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Monday, September 29, 2008
Visiting Artist Lecture Series Presents
Wednesday, October 1st
11:00am President's Hall
Mark Allen is the founder and executive director of Machine Project. Machine Project is a non-profit art and event space in L.A. dedicated to exploring the directions, deviations and connections between art, science, technology, music and literature.Allen, who was raised in Vermont and schooled at California Institute of the Arts (where he majored in art) ran a few galleries in Houston after moving there in 1993 for an artist's residency. The first, called Revolution Summer, had a sort of Marxist theme. "For instance," he explains, "if it took the artist two hours to make the art, then you could buy the art by working for the artist for two hours." His second gallery, LAX, sold the work of L.A.-based artists. When Allen returned to Southern California in 1997, he immediately integrated himself into the arts community, working at CalArts' campus galleries and with collaborators at the C-Level space in Chinatown. At C-Level, he organized a number of successful installations, most memorably a simulated video cockfight in which participates donned rooster suits and fought their opponents via on-screen avatars. Allen teaches at CalArts and UC San Diego and freelances as a computer programmer.
Photographs by Mary C. Rhodomoyer in Elkins Hall
Mary C. Rhodomoyer received her MFA in photography from Tyler School of Art in May 2004. She spent several years as both a sculpture major and ceramics major primarily interested in the human condition and installation earthworks. She is employed at Tyler School of Art, Temple University Center City as an Adjunct Assistant Professor and Arcadia University as an Adjunct Professor. She exhibits her work in juried, group and solo exhibitions and enjoys collaborative projects. Recent exhibitions include select works from her series "Site Unseen" a solo exhibition in Ardsley Pennsylvania and a recent juried exhibition "Works on Paper" at Main Line Art Center in Haverford Pennsylvania.
Photographic Series in Progress: Site Unseen & Natural Selections
My photographic projects reflect an intention to capture and explore the subtle but observable changes that happen in natural settings. The landscapes act not as visual observable fact but consider the idea of observation itself. The quality of the landscape is evoked through light and atmospheric conditions. Atmospheric reduction in visual information gives the images a mood and space, a portal for looking that leaves the viewer with the potential for observation and ultimately with themselves. Additional information in the landscape becomes a metaphor for the disruption of that state of being and explores stories regarding a state of paradise lost with the disruption of knowledge and thought. Influences originate from Japanese printmaking and photography, painting, eastern philosophy, and ideas concerning both affinity and the infinite.
Saturday, September 27, 2008
Kelly McRaven 2004 Painting MFA
Kelly McRaven
May 2nd through June 7th, 2008 Opening Reception May 2nd 7-9
V&A/Vicky Donner is pleased to present new paintings by Kelly McRaven. The exhibition opens on May 2nd, and runs through June 7th, 2008.
Kelly McRaven paints loosely rendered representational paintings that both draw and deviate from the subject matter at hand. She refers to paintings as "lies" and "creates an impression" of what she'd like to make her paintings be. Here, the rules of representation are relaxed to get at a painting that is to be experienced rather than deciphered; however, while her process does not begin with a pointed sensitivity to any current social, cultural or economic agenda, there is room for these contexts to set in. While using inspiration from contemporary abstract painters, McRaven mostly considers the process and vision of iconic artists and their impact on our collective unconscious, and often their senses of humor. Concisely put, there's no pretense here, yet these aren't just pretty pictures.
Like music and comedy, the significance of this work is revealed at the moment of engagement. McRaven quickly applies thin layers of oil paint in broad strokes to lifesize canvases to create work that appears alive, physical, and immediate. An unrecognizable form of a small boat with oversized white sails floats on a tumultuous emerald green sea where a giant wave looms in the background. In another piece, a wispy red and blue sky hangs over a peculiar, gently shaped field where nothing grows. Ultimately, the mysterious, tense canvases of uncomplicated landscapes and absurd subjects - like sailboats and tents - conspire to moderate trends and academic gesture by appealing to and entertaining the viewer.
Kelly McRaven has exhibited in group shows in Philadelphia, New York, Tokyo and Los Angeles for the past 4 years, and was a resident of Skowhegan in 2006. She was born in 1977 in Ohio, and currently lives and works in Brooklyn, New York. She received her BFA from Ohio University and MFA from Tyler School of Art. This is her first solo exhibition in New York.
Kelly McRaven, Sailboat with Green Wave ,
2007, oil on canvas, 64x86 in
© Courtesy of the Artist and V&A, NY
Friday, September 26, 2008
9/26/08 Friday
6 – 9pm
An Evening with Hamburger Eyes
Hamburger Eyes would like to share the joys of zine creation. By providing a simple work area consisting of copy machine and stapler, this hands-on experience will take participants back to the early days of Hamburger Eyes and billions of other zines. They will be bringing photos and be making zines. Visitors are welcome and encouraged to bring their own work, help with our work, make their own work, share, trade, create, get in there and get busy or just kick it and talk shit.Hamburger Eyes Photo Magazine is based in San Francisco and published on an irregular basis. Inspired by the traditions that began with National Geographic and Life Magazine, Hamburger Eyes hopes to revitalize the sensation of photography as a craft as well as a tool to record and document. Since 2001, the quality of photography and their relentless dedication has been supported by shops, stores, libraries, galleries, and museums across the entire planet.
The Megawords Storefront project – Schedule of Events September 17th through 30th 2008
Please note! All events and times are subject to change. Please visit www.megawordsmagazine.com or contact us to verify any questions.
E-mail email@example.com or call 215.300.7391
Thursday, September 25, 2008
Don't forget to apply to the North American Graduate Art Survey at the
University of Minnesota's Katherine Nash Gallery! This is an exciting
opportunity to be in national show. There are also awards available.
The deadline has been extended from Oct. 3 to Oct 8.
Please see details and download prospectus at http://art.umn.edu/NAGAS.html
We look forward to seeing your work.
The NAGAS Committee
Wednesday, September 24, 2008
When: Thursday, September 25, 6-9 PM
Where: Tyler Campus, Penrose Rooms 304 and 306
Bring Art! (and food and drink…)
As a continuation of the last STOöP conversation, and in preparation of a more elaborate curatorial STOöP event coming to you in October, we invite individuals to bring examples of their work for a conversation about art's relation to, well, other forms of cultural production, audience, context, history, in short, the Zeitgeist at large.
(We are re-distributing the attached texts/links to provide a historical example of a very particular extreme of such a relation between art and life as well as some contemporary reactions to that relation.)
Some readings to guide the evening:
Three artist manifestos from the beginning of the Soviet experiment
Bogdanov, Tatlin, FwOC
**Peter Scheldjahl Village Voice review of Rodchenko at MoMA
**review from World Socialist Web of the same exhibition
For those unfamiliar with his work, a nice page of Rodchenko's photography
A view from the other side of the rabbit hole:
**NY Times obituary of Russian Novelist Aleksandr Solzhenitsyn
Contact Philip Glahn, Mark Shetabi or Chad Curtis
Volume Attempts: The Space of Books
on view at:
Temple Gallery
259 N. 3rd Street, Philadelphia, PA
through October 25, was recently reviewed in several publications, including September/October's Art on Paper, and August's Art Matters. Please follow the links to read more.
Temple Gallery hours are Wednesday through Saturday, 11 am - 6 pm.
More information about the exhibition and upcoming programs, including a lecture by Purtill Family Business, can be found at www.temple.edu/tyler/exhibitions.
Tuesday, September 23, 2008
Visiting Artist Lecture Series Presents
Wednesday September 24 11:00 am President's Hall
Rashawn Griffin was born in Los Angeles and raised in Olathe, Kansas. He studied at Skowhegan School of Painting and Sculpture and received a BFA from Maryland Institute College of Art and an MFA from Yale University. His installations, sculptures, and paintings have been in multiple exhibitions, including Frequency at The Studio Museum in Harlem, curated by Thelma Golden and Christine Y. Kim, and the 2008 Whitney Biennial, curated by Henriette Huldisch and Shamim M. Momin. Future group exhibitions include Galerie Arndt & Partner, Zurich, and Freeway Balconies at Deutsche Guggenheim, Berlin, curated by Collier Schorr. Griffin lives and works in New York.
Brainstorming help!!!!
Well I am in Graduate School in Philadelphia now and I need some help on a project I am working on. I hope you all would not mind taking 3 minutes and writing me a few quick thoughts. Please and Thanks!!!! Really appreciate you all!
I am searching for ideas, icons, associations, stereotypes and images of "Americanism" What is the first thing that screams American to you. Even if it is just the tell that happens when you see an American on the street.
Non American friends what are the ideas that come to mind when you think about America? First things that come to mind... bad or good.... will not take offense. Please dish it!
American friends... what are the ideas you understand us to be viewed by foreigners? Or well what do you think our people represent? Again bad or good.... spill it!
Oh and we can leave out things like Stars, and stripes, dolla bills, red white and blue, statue of liberties etc. but if these are the first things that come to mind... that is cool.. give me the 3rd or 4th thing. Plus anything that can be pictorial is better.... but still just list off what you think of.
Thanks and hope to hear from a bunch of you,
Samantha Hookway
Comment here or email: firstname.lastname@example.com
Sunday, September 21, 2008
Hayley Carmo at Gallery 543
Gallery 543, which is at Urban Outfitters Inc. in the Naval Yard. Building 543, along with its exhibition space is open to the public. The show includes work from second year printmaking grad Hayley Carmo, along with Annette Monnier of Black Floor and Copy galleries, Callie Rickards and Lizzy Janssen.
Here are the details:
The Gallery at 543
Monday, September 22 – Friday, October 17
Work by:
Hayley Carmo
Lizzy Janssen
Annette Monnier
Callie Rickards
Opening Reception on Monday, September 22nd 5:30-7:00pm
5000 S. Broad Street, Philadelphia, PA 19112
Contact Info:
Lauren Addis 215.454.7066
Saturday, September 20, 2008
Graduate Portfolio Day
Eastern Graduate Portfolio Day
The Art Directors Club
106 West 29th Street
(between 6th and 7th Aves.)
New York, NY 10001
Saturday, Sept. 27, noon-4 p.m.
Thursday, September 18, 2008
Fleisher/Ollman's Annual Winter Invitational
Now in its sixth year, Fleisher/Ollman's annual Winter invitational featuring emerging Philadelphia artists, a show which started out as a way to innovate and make connections between old and new, contemporary and canonical, has become something of a Philadelphia institution. Famous for being creatively named, this much anticipated exhibition has become a requisite stop for Philadelphia artists looking to cut their teeth.
Fleisher/Ollman is currently accepting submissions for the next iteration of the exhibition which will be on view at the gallery from December 12, 2008 through January 17, 2009. Artists interested in submitting must meet the following criteria:
- Reside within the greater Philadelphia area
- Not be currently enrolled in an undergraduate program
- Have no commercial representation in the Philadelphia area
- Submit work that has been completed within the last two years
Your submission should include:
- A CD including 8–10 images, saved as jpegs no larger than 900 pixels tall or 1400 pixels wide (you may include a few details of larger pieces if your work merits closer inspection), and/or
- A DVD queued to selection (up to 5 clips, no longer than 2 minutes each)
- A CV or bio
- An image list including titles, dates, media and dimensions of submitted work
- An artist's statement (optional)
- A self-addressed, stamped envelope (if you want your submission returned)
The docs should be submitted both as print-outs (so that we may reference them while viewing your work) and in digital form (so that we have them handy for future use). Digital files should be named with your last name and a 2-digit serial number so that we can easily view them in the order set by your image list:
- shoemaker_01.jpg
- shoemaker_02.jpg
- shoemaker_cv.doc
- shoemaker_imagelist (...etc.)
For ease of navigation, all files (jpegs, quicktime movies, CV/bio, statement, and image list) should be burned directly to the CD, not inside individual folders. If you are submitting a DVD, please either include your documents on the DVD, or submit them on a separate CD.
Submissions are due by 5pm, Monday, November 3rd, by mail or in person, at:
Fleisher/Ollman Gallery
1616 Walnut Street, Suite 100
Philadelphia, PA 19103
Tel: (215) 545-7562
Questions? Clarifications? email@example.com
Tuesday, September 16, 2008
Visiting Artist Lecture Series: Gregory Volk
Gregory Volk
Wednesday September 17, 2008
11:00 am Presidents Hall
Gregory Volk is a New York-based art critic and freelance curator. He writes regularly for Art in America, and his articles and reviews have also appeared in many other publications, including Parkett and Sculpture. Among his recent contributions to exhibition catalogues are essays on Joan Jonas (Museu d'Art Contemporani de Barcelona, 2007) and Bruce Nauman (Milwaukee Art Museum, 2006). His essay on Vito Acconci is featured in Vito Acconci: Diary of a Body, 1969-1973, published by Charta in 2007. Together with Sabine Russ, Gregory Volk has curated numerous exhibitions, including Agitation and Repose at Tanya Bonakdar Gallery in New York, Public Notice: Paintings in Laumeier Sculpture Park in St. Louis, and Surface Charge at the Anderson Gallery in Richmond, Virginia. Gregory Volk received his B.A. from Colgate University and his M.A. from ColumbiaUniversity.
The Mutation: hormones, literacy, and the adolescent publishing scene
Temple Gallery ‐and‐ Megawords Storefront Corner of 11th and Cherry Streets, Philadelphia
Writer, curator and artist William Pym will talk about the zine as a special form of publication, illustrating his lecture with examples and looking at specific case studies. Pym is interested in the ways in which zines are assembled and digested and he will present his own work, The Mutation, an examination of the force of male adolescent hormonal needs and the young zine writer. The event will continue at Megawords Storefront, where other zine authors will speak and other zines will be distributed.
Monday, September 15, 2008
A warm welcome to the new students and welcome back to all those returning students toTyler School of Art. Many of you are already riding the special Tyler bus that was designed by Rachel Ignotofsky during her freshman year at Tyler. This will be a most unique year in Tyler's history as the Elkins Park arts community will be moving in January to our new facility on the main campus. The building progresses more each day and with it excitement increases to put out the welcome mat and finally have Tyler School of Art located on one campus with the other schools. Last spring Tyler was ranked fourteenth out of more than a hundred art schools by the US News and World Report. Five of our graduate studio programs are ranked in the top twenty in the nation. We know that the talents you bring to Tyler will further increase our rankings in the future as Tyler becomes even more competitive. Our application numbers soared last year and our denial rate was over eighty percent! We have the best and brightest entering class at Tyler and they join their exceptionally gifted upper class students to carry on the tradition of excellence in the fields of studio art, art history, art education and architecture at Tyler School of Art. We have waiting lists for this fall and spring and many who want to transfer to Tyler in order to reap the benefit of a Tyler education. We are pleased to be so coveted by others but want to assure you that we are not looking to increase enrollments, especially in the studio areas. One of the benefits of a Tyler education is the individual attention to students and access to our talented faculty. The move to the main campus facility will only enhance this aspect with the newest state-of-the-art equipment. Plans are also underway to upgrade existing main campus facilities in Architecture and build art history classrooms and studios in the new building for main campus programs.
The year 2009 marks two great milestones in Temple's history. It is the 125th anniversary of the founding of Temple University and the 75th anniversary of the establishment of Tyler. We are in the midst of planning special events and exhibitions to celebrate these occasions. A ribbon cutting is planned for March 25, 2009 to officially launch the school. Boris Blai, the first head of Tyler School of Art, would be delighted at the move and expanded facilities of the art programs at Tyler as they make possible collaborative learning opportunities that were at the core of his vision for the school. Professor Jo-Anna Moore, who is on leave this year, and is writing a history of the first thirty years of Tyler, informs us that "Blai hired a few faculty in Tyler's early years, distinctive artists and scholars: Furman Finck, an academy trained painter and a leader in Progressive Education, a dancer, Charles Weidman, and Leo Ornstein, a musician. Blai's curricular vision was to include a multi-disciplinary education for the artist, with a heavy emphasis on the craft of materials, and to educate artists to become artist-teachers." The new building at Tyler will share an atrium with the prestigious Boyer College of Music and be next door to the School of Communication and Theater. Projects with the Fox School of Business, the College of Education and the College of Science and Engineering are being explored and the relocation of the school promises many more exciting interdisciplinary ventures.
I wish you all a productive year filled with artistic and intellectual stimulation. You will be challenged to develop your capacity for creative thinking, expand your talents in new directions, and grow your abilities to be the artistic, art historical, art educational and architectural leaders of the future. Good luck to each and every one of you, and let us know how we can make your Tyler experience the best that it can be.
Therese Dolan
Interim Dean
Tyler School of Art
They forgot to add contact information in order for us to actually share with them "how they can make our Tyler experience the best that it can be", but im sure they meant to. And the whole "productive year" wish, well I think we all wish that. Are we going to get it is the big question. Its all very interesting.
Sunday, September 14, 2008
Photographs by Anna Norton in Elkins Hall
Anna Norton received her M.F.A. in photography from Tyler School of Art and her B.A. in anthropology from Tulane University. After beginning her career in archaeology, she attended the Maine Photographic Workshops six-month Resident Program to focus on her interest in photography. Currently she teaches as part-time professor at University of the Arts, Arcadia University and Pennsylvania College of Art and Design. She also is the Assistant Visual Resources Curator at Tyler School of Art. She exhibits in group and solo exhibitions both regionally and nationally, including About Love at Nailya Alexander Gallery in New York and a collaborative video installation called Living Space at Eastern State Penitentiary. A selection of Norton's work has just been published in Elements of Photography by Angela L. Faris-Belt.
This image is from the series Reckoning, 2007:
As a landscape photographer and native southerner transplanted to Philadelphia, I am exploring the relationship between place, home and cultural identity. The process of learning to see this new place photographically is revealed through the heavy shadows, broken and animated by light and color. Rather than being about geography, these images are about navigation through space, literal as well as metaphorical, in response to place. They represent an internal landscape and illustrate the difficulty of seeing clearly in the present.
These images are captured with a low-resolution point-and-shoot camera so that I can respond intuitively and spontaneously to a quickly changing environment. The resulting digital artifacts create image texture, which refers to both painting and the vernacular photograph. The absence of clarity reflects the internal process of reckoning.
Two other series are included in the show: stills from the video installation with Johanna Inman, Living Space, 2008 and Road to Stillmore, 2007.
Friday, September 12, 2008
Green Light: A National Juried Exhibit for Young Artists with Disabilities, Ages 16-25
September 17, 2008 - January 4, 2009
On view are artworks that reflect the experiences
of young artists with disabilities and reveal how
those disabilities shape or transform the artists'
lives and ultimate destinations. VSA arts sponsors an annual national juried exhibition for young artists ages 16-25 with disabilities; this is the 7th exhibition.
Organized by VSA art
1100 Jefferson Drive, S.W.
Smithsonian Institution
Washington, D.C. 20560
Thursday, September 11, 2008
Architecture of the Quilt
Gee's Bend has historically been among the most isolated and impoverished places in the U.S. - a peninsula enclosed on three sides by a massive 'bend' in the Alabama River. Originally a plantation, it was abandoned by the owners during the Civil War. After emancipation, many of the freed slaves continued to make their living off the land as tenant farmers or sharecroppers. Martin Luther King, Jr., spoke in Gee's Bend in 1965, urging locals to register to vote. Those who marched with King in nearby Selma were sent to jail, fired from their jobs, and often lost their homes. The ferry service that was a vital link connecting the town to Selma was abruptly cut off by the local government, and only resumed in 2006 (!!)
In spite of all this, these women have maintained a joyous artistic and cultural tradition. Their style is distinctive, bold, and sophisticated– more like Matisse or Mondrian than anything you'd see in a 'traditional' quilt show. They've passed their skills down through at least six generations to the present. The New York Times has called their quilts "some of the most miraculous works of modern art America has produced."
Philadelphia is the final stop on a nationwide tour of these quilts. And ten of the Gee's Bend quilters are joining us for the opening celebration tomorrow night. Some of them are in their 90s, but having met them all this morning I can tell you they've got tons of energy! Their stories are incredible. Meeting them is a rare treat.
Wednesday, September 10, 2008
West Prize Reminder
It all seems very detatched for some reason, THE MOVE. Its like THE FOG.
I stole some pictures from Roberta Fallon's flickr page, they should all link back if you click on them so you can see more, I included, the entrance picture, an aerial view of the whole building, the atrium and of course one of the new fibers studios complete with floor to ceiling windows and walls with only usable pinning/tacking space from 4'-8' and a personal sink for who knows what purpose. Maybe I will stop spilling mugs of coffee on the floor because I will have a convenient place to dump them? Probably not.
Despite all my fears and all the things that are already going wrong, are not ordered, not having studio access over winter break, not having sane faculty this semester because of this craziness, well despite all of that and much more, the building is incredible to look at from the road. So I am sure it will be worth it to deal with all of this all for ONE SEMESTER access to the damn place. It better be good.
Tuesday, September 9, 2008
Visiting Artist Lecture Series at Tyler School of Art, Elkins Park
Xaviera Simmons
Wednesday, September 10th 2008
11:00 am, Presidents Hall
Xaviera Simmons produces photographs, installation performances and videos that expand on notions surrounding landscape, aesthetics, participation and history. Simmons received a BFA in photography from Bard College in 2004 after two years of pilgrimage retracing the Trans Atlantic Slave Trade. In 2005 she participated in the Whitney Museum Independent Study Program in New York. This year Simmons will participate in an artist residency at Platform Garanti in Istanbul and will develop a project commissioned by the Public Art Fund. Simmons is the 2008 recipient of the David C. Driskell Prize awarded by the High Museum of Art in Atlanta.
Yoga Happens Every Monday and Thursday From 12-1pm in the Beech Hall Fitness Center!
job fair
Tuesday, September 9th
12:00 noon - 4:00 pm
The Bell Tower ( Rain location - Mitten Hall Great Court)
As in the past, we're reaching out to the you all to help us get the word out to the students. This semester's event will be outside and in the center of campus. The employers are excited and we hope the students will be, too.
So, please - talk it up! Post the information in your departments, announce the event in class and help spread the word about the event. Beginning Thursday, 9/4 a list of attending employers will be available on the Career Center website - www.temple.edu/careercenter.
Thank you again for helping us to reach out to the students - we look forward to seeing them next Tuesday!
Thanks, Mary
Claire Dismukes
Saturday, September 6, 2008
Friday, September 5, 2008
FLUX TASK 2 with Oliver Herring
FLUX TASK 2 with Oliver Herring
Sat. Sept. 6, 5-10 pm
3000 N Hope Street Philadelphia, PA 19133
The Yousri Scrolls - September 5th - October 31st
162 N 3rd St.
Philadelphia, PA 19106
image: the arrival, Bassem Yousri
taken from the Knapp Gallery's website:
The Knapp Gallery is excited to announce The Yousri Scrolls, a poetic and reflective show for the months of September and October.
This fall, The Knapp Gallery is eager to introduce Egyptian artist and Fulbright recipient Bassem Yousri to an international audience. The Yousri Scrolls will be the first opportunity for an American public to see these striking, exotic and evocative works in person.
Primarily employing papyrus and fire treated wood; the artwork of Yousri evokes Ancient Egyptian tomb murals and painted coffins. The bright pigments he applies contrast with the faded, worn surfaces of his canvases creating an attention-grabbing juxtaposition. Yousri's elegant rebuff of modern surface treatment and style promotes the ideas and messages of a modern individual reflecting upon the rich cultural and artistic past of his Native country.
By utilizing the traditional materials and methods of his Egyptian upbringing, Bassem Yousri manages to promote a sense of timeless eternity in his works. He reconsiders historic themes and iconography to create a contemporary pastiche of techniques and images. Not simply an appropriation, Yousri's artwork combines and heightens classic motifs by applying a fresh edge and discerning modern eye to the ancient and mythical symbols he draws upon. The method proves unforgettable, unique and attention grabbing.
We hope that you will join us for this international painter's American debut!
The Knapp Gallery is committed to exhibiting the most sophisticated, contemporary fine art. Simultaneously, we are introducing our exceptional, innovative artists to national and international markets.
Artist's Statement
Since my childhood, Ancient Egyptian art fed my visual vocabulary with all sorts of spiritual and mystical imagery. A captivating sense of eternity is inherent in those artifacts emanating from deep faith in an after life. It's an eternity that has been disrupted by colonizers from different eras starting with the Romans to the Arabs, French, Turks, and English. Today's Egypt is a disorientated one between Islamic fundamentalism and cultural Americanization. The horizon is hazy and the color isn't clear.
A lot of questions have been raised in my mind; amidst all the current cultural confusion, what's left from those bygone traces of richness and fertility? What did time add or steal from that identity that was shaped almost 7000 years ago? Moreover, Could time itself be portrayed? Could its power of modification be grasped and understood? These are questions that initiated my new body of work I am presenting in this exhibition, in which I attempt to grasp the effect of time on objects, cultures and civilizations. The group of works is inspired by Ancient Egyptian art, especially the "Fayoum Portraits" which date to the Roman period, in the late 1st century B.C. or the early 1st century A.D. onwards.
My emphasis is on the material; I use papyrus, wood, and fire. The wood is beaten up and carved in the form of remnants or ruins. The fire has the role of shaping the pieces of papyrus, darkening parts of it, creating holes in other parts, and merging it with the destructive effect of time. I am not attempting to recreate older pieces or copy exact motifs; what I am undertaking is to reincarnate the effect of time, manipulate and watch it antiquating my most recent pieces in an attempt to experience and control its ability of alteration.
— Bassem Yousri
Thursday, September 4, 2008
Printmaking Call
Download the Prospectus Here
The Boston Printmakers
2009 North American Print Biennial
Boston University 808 Gallery
February 15 - March 30, 2009
Wednesday, September 3, 2008
Odili Donald Odita - PDS faculty
Fall shows:
Douglas Blau-First Floor
R. Crumb's Underground-Second Floor
Kate Gilmore-Project Space
Odili Donald Odita: Third Space-Ramp Project
Fall Opening Reception Thursday September 4 @ 6-8pm
Tuesday, September 2, 2008
Welcome to Tyler
Monday, September 1, 2008
Bassem Yousri - Knapp Gallery
Bassem Yousri (second year painter)
First Friday Opening September 5th, 6-9pm
Philadelphia, PA 19106
tel: 267-445-0279 fax: 267-455-0279
thurs-sat 11-6, sun 12-5
wednesday by appoinment only.
Egyptian icons (from knapp gallery's website)
While Ancient Egyptian art was, in fact, a ritual towards the passage from death to eternity in the afterlife; Bassem Yousri derives from this art a distinct kind of symbolism that suits the postmodern age with its disbelief in eternity. Furthermore, divine hands cradled the Ancient Egyptian when he lived among his surrounding nature and community and practiced his religious rituals without knowing any kind of spiritual defeat. He was "living in the truth" as Akhenaton used to declare. Bassem's people on the other hand, in which you find a 21st century amalgam of Eastern and Western taste, are deprived from that "truth" in it's spiritual meaning; as life forces upon them a sense of alienation, loneliness, and psychological division and pushes them away from the embrace of the community and its collective consciousness. They remain lonely and separated even if they live among the crowds.
The papyrus that Bassem uses as the painting surface of his iconic portraits brings us back to that ancient age; the age of the birth of consciousness. The profile views of the portraits, with their repetition and steadiness, also emphasize the same connection with the past. The faces don't carry a specific expression; they are more symbolic than representational. With this steadiness and the decadence of the surface under the effect of fire, a strong allusion to the meaning of time and the ancient past is pushed forward, accentuating, at the same time, the psychological fragmentation of the human being in our age, even if his outside is tinted with bright vibrant colors that Bassem might have inspired from his Eastern taste.
This is how Bassem's figures and paintings are forged into some kind of contemporary icons. They reflect the human condition in a world where the principles of a civilization are destroyed under the heavy rock of pragmatic values while a strange nostalgia constantly guides mankind towards the power of the unknown, leaving him psychologically shattered. His lips are struggling between the desire to scream or ultimately remain silent.
— Ezz el Din Naguib, Egyptian artist and critic
Bassem Yousri's Paintings introduce us to a painter with exceptional skills. He manipulates them to formulate an artistic style of his own, inspiring from his country's history and cultural heritage, exploring and emphasizing, at the same time, his identity. This fact becomes obvious when we observe his use of the strong contours that define his figures and shapes that often possess symbolic meanings. His contemporary compositions reveal a vigorous freedom in handling the surface, both, visually and conceptually. The use of Papyrus as a painting surface underlines a connection that has historic and artistic significance; his work strongly reminds of Ancient Egyptian art and initiates an intimate conversation with it.
This formula signifies a sense of maturity and awareness of the path Bassem has chosen for himself. His career will definitely evolve through the constant experiments he is doing in his painting parallel to the body of work he is presenting in this exhibition. These two facts show us that Bassem understands that making art under the shadow of globalization doesn't have to erase the artist's fingerprint or take away his artistic personality; his identity. Moreover, he realizes that a true artist avoids being a repeated copy from others; he strives to represent his own point of view. This is what makes his work a real addition to the world of creativity.
— Dr. Sabri Mansour, Painter and instructor at the School of fine arts in Cairo, Helwan University.
Julia Robinson - The Infernal Cake
Article By Inga Walton
Julia Robinson reconfigures Dante's epic poem as a grotesque and compelling 'Infernal Cake'.
Holllerin out to Shelby Donnelly on this one....just found this snoopin around on craft blogs/Craft Culture. Also in the recent FiberArts magazine.
Image: Julia Robinson The Infernal Cake Cathedral/bridal satin (70m), thread, silk ribbon (approximately 100m), beads, stuffing, MDF, timber, fixings. Dimensions (variable): 275 x 200 x 200 cm Photograph by Christian Capurro, J. Dillon & Über Gallery


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text: Having previously used Fourier Series and Transforms in our signals and systems, and differential equations courses, we knew that we could find frequency data from a time domain signal. The challenge really came in trying to determine the best way to implement our understanding. On paper and by hand, Fourier Series and Transforms can be pretty time and calculation intensive. Also, because we'd be performing our calculations on a microcontroller, we had to shift our focus to Discrete Fourier Transforms, and then because of our near real time goal and limited processing power, we had to consider the algorithmic Fast Fourier Transform (FFT). With all this in mind, we knew that someone else had probably already solved this problem. After some research about implementation of FFT on Arduino (https://www.norwegiancreations.com/2017/08/what-is-fft-and-how-can-you-implement-it-on-an-arduino/) and some quick Google searches for AVR FFT, we stumbled upon an efficient, flexible, and open-source FFT written in Assembly (http://elm-chan.org/works/akilcd/report_e.html). Fortunately, the open-source code by ©ChaN was easily integrated into our project with Atmel Studio. Furthermore, the source files were well commented and were added to our project with great ease. Using the guidance of the comments in the Assembly FFT and the basic outline of the Arduino implementation, we were able to successfully sample and transform a signal into the frequency domain in near realtime.


text:
Ezekiel 39:1-40:27 New International Version (NIV)
39 "Son of man, prophesy against Gog and say: 'This is what the Sovereign Lord says: I am against you, Gog, chief prince of[a] Meshek and Tubal. 2 I will turn you around and drag you along. I will bring you from the far north and send you against the mountains of Israel. 3 Then I will strike your bow from your left hand and make your arrows drop from your right hand. 4 On the mountains of Israel you will fall, you and all your troops and the nations with you. I will give you as food to all kinds of carrion birds and to the wild animals. 5 You will fall in the open field, for I have spoken, declares the Sovereign Lord. 6 I will send fire on Magog and on those who live in safety in the coastlands, and they will know that I am the Lord.
7 "'I will make known my holy name among my people Israel. I will no longer let my holy name be profaned, and the nations will know that I the Lord am the Holy One in Israel. 8 It is coming! It will surely take place, declares the Sovereign Lord. This is the day I have spoken of.
9 "'Then those who live in the towns of Israel will go out and use the weapons for fuel and burn them up—the small and large shields, the bows and arrows, the war clubs and spears. For seven years they will use them for fuel. 10 They will not need to gather wood from the fields or cut it from the forests, because they will use the weapons for fuel. And they will plunder those who plundered them and loot those who looted them, declares the Sovereign Lord.
11 "'On that day I will give Gog a burial place in Israel, in the valley of those who travel east of the Sea. It will block the way of travelers, because Gog and all his hordes will be buried there. So it will be called the Valley of Hamon Gog.[b]
12 "'For seven months the Israelites will be burying them in order to cleanse the land. 13 All the people of the land will bury them, and the day I display my glory will be a memorable day for them, declares the Sovereign Lord. 14 People will be continually employed in cleansing the land. They will spread out across the land and, along with others, they will bury any bodies that are lying on the ground.
"'After the seven months they will carry out a more detailed search. 15 As they go through the land, anyone who sees a human bone will leave a marker beside it until the gravediggers bury it in the Valley of Hamon Gog, 16 near a town called Hamonah.[c] And so they will cleanse the land.'
17 "Son of man, this is what the Sovereign Lord says: Call out to every kind of bird and all the wild animals: 'Assemble and come together from all around to the sacrifice I am preparing for you, the great sacrifice on the mountains of Israel. There you will eat flesh and drink blood. 18 You will eat the flesh of mighty men and drink the blood of the princes of the earth as if they were rams and lambs, goats and bulls—all of them fattened animals from Bashan. 19 At the sacrifice I am preparing for you, you will eat fat till you are glutted and drink blood till you are drunk. 20 At my table you will eat your fill of horses and riders, mighty men and soldiers of every kind,' declares the Sovereign Lord.
21 "I will display my glory among the nations, and all the nations will see the punishment I inflict and the hand I lay on them. 22 From that day forward the people of Israel will know that I am the Lord their God. 23 And the nations will know that the people of Israel went into exile for their sin, because they were unfaithful to me. So I hid my face from them and handed them over to their enemies, and they all fell by the sword. 24 I dealt with them according to their uncleanness and their offenses, and I hid my face from them.
25 "Therefore this is what the Sovereign Lord says: I will now restore the fortunes of Jacob[d] and will have compassion on all the people of Israel, and I will be zealous for my holy name. 26 They will forget their shame and all the unfaithfulness they showed toward me when they lived in safety in their land with no one to make them afraid. 27 When I have brought them back from the nations and have gathered them from the countries of their enemies, I will be proved holy through them in the sight of many nations. 28 Then they will know that I am the Lord their God, for though I sent them into exile among the nations, I will gather them to their own land, not leaving any behind. 29 I will no longer hide my face from them, for I will pour out my Spirit on the people of Israel, declares the Sovereign Lord."
The Temple Area Restored
40 In the twenty-fifth year of our exile, at the beginning of the year, on the tenth of the month, in the fourteenth year after the fall of the city—on that very day the hand of the Lord was on me and he took me there. 2 In visions of God he took me to the land of Israel and set me on a very high mountain, on whose south side were some buildings that looked like a city. 3 He took me there, and I saw a man whose appearance was like bronze; he was standing in the gateway with a linen cord and a measuring rod in his hand. 4 The man said to me, "Son of man, look carefully and listen closely and pay attention to everything I am going to show you, for that is why you have been brought here. Tell the people of Israel everything you see."
The East Gate to the Outer Court
5 I saw a wall completely surrounding the temple area. The length of the measuring rod in the man's hand was six long cubits,[e] each of which was a cubit and a handbreadth. He measured the wall; it was one measuring rod thick and one rod high.
6 Then he went to the east gate. He climbed its steps and measured the threshold of the gate; it was one rod deep. 7 The alcoves for the guards were one rod long and one rod wide, and the projecting walls between the alcoves were five cubits[f] thick. And the threshold of the gate next to the portico facing the temple was one rod deep.
8 Then he measured the portico of the gateway; 9 it[g] was eight cubits[h] deep and its jambs were two cubits[i] thick. The portico of the gateway faced the temple.
10 Inside the east gate were three alcoves on each side; the three had the same measurements, and the faces of the projecting walls on each side had the same measurements. 11 Then he measured the width of the entrance of the gateway; it was ten cubits and its length was thirteen cubits.[j] 12 In front of each alcove was a wall one cubit high, and the alcoves were six cubits square. 13 Then he measured the gateway from the top of the rear wall of one alcove to the top of the opposite one; the distance was twenty-five cubits[k] from one parapet opening to the opposite one. 14 He measured along the faces of the projecting walls all around the inside of the gateway—sixty cubits.[l] The measurement was up to the portico[m] facing the courtyard.[n] 15 The distance from the entrance of the gateway to the far end of its portico was fifty cubits.[o] 16 The alcoves and the projecting walls inside the gateway were surmounted by narrow parapet openings all around, as was the portico; the openings all around faced inward. The faces of the projecting walls were decorated with palm trees.
The Outer Court
17 Then he brought me into the outer court. There I saw some rooms and a pavement that had been constructed all around the court; there were thirty rooms along the pavement. 18 It abutted the sides of the gateways and was as wide as they were long; this was the lower pavement. 19 Then he measured the distance from the inside of the lower gateway to the outside of the inner court; it was a hundred cubits[p] on the east side as well as on the north.
The North Gate
20 Then he measured the length and width of the north gate, leading into the outer court. 21 Its alcoves—three on each side—its projecting walls and its portico had the same measurements as those of the first gateway. It was fifty cubits long and twenty-five cubits wide. 22 Its openings, its portico and its palm tree decorations had the same measurements as those of the gate facing east. Seven steps led up to it, with its portico opposite them. 23 There was a gate to the inner court facing the north gate, just as there was on the east. He measured from one gate to the opposite one; it was a hundred cubits.
The South Gate
24 Then he led me to the south side and I saw the south gate. He measured its jambs and its portico, and they had the same measurements as the others. 25 The gateway and its portico had narrow openings all around, like the openings of the others. It was fifty cubits long and twenty-five cubits wide. 26 Seven steps led up to it, with its portico opposite them; it had palm tree decorations on the faces of the projecting walls on each side. 27 The inner court also had a gate facing south, and he measured from this gate to the outer gate on the south side; it was a hundred cubits.
Cross references:
New International Version (NIV)
Holy Bible, New International Version®, NIV® Copyright ©1973, 1978, 1984, 2011 by Biblica, Inc.® Used by permission. All rights reserved worldwide.
James 2:18-3 New International Version (NIV)
18 But someone will say, "You have faith; I have deeds."
Show me your faith without deeds, and I will show you my faith by my deeds. 19 You believe that there is one God. Good! Even the demons believe that—and shudder.
20 You foolish person, do you want evidence that faith without deeds is useless[a]? 21 Was not our father Abraham considered righteous for what he did when he offered his son Isaac on the altar? 22 You see that his faith and his actions were working together, and his faith was made complete by what he did. 23 And the scripture was fulfilled that says, "Abraham believed God, and it was credited to him as righteousness,"[b] and he was called God's friend. 24 You see that a person is considered righteous by what they do and not by faith alone.
25 In the same way, was not even Rahab the prostitute considered righteous for what she did when she gave lodging to the spies and sent them off in a different direction? 26 As the body without the spirit is dead, so faith without deeds is dead.
Taming the Tongue
3 Not many of you should become teachers, my fellow believers, because you know that we who teach will be judged more strictly. 2 We all stumble in many ways. Anyone who is never at fault in what they say is perfect, able to keep their whole body in check.
3 When we put bits into the mouths of horses to make them obey us, we can turn the whole animal. 4 Or take ships as an example. Although they are so large and are driven by strong winds, they are steered by a very small rudder wherever the pilot wants to go. 5 Likewise, the tongue is a small part of the body, but it makes great boasts. Consider what a great forest is set on fire by a small spark. 6 The tongue also is a fire, a world of evil among the parts of the body. It corrupts the whole body, sets the whole course of one's life on fire, and is itself set on fire by hell.
7 All kinds of animals, birds, reptiles and sea creatures are being tamed and have been tamed by mankind, 8 but no human being can tame the tongue. It is a restless evil, full of deadly poison.
9 With the tongue we praise our Lord and Father, and with it we curse human beings, who have been made in God's likeness. 10 Out of the same mouth come praise and cursing. My brothers and sisters, this should not be. 11 Can both fresh water and salt water flow from the same spring? 12 My brothers and sisters, can a fig tree bear olives, or a grapevine bear figs? Neither can a salt spring produce fresh water.
Two Kinds of Wisdom
13 Who is wise and understanding among you? Let them show it by their good life, by deeds done in the humility that comes from wisdom. 14 But if you harbor bitter envy and selfish ambition in your hearts, do not boast about it or deny the truth. 15 Such "wisdom" does not come down from heaven but is earthly, unspiritual, demonic. 16 For where you have envy and selfish ambition, there you find disorder and every evil practice.
17 But the wisdom that comes from heaven is first of all pure; then peace-loving, considerate, submissive, full of mercy and good fruit, impartial and sincere. 18 Peacemakers who sow in peace reap a harvest of righteousness.
Cross references:
New International Version (NIV)
Holy Bible, New International Version®, NIV® Copyright ©1973, 1978, 1984, 2011 by Biblica, Inc.® Used by permission. All rights reserved worldwide.
Psalm 118:1-18 New International Version (NIV)
Psalm 118
1 Give thanks to the Lord, for he is good;
2 Let Israel say:
5 When hard pressed, I cried to the Lord;
8 It is better to take refuge in the Lord
15 Shouts of joy and victory
Cross references:
New International Version (NIV)
Holy Bible, New International Version®, NIV® Copyright ©1973, 1978, 1984, 2011 by Biblica, Inc.® Used by permission. All rights reserved worldwide.
Proverbs 28:2 New International Version (NIV)
2 When a country is rebellious, it has many rulers,
New International Version (NIV)
Holy Bible, New International Version®, NIV® Copyright ©1973, 1978, 1984, 2011 by Biblica, Inc.® Used by permission. All rights reserved worldwide.
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text:
ArchWay With Words returns with Part Three - a 9 day odyssey of fiction, science, comedy, history, poetry, biography, puppets, singing... AWWW director Stephanie Smith has pulled together another illustrious line-up of 'superstar authors and spellbinding speakers'. There's headliners galore with national treasures Joan Bakewell and Phill Jupitus, the hugely popular and cool historical novelists Jake Arnott and Tracy Chevalier and Man Booker Prize winner Ben Okri.
As usual AWWW showcases the prodigious local talent with writers Esther Freud, Joanna Briscoe, Matt Baylis, Caitlin Davies, Penny Hancock and Heather Reyes all speaking on the first day. There's another terrific showing for science featuring Simon Singh returning with his original Enigma Machine, Professor Peck of the Antarctic Survey talking about polar biology and the Professor and stand-up comic Sophie Scott on the 'Science of Laughter'.
This year's Spoken Word offer features the hottest London talent and is spectacularly headlined with a rare performance from Linton Kwesi Johnson. Biography is well represented too with talks on Alexander McQueen and John Peel, and special interest subjects include cryptic crossword clue cracking, the 'London Sound Survey' and experts on the history of protest in the Capital, and London's best swimming spots.
We hear from playwrights Tanika Gupta and Diane Samuels, with the latter undertaking a huge creative writing project that will culminate on the 2nd weekend at Archway Market, in a whole day of word-related fun with storytelling, a performance from a sitar maestro, PropPlay Theatre and three booksellers on hand to assist with your reading needs.
The finale is headed by legendary New York performance artist and recent Fringe First winner Penny Arcade, in a session with punk pioneer Viv Albertine, and a party to follow!
With 35 events in all, this is another spectacular feast for your mind from AWWW.
AWWW2015 takes place from October 10th - 18th in Archway Methodist Church, Hargrave Hall, Kogan Academy drama school, the nightclub above the Tavern and the Library. Tickets and the full programme are available at archwaywithwords.com and this year Archway Library will be the very conveniently located box office. Brochures can soon be found in shops, restaurants and venues.


text:
School funding and its implications
The local government settlement
The finance which is made available annually by national government from general taxation to support local government expenditure. Education usually accounts for a high proportion of such funding.
The community charge
The means by which local governments raise funds from their electorate to contribute to their expenditure on local services, such as education.
The aggregated schools budget
The total funds made available for expenditure by schools by an LEA. This must be at least 85% of its overall funding for education and is allocated using an approved funding formula.
Formula Funding
The method by which funds for school budgets are calculated, with a particular emphasis on numbers of pupils on roll as reflected in age weighted pupil units.
Age weighted pupil units (AWPUs)
The number of `units' allocated to children of particular ages which is reflected in levels of school funding. In 1995 a 16 year old counted for nine units and a 7 year old for one unit.
Teacher salaries
A School Teachers' Review Body makes recommendation to the Secretary of State for Education each year on teachers pay.
Pupil-teacher ratios
The proportion of pupils to all teachers in a school or within an education system - a figure which includes teachers in administrative or other posts.
Class size
The number of children in a class who are taught by one teacher. Often aggregated for a school, LEA on the national system to produce an average figure. The national figure has been rising in recent years.


text:
8,000 BTU 115-Volt Through-the-Wall Air Conditioner with Remote
LG Electronics
The LG Electronics 8,000 BTU Through-the-Wall Air Conditioner with Remote is ideal for cooling small to medium size rooms. The 3-speed fan adjusts to your cooling needs while the 4-way air direction circulates cool air evenly. With the 24-hour on/off timer, you can create a cooling schedule without wasting electricity. For simplicity and convenience, it includes a remote for temperature adjustment from across the room and an easy-to-read digital display. Through-the-Wall (TTW) wall sleeve sold separately.
9,300 BTU 230/208-Volt Through-the-Wall Heat Pump with 3.5 kW Electric Heat and Remote
Complete room comfort with easy to use electronic touch pad and remote control. Quiet and dependable operation with dehumidification. Energy efficient with models up to 10.4 EER to save you money, and earth friendly R-410A refrigerant. Condenser top is easily removable to allow for thorough cleaning to help lengthen the life of compressor. Permanent polypropylene filter mesh is easy to remove and clean. Units are factory tested to supply many years for home comfort demands.
10,200 BTU 115-Volt Built-In Cool-Only Room Air Conditioner in Gray
GE appliances provide up-to-date technology and exceptional quality to simplify the way you live. With a timeless appearance, this family of appliances is ideal for your family. And, coming from one of the most trusted names in America, you know that this entire selection of appliances is as advanced as it is practical.
$36 to $1201


text: Welcome to Picture Real Food! Our inaugural post comes at the height of summer in the northern hemisphere, with temperatures blazing around 105F here in sunny Southern California. Not the best weather for outside work, or for my poor chickens who constantly pant under the shade of their favorite rose bush, but it's fantastic weather … Continue reading


text:
A beautiful story of a woman who suffered like many do with ulcerative colitis. She tells of her journey from the emergency room to doctors who put her on pharmaceutical meds who did nothing to help her. She finally discovered what did work, black seed tea and lemon water. Read this story and see why you too should be taking the miracle seed in your diet.
Woman's Article Begins
I will start with how it all began and then explain how I have come to heal my colitis.
The story
Over a year ago I was having constipation and was not fully emptying when I used the bathroom. That was when I decided to go to the doctor. I got a colonoscopy done and was diagnosed with Ulcerative Proctitis, for approximately 30% of all patients with ulcerative colitis, the illness begins as ulcerative proctitis. In this form of the disease, bowel inflammation is limited to the rectum. Because of its limited extent (usually less than the six inches of the rectum), ulcerative proctitis tends to be a milder form of ulcerative colitis.
My doctor prescribed me Canasa and said that I would have to take this forever. I did not like the idea of taking meds my whole life and asked her a few questions. I wanted to know if I can naturally cure colitis, she brushed me off and didn't seem like she was concerned or interested in listening to me. I did not have great insurance and the Canasa cost me a lot. I tried the Canasa and did not feel any different than before, I actually started to become more constipated. With the pain becoming worse I decided to stop taking Canasa. I forgot to mention that I am a student attending University and was going through finals and did not take responsibility to actually go back to my doctor to try something else. I also did not want to go back because my doctor did not seem concerned and she made me feel uncomfortable.
I went on youtube and saw some people with colitis went gluten free and that it healed their colitis. So I tried it, and nothing really happened. I then traveled to Europe and completely ignored the gluten free diet (mostly because it made no difference to my colitis).
I ate anything and everything completely ignoring my colitis issue (I blame this on my doctor, she did not inform me of the issues that may arise if I was not careful, again my doctor was careless and ignored me). I stayed in Europe for 6 weeks, and towards the end of my trip I started to notice that I was having mucus in my stool. I stopped at Istanbul for 5 days before leaving Europe and something that I ate gave me traveler's disease. When I arrived to America I was going through diarrhea. Eventually it stopped about 10 days later, but then I started to notice that I was starting to bleed. Again I totally ignored it and thought that if I change my diet it will just clear by its self. A few months go by and I noticed that my colitis got worse but I was in the middle of my midterms and did not have time to take off (was taking 6 classes, 19 credits).
Right before my finals I started to feel extreme pain in my stomach. By pain I mean extreme pain. It came in waves, every 15 to 30 minutes throughout the day. I had never experienced this type of pain before. I did not know what to do. I wanted to go to the emergency room but I did not want to stay in the hospital while my finals were the following week. I stuck with the pain and studied and finished my papers. After 6 days of the pain it finally stops, probably because I stopped eating. But as soon as it stopped, I then started to have extreme diarrhea. I was using the bathroom 20 times a day, and I was also bleeding like crazy. It was difficult taking the finals with my condition, but was too ashamed to tell my professor about my situation. Finals week was over and I still had extreme diarrhea. I decided to leave an appointment, but I had to wait about a 3 weeks to see my doctor (students' insurance sux).
While waiting my situation only got worse. Everyone around me encouraged me to go to the emergency room but I did not want to go. Eventually I got so dehydrated and fatigued that I was nearly fainting. I went through a total of 3 weeks of diarrhea until I was rushed to the emergency room. I was anemic, dehydrated and had lost nearly 15 pounds.
I had to get another colonoscopy and was told that I had Pan-ulcerative (total) Colitis. This affects the entire colon. Symptoms include diarrhea, severe abdominal pain, cramps, and extensive weight loss. Potentially serious complications include massive bleeding and acute dilation of the colon (toxic megacolon), which may lead to an opening in the bowel wall. Serious complications may require surgery.
My gastroenterologist in the emergency room was wonderful, he asked me why I did not take this serious and I told him because my previous doctor showed no concern and I thought it was not that serious because of the way they behaved. He encouraged me to switch my gastroenterologist, and I did, I switched to his office. They have answered all of my concerns and have encouraged me to try natural remedies and herbs.
My Healing Process
I was released after 5 days, I was on prednisone and masalamine. I was also taking iron pills and 50,000 units of vitamin D. 2 weeks past and I was still having blood and diarrhea. I did not understand why I was still having bleeding, and my doctor said it was because the entire colon was inflamed and it would take a while for it to heal and stop bleeding.
It was only 3 weeks after the ER visit ,I started to do research to find out how I can naturally heal my colitis. I started to record everything I ate to see what foods made my colitis worse. I noticed that every time I had dairy products my colitis got worse. I would be up all night with diarrhea. I read online that Chinese medicine encourages stopping dairy products with colitis patients. I stopped the dairy and I started to feel much better immediately my stool had gotten more formed but I still had bloody and mucus stools.
It was 5 weeks after the ER visit and I was finally off prednisone (I was slowly tapered off). Although I was still on mesalamine my stool was becoming formed but they were slim and short pieces and mucus with blood still existed.
About a week later I went to do acupuncture. I did a session and asked the doctor if there are natural herbs that can stop my colitis. He recommended that I try black seed (Nigella Sativa) and that it cures many diseases, and that in other parts of the world it is known to cure every disease/illness but death. I took a bottle of the finely ground black seed and black seed oil. I took a table spoon of the black seed oil and it smell was so strong that I was having a hard time taking it. I only took it twice.
Two weeks passed and no change in my stool. I then started to notice pain on my upper left stomach. My doctor said it was not the colon because it was not located there.
The pain lasted for 3 days until I saw my doctor. Right before I went to my doctor I made some tea (my mother encouraged me to have tea because it is good for the stomach), and added raw organic honey, half of a fresh squeezed lemon and a table spoon of ground black seed.
The lemon flavor was overpowering the black seed and I was able to take it with no problem. By the time I got to my doctor's office my pain stopped.
My doctor said we will leave it alone and if the pain starts again we will take a look at it. After I left the office a few hours later the pain started again, I figured I will call my doctor in the morning since the office was closed.
I made the same tea again the next morning and within 10 minutes the pain stopped again, I then realized that when I took the tea it stopped my pain.
A few hours later the pain started again and I drank tea again and it stopped the pain. I started to take the black seed tea 3-4 times a day, I then started to take the ground black seed with juices and lemon water . I told my doctor and she said if I feel that it is helping that I should continue to take it.
3 days after starting the black seed tea I noticed a huge improvement with my bowels. My bowels became average size, average color, and the bleeding and mucus stopped. It has been 3 weeks and I feel as though I am back to normal. I have never felt better.
** Please keep in mind that I have been off of dairy products and have been and am currently still on mesalamine pills (Apriso 4 tablets daily). I plan on getting off of mesalamine in the future to see if the black seed has cured my colitis.
***It has only been 2 ½ months since I've been out of the ER, and my doctor was impressed at the speed of recovery. I encourage trying this if you cannot find anything else that works.
Again what I did was:
1. Stop any and all dairy products
2. Have a tablespoon of black seed 2-3 times daily
3. Have tea 2 times a day with lemon and organic raw honey
4. Make sure your vitamins are at recommended levels.
5. Make sure to have 3-4 bottles of water a day. ****
Note: If you take the oil then take 1 tablespoon of the oil once a day. The best oil to buy is Perfect Press Black Cumin Oil.
***According to Chinese medicine, milk and dairy products are "moist" products, and the colon needs dry foots and must avoid foods that may cause the colon to be moist.***
*** Black seed oil is known as the cure for all diseases. Black cumin seed oil and its components exert powerful effects that can slow colonic inflammation. Lab studies reveal that pre-treating animals with thymoquinone as extracted from black cumin seed oil completely prevents experimentally-induced colitis. Check the study here…. http://www.ncbi.nlm.nih.gov/pubm...
Story posted originally here


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Call me "Miss-stacking-up-good shoes" I might just nod a little bit! LOL!
I'm currently listening to CHER- DO YOU BELIEVE IN AFTERLIFE!
There are some shoe brands you just don't know they exist which are pretty good in quality as well. Momma gifted me these blocked heels and I couldn't be any happier! I fell in love instantly.
I have always been the jelly, brogue, boots and footwear kinda chic but recently I needed to look a bit more mature/girly and some height needs to be added to my 5ft 3inches length as a human.
"I'm down to earth like that..lmfao! Sometimes when I dress up and complete my look with jellies or brogues I just had that feeling of " I look like I'm still in uni". Heels have a way of making you look older, more girly if I should say, so I decided to try out these White Mountain block heels and from the look of things it's gonna be around for a long while!
Did you ever feel like wearing brogues, footwear, jellies made you feel less "mature" in look?


text:
Summary. There are many new wireless devices for healthcare patient vital sign monitoring and health condition data collection history tracking that will help gather valuable personal and social data for developing remedies to cure individuals and society.
For example, the Apple iPhone already has many health related apps that help individuals and medical professionals measure, track, and evaluate exercise, sleep, nutrition, and other areas.
The video below from TED presents a wide array of technologies beyond just the iPhone.


text:
I hear companies who have adopted scrum and realized how powerful the framework is soon have conversations around, "How do we scale scrum so that we can use it across the enterprise?" These questions are fair and valid and each company must determine the right answers that will bring success — probably through a series of learning experiments where they will finally settle …. somewhere.
For me, the question has arisen… "How to you scale the agile coach?"
Investing in coaches is a decision that seems to be very hard for many companies because it is a question of budget. Explaining the return on investment that a professional agile coach brings to an organization is sometimes hard to do because the benefits seem to be unquantifiable. So, organizations who come to the realization that they need coaches will usually either post a position for a "scrum master / coach" (which is a valid position because the scrum master is actually the coach for their team) or they will hire an actual coach for their organization and assign them to be the coach to multiple teams.
How many teams a coach is expected to work with will impact the strategy used as will the actual job expectations. I will address this blog from the viewpoint of my most recent engagement – an enterprise coach responsible for the education and growth of roughly 50 teams and their management staff. That's right – 50 teams. Now, many of the people on these teams overlap into multiple teams so there are only about 270 total including roughly 50 people working offshore in multiple countries across multiple time zones.
So, how does one coach work individually across this many teams? They don't. One person simply cannot coach 50 teams – it isn't possible to give individualized attention to this many groups of people.
So, how was I able to successfully help this organization grow in only 9 months? Very strategically. Just like you eat an elephant — one bite at a time.
Admittedly, this organization had started doing scrum roughly two years before I came on the scene and there was a training program in place with the company where coaches trained people throughout the enterprise in agile practices and the scrum framework. (My organization was only one of many in this very huge IT wing of the company.) However, because this organization was so large and one good coach can only give individualized attention to 5-6 teams the coaches who had been assigned to the organization before me did what any sensible and good coach would do — focus on 5-6 teams and pray for the reinforcements to arrive soon!
As a result, the organization had 5-6 pretty solid teams, several teams that had taken some training and were trying things on their own and were at various stages of adoption and growth, and a bunch of teams that had not adopted scrum at all.
How does an enterprise coach look at an organization differently than a team coach? An enterprise coach sees the entire organization as a whole and thinks – what core things does this organization need to mature in its adoption of scrum in order to deliver valuable software products to customers faster? And how can I make this scale to touch as many individuals as possible to deliver the most impact quickly?
The answer came in the form of strategic blanketing the organization in phases of training, assessments, coaching, and raising up Peer Mentor Coaches from within the organization in order to create a self sustaining environment that would not be dependent upon me for future growth and maturity. I recognized that one person is not able to coach 50 teams so instead of pretending that I was superwoman – I embraced that constraint and leveraged it to ensure that people became responsible for their own growth and maturity and that they did not wait for the coach to help them. I used my passion for agile and motivated teams to become excited about what agility could do for them. I told them that I believed in them and would be there to support them and help them become anything they wanted to become and that I knew they could do it if they just stepped out and tried it on their own. Once they were excited and motivated — momentum kicked in and we were on our way!
Strategy Phase 1 — Get People Trained!
I knew that the only way people would be able to try this on their own without me there to coach individual teams daily was to get as many people as possible trained. So, working with the management team we got buy in for training for everyone on staff – managers and teams. For six months I spent the bulk of my time in training classes (along with coaches from other organizations who were also training their teams) teaching the fundamentals of scrum, how to write user stories, how to groom a backlog, the role of a scrum master, the role of a product owner, and of course the tool the company was using to manage the work. I threw a big blanket over the organization and touched as many of my people as I could by teaching the classes they were taking and getting to know them in these classes. Then, I would send them out to implement what they were learning with their teams. I would follow up by walking the halls and talking to scrum masters and teams to check in and see how they were doing with the implementation and answering questions as needed.
During this training time, most of my work with teams was also using a blanket approach. I would gather groups of people and do targeted coaching sessions. Lunch and learns with all the scrum masters to talk about scrum master skills and problems. Lunch and learns with all the product owners to talk about product owner skills and problems. And lunch and learns with multiple closely related teams to learn about topics they were struggling with and learn from one another. Lunch and learns with managers and scrum masters to teach managers how to communicate with scrum masters and give them what they needed to lead their teams to success.
This six months of teaching set the foundation for success but I didn't really get to coach teams hands on very much. I only did this when teams reached out with specific problems that they needed to solve. If I saw a team who was really in trouble, I would set up one hour coaching sessions with them over a 4 week period and spend some one on one time with them. But I never got to go to any of their scrum events and just hang out and observe like a team coach would — that's not the life of an enterprise coach. An enterprise coach has to think at a higher level. I had to coach the entire organization — If I got lost in the weeds coaching a few individual teams they would be successful but the organization overall would fail. I couldn't let this organization go yet another year in that same position. I had to keep the greater good in mind and force myself to allow these teams to grow with less hands on from me.
Strategy Phase 2 — Assess Team Progress!!
After the training goals were met in the first two quarters, the next quarter's strategy was to 1) assess teams to see where they are in their growth and maturity, 2) help each team develop a self improvement plan so that they would be responsible for the next step in their growth and maturity, 3) identify and launch teams that had still not adopted scrum, 4) identify and develop Peer Mentors within the organization (or other organizations if necessary) to help give individual coaching attention and training to teams who needed extra attention, 5) start focusing individual coaching on new and struggling teams to help them mature and grow, 6) develop sustainable training for offshore team members.
This particular company chose the ShuHaRi maturity model as a means of assessing the maturity of agile teams. I sat with each team and spent a few hours talking with them about their practices, struggles, how they have adapted to overcome problems and grow, and based on those conversations helped the team to determine where they fell in the company's maturity model. I admit that this is probably not the best practice and I would have preferred to spend time watching teams interact and work together in order to assess their maturity; however, this provided me the opportunity to meet teams with their product owners and have real conversations — often for the very first time.
The conversational assessments helped me to get a feel for what teams understood and didn't understand about scrum. It helped me to understand their mindset and how they viewed themselves. It also helped me to build a relationship of trust with them where they were able to understand that I wasn't some outsider coming in to tell them if they were doing a good job — I was there to help them figure out where they were on their journey and would help them to get wherever THEY decided they wanted to go next. What I found through these conversations was that my teams were hungry for a coach and they were happy that the six months of training were over for me and that I had come home to be with them.
The output from the assessments was that each team left, either equipped with a self-improvement plan that they built and owned, or with a plan to actually launch their team into the scrum framework leveraging me to help them. Those new scrum teams were paired with Peer Mentors – scrum masters in the organization (or from other organizations) who were doing well and who were willing to take someone under their wing and teach them the ropes. Someone who could be their coach so that they didn't have to rely only on me.
This Peer Mentoring part of the strategy was very important to me personally, not because I had so many teams, but because I am a consultant. As a consultant and as a coach I never want to build a dependency upon me in any organization. I am there to equip people to perform the work long after I'm gone. If teams can't grow and mature unless I am personally coaching them — I have failed. My job is to teach them how to coach themselves, to coach each other, and to create an environment of growth and continuous improvement that sustains itself long after my contract with the company has expired.
Strategy Phase 3 — Start Coaching and Tackle Offshore!!
In the third quarter, I began to focus on working directly with the few teams who were struggling. I targeted these teams by scheduling 2-3 hour blocks of time with them 1-2 days a week (sometimes during their scrum events and sometimes during the workday) and helped them in the areas they were having the most struggle. In short — I finally got to play team coach with these guys!
For the rest of the organization, I knew all of the teams well and most of my day to day coaching with the teams who were growing on their own was done through "walk-arounds". Daily, I walked through the organization and stopped in briefly to talk to teams and scrum masters. I asked them powerful questions, encouraged them, gave them some motivation, answered any questions they had, helped them problem solve, etc.
During the third quarter my focus also started to turn to the offshore members of the teams who up until this point had been left on their own. They were working on scrum teams but were being incorporated in different ways and had different levels of understanding and were crying out for attention and training. I determined that the best way to handle getting these guys trained was by holding short one hour training sessions via video conference and recording the sessions in order to leverage them to reach more people quickly. So, early morning sessions were held with offshore team members and short topical training was conducted. The videos from those training sessions were placed in a SharePoint location where all teams could leverage the training and get it to their teams or share it with new team members as they were brought on. Any team could request that their group attend the original training sessions and questions were always answered and recorded during the session to ensure that the proper value was delivered.
Where are we today? As of this writing we are mid third quarter. People are excited about scrum and say that this new way of thinking is changing their lives. They are learning and growing and motivated. Each month we celebrate our success stories through a news letter filled with pictures of teams doing fabulous things towards agility and this adds to the momentum. Once a quarter we have a huge meeting where everyone gathers and we celebrate teams that have taken the next step in the maturity model, give out fun prizes and a trophy for teams that are heading in the right direction even if they aren't quite there yet, and we give the managers the opportunity to see how many people have embraced training and pour out praise for their accomplishments. We also celebrate our Peer Mentors for giving back to the scrum community at this company.
Do we have a long way to go? Absolutely! I don't know that anyone ever arrives. But I do know that with the rate of growth I see this organization experiencing and the ownership that they are taking in their own agility, I will feel comfortable leaving them in the hands of their very own home grown Peer Mentor Coaches soon. Another thing that I am certain about it that I'm extremely proud to be their coach.


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Alliance Capitalism and Corporate Management
Entrepreneurial Cooperation in Knowledge Based Economies
Edited by John H. Dunning and Gavin Boyd
As national economies become more closely linked, the value of more active corporate and policy level cooperation is becoming increasingly recognised. This book promotes the concept of alliance capitalism – a spirit of collegial entrepreneurship – as a means to facilitate more harmonious development in the international economy.
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Chapter 12: Alliance capitalism, FDI and developing countries
Stephen Young and Neil Hood
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This is the first time year I have been a part of Relay For Life, and I have no idea what took me so long to get involved!
Relay For Life of WCU became a client of CatCom exactly one year ago when I met with the current Co-Chairs of the event. They are amazing and I am very glad I was able to get to know, and work, with them over the past year as the PR and Marketing Chair/CatCom Liaison. This is an experience I will never forget. One that I will carry with me throughout the rest of my life.
After being at the event tonight I realize I want to be more involved in the future. Relay For Life has so many great things to offer, and it is an amazing organization! If you do not know about Relay, learn about it and get involved today. Cancer hits home for many of us, so celebrate the lives of those who have won the fight against cancer, remember the ones who have lost the battle and most importantly: fight back.
I relay for my uncle who lost his battle with cancer when I was 8, my grandma who had a cancer scare this past year and the cancer scare I personally faced two years ago. Who do you Relay for?


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Brand. PANASONIC ECO SOLUTIONS Project Date. 2015-12-28 Industry. Group of Companies www.viko.com.tr
Panasonic Eco Solutions Turkey has been operating since March 2014 as a division of Eco Solutions, one of the four major subsidiaries of Panasonic Corporation. The website displays the rich diversity of its new and modern products in detail. Solutions to make life easier and social responsibility projects are also available on the website.


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Great lawn care and landscaping helps sell homes.
Whenever you decide to sell your home, it can be a stressful and hectic time. It always seems there are a million things that need to be taken care of to present your home in "show" condition. Your real estate agent will likely have their own suggestions, and it is in their best interest to sell your home quickly, so heed their advice!
One of the most common complaints I hear from agents is regarding poor curb appeal. Now curb appeal encompasses a number of exterior issues, including; exterior paint, loose/rusty gutters, uneven or broken walkways, heaving driveways, sagging garage doors, loose trim, and many more.


text: You may be able to find toilet repair kits that include an epoxy resin to seal up cracks in porcelain, but because new water is constantly coming in the toilet tank it will just crack further. Every time cold water enters the tank it contracts, then when the water warms up to room temperature, it expands. This constant expansion and contraction will just further the crack. You may not be able to keep up with the leak prevention. I would suggest just buying a new tank from the manufacturer. You can order the right tank directly online if you know the make and model number.


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Contact Us
Addiction treatment works best when it's personalized.
Where we're located
The Recovery Village at Palmer Lake
443 S. Hwy 105
Palmer Lake, CO 80133
(719) 884-0063
Palmer Lake, CO 80133
(719) 884-0063
Getting here
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