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Choosing the right care setting and navigating the various short- and long-term care options can seem overwhelming. Whether you are seeking outpatient rehabilitation for yourself or post-acute skilled nursing care for a loved one, associates at Life Care Centers of America understand the decisions you face. We are committed to providing superior nursing home and short- or long-term care, as well as in- and outpatient rehabilitation services. Life Care wants you to find the facility that is best for you or your loved one, even if it's not with us.
Discuss the type of services your loved one needs with his or her physician. Obtain a list of area care centers offering those services from either the doctor, a social worker or a case manager. You can also get recommendations from friends, neighbors and your church.
Call the nursing centers on your list and speak with their directors of admissions to ask questions and schedule a tour.
When you take the tour of the facility, be certain to request introductions with the heads of departments, such as nursing, dietary, social services, housekeeping, laundry, environmental services and administrators. Reserve your questions of pricing until you've completed the tour and can discuss the matter with the admissions director. Price considerations will be better understood once you've seen what the facility has to offer.
As you tour the nursing centers, it is highly encouraged that you bring a notebook, especially if you are visiting multiple facilities. This enables you to write down the things you like and dislike about each facility, as well as any details your tour guide might share that are important.
Most importantly, use all five senses when touring the building. There are basic considerations to be aware of for each sense:
A good care center will have a well-maintained building and grounds. The landscaping and yard work will be cared for. Inside, the facility will be brightly lit, cheerful and attractive. The decorations and interior design will be homelike and inviting. Floors will be clean and shiny, curtains fresh and straight, and walls free of dirty marks and blemishes. The patient and resident rooms should be neat, tidy and cheerful. The patients and residents should be clean, well-groomed and properly dressed. Watch for interactions between staff members and patients or residents and consider if they are positive and friendly.
In a good care center, the food is served hot, fresh and delicious. The facility will provide only the best food and prepare it in a wonderful way. Meats will be tender, milk cold, vegetables firm and bread soft. The staff will want to try to accommodate all taste needs, and should be willing for you to taste the food. Consider if it is something you would be willing to eat and serve to your own family.
A good care center has a clean, pleasant smell that will be enjoyed by the staff, residents and guests alike. Note the presence of any odors, especially unpleasant ones, and question your tour guide about them if you notice any. Keep in mind, all care facilities experience patients or residents who may have accidents outside of their rooms, but these occurrences should be immediately addressed and any associated smells should be short lived, localized and not recurring or lingering.
A good care center will pay attention to the little details. The temperature in the building should feel comfortable and the air should be neither dry nor overly humid. Furniture should be dusted, polished and washed regularly. Hallway, restroom and resident room railings should be clean and attached firmly and securely to walls. Everything you touch should feel clean and free from stuck-on grime and dirt, including the floor beneath your feet. Touch the linens on the beds and make sure they are soft and comfortable. Look to see if there is dust behind the beds or in the closets.
In a good care center, the residents, patients, families and staff sound pleasant and happy. They speak with one another in familiar, friendly ways. Speak to residents and patients you pass in the hall, ask of they like it at the facility (remember, some residents and patients may not have clarity of thought or expression). If you see family members visiting loved ones, ask if they have been satisfied with the care and services and ask them to tell you about the personal attention and quality care they receive from the staff. Finally, the staff should gladly answer your questions and listen to your concerns.
When you complete your tour, spend a few more minutes with the admissions director. Address any pricing questions you have. You should also ask if the center participates in quality assurance programs such as The Joint Commission, which evaluates the center's quality of care and operations to determine compliance with national health and safety standards.
Finally, all facilities that participate in the Medicare and Medicaid programs are surveyed and rated annually to ensure compliance with state and federal regulations. Inquire about the facility's survey results and related CMS rating.
Once you have gathered all of the information and toured all of your options for nursing centers, take some time to make your final decision. Consider everything you experienced, from the five senses test to the friendliness of the person who gave you the tour. Go over the notes you took during your tour and compare the benefits, services and amenities that each facility has to offer and the financial requirements necessary. You'll also want to consider the building locations, taking into account the travel times of those who would be most likely to visit your loved one or respond to the facility in the event of an emergency.
Finally, remember to review the information you've gathered with the loved one who will be living at the facility, your family and any other important individuals who need to be a part of this decision. Ultimately, choosing the right care setting and navigating the various short and long-term care options is a decision that can only be made by you, and Life Care hopes you are able to find the facility that is best for you or your loved one, even if it's not with us.
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DUBAI, United Arab Emirates, Jan. 29 (UPI) -- Iran's claim to have lofted a monkey into space atop a Kavoshgar rocket as a step toward a manned space program is making headlines but Western experts worry it's really part of Tehran's quest for more powerful ballistic missiles.
The Iranians are reported by some analysts to have made "robust strides in developing ballistic missiles" of late, but is likely to be "many years away" from developing an intermediate-range solid-propellant missile with a range of 2,500-3,200 miles.
To a large extent, putting a monkey briefly into space was seen as a propaganda operation with few, if any, military applications, possibly to demonstrate Iranian defiance as Western sanctions to force it to abandon its nuclear program bite ever deeper.
Iran's state television said the flight to an altitude of 75 miles by a Pishgam, or Pioneer, space capsule aft atop a Kavoshgar-3 rocket launched by the Aerospace Industries Organization was a prelude to putting an Iranian astronaut in space by 2020, a target Tehran announced several years ago.
But the program to develop a powerful booster rocket to achieve that objective involves technology that is vital for developing a multi-stage, long-range ballistic missile.
Iran's missile program has suffered several serious setbacks in the last three or four years, some attributable to the international sanctions first imposed in mid-2010.
In November 2011, Gen. Hassan Tehrani Moghaddam of the Revolutionary Guards Corps, who was considered to be the mastermind behind the missile program, was killed in series of explosions at a Guards Corps missile base 30 miles west of Tehran.
The Iranians said the blast was accidental and destroyed several ballistic missiles but there has been persistent speculation that the explosions were the work of saboteurs working for either U.S. or Israeli intelligence.
In July 2012, the International Institute for Strategic Studies in London reported that development of Iran's most advanced ballistic missile, the two-stage Sejjil-2, had been stalled because of the sanctions.
Indeed, the think tank said the sanctions, which have made it difficult for Tehran to obtain components and high-tech equipment for the program, "could yet deal a knockout blow to the country's development of long-range missiles."
The 21.5-ton, solid-fuel Sejjil-2, developed by the Air and Space Department of the Ministry of Defense, has an estimated range of 1,375 miles, enough to reach Israel. Unveiled in 2008, it will eventually replace the older, liquid-fuel Shehab-3b missiles that make up Iran's strategic missile command.
Western missile specialists say Iran has as many as 400 of these ballistic weapons deployed.
Uzi Rubin, former director of Israel's Ballistic Missile Defense Organization, said the Sejjil-2 "demonstrates a significant leap in Iran's missile capabilities" that places the Islamic Republic "in the realm of multiple-stage missiles which means they're on their way to having intercontinental ballistic missiles."
The IISS cited "mounting evidence" that if sanctions continue "Iranian attempts to develop and field long-range ballistic missiles could be significantly impeded, if not halted altogether."
Sporadic talks between Iran and the U.S.-led Western powers have failed to make any progress toward a diplomatic settlement that could end the sanctions. The last negotiations took place in June. Western powers had suggested talks in February but Tehran's rejected that. So there's no indication of any early lifting of the sanctions.
In February 2009, Iran made a major technological breakthrough in its drive to build ICBMs with the launch of Omid-1, a scientific research satellite developed by the Iranian Space Agency, atop a Safir-2 booster rocket, a version of the Shehab.
Unlike putting a monkey in space, that launch into orbit from the Semnan Space Research center 180 miles southeast of Tehran was, as Jane's Defense Weekly put it at the time, "a quantum leap in Iran's ballistic missile capability."
As with the Soviet Union's launch of Sputnik, the world's first satellite, in 1957, Rubin stressed: "the world should not be alarmed by the satellite, but by the missile carrying it.
"The Iranians, long students of North Korean missile technology, have now surpassed their tutors: the Safir-2 is the basis for a future Iranian intercontinental ballistic missile."
U.S. missile expert Peter J. Browne explains that "many of the technological building blocks involved in the satellite launch vehicles are the same as those required to develop long-range ballistic missiles."

subset: commoncrawl


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Two arts nonprofits in Denver and one in Loveland nabbed $650,000 in grants from ArtPlace America, Denver Mayor Michael Hancock announced this morning.
The Denver projects are OhHeckYeah: An Immersive Street Arcade (premiering June 7, 2014; details below), which received $200,000, and the Junction Box building/arts project, which received $250,000 and houses the new-to-Denver dance company Wonderbound (formerly in Broomfield as Ballet Nouveau Colorado) and the neighborhood's Community Coordination District 1.
The Arts @ the Feed & Grain, coordinated by Felicia Harmon, won $200,000 in Loveland.
The Colorado projects mark the first time Colorado is receiving funding from ArtPlace, a collaboration of 13 national foundations and six banks that has "invested" $42.1 million through 134 grants across the U.S. The Colorado winners were chosen from among more than 1,200 applications.


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A blueprint for high-volume, high-quality lung cancer screening that is detecting cancer earlier—and helping to save lives
Back in the early '90s, Tim Cook was a lonely pioneer in the field of limited-benefit health plans. An early advocate of "mini-med" plans that started out with a capped offering that cost an hour's minimum wage a week, Cook well remembers the initial skepticism that often greeted his pitch.
"One of the major fast food restaurants said that 'we would rather offer our employees nothing than a little, rinky-dink program like this,'" recalls Cook, who credits his late boss Charles Shoumaker, a former human resource manager for the convenience store chain Circle K, with inventing the limited-benefit plan in the late '80s.
But times — and attitudes — have changed dramatically.
Over the last few years, Cook — now the president of the UICI subsidiary Star HRG — has seen a host of start-ups barreling into the business. This year some of the biggest players in health care have shed their long-term indifference to the market niche and started to angle for a piece of it.
Last January, Aetna entered the limited-benefit arena with the completion of its buyout of SRC, a company that traditionally had been Cook's biggest competitor in the mini-med arena. And UnitedHealth is rolling out a 50-state offering — with Cigna and Humana taking the lead in some regions — that lays out a series of limited offerings that start with a bare bones network access discount card for $7 a month.
"There are a handful of companies that have done this," says Steve Peterson, an 11-year veteran and chief operating officer of a business called SRC, an Aetna company. "But historically none of the large health care companies have been involved in this product. Now all of the large health care companies have seen that there is a strong interest from plan sponsors."
When Cook started out 15 years ago, the mini-med plan was limited to the most basic format: a few dollars a week bought a policy that covered about a thousand dollars' worth of care. Working with employees on the polar opposite end of the executive suite, the plans were laid out to the bluest of blue collar employees: cooks, low-wage independent contractors, cleaning ladies, and the like — the working poor who don't get the kind of comprehensive medical coverage that is available to union workers and the white-collar class. Even today, that hourly cost structure still provides the base price for their most basic plan, with typical limited-benefit plans costing from $50 to $100 a month.
The business rationale behind mini-meds was just as basic as the coverage: Something is better than nothing. In the case of entry-level plans, something translated into a limited number of trips to the doctor, a monthly allowance for pharmaceuticals, and short-term inpatient and outpatient hospital care. Anything beyond that simple package was the responsibility of the individual.
Limited-benefit plans are a natural magnet for the scorn of consumer advocates, many of whom have lambasted the mini-med trend for leaving workers vulnerable to the multitude of medical catastrophes that threaten us all from day to day.
In a Business Week commentary, science editor Arlene Weintraub called one of the new plans "nothing more than a band-aid for a rapidly hemorrhaging health-care wound." Others are quick to join in the attack, saying mini-meds are unlikely to lead to any significant reduction in the number of uninsured.
But the proponents counter that the consumer chorus just doesn't get what drives this business, and what will inspire a new groundswell of adoption in the last half of this decade.
Rising insurance costs are pushing most traditional plans even further beyond the reach of Americans on the bottom rung of the economic ladder. Medicaid programs have been tightening requirements and cutting off some low-income residents from benefits. And a steadily growing number of workers who can't continue to afford rising premiums are landing in the mini-med boat — even as employers are feeling heat to do something to reduce the number of uninsured in the country. (See "Tracking Workers Without Insurance.")
"I think it's going to be a huge industry; all the major carriers are starting to get into it," says Jonathan Edelheit of United Group Programs, a company that administers mini-meds. "When we started three years ago, everybody said, 'You need to make your money while you can because these plans will be regulated out.' And it's not the case. Even now you'll hear that, but this segment of employees and industries will never have traditional benefits."
The people putting together new offerings say that limited-benefit plans are often the only way low-income workers can gain access to discounted services and effective care when they need it most. And the companies they work for aren't going to sign them up now — especially if you consider how fast their existing health care costs are rising.
"If you can't afford high-end medical, it's the only option," says Edelheit. "And more employers are canceling major medical. If they have the option to go bare or put in mini-med, they're going to go the route of mini-meds. These plans will continue to gain ground. Nuances are growing; hybrids are being created. A year from now we'll see plans that aren't just mini-med, but mini-major-med, and you'll see that evolution."
In any form, it's not a quick sale. Edelheit and others say that this group of workers takes a lot of handholding under the best of circumstances. One-on-one sessions are needed to carefully explain the limits of the plans. At best, only about 20 percent of the employees offered a mini-med plan take it.
"It really varies, but you'll see somewhere between 6 percent and 20 percent of the total population take the program," says Peterson. Young men often just aren't interested, says Edelheit. And large numbers of low-wage workers have a spouse who has access to better insurance, or a second job that offers coverage.
Employers, though, have lost much of the reticence that used to greet Cook.
"Employers are looking for any way that they can to offer benefits," says Peterson. "The turnover rate among employers can range 100 percent to 300 percent a year; any tool that helps is beneficial to their business."
This is also a field ripe for misunderstandings.
"There has been some confusion among consumers," says Merrill Matthews, the director of the Council for Affordable Health Insurance. "Sometimes people think they're getting the full policy when there might be limits. Hospital rooms are sometimes covered up to, say, $600 a day, so when a person gets a $900-a-day bill, they may think it covers [the entire cost] and it doesn't. Some states are looking at this as a problem," he adds, but as long as agents are up front about the restrictions, he adds, it's more a question of consumer education.
But not everyone in the business is being up front about the limits, says Edelheit.
"There are a lot of smoke-and-mirror plans," he asserts. . "They look comprehensive, but you find that the plan is designed to prey upon the unsophisticated employee. It's like the Wild West out there."
"We are sold primarily through brokers," says Cook, "so we're spread-sheeted against other plans. Some plans that pay enormous commissions can't be of value because of what they pay in commissions. That gives it a black eye."
But industry advocates say the limited plans fit well into the current push to have consumers make more decisions.
"A limited benefit forces people to be a little more cost conscious," adds Matthews, "and provides employers an alternative to get a less expensive plan. With comprehensive plan costs rising, people are looking for alternatives. What you want in a system is a lot of choice with a lot of competition going on. It forces mainline insurers to keep prices down. Five to 10 years ago, the Uniteds of the world would have been very critical — now they want to compete on the limited-benefit side of things."
In UnitedHealth's case, the big insurer opted to compete for the National Health Access plan, a program set up by the HR Policy Group — executives at Fortune 500 companies like General Electric, McDonald's, and Sears — which wanted to find a way to offer some low-cost coverage to their legions of uninsured workers with no other access to a company-subsidized health plan (see "Efforts to Cover the Uninsured.")
The plans start with just a network access card — a discount card — and work their way through four other limited offerings that are capped by a high-deductible insurance plan covering major medical costs.
"Right now, it's still making its way through the internal decision-making process at companies," says Marisa Milton, assistant general counsel and director of government relations for the HR Policy Association. United also is working through the approval process in all 50 states. But once it is up and running, she says, a 10 percent sign-on rate would be great.
National Access also gives people a chance to buy insurance at a pooled rate so they can avoid being excluded or hit with astronomical rates for pre-existing conditions.
That may not be the perfect solution, but when it comes to health insurance for low-income workers, employers are acutely aware that they're not living in an ideal world.
A blueprint for high-volume, high-quality lung cancer screening that is detecting cancer earlier—and helping to save lives
ZULRESSO™ (brexanolone) injection CIV
Multiple Sclerosis: New Perspectives on the Patient Journey–2019 Update
Summary of an Actuarial Analysis and Report


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Rihanna Grinding On Girls In Red Bikini As She Goes Bare-Bados!
"Rihanna got in touch with her homeland's culture. The 23-year-old singer stunned in a provocative red bikini and feathered headdress during Barbados' Kadooment Day Parade." - HollywoodCia
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Full Streaming Inside Out in Best Video FormatNow you can watch full Inside Out in best look with duration 94 Min and was released on 2015-06-19 and MPAA rating is 1594.
- Original Title : Inside Out
- Movie title in your country : Inside Out
- Year of movie : 2015
- Genres of movie : Comedy, Animation, Family,
- Status of movie : Released
- Release date of movie : 2015-06-19
- Companies of movie : Walt Disney Pictures, Pixar Animation Studios,
- Countries of movie : United States of America,
- Language of movie : English,
- Durationof movie : 94 Min
- Average vote of movie : 8.1
- Youtube ID of movie : 1t0A_tZGrYw
- Translation of movie : EN,ES,FR,RU,CS,SK,DE,HE,HU,ZH,PT,TR,IT,DA,SV,NL,KO,AR,EL,PL,LT,BG,TH,UK,FA,
- Actors of movie :Amy Poehler (Joy (voice)), Mindy Kaling (Disgust (voice)), Bill Hader (Fear (voice)), Phyllis Smith (Sadness (voice)), Lewis Black (Anger (voice)), Kaitlyn Dias (Riley (voice)), Paris Van Dyke (Meg (voice)), Kyle MacLachlan (Dad (voice)), Lori Alan (Mother's Sadness (voice)), Richard Kind (Bing Bong (voice)), Diane Lane (Mom (voice)), Paula Pell (Dream Director / Mom's Anger (voice)), Bobby Moynihan (Forgetter Bobby (voice)), Paula Poundstone (Forgetter Paula (voice)), John Ratzenberger (Fritz (voice)), Rashida Jones (Cool Girl's Emotions (voice))
Movie summary of Inside Out :
Full Inside Out in High Quality with movie synopsis "Growing up can be a bumpy road, and it's no exception for Riley, who is uprooted from her Midwest life when her father starts a new job in San Francisco. Like all of us, Riley is guided by her emotions - Joy, Fear, Anger, Disgust and Sadness. The emotions live in Headquarters, the control center inside Riley's mind, where they help advise her through everyday life. As Riley and her emotions struggle to adjust to a new life in San Francisco, turmoil ensues in Headquarters. Although Joy, Riley's main and most important emotion, tries to keep things positive, the emotions conflict on how best to navigate a new city, house and school." in HD quality. Release Inside Out in Best Video Format by push of the button above.
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Director : Pete Docter, Story : Pete Docter, Producer : Jonas Rivera, Executive Producer : John Lasseter, Editor : Kevin Nolting, Screenplay : Meg LeFauve, Director : Ronaldo Del Carmen, Story : Ronaldo Del Carmen, Executive Producer : Andrew Stanton, Associate Producer : Mark Nielsen, Original Music Composer : Michael Giacchino, Casting : Natalie Lyon, Casting : Kevin Reher, Production Design : Ralph Eggleston, Art Direction : Bert Berry, Screenplay : Josh Cooley, Screenplay : Pete Docter, Additional Dialogue : Bob Peterson, Additional Dialogue : Bill Hader, Additional Dialogue : Amy Poehler, Additional Writing : Michael Arndt, Additional Writing : Simon Rich
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Gerbil 4" x 6" Magnetic Photo Frame (Vertical/Portrait)
- This frame is a beautiful way to remember your favorite pet memories!
- Made from 1/8" thick clear acrylic that has been painted on back side of the frame.
- Your photo can easily be changed whenever you like! Great for displaying on the refrigerator, filing cabinet or magnetic bulletin board.
- Choose from 5 colors.
- View the Horizontal/Landscape version here >>
- Dimensions: 6" x 8"
- Holds: 4" x 6" photo


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TeliaSonera denies charges of bribery
STOCKHOLM (AP) — The Nordic telecommunications company TeliaSonera on Tuesday refuted allegations that two of its employees engaged in bribery and money laundering while launching operations in Uzbekistan several years ago, despite fresh evidence from prosecutors.
In 2007, TeliaSonera signed a 2.3 billion kroner ($350 million) deal with an Uzbek firm, Takilant, to obtain a 3G operator's license in the Central Asian country. Last year, reports surfaced in Swedish media that the firm had ties to Gulnara Karimova, daughter of Uzbekistan's authoritarian President Islam Karimov, and that a large bribe was paid to her to obtain the license.
Last week, Swedish prosecutors submitted documents to a court that suggest TeliaSonera might have paid a bribe to Karimova via the Gibraltar-based Takilant, an allegation that the Nordic company strenuously denies.
Karimova is known for her close ties to Uzbekistan's lucrative mobile phone industry. She was a former owner of Uzdunrobita, the Uzbek operator of MTS-Uzbekistan, a Russia-owned telecommunications company that came under fire from Uzbek authorities last year for alleged fraud and poor service.
In October a Swedish court froze millions of dollars of funds belonging to Takilant after prosecutors opened their bribery and money laundering probe.
"We are convinced that the ongoing investigations will clarify that we have not bribed anyone or participated in money laundering," TeliaSonera said Tuesday.
The company has some 9 million subscribers in Uzbekistan, a country routinely slammed for severe human rights abuses.
Copyright 2013 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


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text: Come Together song Here come old flat top. He come grooving up slowly. He got joo joo eyeball. He one holy roller. He got hair down to his knee. Got to be a joker he just do what you please. He wear no shoe shine. He got toe jam football. He got monkey finger. He shoot Coca-Cola. He say I know you, you know me. One thing I can tell you is you got to be free. Come together right now over me. He bag production. He got walrus gumboot. He got Ono sideboard. He one spinal cracker. He got feet down below his knee. Hold you in his armchair you can feel his disease. Come together right now over me. He roller coaster. He got early warning. He got Muddy Water. He one Mojo filter. He say. "One and one and one is three." Got to be good looking 'cause he so hard to see. Come together right now over me. Come together. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2007) "Come Together" Single by The Beatles from the album Abbey Road A-side "Something" Released 6 October 1969 (US) 31 October 1969 (UK) Format 7" Recorded 21–30 July 1969,EMI Studios, London Genre Blues rock Length 4:18 Label Apple Writer(s) Lennon–McCartney Producer George Martin The Beatles singles chronology "The Ballad of John and Yoko" (1969) "Something" / "Come Together" (1969) "Let It Be" (1970) Abbey Road track listing 17 tracks Side one "Come Together" "Something" "Maxwell's Silver Hammer" "Oh! Darling" "Octopus's Garden" "I Want You (She's So Heavy)" Side two "Here Comes the Sun" "Because" "You Never Give Me Your Money" "Sun King" "Mean Mr. Mustard" "Polythene Pam" "She Came In Through the Bathroom Window" "Golden Slumbers" "Carry That Weight" "The End" "Her Majesty" "Come Together" is a song by the Beatles written by John Lennon and credited to Lennon–McCartney. The song is the opening track on the album Abbey Road, and was released as a double A-sided single with "Something", their 21st single in the United Kingdom and 26th in the United States. The song reached the top of the charts in the US, and peaked at number four in the UK. Please note the text from Wikipedia is imported without editing or authentication. Come Together (Abbey) Come Together (The Beatles 1967-1970) Come Together (Anthology 3) Come Together (1) Come Together / Dear Prudence / Cry Baby Cry [Transition] (Love) ©1969 Sony/ATV Music Publishing LLC. All rights reserved. Used by permission.


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Images of Time and Place: Contemporary Views of Landscape
Images of Time
and Place: Contemporary Views of Landscape
examines a broad range of artists who are working with the concept of
landscapeboth as the primary content as well as in a supporting
role. This exhibition explores the landscape imagery of forty contemporary
artists whose work extends or reinvents this traditional genre. The landscape
traditiona thousand years old in China and centuries old in Europe
and Americahas, in many ways, shaped the context and conventions
for looking at nature in works of art and many of the artists in this
exhibition reference the work of their historical predecessors. The workpaintings,
drawings, prints, photography, installations, sculpture, and videooffers
a range of approaches from lyrical representations of nature to abstraction.
Trained at the Dusseldorf Kunstakademie, Elger Esser's large-scale photographs record the European landscape in muted tones that suggest the atmosphere and light captured by painters such as Caneletto and Vermeer. In Ruaud, France, the horizon is low. Sky, land and water are barely differentiated and compositionally minimalist. Tree branches on a flood plain catch wisps of vegetation. Monochromatic and devoid of people, there is a silence to this place. Esser has referred to the connections between photography and memory as a source of its emotional resonance. This scene is subliminally familiar.
Tomás Sánchezs Orilla, is part of an extended meditation on the Latin American landscape. Using white conte crayon on black paper, Sánchez creates an exquisitely detailed rendition of a dense tropical jungle at night. Reflected in the motionless water of a lagoon, the jungle seems preternaturally still. The image has the hallucinatory intensity of a dream. The dark between the trees is pure black. Sky and water, subtly modulated shades of grey, look much as sky and water do at night, but the vegetation is an unearthly gleaming white. Sánchez works from memory. More real than reality, the drawing is a distillation of the archetypal places that inform the artist's imagination.
Tom Uttech's fantasy landscapes, inspired by the northern woodlands of Wisconsin and the American prairie, are also developed from memory. In Darky Lake Net, an animal sits by a dark pond at the edge of a dense pine forest. Flowers grow along a moss bank. It is a dark and mysterious place. A painted frame extends the landscape and serves as a decorative border. Uttech's subjects are often developed while camping and hiking. He makes no sketches or photographs and creates the imagery later when he is back in the studio.
An ominous light suffuses April Gornik's landscape. In Field and Storm she captures the precise moment before a gathering storm, when colors glow with a peculiar intensity, as though storing the sun's last rays. Soft, fat brush strokes convey the sense of specific grasses and scrub, already tilted by the rising wind. The structure of the composition is classically balanced, resembling many we have seen before: a curving path leading the eye into the distance across a field framed by a mass of trees extending from the left, and range of hills further away on the right. The violent contrast between the resonant teal-black of the darkening sky and the harsh yellows and greens of the vegetation subverts our expectations. The dissonance between the traditional composition and the highly dramatic color intensifies the sense of menace inherent in her subject.
The simple format of Cynthia Knotts marine paintingssky over seathe horizon a straight edge dividing them, comprises infinitely subtle modulations of color, space and light. Working outdoors at first and then in the studio, she applies thin layers of oil and translucent encaustic, and metallic pigments, scraping them down, sanding them, refining until she achieves an ethereal atmospheric effect. At first glance, Victory looks like a late Rothko, but dramatic masses of cloud glow from within, recalling Turner or American Luminist painting, combining the abstract and the Romantic Sublime. Her paintings originate with a specific view at a particular moment, but they become an almost metaphysical meditation on the grandeur and mutability of nature.
Ellen Phelan also renews the conventions of earlier landscape painting. In White Cedar Woods, a grove of trees stands motionless in a mist of filtered light. Seemingly a dream or a distant memory, Ellen Phelan's painting White Cedar Woods, is based on close observation and on the artist's photographs of trees on her property in the Adirondacks. Using a restrained palette of dusty browns and greens, she applies thin paint, smearing, scumbling and incorporating accidental drips and visible brush strokes to create a sensuous, near-abstract surface. The tree trunks, firmly drawn in accurate perspective, are veiled by a light brown wash, unifying the composition, and blurring the distinction between observed reality and romantic imagination.
L.C. Armstrong's sunset over a beach with crashing waves references both the landscape tradition and pop culture. In the 1970s she earned her way through school customizing vans with airbrushed vistas. Large flowers, like fireworks over the beach, fill the foreground and have the vivacity and invention of Odilon Redons floral compositions. Passion flowers, iris, columbines, and lady slippers are shown along with invented species. In Sunset Salute two of the latter have diminutive humans for stamen. Spiky cactus-like stems are the result of lighted bomb fuses that leave wisps of carbon. The surface is built in intentional acts of painting and chance occurrences of the burning fuses. This paradise, hermetically sealed in a thick layer of resin, is both dazzling and disturbing.
Alexis Rockmans work, a combination of natural science and fantasy, has long examined the precarious and predatory relationships within the plant and animal kingdoms and between man and nature generally. Man Eating Plant, 2000, grew out of a camping trip to the rainforests of Guyana that Rockman took with friends in 1999. This work contains a self-portraithe is the protagonist in the center about to be eaten by the plant. The jungle, painted in acid greens, is dense and teeming with flora and fauna. Playing off the tradition of tropical travel iconographies, the style looks something like an illustration for a boy's adventure story. He also pokes fun at his role as an eco-tourist. Rockmans works are meticulously researched and his sources range from the Bronx Zoo to the Museum of Natural History. He has worked as an illustrator and columnist for Natural History Magazine. It is often noted that his paintings resemble the dioramas found at the Museum of Natural Historywhere his mother worked as an archeologist while he was growing up.
Rob de Mar's small sculpture Stroll, offers an ecosystem in miniature. Meandering supports appear as pathways that connect pine-covered mountains. There is also a tropical island with a palm tree and cactus. These biomorphic forms, softened with flocking, seem like some sort of child's toy and offer a whimsical view of the land.
Guy Hundere's tiny digital video, Impasse, looks like an ordinary rural landscape seen through the window of a speeding car. But the red farmhouse in the distance remains motionless, while identical strips of clouds, fields, and roadside pass by over and over again, each at a different speed. At first the artist's use of digitally manipulated still photographs is merely fascinating and disconcerting. Eventually it produces a nightmarish sense of dislocation.
Artifice and the representation of nature is examined in the rich, color saturated landscapes of Kim Keever. A World Before seems to capture a glimpse of the primordial. Dramatic vistas, back-lighted mountains with streams flowing through them, and swirling clouds provide the basic elements of Keever's romantic landscapes that seem to epitomize the 19th century sublime. Keever's C-prints of preternatural locations leave one wondering where such places might be found. They are, in fact, manufactured with plaster models, gels, lighting, and dyes inside a 150-gallon tank.
Conversely, the mysterious and dramatic scene in Susan Crile's painting is based on personal experience and photographic documentation of a specific episode in recent history. Burning Lake is an image from the first Gulf War and recalls its consequences to the environment. Over 700 wells in the oil fields of Kuwait were set on fire by retreating Iraqi troops in 1991. They burned for nine months. In Criles images oil lakes, contaminate the ground water, blaze out of control. Fire and smoke illuminate the dessert sky that is dark as the night. It is a view that is both apocalyptic and literal.
Peter Edlund's Another America: When Rivers Turn to Fire (After Church), explores the myths and idealism of 19th American imagery through the idiom of the Hudson River School. For the past seven years Edlund has used the landscapes of artists such as Cole, Church, Bierstadt, and Durand to comment on the social, political, and historical realities of the 19th century, and by extension, contemporary society. In Another America Edlund has reworked one of Frederic Church's best known paintings, Niagara (1857; Corcoran Gallery of Art, Washington, D.C.) and has painted it in the same dimensions as the original. Here the colors are lurid reds and oranges and the landscape looks volcanic. For Edlund it recalls the debates around slavery that were taking place at the time that the more placid version was created.
Alfredo Jaar works with photography from a political perspective. His work in this exhibition from the Rwanda Project, features three lightboxes with landscapes that are both beautiful and provocative. In 1994 Alfredo Jaar visited Rwanda where 800,000 people, mostly Tutsi, were murdered in the third largest genocide of the 20th century. These images are understated and only the titles give a sense of their meaning: Landscape (Floating bodies); Landscape (One thousand hills), and Landscape (Land mines). The first is a picturesque lake where 100,000 bodies were dumped. The second refers to tourist brochure descriptions of the country and the third shows a country road that is planted with mines. The images are incongruous- like the flawless beauty of September 11. The Rwandan landscape will always bear this history despite its beauty.
Sally Mann's large-scale photograph Untitled (Deep South #30) is a part of a larger series in which she explores the Southern landscape. Mann also approaches the imagery in this series as a location and context in which events took place. For Mann the deep South is a region layered in mythologies and its history of slavery, the Civil War, and the civil rights era. In Deep South #30 gnarled roots rise out of a miasmal cypress swamp. Mist and fog surround the scene that is both mysterious and romanticized. Working with the collodion process with wet plate glass negatives, Mann replicates the techniques of Civil War photographers like Matthew Brady, Timothy O'Sullivan, and Alexander Gardiner. Damaged lenses and tea staining further recreated the look of 19th century photography.
Wim Wenders, a celebrated European film-maker, is perhaps best known here as the director of Wings of Desire and The Buena Vista Social Club. He has been honored by the Catholic Church for the spiritual content of his films. Trained as a visual artist, he has been active as a photographer for many years. The monumental scale of Wenders' photograph of Jerusalem as seen from the Mount of Olives is accentuated by cropping, implying a huge vista that opens mentally onto a sacred and politically charged landscape. The Mount of Olives, scene of numerous episodes in the Gospels is a place filled with Christian associations. In the distance we see The Dome of The Rock on Temple Mount, a Muslim shrine built to shelter an ancient stone sacred to both Muslims and Jews. The site of the Temple of Solomon, it is traditionally the rock from which Mohammed ascended to heaven. In the foreground, a modern garbage dump emphatically expresses the materialism and alienation of our times, suggesting as well the chaos and waste of the present in the Holy Land.
In Dozier Bells Surface II appears to be about a specific event but is left ambiguous. A dark sea and a night sky filled with billowing smoke. Five distinct explosions illuminate the horizon. A telescope viewfinder in the foreground frames a portion of the landscape. Someone is watching and has targeted this scene in its sights. The location and event are unidentified but we can easily develop a narrative. In the painting Dozier Bell focuses on landscape as a stage for surveillance, siege, and destruction.
Jorge Tacla focuses on components of nature rather than the vista in Mass of Vapor. At first the painting appears to be a Constable-like cloud study, executed on a rough-textured woven jute surface. These transient forms verge on abstraction and are played against an eerie blue sky. For many years Taclas work has focused on architecture and cityscapes that suggest civilizations in decline or in ruins. Mass of Vapor is from a new series created in the aftermath of September 11 in which Tacla focuses on cement and cloud forms, mixing his ongoing imagery with the specific structures and atmosphere of New York City. The series conveys a sense of urban anxiety in the age of global terrorism.
Written language is also a part of the imagery in May Stevens' Lagoon, Fort Cronkhite, Marin Headlands, Sausalito, CA. In which barely legible words in a silver script, shimmer across the surface of the water and on the shore. They are drawn from oral histories made by the soldiers posted at Fort Cronkhite, a military installation formerly on the site. This large-scale, unstretched painting meshes a view of the landacross the Golden Gate Bridge near San Franciscowith the ghostly voices of the men who once served there. A strip attached to the bottom captures the daily banter of camp lifetarget practice anecdotes and advice in the mess hall. Veils of acrylic wash add to the mystery of this hillside and lagoon. In other works in the Rivers and Other Bodies of Water series, Stevens borrows texts from authors ranging from Virginia Woolf to Violetta Parra.
Language is a significant element of the landscape in the work of Wayne White who paints directly on mass-produced lithographs. These sentimental rural scenes were found in a thrift shop. Each image in the four-part work Mini Mall is dominated by a word that references a product or service familiar from the signage on countless strip malls. The painted words, visually integrated with their printed backgrounds by discreet touching up, seem monstrous intrusions on their natural settings. The type is hard edged, modern looking, seductively iridescent, suggesting that contemporary consumerism is destroying a sweeter, gentler, rural way of life. But the landscapes themselves are commercial products, selling an idealized conception of a non-existent past.
Adam Strauss approaches painting with irony and humor and uses the conventions of landscape painting to play with our aesthetic and perceptual expectations. In Man Pointing to Something Outside the Painting, a lone figure stands on the crest of a ridge overlooking the ocean. We are foiled in our attempt to see the object of his attention, which lies outside the frame. It is a work that relies on our understanding of what a painting is and how it tells a story. It then sets up a situation in which it does not deliver.
With irony and deadpan realism Hugo Bastidas uses landscape imagery to weave narratives that focus on the mental stress and environment disruption of modern life. In Iceberg, he offers an improbable scene in a photographic, grisaille palette. A group of people in shirtsleeves stands on a tropical island while a massive iceberg floats nearby. Perhaps it is the result of the melting of the polar ice cap. Their indifference to a situation that should cause alarm suggests ecological complacence and denial.
The primary focus of Andrea Robbins and Max Becher's work is what they call the transportation of placesituations in which one isolated place strongly resembles a distant one. Arizona and Namibia is a case in point. A casual glance suggests that the two framed photographs are two segments of the same geological formation. Closer inspection reveals that all the details are different. The view of Arizona, significantly, includes distant roads and industrial buildings. The air is hazier than in Namibia: the colors softer, the plants familiar cactus. In Africa, the desert blooms with spiky red blossoms and yellow wild-flowers under a clear blue sky. Hills and rocks extend to the frame of the photo suggesting a true wilderness. The ostensibly dispassionate documentation of similarities contains a subtext of ecological critique.
Nadav Kander's Field II is from a series that explores the Mid-western landscape from the perspective of an outsiderKander lives in London. The photograph, taken at night, offers a roadside view of a field in winter with its broken cornstalks blanketed in snow. Stark artificial lights shine in the foreground . The velvet blacks of night, only found outside the ambient lights of cities, are in dramatic contrast. There is a pervasive stillness to this classic American landscape.
In Joni Sternbach's 02.07.10 #8 from the series Sea/Sky, a vast soft gray sky, light to dark, left to right, looks more like a drawing than a photograph. The crisp white of the surf and the absolute black of the miniscule figures in the water display the full range of tonality available to black and white photography. The tiny anonymous figures of surfers, busy as ants, are dwarfed by their surroundings. They seem oblivious to the their insignificance in the natural world.
Paradura 3 by Leah Oates is one of a series of photographs, installations, and sculptures that explore the way people remember landscape. "Paradura", an invented word, is a fusion of "paradise," or nature, and "duration". The back lit curve in a two-lane country road is set in a circular lens like aperture. It is the kind of road you see through the windshield on summer vacations or country errands. The circle is in fact the body of a second lens inserted in the camera and photographed simultaneously with the landscape it frames. According to the artist, "the circle implies an eye peeking from inside an opening a viewer can move through be situated in an imaginary landscape that is suspended in time." The compressed fragment of road suggests both speed and duration, while at the same time evoking a larger, less tightly focused landscape, a personal association in each viewer's mind.
For Felicia Megginson, the forest is the locus of ancestral origins. Using an in-camera double exposure, she situates an image of her face within an image of nature. The woodlands seem both to surround her and to emanate from her in Permutation #2. Landscape becomes a metaphor for self. While her photographs recreate the emotional impression of time spent in the woods, they are also, she says, "part of a larger query regarding ideas of the self, issues of representation, and the place of African-American women in today's visual culture."
Justine Kurland's Summer of Love is a staged photograph with figures in various amorous groupings scattered on beach dunes. In this formal composition only the dog at the center of this tableau seems aware of the observer. Kurland's work often explores utopian fantasies, with communities and individuals in communion with nature. It is, in a sense, a contemporary sharp-focus view of Eden.
Nade Haley's installation Raveling, a DVD projection with sandblasted glass, is about place, time, and the sense of things coming apart. The word raveling has multiple and seemingly contradictory meanings: to unravel, to clarify by separating the aspects of, and to tangle or complicate. In Haley's DVD a canoe passes through reeds at the water's edge. Light reflects on the surface of the lake catching glimpses of blue sky and rocks beneath its translucent surface. The DVD, comprised of four sections, is projected onto four pieces of sandblasted plate glass each with a still image from one of the sections. The constant movement, slowed by fifty percent, and the lack of a horizon line cause a disorientation. One is lost in a hypnotic sequence of patterns. The effect is mesmerizing. The DVD was filmed at Lake Ainsley in Cape Breton, Nova Scotia.
John Kalymnios kinetic work, Seascape VI, also relies on actual motion and horizonless fragments of the landscape. Large photographic transparencies of waves move back and forth in layers. It is as if we have a small window onto a vast body of water. Lighted from behind, the waves are luminous and a color saturated blue. Decidedly low-tech with its creaking gears and simple mechanism, the work is in essence an "ocean machine", transporting viewers to a place controlled by the tides and the wind.
Vija Celmins also focuses on isolated details of nature without reference to horizon line or ponts of orientationwaves on the ocean, the night sky, the desert sands. Her paintings are meticulously worked from photographs, her own and those taken by others. In Night Sky (Reversed), the field of stars is photo-based. The photograph is a negative, making the night sky as light as day.
In Sally Apfelbaum's work the landscape is approached conceptually. Untitled (Giverny), photographed in Claude Monet's garden in Giverny, France, references the Impressionist tradition and presents a flowerbed with a history. Deconstructing the garden into cardinal points, Apfelbaum produces an image that is a composite of views to the north, south, east and west. The photograph with multiple exposures on one negative produces a cohesive image and a subtle sense that it is not entirely naturalistic.
Lesley Punton works in an unusual hybrid of painting and drawing. On first viewing Forrest #6, the canvas presents a sensuous white surface. Closer inspection reveals a web of finely drawn graphite lines on the smooth paint: spiky loops and scratches that sketch in faint images of underbrush and trees. Extending vertically and horizontally across the surface, they are specific segments of a boundaryless wilderness. Simultaneously dense and minimal, Punton's work dwells on the mysterious fullness and uniformity of the forest, and the exquisitely varied detail it contains.
Abstraction is integral to the landscapes of Louise Belcourt. The monumental green shapes in Middle Cedar #7 resemble giant furniture. Friendly presences, they are in fact images of clipped hedges in a place by the sea in Nova Scotia that she has been visiting for many years. Painting outdoors, Belcourt captures the sense of air, light and space in the landscape, but the paintings are finished in her studio. For Belcourt, representation and abstraction are equally fundamental impulses. Using the tension between the image and the paintings physical presence, she achieves a sense of vastness that is visceral and also psychological.
Susan Hartnett has fused an abstract expressionist sensibility with a closely observed chronicle of natural phenomena. Each of her vibrant pastels refers to a specific day, a moment lived outdoors the season, the light, the windexactly what it was like on that day, in that place. The painted paper ground for Nov. 8 01 Bright and blowing is an autumnal orange. Lines and marks seem to explode across the surface, bobbing and weaving in a shallow space. They evoke beach grasses, twigs stripped of leaves, last berries on branches swaying frantically in the autumn wind. We infer this from the title. A distilled notation of a specific sensory experience, the composition remains transcendently abstract, its strenuous energy a metaphor for the vitality of the natural world.
Abstraction and symbolism mark the landscape imagery of José Bedia. Bedia, a practitioner of Palo Monte, an Afro-Cuban religion, draws frequently from its symbols and imagery as well as from Native American sources. The landscape in this exhibition, Mato Paha, 1995, literally Bear Mountain, is a location in where shamen are initiated. A photograph of a man smoking a sacred pipe is applied to the surface of the canvas in two places. Two stylized mountains repeat his outline and in essence are the figure. Lines within describe the skeleton and internal organs and connect the figures, the hills and the earth. The lines are incised with fingers dragged through the paint, direct and emotionally charged. A lone figure strides between the two hills as a stylized horse ascends. Other figures are hidden in the landscape. Bedia's style has been described as "primalist," working with spiritually derived symbols. Bedia studied, as an apprentice, with a Lakota shaman on the Rosebud Reservation in 1985.
For this exhibition the definition of landscape is intentionally broad and a study for Christos and Jeanne-Claude's The Gates, Central Park, is included as an aesthetic intervention in the urban landscape of New York City. In February 2005, The Gates, Central Park, a project first conceived by the artist team Christo and Jeanne-Claude in 1979, will finally come to life. Thousands of panels of saffron colored fabric will be suspended from slender post and lintel portals crossing twenty three miles of the walkways in Central Park at intervals of 10 to 15 feet. For sixteen days, the Christo Gates will interact with Olmstead's landscape, briefly creating a new and magical environment. According to the artists, pedestrians will experience The Gates as a golden ceiling casting warm shadow. From the buildings surrounding the park they will seem like a golden river appearing through the bare branches of the trees and highlighting the shape of the footpaths. The working drawing in this exhibition is filled with technical information. The left-hand panel is the placement of the portals, outlining the shape and the scope of the project. The larger panel incorporates fabric samples, photography and writing to give the feel for the appearance of the piece and precise information about materials and structural techniques. Like the project itself the drawing combines technical and visual elements to produce an esthetic whole.
Like all of Christo and Jeanne-Claude's outdoor installations, including Valley Curtain, Running Fence, Surrounded Islands and Wrapped Reichstag, The Gates represents the culmination of years of political negotiation to obtain permits, environmental impact surveys, and engineering studies. All these works are temporary. No public funds are ever used. From start to finish, including the task of restoring the site to its original condition, they are funded by the sale of Christo's drawings.


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Call them the Little Bears That Could. If they can, that is. The Bears (9-6) haven't so much put on a playoff rush as they have coughed and sputtered and pulled wins out by their fingernails.
Call them the Little Bears That Could.
If they can, that is.
The Bears (9-6) haven't so much put on a playoff rush as they have coughed and sputtered and pulled wins out by their fingernails. But they do have a three-game winning streak for the first time in three years, and one more win Sunday in Houston, plus a Minnesota loss to the Super Bowl champion Giants, will give Chicago the NFC North title. Losses by Dallas and Tampa Bay would also offer a wild card alternative.
"We've been finding ways to win. We've got to find another way to win this game," defensive end Adewale Ogunleye said.
What's wrong with the old way? The Bears have won ugly and rallied in the final seconds to edge the Saints and Packers in overtime the last two weeks, despite being outgained by more than 100 yards both times.
"That shows our mental toughness," Ogunleye said. "We could have easily thrown it in, but instead we went out there and fought and did things to win the game. Ugly win, that shouldn't be a statement. Any of those games we lost early, I would love to have had an ugly win."
The Texans (7-8) could have used an ugly win or two, also. Instead, they've specialized in pretty defeats. Houston has passed for a franchise-record 4,146 yards. Andre Johnson leads the NFL with a team-record 1,427 yards receiving on 105 catches and rookie Steve Slaton has set team records with 1,190 yards rushing and a 4.8-yards per carry average.
Yet Houston has been held to 16 points or fewer in three of its last five games.
"We're moving the ball up and down the field," Johnson said in a conference call. "We don't have the points to show for the yardage, but we're hitting on all cylinders and moving the ball very well."
The Bears have been sputtering along on one or two cylinders.
"It worked in the end. That's all that matters," left tackle John St. Clair said. "It's unbelievable the resiliency we have on this team."
Matt Forte made it work in the end last week. The rookie had 65 of his 101 total yards on Chicago's final two pivotal drives against the Packers.
"We finally just dug deep and said we had to make the play," quarterback Kyle Orton said. "He is certainly our work horse. We are going to give it to him in crunch situations."
The Bears would like to take it away from Johnson, Slaton and quarterback Matt Schaub.
"We haven't scored in a while on defense," Ogunleye said. "This would be a good game to get back on the board."
The Bears are tied for the NFL lead with 31 takeaways, but have only six in the last four games.
"We need to get some takeaways," defensive coordinator Bob Babich said. "We need to get pressure. It's a big part of our game. Whether by the front four or a blitz, we need to get pressure. We want the ball to come out quick. It allows us to make plays."
And the offense finds a way to make plays at the finish.
"Sometimes it doesn't start out like you want it to," receiver Rashied Davis said. "All you can do from that point is show your character, finish and not give up."
Orton said "the guys seem to get it done in those situations," but he'd rather not go there.
"Hopefully, we don't need to depend on just late in games," Orton said. "Hopefully, we can take a lot more pride in playing a full game."
And, with the right help, extending their season.
"It is hard to think this might be it for us, but we put ourselves in this situation," Ogunleye said. "I have faith that everything will pan out. I think if we finish 10-6, good things will happen."
Matt Trowbridge can be reached at (815) 987-1383 or firstname.lastname@example.com.
Bears keys to the game
Discover a passing game. Maybe leaving Soldier Field's arctic conditions for Reliant Stadium's retractable roof will help the Bears top 200 yards passing for only the second time in nine weeks. "It's always a lot easier when everything is a lot warmer and it doesn't take much to get warmed up," receiver Rashied Davis said. "We love Bear weather, but as a receiver, you want to be able to get loose and run around."
Danieal Manning, Part IV. Manning has returned at least one kickoff more than 50 yards three weeks in a row to take over the NFL lead in kick returns. Devin Hester also showed signs of life with a 24-yard punt return to set up Chicago's game-tying, fourth-quarter TD Monday. "We're gong to need some big returns from Devin or Danieal," defensive end Adewale Ogunleye said.
Remember Steve Smith. Steve Slaton (1,190 yards, 4.8 average) scares the Bears, but Andre Johnson (1,427 yards on 105 catches) is even more dangerous. The Bears should do to Johnson what they should have done to Smith when he destroyed Chicago with 12 catches for 218 yards in an infamous playoff loss three years ago: double cover him wherever he goes.
No more brain locks. Kyle Orton has thrown eight interceptions in the last three and a half games, mostly on bad reads. But he has eight games with zero interceptions. Make it nine and the Bears should win.
— Matt Trowbridge


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Kaushik Ganguly talks to Screen about his latest feature Sound.
Kolkata-based filmmaker Kaushik Ganguly is known for exploring sexuality through films such as Just Another Love Story (2010) and Empty Canvas (2005). His last film, Laptop, was selected for DIFF's Muhr AsiaAfrica competition last year.
In 2012, Ganguly returns to Dubai with his latest feature Sound, based on the life of a foley artist in Tollywood (Kolkata's local film industry). The film will screen in the Celebration of Indian Cinema section.
Where did you get the idea to make a film about a foley artist?
When I was working on the soundtrack of Laptop, my sound designer and I were discussing the character of the blind man that I play in the film. We decided that the ambient sound should be louder for him, because blind people concentrate on sound more than others. Then I realised how amazing it is when you ignore human voices and listen to ambient sound.
I thought of foley artists because they do the foley [sound effects] on a silent picture. In this set-up, you only hear effects and your brain tells you those sounds are more important. Human voice becomes secondary audio. This is what the film is about.
Can we call it a tribute to foley artists?
Definitely. They are the unsung heroes. We've never treated them well. Most of the directors have never met their foley guys. They come at night, work quietly and leave. The foley artist in my film also works as an insurance agent. They have to do something else in the morning as they are underpaid.
Internationally, filmmakers are doing sync sound but in Indian cinema it will last for another 25 years I suppose. We depend on dubbing a lot. As long as you have dubbing, you have to respect foley.
Was it easy to find funds for such a film?
I found an amazing producer in Gautam Kundu of Brand Value Communications who also produced Laptop. He doesn't even ask me about the subject of my films. No other producer would make a film with a foley artist as the hero.
What international prospects do you see for Sound?
I'm very hopeful because this film has an archive value. In the international arena, very few foley artists are left. It's high time we showed respect to these kind of technicians.
The international community should take to the film - they always think of an Indian film as lot of music and songs. But this 100-minute film has no music or even background score.
Won't it hamper your chances in the local market?
Kolkata is an amazing place. They will love it because they are not going to miss music or background score. I am going to promote it as the USP of the film.
Your last film Laptop also screened in Dubai. What do you think of the festival and the audience?
What I really liked about the audience in Dubai is that they are knowledgeable about cinema. The hospitality provided by DIFF is unparalleled and the quality of projection was superb. But I suggest they give more visibility to the films and filmmakers.


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Max wrote:Great demos guys! With enough power, I don't see why a full-sized couldn't fly with one motor of each pair being out. Depending on how the yaw balances out I suppose. Can it fly with both motors on one arm out, though?
Steve, how are you driving the extra 4 motors? Parallel pairs from onboard motor drivers, or you have extra ESCs and all that?
Well with both motors on one arm out it is the same as a quad with one out. I could show you a number of video's in testruns for Srinath that all failed. Only one attempt with heavy code changes did stay in the air for a couple of seconds .
We have been trying to get the 'quad' or in this config the x8 to get it yawing so fast the thrust loss would be compensated. Well, it could work on a small and cheating way with some balance shift, but practically.. no (well, I couldn't anyway).
@Steve, that is a great idea for getting props close together. A couple of years ago I did see an attempt from Hacker motors in the time that brushless was not that powerful to stack two motors with one motor having a hollow shaft, where the bottom motor shaft was running through.
With pancake motors it could be done. Only the bearings must be very tough because the stacked props could create quite a nasty shake.


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About this NVQ assessment
The Level 2 NVQ Diploma in Plant Operations (Construction) – Transporting Loads: Tractor is designed to assess occupational competence in the workplace. Learners are required to demonstrate their skills, knowledge and experience in the operating of tractors with towed equipment in construction. This qualification is suitable for practising tractor operators.
This NVQ provides formal recognition of practicing as a constructiontractor operator.
Q2W offer a nationwide NVQ service, made possible using our on-line NVQ portfolio Learning Assistant. Your NVQ will be assessed using the product of your work e.g. contract documents. Your knowledge will be assessed using professional discussion or written reflective account.
How much will my NVQ level 2 cost?
Price: £750.00 + VAT per delegate.
Discounts may be available if colleagues working on the same site register with Q2W.
See regional zones for further price information.
NVQ Payment Terms
50% to begin the NVQ process; followed by 50% upon completion.
(Payment plans may be available upon request)
NVQ Entry Requirements
The potential learner must be able to demonstrate that they can meet the skills, knowledge and experience requirements of the NVQ before enrolment.
How long will my NVQ take to complete?An NVQ assessment plan will be agreed during your Initial NVQ assessment & NVQ Induction; a planned end date will be agreed. However, we would expect your NVQ qualification to be complete with sixteen weeks.
How is the NVQ qualification assessed?
Learning Assistant is the on-line NVQ portfolio used by Q2W. During the Initial assessment your assessor will identify the most appropriate optional units and provide advice and guidance regarding the range of evidence required. At this stage you will be introduced to Learning Assistant and uploading evidence for your NVQ. Feedback regarding your progress will be provided in a variety of ways: contact records transmitted using Learning Assistant, which also includes a % complete indicator. Your assessor will also maintain regular contact by phone, text message and email.
Your assessor will provide support throughout the assessment process to ensure timely completion of your NVQ.
Industry recognition & benefits
The Level 2 NVQ Diploma in Plant Operations (Construction) – Transporting Loads: Tractor Operator qualifies the holder to apply for the CPCS or NPORS blue skill card.
Construction Plant Competecne Scheme (CPCS) & NPORS
The Construction Plant Competence Scheme (CPCS) & NPORS provide skills cards for the plant sector of the construction industry. Both schemes are available to NVQ candidates registered with Q2W.
Experienced tractor operators must complete the NPORS or CPCS theoretical and practical tests before registering for their NVQ. NVQ candidates must gain recorded on the job experience before completion of their NVQ. Successful completion of the NVQ must be accompanied by operator CPD record and in date health, safety and environment test completion certificate before applying for the Competent Operator Card.
Novice tractor operators must attend CPCS or NPORS training, and successfully complete theoretical and practical tests before registering for their NVQ.
For further details please contact our enquiries team for further information, guidance and prices.
What is a CITB ATO?A CITB ATO is an organisation which provides construction training courses and qualifications to a defined and industry-agreed training standard. As an approved ATO, Q2W will upload your NVQ achievement to trigger an automated NVQ grant payment of £600.00 (subject to eligibility).
How do I claim my grant?
You can claim NVQ achievement grants if you're an employer who is registered with CITB. This includes small employers (wage bill of less than £80k) who don't have to pay the levy.
CSCS Card Information
You will apply directly to CSCS for your card after you receive your NVQ certificate through the post from us. Link below for more information:https://www.cscs.uk.com/applying-for-cards/
Assessment contents & units
NVQ level 2 Plant Operations (Construction) – Transporting Loads: Tractor Operator
Mandatory Units:
- Confirming to General Health, Safety and Welfare in the Workplace
- Conforming to Productive Working Practices in the Workplace
- Preparing and operating tractors with towed equipment for nonagricultural activities in the workplace


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Tonight Pastor Michael Newnham and I review various Bible Software packages and Online Seminaries.
To listen to the program from the site please click the link provided below. To save this program to your portable listening device please right click the link below and select "save as".
Links to the various online Seminaries
Fuller Theological Seminary
Reformed Theological Seminary
Covenant Theological Seminary
The Gospel Coalition
Dallas Theological Seminary
You can access the various Bible Software packages at the link below;


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Crab Pendant
Call for Price
Playful crab pendant with blue topaz and freshwater pearl.*Prices are subject to change based on fluctuations in metal prices and currencies
Michou calls her jewelry "Art to Wear," and indeed each piece is a diminutive sculpture created with exquisite, one-of-a-kind details: Tiny, gleaming hinges that move between fluid elements of filigree, granulation, scrollwork, or repoussé; luscious 22K gold vermeil accents; vibrant faceted or cabochon stones set against gleaming sterling silver, polished bright or brushed to a pearlescent finish. Michou's Art to Wear jewelry is perfect for every occasion, with dramatic pieces born of inspired vision and lovingly brought to life by artisans in Bali.


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Thank you for registering an account! With this account you will be able to save items to your favorites, place items in a cart, and share your digital images with others.
by creating an account, you agree to our Website Policies and Privacy Policy
Due to variances in monitors, the colors and patterns displayed may vary slightly from the actual product. Physical samples should be ordered prior to specifying.
Geometric stars canvas this pattern, providing an arrangement of neutrals and pops of color to glam up any space. Touched with a pearlescent sheen, this wallcovering will give your space the complimentary bright décor it has been missing.
This item is also available 27" wide as MDD3047N


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Second Friday of every month from 5pm - 9pm
Parents are invited to take a night to themselves while their kids can have a fun time playing sports, doing crafts, and participating in different social games and activities. Pizza and refreshments are provided!
Ages 6-12
$10 for the first child
Each additional child is $5
Registration is required online.
For more information please call Crews Recreation Center at 704-708-1287


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Range: 20mm Strap
This interchangeable leather strap is made to fit any watch from the New York 41mm, Melbourne 43mm, London 41mm, Baja and Auckland ranges. Change up your look.
Exclusive, limited edition releases on the 5th of each month. Sign up to receive your special access code.
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Receive updates and compelling news on VisionFund International and the network
of microfinance institutions by email.
Outstanding articles, news stories, and achievements are regularly highlighted with
captivating photos and media. Sign up today.
Media Elements
Products and Services
What do we offer?
We grant short term loans to micro-enterprise owners who require funding to develop their businesses. FODEMI feels confident regarding its clients' commitment and willingness to progress. This is why the guarantees and requirements asked of the beneficiaries are minimal. The most important requirement is their solidarity and moral responsibility.
Every client receives supervision and advisory support from a team of technicians in charge of guaranteeing a safe utilization of funds. Complete information is provided to the clients regarding the way our credit services operate.
§ Financial Products
§ Community Banking
§ Credit Simulator
§ Individual Credit
§ Solidarity Group
§ Non-Financial Services
§ Advisory Support
§ Training
FODEMI has 3 different business and agriculture loan products for community banks, solidarity groups and individuals, and in these we have activities like: commerce, services, industry, agricultural, having half of our clients in this last one. Group loan methodology covers over 96% of its clients and 92% of its loan portfolio.
VisionFund offers savings programmes that enable those
without a reliable and regular income to save funds to be used in the event of
disaster or misfortune. VisionFund also works with World Vision to offer savings
groups, where members from a community come together to save and borrow from a
central fund.
Please contact our office to find more about specific
programs offered at FODEMI.
©2014 World Vision International. All photos are the property of World Vision.


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Japanese art and Ito Shinsui: bijinga and landscapes
Japanese art and Ito Shinsui: bijinga and landscapes
Lee Jay Walker
Modern Tokyo Times
The artist Ito Shinsui (1898-1972) left a lasting legacy because he produced many stunning works of art. His art work came to the fore during the Taisho and Showa period in Japan and he became famous for stunning images of beautiful women. However, Ito Shinsui also produced many amazing landscape paintings and he and a few other major artists maintained the rich tradition of Japanese art during this difficult and dramatic time in Japanese history.
He was born in Tokyo and because of his father becoming bankrupt after making rash investments it was clear that he couldn't remain at elementary school. This event would become a blessing in disguise because Ito Shinsui became a live-in apprentice and soon it would become apparent that he had been blessed with many artistic talents.
Ito Shinsui's apprenticeship took place in a printing shop and this opened up a new world because now he could learn important printing techniques and study more about the arts. His apprenticeship started in 1911 under Kaburagi Kiyokata and within one year and at the tender age of 14, his paintings became known to the general public because Kaburagi Kiyokata entered them into exhibitions.
Therefore, by an early age it was clear that this young teenager was destined for a bright future. Ito Shinsui belonged to the Shin Hanga movement and the famous publisher, Watanabe Shozaburo, developed his reputation in the commercial area because of his many links and high motivation. This relationship would last many decades and both benefitted greatly.
The "Eight Views of Lake Biwa (Omi)" became highly acclaimed and Kawase Hasui was greatly inspired by this painting collection. Other famous collections by Ito Shinsui include "Twelve Figures of New Beauties," "Collection of Modern Beauties," "Twelve Views of Oshima," "Three Views of Mount Fuji," and "Ten Views of Shinano." Also, what is remarkable is that the "Eight Views of Lake Biwa (Omi)" was completed in 1918 when Ito Shinsui was extremely young.
Another stunning piece of work done by Ito Shinsui before he was 19 years of age is "Young Girl Washing."The composition and passion of this stunning masterpiece is extremely striking. This applies to the sophisticated composition for such a young individual and the innocence that the image portrays.
Dieter Wanczura comments that "Shunsui was a master of bijinga – images of beautiful women in a sensual, refined, technically perfect and appealing manner. The artist's bijinga are marked by a frequent use of a light gray background and red or blue colors in the garment. Another favorite subject was landscape prints."
The Shin Hanga movement which Ito Shinsui belonged to left a lasting legacy because of the art form it produced. The Artelino website states that "The shin hanga movement integrated Western elements without giving up the old values of Japanese, traditional woodblock prints. Instead of blindly imitating Western art styles, the new movement concentrated on traditional subjects like landscapes, beautiful women and actor portraits. Inspired by European Impressionism the artists introduced the effects of light and the expression of individual moods. The result was a technically superb and compelling new style of Japanese prints."
Ito Shinsui left a remarkable legacy because from such an early age it was apparent that he was extremely gifted. Therefore, despite the turbulence of his early childhood when his father faced severe hardship, Ito Shinsui overcame this obstacle and graced the world of art.


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Course Information
Bachelor Degree
Selection based on : ICET
Admission Process
The college makes admissions in Both MBA and MCA program in order of Merit obtained by the students in the common entrance test conducted by the Government i.e., ICET - (Integrated Common Entrance Test). The breakup of admissions is as under :
- Conveners Quota (Students in this category are allotted by the convener of ICET) 70%
- Management - Quota (Admissions in this category are made by the college management in order of Merit obtained in the qualifying examination i.e., B.Sc., B.Com & B.A etc., students need not passes a rank to be eligible to obtained admission in this category 30%.
The college solicits admission application forms from prospective, eligible students seeking admission in both MBA and MCA Program by advertising in atleast One English, Two Urdu and One Telugu leading daily newspapers. The students are allowed a minimum of 10 days to apply for admission by obtaining a admission application form by paying Rs.300/- and another Rs.200/- towards registration.
Subsequently the college displays the first list of Merit students and allows them 5 days to pay their fee. Thereafter the Second and Third list of students in order of Merit is displayed if need be. In case of Seats still remaining unfilled, then spot admissions are made to fill up the vacant seats.


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Ana Ivanovic, a grand slam winner and seven times a season-end top 20 player reached the first grass court final of her career on Saturday at the Birmingham Open.
The 26-year-old former world number one from Serbia did that with a thumping 6-2 6-2 win over Zhang Shuai, a steadily improving Chinese player contesting her first Premier level event in only her second grass court tournament.
By contrast Ivanovic has been trying to overcome the uncertainties of this surface for most of her career, and claimed she is finally achieving that at the Wimbledon buildup event.
She certainly hit the ball with unstoppable force off the ground, especially from the forehand, and grew conspicuously in confidence as the match went on.
However that happened only after an indifferent start in which she went 0-2 down
"It was important to stay calm, because it's grass and it can slip away from you fast," she said. "I was happy to stay calm and get back into the match."
She also did so by improving her ratio of first serves, creating a better platform for her ground-stroking power, which in turn made Zhang feel that she had to do more with the ball, bringing more errors.
The 25-year-old from Tianjin sometimes generated the rhythm and the angles which had helped her to three good wins during the week, but found it difficult to reverse the tide of the match once it had turned against her.
After going 0-3 down in the second set Zhang showed brief signs of getting back into it at 2-4, but at that stage Ivanovic found some of her most flowing tennis which almost made her look like a grass court natural.
She was aided by a bad bounce which took her to match point, which she converted with a trademark deep return combined with an imperious forehand topspin winner.
"Zhang is a great player and you are going to hear a lot more of her," Ivanovic said of the woman who will not this year emulate her compatriot Li Na, the winner of the title four years ago, but who may nevertheless have the consolation of rising above her career highest ranking of 34.
Ivanovic added: "It would be wonderful to win a grass court title now. It would be a dream come true. But it's also good for Wimbledon, having some good wins."
She will play the final against the winner between Casey Dellacqua, the 16th seeded Australian aiming for her first WTA Tour singles final, and Barbora Zahlavova Strycova, an unseeded Czech seeking her first grass court final.


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Links on this page refer to multimedia resources (podcast, vodcast, audio recordings, video recordings, photos) related to FreeBSD or of interest for FreeBSD users.
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AsiaBSDCon 2009 Paper List
Source: AsiaBSDCon
Added: 24 May 2009
Tags: asiabsdcon, asiabsdcon2009
FreeBSD and SOI-Asia Project Mohamad by Dikshie Fauzie (753 Kb, 4 pages), Deprecating groff for BSD manual display by Kristaps Dzonsons (114 Kb, 8 pages), FreeBSD on high performance multi-core embedded PowerPC systems - Rafal Jaworowski (359 Kb, 12 pages), An Overview of FreeBSD/mips by M. Warner Losh (67 Kb, 8 pages), Active-Active Firewall Cluster Support in OpenBSD by David Gwynne (154 Kb, 20 pages), Mail system for distributed network by Andrey Zakharchenko (150 Kb, 3 pages), OpenBGPD - Bringing full views to OpenBSD since 2004 by Claudio Jeker (401 Kb, 6 pages), Environmental Independence: BSD Kernel TCP/IP in Userspace by Antti Kantee (213 Kb, 10 pages), Crypto Acceleration on FreeBSD by Philip Paeps (58 Kb, 3 pages), Isolating Cluster Users (and Their Jobs) for Performance and Predictability by Brooks Davis (662 Kb, 7 pages), PC-BSD - Making FreeBSD on the Desktop a reality by Kris Moore (351 Kb, 9 pages), The Locking Infrastructure in the FreeBSD kernel by Attilio Rao (55 Kb, 7 pages), OpenBSD Hardware Sensors Framework by Constantine A. Murenin (245 Kb, 14 pages)