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Colossians 3:1-17
Put On the New Self
3 If then you have been raised with Christ, seek the things that are above, where Christ is, seated at the right hand of God. 2 Set your minds on things that are above, not on things that are on earth. 3 For you have died, and your life is hidden with Christ in God. 4 When Christ who is your life appears, then you also will appear with him in glory.
5 Put to death therefore what is earthly in you: sexual immorality, impurity, passion, evil desire, and covetousness, which is idolatry. 6 On account of these the wrath of God is coming. 7 In these you too once walked, when you were living in them. 8 But now you must put them all away: anger, wrath, malice, slander, and obscene talk from your mouth. 9 Do not lie to one another, seeing that you have put off the old self with its practices 10 and have put on the new self, which is being renewed in knowledge after the image of its creator. 11 Here there is not Greek and Jew, circumcised and uncircumcised, barbarian, Scythian, slave, free; but Christ is all, and in all.
12 Put on then, as God's chosen ones, holy and beloved, compassionate hearts, kindness, humility, meekness, and patience, 13 bearing with one another and, if one has a complaint against another, forgiving each other; as the Lord has forgiven you, so you also must forgive. 14 And above all these put on love, which binds everything together in perfect harmony. 15 And let the peace of Christ rule in your hearts, to which indeed you were called in one body. And be thankful. 16 Let the word of Christ dwell in you richly, teaching and admonishing one another in all wisdom, singing psalms and hymns and spiritual songs, with thankfulness in your hearts to God. 17 And whatever you do, in word or deed, do everything in the name of the Lord Jesus, giving thanks to God the Father through him.
In last week's devotion, we looked at this passage from Colossians. Here Paul is encouraging his hearers to set their minds on Christ and put on the new self. We discussed last week that this passage contains all of our worship ministry values. This is an application of the passage, but is not its primary purpose. Paul's intent was to ensure that the Colossian believers were mature in their faith. He wanted them to be aware of the false teachers, and legalism in their midst. He did not want to just set out a list of rules for them to follow. In fact, that was what he was trying to fight against. In the previous chapter, (Col. 2:20-22) Paul wants to know why the Colossians are submitting themselves to human regulations instead of the substance found in Christ.
He shares the gospel with the Colossians and pleads with them to be made "Mature in Christ." He wants them to reach the full assurance of understanding. This means that he wants them to be solidified in their faith. He wanted them to be motivated by love for God and others. He wanted them to live out their faith in Christ. He wanted to see them continue his mission of sharing the gospel and expanding God's kingdom. And he wanted to make sure this was built upon the truth of God's Word and not just upon human teachings or concepts.
Essentially, the passage above is a summary of what it means to be a Christian. The basis for this is found in the gospel, which Paul shares in chapter 2. Then having understood the gospel, or the inner change that the gospel brings, we are to live out chapter 3. The why, is what Jesus did on the cross. After that has begun its work inside, we are then to let our minds be changed. Then we are to fight sin. Then we seek unity with other believers. Then we grow in the fruits of the spirit and finally, we preach and teach others. Fully mature believers are always sharing their faith and teaching others about Jesus. This was Paul's desire. This is the desire of our church as well.
This is the heart of our worship ministry: to help people grow into mature believers. The whole person must be changed; the heart, the mind, the soul and the actions.
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About Design
The light bulb illustration on the cover of this creatively designed template projects a sense of inspiration and innovation. The bulb is composed of kaleidoscopic threads of color, giving the overall design a lighthearted and mirthful feel.
This free Adobe Illustrator template is perfect for storing or presenting samples, invoices, or other materials relevant to a creative agency.© Design Copyright: Attribution, No Derivatives
Download FREE Design Template
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Print Specifications2 Wavy Pockets Square Corner Presentation Folder
Size Closed: 9" x 12"
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Print Method (Side 1): Four Color Process
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There are no second chances in printing. Make sure you know how to best work with your printer or your lack of knowledge will cost you time and money and may even result in producing an inferior product.

subset: commoncrawl


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The Developing Solutions for Microsoft Azure (AZ-204) course is specifically designed for Azure developers who are into designing as well as building cloud solutions. These individuals are into every development stage right from design to development, deployment, and finally till testing and solution. Edoxi Training Institute is providing Developing Solutions for Microsoft Azure Training in Dubai for interested candidates who have the interest to master this course. This certification exam is not easy to crack if not trained by the right educational partner. So, choosing one of the best like Edoxi is no doubt the right choice. In this course, you will learn how to employ Azure IaaS services and characteristics in their development solutions. Learning the implementation of Azure as a Service feature is extremely vital.
If you have opted for this cloud computing course, then no doubt you will have a great career. This course teaches you how to use Azure storage services and characteristics in development solutions. Besides, you will also learn how to create and integrate resources by leveraging Azure CLI, REST. Developing Solutions for Microsoft Azure is completely about communication between services and apps. The benefits of this course are not just immense but the career will be long-lasting. We also will provide students and employees with complete knowledge about what a course like Developing Solutions for Microsoft Azure can be a beneficial choice for seeking a career. So, join our Developing Solutions for Microsoft Azure classes in Dubai right away.
Some of the objectives for our Developing Solutions for Microsoft Azure course in Dubai are:
These are just a few objectives of our course training and more will be known once you join our training sessions.
This path is intended for learners new to Microsoft Azure, but prior knowledge of application development is required. Prior knowledge of Cloud Computing is helpful, but not required.
The target audience for this course are:
The best Developing Solution for Microsoft Azure (AZ-204) Training institute in Dubai is Edoxi Training Institute. Though there are many Developing Solutions for Microsoft Azure Training Institutes in Dubai, we have been the most preferred choice for many students because of the kind of training we have been offering for years. Our support and career guidance have been received well by the students. We have not just helped them in understanding the course curriculum but also provided enough insights to help them have a secure career by making them understand the vital things about this course.


text: In-Stock Quartz QuartzColumbus Granite stocks some quartz slabs by MSI Q Quartz, Antolini quartz, SIlestone and other brands. Click "view all" to see pictures of our in stock quartz. VIEW ALL Antolini QuartzAntolini Italy is known for its quality and attention to detail when it comes to manufacturing either engineered quartz or natural stone. Antoloni's headquarters is located in Veronese VR, Italy. Antolini also has a fabrication facility in Brazil. VIEW ALL Q Quartz by MSI MSI is one of the most reputable quartz suppliers in the USA. See all of Q Quartz colors and contact us with any questions. VIEW ALL Hanstone Quartz Hanstone quartz has a distribution center here in Columbus. Click "view all" to see some of the Hanstone's color offerings. VIEW ALL


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A website which can support many languages and change according to the culture of a specific geographical location is not a new topic. Though there are many articles which explain the subject well, I still see that many of them are complicated to "beginners", and none of them provide a dynamic way to manage available languages on the website. This article aims to approach a more dynamic way to manage languages regarding globalization/localization concepts.
Using resource and globalization/localization may not a best choice in providing an ability to support multiple languages in the website. However, the resource has an advantage that binany objects can also be stored (image for instance), and ASP.Net provides a way to map controls on the webpage with resources by using Expression.
Therefore, and since this article was written to target on "beginners" rather than experienced developers, I would appreciate to listen to all open valuable suggestions. Thanks for your interests and supports.
Now, back again to requirements that most of developers or customers may ask for:
1. Website has to be able to change to other languages. In the scope of this article, resource will be used.
And the change should only effect the current visitor browser. You may think of SESSION, sure.
2. Sometimes French in France and French which spoken in Canada are different, same to English-British and English-US. ASP.Net introduces a concept called CultureInfo.
3. What happens if language file (resource file) in a specific language (that visitor chose) doesn't have text value which needed to display on a specific position on the website? Luckily, ASP.Net introduces a concept called FallBack. There is a resource file as a backup (or default) for the others. If no key is found in a chosen resource, ASP.Net will take the value from there.
4. Developers would like to put language files (resources) into an easy-managed hierachy folders structure but somehow the website should be able to detect what languages are currently available (by looking at available language files) and it should understand which resource file is a language file and which not. How? The following section will go more in details to explain how to approach that, together with an easy way to create a multilingual website.
First, let create resource files (*.resx) and put in different folders, but those should be inside App_GlobalResources folder in ASP.Net 2.0.
Because languages also depend upon the geographical location. For e.g.: Linguistically speaking of Canadian French is quite different from French spoken in France. Therefore the language needs to be associated with the particular region where it is spoken, and this is done by using locale (language + location). Our resource files therefore have to be in the format of PrefixName.language-location.resx. For e.g.: fr is the code for French language. fr-FR means French language in France. So fr specifies only the language whereas fr-FR is the locale. Similarly fr-CA defines another locale implying French language and culture in Canada. Here we have lang.fr-FR.resx.
Then, we need a way to load them at runtime when the user changes culture dynamically. Fortunately implementing this in ASP.NET 2.0 is quite easy. See the code below:
String welcome = Resources.lang.Welcome;
But the recommended way to localize the UI controls on a page is to set this using the VS IDE. Select the label control, go to Properties window, select Expressions->Text. Then choose Resources from the drop down and enter the class name and the Resource key:
Resource key
Now we need a smart way to detect available language files we are having on our website and when the visitor change to use another language, text in all webpages should also changed.
We build a class to manage them, call it LanguageManager:
using System.Collections.Generic;
using System.Globalization;
using System.IO;
using System.Threading;
/// <summary>
/// Class to manage language on the website
/// </summary>
public sealed class LanguageManager
/// <summary>
/// Default CultureInfo
/// </summary>
public static readonly CultureInfo DefaultCulture = new CultureInfo("en-US");
/// <summary>
/// Available CultureInfo that according resources can be found
/// </summary>
public static readonly CultureInfo[] AvailableCultures;
static LanguageManager()
// Available Cultures
List<string> availableResources = new List<string>();
string resourcespath = Path.Combine(System.Web.HttpRuntime.AppDomainAppPath, "App_GlobalResources");
DirectoryInfo dirInfo = new DirectoryInfo(resourcespath);
foreach (FileInfo fi in dirInfo.GetFiles("*.*.resx", SearchOption.AllDirectories))
//Take the cultureName from resx filename, will be smt like en-US
string cultureName = Path.GetFileNameWithoutExtension(fi.Name); //get rid of .resx
if (cultureName.LastIndexOf(".") == cultureName.Length - 1)
continue; //doesnt accept format FileName..resx
cultureName = cultureName.Substring(cultureName.LastIndexOf(".") + 1);
List<CultureInfo> result = new List<CultureInfo>();
foreach (CultureInfo culture in CultureInfo.GetCultures(CultureTypes.SpecificCultures))
//If language file can be found
if (availableResources.Contains(culture.ToString()))
AvailableCultures = result.ToArray();
// Current Culture
CurrentCulture = DefaultCulture;
// If default culture is not available, take another available one to use
if (!result.Contains(DefaultCulture) && result.Count>0)
CurrentCulture = result[0];
/// <summary>
/// Current selected culture
/// </summary>
public static CultureInfo CurrentCulture
get { return Thread.CurrentThread.CurrentCulture; }
Thread.CurrentThread.CurrentUICulture = value;
Thread.CurrentThread.CurrentCulture = value;
Now we can add as much as posible resource files and don't have to worry how many languages we had in our website. The class will help to detect that.
And because this class should be used in all webpages, we dont want to repeat the code which uses it in every page, we create a PageBase class. Here Session will be used to save chosen language state:
using System.Globalization;
using System.Web.UI;
public class PageBase : Page
private const string SESSION_KEY_LANGUAGE = "CURRENT_LANGUAGE";
protected override void InitializeCulture()
//If you would like to have DefaultLanguage changes to effect all users,
// or when the session expires, the DefaultLanguage will be chosen, do this:
// (better put in somewhere more GLOBAL so it will be called once)
//LanguageManager.DefaultCulture = ...
//Change language setting to user-chosen one
if (Session[SESSION_KEY_LANGUAGE] != null)
ApplyNewLanguage((CultureInfo) Session[SESSION_KEY_LANGUAGE]);
private void ApplyNewLanguage(CultureInfo culture)
LanguageManager.CurrentCulture = culture;
//Keep current language in session
Session.Add(SESSION_KEY_LANGUAGE, LanguageManager.CurrentCulture);
protected void ApplyNewLanguageAndRefreshPage(CultureInfo culture)
//Refresh the current page to make all control-texts take effect
All pages which inherit from PageBase don't have to care about what language visitor chosing. InitializeCulture method was called very earlier in the page life-cycle. Whenever a visitor select a new language, we just have to call the protected method ApplyNewLanguageAndRefreshPage which was implemented in the base class.
if (ddlLanguages.Items.Count > 0) //make sure there is a SelectedValue
ApplyNewLanguageAndRefreshPage(new CultureInfo(ddlLanguages.SelectedValue));
We are ready with our globalization framework. Now the only thing left is the adding of resource specific data in the resource files. For each culture we need to have a separate (and appropriately named) resource file. This process is localization. In my web.config file I have used the following properties:
<globalization responseEncoding"=utf-8" requestEncoding="utf-8"
fileEncoding="utf-8" />
Note the encoding attributes: utf-8 (8 bit Unicode Transformation Format) is used sinceit is variable length character encoding and can represent languages such as Vietnamese (in this article sample code), Greek, Arabic etc., beside ASCII compatible. For more info, see this link:http://en.wikipedia.org/wiki/UTF-8
If you are using Resharper, you can download a plugin which support localization:
This is a pretty cool plugin which help you to detect and refactor all none-resource text and move them into resource files.
This article has no explicit license attached to it but may contain usage terms in the article text or the download files themselves. If in doubt please contact the author via the discussion board below.
A list of licenses authors might use can be found here
Full Name : Nguyen Thanh TungSex : MaleDate of Birth : October 06, 1983Nationality : Vietnamese
Trustworthy, efficient, capable work under pressure, outgoing person and capable work in a team.
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Use Ctrl+Left/Right to switch messages, Ctrl+Up/Down to switch threads, Ctrl+Shift+Left/Right to switch pages.


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A Rebel's Recollections
NY: Putnam's, 1905. Fourth edition, with an additional chapter on the Old Régime in the Old Dominion and a new preface. Inscribed by the author in the year of publication to a former Union soldier, Col. George W. Dunn. Harwell In Tall Cotton 52: "Enjoyable record of Confederate service by a young man who fought well and wrote well and knew that the Civil War was the central experience of his generation." Dornbusch I, 1181: "Author's service in the 1st Virginia Cavalry." Nevins I, p. 85: "Charming, highly literate series of reminiscences by a young Confederate who obviously enjoyed his war experiences." Nicholson, p. 267 (for the 1875 first edition). Item #45270
Price: $600.00


text:
Lisa Haskel is an organizer, researcher and writer in the field of new media arts and culture. She is based in London [2000].
Jason E. Bowman is a Glasgow based artist who has been producing contextual and socio-specific art works for twelve years. He is currently developing a series of new commissions for large-scale, participatory public art processes [2000].
Paul Perry is a Canadian born artist based in Rotterdam [2001].


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After it has been cold and dry for over a month, the skin tends to get uncomfortable. This is normal, and if you continue to give the body what it needs (follow your daily regimen) and let the skin work though it, it works itself out rather quickly without much fuss. It's just the way things go when you live in a place that gets "real" winters. In extremes cases, particularly if your skin is trapped in a control cycle or you are trying to "balance" it by switching around your moisture levels too much, it may look lifeless and dull or become ruddy and chapped. When that happens, it takes a little effort to get back on track, but it is well worth it to get off the control cycle and back to the place of true radiance.
Embrace the Seasonal Shift
Here in Brooklyn it gets cold…and dry. At the Brooklyn Herborium, we deal with our shifting climate by simply providing our skin with what it needs in order to function well through the cold (or in any weather…) and then allowing the skin to do the work for itself. This means that back in the fall, as things first started to get dryer, we may have added one more spray of Mineral Mist (making it 6) to the 3 drops of Nourish & Replenish Oil in the morning. Maybe we added the Herbal Steamer once a week to our evening ritual of Oil Cleansing with NO EVIL. We gently worked through the shift and then returned to our 3 drops of Nourish & Replenish Oil + 5 Sprays of Mineral Mist when our skin was adjusted to the change of weather.
If that's not what happened, and you soon found yourself adding more and more oil or moisturizer while feeling more and more dry, not to worry. The two new products in our expanding Vita-C line – Vita C Brightening Botanical Mist and Vita C 10 Minute Dry Serum – may be just what you need to nudge your regimen back into place faster than the groundhog runs away from his shadow…
*It may be useful to remember that each product in our Functional Skin Care Line is formulated to work in conjunction with the others, meaning you have to use both an appropriate oil and a Mineral Mist and they are to be mixed in your hand BEFORE you put them on. Our products are not meant to be used with the Mineral Mist "as a toner" and the oil "as a moisturizer" or "as a serum." We recognize that this is something that IS done, but it is NOT the best use of Between You & The Moon Products.
Vita-C for Bright, Clear, Vital Skin
Just like the boxes of oranges and grapefruits my family has shipped to us from warmer places every January, Vitamin C freshens up the dullness of deep winter and the stagnation that sets in due to heavy, dense nourishment. While it is important to remember that overconsumption of cleansing foods or overuse of products leads to deficiency (especially during the times when the body is most in need of keeping nourished and warm!) some gentle clean-out is a welcome addition to a nourishing regimen.
For a Refresh or a Reset: Vita-C Dry Serum
If you find that your skin is becoming more and more "addicted" to your balms, salves, and rich moisturizers, you may need a reset with the Vita C 10 Minute Dry Serum.
This powerfully clearing dry serum combines the amino acid matrix of silk with the potent energetic element of pearls to strengthen the structural integrity of the skin, encouraging production of collagen and other necessary metabolic functions. The Wild Cranberry, Raspberry, Blueberry, Apple, and Rosehip provide nourishment that can only come from the fruit in its entirety, while the small-molecule acids of these fruits can penetrate into stagnant oil glands, loosen impacted oil-based debris, and gently remind cells to behave their best, resulting in radiant, clear skin.
- We use whole organic cranberries, raspberries, blueberries, apples & rosehips that have been carefully prepared to retain as many of their beneficial qualities as possible in our unique Wildberry Blend. This allows these antioxidant fruits to maintain their polyphenols, pectin, quercetin, resveratrol, and high Vitamin C content until it is mixed with water and applied directly to the face.
- The natural acids present in our Wildberry Blend slip right into the oil glands and loosen up the drudge that builds up cycle after cycle. With the "all clear" signal, the oil glands then rush to prove their worth by creating fresh, new oil for immediate use.
- In addition to its energetic properties, pearl contains an antioxidant that boosts the efficacy of the superoxide dismutase enzyme. It is rich in amino acids, containing more than 30 trace minerals, and provides signal proteins that stimulate the regeneration of collagen (which improves skin's barrier function for retaining moisture) as well as a complex protein called conchiolin which inhibits tyrosinase, an enzyme which is responsible for hyperactivity in melanin production.
- Silk peptides can help retain moisture while improving the skin's ability to repair cells, promote cell regeneration and improve overall elasticity and suppleness. Fibroin, the protein which makes up the structural center of silk, is known to reduce inflammation by increasing circulation and cell metabolism which in turn promotes an even skin tone and may prevent cellular degradation. It has a unique ability to bring blood flow to damaged (scar) tissue and blend into the development of new skin. Amino acids are also present in silk: glycine can help to repair damaged tissue and speed up healing while alanine is able to combine with epidermal cells to fill up creases like cement, creating a stronger first line of defense.
Who Can Use This & When
The 10 minute Dry Serum is essential for clearing out stagnation, particularly that which comes from using rich moisturizers or oils without the appropriate balance of water, but it is also useful to enliven and bring a warm glow to just about anyone. For this purpose, it is generally recommended to use this mask at least twice between Samhain (Halloween) and Ostara (Easter). I personally choose Winter Solstice and Imbolc (Groundhog's Day) and may add in a few more times when a pick-me-up is desired –Kinda like how a pickle tastes refreshing after a few bland (yet nourishing) meals. Remember that scene in A Tree Grows in Brooklyn?
How To Use
- At night, measure ¼ tsp of the powder into a small dish, measure ¼ tsp of warm temperature water into the dry powder and allow to dissolve while stirring-about 2 minutes
- Press into skin with the light touch of your fingers in an upward rolling motion. You can also use the tip of a cotton swab or small fan brush to glide over each area in long sweeping motions, leaving a thin layer of the serum evenly on the surface.
- For some, this product creates an uncomfortable feeling on the surface of the skin, kind of like tiny sparks or tingles.
- Although it tingles-especially where it is most needed-this mask is not damaging or burning. The tingles subside on their own after a few minutes and most of our clients report looking less red and bumpy almost immediately.
- This product is only active while wet. For best results, keep the serum damp by adding a little more water to the bowl and pressing it on with wet fingertips, a towel, or using a spray bottle of water.
- Wipe away the serum completely with a wet towel (or herbal compress) after 10 minutes and then follow with an additional cool compress if desired.
- If you have a stagnation/dysfunctional feedback loop issue (see below) that you are trying to work your way out of, do not use oils or a moisturizer on the skin for at least 14 hours, preferably longer (like 24). This may be uncomfortable, especially if you are used to controlling your skin, but it is worth it.
- It takes at least 8 hours for the body to rebuild its natural chemical barrier, the acid mantle. This barrier is made up of the secretions from both the oil glands and the eccrine glands and is a much better barrier than anything you might apply topically. In fact, any emulsion may hinder its production (the skin feels soothed, so why should it bother?) or strip it further. If possible, avoid excessively (more than 1x per day) moisturizing the area for a few days, applying only a touch of Mineral Mist, patted on with a fingertip if uncomfortable.
Be sure that you are returning to your regimen appropriately and (if there is any further signs of stagnation) repeat the process 4 days later. Healthy skin sees the results immediately, but when there has been past damage, we find that it usually takes 8-10 days from the initial session for the skin to experience the results.
We Love Short, Intense Bursts of Vitamin C
We don't use Vitamin C as a serum every day. We have the seen the consistent use of Vitamin C (and other high potency antioxidants) day after day (even in the form of Rosehip Seed or any other similar lovely oil) lead to trouble. It's like this: Once the empty electron space within an unstable molecule is filled…further antioxidants can become aggressors and irritate the skin resulting in increased sensitivity. There is also evidence that allowing the body to form a tolerance to Vitamin C is not useful—even our pediatrician has stated that it's not a good idea to give kids Vitamin C in the form of a supplement daily—just hit them with larger doses when necessary!
Looking for Vitality? Vita C Brightening Botanical Mist
When the cells aren't "talking" and recreating themselves well, the skin lacks energy, leaving it dull and lifeless. The lovely botanicals of the Vita C Brightening Botanical Mist entice the senses, enhance the moisture barrier, and excite the metabolic process—resulting in a fresher, brighter skin tone. Water, distilled through the freshest organic leaves and flowers, picks up their essences: the delightful scents and the helpful skin-loving messages of Tulsi, Rose, and Lemon Verbena. The minerals present in this mist are required by the body to "translate the messages" that plant constituents offer. Although the Brightening Botanical Mist does not contain overt Vitamin C, it is essential that one of our Mineral Mists are used daily in order for the body to effectively get the benefits of our oils and masks, utilizing the botanicals to their fullest potential.
Who Can Use This & When
This Mineral Mist is suited for any skin type and is made specifically for those who are looking to refresh and brighten their skin, but it is especially useful for those who are experiencing a dysfunctional feedback loop in the Cellular Communication between the Oil/Water balance and the Structural Integrity of the skin. You don't really need to know what we mean by this, but you can recognize it by the redness and irritation (sometimes referred to as a dermatitis) that results. It is particularly soothing when the body is working to "grow out of" these types of conditions.
How to Use
- In the AM, mist 5 sprays of the Vita C Brightening Botanical Mist Directly into 3 drops of Nourish & Replenish Oil to create your Moisture Duo. Rub the two together before application.
- If you use a moisturizer instead of our Moisture Duo, you may spray 5 pumps onto the skin before your moisturizer OR directly into your moisturizer before application.
- At night, Mist 5-6 sprays onto cleansed skin. We recommend NOT using a moisturizer before bed as much as possible.
Dark Spots? Uneven Skin Tone? Vita C Wild Berry 10 Day Treatment
Proven effective since 2007, our Vita C 10 Day Treatment works on the principle that short, intense bursts of Vitamin C create a response in the skin to trigger its natural "clean-up" mechanism to get rid of dark spots, wrinkles, and acne scars. We do this by creating a product that offers a full-range exposure to Vitamin C by bonding oil soluble Vitamin C with water soluble Vitamin C and the corresponding compounds present in the organic berry extracts (polyphenols and anti-oxidants) in a treatment that is used for up to 10 days and then stopped: allowing for this renewal process to occur, bringing a brighter, more even tone to the skin.
Who Can Use This & When
If you have strong skin that needs a clean-up, you may do this once every moon cycle (30 days) during the colder months until you no longer show those signs.
Save the Seeds of Change (Until Spring...)
Seeds of Change works on the same principle as Vita C Ten Day Treatment, but as part of our Functional Skin Care Line—meaning that it has no emulsifiers and/or artificial preservatives. It can be used as the oil portion of our Moisture Duo in the morning or as an oil cleanser daily for up to 3 weeks in order to elicit the same type of response. For optimal vibrancy, we recommend either this or the Vita C 10 Day treatment once per season.
Who Can Use This & When
If you wish to use short, intense bursts of Vitamin C to Maintain Radiance like with the Vita-C 10 Minute Dry Serum and the Vita-C 10 Day Treatment, wait to use Seeds of Change until after the first greens of spring are poking through the boxes in your community garden plot and then use it as your oil portion of your Moisture Duo instead of Nourish & Replenish Oil. Do this for up to three weeks and then switch back to your usual nourishing regimen.
Six of One, Half-Dozen of the Other
As we emerge from hibernation, we tend to look for the shadows. I urge you to remember that the dark days are simply a matter of how the earth turns and that with each new spiral, we have an opportunity for growth–perhaps stronger and more resilient this time. When you are worried about how you will get through six more weeks of winter, just remind yourself that it's only a month and a half until spring!


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Croton 'Mammy'
Save Liquid error (snippets/product-badge line 32): Computation results in '-Infinity'% Login to view price.
- Botanical Name: Codiaeum Variegatum
- Common Name(s): Mammy
- Description: The Croton Mammy is a robust plant with large colorful leaves. These plants can mature to large indoor house plants if properly cared for.


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Insurance 保险 (MP3)
He is a holder of an insurance policy.
He is a holder of an insurance policy.
In many trials, the heart of the issue was whether what the insured stated in his application, or his policy, constituted a "warranty" or not. 在许多庭审中,问题的核心是:被保险人写在投保申请书中或保险单上的陈述是否构成"保证条款"?
公司及本合同各方可以按有关中国法律规定汇出其合法外汇收入及开支,其中包括但不限于. The Company and the parties to this contract may remit their lawful incomes and expenditures in foreign exchange out of the PRC in accordance with the regulations of the relevant Chinese laws.
If the dispute cannot be resolved by negotiations within thirty (30) days after one Party has issued notice to the other Party requesting the commencement of such negotiations, then either Party may submit it to the Singapore International Arbitration Center (the "Arbitration Institute") for arbitration in accordance with the UNCITRAL rules of arbitration then in effect and the following provisions: 如果在一方向另一方发出要求就争议开始进行谈判的书面通知后三十(30)日内,争议未能得到解决,则任何一方均可将争议提交新加坡国际仲裁中心("仲裁机构"),由仲裁机构根据其时有效的联合国际贸易法委员会的仲裁规则和下列规定进行仲裁:


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With: Shane Schick, editor-in-chief, IT World Canada; Dave Webb, editor, ComputerWorld Canada; Briony Smith, senior writer, ComputerWorld Canada; Rafael Ruffolo, staff writer, ComputerWorld Canada; Kathleen Lau, senior writer, ComputerWorld Canada; Greg Meckbach, editor, Network World Canada; Jeff Jedras, senior writer, Computer Dealer News
Editor's note: The text below is a heavily edited version of the round table discussion. It's accompanied by audio clips which are more comprehensive and, in some cases, address subjects that aren't in the text.
Shane Schick: I think the biggest non-story was Microsoft trying to buy Yahoo, because it was the one deal that was supposed to change everything, even though it probably wouldn't have changed anything. And now it didn't happen and so the market is back to where it started with three players focusing on search and one of them that probably isn't going to last.
Rafael Ruffolo: You can't forget about Cuil, which also came out.
Schick: Cuil was a search engine that was trying to do things, almost like a box-type format from what I could see. But there were some stories about how it was actually bringing down the Internet by the way it was being run. It was such a drain on resources.
Jeff Jedras: Was that the one that was supposed to kill Google and it came out and it just sucked?
Ruffolo: Yeah, basically.
Jedras: And you didn't hear anything about it ever again.
Ruffolo: If you tried to search Cuil on the first couple of days of its existence you wouldn't have found anything of value, so I think it was a failed experiment. But we did hear recently that Google was potentially laying off thousands of people. There seems to be a cycle of boom-and-bust in the tech industry where a company gets very, very large and then they start to go down, or they get too large and lay off thousands of people, but those thousands of people go to other companies and they form start-ups. So we could have five new Googles in five years if these very smart people that are laid off start their own company.
Webb: I think actually (HP's purchase of EDS) was probably the biggest story of year, to me.
Briony Smith: Yet again, it's one of the bigger companies getting swallowed into one of the biggest companies. It's like fish eating fish eating fish.
Schick: It was a case of HP trying to catch up with IBM. The only way they could do it was by buying a huge services company, and, in terms of predictions for next year, Dell might try that. Because Dell has talked about getting into the enterprise services game, but they don't have nearly enough people on the ground in order to do it. But there's not that many EDSes of the world left that I think you can really buy up.
Smith: Do they even have the same kind of confidence and enterprise love? I never really hear that much about Dell being a huge, huge player. Compared to the others, it seems kind of like a pinner.
Dave Webb: Well, Dell, for the most part, has always been about doing what someone else has already been doing. They don't invest a whole lot in R&D. Instead, they do what somebody else is already doing and do it cheaper and more efficiently. So I think it wouldn't be a big stretch for (an existing service company) to become competent as a Dell service organization.
Schick: While they have a lot of strength in the enterprise hardware, what they don't have, really, is anything in regards to software. And that's one thing that HP really did this year as well: it beefed up a lot of its business intelligence software offerings and its service management offerings, and I'd be interested to see whether Dell would make an acquisition for one of those kinds of companies this year. Dell doesn't make a lot of acquisitions, I should point out, but I think this could be the year they might give it a try.
Ruffolo: When I was at a Sun event, I overheard CEO Jonathan Schwartz say that software is really their fastest-growing business, and that's what they're the most concerned about as well. But that's a company that's struggling, too.
Smith: I remember when I first started working here two years ago, and Shane said, "Yeah, Sun's had some problems…" And most of the times I've heard about it since, it's always the same.
Schick: Well, the big Sun story to me this year is that they became a database company. They bought MySQL, the biggest open source database organization in the world, which was really weird, because, for the longest time, Sun was such a partner with Oracle, and I don't know if MySQL and Oracle's databases really competed, but it was just a bizarre move for Sun to buy that company. And I really don't know what it is that they're going to do with that.
Webb: Perversely, if other companies are focussing more on software for their revenue, you can give them a bit of a kick in the slats if you can suck away some market from them by offering stuff open source.
Schick: Do people go for that kind of strategy, though? I wonder sometimes. Like, just because you make something open source I don't know if that's really going to change your whole market, or whether your customers will gravitate towards that.
Kathleen Lau: I think what Sun was trying to do is woo users of open source to try and buy their hardware. Because I think one of the issues with Sun is that they have trouble expanding beyond their customer base, so then what they do with open source might help them get some new customers.
NEAT L'IL NETBOOKS Webb: Another big story for me this year was the rise of these netbooks. I think it's a bona fide category now because, three or four years ago, there wasn't the volume of applications in the cloud, and a netbook, with the solid-state drive, if you're loading a ton of applications onto that, it's useless. It's meant to work in conjunction with Internet-based applications. And I think now there's more of a critical mass of online applications that they can be used with. Schick: I think we're seeing a lot more vendors coming out with more models. Desktops are tapering off, and laptop sales are increasing substantially. When I think back to when we've done predictions, the one thing that I think I feel safe in predicting won't happen, because it still hasn't happened after predicting it for years, is device convergence. I think there will be several devices, but I don't know how many there will be, and I don't know which ones will be predominant.
Ruffalo: I think an interesting story that's playing out and that's going to play ou


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Hi everyone
Today for my That's Crafty Blog DT make I'd like to share 2 ATC's with you. These are 2 of the ATC's that I made to support the TV launch of That's Crafty own brand products on Hochanda a couple of weeks ago.
I hope you'll pop over for all the details HERE
Amanda X


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The European Union (EU) will seek to protect its citizens while boosting the economy, fighting climate change and bolstering the bloc's global role.
This is according to a draft document, which sets out priorities for the next European Commission for 2024.
The next European Commission is to take up its work in November following EU-wide elections in July.
A high-stakes political race is under way to appoint the next president of the commission.
The draft agenda, prepared for a meeting of EU leaders from June 10 to 15, stresses that "first and foremost we must ensure the integrity of our physical space,'' drawing the lessons from a migration influx in 2015 to 2016.
"We need to know and be the ones to decide who sets foot on EU territory,'' the document adds. It also vows to fight terrorism, cyberattacks and hybrid warfare.
The draft agenda stresses the need to tackle the "existential threat'' of climate change.
"We urgently need to step up our action,'' it says, while noting that this must take account of "national circumstances'' and be socially just.
The issue was a key topic during the European Parliament elections, delivering a boost to green parties across the bloc in the wake of recent youth climate protests.
But the Greenpeace campaign group slammed the EU for merely giving the climate crisis a "polite mention.''
"European leaders are feeling the pressure to talk big on climate, but their 'strategic agenda' is more of a collection of buzzwords than an emergency response to humanity's greatest threat,'' said Greenpeace EU director, Jorgo Riss.


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- HP CC364X MICR - HP P4015, 4015, 4515 MICR Toner - Print your own checks with our compatible HP CC364X MICR Toner. Most HP laser printers can be used as a laser check printer. All you need is a MICR cartridge, check paper, and check printing software. You will be able to print check stubs, print checks in quickbooks and any other check software. This HP P4015 MICR Toner is an economical cartridge that delivers excellent print value. This HP 4015 MICR Toner Cartridge is a compatible black toner used in MICR check printing.
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In an exciting final day of racing, Team TIBCO worked heroically to keep Megan Guarnier in the lead and delivered her to an overall win at the Redlands Classic. Guarnier won the four-day stage race with a 3-second lead over general classification rival Alison Powers; enough to clinch the win.
"We had one goal for today," said Team TIBCO European directeur sportif Angela van Smoorenburg. "Keep the yellow jersey."
In a race notorious for leader's losing their yellow jersey on the final day of racing, it was essential for Team TIBCO to stay organized and patrol the field. The strategy for today's technical and hilly 68-mile Sunset Road Race was similar to their effort on Friday: Stay in control of the race, push the pace, and prevent any GC riders from escaping. Their plan played out perfectly.
"The Team really came together every day and everybody stepped up their game to protect and retain the yellow jersey," said Olympic long team member Guarnier. "Today was a really hard climbing race, but the Team stuck to the plan, had faith, and kept me at the front."
Guarnier counted on teammates Lindsay Myers, fellow Olympic long team member Amanda Miller, and Canadian National Champion Veronique Fortin to set a furious pace up the climbs, neutralizing the possibility of any potential attacks.
During yesterday's criterium, sprinting specialists Samantha Schneider, Lauren Hall and Kendall Ryan protected their leader by pushing the pace, shutting down countless attacks, and then leading out Guarnier for a second place finish. Throughout the four-day Classic, Guarnier was backed by exceptional team cohesion and prowess from the 8-rider squad.
"This is how you get results," said van Smoorenburg. "It's not just Megan who did an outstanding job; it's the Team as a whole. Every day, each rider played a key role in keeping Megan in the lead and through impressive teamwork they succeeded."
Guarnier established her lead on day one, taking first place at the Prologue time trial. This put her in position to contend for the overall general classification, and her teammates were committed to supporting their GC rider.
After yesterday's 60-minute criterium, Guarnier was able to put more time into her GC rivals with a second place finish. Guarnier extended her lead by 6 seconds, putting her ahead of GC competitors Alison Powers and Amber Neben by 14 and 16 seconds, respectively. Today, she held onto her lead and secured the overall win.
Men's Race
In the Men's Pro Race, Patrick Bevin (Bissell Pro Cycling) sprinted to his third straight stage win during a rainy Sunset Road Race. Phil Gaimon (Kenda/5hr Energy p/b Geargrinder) held on to the GC lead to take the overall at the Redlands Bicycle Classic.


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Distance: Major PT/Yoga/Pedal
The New Yorker has a way of saying it best.
|Eagles fans stand in 5 degree snowy Minneapolis waiting to go in to watch their team win Super Bowl
Best Super Bowl Ciwt can remember. Partly because it was a terrific game with lots of scoring and partly because she was in warm, sunny San Francisco watching it. The gentlemen in the picture above are toasty compared with Ciwt and her friends waiting for the school bus in howling sub-zero blizzards. Our parents were not the helicopter type. Probably no Minnesota parents of Ciwt's vintage were. If the bus was coming or chores needed to be done or they just wanted you out of the house, out you went no matter what the weather. And, wonderously she thinks now, all the children survived.
|Near Perfection: Matisse, New Yorker, Two New Cat Sisters
|Susan Brooks, Objects of Desire and Mirth and Paintings Assemblage
|Artist's hands and O of D&M


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Another brilliant novel by Heidi Skarie. Being a big fan of her work, I was so excited to finally read her latest novel and once again lose myself in the beautiful stories she creates with the ever-present mystical atmosphere and spiritual wisdom.
Annoure and the Dragon Ships is set in 8th century England and Norway and tells a story of a young noble girl called Annoure who is kidnapped by the Vikings to become a slave. However, her strong, brave spirit wins the heart of Thorstein, the man who captured her. The two grow closer with time and Annoure's strong-willed nature begins to show. She desires to not be just his bed thrall (bed slave) and eventually wins herself a good position in his village. Also, Annoure goes on a spiritual journey and is trained to become a druidess.
I can't praise this novel enough. I adored Annoure, particularly her bravery and stubbornness and the incredible inner strength her soul possesses. She goes through so much suffering yet keeps fighting for her life, mission and love. In many ways her character reminded me of Red Willow, a heroine from Heidi Skarie's debut novel, but as I heard that the author finds inspiration in her past lives, I suppose it makes perfect sense.
What I loved about Annoure's relationship with Thorstein was how connected they were - true twin flames. Also, the way the author describes the scenes is so vivid that I felt like watching a movie while reading it. In fact, I think this could make a great historical/visionary romance film one day.
Overall, it was an atmospheric, sensitive story with loveable characters that grow on you. I loved delving into the world of the ancient times. It felt very real and it was a pleasure to undergo such a journey with Skarie's spirit.


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Episode 76: Rebecca's Story: Trafficked into the Sex Industry, Persevering to Freedom, and Empowering Other Women
Rebecca Bender is a survivor of human trafficking, she's a speaker, author, innovator, fighter, and she's the founder and CEO of the Rebecca Bender Initiative (RBI) and Elevate Academy. Rebecca joins the 1GR podcast to share her life story, how she was trafficked for nearly 6 years, how she found freedom and her purpose, what she's doing now to combat the human trafficking epidemic in our world – and what we can all do! Rebecca also talks about her memoir, "In Pursuit of Love" and so much more!


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When most people think of the Land of Smiles, they picture the balmy, sun-drenched beaches of Koh Samui or the bustling streets of Bangkok. While you certainly shouldn't overlook the capital city or idyllic Koh Samui, there are plenty of other Thai treasures that shouldn't be missed.
These off-the-beaten-path destinations showcase the best of splendid Siam, and each one is a bucket-list-worthy journey all on its own.
1. Kanchanaburi
Kanchanaburi is a peaceful town with a tragic past. During World War II, POWs were forced to construct a railroad between Siam and neighboring Burma. The project, dubbed Death Railway, cost many POWs their lives as they grappled with excessive heat, tropical diseases, and fatigue. The Bridge on the River Kwai, a major motion picture from 1957, details their struggle. Today, you can pay your respects to the fallen and even ride a portion of Death Railway.
Kanchanaburi is now quite a different place, and its location on the River Kwai makes it a hub for fresh seafood and plenty of water-related sports.
It's also home to one of the most whimsical places to stay in the kingdom: Banphasawan. This resort is made up of various fruit-shaped accommodations — it is certainly one of the most unique places in the world to lay your head!
2. Pai
Pai is a dreamy little artistic town in northern Thailand. Just 3 hours from Chiang Mai by car, Pai is both accessible and just far enough off the tourist map for you to have an authentic experience.
Full of natural splendor and plenty of hiking, Pai is the ideal destination for those who want to lace up their boots and explore Thailand's rugged north.
Shopping aficionados and bargain hunters will find their Eden on Pai's Walking Street, where you can get authentic Thai souvenirs for exceptionally reasonable prices.
Pai is also one of the best places in the country to sample khao soi, an addictive combination of decadent coconut curry, egg noodles, and chicken. Khao soi is the definitive dish of the Thai north — it is often called "northern noodles" — and you can't leave the kingdom without sampling some.
3. Khao Yai National Park
Just 3 hours from Bangkok by train is one of Thailand's natural gems. Khao Yai National Park is a massive park and UNESCO World Heritage site that is home to hundreds of different species, big and small.
The area is the ultimate wild getaway: a vast expanse of terrain just begging to be explored. Bicycles and motorbikes are available at the entrance of the park, but a common and safe way to get around inside is hitchhiking.
Most people camp inside of the park, and you can rent everything that you need to hunker down in the wilderness. If you decide to walk on the Thai wild side and spend the night under the stars, make sure that you clean up your campsite thoroughly. Monkeys frequent Khao Yai National Park and will gladly raid your camp if given the chance.
Khao Yai is also home to plenty of snakes, so wear thick socks and hiking boots. Although some refreshments are available within the park, it's better to bring food and water with you, especially on long hikes.
4. Nakhon Sawan
Nakhon Sawan is a major city on the Ping River that's often overlooked by tourists but popular with locals and visitors in the know.
This jewel of the Thai north is notable for its extraordinary food, specifically its elevation of the humble fish ball. Residents pluck fresh fish directly out of the Ping and pair carefully crafted fish balls with noodles and fragrant broth. The result is a deeply flavorful dish that is unique to this part of the country.
This city offers a much more authentic Thai experience and an entirely different geographical landscape. Visit the Nakhon Sawan Tower for one of the best sunsets that you'll ever experience, or wander through some of the city's ancient chedis.
5. Korat
The official name of this city is Nakhon Ratchasima, but everyone knows it as Korat, one of the most prominent cities in Isan. Most tourists haven't even heard of Korat, but it's a popular destination for expats and Thais who want to dip their toes in Isan culture while still having access to the modern amenities of a city.
Korat is roughly 5 hours away from Bangkok by train and boasts one of the most comprehensive museums of Thai art and archeology, the Maha Viravong National Museum.
Korat is also the birthplace of a special breed of cat. The sleek, silver Korat Cat is supposed to bring good luck and is one of the most revered animals in the city.
For more animal encounters, check out the world-class Korat Zoo. It's a wonderful, family-friendly place to pass the afternoon.
6. Chiang Rai
Most visitors to the Thai north make a beeline for Chiang Mai, and while this incredible city is well worth a visit, you shouldn't miss its humble cousin Chiang Rai, about a 4-hour bus ride from Chiang Mai. Alternatively, you could hop on a domestic flight to the Mae Fah Luang Airport. Flying takes roughly 45 minutes.
Like Chiang Mai, Chiang Rai is wreathed in mountains, making it an ideal spot for those who love the great outdoors.
Chiang Rai's biggest draw is Wat Rong Khun, known regionally as the White Temple. This ornate, alabaster temple is known for its otherworldly beauty and phenomenal design.
Chiang Rai is also noteworthy for its Night Bazaar, a celebration of sumptuous street foods and traditional Thai handicrafts.
7. Koh Larn
Skip the touristy destinations of Koh Samui and Phuket and get your dose of Vitamin Sea on Koh Larn, a lesser-known slice of paradise off the coast of Pattaya. This idyllic island has marvelous beaches, azure waters, and unparalleled views of the sunset.
What's more, it hasn't hit the tourist map yet. Unlike many of the beaches on the more popular Gulf islands, the pristine beaches of Koh Larn aren't jammed with clubs or bars, making them the perfect spots for relaxation. Koh Larn's Lareena Resort is a fabulous place to stay right on the shore.
While visiting Koh Larn, why not try your hand at some water sports? The clear coastal waters are optimal for snorkeling and sea walking.
Koh Larn is a quick hour-long ferry ride from Pattaya.
8. Rayong
For beachy bliss without the crowds, visit Rayong. This seaside town is where you can catch the ferry to neighboring Koh Samet, but savvy visitors will linger a little longer in Rayong itself. The city is a popular Thai vacation spot but hasn't quite caught on with the tourists, so your visit to Rayong will be an authentic experience that you won't forget anytime soon.
Rayong's location on the Gulf of Thailand makes it an excellent spot to sample fresh seafood. On weekends, you can visit the Star Night Bazaar Market for incredible street food and great bargains on Thai handicrafts and souvenirs.
Rayong is the best of both worlds: a city in paradise that remains blissfully tourist-free. Visit it before the secret is out.
9. Erawan National Park
Erawan National Park is arguably one of the loveliest natural places in Thailand — and that means a lot when you consider the magnificence of the country as a whole. It's roughly 5 hours from Bangkok by car, and you can go by yourself or with a tour.
Erawan National Park is known for its extraordinary seven-tiered waterfall and system of caves. There are plenty of trails crisscrossing the park, and you can easily find one that suits your fitness level. Some of the trails become muddy or impassable during the rainy season, however, so make the most of your trip by traveling during the dry season.
There are snakes and all sorts of insects in Erawan National Park, so wear thick socks and hiking boots, especially while caving. It's also a good idea to bring plenty of water and sunblock with you on your Erawan National Park adventure.
The Land of Smiles is full of fantastic and awe-inspiring things to see and do. Everyone knows not to miss the hustle and bustle of Bangkok and the beautiful beaches of Phuket. Smarter travelers realize that it pays to set aside some time to travel off the beaten path. These destinations are unique, incredible, and certainly fitting for any bucket-list Thailand adventure.
Planning a trip to Thailand? Check out these eight things to know before you go, this guide to cultural etiquette in the country, and this list of the best things to see and do while you're there.


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Student Travel
Every year, many students choose to spend several months or even a year studying in an abroad location. The experience can be a highly educational and exciting way to learn not only about academic subjects, but also a different language and culture.
Before students travel abroad, they should review the following suggestions to ease their transition and time spent in a foreign country:
- Apply for your passport and visa early.
These forms take some time to process.
- Be sure to familiarize yourself…
With the customs and culture of the country you plan to visit.
- Locate the nearest United States Embassy…
In the event of a crisis situation in a foreign country.
- Find out as much as possible…
About the school you will be attending and what types of classes it offers.
- Know the local laws.
While abroad, you are subject to the laws in that country.
- Be aware that thieves & pickpockets may target non-natives traveling in the country.
Protect your possessions.
- Avoid public demonstrations…
Especially in nations where anti–American sentiments might be prevalent.


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ABSTRACT: To jump out of water onto sea ice, emperor penguins must achieve sufficient underwater speed to overcome the influence of gravity when they leave the water. The relevant combination of density and kinematic viscosity of air is much lower than for water. Injection of air into boundary layers ('air lubrication') has been used by engineers to speed movement of vehicles (ships, torpedoes) through sea water. Analysis of published and unpublished underwater film leads us to present a hypothesis that free-ranging emperor penguins employ air lubrication in achieving high, probably maximal, underwater speeds (mean ± SD: 5.3 ± 1.01 m s–1), prior to jumps. Here we show evidence that penguins dive to 15 to 20 m with air in their plumage and that this compressed air is released as the birds subsequently ascend whilst maintaining depressed feathers. Fine bubbles emerge continuously from the entire plumage, forming a smooth layer over the body and generating bubbly wakes behind the penguins. In several hours of film of hundreds of penguins, none were seen to swim rapidly upwards without bubbly wakes. Penguins descend and swim horizontally at about 2 m s–1; from simple physical models and calculations presented, we hypothesize that a significant proportion of the enhanced ascent speed is due to air lubrication reducing frictional and form drag, that buoyancy forces alone cannot explain the observed speeds, and that cavitation plays no part in bubble formation.
KEY WORDS: Emperor penguins · Air lubrication · Bubbly wakes · Jumping
|Full text in pdf format
Cite this article as: Davenport J, Hughes RN, Shorten M, Larsen PS (2011) Drag reduction by air release promotes fast ascent in jumping emperor penguins—a novel hypothesis. Mar Ecol Prog Ser 430:171-182. https://doi.org/10.3354/meps08868
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Going to the Wanda Koop survey at the National Gallery last month--an experience I recommend--the relative brevity of my time in the art world, and my limitation to certain art centres during that time, came to the fore. I had only ever seen Koop's paintings in Toronto dealer shows, really, and they were all fairly small--four feet at the widest, I'd say. So it was a shock for me to go into the galleries in Ottawa and see what Koop's main production has been over the past 30 years: massive, eight-foot-wide-and-wider canvases.
I talk about that experience of surprise today in the National Post. The article also covers some of the wonderful childhood artifacts Koop has in the exhibition, like a mod dollhouse she made for herself as a young teenager.
Here's an excerpt from the article:
Asked about this size surprise, Koop explains that those smaller works are "almost like residue" left over from her central, three-decade-long practice of making gigantic canvases and installations.
"For me, it's about intimacy," she says. "I think that the paintings [here] are to my scale. I start with really tiny notes and work up to something that I feel will involve the viewer -that the viewer looks at as an actual physical experience."
And yet, Koop is also eager to show off some of the more humble origins of her oeuvre, like a tiny cardboard dollhouse outfitted with miniscule orange shag carpets and inch-long Jackson Pollock- style paintings.
"This is a little house I made when I was 13 years old," says Koop, now 59. "It was called Roundhouse for One. It was my dream home. I grew up in a large family, and I'd just keep it under my bed and slide it out when I needed to go somewhere else."
That tiny teenage fantasia is one of hundreds of sketches, books, maquettes and photographs that cluster in what the gallery calls the survey's "studio room" -though Koop says, "I think of it more as my brain." In it are piles of split-second Post-it note drawings and tomes such as The Eye: A Natural History by Simon Ings.
Read on at the Post for more peeks at the show.
I'm sorry I didn't see the premiere of this show at the Winnipeg Art Gallery--Koop told me some kids from Art City, the youth-arts nonprofit that she founded, made a great mural for the show as well, unreproduced in the Ottawa exhibition.
(Image of Wanda Koop from Site Media Inc, which has recently released a beautifully shot documentary on the artist, KOOP)
Thursday, March 31, 2011
Wanda Koop article out in today's Post
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Wednesday, March 30, 2011
AES+F Interview out in Today's Post
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Earlier this year, the Richmond Art Gallery held the Canadian premiere of Last Riot by Russian art collective AES+F. A hit of the 2007 Venice Biennale, the piece has been shown widely but not, until now, in Canada. A couple of AES+F members were nice enough to chat with me on the phone during a BC visit for the Vancouver Biennale earlier this month about the next film they are making, and other things. The resulting condensed Q&A is out in today's Post. An excerpt:
Q It's important not to be able to tell the "good guys" from the "bad guys" in Last Riot. Why?
A Because we are not making this a Hollywood production. For us, it is very important to destroy this cliché of "good guys" and "bad guys," which we see in media. Also, growing up in the Soviet Union, it was a very clear situation: you could tell who is the good guy, the bad guy, the repressor, the victim. I think what we describe is some kind of new situation in which all this is absolutely unclear. It's a problem of liberal global capitalism, and we try to describe it.
Q A recent [November] Artforum article said the Moscow art scene has been lethargic since all the oil money arrived, and that it was livelier when people were poor. What's your view?
A I cannot agree with this position. Art, in a way, needs money like a body needs blood, because to produce something you have to spend money, and to install something you have to invest money. I think that Moscow needs much more presentation of international art of good quality, which also takes money. And not enough investment goes into execution: in Moscow, there's no system of grants for artists.
Q One of Last Riot's scenes reminds me of something that happened after you made the piece -the Icelandic volcano eruption that grounded airplanes last year. Why do viewers experience so much déjà vu with your work?
A It's difficult to say. Maybe that was our original idea -to make some kind of déjà vu for ourselves. Because the feeling was that we live now not only in the real but also in the virtual universe, which leads to a permanent feeling of déjà vu -we have all this visual information stored in our minds from films, from TV, from youth. So maybe this is the right term for our art: déjà vu style.
Read on for the rest of their answers at the National Post. And you can see the show until April 3 at the Richmond Art Gallery.
An interesting thing that I cut from the Q&A along the way: AES+F does not storyboard or write scripts for their films, which are multi-screen and quite complex. They begin with an idea and improvise with actors during shooting. The actual sequences and whatever narrative emerges is decided upon only in post-production, in the editing suite. For an example of the visual complexity in their films (and how hard they would be to storyboard), you can check out a clip of their 2009 film "Feast of Trimalchio," which the group considers second in a trilogy with Last Riot being the first (they're now working on the third):
(Still from Last Riot from artinvestment.ru)
Tuesday, March 29, 2011
Comic-Book Canadiana: Clark McDougall at the McIntosh Gallery
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One show I'd like to see if I can get to London (Ontario) this spring is Clark McDougall's Destination Places at the McIntosh Gallery. I'd like to see this show for a few reasons:
(1) In the painting above, I love how the grotty sidewalk contrasted with the pinball palace sign is very pop but very palpable
(2) I like paintings of mid-sized Canadian cities, in part because there are so few of them and in part because I grew up in them
(3) I also like what spins into a comic-book approach in some of the McDougall works I see online--thick black outlines, bright colour, pulp feel
(4) I know nothing about the guy--another one of those classic instances of "if only there was more contemporary Canadian art history resources out there"
Here's some more information about the artist and the show, from the McIntosh Gallery website:
With his signature style of vibrant colours outlined in black enamel, Clark McDougall (1921-1980) was equally comfortable painting urban and rural subjects to describe the effect of light in everyday life.
After years of painting in relative obscurity in St. Thomas, Ontario, McDougall garnered national acclaim in the late sixties and seventies when regionalism preoccupied much of Canadian culture.
Admired by London artist Greg Curnoe and curators Pierre Théberge and Alvin Balkind, McDougall increasingly attained critical and commercial success. Mira Godard Gallery represented him.
The Vancouver Art Gallery mounted a retrospective exhibition in 1977. Another, organized by the London Regional Art Gallery in 1987, toured nationally. Avid collectors included Canada Council Art Bank, Art Gallery of Ontario, Art Gallery of Hamilton and, surprisingly, Henry Luce III, publisher of Time and Life magazines.
Curated by Anna Hudson and Catherine Elliot Shaw, Fugitive Light has been organized by McIntosh Gallery, which recently acquired a major collection of the artist's drawings, photographs and archival materials. A forthcoming publication will situate McDougall's oeuvre in relation to the history of Canadian art while examining the psychogeography of his regional subject matter.
The show is up to May 14. More details (like about McDougall being self taught) are at Michael Gibson Gallery and at the London Free Press.
(Detail of Clark McDougall's Pinball Palace 1978 via the McIntosh Gallery)
Monday, March 28, 2011
Good News: Web Features Planned for Canada's next Venice Biennale Outing
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There's always plenty to debate about the Venice Biennale and Canada's representation there--Did they manage to cram it all into the tiny pavilion effectively? Was the artist a suitable pick? And, this year, for some: Was the process of artist selection equitable, having been reclaimed by the National Gallery as a task after decades of regional-insto rotation? (For a recap of some of these debates regarding this year, you can check out VoCA's stream of comments on the matter.)
Point being: always lots to be concerned about re Canada and Venice. But what rose to the uppermost of my mind as National Gallery director Marc Mayer and contemporary-art curator Josee Drouin Brisebois came through town to talk about their pick, Steven Shearer, a few weeks back was the following: Will there actually be some decent microsite or web features created so that the many Canadians who won't be able to visit Venice might get a glimpse of this exhibition? An exhibition that, erm, they themselves are sponsoring? And which presents an artist that is is purportedly crucial to present to the rest of the world at this point? Afer all, it tends to bother me when curators or institutions rail on about the need for a decent physical infrastructure for presenting an artist when the virtual infrastructure is left at nil.
Thankfully, a couple of days ago, I got some positive words from the gallery on this. According to the gallery, a Venice microsite of some kind is planned to accompany the in situ exhibition. Tentatively, it will include short videos, excerpts from the catalogue, and images. They're also considering a webcam recording of the opening event.
The microsite is part of the gallery's overall web redesign, due to launch after mid-April, from what they were able to tell me.
In any case, I'm very relieved to hear there is a web component planned for Venice.... and that it's not just a Facebook page. Helpful as those things can be, it scares me when they're treated as the last word in web exhibitions.
(Image of the Canada Pavilion in Venice from 2009 presenter the Justina M. Barnicke Gallery)
Friday, March 25, 2011
Images Festival Preview up at the Post
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The Images Festival rolls out its 24th edition next Thursday, March 31. I'll admit that some part of me is still confused about the focus of this festival, given that it shows art, film and live performance, but on the flipside the programming can provide a lot to surprise one. I have a few picks for the Fest up now at Posted Toronto, to be published in print in tomorrow's National Post Toronto section. An excerpt:
Gallery greats
A lot of big international art names are doing gallery exhibitions for Images this year. Already opened at Prefix are three videos and an installation by renowned Lebanese artist Rabih Mroué, who questions the power (and weakness) of images in representing history, politics, families and even individuals. Originally trained in theatre and a recent recipient of the Spalding Gray Award, Mroué is an expert at playing the shifty and unreliable narrator — reflecting the unreliability, perhaps, of all art and all media. Thought-provoking stuff. Starting April 2, Gallery TPW borrows a work from the Tate Modern in London: much-buzzed U.K. artist Lindsay Seers' Extramission 6, a semi-autobiographical work about a girl who grew up thinking she was a camera. Biennale babes are bound to gather at Mercer Union as of this weekend; it's where Swiss art star Roman Signer is showing outtakes of his slapstick-esque films. (They'll also want to check Venice must-know Chen Chieh-jen of Taiwan, showing at A Space as of April 2.) Local heroes (or semi-heroes) are on tap, too: Toronto-born, London-based smartie Melanie Gilligan shows a recent work, Self-Capital, at Interaccess from April 1 while ever-wry west-ender Jon Sasaki riffs on the Group of Seven at the AGO starting April 6.
Read on at Posted Toronto for my picks for screenings and live performance. Though it's always hard to know how performances will pan out, I can say this for certain from looking at some preview screeners this week: James MacSwain's short animated film from 1998, Nova Scotia Tourist Industries, is one of the funniest things I have seen in an art context for some time.
Also, looking at MacSwain's work, I had a real proto-Daniel Barrow experience. Though I generally prefer Barrow's work to MacSwain's, the quality of the voiceover and the wackiness of the animation, and the fact that MacSwain was working first, gave me this feeling.
(Still from James MacSwain's Nova Scotia Tourist Industries from the Images Festival)
Wednesday, March 23, 2011
Japan Earthquake Fundraiser by Toronto Artists Slated for March 29
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Back in town! Missed a lot! But glad to see this charity oriented art event upcoming on March 29--a fundraiser for earthquake victims in Japan. It's co-organized by Japan-born, Toronto-based artist Daisuke Takeya. More info from the press release below:
Ashita: Artists for Japan
Tuesday March 29, 7pm to 2am
The Great Hall, 1087 Queen Street West, Toronto
Cover: minimum donation $10 (students $5 with ID)
All funds raised through admission fee and sale of donated artworks will go to Red Cross through the Japanese Canadian Cultural Centre's Disaster Relief Fund
Tax receipts available for over $50 donations and art purchases
Participating galleries include O'Born Contemporary, Le Gallery, Show and Tell Gallery, Art Metropole, Koyama Press, Narwhal/Magic Pony; participating artists include Howard Podeswa, Laura Horne, Max Johnston, Fiona Smyth, Winnie Truong, Nicholas Di Genova, Martin de la Rue, Patrick DeCoste and more.
More info at ashita11.tumblr.com and the event's Facebook page.
That earthquake, and the related nuclear concerns, are so heartbreaking. While I often, in my more cynical moments, doubt the ability of art to provide much aid, I'm also inspired to see events like this organized. And dude, if the good deeds aren't enough to get you out, the possibility of catering by Guu Izakaya should darn well do it.
Tuesday, March 15, 2011
On Hiatus to March 22
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I'm on hiatus until March 22, ya'll! Sad to be missing the TAAC Nuit Blanche and Biennial debates on Thursday, but I look forward to hearing how it goes. Happy March Breakin'!
Friday, March 11, 2011
New Power Plant Reviews: Hirschhorn, Manglano-Ovalle & More
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The Power Plant reopened yesterday with a new lobby, new logo and--perhaps most importantly--new website. Oh yeah, it's got some new shows too! My reviews of same are now up at Posted Toronto, and will be out in the Toronto section of tomorrow's National Post. An excerpt:
Thomas Hirschhorn at the Power Plant
231 Queens Quay W., to May 29
Swiss artist Thomas Hirschhorn's installation is both painful and powerful. At first glance, his array of lo-fi sculptural materials — lawn chairs, plush toys, papier mâché, styrofoam, packing tape, mannequins, etc. — overwhelms. But it's the small photographs Hirschhorn affixes to these sculptures that stand out. They document instances of man's inhumanity to man: people beating each other with sticks; grotesquely severed limbs and heads; and the bodies of innumerable babies, mothers, fathers, sisters and brothers lying dead and violated. Above it all, a massive eye — which provides the installation's title, Das Auge (The Eye) — watches, with dozens of smaller ocular models scattered throughout. Two questions rise to the surface: What's the good of being able to see if we block out everything that's disturbing? Do we choose to look rather than participate because of spectatorship's seeming safety? Granted, Hirschhorn throws much into the mix that complicates these questions and his perspective on them. His treatment of the seal hunt and fur trade makes it unclear whether he's trying to critique these industries or the people who protest them. It's also uncertain whether Hirschhorn's in situ righteousness is matched by any non-art actions on his part. Ultimately, however, I felt grateful to the artist for making me aware of some of many atrocities I shut out daily. Though this exhibition is ostensibly about the opening of the eye, it is also, quite palpably, about the opening of the heart as well.
Read on here for some more pain and power--and a little (welcome) preciousness.
On an access front, I also noticed something interesting. The Power Plant has had free Wednesday-evening hours for a while, but those hours are now branded "BMO Free Wednesday Evenings." While the invasion of corporatespeak into daily life can be troubling, I'm glad for a continuation of the free hours, and I hope other institutions in town no longer use the excuse that "donors don't want to support free hours or access" when explaining lack of same.
And on the online access front, it's great to see the gallery putting videos of some of its lectures online, at last! scroll down to the "Switch On" section on the homepage to find them, or check out their Vimeo channel.
(Image of Thomas Hirschhorn's Das Auge (The Eye) at the Power Plant courtesy the Power Plant. Photo Steve Payne. Via the National Post)
Thursday, March 10, 2011
Ken Lum Q&A: Signs of Change
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For 30 years, Vancouver's Ken Lum has plumbed relationships between the individual and the whole to create a singularly successful international art career. With his first large solo survey opened last month at the Vancouver Art Gallery, Lum chatted with me on the phone about his practice. The condensed and edited results are out in today's National Post. Some excerpts:
Q The way you've used signs in your art -from replacing yourself with a highway sign in 1978 to copying strip-mall signs today -often evokes how individuals are viewed by society. Why?
A What I'm interested in is the flattening of identity in the contemporary context. Advertising is largely premised on that, especially beer ads -there's a directive to young men to behave a certain way. There's also all these ideal domestic couples. You have these prescriptions laid out like templates and everyone is supposed to sacrifice their individuality, to be slotted into moulds. I'm interested in raising that problem through a kind of contradiction. On the one hand, you have this social economy, which flattens identity, and on the other hand there's the glimmer or residue or yearning of the individual to try and break out of that. We transcend signs, but how do we do it?
Q...one of your artworks is titled Mirror Maze with 12 Signs of Depression. How has depression affected your life?
A I have all kinds of subjects to my work and it doesn't mean I experience all of them. But I am interested in the theme of malaise, especially on a societal level, because I think the incapacity to express a full-throttled identity without some kind of compromise . well, I think that causes a lot of tension and a lot of anxiety and a lot of sadness. So I never suffered from depression. My brother did. My mother did. I never did. But I know about it.
Q You have a reputation for being quite critical. What are you most critical about in your own artwork? What's its greatest weakness?
A I don't think I have a reputation of being overly critical of other people. I would never try to hurt someone. If there's a weakness . because of the way I grew up and what I was exposed to, some might say, "That's a limitation, because so much of your work doesn't show your hand." Other people would say, "Your work is so dry." Others might say, "It's so deadly serious." And others might say, "There's no joy" or, "It's so alienating" and so on. They'd all be right, right? But that's me. There's all kinds of limits in my work. If I'd learnt how to paint better, I'm sure my work would be quite different.
You can read the rest of the interview here.
Many thanks again to Lum--who besides being incredibly busy workwise, has a new baby!--for taking time to speak with me.
(Image of one of my favourite Lum works--1990's We Are Sacred Blade--via Canadianart.ca Collection of the artist)
Nowruz Art Show Celebrates Community and Fresh Starts
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Lots of the time when I look at or write about exhibitions, I'm looking at that exhibition like a kind of object, something that exists apart from other cultural experiences a reader might have.
But I'm also often interested in how art interacts with community building. This is what sparked my interest in an exhibition related to Nowruz, the Persian New Year, which happens March 21 and is celebrated by 300 million people worldwide. The exhibition is currently on at Queen Gallery in Toronto's Moss Park neighbourhood to March 26.
Here's an excerpt from my article on the Nowruz show, out in today's Toronto Star:
On March 21, 300 million people worldwide will celebrate Nowruz, the Persian New Year. Some members of Toronto's Iranian community started gearing up last week with an artistic spin on the holiday — an exhibition at Moss Park's Queen Gallery.
Organized by Queen Gallery director (and former Tehran architect) Mahrokh Ahankhah, the show features five Iranian artists who live in Toronto — Afsaneh Safari, Davood Mategh, Firoozeh Tangestanian, Sayeh Irankhah and Touka Neyestani. Although the exhibition's works range widely, Nowruz's theme of rebirth is mirrored in these artists' lives as many try to make a fresh creative start in Canada.
Back in Tehran, Afsaneh Safari operated her own gallery and an underground life-drawing club.
"In my country, most university art students didn't know how to draw the ear or the neck because the model usually had a scarf," she explains. "I thought, we really need" a nude model. "But in the governmental art centres, they cannot do this. So one of my friends and I decided to have this privately."
Soon, university professors were sending students over to Afsaneh's gallery for the sessions. "It was quite a nice experience," she says.
Safari and her husband now live in a Bayview Village apartment where she does freelance graphic design.
"It's really hard to just live between canvases," she says of her new, cramped, at-home studio space. But she also says she's happy to be in Toronto, where "there's lots of culture and lots of people live together peacefully."
Researching this article was a real eye-opener for me, as I know (as readers can likely tell) very, very little about life in Iran. I appreciate Queen Gallery director Mahrokh Ahankhah taking time to chat with me, as well as artist Afsaneh Safari and art collector (who hopes soon to be a gallerist himself) Iraj Milanian.
Queen Gallery's upcoming Contact shows also look like a great opportunity to learn more about the politics of images in Iran, which I touch on at the end of the article.
(Painting by Sayeh Irankhah from Queen Gallery)
Monday, March 7, 2011
Black Ice: Q&A with David Blackwood out in Today's Post
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Last month, as his first major museum retrospective opened at the Art Gallery of Ontario in Toronto, I had the pleasure of chatting in person with David Blackwood. Blackwood is known, of course, for his dramatic prints of Newfoundland. Today, the National Post published my condensed Q&A with him. An excerpt:
Q: You're known for beautiful homages to Newfoundland--but you live in Ontario. Why?
A: Well, I was born in Newfoundland. I grew up there, went to school, graduated knowing that there was such a place as the Ontario College of Art. This was before the time of community colleges--no art school in Newfoundland.
So it seemed logical I would come to Toronto. When I was in my first year at college, it was impressed on students that it was important to have a subject, so that there'd be some purpose in what you're doing. Of course, even as a child I was very interested in drawing and painting. And with a subject: the local landscape. There's some of my teenage works in this exhibition--portraits of people in the community. This was disrupted at the college for a time because you were doing still life, things typical of an art school. But in my graduating year I was given a big one-man show. It was all mummers and sealers.
Q: Today, Newfoundland's tourism image is colourful and bright. Your images are just as stunning, but they're very dark. Why?
A: To begin with: Northeast coast of Newfoundland. Very pleasant in the summer--beautiful, sublime. In the winter . [makes fearful expression]. November, December, January, February, March, April, May, June: winter. Really severe. Then you have a pleasant period, July and August. But you can't count on it. You might wait until September, October where you have incredible sun every day. But never ever--summer or winter--without wind. We had one book in the house, the Family Bible, illustrated in black and white by Gustave Doré. Very dramatic images of very dramatic stories. So there was an influence there. It was only when my father passed away and I inherited this bible that I really became aware of it. I'd grown up looking at these images: Christ walking on the sea of Galilee, the fall of Babylon and Jericho, the ark on top of Mount Ararat.
Q: Your work often conjures biblical themes, especially your famous Fire Down on the Labrador. What inspired it?
A: You know, initially I was thinking of the idea of schooners and the fear of fire. The only thing they were afraid of was fire. The wind, the ice, the tide -all seemed to be manageable. But you would never go to sleep at night until you'd made sure that there were no glowing embers in the stove. Consequently, there were only short periods in the galley where the cook was working you'd have short periods of comfort. The rest of the time it would be tremendously damp and cold. That image is open to all sorts of interpretation. I got a phone call from a student at the University of Texas. He was taking a class and the professor was using this image to convey some philosophy of humanity and makeup of the universe, which had to do with man, bird, beast, fish, water, fire, ice. Everything, according to this particular person, was in that one image.
Blackwood also had some great stories I couldn't manage to include, like there being a guy who would show up once a month in his hometown of Wesleyville with a black and white projector and the engine to run it. He would show everything from newsreels to Laurel and Hardy. He also says having a very dramatic Shakespeare teacher in school had a big impact on him.
On a more political/procedural curatorial front, Blackwood says he believes this show wouldn't have happened without the longtime interest and support of AGO print curator Katharine Lochnan. Even when Lochnan was a student she had an interest in Blackwood's work, and pointed out the possible Doré connection to him. He also told me that since he lives in Ontario, Newfoundland institutions didn't seem, from his perspective, all that interested in collecting his work. Though this show will travel to the Rooms in St. John's this summer, and I'm sure be well loved there, it's worth noting that Blackwood gifted hundreds of his prints to the AGO in 1999--not to any other institution.
(Image of David Blackwood's Fire Down the Labrador from the AGO)


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Lorna Bates
Lorna is an MA Art Practice student at Wrexham Glyndŵr University.
What were you doing before coming to Wrexham Glyndŵr University?
I was a part-time caregiver working with the elderly, a self employed artist/maker and a mum.
What attracted you to WGU, and to this course?
WGU appealed because of its local situation and because the course ran within what I saw as being an art school with an independent identity and 'art school' mentality.
What did you enjoy most about your course?
I have enjoyed being back in an educational environment. Having had a long career break to bring up a family, it was lovely to be amongst people of like mind and to think academically again.
What surprised you most about studying it?
The biggest surprise was how much my art practice has developed. My studio practice has been closely examined, reflected upon and restructured to the point where I am confident it will be sustainable after leaving Glyndŵr.
How do you think you have benefited from studying at WGU?
Studying at WGU has benefitted me in a number of ways; my confidence has grown, I have enjoyed being back in education, I have had access to opportunities and facilities that otherwise I would have had no idea about and I have met so many lovely people, both staff and students. I have also benefitted by being introduced to the process of research into both context and practice, something that was somewhat lacking in my first degree.
How do you think your course will help you in your career?
My course has helped me to define who I am as a creative. It has helped me re-evaluate what is important to me professionally and where I want to go with my career. The course has given me chances to challenge myself and gain presentation skills, my confidence has grown and I no longer fear being put on the spot and having to justify my practice as an artist. In the future, I think I shall miss not having the student status I have now. It has given me the freedom I needed at the time I needed it most.
What was the support like?
I shall also miss the peer support, I've made some great friends here, and intend to keep in touch with them. They are part of my new network. I wouldn't have met any of them had I not studied for this this MA at WGU.
What I found particularly good about being at Glyndŵr is that staff seldom said no. I have been provided with my own studio space, I had access to facilities and expertise and wherever possible staff are willing to help and support me in all my self-initiated projects. If you know what you want from the course, it's a good place to get what you need.


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A key quality attribute of apple fruit is its peel or skin color, which affects consumer preferences. Immature fruits are green, and as the fruit ripens the green may fade partially or completely, resulting in very pale cream to green background colors. Red cultivars result from a superimposed accumulation of the red pigment anthocyanin. Anthocyanin accumulation in apple fruit can be affected by environmental, nutritional, and orchard management factors, the stage of maturity of the fruit, and by the microenvironment within the canopy. Note in the photo above, the difference in color of Honeycrisp apples grown in Minnesota (lower bin) and Washington state (upper bin).
Apple peel color is an important factor determining apple market acceptance. In general, red apples are preferred, particularly well- colored bright red types. Furthermore, consumer preferences vary from country to country and region to region. Studies have concluded that New Zealand consumers prefer striped apples; consumers from Nova Scotia, Canada, favor blushed apples; while consumers in British Columbia, Canada, were more accepting of a range of apple fruit colors.
Apple fruit peel color is one of the main traits people look at to differentiate among cultivars and thus should be considered when planting any cultivar, but particularly strains of cultivars with varying red pigmentation. For instance, Fireside, a striped cultivar, and Connell Red, a red-blushed sport of Fireside, do not deviate from their respective patterns within a tree or across the genotype even after many years of asexual propagation. In contrast to what is observed in these cultivars, fruit pigmentation in Honeycrisp apple can adopt two basic patterns: blushed or striped. Blushed fruits are defined as those that never show stripes, even in less colored areas of the peel. These two color patterns can appear together on the same tree, and even on the same spur, a very unusual phenomenon in apple.
Red color development varies with environmental conditions. Light and temperature are key factors. Anthocyanin production in apples is absolutely light dependent; not only the intensity but also the quality of light influences anthocyanin formation. Low temperatures increase and high temperatures reduce anthocyanin concentration in apple peels. For instance, Honeycrisp grown in the cooler, northern climes develops a cherry-red blush or stripes. As this cultivar is grown in warmer, southern environments, red color development is reduced.
How to improve red color development in red-fruited cultivars? Some production methods that can be used include:
· Bagging individual fruits (Saure, 1990)
· Plastic films under trees for light reflection (Funke and Blanke, 2005)
· Fruit thinning (Delong et al., 2006)
· Pruning to improve light penetration into the canopy (Saure, 1990)
Discovering what controls apple flesh color
References for further reading:
Saure MC (1990) External control of anthocyanin formation in apple: a review. Sci Hortic 42:181-218
Funke K, Blanke M (2005) Can reflective ground cover enhance fruit quality and colouration? J Food AgricEnviron 3:203-206
Delong JM, Prange RK, Harrison PA, Embree CG, Nichols DS, Harrison Wright A (2006) The influence of crop-load, delayed cooling and storage atmosphere on post-storage quality of 'Honeycrisp' apples. J Hortic Sci Biotechnol 81:391-396
Professor Emily Hoover
Dr. Adriana Telias


text: Add Cosmetic Dentistry To Your Plan For Reversing Signs Of Aging So You Look As Young As You Feel 17 December 2019 If you're approaching your senior years or if you just look older than you feel, you may be considering cosmetic treatments that help you look younger. Dermal fillers, lifts, and skin treatments can do wonders for your face, but you don't want to overlook your teeth. Your teeth can make you look older than you want to since teeth change with age and can take on an old-age appearance. A cosmetic dentist can improve the look of your smile so your teeth look as young and vibrant as the rest of you.


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Is this okay? An ask for change to sexual violence education
No one should be forced to go to school with their rapist, said Roxane Gay in front of a packed audience in Pickard Theater last Monday. At Bowdoin, like many other institutions of higher education and in work places around the world, survivors of sexual violence are forced to face their own perpetrators each and every day.