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Egg decorating

Egg decorating is the art or craft of decorating eggs. It is quite a popular art/craft form because of the attractive, oval shape of the egg. Any bird egg can be facilitated in this process, but most the larger and stronger the eggshell is, the more favoured it will be by decorators. Goose and hens' eggs are "blown" – a hole is made in each end and the contents are blown out; the egg is either carved, painted, appliqued or otherwise decorated. Egg decoration is popular in Eastern European countries; some eggs, like emu or ostrich eggs, are so large and strong that the shells may be carved without breaking. Decorations on emu eggs take advantage of the contrast in colours between the dark green mottled outside of the shell and the shell-underlay; the oldest eggshells, decorated with engraved hatched patterns, are dated for 60 000 years ago and were found at Diepkloof Rock Shelter in South Africa. Eastern European cultures, Slavic ones have a strong tradition of decorating eggs. Chicken and goose eggs are decorated variously with batik dyeing, scratch-work, wax encaustic and carving.

The renowned Russian court artist and jeweller Peter Carl Fabergé made exquisitely decorated precious metal and gemstone eggs for the Romanovs. These Fabergé eggs resembled standard decorated eggs, but they were made from gold and precious stones; the Persian culture has a tradition of egg decorating, which takes place during the spring equinox. This time marks the Persian New Year, is referred to as Nowruz. Family members place them in a bowl, it is said. In Egypt, it is a tradition to decorate boiled eggs during Sham el-Nessim, a spring-ushering national holiday celebrated by Egyptians regardless of religion, which falls every year after the Eastern Christian Easter. Although some Orthodox Christian societies sometimes richly decorate their eggs at Easter, like the Ukrainian ones as shown, it is more normal to dye eggs red all over, using onion skins. Many modern egg artists decorate their "art eggs" by etching or carving, while others paint or cover their eggs with different materials, from paper and fabric to polymer clay and are painted in bright, spring colours.

Using eggs as a canvas has become so popular that special terms have developed with the art form. Egg artists have their own guild, the International Egg Art Guild, which promotes the craft of egg artistry. In the United States there are shows in many states where artists show their eggs and vendors of "egging" supplies can be found; each year, the White House chooses a decorated egg from each state to display at easter. Another type of egg decoration is egg shoeing, which requires goose eggs and miniature horse-shoes, made of iron or lead; the current world record of egg shoeing is 1119 shoes on a single ostrich egg. In Australia, emu eggs are carved and the art created by them is known as kalti paarti carving. Cascarones, hollowed eggs filled with confetti, from Mexico Kalti paarti carving, method of decorating emu eggs in Australia Egg decorating in Slavic culture Polish pisanka Croatian pisanica Ukrainian pysanka Czech Kraslice Easter egg Washi egg, an egg decorated using washi paper Traditional games with decorated eggs Egg rolling Egg hunt Egg tapping

Caribbean Chancery in Washington, D.C.

The Caribbean Chancery in Washington, D. C. is the building that houses the diplomatic missions of the Commonwealth of Dominica, the Federation of Saint Kitts and Nevis, Saint Lucia, Saint Vincent and the Grenadines, to the United States. It is located at 3234 Prospect St NW. Northwest, Washington, D. C. Dominica – United States relations Saint Kitts and Nevis – United States relations Saint Lucia – United States relations Saint Vincent and the Grenadines – United States relations High Commission of the Organisation of Eastern Caribbean States in Ottawa Consul General New York website wikimapia

Parent–child interaction therapy

Parent-Child Interaction Therapy is an intervention developed by Sheila Eyberg to treat children between ages 2 and 7 with disruptive behavior problems. PCIT is an evidence-based treatment for young children with behavioral and emotional disorders that places emphasis on improving the quality of the parent-child relationship and changing parent-child interaction patterns. Disruptive behavior is the most common reason for referral of young children for mental health services and can vary from minor infractions such as talking back to significant acts of aggression; the most treated Disruptive Behavior Disorders may be classified as Oppositional Defiant Disorder or Conduct Disorder, depending on the severity of the behavior and the nature of the presenting problems. The disorders co-occur with Attention-Deficit Hyperactivity Disorder, it uses a unique combination of behavioral therapy, play therapy, parent training to teach more effective discipline techniques and improve the parent–child relationship.

PCIT is administered once a week, with 1-hour sessions, for 10-14 sessions total and consists of two treatment phases: Child-Directed Interaction and Parent-Directed Interaction. The CDI component focuses on improving the quality of the parent-child relationship, which will help promote changes in behavior; this sets the foundation for the PDI stage, which continues to encourage appropriate play while focusing on a structured and consistent approach to discipline. PCIT was derived from several theories, including attachment theory, social learning theory, parenting styles theory. According to attachment theory by Ainsworth, “sensitive and responsive parenting” during infancy and toddlerhood leads the child to develop an expectation that their needs can be met by the parent. Thus, parents who show their young children greater warmth and are more responsive and sensitive to their needs promote a sense of security that they can apply to relationships with others; this can help with more effective emotion regulation.

Children who are referred to clinics for externalizing behaviors are more than non-referred children to display distress when separated from the parent and to display indicators of an insecure attachment to their parent. The Child Directed Interaction component of the PCIT applies attachment theory through its goal to “restructure the parent-child relationship and provide a secure attachment for the child”; the CDI component makes use of the idea that parents can have a dramatic effect on their child's behavior during the early preschool years. This is a critical period where children are more responsive to their parent's and less so to other influences such as teachers or peers. Social learning theory suggests that new behaviors can be learned by watching and imitating the behaviors of others. Patterson further expands on this and proposes that child behavior problems are “inadvertently established or maintained by dysfunctional parent-child interactions”. There can be a “coercive interaction cycle” between parent and child where both try to control the behavior of the other.

Behaviors such as arguing and aggression in children are reinforced by parent behaviors, but negative parent behaviors can subsequently be reinforced by negative child behaviors. In sum, children can learn many behaviors from their parents’ feedback, but this can result in negative externalizing behaviors, as well; the PDI component targets this cycle by establishing consistent parenting behaviors that encourage the desired behavior in children. According to Diana Baumrind’s parenting style theory found that the authoritative parenting style leads to the healthiest outcomes for children transitioning into adolescence; this style combines responsive and nurturing interactions with clear communication and firm discipline. The influence of this theory can be seen in the PDI treatment phase where parents are taught to use direct commands to increase desired behavior, along with other positive and nurturing behaviors. Eyberg’s original paper describes each assessment and treatment phase of the PCIT and includes suggestions for applying the therapy.

First, parents attend a training session during which the therapist explains each rule and its rationale. Each parent is taught through one-on-one role play interactions with the therapist. Parents are given a handout at the end of the session that summarizes the basic directions so they can review it at home. After this training session, the sessions that follow will include the child; the sessions are held with the child playing with one parent at a time. Meanwhile, the therapist and the other parent will be observing the play through a one-way mirror or video system; the therapist can provide immediate feedback and suggestions through a “bug-in-ear” device or sit in the room to do the coaching. At the end of the session, the therapist discusses the child's progress, using summary sheets that parents can use to guide their interactions during practice sessions at home; these practice sessions serve as a “homework assignment” for parents, during which they practice the interaction with their child for five minutes a day, using homework sheets to track progress.

The treatment begins with the Child-Directed Interaction phase is followed by the Parent-Directed Interaction phase. According to Eyberg, the parent's goal during this stage is to follow the child's lead during play while being sure to follow the “Don’t Rules” and “Do Rules of CDI”; the child should be free to lead the activity and make their own decisions about what and how to play. By letting their children take control of the play, the pa

Moving (Supergrass song)

"Moving" is a song by Supergrass from their eponymous third album, Supergrass. It is about the tedium of touring as a band. Released as a single in September 1999, "Moving" reached number nine on the UK Singles Chart, becoming Supergrass's last top-ten hit to date. In addition, it peaked at number 14 in Finland, where it is the band's sole top-twenty hit, number 81 in the Netherlands; the song appeared on their greatest hits compilation Supergrass Is 10: The Best Of 1994–2004. The song has featured in the British film comedy East Is East, at the beginning of the closing credits, in the episode of Holby City "Tough Love", it was sampled by MC Lars for his song "Ahab", about Moby-Dick. Director: Nick GordonThe video, like the song, is intended to depict the tedium of touring; the passing of time is shown by the change of outfits the band are wearing, their slight changes in appearance, the selection of different hotel rooms they are seen in, the assortment of hotel room keys displayed. Footage is sped up and slowed down, scenes are rewound and repeated to add to the film's effect.

CD1 CDRS6524 "Moving" "You Too Can Play Alright" "Pumping on Your Stereo" CD2 CDR6524 / TC TCR6524 "Moving" "Believer" "Faraway" LTD. ED. Blue 7" R6524 "Moving" "Believer" Lyrics of this song at MetroLyrics

History of the harpsichord

The harpsichord was an important keyboard instrument in Europe from the 15th through the 18th centuries, as revived in the 20th, is played today. This article gives a history of the harpsichord; the New Grove musical dictionary summarizes the earliest historical traces of the harpsichord: "The earliest known reference to a harpsichord dates from 1397, when a jurist in Padua wrote that a certain Hermann Poll claimed to have invented an instrument called the'clavicembalum'. Whoever invented; the idea of controlling a musical instrument with a keyboard was well worked out for the organ, an instrument, far older than the harpsichord. Moreover, the psaltery was a used instrument of the Middle Ages. Like the harpsichord, it had metal strings which were held at controlled tension with tuning pins and transmitted their vibrations through a bridge to a soundboard, rendering them audible; the insight needed to create the harpsichord was thus to find a way to pluck strings mechanically, in a way controlled by a keyboard.

The 14th century was a time. It is possible that the standard harpsichord mechanism, with jacks holding plectra mounted on retractable tongues, may only have won out over alternatives. A Latin manuscript work on musical instruments by Henri Arnault de Zwolle from about 1440 includes detailed diagrams of three types of jack action, as well as a mechanism describable as a crude predecessor of the piano action. See also: Clavicymbalum. Another chain of development in the early harpsichord was a increasing size; the psaltery was a hand-held instrument, far smaller than the evolved harpsichord. Early harpsichords were evidently small in both pitch string length; this can be seen, in the work of Sebastian Virdung, his Musica getutscht. Virdung describes three instruments he calls the Virginal, the Clavicimbalum, the upright Claviciterium; these had pitch ranges of 38, 40, 38 keys far smaller than instruments. Frank Hubbard believed that all three must have been ottavini, meaning instruments that sound an octave above normal pitch.

Since pitch range is linked to string length, an ottavino is one way of building a small instrument. Ottavini were common on in the early history of the harpsichord; the earliest complete harpsichords still preserved come from Italy, the oldest specimen being dated to 1521. The earliest extant Italian instruments represent an well-refined form of the instrument, showing no traces of their more primitive origin; the Italian harpsichord makers made single-manual instruments with a light construction and little string tension. The Italian instruments are considered pleasing but unspectacular in their tone and serve well for accompanying singers or other instruments. Towards the end of the historical period larger and more elaborate Italian instruments were built, notably by Bartolomeo Cristofori. A major innovation in harpsichord construction took place in Flanders some time around 1580 with the work of Hans Ruckers and his descendants, including Ioannes Couchet; the Ruckers harpsichord was more solidly constructed than the Italian.

Because the Ruckers workshop used iron strings for the treble, as a result the scaling was longer, with greater string tension, a heavier case, as well as a slender and responsive spruce soundboard, the tone was more sustaining than the Italian harpsichords', was emulated by harpsichord builders in most other nations. The Flemish makers of ca. 1600 were the first to build two-manual harpsichords. They built them to permit easy transposition: the keyboards sounded the same strings, but one fourth apart. Thus, the player could effortlessly transpose at this interval by playing on the second manual; the Flemish harpsichords were elaborately painted and decorated, bore Latin mottoes. Fine instruments continued to be made by Flemish builders in the 18th century along French lines, most notably by the Dulcken family. Another notable Flemish builder, Albert Delin, however continued making instruments close to the Ruckers tradition well into the latter half of the 18th century French builders were responsible for important further development of the Ruckers-type instrument.

The first step, taken in the mid-17th century, was to change the purpose of the second manual in two-manual instruments: whereas in the Flemish school this had been for allowing the player to transpose, the French makers used the second keyboard to permit rapid changes between different choirs of strings. The French harpsichord reached its apogee in the 18th century, notably with the work of the Blanchet family and their successor Pascal Taskin; these French instruments were founded on the Flemish design, but extended in range, from the four octaves of the Ruckers instruments to about five octaves. The 18th-century French harpsichord is admired and has been adopted as a model

German submarine U-279

German submarine U-279 was a Type VIIC U-boat of Nazi Germany's Kriegsmarine during World War II. The submarine was laid down on 31 March 1942 at the Bremer Vulkan yard at Bremen-Vegesack as yard number 44, she was launched on 16 December 1942 and commissioned on 3 February 1943 under the command of Kapitänleutnant Otto Franke. German Type VIIC submarines were preceded by the shorter Type VIIB submarines. U-279 had a displacement of 769 tonnes when at the 871 tonnes while submerged, she had a total length of 67.10 m, a pressure hull length of 50.50 m, a beam of 6.20 m, a height of 9.60 m, a draught of 4.74 m. The submarine was powered by two Germaniawerft F46 four-stroke, six-cylinder supercharged diesel engines producing a total of 2,800 to 3,200 metric horsepower for use while surfaced, two AEG GU 460/8–27 double-acting electric motors producing a total of 750 metric horsepower for use while submerged, she had two 1.23 m propellers. The boat was capable of operating at depths of up to 230 metres.

The submarine had a maximum submerged speed of 7.6 knots. When submerged, the boat could operate for 80 nautical miles at 4 knots. U-279 was fitted with five 53.3 cm torpedo tubes, fourteen torpedoes, one 8.8 cm SK C/35 naval gun, 220 rounds, two twin 2 cm C/30 anti-aircraft guns. The boat had a complement of between sixty. U-279 served with the 8th U-boat Flotilla for training from February to July 1943 and operationally with the 9th flotilla from 1 August 1943, she sank no ships. She was a member of one wolfpack; the boat departed Kiel on 4 September 1943. She entered the Atlantic Ocean after negotiating the gap between the Faroe Islands, she was sunk a month after her departure, by depth charges dropped from a US Ventura aircraft southwest of Iceland. There were men in boats and in the water, its radio had been put out of commission during the attack. Forty-eight men died. U-279 took part in one wolfpack, namely. Rossbach The submarine was categorized as having been sunk by a British Liberator southwest of Iceland on 4 October 1943.

Helgason, Guðmundur. "The Type VIIC boat U-279". German U-boats of WWII - Retrieved 26 December 2014. Hofmann, Markus. "U 279". Deutsche U-Boote 1935-1945 - Retrieved 26 December 2014