Tag Archives: culture and art in japan
Japanese art and Bunjinga (Nanga): the influence of China and Korea in the Edo period
The Bunjinga school of thought ran deep within the literati of Japan during the Edo period. Bunjin (literati) artists trace their artistic roots to the literati of China during the Song Dynasty (960-1267). However, the differences between the Japanese literati and Chinese literati, is notable because of the opposite side of the coin applying. Also, the isolationist policies of Japan in the Edo period meant that bunjin artists didn’t have the complete picture of the cultural reality of the Song Dynasty.
Bunjinga is also called Nanga and on the British Museum website it states that “The Japanese Bunjinga school of literati ‘scholar-amateur’ artists flourished in the eighteenth and nineteenth centuries. It is also known as Nanga (‘Southern painting’). The school was based on the literati movement that developed in China over a long period of time as a reaction against the formal academic painting of the Northern Song dynasty (960-1126). Rather than technical proficiency, literati artists cultivated a lack of affectation in an attempt to tune in to the rhythms of nature. In Japan, this was only partially understood: many Japanese bunjin were simply trying to escape the restrictions of the academic Kanō and Tosa schools while imitating Chinese culture. At first, the only models available were woodblock-printed manuals such as the Kaishien gaden (‘Mustard Seed Garden’) and a few imported Chinese paintings. Some Chinese monks of the ōbaku Zen sect taught painting in Nagasaki. Unlike their Chinese counterparts, the Japanese bunjin were not necessarily carefree artists and scholars from wealthy, bureaucratic backgrounds, and many had to sell their work to make a living.”
The political reality of the Edo period meant that Japanese artists were forbidden to travel to China. This policy was called sakoku (locked country) and clearly this prevented the real study of the Song Dynasty. Therefore, the free movement of people leaving or entering Japan was enforced strictly and only limited “windows” were open.
Given this, the real terminology should be kaikin (maritime prohibitions) but from the point of view of bunjingaartists, then clearly sakoku created major restrictions in their pursuit of knowledge and reality. Japan wasn’t fully isolated because cultural meeting points happened with the people of Ryuku (Okinawa) and the Ainu. Also, Nagasaki, and a few other places, enabled outside cultural interactions despite the severe limitations on “real interaction” based on the freedom of movement.
Bunjinga artists therefore resided in a world where restrictions were put in place and clearly even in the modern world certain nations are still hostile to outside influences which threaten the status quo. For example, in modern day Saudi Arabia all converts from Islam face death, just like all converts to Christianity faced death during the Edo period. Meanwhile, in North Korea this nation wants to maintain severe restrictions on the outside world based on political motives. In both Saudi Arabia and North Korea many windows are open in the field of trade. However, despite the huge differences of these two nations, you do see aspects of sakokudespite major cultural, political, religious, and other differences in these societies.
Therefore, the world of bunjinga artists in this period of history had severe restrictions to overcome. However, unlike ukiyo-e artists who focused on many aspects of Japanese culture, mythology, history, the spirit world, and so forth; for bunjinga artists their problems were different because of their admiration of Chinese culture. This meant that ukiyo-e artists could connect with the world they knew but for bunjinga artists much of their literati world was clouded by the restrictions of obtaining real knowledge of the world they wanted to portray.
Famous artists who followed the bunjinga school of thought applies to Gion Nankai, Sakaki Hyakusen, Yanagisawa Kien, Okada Beisanjin, Kameda Bosai, Hanabusa Itcho, Ike no Taiga, Watanabe Kazan, Tomioka Tessai, Yosa Buson, Uragami Gyokudo, Tani Buncho, Takahashi Sohei, Okada Hanko, Ki Baitei , Matsumura Goshun, Yokoi Kinkoku (1761-1832), Yamamoto Baiitsu, Nukina Kaioku, Takahashi Sohei, Nakabayashi Chikuto, and many others.
In an earlier article by Modern Tokyo Times it was stated that “This school of thought flourished in the late Edo period and highlights the power of traditional Chinese culture in Japan despite the ongoing isolation of this nation. The bunjinga, the literati according to their mode of thinking, all had one binding feature and this applies to their deep admiration of traditional Chinese culture. This enabled their individuality to be linked together within the ideas and art work of bunjinga concepts.”
The Philadelphia Museum of Art comments that “The mid-eighteenth century in Japan was a time of political and social stability and economic prosperity. The Tokugawa family of military rulers (shogun) was firmly ensconced in the new eastern capital of Edo as the de facto political power, while the emperor reigned as spiritual and cultural sovereign in the ancient imperial capital of Kyoto in western Japan. Regional schools were established to spread the Chinese studies that the central government espoused along with the Confucian-based political system. The study of fields such as Chinese literature, music, and medicine became specializations among the educated elite of the newly rich merchant class as well.”
Therefore, while the Edo period is famous for being isolationist it is abundantly clear that the Tokugawa ruling elites spread the power of Chinese studies. This makes sense given the fact that the political system was Confucian based.
Influence of Korea
The role of Korea in this art movement is often neglected despite cultural interaction and influence which went in both directions. On the Princeton University Press website it is stated (based on the book by Burglind Jungmann) that “It is well known that Japanese literati painting of the eighteenth century was inspired by Chinese styles that found their way to Japan through trade relations. However, because Japanese and American art historians have focused on Japanese-Chinese ties, the fact that Japan also maintained important diplomatic–and aesthetic–relations with Korea during the same period has long been neglected. This richly illustrated, cogently argued book examines the role of Korean embassies in shaping the new Japanese literati style, known as Nanga in Japan.”
“Burglind Jungmann describes the eighteenth-century Korean-Japanese diplomatic exchange and the circumstances under which Korean and Japanese painters met. Since diplomatic relations were conducted on both sides by scholars with a classical Chinese education, Korean envoys and their Japanese hosts shared a deep interest in Chinese philosophy, literature, calligraphy, and painting. Texts, such as Ike Taiga’s letter to Kim Yusöng and Gion Nankai’s poem for Yi Hyön, and accounts by Korean and Japanese diplomats, give a vivid picture of the interaction between Korean and Japanese painters and envoys. Further, the paintings done by Korean painters during their sojourns in Japan attest to the transmission of a distinctly Korean literati style, called Namjonghwa. By comparing Korean, Japanese, and Chinese paintings, the author shows how the Korean interpretation of Chinese styles influenced Japanese literati painters and helped inspire the creation of their new style.”
The book by Burglind Jungmann called Painters as Envoys: Korean Inspiration in Eighteenth-Century Japanese Nanga is very intriguing because the Korean angle is neglected too much. However, cultural interaction within the richness of Chinese, Korean, and Japanese culture, went in all directions. Therefore, irrespective of the alterations which developed because of different cultural concepts within each different society – and within regions of all societies which had different energies and thought patterns – the Korean dimension is a reality and needs to be studied and highlighted more.
Timon Screech (School of Oriental and African Studies, University of London) comments that “This is an important book that will be useful to scholars and students alike. In elegant prose and with excellent scholarship, Burglind Jungmann proposes that Korean amateur painting had a large impact in Japan. This point has never been so closely argued before, in any language. The author has been diligent in finding little-known works in many collections around the world to support her claims. This is the first book on the subject, but it is much more than an introductory work.”
The bunjinga movement is interesting within the context of sakoku (locked country) because it opens up many intriguing questions. Also, the Korean dimension further hints at deep cultural interactions despite policies by the Tokugawa ruling elites.
Therefore, the bunjinga art movement is an area of great richness when it comes to art, thought patterns, cultural interaction, and understanding aspects of Japanese culture during the Edo period. Famous bunjingaartists have also left a rich legacy because of the art they left behind. This article is meant to intrigue people to delve into the many amazing artists who belonged to the bunjinga school of thought and then to focus on the shared civilization of Northeast Asia, despite the unique richness of all societies involved.
http://www.philamuseum.org/exhibitions/108.html?page=3
http://press.princeton.edu/titles/7743.html
Posted by leejayuk on March 23, 2012 in ASIA, INTERNATIONAL RELATIONS AND GLOBAL NEWS, Japan
Tags: bunjin art in japan, bunjinga art movement, Burglind Jungmann and bunjinga movement, Burglind Jungmann and influence of Korea, Burglind Jungmann and nanga art, china song dynasty and bunjinga art in japan, chinese art influence on japan, culture and art in japan, edo art in japan, Gion Nankai, Hanabusa Itcho, Ike No Taiga, Ike No Taiga and bunjin, Japanese art and Bunjinga (Nanga, japanese art and culture, japanese literati in Edo period, kaikin and sakoku, Kameda Bosai, Ki Baitei, korean art influence on japan, Matsumura Goshun, Nakabayashi Chikuto, nanga art in japan, Nanga artitsts, Nukina Kaioku, Okada Beisanjin, Okada Hanko, Painters as Envoys: Korean Inspiration in Eighteenth-Century Japanese Nanga, Sakaki Hyakusen, Song Dynasty and bunjinga art, stunning bunjinga art, stunning nanga art, Takahashi Sohei, Tani Buncho, The Philadelphia Museum of Art, Tomioka Tessai, Uragami Gyokudo, Watanabe Kazan, Yamamoto Baiitsu, yanagisawa kien, Yokoi Kinkoku (1761-1832), Yosa Buson
Isoda Koryusai: man of mystery in the ukiyo-e art world
Isoda Koryusai is a man of mystery even today because much remains up in the air about important aspects of his life. Koryusai was born in 1735 and died in 1790 and he was active during the 1760s and until a few years before his death. However, major aspects remain debatable but despite this he was a fine artist who graced ukiyo-e and Japanese art.
Unlike the vast majority of ukiyo-e artists Koryusai was born into an elite samurai family and he was one of only a few who entered the ukiyo-e art world from such a lofty background. This meant that he saw aspects of Japanese society and culture from a different way to the majority of ukiyo-e artists.
Koryusai understood the importance of stratification and Confucian thinking because his early life was based on conformity and not upsetting the applecart. However, either he turned to the art “within him” or he was forced to enter the world of ukiyo-e because of financial factors. Sadly, this area is disputed by many scholars of ukiyo-e and much is open to interpretation.
Therefore, some scholars claim that he became a ronin and because of this he took to art in order to survive financially. Others, however, claim that he voluntary entered the art world and gave up being a samurai because art was embedded in his soul. This area is very important because in order to feel the passion and soul of Koryusai a great deal relies on this.
Of course, nothing can take anything away from the art of Koryusai irrespective of the real reasons behind changing his lifestyle. However, the vagueness of knowledge means that it is difficult to get close to the “real” Koryusai.
On the website Artelino (http://www.artelino.com) it gives a lot of information about Koryusai and Dan McKee comments about the background and influence of this overlooked artist. This applies to the background and influence behind Koryusai and if he was a pupil of Harunobu Suzuki.
Dan McKee comments that “There is no certain evidence to prove this fact, but it is often assumed that Koryusai began his printmaking work as a pupil of Harunobu Suzuki, whose style can indeed be seen in Koryusai’s early work, though also in the work of some other print artists (Shunsho, Shiba Kokan) whose connection to Harunobu seems even less direct. The same can be said for Koryusai’s early signature, Haruhiro, under which he designed his first prints at around the time of Harunobu’s demise (1769-1770), for use of the “haru” prefix may imply only an effort to appear in the Harunobu line, rather than an actual master-disciple relationship (ala Harushige).”
“Similarly, the inscription on one 1770 print, claiming it to be a design by Harunobu, for which Koryusai was asked to add color, could as easily represent an attempt to place Koryusai as the direct descendant of Harunobu for commercial reasons, to fill the void left by the death of the first nishiki-e master. It is notable that Koryusai states in this inscription that he “does not know Harunobu’s way but have finished the print with his [Koryusai’s] own brushwork.”
Robyn Buntin (http://www.robynbuntin.com) on the other hand comments that “Though possibly a pupil of Shigenaga, Koryusai was influenced most by his friend Harunobu whose style can be seen in Koryusai’s early work. His most original work, in which he excelled, was in pillar prints, bird-and-flower prints, and shunga.”
Jack Hillier concludes that “There is always, especially among collectors, a tendency to make comparison between artist and artist, and with Koryusai it is perhaps a case of we look before and after and pine for what is not.”
Koryusai remains a man of mystery but he produced stunning art and gave much to the ukiyo-e art world. Therefore, it is best to let the man of mystery remain to be this, rather than creating or trying to formulate conclusions which are incorrect.
Another mystery about Koryusai is why his art appears to be overlooked and the same applies to the individuality of his work. After all, he did produce art which carried his own individual style and the spectrum he focused on was very intriguing.
The final years of his life appear to be based on focusing on his roots because many designs had Chinese connotations and based on typical pillars of samurai elites. Therefore, the foundation laid down in Koryusai’s early life remained deeply within his soul.
http://www.artelino.com/articles/isoda-koryusai.asp
http://www.robynbuntin.com/ukiyo-e/MorebyArtist.asp?ArtistID=353
Tags: art and culture in japan, artelino and ukiyo-e, classic ukiyo-e and koryusai, culture and art in japan, Dan McKee and ukiyo-e, http://moderntokyotimes.com, isoda koryusai and ukiyo-e, Jack Hillier and ukiyo-e, japanese art, japanese art and koryusai, koryusai and japanese art, koryusai and man of mystery, koryusai and the samurai artist, koryusai and ukiyo-e, lee jay walker and japanese art, lee jay walker and ukiyo-e, Robyn Buntin (http://www.robynbuntin.com), stunning japanese art, ukiyo-e and culture in japan
Utagawa Kuniyoshi and Japanese art: Images of tranquility and landscapes
Utagawa Kuniyoshi depicted many images and covered various different subject matters. Therefore, the art of this stylish ukiyo-e artist in this article provides only a glimpse into the real Kuniyoshi.
Kuniyoshi was born in 1797 and died in 1861 and throughout this period many developments erupted in Japan. This applies to traditional rule in the earlier part of his life to rapid changes from the middle of the 1850s and onwards until the Meiji Restoration of 1868.
Ando Hiroshige and Katsushika Hokusai are the most famous ukiyo-e artists internationally but Kuniyoshi was also a crème de la crème artist along with many others. Also, the broad spectrum of many ukiyo-e artists is truly amazing and this also applies to the art of Kuniyoshi. Therefore, the art work of this wonderful artist is complex and depends on various different circumstances.
This article focuses only on the tranquil nature of his art and elegant landscapes which appealed to many Japanese people. However, it would be wrong to believe that these lovely landscapes and scenes of serenity provide the real Kuniyoshi because this would be false.
Despite this, for people who know the art work of Kuniyoshi the opposite could be said because all too often this angle of his artwork is neglected. Yet clearly Kuniyoshi’s landscape images match that of any ukiyo-e artist irrespective of people’s own preferred artist.
The Edo Period was succumbing to outside forces during the lifetime of Kuniyoshi and this must have infringed heavily on this stylish artist. However, when one door closes another opens up and this certainly applied to the later stages of his life. Therefore, new techniques, different thinking, growing outside influences, evolution within the Japanese art world, and others factors, impacted greatly on Kuniyoshi.
Images in this article by Kuniyoshi are a reminder of a world which was mainly un-spoilt before the economic, social, and political revolution which took hold in Japan and culminated with the Meiji Restoration of 1868.
In an earlier article I commented that “Kuniyoshi and other famous ukiyo-e artists also take you back to a different Japan in all its confusion. Therefore, Kuniyoshi designed prints which covered a vast spectrum and this applies to landscapes, women, kabuki, humor, nature, satire, shunga, cats, surimono and other areas.”
“It is apparent that Hokusai (1760-1849) had much more political and sexual freedom and this notably applies to Hokusai’s shunga which is very powerful and erotic. However, the Tenpo reforms of the early 1840s introduced measures which banned prints of erotic women and actors who belonged to the kabuki scene. This meant that Kuniyoshi had to focus more on warriors and legends but his historical depictions were under close scrutiny. Therefore the popular satire of shogun Tokugawa Ieyoshi and other prints led to an official reprimand and many prints were confiscated and destroyed.”
Kuniyoshi also opened up the past and this applies to the depiction of historical figures in Japanese history, brave samurai warriors, events in Japanese history, famous legends and other related areas which nurtured each new generation.
Famous art pieces produced by Kuniyoshi include The 108 Heroes of the Popular Suikoden All Told, At The Shore of the Sumida River, Mt. Fuji from Sumida and Pilgrims in the Waterfall. Of course you have many other famous collections and art pieces by Kuniyoshi and preferences will vary with each individual.
Pilgrims in the Waterfall is extremely beautiful because it shows and highlights important aspects of Japanese culture when it applies to religion and nature coming together. This notably applies to Shintoism which is “the real heart of Japan” despite the influence of Buddhism within the Japanese psyche. Also, in this stunning art piece it is abundantly clear that space is very important and this applies to religion, Japanese gardens, meditation and other aspects of Japanese culture.
The serenity which can be felt by the Pilgrims in the Waterfall connects humanity, nature and religion together. Therefore, Kuniyoshi is highlighting a powerful reality which belonged to his world.
Kuniyoshi’s ukiyo-e is very varied and images in this article are limited to landscapes and internal tranquility in Japan.
http://www.kuniyoshiproject.com/ – Fantastic website and just click onto the section you are interested in.
Tags: ando hiroshige and japanese art, art in japan, art in japan and kuniyoshi, art in japan and ukiyo-e, art of the edo period, artists of edo, buddhism and japanese culture, culture and art in japan, edo period and art, famous ukiyo-e artists, high culture in japan, hokusai and japanese art, hokusai influenced kuniyoshi, japanese culture, japanese tourism, katsukawa shuntei, kuniyoshi and art in japan, kuniyoshi and japanese art, kuniyoshi and landscapes, kuniyoshi and many art forms, lee jay walker and japanese art, legacy of japanese art, modern tokyo times, Mt. Fuji from Sumida, Pilgrims in the Waterfall, shinto and japanese culture, shintoism, shunga and erotic art, shuntei influenced kuniyoshi, The 108 Heroes of the Popular Suikoden All Told, tranquil art by kuniyoshi, ukiyo-e artists, Utagawa Kuniyoshi
Japan Ukiyo-e Museum in Matsumoto: richness of art and culture
Ukiyo-e expresses the richness of Japanese culture, nature, history, mythology, theatre, stunning landscapes, and highlights the importance of entertainment and other areas. Also, ukiyo-e shows vivid images of sexuality and some shunga is extremely explicit even by the standards of today in liberal nations. This reality is what makes ukiyo-e so powerful because it relates to both reality and a world of mythology and ghosts.
Hiroshige
Ukiyo-e therefore covers a very broad spectrum and many famous international artists like Vincent van Gogh, Manet, Henri de Toulouse-Lautrec, Degas, Renoir, Paul Gaugin, Monet, Félix Bracquemond, Mary Cassatt, and others, were admirers of ukiyo-e.
Chikanobu
The Japan Ukiyo-e Museum website comments that “The average citizen’s mood of Edo period (1603-1867) was an extremely buoyant and joyful one –not the transitory, heavy atmosphere characteristic of the troubled middle age. The word “ukiyo-e” means “the picture of buoyant world” and incorporates in its meaning the common man’s daily pleasures, such as Kabuki plays, Geisha houses, and so on. The forerunner of Edo period prints was simple drawings that gradually developed into a wood-block, thus satisfying the growth of the demand.”
Kunichika
Obviously the Edo period had darkness within the myths and this applies to the killing of all Christians and brutal methods were used against criminals. Also, stratification and other factors meant that the Edo period also had major negatives and art can often be used to over-simplify reality. This applies to art all over the world which may neglect serious issues and the marginalized　or which may be constrained by cultural and political factors of the day.
Ogata Gekko
However, ukiyo-e does provide major glimpses into the Edo period and the changing Japan which began after the Meiji Restoration of 1868. More important, ukiyo-e connected with people from all social backgrounds and elitist aspects of Western art appears to be unimportant.
Yoshitoshi
The Japanese Ukiyo-e Museum in Matsumoto, Nagano Prefecture, is located in a stunning part of Japan and the mountain scenery of Nagano Prefecture is a wonder to behold. Therefore, if you love art and Japanese culture this museum is a must place to visit because the ukiyo-e collection is enormous and you will be spoilt for choice.
Irrespective if you are a citizen who resides in Japan or an international tourist who is visiting Japan; the Japan Ukiyo-e Museum is a genuine treasure. Matsumoto itself is a very nice city and Matsumoto Castle is very beautiful. The surrounding area is also blessed with amazing nature and beautiful mountain ranges and this will further add to your visit to the Japan Ukiyo-e Museum in Matsumoto.
http://www.ukiyo-e.co.jp/jum-e/index.html
The Japan Ukiyo-e Museum: 2206-1, Shimadachi, Matsumoto, 390-0852, JAPAN.
Open: 10:00 a.m.—5:00 p.m.
Closed on Monday
http://welcome.city.matsumoto.nagano.jp/contents03+index.id+7.htm
http://welcome.city.matsumoto.nagano.jp/
Posted by leejayuk on August 14, 2011 in Japan
Tags: art in japan, art in matsumoto, art in tokyo, chikanobu and japanese art, chikanobu and ukiyo-e, culture and art in japan, Degas, Félix Bracquemond, Henri de Toulouse-Lautrec, hiroshige and japanese art, hiroshige and ukiyo-e, hokusai and ukiyo-e, http://moderntokyotimes.com, http://welcome.city.matsumoto.nagano.jp/, http://www.ukiyo-e.co.jp/jum-e/index.html, Japan Ukiyo-e Museum in Matsumoto, japanese art, japanese art and culture, kunichika and japanese art, kunichika and ukiyo-e, lee jay walker and ukiyo-e, Manet, Mary Cassatt, matsumoto and tourism, Monet, ogata gekko and ukiyo-e, Paul Gaugin, Renoir, ukiyo-e and japanese art, ukiyo-e and tokyo art, Vincent van Gogh, visit Japan Ukiyo-e Museum in Matsumoto, yoshitoshi and japanese art, yoshitoshi and ukiyo-e
Hokusai and Hakone: Ukiyo-e and stunning scenery
Katsushika Hokusai was a sublime Japanese artist, ukiyo-e painter and printmaker and his art had many faces and styles. However, when you think about the stunning nature of Hakone then the refined art of Hokusai springs to mind.
Alternatively, if you close your eyes and think about Hokusai’s shunga then you can enter seedy areas of Tokyo and images of Kabukicho come to mind. Obviously both images may be an illusion but Hokusai’s art does have many sides and similar ukiyo-e artists went down the same path.
Hokusai clearly loved the view of Mount Fuji and visiting stunning places of natural beauty and both factors certainly apply to Hakone. After all, Hakone rests within the Fuji Hakone Izu National Park and in certain parts of Hakone you can witness sublime views of Mount Fuji. Therefore, the entire region would inspire any exquisite artist to create picturesque scenes and clearly Hokusai fits the bill perfectly because he loved to express his passion for stunning views of nature.
The Thirty-six Views of Mount Fuji and The Great Wave off Kanagawa are pure masterpieces in different ways. Therefore, it is clear that Kanagawa is a potent region for spectacular scenery and a magnet for any artist who loves majestic views. Also, the size of the area means that views change quickly but remain to be a wonder to behold because of the natural beauty of the Fuji Hakone Izu National Park.
International tourists and Japanese tourists head to Hakone because of the richness of the area which provides unbelievable backdrops amidst the mountain range and abundance of nature. Not only this, Hakone is blessed with a plethora of places to visit and you can appreciate the richness of Japanese culture by visiting one of the many museums which are dotted around the main tourist areas.
It is easy to imagine Hokusai, Ando Hiroshige and a host of other famous ukiyo-e artists wandering around the Hakone region during their brief time on this earth. However, despite the briefness of life Hokusai, Hiroshige, and other artists, have clearly left a strong and powerful legacy.
In this sense, these famous artists have fused aspects of their life within the beautiful mountain ranges and landscapes of Kanagawa. Therefore, the immortality of Mount Fuji is enjoined by the “immortality of art” by artists like Hokusai and Hiroshige who have inspired so many people and provided glimpses into the real Japan.
On a windless night you can imagine artists in the sweltering heat of summer and in the stillness of winter you can feel the changing temperature and how their feelings will have infringed on their art.
The spirit world exists to some people but for others you have nothing but the ending of all life and only memories of others and the legacy of a rare few last more than one single lifetime. Either way, you can feel that Hokusai and Hiroshige, and other sublime ukiyo-e artists, are still alive because of the powerful images they left behind and while the first love often fades into dust the beauty of art remains.
Hakone is not just a tourist destination it is about “your Hakone” and this applies to escaping the mundaneness of life or stresses of life which often eats away at people. Obviously, for some tourists they may prefer to follow the usual routes taken by many and this applies to the main tourist attractions and plethora of places to visit.
However, for others a walk or hiking is their preference and for others they will want to find solitude. Alternatively, the hot springs attract many individuals and some people desire to refresh themselves by enjoying the soothing reality of hot springs and if lucky enough you can find a special hot spring surrounded by stunning nature.
Hokusai had desired more time on this earth in order to express the stunning reality of nature and his art was like the most delicious wine because he continued to mature throughout his entire life.
The Great Wave off Kanagawa shows the potent power of nature and just like the frailty of life the chaotic reality of life infringed on Hokusai. This applies to the devastating fire which destroyed Hokusai’s studio and much of his lifelong work was destroyed in a single moment of chaos.
Luckily for humanity not all was destroyed and obviously many art pieces will have been bought before this tragic fire but much was lost. Therefore, the frailty and chaotic nature of life which had taken away people who were dear to Hokusai now ravaged is “very being” and this must have impacted on his thinking.
At the ripe old age of 87 Hokusai had completed the Ducks in a Stream and he yearned for more time on this earth. Yet only God is mortal or the imagination which believes in God or gods creates this mortality irrespective if it is a reality or an illusion.
However, the symbolism of Mount Fuji and its impact on Japan means that a special spirit or energy exists within this mountain. In a sense, Mount Fuji is immortal and Hokusai, Hiroshige, and others, entered the immortality of the mind of others by their stunning art work.
Therefore, while each generation will turn to dust certain factors will remain because all cultures hand something down and preserve the best of humanity. This certainly applies to Hokusai who not only left a rich legacy for the Japanese people but he left a rich legacy for the best of international humanity.
Hokusai showed glimpses of the beauty of this world through aspects of his work while shunga focused on the lustiness of humanity or the reality of sexuality, depending on your thinking.
On his deathbed Hokusai uttered “If only Heaven will give me just another ten years…Just another five more years, then I could become a real painter.”
In reality it would matter not, another five years or ten years because Hokusai had already left a rich legacy and the chaotic nature of life could not guarantee a fruitful extra five or ten years. Therefore, the last moments of Hokusai’s life was tinged with the hope of more time but sooner or later God is going to knock on your door and what was, is no longer.
In 1849 Hokusai died but Nichiren Buddhism, Mount Fuji and the stunning and mystical mountains of Japan had served him well. All these factors, and others, made him what he became and after death his candle did not burn out because the brightness he left still flickers strongly and will continue to do so.
This life is not mortal but images like The Great Wave off Kanagawa and other work by Hokusai means that his art is immortal.
Language restricts humanity because of the plethora of languages but art at its best can defeat this because images can be viewed irrespective of the constraints of language.
Therefore, a visit to Hakone is a real treat for people who reside in Tokyo or for tourists visiting Tokyo. After all, Hakone only takes 90 minutes from Shinjuku by the Odakyu Limited Express “Romancecar.”
In a different article about Hakone I state that “The “Romancecar” is a great way to travel because you can relax in comfort and you have a drinks and food service which caters for your needs. Also, the Hakone Free-pass is a must because it provides great value and you can use it for 7 types of different transport.”
“This applies to the Hakone Ropeway, Hakone Tozan Line, and other forms of transport. Therefore, you can hop on and off different forms of transport and the scenic views from the Hakone Ropeway and Hakone Tozan Line is stunning; the different forms-of-transport also adds to your holiday because the quaint train journey is pleasurable by itself.”
“Hakone is home to famous spas and is located in a large historical zone and when you include this to the stunning nature of the Fuji Hakone Izu National Park and cultural attractions on offer; then it is clear to see why Hakone is so popular.”
The art legacy of people like Hokusai is another major attraction and while Hokusai’s time on this earth was between 1760 and 1849; you can feel close to him in places like Hakone because of the connection of his artwork with the stunning reality of Hakone.
If you want to fuse a sublime holiday based on art, history, and stunning scenery then Hakone is the place to visit. The main museums apply to the Narukawa Art Museum for modern Japanese paintings; the Hakone Open Air Museum; the Pola Museum of Art; Venetian Glass Museum; Suzuhiro Corp. Kamaboko Museum; Local History Museum; Museum of Saint Exupery and the Little Pince in Hakone; Hakone Old Takaido Road Museum; Hakone Mononofu-no-Sato Art Museum; Hakone Art Museum; Honma Yosegi Museum; and Kanagawa Prefectural Museum of Natural History.
Other places to visit include the volcanically active Owakudani geysers, Hakone Botanical Garden of Wetlands, Hakone-jinja shrine and Treasure Museum, Odawara Castle Donjon, and many stunning parks and gardens can be found throughout Hakone.
The Fuji Hakone Izu National Park and surrounding area is a tourist paradise and given the comfort provided by the Odakyu train company which offers a fantastic service via the special Hakone pass; then you can enjoy quality time and make the most of what Hakone provides and at the same time you can travel easily because of services provided by the Odakyu train company.
Overall, Hakone is a magical place and Hokusai, Hiroshige, and other famous ukiyo-e artists, may have turned to dust a long time ago but their energy and passion is alive by the legacy of their respective artwork.
In Hakone and the surrounding region you can get close to their world because of the connection with the images that they left behind.
http://www.asia.si.edu/exhibitions/online/hokusai/launch.htm (Hokusai)
http://www.hokusai-kan.com/treasure01.htm
http://www.odakyu.jp/english/qtours/hakone_course2.html
http://www.odakyu.jp/english/freepass/hakone_01.html
http://www.hakone.or.jp/english/index.html
http://www.odakyu.jp/english/rc/index.html
Posted by leejayuk on July 20, 2011 in Japan
Tags: ando hiroshige, culture and art in japan, culture in japan, hakone, hakone and odakyu, hakone is beautiful, hakone is stunning, Hokusai, hokusai and great wave off kanagawa, hokusai and japanese art, hokusai and thirty-six views of mount fuji, international tourism, japan and tourist places to visit, japanese art, kanagawa and tourism, modern tokyo times, mount fuji, odakyu and hakone, odakyu and tourism, odakyu train company, odakyu train pass, PLACES TO VISIT IN JAPAN, potent power of Great Wave of Kanagawa, Thirty-six Views of Mount Fuji, tourism, tourism in japan, tourism in kanagawa, ukiyo-e, ukiyo-e art
Utagawa Kuniyoshi: Tranquil art and natural beauty! Part One
Utagawa Kuniyoshi is amongst the crème de la crème of ukiyo-e because his art work was truly amazing and so powerful. Kuniyoshi, just like other famous Japanese artists like Ando Hiroshige and Katsushika Hokusai, was very diverse and the window of the new Japan was on its way.
This article is based on three tranquil art pieces by Kuniyoshi. However, just like life these three glimpses into Kuniyoshi and his style are misleading. Nevertheless, given the amount of art that Kuniyoshi produced then a more tranquil based article suits the introduction for lay people who only know snippets about this talented artist.
Also, human nature is complex and the outside persona and internal reality is often very different. Therefore, by providing a glimpse into the natural aspect of Kuniyoshi’s art I hope to relate this with the calm before the storm.
After all, Kuniyoshi was born in 1798 and died in 1861 and he belonged to a world of continuity during the Edo Period but when his life was nearing the end, the Edo Period was also succumbing to outside forces and internal power issues.
By showing only three art pieces of Kuniyoshi I hope to transform these three images into a different meaning. This applies to the safety of the past irrespective if our recollections of our early years are often clouded by nostalgia and a yearning of the dead souls which have become mere memories.
Kuniyoshi and other famous ukiyo-e artists also take you back to a different Japan in all its confusion. Therefore, Kuniyoshi designed prints which covered a vast spectrum and this applies to landscapes, women, kabuki, humor, nature, satire, shunga, cats, surimono and other areas.
His legacy and style especially applies to depicting historical figures, warriors, events in history and legends which helped to inspire and open-up the viewer to the past.
Kuniyoshi was influenced to some extent by Katsukawa Shuntei (1770-1820) and this applies to warrior prints that he produced and not to other areas of his artwork. However, the early period for Kuniyoshi was not easy and it wasn’t until 1827 that he made a major breakthrough. This applies to The 108 Heroes of the Popular Suikoden All Told.
The three art pieces in this article depict a natural and cultural aspect of Japan. At The Shore of the Sumida River shows the power of nature and the reality of everyday life. The only individual face that you can see is in a natural state and he looks worn out and battling against the elements and fatigue.
However, the Mt. Fuji from Sumida shows a breathtaking landscape and two people are in awe of the stunning beauty and another individual is walking blissfully alone. The image also shows you a child who is enjoying life with his mother and playing. Also, unlike the older individuals the child is in a dream world because of natural joy and the energy of childhood can be seen.
The serenity of the image and exquisite color scheme alongside the backdrop of Mount Fuji is a beautiful illustration of Kuniyoshi’s art.
Pilgrims in the Waterfall depicts the unity of faith and nature and while Buddhism was powerful in this period in Japan the indigenous faith of Shinto is “the real faith of Japan.” This applies to the power of ancestors, the spirit world, nature and humanity being in co-existence and other aspects that run through the veins of Japan’s history.
It would not really matter if the image was a pilgrimage to Buddhism or Shintoism because the natural image of nature and the power of the waterfall could only connect you with Shintoism. Therefore, despite the power of Buddhism in this period in Japan the old world survived and this applies to the world of Shintoism and the mystery of gods within nature.
These three images depict a natural Japan and show a world which was far from the political intrigues of the day. The serenity which can be felt by the Pilgrims in the Waterfall is a stunning image which connects humanity with nature but in a natural and simplistic way. Therefore, no religious building is needed and instead the pilgrimage at its heart is interwoven with the power of nature.
Similarly, Mt. Fuji from Sumida shows the stunning beauty of Japan and the scene highlights natural beauty and everyday life and thought patterns. Older individuals are in awe while the child is blissfully happy irrespective of the stunning background.
Therefore, the three images of Kuniyoshi in this article are focused on only one side of his art work but Kuniyoshi was very diverse and during the reforms of the early 1840s he did not remain placid.
Posted by leejayuk on July 4, 2011 in Japan
Tags: ando hiroshige and japanese art, art in japan, art of the edo period, artists of edo, buddhism and japanese culture, culture and art in japan, edo period and art, famous ukiyo-e artists, high culture in japan, hokusai and japanese art, hokusai influenced kuniyoshi, japanese culture, japanese tourism, katsukawa shuntei, kuniyoshi and japanese art, kuniyoshi and many art forms, legacy of japanese art, modern tokyo times, Mt. Fuji from Sumida, Pilgrims in the Waterfall, shinto and japanese culture, shintoism, shunga and erotic art, shuntei influenced kuniyoshi, The 108 Heroes of the Popular Suikoden All Told, tranquil art by kuniyoshi, ukiyo-e artists, Utagawa Kuniyoshi


Find the right tour for you through Melaka. We've got 50 tours going to Melaka, starting from just 4 days in length, and the longest tour is 105 days. The most popular month to go is July, which has the most number of tour departures.


/*
 * Copyright 2013 the original author or authors.
 *
 * Licensed under the Apache License, Version 2.0 (the "License");
 * you may not use this file except in compliance with the License.
 * You may obtain a copy of the License at
 *
 *      http://www.apache.org/licenses/LICENSE-2.0
 *
 * Unless required by applicable law or agreed to in writing, software
 * distributed under the License is distributed on an "AS IS" BASIS,
 * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
 * See the License for the specific language governing permissions and
 * limitations under the License.
 */

package org.gradle.model.internal.core;

import org.gradle.model.internal.core.rule.describe.ModelRuleDescriptor;

import java.util.List;

public interface ModelCreator {

    ModelPath getPath();

    ModelPromise getPromise();

    ModelAdapter create(Inputs inputs);

    List<ModelReference<?>> getInputs();

    ModelRuleDescriptor getDescriptor();

}


#!/usr/bin/env python
from vtk import *
import os.path
from vtk.util.misc import vtkGetDataRoot
VTK_DATA_ROOT = vtkGetDataRoot()

data_dir = VTK_DATA_ROOT + "/Data/Infovis/SQLite/"
if not os.path.exists(data_dir):
  data_dir = VTK_DATA_ROOT + "/Data/Infovis/SQLite/"
if not os.path.exists(data_dir):
  data_dir = VTK_DATA_ROOT + "/Data/Infovis/SQLite/"
sqlite_file = data_dir + "SmallEmailTest.db"

# Construct a graph from database tables (yes very tricky)
databaseToGraph = vtkSQLDatabaseGraphSource()
databaseToGraph.SetURL("sqlite://" + sqlite_file)
databaseToGraph.SetEdgeQuery("select source, target from emails")
databaseToGraph.SetVertexQuery("select Name, Job, Age from employee")
databaseToGraph.AddLinkVertex("source", "Name", False)
databaseToGraph.AddLinkVertex("target", "Name", False)
databaseToGraph.AddLinkEdge("source", "target")

view = vtkGraphLayoutView()
view.AddRepresentationFromInputConnection(databaseToGraph.GetOutputPort())
view.SetVertexLabelArrayName("label")
view.SetVertexLabelVisibility(True)
view.SetVertexColorArrayName("Age")
view.SetColorVertices(True)
view.SetLayoutStrategyToSimple2D()

theme = vtkViewTheme.CreateMellowTheme()
theme.SetCellColor(.2,.2,.6)
theme.SetLineWidth(5)
theme.SetPointSize(10)
view.ApplyViewTheme(theme)
theme.FastDelete()

view.GetRenderWindow().SetSize(600, 600)
view.ResetCamera()
view.Render()
view.GetInteractor().Start()


Posted on March 11, 2015, in Cover Reveal and tagged Cover Reveal, Eden Butler, Night Shift, Night Shift Anthology, Swimming in Shadows. Bookmark the permalink.	Leave a comment.


Boldly go where no man has worked before with this impressive "Star Trek" Enterprise computer table and office chair presented in the latest episode of "Super-Fan Builds"..
Just be glad there's no interconnecting dorsal. You go to roll your chair in too quickly, slip, and end up separating your . . . main Jeffries tube!
Lonewolf wrote: Just be glad there's no interconnecting dorsal. You go to roll your chair in too quickly, slip, and end up separating your . . . main Jeffries tube!
if not for having a new one installed to drain to the "collective"
I notice no one was actually sitting on that thing. Must be fun to get on and off of it.
It does look nice. Perfect for house cats.
I don't think I would want one of these. It bugs me when somebody designs an Enterprise shaped thing and the proportions and detail are distorted. It's very shiny, though.
Cubey Terra wrote: I don't think I would want one of these. It bugs me when somebody designs an Enterprise shaped thing and the proportions and detail are distorted. It's very shiny, though.
Please don't think I am jealous but... I really would NOT want to have one like this. This is cool but very clumsy.
PS: When I saw this thread I thought that someone had made an office in TOS quarters style.
Last edited by NCC1966 on Thu Jun 16, 2016 6:02 pm, edited 1 time in total.
I would rather have actual furniture from inside he ship.


It is a daunting task for someone schooled in the law to talk to an audience of such renowned technical leaders, but I am comforted by Niels Bohr's observation that an expert is but an individual who has made all the mistakes which can be made in a very narrow field. I have found as Under Secretary that I have a daily opportunity to make all the mistakes that can be made in many fields, and so I can lay claim to broad expertise on these and other matters.
Our fundamental objective in nonproliferation is to stop the potential for growth in the number of fingers on the nuclear trigger around the world. The Department of Energy's role in this effort arises from our stewardship of the nation's nuclear stockpile. While that responsibility requires our continued and serious attention, in the last two years we have also created the Office of Nonproliferation and National Security to better focus those aspects of the Department's programs and assets that addressed post-Cold War threats.
DOE's technical expertise, particularly the outstanding talent of the national laboratories, many of whom are with you today, represents a global resource with a critical part to play in stopping nuclear proliferation. Let me offer a few examples of the fundamental role this unique expertise plays in stemming proliferation.
DOE experts are providing the technologies today that will be needed to verify the comprehensive ban on the testing of nuclear weapons, as they have in the past provided the expertise to verify the Arms Control Agreements that have been negotiated in past Administrations. In another decade-long effort, DOE experts have developed most of the technology for the International Atomic Energy Agency used to implement nuclear safeguards throughout the world. Indeed, it is a fundamental cornerstone of the entire nonproliferation regime.
Consider Iraq: When it came time to dismantle Iraq's nuclear weapons program, uncover its supplier network, and design the monitoring system needed to make sure Iraq never rebuilds its nuclear effort, DOE experts were on call to get that job done and they did.
Or consider North Korea: When the corrosion of North Korea's spent fuel appeared to offer Pyongyang a potential excuse to restart reprocessing, DOE experts working with colleagues from around the world provided technical solutions that if given the opportunity will allow us to manage this fuel safely and, we hope, forestall the crisis that would certainly follow if Pyongyang had begun separating bomb material from this fuel.
Our efforts focus not only on prevention but on response as well, known as "counter- proliferation." John Deutch, my good friend who was on the earlier panel, and I last year executed a Memorandum of Understanding that in a more focused and systematic (and we hope budgeted and supported) way, will bring the expertise of our national laboratories more directly to bear on counter-proliferation threats of weapons of mass destruction beyond nuclear.
Let me now focus on our cooperation with the former Soviet Union. There is no issue on the national agenda today more important than stabilization of the former Soviet States. What we do now can make the difference between peace and instability for generations to come. These, the Cold War legacies, pose very difficult challenges for the United States. In Russia, those challenges must be met in the midst of a wrenching transition, and with a budget crisis that makes our own budget difficult choices easy by comparison.
Working closely with the States of the former Soviet Union, our Administration has developed a comprehensive four-part plan to manage the nuclear material legacy of the Cold War: Securing nuclear materials; building confidence through openness; halting further accumulation; and carrying out their ultimate disposition, transforming these materials into forms that pose far less security risk.
Most urgent is the task of securing nuclear materials, as any newspaper reader of the last six months can attest. A critical part of this task has been assigned to an innovative, laboratory- to-laboratory partnership between DOE laboratories and their Russian counterparts. This has been a wonderful melding of scientific capability, initiative in the laboratories, and the wisdom in Washington to recognize the great potential capacity that this partnership has for securing these nuclear materials.
We do not take credit for the initiative. We take credit for coordinating what the laboratories brought to the table. Together we have developed a three-part approach: Improving the facilities, demonstrating and deploying technology, and instituting national standards.
The remarkable work done at Kurchatov Institute in Moscow, which made the press this last February in Russia, is an example of the kind of success we hope that we will repeat elsewhere. It is an unprecedented joint effort between Kurchatov, Sandia, and Los Alamos that has brought a very dramatically improved security system to two critically important sites in Kurchatov.
Kurchatov is but one of an ever-expanding list of efforts. Also in the laboratory-to- laboratory program a new modular material control and accounting system has been set up at Arzamas 16 to demonstrate technologies that could be deployed throughout Russia's nuclear complex. The key to this strategy that we are developing is a cooperative program: We emphasize mutuality of effort over and over again between their institutes and our laboratories to use those institutes, as the implementing agents in Russia to distribute technologies and knowledge throughout the very large number of civilian facilities in Russia that have possession of direct weapons-usable materials.
Through this year, much of this work has been funded by the Department of Defense, through the Nunn Lugar program, which was the subject of our earlier panel. In fiscal year 1996 the laboratory-to-laboratory and government-to-government programs on material protection, control, and accountability are both included in the Department of Energy's budget request, totalling $70 million dollars. I believe we have a compelling case to make to Congress and that this program will receive strong bipartisan support. Indeed, it would be hard to think of a better investment in our nation's security.
Related to this effort is the industrial partnering program which represents an equally innovative security investment. Created in fiscal year 1994, this program is based on a clear vision that trade and investment, not government aid, is the long-term answer to peace and stability in the New Independent States. The industrial partnering program brings together United States national laboratories, private industry, and laboratories and institutes in the NIS in cost-share partnerships designed to commercialize new technologies.
This is a win-win-win approach: It redirects weapons scientists to profitable civilian scientific work; it increases United States industry investment in the New Independent States; and it provides assistance in program management and business education to scientists in those states who need the skills to adapt their technical talents to the commercial marketplace.
Already hundreds of contracts employing hundreds of weapons scientists have been signed, designed to bring a broad range of technologies to market. I am very happy to say that United States industry has been an enthusiastic partner with the United States and the former Soviet laboratories if you will, a market-test validation of the worth and merit of this program.
The first eloquence, Lloyd George remarked, "is that which gets things done." These programs described briefly before speak eloquently for themselves in the face of urgent opportunity. They represent the best tradition of the science community's long-standing contribution to world security, and I am proud to be associated with them. Thank you.


Gunshots broke out Friday morning at Forest High School in Ocala, some 38 miles south of Gainesville.
Within minutes, a school resource officer on campus found a 17-year-old student who had sustained non-life-threatening injuries. The officer also located the suspected shooter, identified as a 19-year-old male who is not a student at the school, according to Marion County Sheriff Billy Woods.
The suspect was taken into custody without incident, and the wounded student was transported to a local hospital for treatment, the sheriff told reporters at a news conference Friday afternoon.
Woods said the shooting appeared to be intentional, but it’s unclear whether the suspect was targeting anyone in particular.
Sky Bouche, the suspected shooter, is being cooperative and talking with investigations, the Marion County Woods said in a later press conference Friday afternoon.
As Bouche was escorted out of the Marion County Sheriff’s Office Operations Center, he was hounded by questions from reporters.
“It doesn’t make it better, anyway,” he said before he was led into a police van.
The shooting took place in the school’s main building, according to Marion County Public Schools. Approximately 2,200 students attend Forest High School. The students were evacuated and the high school placed on lockdown, along with 17 other schools in the area.
Jonathan Grantham, deputy superintendent of Marion County Public Schools, said there was no indication before the shooting that anything was amiss.


Chapter 02 - The Nutrition Care ProcessNutrition Therapy and Pathophysiology 3rd Edition Nelms TEST BANK Full clear download at. Nutrition Therapy and Pathophysiology 3rd Edition Test Bank IF You Want to Purchase This And Any Other Then: Contact us At: [email protected] com. Nutrition Tables. Nutrition Therapy and Pathophysiology, International Edition, 2nd Edition. Marcia Nahikian Nelms, Kathryn P. Sucher, Karen Lacey, Sara Long .
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A BSP, or board support package, is the name given to the software responsible for hardware specific operations required to get a realtime operating system (RTOS) up and running.
BlackBerry QNX, with support from our hardware and silicon partners, offers a broad and highly optimized level of hardware support for our software, including our latest launch - QNX® Software Development Platform 7.0 (QNX® SDP 7.0). QNX SDP 7.0 provides a 32-bit and 64-bit OS that builds on the proven reliability of BlackBerry QNX technology, and raises the bar for security and performance in mission critical applications.
Our QNX SDP 7.0 BSPs support a wide array of boards based on ARMv7, ARMv8, and x86 architectures. Source code is available for all QNX BSPs to allow modifications for your custom boards.
This directory provides the list of Board Support Packages available for QNX SDP 7.0.
In addition to the listed BSPs, BlackBerry QNX can support any custom BSPs you require.
Visit Foundry27 to view BSPs for previous versions of the QNX Software Development Platform.


773 N.W.2d 696 (2009)
PEOPLE of the State of Michigan, Plaintiff-Appellee,
v.
David W. LEBEAU, Defendant-Appellant.
Docket No. 139240. COA No. 291612.
Supreme Court of Michigan.
October 26, 2009.

Order
On order of the Court, the application for leave to appeal the May 26, 2009 order of the Court of Appeals is considered, and it is DENIED, because we are not persuaded that the questions presented should be reviewed by this Court. The motion for appointment of counsel is DENIED.


Bring a lunch and discuss books that have made it to the big screen. Books are available at desk.
Fiona Maye is a High Court judge in London presiding over cases in family court. She is fiercely intelligent, well respected, and deeply immersed in the nuances of her particular field of law. Often the outcome of a case seems simple from the outside, the course of action to ensure a child's welfare obvious. But the law requires more rigor than mere pragmatism, and Fiona is expert in considering the sensitivities of culture and religion when handing down her verdicts. But Fiona's professional success belies domestic strife. Her husband, Jack, asks her to consider an open marriage and, after an argument, moves out of their house. His departure leaves her adrift, wondering whether it was not love she had lost so much as a modern form of respectability; whether it was not contempt and ostracism she really fears. She decides to throw herself into her work, especially a complex case involving a seventeen-year-old boy whose parents will not permit a lifesaving blood transfusion because it conflicts with their beliefs as Jehovah's Witnesses. But Jack doesn't leave her thoughts, and the pressure to resolve the case--as well as her crumbling marriage--tests Fiona in ways that will keep readers thoroughly enthralled until the last stunning page" From as early as grade school, the world seemed to be on Nic Sheff's string. Bright and athletic, he excelled in any setting and appeared destined for greatness. Yet as childhood exuberance faded into teenage angst, the precocious boy found himself going down a much different path. Seduced by the illicit world of drugs and alcohol, he quickly found himself caught in the clutches of addiction. Beautiful Boy is Nic's story, but from the perspective of his father, David.- Envisioning a summer vacation in the humble Singapore home of a boy she hopes to marry, Chinese American Rachel Chu is unexpectedly introduced to a rich and scheming clan that strongly opposes their son's relationship with an American girl.
Will the book be available for me to borrow?
Yes, titles are reserved for members and available at the desks.
Where can I find books by my favorite author, explore similar authors, or find the next book in the series I'm reading?
You can find similar books with NoveList Plus, a comprehensive online readers’ advisory tool. Using NoveList, you can search among hundreds of thousands of popular fiction and readable nonfiction titles, and also retrieve author read-a-likes, book lists, book discussion guides, and more.


Press Association Sport understands thee Black Cats have made Swansea an offer in the region of £4million for the 29-year-old, who is yet to agree a new deal at the Liberty Stadium, prompting a flurry of interest.

Williams has a year left on his current contract, but could leave the Swans for free next summer if he does not agree an extension.

Poyet and sporting director Lee Congerton are currently in the process of reshaping the squad at the Stadium of Light with West Brom defender Billy Jones and Wigan midfielder Jordi Gomez already on board following the departures of Phil Bardsley and Craig Gardner.

In addition, Sebastian Larsson has agreed a new three-year contract, although fellow midfielder Jack Colback's future remains uncertain with derby rivals Newcastle among his suitors.


Claudia Rankine and Will Rawls: What Remains
@ MCA Warehouse
1747 W Hubbard St, Chicago, IL 60622
Opening Wednesday, December 5th, at 7:30 PM
On view through Sunday, December 9th
Presented in association with Threewalls In-Session 2019
What Remains unites poet and MacArthur Fellow Claudia Rankine, Bessie Award–winning choreographer Will Rawls, and creative consultant John Lucas for a unique, collaborative live performance. The performers stage encounters with themselves and one another, poetically addressing the erasure and exposure that drive the historical murder and disturbance of black citizens. Layered with language, video, dance, and music references, the performance invites its audience into the dreamlike environment of an entombed imagination and responds to violence and disappearance with a resonant, ghostly chorus. As its performers insist on their own bodily presence within a society that curtails their movements, What Remains unfolds a spectrum of physical actions to challenge and destabilize how the audience comes to recognize personhood.
What Remains is performed in the MCA Warehouse, reflecting the influence of Chicago’s sprawling geography on the tundra-like psychic space of the performance. It is a Live Arts Bard Production and is created in collaboration with and performed by Leslie Cuyjet, Jessica Pretty, Tara Aisha Willis, and Bessie Award–winning sound designer Jeremy Toussaint-Baptiste, with production design by David Szlasa and costume design by Eleanor O’Connell.
Claudia Rankine is the author of five collections of poetry including Citizen: An American Lyric and Don’t Let Me Be Lonely; two plays including Provenance of Beauty: A South Bronx Travelogue; numerous video collaborations; and is the editor of several anthologies including The Racial Imaginary: Writers on Race in the Life of the Mind. Her most recent play, The White Card, premiered in February 2018 (ArtsEmerson/American Repertory Theater). Among her numerous awards and honors, Rankine is the recipient of the Bobbitt National Prize for Poetry, the Poets & Writers’s Jackson Poetry Prize, and fellowships from the Guggenheim Foundation, Lannan Foundation, MacArthur Foundation, United States Artists, and National Endowment for the Arts. She is a chancellor of the Academy of American Poets and teaches at Yale University as the Frederick Iseman Professor of Poetry. In 2016 she cofounded The Racial Imaginary Institute (TRII). She lives in New Haven, Connecticut.
Will Rawls is a choreographer, writer, and lifelong performer based in Brooklyn. His practice combines dance with other media to investigate the poetics of blackness, ambiguity, and abstraction. His inquiries into bodily states and humanity aim to redraw notions of power and form. The recipient of the 2017 Bessie Award for Outstanding Emerging Choreographer, Rawls has presented his work at The Chocolate Factory Theater, MoMA PS1, Performa 15, the Whitney Museum of American Art, ImPulsTanz, and Portland Institute for Contemporary Art. In addition to his own performances, he collaborated with Ishmael Houston-Jones to cocurate the Danspace Project Platform 2016, Lost and Found, which focused on the intergenerational impact of the AIDS epidemic on dancers, women, and people of color; Rawls helped organize performances, reconstructions, and discussions, and coedited the catalogue Lost and Found: Dance, New York, HIV/AIDS, Then and Now. His writings have been published by Artforum, Triple Canopy, Les Presses du Réel, the Museum of Modern Art, New York, and the Hammer Museum. He is the recipient of a Guggenheim Fellowship, a Robert Rauschenberg Foundation Residency, and a Foundation for Contemporary Arts Grant. He has held teaching fellowships at Wesleyan University and Williams College, and continues to lecture widely at universities and festivals.
John Lucas is a documentary photographer and filmmaker working in the humanist tradition. He has directed and produced several cutting-edge multimedia projects including a collaborative series of video essays with poet Claudia Rankine titled Situations. In 2014 he completed his first feature-length documentary film, The Cooler Bandits, which was awarded best documentary at the 2014 Harlem International Film Festival. His work has been exhibited in museums and galleries, both nationally and internationally, including the Brooklyn Museum; Cleveland Museum of Art; REDCAT, Los Angeles; OK Harris Works of Art, New York; Smithsonian Institution, Washington, DC; Pulitzer Arts Foundation, St. Louis; La Panadería, Mexico City; Aeroplastics Contemporary, Brussels; and Fieldgate Gallery, London. Lucas was born and raised in Ohio.
Jeremy Toussaint-Baptiste is a Bessie Award–winning composer, designer, and performer living and working in Brooklyn. In 2014 he received his MFA from Brooklyn College’s Performance and Interactive Media Arts program and in 2017 was an Artist-in-Residence at ISSUE Project Room. Toussaint-Baptiste is a founding member of the performance collective Wildcat! and frequently collaborates with performers and fine artists including Will Rawls, Yanira Castro/a canary torsi, Jaamil Olawale Kosoko, and André M. Zachery. He has presented work at the Brooklyn Museum; The Kitchen, New York; ISSUE Project Room New York; the Studio Museum in Harlem; Pennsylvania Museum of Art, Philadelphia; FringeArts, Philadelphia; Tanz Im August at HAU3, Berlin; and Stoa Cultural Centre, Helsinki, among others.
Wed, Dec 5, 2018, 7:30 pm
Thu, Dec 6, 2018, 7:30 pm
Fri, Dec 7, 2018, 7:30 pm
Sat, Dec 8, 2018, 7:30 pm
Sun, Dec 9, 2018, 7:30 pm
Tags: Claudia Rankine, Eleanor O’Connell., Jeremy Toussaint-Baptiste, Jessica Pretty, Leslie Cuyjet, MCA Wharehouse, Museum of Contemproary Art Chicago, Tara Aisha Willis, threewalls, West Town, What Remains, Will Rawls


Anyone who recites the Rosary to the Glory of God, the Eternal Father during his or her entire life and meditates every Thursday of every week, the 15 sorrowful mysteries that Jesus suffered on Holy Thursday, he will then have given glory to the Eternal Father, and he will be elected for the following promises: 1.) The Eternal Father will protect him against the temptations of the Antichrist which is soon to come to sway and deceive humanity. 2.) Whoever prays this Rosary will be exempt from the fire of Purgatory because he will have completed his purification on earth. 3.) Whatever good is asked for concerning the soul will be granted. 4.) Whoever prays this Rosary, is in fact praying for the whole world, and for the souls of Purgatory and therefore will receive many graces for himself and these souls. 5.) If half of humanity practices this devotion, the Eternal Father promises to save the rest of the world, then all souls in Purgatory will have completed their purification and be taken to heaven.”


Above members of the Weeping Mary Community enjoy the dedication.
Seen Below later, in the event the Benediction was conducted by Deacons: J.L. Skinner, G.W. Parker, J.B. Moore, David Washington, R.L. Ross, Jr. and Jamie Lee Glenn.
Seen in the photo on the right is Mary Taylor (left), Virginia Simpson (center) and Virginia's daughter, Tashia, as they examine the Fountain of Simpson Springs. More on this interesting discovery soon!
Courthouse Photo Preservation Project. A year in the making this project culminated in many historical images hung on the wall of the Cherokee County Courthouse, some are 11 x 14 matted and framed photographs while others are large 20 x 24 canvases. Private funds were raised for the project. District Judge Bascom Bentley III speared headed this effort; his committee was conprised of Jacksonville lawyer Ricky Richards, County Judge Chris Davis and CCHC member Dr. Deborah Burkett. Topics of images included churches and baptism, schools, veterans, CCC Camps, libraries, businesses, peace officers and old images of the Cherokee County Courthouse. (see one such photo below).
Part of this project also includes a newly installed bulletin board with a rotating display. Each month a different topic is represented in old photos and text. These exhibits have created much buzz and as a result many citizens of the county have shared their collections with the historical commission.
America was in the grip of the Great Depression when Franklin Delano Roosevelt was inaugurated in1933. The CCC was designed to provide relief for young men who had a hard time finding jobs. The typical CCC enrollee was a U.S. citizen, unmarried, unemployed male, 18–20 years of age. Of their pay, which was $30 a month, $25 went to their parents. Nationwide nearly 3 billion trees were planted; more than 800 parks were constructed. There were two CCC Camps in Cherokee County, one near Maydelle; the other in west Jacksonville.
Courthouse Bulletin Board celebrating the "Tomato" in Cherokee County. Special Thanks to Patsy Lassiter for the images which were scanned from her mother's scrapbook.
If you have photos and stories related to Cherokee County you would like to share please contact our office. See the "Contact Us" section of our Website.
CCC Photograph from Ross Family Collection.
Future Town Site to be established near Jacksonville, Texas. Photo below from Virginia Simpson's collection.


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Membership is free and open to all. You can be a member of your local bushcare and also a member of BRAIN. Membership includes our Newsletter "The Node".
If you live in the Brisbane area and would like to participate in BRAIN information and activities, please complete our online registration by clicking the link below.
BRAIN and Save Our Waterways Now (SOWN) have merged membership lists. The registration process is now carried out on the SOWN site.


This study explores DXA's utility as a new reference method for body composition, and compares its total and regional tissue masses in different athletic groups and controls. Findings: Body Composition. Athletes had significantly greater lean tissue and less fat than controls, but bone mineral content (BMC) depended on the type of activity. Anthropometry proved superior to BIA in predicting fat and fat-free mass in male athletes, and the accuracy of predictions of published skinfold equations applied to the athletes appeared to depend upon appropriate skinfold selection. DXA data showed athletes appeared to distribute fat differently from sedentary controls after controlling for age and adiposity, although this was not influenced by exercise type or differences in lean tissue distribution. Female athletes had different distributions of bone, lean and fat tissue to anorexics and controls. A new body composition descriptor - the DXA morphotype - was derived for athletic groups using bone and soft tissue Z scores, which discriminated the groups differently from traditional somatotype measures. Differences in fat content by MRI and DXA of the upper leg were consistent with the variable lipid fraction of adipose tissue with adiposity; while MRI muscle mass was slightly better predicted from anthropometry than DXA lean tissue mass. Findings: Bone. Eleven out of 26 female athletes had significantly reduced bone mineral density (BMD) at the lumbar spine, which was best predicted from the combined index (CX); the sum of BMI and oestrogen status (OS, defined as 0 for oligo- or amenorrhoea; 1 for eumenorrhoea or supplemented). These data suggest women athletes with a CX ≤ 20.4 carry a 2.4 fold increased risk of spinal osteopenia. Variation in BMD between male athletic groups exposed differences in physical impact. Rugby showed the highest BMD of all groups, after correction for body size. Compared with controls, running was associated with increased BMD in the legs, while cycling was associated with a decreased BMD in the spine. Cyclists had a mean T score of -1.16, and were seven times as likely as controls to have osteopenia. While unimportant in the legs, muscular torque appeared to contribute to increased BMD in the arms and spine, suggesting different mechanisms for adjusting skeletal architecture may operate at different sites.


Deep Video Analytics is a data-centric platform for Computer Vision. It is a comprehensive platform for storage, visual data analysis & sharing. It is used for indexing and extracting information from videos and images. Deep Video Analytics runs in minutes locally even without a graphics processing unit (GPU) using a single command.
It uses Google Inception V3 trained on ImageNet for indexing, MTCNN and Facenet for face detection, alignment and recognition and TensorFlow object detection API as multiple object detector.


The remarkable thing about Distrust That Particular Flavor, William Gibson's debut essay collection, is that it was so long in coming, collecting two-and-a-half decades' worth of nonfiction, opinion, travelogue, memoir, media theory, speeches, criticism, and miscellania. Because although Gibson disclaims any title to being an essayist -- he says in his introduction that writing nonfiction always felt like cheating on his fiction work -- he's awfully good at it. Even when the pieces are slight -- as a few of these are -- they are always delightful, exquisitely written, done to a turn with both insight and that unmistakable prose that is just shy of spectacular (Gibson once told me that he is averse to spectacular prose, it strikes him as premeditated and ostentatious).
There are many different threads in this book, but they converge on a few themes: one is Gibson's relationship to the Internet. He is, after all, the infamous creator of the term "cyberspace" who even more infamously refused to use email (he preferred faxes) until well into the net era, a man who is (falsely) reputed to use a manual typewriter in preference to computers. Another is Gibson's relation to technology, design, aesthetics and culture, from the underground rock scene he found himself in as a slacker in his early twenties to the gaudy pulp science fiction paperbacks he reared himself on to the ancient military firearm he found in his parents' attic as a boy. These threads converge in a pair of essays on Japan -- a place of futuristic aesthetics, forward design, and odd history -- an essay on Gibson's early obsession with eBay and the vintage watches to be had there, and in a transcript of a speech on robots, cyborgs and digital brains that is a moving piece of memoir shot through with prediction and technological insight.
By many standards, Gibson is a slow writer -- his book publishing career is 27 years old, and consists of nine and a half novels, a book of short stories and this collection of essays -- but he is a very, very fine one. His work has been seminal to many key moments at the end of the last century and the start of this one, and it is a rare pleasure to read his direct reflections on society and his work, rather than inferring them from his fiction. This is a fine and even essential complement to the Gibson canon, and a delight to read.


<!-- lint-staged -->

# mrm-task-lint-staged

[Mrm](https://github.com/sapegin/mrm) task that adds [lint-staged](https://github.com/okonet/lint-staged).

**Note:** supports only Prettier, ESLint and Stylelint now, pull requests are welcome.

## What it does

- Creates a config in `package.json`
- Sets up a pre-commit Git hook
- Installs dependencies

This tasks will try to infer extensions from your npm scripts. For example, if you have `lint` script that runs ESLint for `js` and `ts` files, the task will add lint-staged rule that runs ESLint for the same extensions. And will overwrite an existing rule if you change it manually and run the task again, but it will try to keepy your custom rules.

## Usage

```
npm install -g mrm mrm-task-lint-staged
mrm lint-staged
```

## Options

See [Mrm docs](../../docs/Getting_started.md) and [lint-staged docs](https://github.com/okonet/lint-staged/blob/master/README.md) for more details.

### `lintStagedRules` (default: infer)

Overrides and custom rules. By default will try to infer by project dependencies.

For example, a custom extension:

```json
{
  "lintStagedRules": {
    "eslint": {
      "extensions": ["js", "jsx", "mjs"]
    }
  }
}
```

Or a custom command:

```json
{
  "lintStagedRules": {
    "eslint": {
      "command": "eslint --fix"
    }
  }
}
```

Or you can disable one of the default rules:

```json
{
  "lintStagedRules": {
    "prettier": {
      "enabled": false
    }
  }
}
```

Or add a custom rule:

```json
{
  "lintStagedRules": {
    "jest": {
      "extensions": ["js"],
      "command": "jest --bail --findRelatedTests"
    }
  }
}
```

Available rules are `prettier`, `eslint` and `stylelint`.

## Changelog

The changelog can be found in [CHANGELOG.md](CHANGELOG.md).

## Contributing

Everyone is welcome to contribute. Please take a moment to review the [contributing guidelines](../../Contributing.md).

## Authors and license

[Artem Sapegin](https://sapegin.me) and [contributors](https://github.com/sapegin/mrm/graphs/contributors).

MIT License, see the included [License.md](License.md) file.


Clients who typically engage Emerging Leaders Institute in projects are invested in developing their employees. They are progressive thinkers who understand that strengthening cultural aspects of their businesses leads to increased bottom line results. They also leverage the power of fantastic working environments to attract and retain key people within their organization.
Clients also partner with Emerging Leaders Institute because they want a firm that treats them with the utmost care and service. They want the dedication, and accessibility to the consultant they have with Eli. We take our commitment to you seriously.
"In order to advance the mission of our division, we chose to invest in 30 of our staff by providing them specialized training to lead those around them. I believe those who have engaged in the program have learned better ways to handle tough managerial issues, improved their communication skills, and learned how paying attention to work place dynamics aids their leadership efforts. Eli tailor designed the leadership development program to our specific needs. I believe we have effected cultural change for the better through Eli's Leadership Intensive."
"As a result of Eli’s Leadership System, I’ve been able to provide more impactful feedback to my team. Giving them better direction has created not just more efficient output, but more creative output for our clients. Our creative product is improved thanks to what I learned through the Leadership Circle Profile, and Eli’s leadership system. And to top it all off, the system was engaging and enjoyable. By far the most important and educational training I have received in 22 years in Advertising."
"I want to thank you for all that you have done with helping me grow as an administrator. You showed me how to handle situations as a leader and not just a boss. Since this was my first year as a supervisor, I felt that your sessions boosted my confidence. Over these past few months, I have earned the trust and respect of my team. I truly feel that your advice and guidance had a major impact on my approach to make this happen."
"Eli’s leadership system had a valuable and noticeable impact on my leadership skills; the training raised my awareness and taught me how to tackle critical issues for success. The profile exercise was eye-opening and showed me my true strengths and areas for improvement. The leadership frameworks I learned, help me to identify and focus change in our digital operations and processes for the entire agency. These changes have not only nurtured the culture but also have led to efficiencies in operations."
"While working as Training Supervisor for Medrad, I hired Emerging Leaders Institute to develop and deliver Leadership Training to staff members in our manufacturing plants. Our audience included a mix of front line and prospective leaders from various departments, shifts and plants. The fast-pace of our production environment necessitated training that could be presented in chunks that were immediately relevant and applicable to the participants. Eli representatives met with members of management and program participants prior to the training to gain a thorough understanding of our needs and challenges. The program was a hit with participants, and met not only our content needs, but delivered in a timeframe that lessened the impact to production. I would highly recommend Eli for your Supervisor Development needs."
John Holt - President, RC Holsinger Associates, P.C.
"Emerging Leaders Institute has helped me raise my awareness of the underlying complexities in our work culture. This greater awareness has helped me understand the perspectives of those who work for the firm, which in turn allows me to consider the broader implications of decisions made at RC Holsinger Associates. In the long run, this helped the firm move towards building a more effective work culture. Additionally, they have helped me sort out how to navigate emotionally laden conversations towards productive ends."
"The leadership development process helped me to improve my leadership skills in numerous ways. The process allowed me to refocus on what is primary in my leadership role, and more importantly, helped me to prioritize responsibilities within my position that would make me the most effective leader possible. I personally had difficulty in delegating responsibilities to others in my organization. The leadership development process helped me to better understand the delegation process. This in turn allowed me to be a better leader by mastering delegation and trusting my decisions. I view the leadership development process as an invaluable tool that I will use for the remainder of my career."
"The leadership development process was one of the best developmental activities of my career. I was able to see how I was being perceived as a leader, which both confirmed some of my assumptions and dispelled others. It was highly beneficial to be able to identify my weakness and develop a plan to address them and assess the progress made. It was also encouraging to know my strengths and continue on with related behaviors. I am definitely a better leader because of the process. "
"Simply identifying my problem was incredibly important. Without identifying it, I would not have been able to address the situation. Eli's Leadership Institute helped me to develop specific strategies for improvement. The burden is being lifted, I am able to focus more clearly on my role of being a leader. I'm truly excited about the progress that I am making and I look forward each day to implementing the improvement strategies. I honestly wish that I could spend another year in the one on one sessions. I would definitely recommend this program to others as I believe that everyone has areas to improve in and I know that you could help them 'put a finger' on areas needing improvement.	"
"Taking the Leadership Circle Profile made me more aware of the areas I could improve on and needed to concentrate on developing. It also made me more aware that some of those areas were extremely important to my staff and managers. It wasn't comfortable for me to hear but it was necessary and this has helped me to grow, manage more effectively, and improve on serving my staff. It was definitely an influence to my receiving the Pioneer College Caterers Presidential award. The process of change can be slow, but the investment is worth it and powerful when employees see you caring and making the effort to improve my leadership. "
"Emerging Leaders Institute has helped a number of our managers increase their effectiveness as leaders. Using The Leadership Circle 360° feedback tool, Eli coached managers on how to leverage their strengths and improve their weaknesses as leaders. One member of my team credited the 360 coaching process for achieveing "Director of the Year" award for his organization. Eli will give your people the tools they need to grow as leaders."
"Emerging Leaders Institute consultants have a unique ability to facilitate discussion and exercises that strengthen teams. Through their leadership our Soccer Shots staff engaged in fun, purposeful activities that prompted honest conversation about individual interests/goals and team dynamics. They expertly tailored our time to address the needs of our group. Their staff's observations and knowledgeable input provided additional value. We were extremely pleased with Emerging Leaders Institute positive impact on our staff and our management group."


using System.Collections.Generic;

namespace ETModel
{
    public class OrderControllerComponent : Component
    {
        //先手玩家
        public KeyValuePair<long, bool> FirstAuthority { get; set; }

        //玩家抢地主状态
        public Dictionary<long, bool> GamerLandlordState = new Dictionary<long, bool>();

        //本轮最大牌型玩家
        public long Biggest { get; set; }

        //当前出牌玩家
        public long CurrentAuthority { get; set; }

        //当前抢地主玩家
        public int SelectLordIndex { get; set; }

        public override void Dispose()
        {
            if(this.IsDisposed)
            {
                return;
            }

            base.Dispose();

            this.GamerLandlordState.Clear();
            this.Biggest = 0;
            this.CurrentAuthority = 0;
            this.SelectLordIndex = 0;
        }
    }
}


UNCLE JOHN – Original Motion Picture Soundtrack digitally on October 16, 2015. The album features original music by Adam Robl and Shawn Sutta (AND THE WIND FALLS, OUR LONGEST DRIVE).
UNCLE JOHN, which premiered at the 2015 SXSW film festival and has screened at 13 additional festivals, is the first feature film for Miami-based composers Adam Robl and Shawn Sutta. Their score was called “spare and evocative” by The Capital Times.
Robl, a native of Deerfield Beach, FL did not begin playing music as a child yet his affinity for film music was clear to his family at age 6 when he and his brother would act out the scenes to Jurassic Park while listening to a cassette of the score. He first began playing guitar at age 12 and quickly gained proficiency. By age 15 he began playing with bands in clubs all over South Florida learning from older professional musicians that began to shape his interest in various styles of music. Eventually this interest would lead to a full scholarship to the University of Miami School of Music where he would study jazz and work towards perfecting his craft.
FilmBuff presents UNCLE JOHN in select theaters and On Demand September 18, 2015. The UNCLE JOHN – Original Motion Picture Soundtrack will be available digitally October 16, 2015.
Just Announced... Yes that is the actor from Beverly Hills Cop!