thus life would no longer commence with birth and end with death! Life would become a digital experience and no longer a development, a maturation and a decline as in an analog experience." By reorganizing the body prosthetically, life becomes a process of technical obsolescence and replacement of organs, entailing a "redefinition not only of the significance of being human, but also of that which we call existence."(7) It is difficult to see how this vision could ever be staged, for it is no longer the artist's individual body that is put to art, but the body of humanity as a whole. The exemplarity of the prosthetic works is theoretically extended into a Gesamtkuntswerk involving the entire human body.
This body of work and these speculations on the limited future of the human body seem at first sight to be very far from the aesthetic judgments of taste analyzed in the third Critique. Yet when we return to Kant and read the Critique in the light of Stelarc we can discover several new dimensions to the text. If we take the trouble to read the whole text and not just its first half, the themes that unite its separate parts are precisely those of technics, life, and organization. In this respect the text suddenly seems closer to the concerns of contemporary artistic practice than may have immediately seemed to be the case. Indeed, many of the aporias of that text arise from Kant's anticipation of a radical logic of prosthesis and his eventual rejection of it as "chimerical." Not only does the discussion of the concept of "life" in part 2 of the text, under the title "Teleological Judgment," directly address the issue of prosthesis, but it also directs the concept of life back to the experience of aesthetic pleasure, which is prominent in part 1.
Once the deceptive security of the logical forms of judgment is abandoned when reading the first part of the Critique of Judgment, the question of Kant's theory of aesthetic pleasure becomes extremely difficult to place. In general terms, pleasure is always tied with its "negative quantity," displeasure, with both in their turn being related to the feeling of the furtherance and restriction of life.(8) In the Critique, the experience of the "finality without end" of the beautiful "is directly attended with a feeling of the furtherance of life," while that of the sublime is "brought about by the feeling of a momentary check to the vital forces" (sec. 23). The difficulty in determining the link between experience and life is already evident in the second paragraph of the book (part 1, sec. 1), which distinguishes between the cognitive experience of a "regular and appropriate building" and the experience of taking pleasure in the contemplation of its architecture. Since the burden of the distinction is clear, and since it would be depressing to have to stop and struggle with the text so near the beginning, most readers hurry on to the second section, ignoring the difficulties of the passage that describes the experience of pleasure in the following terms:
The representation is tied wholly to the subject, indeed to its feeling of life - under the name of the feeling of pleasure and displeasure - which founds a quite particular capacity for distinguishing and estimating which contributes nothing to knowledge, but which compares the given representation in the subject with the whole capacity for representation which the mind (Gemut) in feeling its condition, becomes conscious (sec. 1).
What is strange about this passage is not only its series of identifications, such as the feeling of life with that of pleasure and displeasure, or the genealogy of a noncognitive capacity of estimative judgment, but also the cryptic allusion to the mind's capacity for representation becoming conscious of "feeling its condition." The question arises as to what it means to "feel a condition" and how this relates to the "feeling of life."
Kant does not directly address an answer to this question, allowing some readers (including myself in Art of Judgement) to relate the affective "capacity of representation" to the question of representation as a whole. The latter is described aporetically by Kant in the following terms: "How does it come about that to that which is but a product of our self-isolated mind (Gemut) there correspond objects and that these objects are subject to those laws which we prescribe to them." However, it might be more appropriate to read this passage in the light of another passage from later in the Critique (sec. 29), which discusses the same themes of life and the consciousness of the condition of existence. Here, in a reflection on Epicurus, Kant wrote:
Life without a feeling of bodily organs would be merely a consciousness of existence, without any feeling of pleasure or its opposite, i.e. the furthering or checking of the vital forces. For, of itself alone, the mind (Gemut) is all life (the life principle itself), and hindrance or furtherance has to be sought outside it, and yet in the human itself, consequently in connection with the body.
Here, as in the passage from section 1, pleasure is seen to follow from an augmentation of the vital force, or life, that is to say, from the mind (Gemut) feeling its own condition. But the experience of pleasure or displeasure is described more extensively as both outside the mind (Gemut) and yet inside the "human itself," standing in some kind of unspecified connection with the body. The ambiguous site of this experience, both internal and external to mind and body, is perfectly described by the kind of technological prosthesis explored by Stelarc. Life, defined by Kant as the organization of matter, can thus be defined prosthetically as the technical organization of matter, one whose source is both within and without the body.
In the second part of the Critique, which is dedicated to the teleological judgment, Kant explores at length the concept of life as the organization of matter. Although he will eventually recoil from a radical logic of prosthesis, largely because of the historical limitations to his concept of technology, he nevertheless pushes the concept to its chimerical limit of a "formative power," which anticipates Stelarc's technological reorganization of the body. With the concept of life as a formative power, Kant tries to account for the existence of organized matter or life itself. The organization of matter has to be "both cause and effect of itself" (sec. 64); living or organized matter "is not a mere machine, for that has merely motive power, but possesses in itself formative power of a self-propagating kind which it communicates to its materials though they have it not of themselves; it organizes them" (sec. 65). Kant is perplexed about the source of this organization; it cannot have arisen by chance nor can it be said to be the product of an external, "supersensible" agency. When he describes the work of the formative power he clearly points to a prosthetic negotiation between the inside and the outside of an organism, but one that Kant at once denies to art and technology. Organization consists in the organism's "separation and recombination" of matter, a process whose complexity is "beyond the reach of art" (sec. 64), while remaining only comprehensible as a product of art.
In section 65 Kant reflects on the "inscrutable property" of the formative power through its analogies to art and to life. He rejects the former analogy as supposing an "artificer" external to organized matter who gives it form, recognizing that the formative power is self-organizing. He considers the second analogy more extensively, but also finds it problematic: to account for the organization of matter it is necessary either to give it an intrinsic property of organization (hylozoism) or to locate the source of organization outside of matter in a "soul," thus returning to the notion of an artist outside of nature. Neither analogy is satisfactory, and Kant concludes that "the organization of nature has indeed nothing in it analogous to any causality we know" (sec. 65). This unsatisfactory conclusion is largely the outcome of a restricted conception of technology and its prosthetic potential, one that Kant was trying unsuccessfully to supersede at the level of theory. Technology for him is still considered externally, as something that has motive but not formative power. Artificial tools and machines are not self-organizing, but can only be organized; they cannot produce, but can only be produced. In this view, technology is a supplement to nature and not its formative principle.
Yet even at the moment of abandoning the analogies of art and life as chimerical fancies, Kant entertains another analogy for the formative power, that of the auto-constitution of a people into a state. In this process the people give themselves an organization, a structure of institutions of which they are in a sense both producers and product. It is the institutions or the laws that are both inside and outside the people, and that serve as a technology for the reproduction of the state.(9) Kant retreats even from this analogy and resorts to an extremely limited conception of the technic of nature as a regulative idea, one that is inseparable from the postulate of a supersensible artist of nature who is responsible for its organization. However, this not only leaves the source of organization or life inscrutable, but also renders unknowable the source of pleasure that arises from the feeling of the condition of the mind (Gemut) ambiguously placed within and without the organism. When faced with the choice of "the chimeras of unthinkable natural faculties" and a visionary "teleological mode of explanation" (sec. 78), Kant ultimately rejects the chimera for the supersensible.
Faced with the chimerical work of Stelarc, perhaps it is time to reconsider the "unthinkable natural faculties" and rediscover them as all too thinkable technological faculties. The organization of the body in Kant's Critique is already considered in terms of prosthesis or source of organization that is both inside and outside the body. The uncanny source of organization was invisible to Kant because of his historically limited conception of technology; while considering the concept of the technic of judgment as a source of organization, he was not able to align this with existing technology. The technic of nature thus remained a subjective, regulative idea for interpreting appearances. As a result Kant considered the choice remaining to him as one between a totally immanent conception of organization (the analogy of life) or one that was totally exterior (the analogy of art). Nevertheless his work contains intimations of another understanding of the body and technology in terms of technics, but one that was for him literally unthinkable. This inscrutability had ramifications throughout his aesthetics, most obviously in the difficult and circular discussions of the source of pleasure in the beautiful. This arose from the feeling of life, from the body being both within and outside of nature, but this prosthetic location could only be understood by Kant in terms of a schizophrenic bifurcation of the human into an object of natural necessity and the subject of a transcendent freedom.
While Kant could entertain the fantasy of chimeras, he could not foresee that they would one day exist as objects of experience. Stelarc's work underlines and extends the prosthetic character of the human body, throwing into question the philosophical distinctions in which it has traditionally been thought. By emphasizing the view of the body as technologically organized matter, Stelarc performs an alignment of matter and form that would avoid any metaphysical opposition. In some ways the logic of his work can be seen to have been anticipated by Kant's text, even if Kant was eventually unable to sustain the thought of the technological chimera.
To the extent that Stelarc's practice both releases elements of Kant's text that were previously unrecognizable and marks its limits, so too does this theoretical text anticipate the limits of Stelarc's practice. This is evident above all in the religious pathos of Stelarc's performances and reflections, something that Kant recognized as accompanying the uncanny thought of a technic of nature. Even when the technic of nature is revealed as the technological organization of the body, it still retains an intimation of the absolute. This is evident both in the liturgical character of Stelarc's performances and in his view that technology will overcome evolution, and ultimately even the physical death of the body.
With the inauguration of these new absolutes, the chimera ceases to be chimerical; it surrenders its uncanny place between the human and technology and instead becomes a new supersensible. The retrieval of the absolute or "machine-in-itself" follows the two trajectories of prosthesis identified in Stelarc's work: in the one case technology becomes an external source of organization to whose prostheses the human is subjected, while in the other it becomes an immanent technological "formative activity" of which the human is but the educt. Kant's performance in the Critique of Judgment touched the limits of these and other options, and so while it is changed by the encounter with Stelarc's work, it still retains the potential to question and to subject it to critique.
1. Immanuel Kant, Critique of Judgment, trans. James Creed Meredith (1790; Oxford: Oxford University Press, 1973). Citations in the text are from this edition.
2. Friedrich Schiller, On the Aesthetic Education of Man, ed. and trans. Elizabeth M. Wilkinson and L. A. Willoughby (1796; Oxford: Clarendon Press, 1989).
3. See Rachel Armstrong, Totally Wired: Science, Technology and the Human Form (London: Institute of Contemporary Art, 1996), 24-27.
4. A software system for the actuation of remote bodies, STIMBOD controls the relationship between body and prosthesis.
5. A philosophical reflection on the logics of prosthesis has been undertaken by Bernard Stiegler in La technique et le temps, 2 vols. (Paris: Galilee, 1994-96), and developed by the writers associated with the journal Tekhnema: Journal of Philosophy and Technology (Paris, 1994-).
6. Stelarc, interview in L'Autre Journal 27 (September 1992): 29.
8. For a more detailed textual discussion, see my Art of Judgement (Oxford: Basil Blackwell, 1989), 314-20.
9. This thought had been anticipated by Rousseau in the paradox of the legislator described in the Social Contract of 1762.
Caygill, Howard. "Stelarc and the Chimera: Kant's critique of prosthetic judgment.(Aesthetics and the Body Politic)." Art Journal. 1997.
Retrieved November 10, 2009 from accessmylibrary: http://www.accessmylibrary.com/article-1G1-19827691/stelarc-and-chimera-kant.html


ALL CONTENT © LISA OZ
YOU: THE OWNER'S MANUAL
The flagship book of the YOU series, which spawned three subsequent New York Times bestsellers, is now available to you in a lecture by Lisa. Having the inspiration for the original book that developed out of a TV show, and behind the original book and its every page, Lisa reflects on this subject from her own authority domain. It was Lisa’s idea to make it relatable, funny and candid and that is the same thing she brings to the stage when talking about otherwise stuffy subject matter of anatomy and health.
Between your full-length mirror and high-school biology class, you probably think you know a lot about the human body. While it's true that we live in an age when we're as obsessed with our bodies as we are with celebrity hairstyles, the reality is that most of us know very little about what chugs, churns, and thumps throughout this miraculous, scientific, and artistic system of anatomy. Yes, you've owned your skin-covered shell for decades, but you probably know more about your cell-phone plan than you do about your own body. When it comes to your longevity and quality of life, understanding your internal systems gives you the power, authority, and ability to live a healthier, younger, and better life. Welcome to your body. Why don't you come on in and take a look around?
"Lisa Oz is a treasure trove of philosophy, insight, and practical advice; powerful and transformative. Those who go with her will surely be lifted and deepened."
- Kathy Freston, bestselling author of Quantum Wellness -
"REFRESHING, RELATABLE, AND SO ENTERTAINING"


The golden Horses Jewel Edition - Pure Gold Book
The Golden Horse - Jewel Edition, published by D'ORO Collection in 2016, is a collection of 200 photographs by photographer Yann Arthus-Bertrand. With unparalleled emotional impact and superb visual balance, these photographs lay bare the relationship between humans and horses in a journey without boundaries. This edition is the result of an enormous search for materials, documents and historical discoveries about the equestrian world with moving, vivid and powerful images. It is entirely handmade on 130 gram photographic paper. The covers are made of red leather lined with silk. A bronze relief, gilded by immersion in a 24 Kt gold bath, forms the front cover.
Since 2020, in the heart of Rome, D'ORO Collection craftsmen have been printing and binding books entirely by hand using the finest leathers, papers and silks, and hand-crafting bas-relief covers finished in gold leaf. Made using ancient craft methods, these books become jewels destined to preserve history, tradition and excellence for future generations.
Materials: photographic paper, leather, silk, copper, 24 carats gold
Dimensions : 36,5 cm (width) x 5 cm (depth) x 17,5 cm (height)
Emballage : the book comes inside a red velvet jewel chest.
Made in Italy 🇮🇹


TheDay.Jobs Jobs Fair will be held Wednesday, April 6, from 10 a.m. to 2 p.m. at the Mystic Marriott Hotel & Spa. The event is free to job seekers. Employers can register until March 29. To register, visit theday.com/jobfair. About 40 employers have signed up.
The job fair is sponsored by The Day, in partnership with the Groton Public Library, Hall Communications, American Job Center, the Greater Norwich Area Chamber of Commerce, Chamber of Commerce of Eastern CT, Greater Mystic Chamber of Commerce and Human Resource Leadership Association.
In addition, a free seminar, “Resumes: Basics & Beyond,” will be hosted by the Groton Public Library. Resume review and job seeker tips will be provided by the Groton Public Library and American Job Center. Interview coaching (for virtual and in-person interviews) will be offered by the Human Resource Leadership Association. The state Department of Labor Veterans Unit and Business Services Representatives will be available to discuss available support.
- Groton Public Library
- Greater Norwich Chamber of Commerce
- Eastern Community Development Corp.
- Waterford Country School
- Hall Communications
- Gourmet Galley Catering
- Goodspeed Musicals
- Hospitality Staffing Solutions
- Charter Oak Federal Credit Union
- Birk Manufacturing
- Mystic Aquarium
- SCADD – Southeastern Council on Alcoholism & Drug Dependence Inc
- SAVA Senior Care – Pendleton Health & Rehabilitation Center and Bride Brook Health & Rehabilitation Center
- Davis-Standard LLC
- The Whaler’s Inn & Shipwright’s Daughter
- Yale New Haven Health
- The Arc Eastern Connecticut
- Kongsberg Digital Simulation Inc.
- Tree Trails Adventures (Aerial Adventure)
Read More: Job fair to be held in Mystic on April 6


Musician, singer, songwriter, painter
(Buenos Aires, Argentina 4 SET 1936 – Périgny, Francia 5 APR 2015)
Leer en ESPAÑOL
The hurricane’s eyeText by Sergio Makaroff
Possessed by a strong magnetic tellurism, Cáceres was always to be found within the limits of the hurricane’s eye.
He arrived in Paris –was it mere chance?– in May 1968. He was not looking for a beach under the cobblestones, but he found one. In Buenos Aires, where he was born, he had been the factotum of the existentialist scene.
Student of Fine Arts during day time, trombonist at night, agitator, a force of nature, he became the attraction of the mythic Cueva de Pasarotus, a jazz club and epicentre of revolutionary trends. There converged beatniks, upper class chicks and future Maoist guerrillas, often combined in a single individual.
Cáceres, a tsunami of magma and champagne, was the man in charge. Until one day he answered the calling. In Paris he played with the artist Marie Laforêt, founded the bands Malón and Gotán, painted, produced shows, taught History of Art and did research on the roots of the River Plate’s music. Today he still lectures on the subject, but, above all, he composes and sings, with a lion’s voice, the most relevant pieces that mark the rebirth of tango, candombe, murga and milonga. Caceres is inspired, impetuous, passionate and fiery at this. This youngster, born in the 40s, is the reference for creators in and out of Argentina and Uruguay.
The River Plate, the widest river in the world, separate these two countries, that once were one. Cáceres drinks these rhythms that Cáceres brings from the past, to move the present and point to the future.
Modernism is found in the beginnings.
During this period, he became interested in the music surrounding the Río de la Plata –tango, milonga, murga, and candombe. His musicianship flourished as he earned a reputation not only as a trombonist, but as a pianist, vocalist, and songwriter as well. His álbum Tocá Tangó, was influenced by his studies on the African origins of tango and its relationship with murga and candombe. It featured a non-traditional ensemble and the candombe compositions Tango Negro and Tocá Tangó.
He has also founded a more traditional tango group París Gotán Trío, along with Sedef Ercetin on cello and Sasha Rozhdestvensky on violin. He has also started a project in the increasingly popular electronic tango genre, Maquinal Tango.


Aug 2015 31
By Staci T.
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Proposed relocation of Daventry Library
Northamptonshire County Council (NCC) wants to know your views about the proposed relocation from the current library building to the Abbey Advice and Resource Centre (The Abbey Centre).
Daventry Library currently occupies a former school building in the town centre which is owned by Daventry District Council (DDC).
The current site is in a poor condition and is no longer an ideal venue for Library Services. DDC would like to develop the site, which has led to the need for NCC to look for alternative premises for the library. DDC has offered NCC the use of most of the ground floor of the Abbey Centre, which is less than half a mile away from the current library building.
The Abbey Centre is a purpose built facility which is shared by voluntary sector partners who provide services that could be complimented by the services offered in the library.
Although the floor space at the Abbey Centre is slightly smaller than the current site the layout will be planned by a professional library designer to maximise usage of the space. They believe the relocation to the Abbey Centre will be beneficial and will be better than the current location. The public library area will be in one open, brighter space which will be more easily accessed.
DDC have offered to pay for the refit and refurbishment of the proposed new library space within the Abbey Centre. Moving to an alternative location would mean that NCC would have to fund any refit or refurbishment to make it fit for purpose to be used as a library.
Have your say
This engagement closes at 5pm on 11 November 2018.


The Creative Spaces team embarked on an exciting mission: crafting a temporary exhibition within Curtin University’s newly refurbished Library. Our dual objectives were to illuminate the library’s rich history and cast a spotlight on its promising future.
To create an immersive and student-centric experience, we injected the exhibition with playful and eccentric elements. These elements not only invited visitors to actively engage with the content but also encouraged them to share feedback and their visions for the Library’s services and space. Drawing inspiration from the vibrant color palettes found in catalogs and books from the 70s, 80s, and 90s, we carefully selected lively hues. Paired with a youthful typeface and strategically positioned graphics, these choices were aimed at captivating visitors and sparking their curiosity. Situating the exhibition prominently near the entrance ensured easy accessibility for all library-goers.
The end result: a remarkable and unforgettable exhibition that authentically portrayed the library’s past and showcased its inviting future. Creative Spaces take immense pride in affirming that our efforts played a pivotal role in underlining the significance and far-reaching impact of the TL Robertson Library, not only within the university but also in broader academic and intellectual circles.
Other temporary exhibitions designed by Creative Spaces includes Numbers Please! an award winning exhibition.


Dr. Jim Turner & Cork Medical Center Featured by Smithsonian
The Smithsonian Institution Museum’s feature, "Crossroads, Change in
Rural America" partnered with Marshall to feature Cork Medical Center, a Rural Health Clinic in Marshall, IL, population 3,860.
Dr. Jim Turner, Lugar Center Medical Director, discussed how "Cork: Change in Rural Medical Care" changed the landscape for the delivery of rural healthcare through the dedication of three of its native sons: Dr. George Mitchell, Dr. James Buechler, and Dr. Turner.
Dr. Turner, a native of Marshall, trained at Cork Medical and was mentored by Drs. Mitchell and Buechler, representing three generations of doctors at the practice. Dr. Buechler founded the Union Hospital Family Medicine Residency and Midwest Center for Rural Health which become the Lugar Center in 2006. (click here for more information about Dr. B). Dr. George Mitchell was the epitome of the rural doctor as he served Clark County for nearly six decades and was instrumental in establishing the Rural Medical Education (RMED) Program at the University of Illinois College of Medicine at Rockford.
The Smithsonian exhibit continues at the Marshall public library through April and is slated to close in early May. The program will conclude on May 2nd with a showing of Dr. Catena's documentary, "Heart of Nuba". For the event, Dr. Catena, recorded and sent a congratulatory and reminiscing audio clip for attendees of the impact of Dr. Buechler and Dr. Turner's work in rural medicine.


Thomas joins a Muslim family in Michigan to fast for the holy month of Ramadan.
Watch Season 1 of Balls Deep here: https://www.youtube.com/playlist?list...
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Armin Hofmann Reduction. Ethics. Didactics.
In celebration of Armin Hofmann’s 100th birthday, this german/english written book offers a comprehensive overview of his creative work, his ethical convictions for the design profession, and the pedagogical principles that developed into his practical lessons for designers. Guest essays by Wolfgang Weingart, April Greiman, Mahendra Patel and others provide personal insights into Hofmann’s teaching and his international influence. Paperback (190 x 250mm), flat-cover binding, 324 pages with over 330 illustrations.
Book order at arminhofmann.ch


10-25-2012 03:43 PM
I want to set up a custom email scan. I'm using OS X 10.7.5. The email is now located in a hidden directory (Library.) The only way to get to it is to use "go" from the Finder with the option key held down in the main USER directory. That adds library to the drop down list.
When I tried to set up the scan, click the + add button and Library directory does not show.
I tried searching for mail from there, but only file names are searched for. I tried typing the path there.
So how do I set up search to /User/username/Library/mail when it does not show?
Solved! Go to Solution.
10-25-2012 05:22 PM - edited 10-25-2012 05:31 PM
You'll have to go into Applications -> Utilities -> Terminal and type...
chflags nohidden ~/Library
This will make the Library directory visible like it was before. You
can then type the above but use 'hidden' instead of 'nohidden' to
return it back to normal.
Unfortunately, I can't say if Sophos Free if rigged up to scan mail files.
I've tested Avast on the same Mail files and it bought up a whole load
more viruses than Sophos did (zero finds)!
10-26-2012 11:39 AM - edited 10-26-2012 11:56 AM
If I hadn't found another way that makes sense. Have to confess to having lost any UNIX skills I once had and even then I knew DOS far better.
Using GO from the Finder menu with the option key held down, lets me "go" to my user library. Once there browse to what ever file/folder I want setup and drag and drop onto Sophos input page. Voila.
Re: whether Free version will scan or not, the big thing I wanted scanned was attachements and they are located in /Users/username/Library/Mail Downloads. These files are exactly what you'd as attachements (PDF JPG EML GIF ZIP ... and where I'd incoming email viruses.
Thx for your efforts.


I was thankful for mom bringing this book from 1020 Shenandoah. I don’t know if our kids enjoyed it as much as the grownups did. Jacob and I cried almost every chapter. My, what a beautiful explanation of faith from a little girl’s perspective. Below — Nabeel’s latest book — always so thoughtful and inspiring. If you are not praying for Nabeel, it’s time to get started. He has stomach cancer and the prognosis is not good.
I read Understanding People for a seminar on soul care. I have been ruminating on it ever since. This book I find less wordy and more meaty than Larry Crabb’s other books. Well worth reading. Linda lent me Grace Based Parenting. I wish I had read it years ago. Why oh Why have I not been more gracious with my kids? Kimmel helped point out how little and sensitive kids feel and how they are looking for grace and unconditional love. I certainly felt (and feel) this as a child but I did not connect the dots with my own kids.
I have new friends who are Ethiopian. I know nothing about Ethiopia. Being that I am western, one easy way to learn is to read. Then I talked over the cultural insights with my friends. Fascinating stuff. Now I have another country that I want to visit. The Rest of God was a book that was given to me twice. I am finally getting around to read it — and my friends guessed right. It’s a terrific book on Sabbath — both the day and the attitude. I read snippets here and there (as nursing mothers do) and then chew the cud for weeks.
Being pregnant and on furlough means that I have much more time to read. I have to get my legs up or lie down every day, even if it’s only an extra thirty minutes of rest. Brookhaven, the natural birth center that is caring for my baby and I has a great library. Every appointment collect more books to read . . . and NORA tea too! The above book, Giving Birth by Catherine Taylor, has definitely been the best book I’ve read out of about ten books. She takes you on her pregnancy journey to understand the world of hospitals, home births, clinics, doulas, midwives. The information is given mostly in the context of story. I highly recommend it.
Small’s book is about biology and evolution and thus there are alot of monkey stories that I don’t find that enlightening. But the second half of the book is about ethnopediatricians (I think I spelled that right) and their findings about breatfeeding, bed sharing, crying etc in various cultures. VERY interesting. Do you know that babies in Korea cry a whole lot less than babies in other cultures? I am tempted to read this book again, it was that good.
Of course, anything that Ina May Gaskin writes is superb. I have read several books by her and have learned many new things.
When Jacob and I went to Seattle, we took this book along. The concepts of this book had helped some friends of ours, so I was curious. This book is not a “Christian” book, and it is addressing couples who have a base of faithfulness. The book and five days away from the kids helped us get into some deep conversations that probably should have taken place 10 years ago! I highly recommend the book (and two-some time away from everything else!)
Daniel bought this book for Elias. We all know that Astrid Lindgren wrote Pippi Longstocking, but do you know that her other children’s novels are even better? We laughed and cried so much through this book. It had us on tender-hooks, and we could never guess what would come next. So then we had to read more of Lingren’s books. We ordered Ronia, the Robber’s Daughter. The style of this book reminded me of George MacDonald. Another excellent book.
The above book was suggested by a respected friend, and we have enjoyed it. It’s written for college students, so it’s lighter reading. And the author is a bird watcher! L.L, we are indebted to you for introducing us to James Stevenson. What awesome poems. It’s perfect bed time reading for everyone. The book on Compassion has been on our shelf for years. I have lent it to those people who have the gift of compassion . . . but maybe we’d better read about the spiritual gifts that we DON’T have? The book did help direct us and encourage us.
Anne C. Kwantes’ book tells the stories of famous Christian women in Asia. I had hoped all of them were Asian, but only a few were. Still, it was an encouraging and interesting read. It made me want to study history! Rusty Rustenbach’s book is a good how-to book. It’s been fun to read a bit and then practice! We read Holes to Elias. It does have grown-up themes, but it’s good to read about things like violence and then talk about it. I love how Louis Sachar draws out generational sin and healing.
I am teaching through 1-2 Samuel right now, so I ordered this book to help me prepare. I had read it before, but I enjoyed it so much more this time. Every one can learn a thing or two from David!
I have been reading this book off and on for the last year. Bangladesh has many similarities with Afghanistan, and many differences too. The book is mainly about a brave story-teller who is also a compassionate story-listener. This book increased my own courage and compassion too.


This website provides guidelines to using mla format for your academic papers all guides are up-to-date with the latest mla handbook 7th edition. Mla style paper does your research or term paper require mla format use this accessible template to help you follow the proper guidelines includes styles formatted. If you are in college and you are writing research papers, then you are most likely basing your formatting on this, the mla handbook for writers of research papers. What is mla style mla style is a system for documenting sources in scholarly writing for over half a century, it has been widely adopted for classroom instruction. Citation machine™ helps students and professionals properly credit the information that they use cite sources in apa, mla, chicago, turabian, and harvard for free.
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Parents no doubt have lots of questions. So visit our Resource Library and search by topic to hear real-life answers of how parents are applying the word of God to everyday parenting questions just like yours. Don’t see what you’re looking for? Please submit your specific question so that others can respond.
See a question that you want to answer? Great! We would love for you to answer a question in our Resource Library by uploading an audio or video file that shares your experience as a parent along with the scripture that you used to guide you.


In order to further promote learning and development opportunities for the children and families of St Peters (Thundersley) Pre School, we are very proud to work in partnership with the Essex County Council Mobile Library Service.
The mobile library van parks in St Peters Church car park for easy access from 9.15am until 9.45am
This is a fortnightly service, on a Thursday, throughout the year.
This is a fabulous opportunity for children to become familiar with the library service, to make choices, to share and enjoy a range of different books.
Everyone is welcome to visit the library van.


Second and third grade students at Jackson-Milton Elementary School went home with a special gift today, their own copy of the book, Listen to Leslie.
Diane Demetrios of Boardman, wrote the book in memory of her daughter who passed away. The book is Diane’s way of getting an anti-bullying message out to elementary children, and honor her daughter. The main take home message stresses the importance of being kind to everyone.
The book is part of Let’s Make a Difference (LMD), a non-profit in Northeast Ohio. LMD focuses on bullying prevention. Wednesday afternoon, the Demetrios family read Listen to Leslie to second and third grade students at JMES, and sent them home with a copy of the book