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Over the past few weeks, there has been a noticeable glut of high-profile malicious activity aimed at financial institutions. Both traditional banking and cryptocurrency trading platforms have been successfully targeted in these campaigns. Attackers continue to use a variety of tactics both old and new.
Notable events:
Attack Overviews
While many families of banking Trojans exist, the two generating the most buzz recently are TrickBot and NukeBot. Both let an attacker inject malicious code into specified webpages in order to steal user data and credentials.
NukeBot is particularly interesting because its source code was published on hacking forums, enabling anyone with the technical know-how to download, modify, use, and extend the capabilities it provides.
TrickBot is notable because of the way that its operators have been utilizing it. Activity began in the second quarter of 2017, targeting a specific list of private banks, wealth management firms, high-net-worth individuals, and other specialized and regional targets.
Since initial discovery just a few months ago, operations have expanded from nine geographic areas to 20. Additionally, TrickBot's operators appear to begin operations in a new geographic region by first testing their techniques against lower-profile assets. Only after validating success do they begin targeting more lucrative victims.
An SMS phishing campaign that uses social engineering to get victims to divulge sensitive information isn't that exciting by itself. What is interesting about the most recently reported efforts in Brazil, however, is the use of a user's smartphone camera to assist in stealing all the information required by attackers to compromise the user's account.
Attackers are deceiving victims into believing that they need to authorize their mobile phone for use with their bank account. In the process of cooperating, the user is prompted to provide the usual login information required to access an account. Because the targeted bank uses token cards, attackers have gone the extra step to trick the victim into taking a picture of the back of his or her token card (the section with the verification codes) to obtain all of the information necessary to perform fraudulent transactions. This last step is notable because the use of digital technologies to steal physical things — in this case, the user's token card — is not a particularly popular technique.
Over $100 million in cryptocurrency has been stolen between July 18 and 20 from two attacks. The first, a website defacement, replaced a company's published wallet address with the attacker's address during a period of expected high traffic. Even though the victim realized the change within minutes, fixed the page, and alerted users via chat not to use the fake address, the damage had already been done and $7.4 million was sent to the attacker's wallet.
The second attack targeted the underlying wallet software utilized by end users to store their cryptocurrency. This attack allowed malicious actors to steal around $32 million from three victims, which included a casino, a commerce platform, and another cryptocurrency company. A second group, calling themselves the White Hat Group, utilized the same exploit to steal an additional $75 million from other vulnerable wallets.
This action was purportedly to move funds from insecure victim wallets to the secure wallets of the White Hat Group. New secure wallets were then created, each user's original funds restored, and ownership transferred back to the proper owner. Fund restoration began on July 24 and to date at least $60 million has been returned.
Ways to Face the Threat
Related Content:


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What Really Happened in Egypt and Libya: A Simple Answer and a Surprising One
Libya is more complex, and I'm going to try out a thesis here. I know I cannot prove it, but this scenario seems to make perfect sense in light of what we know. Forget about the probably made-up story by a left-wing, anti-American sensationalist British newspaper that the Obama administration knew about the attack in advance. They should have worried whether they had any specific data.
But that's not what's really shocking. Here's what's really shocking: there was so little American security presence on the ground. Why was the ambassador being taken out of his hiding place by Libyan forces that had no serious experience in counter-terrorist security and were badly infiltrated?
Here's my theory: the Obama administration wanted to show that it was not some bullying First World government that looked down on the locals. Send in a platoon or two of crack U.S. forces? Why, that would insult the Libyans. Let them handle it themselves and that would show they were being treated as equals.
When the ambassador was killed, he was totally under the control and protection of Libyan security forces, accompanied only by two Marines. Doesn't this strike anyone as strange? (The two Marines and the embassy public affairs officer were killed alongside him.) And after the ambassador was killed, a small force was sent in but operating only in partnership with a Libyan force (which seems to have been reasonably competent) to rescue the rest of the staff. But the Libyan commander himself noted that the terrorists apparently knew everything already about this hiding place, too.
An American security team should have been sent in to take out the ambassador and the others in a competent, professional manner rather than trusting Libyans who were: a) street guys a year ago who have had no training and experience, as well as b) deeply penetrated by the enemy force that simply could not be trusted. Remember that the on-site Libyan security forces simply ran away when the attack came.
Let's be clear. Libya was the only Arabic-speaking country -- maybe Iraq a few months ago -- where the United States could have taken over protection without any political consequences. It is a real client state. And its security forces, being so new and so fully penetrated by the enemy, are probably the least competent. In contrast, when they let you get beaten up or overrun in Egypt, that's on purpose.
So I wonder whether a serious investigation would discover that Obama and Secretary of State Hillary Clinton decided to show trust in Muslim allies -- make them feel better about themselves, prove the United States wasn't a bully but a real nice friend -- and that led to the deaths of the Americans.
Remember Libya is a country where U.S. forces could operate freely if they wanted to do so, and easily settle any Libyan government complaints later.
Forgive me if I am wrong, but how else to explain what happened? If this view is correct, the deeply disastrous assumptions that have guided Obama Middle East policy have just resulted in the deaths of several U.S. diplomats and soldiers.

subset: commoncrawl


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Tuesday 27th June Meeting – View Jupiter and Saturn throughout the night
Posted on: June, 26th, 2017 | in General, Meetings, Planets, Stellar
Weather permitting, the telescopes will be available for viewing from the start of the meeting.
The Moon will be getting low on the Western horizon by 7:30pm so should be viewed at the start of the meeting before it sets.
Jupiter and Saturn will be ideal for viewing throughout the evening.
We will also be watching a video about the star closest to the Earth – the Sun.
Admission is $5.00 for visitors (free for members). School age children are free. 12 Month membership is $30.00 for individuals, $40.00 for families, or $10.00 for students.
Meetings are held in the Observatory meeting room, Fergusson Park, Tauranga. These are held on the 2nd and 4th Tuesday of every month at 7:30 pm. Presentations are given on current astronomical topics. All those interested in astronomy in the Bay of Plenty district are invited to attend.


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Over a decade old, but still a classic. Some of my first forays into type experiments while in school. This was for a local music festival I helped organize. The posters for years one and two were pre-digital, hand assembled and photocopied.
I revisited the same approach for the festival the following year as well:
Other Projects:
Visualizing the History of FugaziData Visualization
Globetrotting History of MetalData Visualization
Equal Pay Laws are Not EnoughData Visualization
How to Record Your BandInfographic
The Slow Recovery from the Great RecessionInteractive
The Race to the MoonInfographic
Is the University Worth the Debt?Interactive
Scramble for Land RightsInfographic
Wide Reach of Arts Funding in MarylandData Visualization
Sensible Gun Laws NowInteractive
Show FlyersConcert posters
Land for Plants, not CattleInfographic
Visa Holders DashboardsInteractive
Positive Youth FestConcert Poster
Iceland Ring Road MapInfographic
Droughts & BlackoutsData Visualization
Spare Time over a LifetimeInfographic
Pinkwash posterConcert Poster


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Master of Science in Nursing
Known for its high caliber and proficiency in online education, the Clarkson College online Master of Science in Nursing (MSN) program attracts registered nurses from across the U.S. who are interested in experiencing greater challenges, opportunities and advantages in their nursing careers.
Our rigorous and patient-focused MSN program prepares graduates to function independently and collaboratively in designing, implementing and evaluating complex health care strategies in a variety of advanced-practice nursing roles.
Students in the MSN program choose from four specialties:
Nursing Health Care Administration
Learn to manage other nurses within your unit or department and to serve as a leader in the design, implementation and evaluation of health care delivery systems.
Degree Plan
Nursing Education
Learn to combine clinical practice of medicine and health care with classroom instruction.
Degree Plan
Adult–Gerontology Primary Care Nurse Practitioner
Learn to facilitate the diagnosis and management of acute and chronic primary health problems in adult patients.
Degree Plan
Family Nurse Practitioner
Learn to provide health assessments, direct care and health maintenance information and tools to the entire family.
Degree Plan
In your final semester of the MSN program, you will complete a scholarly, evidence-based practice journal article and poster presentation based on the research you conducted in an approved clinical setting. This research project allows you to investigate a question of practical importance by developing and testing an intervention, curriculum or protocol for application within a specific setting.
Although the MSN program is offered entirely online, students enrolled in either of the Nurse Practitioner programs are required to complete minimal on-campus visits. Refer to the MSN Student Handbook for current details. At the completion of the MSN program, students who elected a Nurse Practitioner (NP) specialty will be prepared to sit for the American Academy of Nurse Practitioners Certification Program National Certification Examination.
State Authorization & Licensure Information
Nurse Faculty Loan Program
The Nurse Faculty Loan Program (NFLP) provides financial assistance to nurses enrolled in the Clarkson College Doctor in Health Care Education & Leadership (Ed.D.) program or Master of Science in Nursing (MSN) Nursing Education program option. The NFLP aims to assist registered nurses as they complete their education to become qualified nursing faculty. Recipients are required to teach for at least four consecutive years following graduation to be eligible for loan forgiveness through NFLP.


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This Beautiful Brew Was Inspired By The Indigenous Maori of New Zealand
by Natalie Mouradian on 09/06/2017 | 2 Minute Read
Ora Ale is a special brew straight from New Zealand. The origins of this beer are reflected in the design of the label, which includes beautiful illustrations depicting the area from which the ingredients are harvested from.
"Ora Ale is not just a normal beer, Ora is brewed to a recipe handed down through the generations with loving devotion and a profound respect for tradition. This and the indigenous herb Kawakawa are responsible for its smooth texture, the golden colour, and the distinctive and slightly sweet taste."
"Kawakawa has strong spiritual connections for the Maori and a special place in rongoa, traditional Maori medicine. It is said to purify the blood and cleanse the liver. In order to use the plant, permission was needed from the tribal elders. Kawakawa is harvested following tikunga (a Maori custom) and includes saying a karakia (prayer) before entering the forest. During the harvest, the sight of the New Zealand native Fantail bird fluttering above creates a truly special experience."
"This care and respect has been reflected in the handcrafted label design. Kate O'Hara created a stunningly beautiful illustration of the Kawakawa plants with the Fantails fluttering around the Ora brand."
Design/Creative Direction: Monique Robins Illustration: Kate O'Hara Location: Auckland, New Zealand


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When I featured Chili Bamboo Shoots in a Foodstuffs post some time ago, I mentioned that I would like to try using them as a dumpling filling. After a couple of other experiments using the stuff I only have a little left in the jar and I need to use it up. There really isn't enough to use them alone as a dumpling stuffing, so I decided to use some of my homemade Pickled Mustard Greens and ground Pork to round out the volume. Anyway, for this experiment, we will be essentially be doing the Chinese style dumpling known as Jiaozi, or more specifically, 蒸餃子(zhēng jiǎozi), since we will be steaming them…
The Ingredients
- 1/3 lb. Ground Pork;
- ½ cup Chili Pickled Bamboo;
- ½ cup Pickled Mustard Greens (homemade or store bought);
- 2 tbsp. Cornstarch;
- 2 tbsp. Rice Wine;
- 1 tbsp. Chili flakes;
- 1 tbsp. minced Garlic.
For the wrapper, we will Basic Dumpling Dough made using 1 cup of flour and hot water (not shown above because I forgot to include it in the picture).
The Method
First, mix all the filling ingredients in a bowl, stirring well, in one direction only, until you have a smooth paste. Set this aside in the fridge for at least an hour to allow the flavors to blend.
Pull off a marble size piece of dough from your ball, form it into a ball between the palms of your hands and then roll that out to a 4 inch circle, using extra flour to keep the dough from sticking. You should be able to get 24 dumplings using marble size pieces each time.
Now place about a tablespoon of the dumpling filling in the center of the rolled out dough circle. There are quite a few different ways to form the single-sided pleat shape typical of Jiaozi and one of the easiest ways is as follows:
Grasp one edge and pinch it into a point…
Next, repeat this, folding the first point over the next and then continuing so that you form accordion-like pleats around the circle. As you do, you will see the edges pull up to form a little pocket around the filling.
Continue the pleats anywhere from two-thirds to three-quarters of the way around the circumference. You can actually do anywhere from three to a dozen pleats but, as a general rule, the more you do, the better the final appearance. When you have completed that part, fold the remaining edge up to the pleated side and squeeze the dough together tightly.
Finish closing so that a nice little frill forms across the top and then push in at the bottom and press down to form a small 'step'. This part is optional, but I find it makes for a prettier appearance.
Anyway, I hope I have explained the process somewhat clearly and not totally confused things but, hopefully, you should end up with something that looks something like the one above. If not, don't worry too much… the mistakes taste as good as the pretty ones and practice always makes perfect. It used to take me hours to make 24 pretty odd looking things and now I can toss off the same number of fairly passable ones in about twenty minutes now… more if the wife helps!
Finally, once the dumplings are formed, steam them for about 15 minutes or so. I used lightly oiled foil inside my steamers but lettuce leaves work nicely too. When they are done, let them cool for just a few minutes and serve with your favorite dipping sauce.
The Verdict
Well, I won't give these top marks but they were still very good nonetheless. The bamboo flavor dominated (which I suppose is what I was aiming for) but I was a little disappointed that my pickled mustard greens just sort of faded into the background. A sharper, saltier taste was anticipated and, when I didn't get it, something felt missing. But, heck…. I can't complain too much and I still have a dozen left since we only cooked twelve for a light supper. Maybe for lunch tomorrow I will pan-fry them pot-sticker style…


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Male and female relatives of young women with breast cancer are at greater risk of developing cancer themselves, according to research published today.
Scientists studied parents and siblings of 504 women diagnosed with the disease before the age of 35 and found they were at a 1.5 to two-fold increased risk of prostate, lung, brain and urinary cancers.
The risk was little changed among the relatives of women who did not carry known faulty genes that increase the chance of breast cancer. That suggested there may be other undiscovered gene disorders causing cancer in young women and their families, the researchers said, meaning further work could help identify more people who might be susceptible.
Women who inherit one of the abnormal genes known as BRCA1 and BRCA2 have a 55% to 85% risk of developing breast cancer in their lifetime. But most women with the disease do not have the high-risk genes, which only account for between 2% and 5% of all breast cancers.
Professor John Hopper, from the Centre for Molecular, Environmental, Genetic and Analytic Epidemiology at the University of Melbourne, who led the study published in the British Journal of Cancer (BJC), said: "These results are surprising and novel, and could be pointing to a new cancer genetic syndrome.
"Just as the link between male and female breast cancers in some families led UK researchers to find the breast cancer susceptibility gene BRCA2, the results of this study could help scientists discover new cancer susceptibility genes." Dr Lesley Walker, the director of cancer information at Cancer Research UK, which owns the BJC, said: "These early results are interesting in pointing to some increased risks of other cancers in the relatives of very young breast cancer cases. This study is important in suggesting a strategy to help identify other genes which significantly increase a woman's breast cancer risk. More studies with larger numbers will help confirm these risks."
It is already known that relatives of early onset breast cancer patients without mutations in BRCA1 and BRCA2 carry up to a four-fold increased risk of the disease compared with those with no family link, but this study suggests close relatives also face higher chances of other cancers.
It also backed up earlier research by finding that mothers and sisters of women with breast cancer had a substantially increased risk of the disease, even if the women did not have a BRCA mutation. The risk for sisters was greater than for mothers. Previous studies have suggested increased risks of other cancers for relatives of women with breast cancer, but the links have been weak and inconsistent.
Of the 504 women in the study, 41 had a BRCA mutation. A total of 2,200 parents and siblings were involved.


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See also
1. Charles F.H. HURLOCK, son of William Frederick HURLOCK (1865-1905) and Carolina COOTE ( - ), was born in 1901. He was a Partner in AC Cars (Cobra Cars). He died in 1989. He married Tesa UNK.
... bought by brothers William and Charles Hurlock and they turned it into a smaller, more specialist operation, oft advertising their bespoke cars as: Tailor-made at the Savile Row of Motordom.
As in World War One, when the factory was turned over to producing shell cases, during World War Two it put its manufacturing expertise behind the war effort making, among other things, parts for the Fairey Swordfish bombers, which helped sink the Bismarck, and Hamilcar gliders.
Hostilities over, the firm went back into cars and, in 1953, produced probably the biggest milestone in its history the super-sleek, for its day, AC Ace.
When, in 1961, the giant Ford Motor Company of the US asked Carroll Shelby, a Texan ex-race driver, to find it a car to beat its main rivals Chevrolet Corvette on the race track, Shelby negotiated with AC to put a massive Ford V8 engine into the Ace.
This gave birth to the AC Cobra, one of the fastest and most brutal sports cars ever produced, and it is this model that is still being built at Weybridge today.
Back when the Cobra was first built, it was a case of from the sublime to the ridiculous. Down the river, in its Taggs Island factory, AC was still turning out its famous light blue three-wheeled invalid cars by the thousands. Meanwhile, on the newly-opened M1 motorway, a prototype AC Cobra was being clocked at 196 mph.
In those days there were no motorway speed limits, but the national newspapers went over the top with sensationalist headlines about the near super-sonic Cobra.
Questions were asked in Parliament and, in a knee-jerk reaction, the then transport minister, Barbara Castle, imposed the 70mph motorway limit we still have today.
After some 56 years of ownership, in 1986 the Hurlock family sold its controlling interest in AC to Autokraft Limited and Ford, who built the new factory and moved the company to Weybridge. The firm has changed hands twice since then and is currently owned by South African-born Alan Lubinsky.
In the corner of his factory on Wednesday las
Quote from AC's own website:-
"A year later the AC Cobra was embroiled in scandal when it raced along the then brand new M1 motorway at a speed not too far short of 200 mph. This exploit directly resulted in the 70 mph limit still in force to this day."
Edited to add another quote from 'Origin of the Cobra' by W D Hurlock.(Son of AC's Chairman in the 60s):-
"One abiding memory will be of our special Le Mans Car which caused a sensation when we innocently descended on the M1 motorway very early one morning in June 1964, to test it at over 180mph.".
2. William Frederick HURLOCK, son of William HURLOCK and Susan MAPLES, was born in 1865. He died in 1905. He married Carolina COOTE.
3. Carolina COOTE has few details recorded about her. She and William Frederick HURLOCK had the following children:
William A HURLOCK (1887-1964) (known as 'Will'). Will was born in 1887. He died in 1964.
Charles F.H. HURLOCK (1901-1989)
4. William HURLOCK, son of George William HURLOCK and Charlotte HODSELL, was born circa 1840. He was baptised on 11 January 1840 in Deptford, St. Paul. He married Susan MAPLES on 25 March 1864 in St. Alphege, Greenwich. He died in 1925.
".....[had a] thriving business at Walworth Road, Elephant and Castle, comprising many shops on both sides of the road being drapers, gents' outfitters, furniture, boots and shoes, etc. and well known as Hurlocks, Elephant and Castle." - Edgar White.
He became Mayor of St. Albans. During the Boer War, being a staunch liberal, he spoke against the War and the local mobs broke all the windows in Ver House, his house in St. Albans.
By repute, employed most of his family in the business "Hurlocks" which he built up on Walworth Road. Made enough money to "move out" and had a house built in St. Albans, where he became mayor. Apparently, he outlived most of his children, some of whom had various problems, including drink-related ones.
5. Susan MAPLES was born before 1843. She died circa 1908 in St. Albans. She and William HURLOCK had the following children:
William Edward HURLOCK (1862-1864). William was born in 1862. He died in 1864.
George Herbert HURLOCK (1867-1902). George was born in 1867. He died in 1902.
Charlotte Catherine "Tottie" HURLOCK (1868- ). Charlotte was born in 1868.
Walter Hodsell HURLOCK (1871-1902) (known as 'Lily'). Lily was born in 1871. He died on 6 February 1902.
Frederick Alban Rayner HURLOCK (1876-1913). Frederick was born in 1876. He married Emily UNK in 1900 in St. Albans. He died in 1913.


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Category: Venice
April 25th: St. Mark and the "bocolo"
In Venice on April 25th the feast is one and only one: the feast of St. Mark the Evangelist, patron saint of the city.
The birth of Venice
On 25 March Venice celebrates its birthday.
According to Martino Da Canal in his "History of Venice" the date of birth of the city is March 25, 421. The date coincides with the consecration of the church of San Giacometto on the banks of the current Grand Canal, which marks the first settlement in Venice on the Riva Alta (Rialto) according to the 11th century Chronicon Altinate.
Actually, the most beautiful city in the world does not have a precise date of birth, but it is the result of continuous movement and change.
Going back in time we would not have seen any expanse of uncontaminated water, as we could imagine looking at the lagoon, with its sandbanks, its islets and its peace.
What we could have seen was the dominance of the continent in the eternal struggle between land and sea.
The Alpine rivers, flowing into today's lagoon, continuously carried debris that created an expanse of land covered with forests, interspersed with freshwater marshes and a few brief hillocks ("dosso" in italian, dossum durum which will give its name to Dorsoduro, one of the districts of Venice, and dossum oliveti, which will give its name to Olivolo, today's Castello, another district of Venice).
A freshwater stream, the rivus altus (Rialto), marked the current course of the Grand Canal, on whose banks human settlements had been built since prehistoric times, as well as in the territory of Torcello.
In the basin of San Marco stood a saltern, with the floor in Roman bricks placed more than 3 meters below the current level of the common tide.
According to Titus Livius, the fugitives from the Trojan War came in search of refuge on the Venetian coast and Aeneas founded Venice in 1107 BC. Martino da Canal also describes how the Trojans landed in the area of Olivolo and placed there their first settlement.
One of the first centers built was a port called Metamauco and dates back to Roman times. It stood near today's Malamocco, in the Lido of Venice, and was located at the mouth of the river Medoacus Maior, the current river Brenta.
Legend has it that it was located further out to sea than the modern Malamocco. A catastrophic climatic event caused it to sink under the sea and it is said that in good weather you can still see its submerged walls and that the fishermen's nets sometimes remain imprisoned in the tip of the bell tower.
During the last two millennia the activity of tides, winds, coastal currents and the progressive rise in sea level led to a gradual transformation from continent to lagoon, accentuated by the deviation of rivers led to flow into other parts of the coast by man.
Venice begins to see its population grow as a result of the barbarian invasions that followed one another since the fifth century. The fugitives found in the lagoon city protection provided by the Byzantine Empire, present in the territory in different administrative forms.
The growing economic development and the distance from the capital Constantinople were the circumstances that allowed to achieve the administrative autonomy that led to the birth of the Republic of Venice, the Serenissima.
In a short time Venice conquered the political and military hegemony in the Adriatic Sea and throughout the Mediterranean, becoming the main seaport and trading center.
Immediately afterwards, the Serenissima will reach its maximum splendour.
"And if their lagunes are gradually filling up, if unwholesome vapours are floating over the marsh, if their trade is declining, and their power has sunk, still the great place and the essential character will not, for a moment, be less venerable to the observer."
– Johann Wolfgang Goethe
James Abbott McNeill Whistler: a true lover of Venice
"If the man who paints only the tree, or the flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this."
James Abbott McNeill Whistler
James Abbott McNeill Whistler was a great and famous American painter, who became famous for works such as "Arrangement in Grey and Black No. 1" also known as "Whistler's Mother".
What the fewest people know, however, is his genius in the production of chalcographic engravings: Whistler has been one of the most inventive and influential engravers in history, making almost 500 engravings in five decades.
He approached engraving in 1857, at the age of 23, as a gifted and passionate young draughtsman, using the chalcographic technique to capture and reproduce quick sketches at the time when engraving was used as a mere reproductive technique.
From the 18th century onwards, in fact, the art print had become almost exclusively a means of reproducing works of art and portraits, going towards a real industrialisation.
At the end of the 19th century, with the birth and success of photography, engraving was able to free itself of its utilitarian function, thanks to artists such as Whistler, who rediscovered the vitality and autonomy that characterized it at the beginning.
In his first years of experimentation with this technique he worked outdoors, drawing on suitably prepared copper, and then proceeding to morsure in his room, travelling around Alsace-Lorraine and the Rhineland.
In 1859 he moved to London, where he produced views of the Thames, maintaining the purity of unadorned realism inspired by Japanese prints.
At that time he also began to rub the inks in an expressive way and to work using the technique of drypoint, preferring it to etching, for the production of portraits and figures.
From September 1879 Whistler moved to Venice to produce twelve etchings, commissioned by the Fine Arts Society of London, which expected the return of the artist after a stay of three months.
The artist instead stops in the city for fourteen months and produces fifty etchings, over a hundred pastels, reaching its creative peak.
The views of smaller canals, the entrances to palaces, the reflections dancing on the water and the dark evanescent landscapes represent places known by the locals, far from the tourist routes, just before Venice was sold to the masses
As a supporter of "Art for Art's sake", in the celebration of visual beauty, his production is an honest work that shows the most intimate spaces of Venice, showing the viewer the city through the eyes of a Venetian and helps to redraw the map of the city.
Etching gave Whistler the opportunity to combine the speed of execution, quickly drawing ideas on the plate, with the possibility of perfecting and developing them across multiple states, highlighting its complex aesthetics.
His work, with such an innovative approach, has not only attracted followers and imitators, but has also influenced the entire art world.
"I learned to know a Venice in Venice that the others never seem to have perceived…"
James Abbott McNeill Whistler
https://www.frasicelebri.it/frasi-di/james-mcneill-whistler/ https://it.wikipedia.org/wiki/James_Abbott_McNeill_Whistler
October, 29th: an ordinary day on an extraordinary high water
Do you see these people? Do you see them well? Good.
These people are idiots.
These people were photographed on November 11st, 2012 in St. Mark's Square, when the high water in Venice reached 140 centimeters. These people are part of the vast majority of tourists who visit Venice every year thinking that it is not a city with its problems, its inhabitants, its dramas, but an amusement park where everything is "fake", everything is fun and everything is legitimate because – as you often hear – "I pay to stay here".
Another consideration: these idiots are bathing in dirty water, because maybe you don't know it, but part of the sewers in Venice drain into the canals… and I assure you that that water smells like few things in the world!
I don't want to be controversial with this blogpost: it wants to be simply the chronicle of what happened from my point of view on October 28th, 2018, when the water in Venice reached 160 centimeters (20 centimeters higher than the picture above). And I want to somehow inform people about some aspects of the high water that they may not know or have never thought about.
I would like to try to make many people understand that maybe they don't know, or maybe they never thought about it, that for most of the people who live and work in Venice, a high water of these proportions is a real drama.
That's why seeing tourists having fun taking pictures like the one I published above makes me feel angry: because it's an unconscious mockery of people who suffer serious damage, both economic and even psychological. For example: while I had the shop completely flooded and I was desperately trying to save as much as I could, there were people outside who came by and wanted to take pictures of me.
I don't think they're tourists, they're just jackals.
'Cause I assure you that seeing your own laboratory, your own shop, your own house invaded by the water is certainly not a pleasure.
I felt awful when I saw that all the measures I had taken to combat this phenomenon had failed.
But first things first.
The high water alarm had begun several days before, when the tide forecast service had announced a very sustained high water for the day 28th in the afternoon. The day before I lifted all the materials that are usually placed on the floor and those that were at a lower level.
One thing has to be taken into account: I have two bulkheads (one for the front door and one for the door to the back yard) and a pump that "spits" out the water when it reaches a certain level and that for the "normal" high waters allows me to stay relatively quiet. The problem, however, is that after a certain measure (around 115 centimeters, so almost every time there is high water!) the high water starts to rise from the floor …! However, for such high waters there are only many annoyances but not real damages.
Below is a photo-story of what happened that day.
The day before I prepared everything: I lifted everything up to protect the materials.
Ocober, 29th: the water starts to grow…
The water level exceeds the shop window and comes dangerously close to the edge of the bulkhead. The water comes from the floor.
At this point it's really too close, the sirocco wind continues to blow and it's a moment: the water passes the bulkhead, enters the studio and invades everything. The bulkhead is no longer needed, the pump is no longer needed: there is no longer any difference between inside and outside. Things at a lower level begin to float and go around the store.
Even the courtyard behind was flooded, submerging and ruining my beloved plants that I had unnecessarily placed above some wooden elevations
The tide usually grows for 6 hours and then decreases for the next 6 hours. This time, due to adverse weather conditions (especially the strong sirocco wind), the tide has decreased very little, so that the minimum was around 130 centimeters. And during the evening it came back high again. Luckily then, after midnight, the wind lost strength and the water began to fall, leaving behind only dirt and a very bad smell (…and think that some people take a bath in it!).
The back yard was a disaster too
It took almost three days to clean, disinfect and dry everything. A very hard job, and I realize that I am very lucky because I have not suffered serious damage. There are many shopkeepers and craftsmen with electrical machinery who have suffered irreparable damage, economic damage and now have to start again by investing money: this high water is not fun, it is a misfortune
This testimony of mine does not want to be absolutely a way to out-mourn or self-celebrate: I just want to try to make those who do not know the phenomenon of high water understand what's really behind something that to many may seem funny, but that actually only involves damage and days of hard work.
I take this opportunity to say hello to all of you who may have learned something from this blogpost and to all the artisans of Venice who do not give up.
PS: To take out Bic, my dog who's always with me in the studio, to do his evening "needs" I had to take him in my arms and find a place high enough where he could walk and not swim… what a feat! And he wasn't very happy either… 🙂
Venice place names: Campi, Campielli, Corti
In Venice there are no streets but calli (with a few exceptions, as we learned here), and it's just the same for the squares: if you hear about "square", you can't help to refer to St. Mark's Square, the one and only square in Venice.
All the other areas of the road network that in the rest of the world are called squares, in Venice are called Campi (Fields).
On ancient times the campi, as the term suggests, were covered with grass and used for cultivation, with orchards and fruit trees, and sheeps or horses could be found grazing there.
Only recently the campi have been paved, but there is still a testimony of what the fields should look like on the days of the Serenissima: to see it just visit the Campo di San Pietro di Castello, with its meadows and trees.
The social meaning of the campo has always been very strong, since Venice is a polycentric city, built on numerous islands that lived a life of their own.
The open space surrounded by houses was a meeting place for the inhabitants, a place where there was a market and overlooked the craft shops.
On the campo there was always a church, with an adjoining cemetery; the function of the campo as a burial place is still indicated in some cases with the presence of an elevated area more than a meter above normal traffic (Napoleon then banned the practice of burial in the campi, moving the cemetery to the current island of San Michele).
In the larger campi there were also processions and religious events, as well as tournaments and public speeches.
Even in much more recent times, the campo has been (and still is, even if the depopulation of Venice dramatically has its strong impact) the meeting place of children who played mainly football or other games, such as jumping the rope or going on skates.
The well was another inevitable figure in every campo, and it was the only source of water for the city, before the construction of the aqueduct.
Fortunately you can still admire many real finely worked wells, even if unused (if you want to learn more about the functioning of the wells, read this article).
The campi often owe their name to the churches that rise (or rised) there, but also to important families who lived there or to trades that were carried out in ancient times.
When the campo is smaller than usual it is referred to it as Campiello (small field), which is often only a widening of the calle or an appendix to a larger field, and it is usually devoid of well and surrounded by houses.
In the campiello social life was even more typical, because it was just the center of a micro district, where the social fabric of the city was interwoven, with gossip, quarrels and the popular chatter of a lively and crowded city. Carlo Goldoni in his comedy "Il campiello" tells just these habits.The importance of the campiello is also testified by the name given to the important literary prize "Il campiello", one of the most prestigious and well-known Italian literary prizes.
Even smaller than the campiello is the Corte (courtyard), which usually has only one entrance through a portico or a street sometimes equipped with a gate. In fact, the corte was considered an extension of the house, where you could find women who, during the summer, sitting next to their door, engaged in housework activities such as cleaning fish and vegetables, sewing and embroidery, and the practice of inserting beads into a thread for the manufacture of necklaces, a typical activity that in dialect is called "impiraperle".
Venice place names: Calle, Calle Larga, Salizada, Rio terà, Ramo, Sotoportego
In Venice everything is different from the rest of the world, there's no doubt. Even the streets are not simple ways to transport people and things, but they are opportunities to see magnificent places at every step.
If you are looking for a "Strada" (Street) in Venice, you'll find only "Strada Nova" (New Street), located in the Cannaregio district, a real city artery. Strada Nova commonly indicates the long route formed by a long series of spacious streets, from the railway station to Campo Ss. Apostoli- actually, only a part of it is the real Strada Nova.
Its construction began at the beginning of the 19th century and continued for almost the entire century, turning a long and winding road into a spacious and full of shops street.
The other streets in Venice are called "Calli", from the Latin callis, which means path.
The "calli" can be very narrow or wide, the "Calli larghe" (wide streets) can be dead end streets- in this case they are called "Rami" (branches), when they lead to a dead end "campo" (field) or directly to a house.
The "Salizade" are "calli" which once were more important, and that's why they were first paved with masegni (typical stone used just in Venice), while the others were paved with terracotta bricks (or clay) placed in a herringbone pattern (as you can see even today in front of the Church of Madonna dell'Orto).
The masegni are the classic gray stones that cover almost the entire Venetian public ground, from the first half of the 18th century. This paving is composed of slabs of trachyte, a volcanic stone extracted in the quarries of the Euganean Hills area, near Padua.
Another type of street in Venice is the "Ruga" (from the French Rue): it is a street important for commercial business that have always been there since ancient times.
Sometimes the need to create spaces on the streets led to bury the canals, turning them into "Rio Terà" (buried canal): the water of the canal often still flows under the road ground.
The need to build houses forced the Venetians to widen the houses above the street: this is the case of "Sotoporteghi" (underpasses), a sort of "gallery" through the houses, often dark, where you can see the classic wooden beam ceiling that every Venetian house has.
Even the names of these different kind of "streets" are particular and different: they often refer to the ancient (or present) proximity to a convent or church or crafts that were practiced in a concentrated way, or they get their name from some famous person who used to live around there, but also by ordinary people who became famous for some reason.
And if all these names were not enough, keep in mind one thing: sometimes you can find the same name of a calle in different areas of the city, leading the distracted or superficial visitor to lose his way (or go crazy at all!).
The Venetian "Fondamenta"
Venice is a unique and special city, and the names of its "streets" are different from any other city in the world.
In Venice there is only one "Strada" (street), the "strada nova" and just one "Piazza" (square), Piazza San Marco.
The only road signs you can find walking around Venice are called "nizioleti" (Venetian term which means "sheets").
The nizioleti are wall paintings painted on the plaster of the buildings and they show names, directions and street numbers.
The appearance of these atypical street signs is unmistakable: they appear as white squares (this is why there is the reference to the small sheet) bordered with black and they contain letters, numbers and arrows painted by hand in black thanks to the use of molds.
A recurring word you'll find is Fondamenta or Fondamente.
"Fondamenta" means "foundation" in Italian, and it describes the walking bank along a canal. It was (and still is today) a popular area to load and unload boats, kind of like a dock.
The Fondamenta is the road that faces the water, just like the one I'm looking at now from my studio.
There may be different types of fondamenta, but they all will have some shore, the landing place for boats, with steps made of Istrian stone that descend into the canal and which are usually covered by slippery algae that capture unsuspecting tourists and sometimes take them to water.
Some fondamenta have wrought iron railings, interspersed with metal columns or Istrian stone, while others have masonry parapets covered with stone.
Some fondamenta have no parapets and have only a strip of Istrian stone along the edge that runs along the canal.
There are particularly large and long fondamenta, like the Zattere, which runs along the Giudecca Canal.
Other fondmaneta are not very large but they can be very long and you can find a lot of commercial activities, such as the Fondamenta della Misericordia which I wanted to portray in my engraving and which continues changing its name in Fondamenta dei Ormesini, where my studio is located.
The fondamenta has the particular charm to represent the union between land and water, in a city that lives in balance between these two elements and which can take the best from both, transforming them into a unique magic.
The Bicentenary of Gallerie dell'Accademia – Canova, Hayez, Cicognara
The year just passed saw the celebration of the bicentennial of the Gallerie dell'Academia, one of the most important Venetian museums, where you can find the best collection of art from Venice and the whole Veneto, especially paintings from 14th to 17th century.
The Gallerie were born in 1817, a special moment in the artistic history of Venice: there was a cultural awakening of the city, together with a rediscovery of the ancient glory, arresting the decline followed by the fall of the Serenissima.
Among the major artists represented at the Accademia there are Tintoretto, Tiziano, Canaletto, Giorgione, Giovanni Bellini, Vittore Carpaccio and Veronese.
Besides the paintings, in the Gallerie you can also find sculptures and drawings, including the famous Vitruvian Man by Leonardo da Vinci, which is only exhibited on special occasions.
The exhibition, open until April 2nd 2018, celebrates the crucial years of the cultural revival which begun in 1815 with the return from Paris of the four horses of San Marco and the lion of the column on the pier of San Marco, symbolic works of Venice stolen in 1798 by Napoleon's army, and ended with Canova's death in 1822 in Venice.
The exhibition revolves around three key figures: Cicognara, Canova and Hayez.
Count Leopoldo Cicognara, (Ferrara 1767 – Venice 1834) intellectual, art historian and biographer, engaged in the preservation and enhancement of the past and at the same time in supporting contemporary art of those years.
He was president of the Academy of Fine Arts since 1808, where he had important results in the increase of the number of professors, in the establishment of awards for students and in the improvement of the courses of studies.
He was also the creator of the Galleria for the exhibition of Venetian paintings that now celebrates 200 years of life.
Antonio Canova, (Possagno 1757 – Venice 1822) famous sculptor, is considered the greatest exponent of European Neoclassicism in sculpture and he was in charge of the recovery of the works of art stolen by Napoleon during the occupation.
He was also highly appreciated during Romanticism, especially in Italy, where he was able to ignite national pride during the Risorgimento, to the point of being considered the tutelary genius of the nation.
Francesco Hayez, (Venice 1791 – Milan 1882) an innovative and multifaceted Venetian painter, one of the greatest exponent in Italy of the Romantic movement, left an indelible mark on the history of Italian art thanks to his works, many of which contain a hidden Risorgimento political message.
Cicognara, in an epistle sent to his friend Canova in 1812, wrote of his ambition to see Hayez becoming the interpreter of national inspirations, capable of giving new life to the great Italian painting.
The current exhibition is divided into ten thematic sections, among which stands out the meeting of the series of artifacts sent in 1818 to the court of Vienna for the wedding of Emperor Francis I, known as the "Homage of the Venetian Provinces", which return to Venice for the first time in 200 years.
Inside the exhibition there are also paintings, sculptural groups, two ares and two large marble vases, a table made of bronze and wood with the top covered with precious Murano glass and precious bindings representing the highest artistic production of the Venetian Neoclassicism.
The visiting path also features the Musa Polimnia by Canova, completed in 1816, which has a troubled story which is told for the first time on this occasion.
In 1898, after the death of Empress Elisabeth of Austria, the sculpture passes into the collection of her niece, Archduchess Elisabeth Mary of Austria, daughter of Rudolf of Hapsburg-Lorraine.
In 1942, after two years of negotiations and the payment of an exorbitant sum, the Musa Polimnia became property of Adolf Hitler, who wanted it for his Fuhrermuseum in Linz.
Found by the Americans in 1942 in a castle, it was moved to Munich, Germany.
Only in 1964 the statue returned to Hofburg, in the same rooms that had hosted it until 1929, and then moved for a few months to the Gallerie dell'Accademia in Venice.
David Hockney at Ca' Pesaro
Ca' Pesaro, the grand palace of the second half of the 17th century where the International Gallery of Modern Art of Venice is located, is hosting a beautiful exhibition which nears its end.
The exhibition of David Hockney, from June 24th to October 22nd, is the first Italian exhibition focused on the master of contemporary art, and it has brought for the first time in our country his most recent project: 82 portraits and a still life.
David Hockney was born on July 9, 1937 in Bradford, a British industrial town in West Yorkshire, and attended the Royal College of Art in London after graduating at the Bradford School of Art.
In 1960 he exhibited at the historic Young Contemporaries at the Whitechapel Art Gallery in London, an exhibition which marks the birth of the British pop art, and David became one of the major exponents.
In 1961 he travelled to the United States for the first time, destination New York, and then in 1964 he went to Los Angeles, a city that inspired him with his dazzling California light: he became an interpreter of that particular light, turning the atmosphere of the American life into famous works.
His work, from the beginning to the present, has the figurative element as the absolute protagonist, from portrait to landscape, through the use of traditional art and new media techniques.
David ranges among pastel designs, engravings, oil paintings, photographic collages, designs on the iPad, portraying the life around him, and he works also on many scenographies both in England and in the United States.
His artworks lead him to become one of the most famous and important artists of the twentieth century and, for some decades, the best-known British artist.
I'd like to indicate a quote to his famous picture "Portrait of an Artist (Pool with two figures)" in one of my favorite Netflix series: in the Bojack Horseman's living room there is a funny "horse version".
In the current exhibition at Ca' Pesaro we can see the 82 portraits made between 2013 and 2016 featuring gallerists, curators, artists, well-known and familiar faces in Los Angeles, as well as family members and friends.
Each portrait is executed under the same conditions: the realization time is three days (or, as the artist says, "twenty hours of exposure"), with the subject sitting in a chair on a platform with a neutral two-tone background, to prove that, within the limits of these rigid standards of representation, the greatness of the master is measured by his ability to express an infinite range of human feelings.
Vere da pozzo – Venetian wellheads
Venice is undoubtedly a city unique in all the world, a symphony of treasures, monuments, palaces, glimpses, history, poetry and many other things, and sometimes you are dazzled by all this beauty that you do not realize that just in front of you there are spectacles of architecture, art, and engineering that go almost unnoticed. This is the case of the wellheads ("vere da pozzo" in venetian), real art jewels and above all an expression of the typical venetian wisdom that have contributed to make the Serenissima so powerful.
It may seems strange that a city crossed and surrounded by so much water has always had problems with water supply.
Marin Sanudo, historian and chronicler of Venice, around the early 1500s wrote "Venezia è in acqua et non ha acqua" ("Venice is in the water but has no water").
Because of its geological shape, the "lidi" (shores) were the only areas where rich water sources were present and where they found natural wells, formed by the accumulation of rainwater filtered and depurated by the sand.
Finding these wells could have influenced the method of construction of the wells, because only Venice used layers of sand to filter and make rainwater drinkable.
Since the Middle Ages, citizens began to build underground cisterns, while the government encouraged and promoted the construction of water systems.
The solution to the water problems of an ever-growing population was finally found thanks to the realization of the "Venetian wellheads".
These structures served both as a freshwater cistern -the freswater was carried by the Brenta and Sile rivers (task of the "Corporazione degli Acquaioli" founded in 1386)- and for the purification of rainwater.
Once found the best place for the well, they began to dig (usually no more deep than 5 meters below the sea level) sometimes raising an entire "campo" (field) to reach the required depth and to avoid that the brackish water of the lagoon enters the cistern as a result of the rising tide.
The walls and the bottom of the underground cistern were covered with a layer of clay that made it impermeable to any brackish water infiltration from the ground.
The clay was then covered with layers of clean sand of different sizes, which was constantly wet, and which had the aim to filter the rainwater.
Rainwater was collected inside the well through two or four stone blocks of Istria, called "pilelle", arranged symmetrically in relation to the well barrel.
In some wells, the perimeter of the underlying cistern was visible on the surface thanks to a frame of Istrian stone.
Underneath the "pilelle", they build structures made of bricks shaped like bells open at the bottom to convey as much water as possible, while the above pavement was slightly elevated around the mounds to help the water to drain thanks to the gravity.
At the bottom of the cistern, just at the center of the excavation, they placed a slab made of stone of Istria on which they built the well barrel with special bricks, called "pozzali", which allowed the filtered rainwater to enter the barrel.
At the top of the barrel, usually above one or two steps, they placed the "vera da pozzo" (wellhead), the only part of the structure external to the pavement.
Usually the venetian wellheads were made of Istrian stone and Veronese limestone, though sometimes the oldest wells were obtained from large capitals coming from Roman buildings.
Over time, and with the evolution of architectural taste, the wellheads became ornamental elements, with many different shapes and decorations.
Building a wellhead was a very expensive and demanding hard work due to the complexity of the proceedings, and the Republic encouraged the richest families to donate a well to the city, thus bringing prestige to the family. This is why you can see a lot of wellheads with aristocratic coat-of-arms, inscriptions and bas-reliefs of the families that took charge of the construction.
The placing of the wellheads could be very different: from the public "campi" (fields) to the private courtyards or cloisters.
Maintenance was necessary to keep the well in order and healthy, and it was just the Republic that took care of this, assuring that infantrymen of the "Provveditori alla Acque" supervised the wellheads.
Parish priests and county leaders had to check wells too: these had the keys of the cisterns, which were opened twice a day (morning and evening) to the sound of the "campana dei pozzi" (bell of the wells).
According to a statistics compiled by the Municipal Technical Office on December 1st, 1858, there were 6046 private wells, 180 public wells, and 556 basement wells.
In the 19th century, after the construction of the city aqueduct, the use of the wells was progressively abandoned and the wells were closed to the top with metal or cement cover for security reasons.
Today there are 600 wellheads and they fulfil a purely aesthetic function, in a city that in the past has always been able to improve through difficulties thanks to the intelligence and the willingness of its inhabitants.
A. Penso, I Pozzi, in ArcheoVenezia del 4 dicembre 1995


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The presented LCA-based method can be used when assessing the potential CO2e emission reduction from introducing an ICT-based service. The method was used to analyze the CO2e emissions from the communication networks in Sweden as well as on the effects of introducing smart work solutions at TeliaSonera. For TeliaSonera the CO2e reductions resulting from smart work sum up to about 40% per employee, or over 2.8 ton CO2e per employee and year. The total reduction potential due to smart work in the world was estimated to be 2 % - 4% of global CO2e emissions, if reductions of 20% - 40% can be achieved per employee in a 10 - 20 year timeframe.
Malmodin, Jens; Lundén, Dag; Lövehagen, Nina
Download the conference paper
Methodology for life cycle based assessments of the CO2 reduction potential of ICT services


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ITER is the biggest international research partnership in the field of energy and can only be achieved in collaboration with industry, SMEs and research organisations. They are the backbone of this project and without their commitment commercial fusion will remain a distant dream.
Therefore, getting the business sector on board and finding the best possible way to work together is high on the agenda.
It's in Europe's interest to broaden its industrial potential in this domain and improve its competitiveness in a field that promises to yield long term benefits.
One of F4E's main tasks is to work together with European industry, SMEs and research organisations. Together they will have to develop and manufacture a wide range of high technology components for ITER such as magnets and the vacuum vessel, power supplies and the cryostat, heating and diagnostics including their respective engineering, maintenance and support services.
The new F4E industrial policy has taken into consideration the input received from the stakeholders during the different rounds of consultation and is expected to improve the participation of industry, SMEs and research organisations. We will offer more incentives and make it easier for suppliers to deliver their services and expertise.
It is envisaged that F4E will:
To download F4E's industrial policy brochure click here


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Last updated on November 12th, 2019 at 06:01 am
Collins Key Magician is an on-the-rise entertainment sensation at just age seventeen. Critics have labeled him "the pop star of magic," and he is been going strong since his first interview in September of 2014. He is gone touring with pop sensation Demi Lovato and had multiple guest spots on talk shows, as well as helping out with the teen choice awards in August of 2014. Believe it or not, he is just seventeen years old and still attending high school! A self-taught magician who has a passion for modernizing our view of magic, he impressed the judges on America's Got Talent without breaking a sweat. In the end, he even made it to the America's Got Talent finals. His tricks are unpredictable, wildly entertaining, and entirely original. No matter how up-close you get, however, no one will ever catch onto his secrets! Collins Key performs on a personal level, connecting with everyone individuality to garner their interest. The best part is that he can do it all- from predicting the future to repairing broken objects!
Collins Key Magician and Americas Got Talent Finalist
Magician Collins Key has been able to predict the future just by getting on Twitter and engaging in social media. Who knows how he does it? From what we can gather, he gets premonitions about the future in his sleep after reading simple posts from the internet.
Watch as he puts a (very expensive) watch back together after completely destroying it. He can even predict the exact time that will show up on the watch after its repair.
Collins Key Magician uses his favorite method of magic- close-up magic- to make his exit out of the America's Got Talent performance. In this one, he melds two playing cards together for a spectacular show. His close-up magic sends the judges for a loop yet again as it happens right under their noses, yet there seems to be no trick whatsoever!
Collins Key Magician is a perfect performer for any location and venue. His mastery of magic is thorough, and he'll have the audience talking for ages to come. A definite stand out from the other so-called masters of the craft; Collins Key is not afraid to go against the crowd with his talents and passions. At just seventeen, he is already an accomplished performer who can easily dazzle any audience of any age. Of course, audience involvement is often imperative to demonstrate his real natural abilities in magic. Getting the audience to interact and get involved is a sure fire way to keep the spark alive.
Collins Key Magician from AGT is enjoyable entertainment for any occasion. He'll have your audience covered with his mind reading tactics, and that is just the tip of the iceberg!
Tim Grable
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- Top TEDx Speakers You Can Hire To Make Your Event More Interesting - November 22, 2019
- 4 Things You Can Do To Make Your Fundraising Event More Attractive in 2020 - November 21, 2019
- The Best Magician from Each Season of 'Penn & Teller: Fool Us' - November 20, 2019


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BelGee to export almost 90% of cars to Russia
Almost 90% of cars produced at the new plant BelGee will be shipped for the Russian market, Belarus Industry Minister Vitaly Vovk said in an interview to the Belarus One TV channel, BelTA has learned. "Geely company will buy almost 90% of our cars for the distribution on the Russian market," the minister said. According to Vitaly Vovk, if in the coming years the factory reaches the production volume of 50,000 cars a year, the opening of the second stage of the factory will be considered then. "The second stage will mean the production will reach 120,000 cars a year. These are absolutely new models, the latest technologies. Our workers have visited many European carmakers and the level of our technologies does not differ from theirs. The only difference is that our factory is a new one," he noted. As was reported, the first batch of cars at the BelGee factory which is currently under construction will be produced in the near future. The design capacity of the new plant near Borisov will be 60,000 cars a year. The plant will produce Geely Emgrand X7 crossover, Geely SC7 sedan and Geely LC Cross hatchback.
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Nothing quite screams "fall" to me like the flavor of pumpkin and spices. I cook alot of pumpkin during the year, but once it starts getting chilly I yearn for creamy pumpkin soup to warm me and fill my tummy up.
When I went looking for a recipe nothing quite hit me the way I wanted to and thus I have kind of tinkered together a basic method and tweak it based on whats in the house and how lazy I am feeling. Some days I toss in everything but the kitchen sink, others its the very basic stuff. Feel free to experiment and find your own balance with the recipe.
pumpkin puree (you can make your own or use a can of puree or even pie filling with the spices already in it)
heavy cream
chicken or vegetable stock
onions-finely minced
garlic cloves-finely minced
cayenne pepper
1. Brown and render bacon until crisp. Add onions and garlic and cook until translucent.
2. Add 15oz worth of pumpkin puree (1-2cups if homemade). Add an equal amount of stock. Stir to blend evenly.
3. Add 1/3cup cream and blend. Add more if not light enough.
4. Hit with immersion blender or process in food processor or blender if a smooth product is desired. I kind of like the chunks though.
5. Add salt&pepper to taste and other seasonings as desired.
-sweet:ginger, cinnamon, nutmeg (possibly a hint of brown sugar)
-savory:paprika, cayenne pepper
6. Pour into bowls and sprinkle parsley on top. Sour cream can also be served on top. Serve with warm, fresh bread or crackers.