Hartman's 2020 Annuals List
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Near Vermilion Sands: the Context and Date of Composition of an Abandoned Literary Draft by J. G. Ballard
Near Vermilion Sands: The Context and Date of Composition of an Abandoned Literary Draft by J. G. Ballard Chris Beckett ‘We had entered an inflamed landscape’1 When Raine Channing – ‘sometime international model and epitome of eternal youthfulness’2 – wanders into ‘Topless in Gaza’, a bio-fabric boutique in Vermilion Sands, and remarks that ‘Nothing in Vermilion Sands ever changes’, she is uttering a general truth about the fantastic dystopian world that J. G. Ballard draws and re-draws in his collection of stories set in and around the tired, flamboyant desert resort, a resort where traumas flower and sonic sculptures run to seed.3 ‘It’s a good place to come back to,’4 she casually continues. But, like many of the female protagonists in these stories – each a femme fatale – she is a captive of her past: ‘She had come back to Lagoon West to make a beginning, and instead found that events repeated themselves.’5 Raine has murdered her ‘confidant and impresario, the brilliant couturier and designer of the first bio-fabric fashions, Gavin Kaiser’.6 Kaiser has been killed – with grim, pantomime karma – by a constricting gold lamé shirt of his own design: ‘Justice in a way, the tailor killed by his own cloth.’7 But Kaiser’s death has not resolved her trauma. Raine is a victim herself, a victim of serial plastic surgery, caught as a teenager in Kaiser’s doomed search for perpetual gamin youth: ‘he kept me at fifteen,’ she says, ‘but not because of the fashion-modelling. He wanted me for ever when I first loved him.’8 She hopes to find in Vermilion Sands, in its localized curvature of time and space, the parts of herself she has lost on a succession of operating tables. -
COMPLETE WARDROBE of SHADES. for BEST RESULTS, Dr.’S REMEDY SHADE COLLECTION SHOULD BE USED TOGETHER with BASIC BASE COAT and CALMING CLEAR SEALING TOP COAT
COMPLETE WARDROBE OF SHADES. FOR BEST RESULTS, Dr.’s REMEDY SHADE COLLECTION SHOULD BE USED TOGETHER WITH BASIC BASE COAT AND CALMING CLEAR SEALING TOP COAT. ALTRUISTIC AMITY BALANCE NEW BOUNTIFUL BRAVE CHEERFUL CLARITY COZY Auburn Amethyst Brick Red BELOVED Blue Berry Cherry Coral Cafe A playful burnt A moderately A deep Blush A tranquil, Bright, fresh and A bold, juicy and Bright pinky A cafe au lait orange with bright, smokey modern Cool cotton candy cornflower blue undeniably feminine; upbeat shimmer- orangey and with hints of earthy, autumn purple. maroon. crème with a flecked with a the perfect blend of flecked candy red. matte. pinkish grey undertones. high-gloss finish. hint of shimmer. romance and fun. and a splash of lilac. DEFENSE FOCUS GLEE HOPEFUL KINETIC LOVEABLE LOYAL MELLOW MINDFUL Deep Red Fuchsia Gold Hot Pink Khaki Lavender Linen Mauve Mulberry A rich A hot pink Rich, The perfect Versatile warm A lilac An ultimate A delicate This renewed bordeaux with classic with shimmery and ultra bright taupe—enhanced that lends everyday shade of juicy berry shade a luxurious rich, romantic luxurious. pink, almost with cool tinges of sophistication sheer nude. eggplant, with is stylishly tart matte finish. allure. neon and green and gray. to springs a subtle pink yet playful sweet perfectly matte. flirty frocks. undertone. & classic. MOTIVATING NOBLE NURTURE PASSION PEACEFUL PLAYFUL PLEASING POISED POSITIVE Mink Navy Nude Pink Purple Pink Coral Pink Peach Pink Champagne Pastel Pink A muted mink, A sea-at-dusk Barely there A subtle, A poppy, A cheerful A pale, peachy- A high-shine, Baby girl pink spiked with subtle shade that beautiful with sparkly fresh bubble- candy pink with coral creme shimmering soft with swirls of purple and cocoa reflects light a hint of boysenberry. -
Trees for Good Fall Color
Selecting Trees for Good Fall Color he fall or spring of the year is an excellent time to plant deciduous trees. Although weather conditions can affect the intensity and actual fall color that will develop on T the leaves from year to year, much of it has to do with the type of tree you plant and its genetic makeup. If you are looking for trees to add to your landscape that produce consistent good fall color from year to year, please refer to the list of some recommended shade and ornamental trees below. This list contains trees that will, in most years, turn a variety of brilliant shades of red, orange, scarlet, and/or purplish-red in autumn. Large trees American Sweetgum Black Gum (Nyssa (Liquidambar styraciflua)- sylvatica)- Yellow to Yellowish-purple-red; orange to scarlet to purple select seedless cultivars. shades. Gingko or Maidenhair Red Maple (Acer rubrum)- (Gingko biloba)- Excellent Colors will vary from red- clear yellow. orange red depending on specific cultivar. Sugar Maple (Acer Katsura Tree (Cercidi- saccharum)- Brilliant phyllum japonicum)- yellow, burnt orange to Yellow-soft apricot-orange. reds. White Oak (Quercus alba)- Common Baldcypress Brown to a rich red to wine (Taxodium distichum)- Soft color. brown to orangish-brown. Linden (Tilia)- Yellow-green American Yellowwood to yellowish. (Cladrastis kentuckea)- Yellow tones. Japanese Zelkova (Zelkova serrata)- Yellow-orange- bronze to deep reddish purples depending on cultivar. Medium Trees American Hornbeam Persian Parrotia or Persian (Carpinus caroliniana)- Ironwood (Parrotia Yellow, orange, red to persica)- Brilliant yellow to reddish-purple: varies orange to scarlet-red. according to cultivar. -
Red, Crimson, Scarlet) a Word Study By: Jonathan Machtemes (Results from KJV Word Search)
Determining Correct Colors in the Early Scriptures (Red, Crimson, Scarlet) a word study by: Jonathan Machtemes (results from KJV word search) Red H119 adm pass appears: 10x translated as: dyed red, red, ruddy related modern words ?: Lat. adamantem "iron" (produces red), many Euro etymologies on "adam/adem" words are in dispute, damage (in the sense of injury, bloodletting) related obry words: H122 adm- red, ruddy H125 admdm- reddish H132 admny- red, ruddy H1818 dm- blood (of living beings, or of grapes) H120 adm- man, "Adam" of gn odn "garden of Eden" H121 adm- "Adam" of gn odn "garden of Eden", city in knon "Canaan" H124 adm- sardius (stone, gem) H123 adum, adm- owu "Esau", due to Gen 25:30. Also related: H130 admy/ adumym- of adum="Edomite", or adumym="Edomites" pl. H127 adme- ground, or perhaps "Adamkind" (Gen 12:3) and so on passed based, in large part, on dm being the root. dm is blood. Blood is a familiar, naturally occurring substance. d, as bizarrely simplistic as it seems to me at times, seems to often draw one's attention specifically to the fact that it appears as a pointed tip. It's used in ahd- one, unity, bd- apart, or dd- nipple, teat, (also dud- beloved, as in "between the teats" or the emotions). a, on the other hand, seems to act most frequently as an augmentative or giver of strength. Perhaps it is a glyph of a bull, or something with horns. Additionally, the d can be seen in words with the meaning or idea of cutting: H1843 do, H1856 dqr, H1417 gdud, or in directional words od, qdm, H1864 drum. -
UV-LED-OPTIONS-COLOUR-CHART-WEB.Pdf
COLOUR CHART NAILS PERFECTED – Only from Akzentz www.akzentz.com NAILS PERFECTED – Only from Akzentz UV/LED COLOURS P = pearl C = cream F = frost UV/LED ICE I = ice SATIN PEARL (P) BUTTERCUP (C) FIESTA YELLOW (C) SEAFOAM GREEN (C) GREEN SPLASH (C) GLACIER BLUE (C) BLUEBELLE (C) LAVENDER CREAM (C) APRICOT (I) BLUE (I) CHARCOAL (I) PINK (I) GOLD (I) CORAL (I) WHITE (I) VIOLET (I) VIOLET HUE (C) PURPLE LOTUS (C) MAJESTIC VIOLET (C) PINK PEARL (P) PINK INNOCENCE (C) BLISSFUL PINK (C) TENDER PINK (C) LAVENDER PINK (C) TURQUOISE (I) SILK (I) PEWTER (I) MARINE BLUE (I) LIME (I) LATTE (I) UV/LED BRIGHTS B = bright FLAMINGO (C) VIVID PINK (C) SIMPLY PINK (C) TICKLED PINK (C) BRONZE MIST (F) PINK POPPY (C) HIBISCUS PINK (C) MAUVELLA (F) LIME TWIST (B) BLUE ORBIT (B) HYPNOTIC CORAL (B) ORANGE FIX (B) SIZZLING PINK (B) PINK FLIRT (B) YELLOW FLARE (B) CLASSIC RED (C) PINK CHINTZ (C) CHARMING PINK (C) SALMON PINK (C) SOFT CORAL (F) CORAL PINK (C) GLAMOUR PINK (C) CHIFFON (P) UV/LED SPARKLES S = sparkle POWDER PINK (C) PEACH WHISPER (C) SWEET MANDARIN(C) ELECTRIC ORANGE(C) ROSE BISQUE (C) DUSTY ROSE (C) ROSY TAN (C) DREAM PINK (P) STAR DUST (S) CLEAR (S) SUNLIT SNOW (S) SILVER TWINKLE (S) GOLDEN TWILIGHT (S) GOLD (S) BRONZE (S) LILAC (S) CHOCOLAT (C) PRETTY IN PINK (C) CORAL ROSE (C) CHAI (P) TROPICAL SAND (P) PEACHY KEEN (C) MYSTIC MAUVE (F) DESERT ROSE (F) RASPBERRY (S) RAVISHING RED (S) PINK (S) TANGELO (S) CARIBBEAN TEAL (S) BLUE (S) MIDNIGHT DUST (S) UV/LED GEL ART C = cream CHAMPAGNE (P) SIENNA SUNRISE (F) TUSCAN SUNSET (F) BARE (C) VINTAGE BUFF (C) ROSETTE (C) CORAL ESSENCE (C) SHEER MIKAN (C) WHITE (C) CLEAR YELLOW (C) YELLOW (C) GREEN (C) CREAMY GREEN (C) CLEAR BLUE (C) BLUE (C) NAVY BLUE (C) LATTE (C) WILD ROSE (C) WINDSWEPT TAN (C) SMOKEY TAUPE (C) SHADOW GREY (C) PURPLE (C) CREAMY PURPLE (C) RED (C) CHARCOAL (C) BLACK (C) COPYRIGHT © HAIGH INDUSTRIES INC. -
Lititz Borough Shade Tree List Growth Habit Key Columnar Vase Shaped
Lititz Borough Shade Tree List Growth Habit Key Columnar Vase Shaped Pyramidal Rounded Spreading Small Trees – Mature Height Less Than Thirty Feet (30’) Species Common Name Growth Habit Form Description Crategus Winter King Hawthorn 20-35’ Broad, round head Multi- viridis colored ‘Winter bark, King’ ornamental fruit Prunus x incam Okame Cherry 15-25’ Vase-shaped, Attractive bark; ‘Okame’ becoming rounded with pink flowers in age early spring Syringa reticulata Ivory Silk Tree Lilac 20-25’ Uniform rounded White flowers ‘Ivory Silk’ shape in mid- Summer Medium Trees – Approximate Mature Height of Thirty to Fifty Feet (30-50’) Species Common Name Growth habit Form Description Carpinus American Hornbeam 20-30’ Round spreading, caroliniana native, fall color, to compaction tolerant Gleditsia Thornless Honeylocust 30-40’ Pyramidal Small, lightweight triancanthos var. leaves; Golden yellow inermis fall color; Produces ‘Imperial’ , light shade ‘Skyline’, or ‘Moraine’ Nyssa sylvatica Blackgum 20-30’ Fall foliage includes many shades of yellow, orange, red, purple and scarlet Ostrya American Hophornbeam 25-40’ Pyramidal in youth Attractive bark and virginiana becoming broad hop- like fruit; native to Quercus Sawtooth Oak 35-40’ Pyramidal in youth, Yellow fall color; acutissima becoming rounded attractive bark; to acorns Large Trees – Mature Height Greater Than Fifty Feet (50’) Species Common Name Form Growth Habit Description Acer rubrum Columnar Red Maples 50-60’ Columnar Red flowers, fruit, and ‘Bowhall’ or fall color; native Armstrong Acer rubrum -
Pink-To-Red Coral: a Guide to Determining Origin of Color
PINK-TO-RED CORAL: AGUIDE TO DETERMINING ORIGIN OF COLOR Christopher P. Smith, Shane F. McClure, Sally Eaton-Magaña, and David M. Kondo Pink-to-red coral has a long history as an ornamental gem material in jewelry, carvings, and sculptures. However, due to a variety of environmental and legal factors, the supply of high- quality, natural-color coral in this color range has dramatically decreased in recent years— and the quantity of dyed coral on the market has increased. From a study of more than 1,000 natural- and treated-color samples, this article summarizes the procedures that are useful to identify the color origin of pink-to-red coral. A variety of techniques—including magnifica- tion, exposure to acetone, and Raman analysis—can determine if the color of a piece of such coral is dyed. Although there are limitations to the use of magnification and acetone, Raman analysis can establish conclusively that the color is natural. oral is an organic gem material that has been This limitation has led to the practice of dyeing used for ornamental purposes (figure 1) for pale-colored and white coral into the more highly C several thousand years (see, e.g., Walton, valued shades of pink to red. Commonly, the coral 1959). Amulets of red coral dating back to 8000 BC is bleached prior to the dyeing process so that better were uncovered in Neolithic graves in Switzerland, penetration and more homogeneous coloration may coral jewelry was made in Sumeria and Egypt around be achieved (figure 3). Additionally, polymer 3000 BC, and Chinese cultures have valued coral high- impregnation—with or without a coloring agent— ly since about 1000 BC (Liverino, 1989). -
Mandevilla Bella.Pdf
New Mandevilla Bella Series Varieties 2020: Bella™ Deep Red This plant makes a big impact at retail and in the garden. Our biggest Bella in the series, this variety is well suited to larger containers and retails best on a trellis. The intense red color makes an impressive display and does not fade as the flowers age. This is a strong vining variety. Bella™ Grande Pink An impressive variety with very large, rosy pink flowers. Bella Grande Pink is well suited to larger containers such as gallons and patio pots. Plants will bloom continuously throughout the summer heat. Bella Grade Pink is colder sensitive and should be kept above 54ºF (12ºC) to avoid leaf drop. Bella™ Grande Red This variety has an improved deep red color, but performs very similar to the original Bella Red. This variety flowers later than others in the series but makes a great season extender item at retail. The growth habit is compact with dense branching, making a solid rounded plant that does not split in production or shipping, ensuring a great retail presentation. Bella™ Hot Pink Well suited for 6-inch or larger containers, Bella Hot Pink is one of the strongest, most dependable varieties in the series. In the first year, Bella Hot Pink has a strong, upright mounded habit perfect for pot production, but will start vining in year two if trellised plants are desired. A European favorite due to its tight well branched structure that does not fall apart as plants gain volume. Bella™ Pink Bella Pink produces a much higher flower count than the other standard pink varieties on the market. -
Program with Speaker Bios (PDF)
A CELEBRATION of the SCARLET & BLACK PROJECT APRIL 29-30, 2021 SCHEDULE OF EVENTS APRIL 29--DAY ONE 11:00 AM Art & Archives of the Scarlet & Black Project 1:00 PM The First Black Alumni: An Exploration of S&B Volume 2 6:00 PM Keynote Address: President Jonathan Holloway APRIL 30--DAY TWO 11:00 AM A Community Project: Scarlet & Black in New Brunswick 1:00 PM The Student Protest Movement at Rutgers: S&B Volume 3 4:00 PM The Legacy of Scarlet & Black: A Conversation with Marisa Fuentes and Deborah Gray White APRIL 29-DAY ONE 11:00 AM ART & ARCHIVES OF THE SCARLET & BLACK PROJECT This panel will explore the images used in the Scarlet & Black Project volumes, the digital archive, and community art projects in New Brunswick. Panelists will discuss how their contributions have helped to shape the images and artwork of the project. Jesse Bayker, Digital Archivist for the Scarlet & Black Project Erika Gorder, University Archivist, Rutgers University Libraries Tracey Johnson, Rutgers University History Department Dan Swern, Producing Director at coLAB Arts APRIL 29-DAY ONE 1:00 PM THE FIRST BLACK ALUMNI: AN EXPLORATION OF SCARLET & BLACK VOLUME 2 This panel will discuss the scholarship of Scarlet & Black, Volume 2: Constructing Race and Gender at Rutgers, 1865-1945. Panelists will discuss how race and gender shaped the experience of some of the first black students to attend Rutgers, such as Paul Robeson and Julia Baxter Bates. Shaun Armste ad, Rutgers University H istory Department Kendra Boyd, Rutgers-Camden University Assistant Professor of History Miya Carey, Binghamton University Presidential Postdoctoral Fellow Bruce Hubbard, Rutgers Class of 1969;Principal of Bruce A. -
Coral Pink Sand Dunes Data Summary Tables
OFO-BE-07-01 February 2007 A BIOLOGICAL EVALUATION OF FOREST HEALTH ON MOQUITH MOUNTAIN BUREAU OF LAND MANAGEMENT KANAB AREA FIELD OFFICE By Elizabeth G. Hebertson, Forest Health Protection Specialist S&PF Forest Health Protection, Ogden Field Office Biological Evaluation of Forest Health on Moquith Mountain Abstract In July and October of 2006, the USDA Forest Service, Forest Health Protection, Ogden Field Office (FHP-OFO) surveyed approximately 5,000 acres in the Moquith Mountain Wilderness Study Area and Coral Pink Sand Dunes to document current insect and disease activity and to assess stand and landscape level risk. This area was primarily comprised of pinyon-juniper woodlands and stands of ponderosa pine. Individual trees in the Ponderosa Grove Campground and popular dispersed recreation sites were also examined for evidence of insects and diseases and human damage. The results of the survey indicated that endemic levels of insect and disease agents generally occurred within the project area. Juniper gall rust and juniper mistletoe were the most damaging agents detected, although infections caused only minor impacts. No current bark beetle activity was observed. Small patches of ponderosa pine and ponderosa pine stands in the Sand Dune area however, had moderate to high susceptibility to bark beetle infestation. Aspen in the project area exhibited symptoms of decline. A number of insect and disease agents contributed to this damage, but the underlying cause appeared to be stress associated with grazing and plant competition. The trees in recreation sites had injuries typical of those caused by human activity, but this damage had not resulted in tree decline. -
Indian Influence on the Chinese Novel the Journey to the West
SINO-PLATONIC PAPERS Number 114 March, 2002 Beyond the Question of the Monkey Imposter: Indian Influence on the Chinese Novel The Journey to the West by Ramnath Subbaraman Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD ISSN 2157-9679 (print) 2157-9687 (online) SINO-PLATONIC PAPERS is an occasional series dedicated to making available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor-in-chief actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including romanized modern standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino- Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. Submissions are regularly sent out to be refereed, and extensive editorial suggestions for revision may be offered. Sino-Platonic Papers emphasizes substance over form. -
Color Chart Colorchart
Color Chart AMERICANA ACRYLICS Snow (Titanium) White White Wash Cool White Warm White Light Buttermilk Buttermilk Oyster Beige Antique White Desert Sand Bleached Sand Eggshell Pink Chiffon Baby Blush Cotton Candy Electric Pink Poodleskirt Pink Baby Pink Petal Pink Bubblegum Pink Carousel Pink Royal Fuchsia Wild Berry Peony Pink Boysenberry Pink Dragon Fruit Joyful Pink Razzle Berry Berry Cobbler French Mauve Vintage Pink Terra Coral Blush Pink Coral Scarlet Watermelon Slice Cadmium Red Red Alert Cinnamon Drop True Red Calico Red Cherry Red Tuscan Red Berry Red Santa Red Brilliant Red Primary Red Country Red Tomato Red Naphthol Red Oxblood Burgundy Wine Heritage Brick Alizarin Crimson Deep Burgundy Napa Red Rookwood Red Antique Maroon Mulberry Cranberry Wine Natural Buff Sugared Peach White Peach Warm Beige Coral Cloud Cactus Flower Melon Coral Blush Bright Salmon Peaches 'n Cream Coral Shell Tangerine Bright Orange Jack-O'-Lantern Orange Spiced Pumpkin Tangelo Orange Orange Flame Canyon Orange Warm Sunset Cadmium Orange Dried Clay Persimmon Burnt Orange Georgia Clay Banana Cream Sand Pineapple Sunny Day Lemon Yellow Summer Squash Bright Yellow Cadmium Yellow Yellow Light Golden Yellow Primary Yellow Saffron Yellow Moon Yellow Marigold Golden Straw Yellow Ochre Camel True Ochre Antique Gold Antique Gold Deep Citron Green Margarita Chartreuse Yellow Olive Green Yellow Green Matcha Green Wasabi Green Celery Shoot Antique Green Light Sage Light Lime Pistachio Mint Irish Moss Sweet Mint Sage Mint Mint Julep Green Jadeite Glass Green Tree Jade