The California tiger salamander is a vulnerable amphibian native to California. It is a mole salamander. Considered to be a subspecies of the tiger salamander, the California tiger salamander was designated a separate species again; the California tiger salamander distinct population segment in Sonoma County and the Santa Barbara County DPS are listed as federally endangered, while the Central California DPS is listed as federally threatened. The Sonoma County, south San Joaquin, the Santa Barbara County DPS have diverged from the rest of the California tiger salamander populations for over one million years, since the Pleistocene and they may warrant status as separate species; the California tiger salamander is a large, secretive amphibian endemic to California. Adults can grow to a total length of about 7–8 inches, it has a broad, rounded snout. Adults are black with cream spots; the California tiger salamander has brown protruding eyes with black irises. The California tiger salamander depends on vernal pools and other seasonal ponds and stock ponds for reproduction.
It occurs at elevations up to 1000 m. Adults migrate at night from upland habitats to aquatic breeding sites beginning with the first major rainfall of fall and winter, return to upland habitats after breeding; the California tiger salamander occurred in grassland habitats throughout much of the state. It occurs from Sonoma County in the Laguna de Santa Rosa, south to Santa Barbara County, in vernal pool complexes and isolated ponds along the Central Valley from Colusa County to Kern County, in the coastal range. Both the Sonoma and Santa Barbara populations are listed as endangered since 2000 and 2003, respectively. On August 4, 2004, the US Fish and Wildlife Service listed the California tiger salamander as threatened within the Central DPS; the six populations are found in Sonoma County, the Bay Area, the Central Valley, the southern San Joaquin Valley, the Central Coast Range, Santa Barbara County. The loss of California tiger salamander populations has been due to the loss of habitat and predators, such as American bullfrogs and access to breeding habitats.
There is a hybrid between the California tiger salamander and an introduced Barred Tiger Salamanders, hybridizing for 50–60 years. Adults spend the majority of their lives underground, in burrows created by other animals, such as ground squirrels and gophers. Little is known about their underground life; this underground phase has been referred to as estivation, but true estivation has never been observed, fiber optic cameras in burrows have allowed researchers to witness salamanders foraging. Adults are known to eat earthworms, insects and small mammals but adult California tiger salamanders eat little. Breeding takes place after the first rains in late fall and early winter, when the wet season allows the salamanders to migrate to the nearest pond, a journey that may be as far as a 1.3 miles and take several days. The eggs, which the female lays in small clusters or singly, hatch after 10 to 14 days; the larval period lasts for three to six months. However, California tiger salamander larvae may "overwinter".
Transformation for overwintering larvae may take 13 months or more. Recent discoveries, such as overwintering, have management implications for this threatened species when aquatic habitats undergo modification; the larvae feed on other small invertebrates, including tadpoles. When their pond dries, they resorb their gills, develop lungs, the metamorphs leave the pond in search of a burrow. "... the average female bred 1.4 times and produced 8.5 young that survived to metamorphosis per reproductive event, resulting in 12 lifetime metamorphic offspring per female."California tiger salamanders can live up to 15 years. Vernal pools or ponds California Natural Diversity Database California Natural Diversity Database Santa Rosa Plain Conservation Strategy Santa Rosa Plain Conservation Strategy Description from the California Department of Fish and Game. USGS Field Guide
Louise Nevelson was an American sculptor known for her monumental, wooden wall pieces and outdoor sculptures. Born in the Poltava Governorate of the Russian Empire, she emigrated with her family to the United States in the early 20th century. Nevelson learned English at school. By the early 1930s she was attending art classes at the Art Students League of New York, in 1941 she had her first solo exhibition. A student of Hans Hofmann and Chaim Gross, Nevelson experimented with early conceptual art using found objects, dabbled in painting and printing before dedicating her lifework to sculpture. Created out of wood, her sculptures appear puzzle-like, with multiple intricately cut pieces placed into wall sculptures or independently standing pieces 3-D. One unique feature of her work is that her figures are painted in monochromatic black or white. A figure in the international art scene, Nevelson was showcased at the 31st Venice Biennale, her work is seen in major collections in corporations. Nevelson remains one of the most important figures in 20th-century American sculpture.
Louise Nevelson was born Leah Berliawsky in 1899 in Pereiaslav, Poltava Governorate, Russian Empire, to Minna Sadie and Isaac Berliawsky, a contractor and lumber merchant. Though the family lived comfortably, Nevelson's relatives had begun to leave the Russian Empire for America in the 1880s; the Berliawskys had to stay behind, as the youngest brother, had to care for his parents. While still in Europe, Minna gave birth to two of Nevelson's siblings: Anita. On his mother's death, Isaac moved to the United States in 1902. After he left and the children moved to the Kiev area. According to family lore, young Nevelson was so forlorn about her father's departure that she became mute for six months. In 1905, Minna and the children emigrated to the United States, where they joined Isaac in Rockland, Maine. Isaac struggled to establish himself there, suffering from depression while the family settled into their new home, he worked as a woodcutter before opening a junkyard. His work as a lumberjack made wood a consistent presence in the family household, a material that would figure prominently in Nevelson's work.
He became a successful lumberyard owner and realtor. The family had another child, Lillian, in 1906. Nevelson was close to her mother, who suffered from depression, a condition believed to be brought on by the family's migration from Russia and their minority status as a Jewish family living in Maine. Minna overly compensated for this, dressing herself and the children up in clothing "regarded as sophisticated in the Old Country", her mother wore flamboyant outfits with heavy make-up. Nevelson's first experience of art was at the age of nine at the Rockland Public Library, where she saw a plaster cast of Joan of Arc. Shortly thereafter she decided to study art, taking drawing in high school, where she served as basketball captain, she painted watercolor interiors, in which furniture appeared molecular in structure, rather like her professional work. Female figures made frequent appearances. In school, she practiced her second language, as Yiddish was spoken at home. Unhappy with her family's economic status, language differences, the religious discrimination of the community, her school, Nevelson set her sights on moving to high school in New York.
She graduated from high school in 1918, began working as a stenographer at a local law office. There she met Bernard Nevelson, co-owner with his brother Charles of the Nevelson Brothers Company, a shipping business. Bernard introduced her to his brother, Charles and Louise Nevelson were married in June 1920 in a Jewish wedding at the Copley Plaza Hotel in Boston. Having satisfied her parent's hope that she would marry into a wealthy family and her new husband moved to New York City, where she began to study painting, singing and dancing, she became pregnant, in 1922 she gave birth to her son Myron, who grew up to be a sculptor. Nevelson studied art, despite the disapproval of her parents-in-law, she commented: "My husband's family was refined. Within that circle you could know Beethoven, but God forbid if you were Beethoven."In 1924 the family moved to Mount Vernon, New York, a popular Jewish area of Westchester County. Nevelson was upset with the move, which removed her from her artistic environment.
During the winter of 1932–1933 she separated from Charles, unwilling to become the socialite wife he expected her to be. She never sought financial support from Charles, in 1941 the couple divorced. Starting in 1929, Nevelson studied art full-time under Kenneth Hayes Miller and Kimon Nicolaides at the Art Students League. Nevelson credited an exhibition of Noh kimonos at the Metropolitan Museum of Art as a catalyst for her to study art further. In 1931 she sent her son Mike to live with family and went to Europe, paying for the trip by selling a diamond bracelet that her now ex-husband had given her on the occasion of Mike's birth. In Munich she studied with Hans Hofmann before visiting France. Returning to New York in 1932 she once again studied under Hofmann, serving as a guest instructor at the Art Students League, she met Diego Rivera in 1933 and worked as his assistant on his mural Man at the Crossroads at Rockefeller Plaza. The two had an affair which caused a rift between Nevelson and Rivera's wife, Frida Kahlo, an artist Nevelson admired.
Shortly thereafter, Nevelso
The UK Albums Chart is one of many music charts compiled by the Official Charts Company that calculates the best-selling albums of the week in the United Kingdom. Before 2004, the chart was only based on the sales of physical albums; this list shows albums that peaked in the Top 10 of the UK Albums Chart during 1964, as well as albums which peaked in 1963 and 1965 but were in the top 10 in 1964. The entry date is; the first new number-one album of the year was by The Rolling Stones by The Rolling Stones. Overall, four different albums peaked at number one in 1964, with The Beatles having the most albums hit that position. Key 1964 in British music List of number-one albums from the 1960s General "Six decades of singles charts"; the Official Charts Company. Archived from the original on 3 March 2011. Retrieved 23 April 2017. Specific 1964 album chart archive at the Official Charts Company
Kirikou and the Wild Beasts is a 2005 French animated feature film. It premiered at the 2005 Cannes Film Festival on 13 May and, unlike its predecessor, received only festival screenings in all English-speaking territories, it was released on English-subtitled DVD-Video in the United States by KimStim on 29 July 2008 as Kirikou and the Wild Beast. The film is a sub-story to Kirikou and the Sorceress rather than a straight sequel; the movie is set while Kirikou is still a child and Karaba is still a sorceress. Like Princes et Princesses and Les Contes de la nuit, it is an anthology film comprising several episodic stories, each of them describing Kirikou's interactions with different animals, it is however unique among Michel Ocelot's films, not only in that it is co-directed by Bénédicte Galup but for each of the stories being written by a different person. Pierre-Ndoffé Sarr as Kirikou Awa Sene Sarr as Karaba Robert Liensol as The grandfather Marie-Philomène Nga as The mother Emile Abossolo M'Bo as The uncle Pascal N'Zonzi as The old man Official website of Michel Ocelot Kirikou et les Bêtes sauvages official website Kirikou et les bêtes sauvages at the Barbican Centre Kirikou and the Wild Beasts on IMDb Kirikou Et Les Bêtes Sauvages at The Big Cartoon DataBase Kirikou and the Wild Beasts at AllMovie Kirikou et les Bêtes sauvages at Le Palais des dessins animés
C. Geijer & Co was a Norwegian industrial company, it was established in 1869 by Swedish expatriate Carl Axel Geijer in Kristiania. His purpose was to be a wholesaler of iron and other metal products, but the company soon started producing wire and fence-related products, it was among the country's leading companies in its field. After Carl Axel Geijer's death in 1899, the company was taken over by C. J. Aasgaard. Leadership was passed on to his son Torleif Aasgaard in 1927 to Tor and Iver Aasgaard in 1952. Between 1923 and 1930, a subdivision of the company produced the car brand Geijer; the engine was imported from Hershell-Spillmann, from 1926 Lycoming Engines, the gearbox was from Mechanics Machine Co, but several other parts including the coachwork were produced on-site in Kristiania. In total about 25 cars were produced, none of; the company produced about 300 bus coachworks. From 1983 C. Geijer & Co had to cooperate with Trondhjems Jernindustri in fence products, its financial situation became worse towards the end of the 1980s.
In 1989 Trondhjems Jernindustri sold Geijer to Swedish company Gunnebo
God Makes the Rivers to Flow is an anthology of spiritual texts for use in meditation, assembled by Eknath Easwaran. Condensed versions have been published under the titles Timeless Wisdom and Sacred Literature of the World. First published as a book in the US in 1982, progressively enlarged or revised versions of God Makes the Rivers to Flow were issued in the US in 1991, 2003, 2009. English editions have been published in India, a French edition has been published; the book has been reviewed in newspapers, professional journals, websites, utilized in research studies and education. For nearly four decades, Easwaran taught a method of meditation, known as passage meditation, which involves focusing the mind on inspiring sacred texts, such as the 23rd Psalm or the Buddha's Discourse on Good Will. Throughout this time, he received inquiries about whether various texts were suitable passages for meditation, he taught that passages should meet the criteria he had learned to trust in his own practice: a passage should be "positive, practical and inspiring". and drawn from a scripture or a person whose words and life attest to spiritual realization.
God Makes the Rivers to Flow grew as a collection of such passages. All US editions of God Makes the Rivers to Flow and its derivatives contain an introduction, plus numerous 1- to 3- or more page selections of spiritual texts from many traditions. Examples of spiritual texts are shown in the table at right. Easwaran's Introduction uses a sculptural metaphor to explain how passages can be used beneficially in meditation, he tells the story of an ancient Indian sculptor, renowned for vivid representations of elephants. His secret, the sculptor explained, was that after quarrying a giant rock, “for a long time, I do nothing but observe... and study it from every angle. I focus all my concentration on this task... At first, I see nothing but a huge and shapeless rock... Very I... feel a presentiment... an outline, scarcely discernible, shows itself to me... An elephant is stirring in there!... I now know the one thing I must do:... I must chip away every last bit of stone, not elephant. What remains will be, must be, elephant.”
Easwaran says, meditation helps us to reveal "our higher self... spark of divinity is to be found in the heart of each human being.... Resolutely chip away whatever is not divine in ourselves." This process is neither easy or quick, "can't be done in a week or by the weak." But "whatever our tradition, we are inheritors of straightforward spiritual practices vary a bit from culture to culture... but essentially... are the same." Meditation is the most potent practice, enabling us to "see the lineaments of our true self": In meditation, the inspirational passage is the chisel, our concentration is the hammer.... When we use our will to drive the thin edge of the passage deep into consciousness, we get the purchase to pry loose tenacious habits and negative attitudes; the passage, whether it is from the Bhagavad Gita or The Imitation of Christ or the Dhammapada of the Buddha, has been tempered in the flames of mystical experience... According to Easwaran, "the great principle upon which meditation rests is that we become what we meditate on."
This, he says, is consistent with our experience that in everyday life, we are shaped by what occupies our thoughts – for example, if we spend most of our time "studying the market, checking the money rates, evaluating our portfolios, we are going to become money-people." Thus, in selecting meditation passages, Easwaran has "aimed for the highest the human being is capable of, the most noble and elevating truths that have been expressed on this planet." Indeed, The test of suitable meditation passages is this: Does the passage bear the imprint of deep, personal spiritual experience? Is it the statement of one who went beyond the narrow confines of past conditioning into the unfathomable recesses of the mind, there to begin the great work of transformation?.... Whatever lacks this validation by personal experience, however poetic or imaginative... is not suited for use in meditation. He states that passages should be "life affirming," and encourages building a varied repertoire of passages that can "guard against overfamiliarity....
Match a passage to your particular need at the time."The 2nd and 3rd editions contain several supplementary sections: A description of 8-point program of passage meditation recommended by Easwaran, involving silently and focusing the mind on memorized or known passages A post-script on the "Message of the Scriptures," describing the goal of meditation as a "deathless state of Self-realization.... The message of every major scripture the testimony of mystics everywhere, East or West." The author's statement of what he believes separates the book from other sacred literature collections: that it functions as an instrument for transforming one's life. He states he can "testify from my own experience have the power to remake personality in the image of one's highest ideals." Indices by source and first line Biographical and bibliographic notes on passage sourcesThe 3rd edition – published in 2003, revised in 2009 – contains: "How to Use This Book," with subsections on: The power of the word, on methods of using passages for lectio divina, lectio continua, passage meditation.
"Recommended Passages for Specific Uses," which suggests lists of helpful passages for particular stages of life.