Water them regularly to keep them from wilting - but take care not to overwater. In containers, choose a potting mix designed for use in pots. Like most flowering annuals (including petunias and calibrachoas, to which they're related), petchoas prefer moist, well-drained soil rich in organic matter if you grow them in gardens. They can tolerate some partial shade, but they won't bloom as well and are more likely to get lanky, unattractive stems without enough sun. Grow petchoas in full sun (at least six to eight hours of direct light a day). Our flower gardening experts are happy to help! If you have questions about how to grow petchoas, just drop us an email. You can also use them to perfect effect in hanging baskets. In pots, use them as lovely filler plants to add color and texture, or as spiller plants, to cascade over the side of the container. Most petchoa varieties have a mounding or trailing shape, making them versatile and perfect for both container gardens and landscaping. Happily, they don't suffer from some of the problems that their old-fashioned cousins do. Grow petchoas and you can be a trend setter! These flowers are gaining popularity because they're easy to grow and offer beautiful petunia-like flowers in a stunning range of colors. They're relatively new plants on the market, so a lot of gardeners haven't heard of them before. Note that when growing plants in outdoor containers and baskets, they may require more frequent waterings than they would in the yard or garden.Petchoas are beautiful sun-loving annual flowers for sun. It is even sizeable enough that it can be grown alone in a suitable container. Because of its trailing habit of growth, it is ideally suited for use as a 'spiller' in the 'spiller-thriller-filler' container combination plant it near the edges where it can spill gracefully over the pot. SuperCal® Premium Bordeaux Petchoa is a fine choice for the garden, but it is also a good selection for planting in outdoor containers and hanging baskets. It can be propagated by cuttings however, as a cultivated variety, be aware that it may be subject to certain restrictions or prohibitions on propagation. This particular variety is an interspecific hybrid. It is highly tolerant of urban pollution and will even thrive in inner city environments. It is not particular as to soil type or pH. It prefers to grow in average to moist conditions, and shouldn't be allowed to dry out. This plant should only be grown in full sunlight. This fast-growing annual will normally live for one full growing season, needing replacement the following year. Its foliage tends to remain dense right to the ground, not requiring facer plants in front. When grown in masses or used as a bedding plant, individual plants should be spaced approximately 16 inches apart. SuperCal® Premium Bordeaux Petchoa will grow to be about 22 inches tall at maturity, with a spread of 32 inches. SuperCal® Premium Bordeaux Petchoa is recommended for the following landscape applications It has no significant negative characteristics. It is a good choice for attracting hummingbirds to your yard, but is not particularly attractive to deer who tend to leave it alone in favor of tastier treats. Trim off the flower heads after they fade and die to encourage more blooms late into the season. This plant will require occasional maintenance and upkeep. Its medium texture blends into the garden, but can always be balanced by a couple of finer or coarser plants for an effective composition. SuperCal® Premium Bordeaux Petchoa is a dense herbaceous annual with a trailing habit of growth, eventually spilling over the edges of hanging baskets and containers. Its pointy leaves remain green in color throughout the season. SuperCal® Premium Bordeaux Petchoa is blanketed in stunning dark red trumpet-shaped flowers with black throats at the ends of the stems from mid spring to late summer. An exceptional series known for large vibrant flowers and excellent performance vigorous, early blooming, and able to handle summer heat excellent resistance to powdery mildew
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I would bring my laptop on business trips and work on my novel in the hotel at night. I finished that first book and started another, yet still told very few people what I was doing. I started trying to call myself a writer after that conversation with Sara-only in my head, never to anyone else. But how do you know when to call yourself a writer? How did I know? It’s easy to know when to call yourself a lawyer: Did you graduate from law school? Congratulations, you’re a lawyer. Over drinks, she said, “I realized I don’t really know what you do. The more I threw myself into learning how to write, the more I began to wonder whether my novel could actually be published.Ībout a year after I started writing, I met Sara Zarr, a writer I’d been Twitter friends with for years, and whose work I’d read and reread. I read books on writing, and closely reread a number of novels to study how other writers wrote dialogue, quiet moments of connection, fights. Why had I ever thought I could do this? I didn’t go to school for writing I haven’t even taken an English class since my senior year of high school.īut I loved learning about and developing characters, the process of frustration and brainstorming and epiphany. It seemed almost embarrassing for someone like me to go home from her legal job every night, sit on her couch with a laptop, and work on her book. The sort of book I wished I’d been able to find when I was young.Īt first, I told barely anyone what I was doing. After a few tentative conversations with some of my writer friends, I started working on a novel-a young adult book about a smart black girl who lived in a city. I can’t sing, I can’t draw, and while I still love ballet, I didn’t feel an urge to return to dance class. The repetitive, structured, spreadsheet-oriented nature of my work often made me feel stifled. I couldn’t find books like that about black girls.Īfter I’d been a lawyer for about eight years, I found myself longing for some sort of creative outlet. I wanted to read fun books about smart girls who lived in cities and did exciting things with their friends. There were books about little black girls, but they were almost exclusively about little black girls during times of struggle: during slavery, in poverty in the early twentieth-century South, during the civil rights movement. When I turned those childhood favorites over to look at the picture of the author on the back, they almost never looked like me. I saw this pattern in so many of the girls in the books I read and loved as a kid: Anne, Emily, Betsy, Harriet, Claudia, Meg. I wonder, if they had, would I have rejected the idea out of hand? My vision of a writer has always been someone quiet, someone introverted, and-especially-someone white. I now wonder why no one in my life ever suggested writing to me. Many of my closest friendships-from childhood to the present day-started with bonding over a book. When I moved from the West Coast to the East Coast and then back again, I spent a small fortune shipping boxes of books across the country. Family legend says I learned to read at age three, and since then there have probably only been a handful of days when I haven’t read for pleasure. Until about seven years ago, I never had any ambition to become a writer, despite how much I’ve always loved to read. I’ve always been argumentative, so when I told my family I wanted to be a lawyer, their immediate response was: “That sounds right.” I put my foot on that path at age twelve, following my beloved teacher and mentor, and never wavered from it. Law school called to me immediately: I’ve always loved history and politics I watched the Clarence Thomas/Anita Hill hearings just a few years earlier with both confusion and anger I grew up in Berkeley, so political protest and activism was part of my life I basically memorized Schoolhouse Rock. Seeing her on that path made me-a young, book-obsessed, chatty black girl-realize that such a path was open to me, too. She was a black woman about ten years older than I was, and looked enough like me to be my older sister. Murray-Gill, left teaching and went on to law school the year after I was in her class. For the twelve years before that, in answer to the junior version of that question-“What do you want to be when you grow up?”-I always said, “A lawyer.” (For a while in childhood, the answer was “a ballerina,” but then I hit puberty and no longer had a ballerina kind of body.) For the three years before that, I was in law school. That’s the way I’ve answered for fifteen years. For most of my life, this has been an easy question to answer. It’s one of the first questions we hear at parties, meeting someone new. Third, our designers love the muted colors and texture of the clouds in the sky. Symmetry captures our attention and is automatically marked “beautiful” by our brains. Second, we love the perfectly imperfect symmetry of this boho photo. They picture this boho photo hanging on a mantle, with a tall vase filled with pampas grasses sitting next to it. Our designers are partial to this “ Lighthouse View ” aesthetic boho picture for a few reasons.įirst, we love the dried beach grass in the foreground of the photo. Look for pictures with nature landscapes and highly textured accents, such as beach grass or dried leaves. The thing about decorating your living room with traditional boho posters and prints is that over time, these pieces are going to look outdated and out of style.Īesthetic boho pictures with a vintage feel are a timeless way to decorate your space with a boho influence. Shop the best modern boho prints from emerging artists, picked by our expert interior designers.Īesthetic Boho Pictures for Your Timeless Boho Décor Now, you don’t have to stress about which wall art is best for your boho bedroom décor or living room. The result, breathtaking boho wall art ideas. Our designers put their heads together and designed rooms around our best boho wall décor. The last thing you need is thousands of boho wall art options to scroll through and completely overwhelm you. …and now all you want to do is throw your phone across the room and scream “CAN SOMEONE JUST CHOOSE FOR ME?!” The vision of your chic modern boho feature wall vanishes from your head with a “pop!” You know the foundations of beautiful boho decorating…a mix of colors, patterns, and textures…layers, decorative fringe, rattan, wicker, and poofs.Īnd you decide to choose art for a boho feature wall.īUT your confidence in designing a boho living room feature wall as beautiful (if not more gorgeous than) the HGTV designer fades quickly… HGTV designers make it look effortless in their 30 minute shows.Īs you watch you confidently think, I could do that…in fact, I AM going to do that! What does it take to completely update your boho living room décor so it looks beautiful enough to be featured in a magazine? Following the tradition of much feminist scholarship, we wanted to reflect on the research process as not remaining untouched by our own 'intellectual autobiography' (Maynard, 1994: 16). As we spoke about the research encounters we had each experienced, we agreed that it would be interesting to extend our dialogue about how each of us had experienced the production of race and ethnicity in our research encounters, given our different positionalities vis-à-vis race, as we both felt we could learn more from such a dialogue. As we discussed the morning's presentations on the first day of the conference, and made our way to lunch, our conversation turned to our respective experiences of conducting interviews with people who were, a priori, positioned as 'different' from or the 'same' as us in terms of race or ethnicity. Introduction We (Helene and madeleine, the authors of this article) met at a conference in Sigtuna in Sweden in the autumn of 2010. " We need to talk about what race feels like! " Using memory work to analyse the production of race and ethnicity in research encounters. Please cite this article as: kennedy-macfoy, m. We suggest that memory work is a useful tool for learning about the production of race and ethnicity, and comparative or contrastive memory work in collaboration with other researchers differently positioned from oneself is a useful approach when engaging in 'researching differences'. Our analysis makes clear how we cannot assume any fixation of where, in whom, or in which topics race or ethnicity is located. We also suggest that by looking for instances in which we have felt (or been made to feel) our own 'difference' or 'sameness', power or a sense disorientation, we may contribute to destabilising the categories and categorisations, which might otherwise go unquestioned in research encounters. We suggest that adding memory work to the analysis of research experiences is one way of exposing the production of race and ethnicity in research interactions, and that a comparative approach to memory work can help clarify how positionalities may not always be good predictors of processes of racialisation in research situations. It is based on a type of retrospective, comparative memory work, through which we analyse, compare and contrast our respective experiences of moments when race and ethnicity have been produced during our interactions with research participants. This article is about the production of race and ethnicity in research encounters. As an analytical framework, countertopography opens important possibilities for critical and comparative qualitative inquiry, with specific promise for highlighting how seemingly dissimilarly educational spaces may be imbued with similar social meanings, and how these meanings are constituted by recurring unequal social relations between individuals and groups therein. Cindi Katz’s notion of ‘countertopography’ is critical to our argument that Islamophobia is productive of similar practices of surveillance and exclusion across disparate educational settings. Our cases illustrate how assumptions held by school staff toward the youth in our studies were rooted in both Islamophobic tropes and deeply held nationalist beliefs about the benevolence of the US and Denmark. Our analysis brings together two ethnographic studies of how minoritised Muslim youth navigate secondary schooling in Denmark and the US. In this article, we explore how locally situated educational practices and policies aimed at inclusion and integration may contribute to racialised exclusion for students. I like this program because it is beneficial long before your baby arrives. You can use your $25 coupon on your next purchase of $75 or more in-store.
In a word, it is a connection device that is plugged into a port to perform a loopback test. It provides system test engineers a simple but effective way of testing the transmission capability and receiver sensitivity of network equipment. The lookback cables can provide a simple and effective means of testing the capabilities of the network equipment, and they are typically used for fiber optic testing applications or network restorations.Ī loopback cable is also known as loopback plug or loopback adapter, which is a plug used to test physical ports to identify network issue. Do you know the loopback cable can be acted as a test tool in the telecommunication? Absolutely, the loopback signal is used for diagnosing the networking problem. The front panel CL – FL switch selects a loopback test mode:įor normal operation, the CL – FL switch must be in the center position.For testing applications, there are many tools for this function, such as visual faults locator, optical power meter, OTDR, etc. Category 3 or better shielded twisted-pair (STP) or unshielded twisted-pair (UTP) can be used. Use only dedicated wire pairs (such as blue/white & white/blue, orange/white & white/orange) for the active pins. The two RJ-45 active pairs in a T1/E1 network are pins 1 & 2 and pins 4 & 5. Refer to the user-guide ( NID) to set the DIP switches (T1 or E1 mode) as required. If a circuit is presented on coaxial connectors, always use a balun with a matching impedance, eg: 75 to 120 ohm.ĭS1 - T1/E1 converters must be used in pairs, one on each end of the fiber link. The RJ45 side uses the standard pairs: 1 & 2, and 4 & 5. A G.703 Balun is a bi-directional passive device (transformer) that converts unbalanced (75 ohm, BNC) to balanced (120 ohm, RJ45) signals. RJ48 connector will prevent it from plugging into an RJ45 jack.Īn E1 maybe presented on two coaxial connectors (eg, BNC's), one each for TX and RX. Note: An RJ45 connector will fit an RJ48 jack, but the key on an
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