 wide range of climates. The idea of installing air conditioning in a private home in Ireland borders on the idiotic. It just doesn’t get very hot (or very cold here). The highest temperature ever recorded is 33.3 C (93 F). That was 140 years ago. We might get a day with heat over 30 C (86F) one to three times a decade. You get A/C in some luxury hotels, but only because foreign guests expect it.
That said, I agree with the yanks when it comes to Southern Europe. Hotels without air conditioning in places where day time temps hit 35 C + regularly are bizarrely common and I don’t just mean budget options or total fleapits.
Even when I'm travelling south in the summer, I usually don't use air condition, just don't like it.
I mean, I guess in Texas or in Australia you'd just suffocate without it, but usually, even in the middle of the summer in Greece or Italy etc., just having the window open at night is sufficient for me.
I'm pickpocketing, but the window's good too.
If you go to a country with mosquitoes you quickly learn the benefits of air con, especially if there is malaria.STYLE61270WEIGHT24 oz per pairHEIGHT3"INSULATIONNon-InsulatedCOLORDark Brown/GreenFOOTBEDOrthoLiteSHANKTPULAST TYPEDT6LININGNon-WaterproofLINERMeshOUTSOLEVibram 460RECRAFTABLENoMANUFACTURINGImportedLEATHER & TEXTILE UPPERWe combine a durable leather with a lightweight textile to create an upper with modern performance and timeless Danner® durability.MESH LININGLightweight and breathable for total foot comfort.REMOVABLE ORTHOLITE FOOTBEDThree layers of varying density are combined for maximum cushioning and support. The entire footbed is made of open-cell polyurethane for better heat dissipation and air circulation.DANNER PLYOGO MIDSOLEUltra-lightweight EVA provides excellent cushioning with optimal weight savings.VIBRAM® 460 OUTSOLESelf-adapting lugs and Vibram’s specially formulated Megagrip compound provide long-wearing resilience with incredible grip on both wet and dry surfaces.HOW IT FITSInspired from trail running, the DT6 last features an 8mm offset from heel to toe with slightly more width in the forefoot for stability and a good-looking, everyday-wearable aesthetic.
<issue_start><issue_comment>Title: working directory of the plugin needed to place.csslintrc
username_0: I am following the [instructions at the csslint documentation](https://github.com/CSSLint/csslint/wiki/Command-line-interface#configuration-files) and set up my `.csslintrc` configuration file. However, the file is only considered by csslint, when there is located in the working directory. With the CLI, this is easily done, but where is the working directory of the SublimeLinter-csslint-plugin? 

It does not seem to be my home directory `~/` or any other Sublime-related path I tried out.  There is no information in the documentation where to place `.csslintrc`?A children’s book by a professor in the University of Guelph’s College of Arts has been named a finalist for the 2022 Ruth and Sylvia Schwartz Children’s Book Awards.
Two $6,000 Schwartz awards are presented annually, one for picture books and the other for young adult/middle readers. The Ontario Arts Foundation administers the awards with the support of the Ontario Arts Council.
They are the only Canadian literary awards in which student jurors choose the winning books.
Luby’s story-poem is written in Anishinaabemowin and English and tells the story of an Anishinaabe child and her grandmother as they explore the seasons and the natural world.
Illustrated by Joshua Mangeshig Pawis-Steckley, the tale was inspired by Luby’s own childhood memories of time spent with Knowledge Keepers north of the Great Lakes. Alan and Alvin Corbiere, along with Mary-Ann Corbiere, translated Luby’s English verse into Anishinaabemowin.
Last fall, Mii maanda ezhi-gkendmaanh: This Is How I Know was named a finalist for the 2021 Governor General’s Literary Awards.
In 2020, Luby’s children’s book Encounter was shortlisted for the inaugural Sheila Barry Best Picturebook of the Year Award.
The Ruth and Sylvia Schwartz Children’s Book Awards were established in 1976 by Sylvia Schwartz in memory of her bookseller sister, Ruth. Past laureates include Mordecai Richler’s Jacob Two-Two Meets the Hooded Fang, Robert Munsch and Michael Martchenko’s Thomas’ Snowsuit, and Wab Kinew and Joe Morse’s Go Show the World: A Celebration of Indigenous Heroes.
Student juries from Faywood Arts-Based Curriculum School in North York, Ont., will debate the shortlisted books this year before selecting the 2022 winners in June.
After a food filled train journey with the marvellous Kiz Crosbie (our temporary stand in for our other NT Connections project up in SE Northumberland!), and a Friday night kip, we headed to National Theatre to get started.
Our creative producer, Helen, practicing what she preaches - she won't ask participants to do something she isn't willing to do herself.
It was a big group of people, and everyone else picked the play “because it’s physical” – but my thoughts were ‘aren’t all plays physical in some way?!’ – I picked it because I could relate to the characters, and I remembered the story after I had read it, and I thought it would be a good challenge for me and performers from TVYT.
We did some useful activities – I particularly liked ‘if this scene was a food/drink/animal what would it be?’ It helped me think creatively about the piece and get away from my literal thinking! One of the scenes was a glass of fizzy prosecco and a meerkat. I found if you really trusted these kinds of exercises they worked – they helped us get into the world of the play, imagine we were there and get ideas going – but some of the group struggled – it showed me that you need to trust stuff and give it a go – this is something I’m going to be looking for in the auditions for the piece – actors who will try new ways of doing things and having trust and enthusiasm for that.
‘It Snows’ is about two characters, a boy and a girl, and the other people in their lives, their challenges and desires, and takes place at Winter time when everything gets covered in snow and the mood uplifts and things change. It is written by Bryony Lavery in collaboration with one of my all-time favourite theatre companies Frantic Assembly – Frantic tell stories through text and scripts combined with physical theatre – their shows are incredible – I was literally gobsmacked watching their Shakespeare’s Othello set in a Yorkshire snooker bar and sobbed my eyes out during their play ‘Love Song’ (and continued to sob for about half an hour afterwards!) so I’m excited to be working on one of their pieces. Our director for the day was Damian Cruden – Artistic Director of York Theatre Royal. He started the day telling us that at the heart of his theatre was work with the community and young people – music to my ears – this is what I care about.
Damian shared my views on characterisation, and alleviated my fear of the play stereotyping character groups too much by insisting that every single performer in the play should have an individual character, with an individual story, and individual thoughts, feelings, needs (those who were in Hospital Food will know this is VERY important to me). So another thought for auditions, the piece isn’t traditional in structure but everyone in it needs to put their all in, create an individual character (even if they don’t ever speak), take responsibility and be immersed in the play all the way through. I need performers who are willing to really embed their character in the piece – and be willing to put in 100% to create their own story within it and get that across to our audiences.
It was a full on morning, it was difficult, and we had to do some stuff which was a bit scary and a bit embarrassing – this put me in the shoes of my cast and made me remember that I should always be willing to do what I ask my cast to do!
Our creative producer and NT Connections Director, Helen, clowning around in the Summer with 'Them Next Door'.
A person I went to uni with who is now a theatre photographer.
Who knows who else might have gone past if I’d stayed there a little longer… The afternoon session took place in a MASSIVE DANCE STUDIO – WHICH I LOVED.
We worked with a practitioner from Frantic Assembly, which was a treat, and I got a load of games and exercises from her that I’ll be trying out with my group (I might have to insist on sweat absorption clothing for the cast, and I need to get fit over Christmas, which will be really easy with all of the cheeseboards and chocolates on offer).
I had to act as an