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PLASTIC WATER BOTTLE PARTY. Adrian Grenier at the Charity: Water ball in 2008, 2007, and 2006. From PatrickMcMullan.com.
Today Page Six reports that when Entourage's Adrian Grenier recently attended the screening of the HBO documentary By the People: The Election of Barack Obama, the enviro-star didn't drink water in order to protest the packaging's environmental impact. Curious, then, that Grenier is such a fervent supporter of Charity: Water, an organization that sells bottled water for $20 a pop in order to raise money for clean water in Africa. Grenier, who has hosted Charity: Water's annual holiday parties since 2006 and has attended poker nights for the cause as well, has said that he doesn't agree with the fact that the non-profit raises funds by hawking H20 bottles, but that he supports sustainable charities. Fair enough, although this eco-word swap doesn't fool us. Come on Adrian, plastic what you preach!


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Frequently Asked
Haida Gwaii Semesters F.A.Q.
Living in Haida Gwaii is thrilling, and you will soon find yourself surrounded by a dynamic community and new friends. However, it is important to realize that the communities on Haida Gwaii are fairly small and isolated, with just 4,500 people living on the entire archipelago. The remoteness of these villages provides an opportunity to swap hectic city life for a quiet escape and the experience of peaceful island life.
The 'off-season' (fall and winter) on Haida Gwaii is spectacular and offers many opportunities from outdoor excursions and community involvement to quiet down-time and serene walks along the shoreline. Students must come with the awareness that it can also be quite dark, rainy and quiet — being up North means daylight hours can be quite short in wintertime months. Haida Gwaii has very different kind of nightlife, with most businesses closing at 5pm. Students should be good self-entertainers who are happy to spend time on their own or with each other. Students will have plenty of opportunity to pursue personal hobbies and interests and are encouraged to bring along items such as extracurricular reading material, musical instruments, art supplies and/or a kayak, a bicycle or a skateboard.
Despite their size, the Village of Queen Charlotte and HlG̱aagilda (Skidegate) are surprisingly lively. You will find that as you begin to meet locals and become immersed in the community, you will receive an endless stream of invites to activities, potlucks, community events, workshops, dances, hikes, and more! Being open, talking to locals, and engaging with the community around you are the best ways to settle in to your new home. Be warned, more than a few students have fallen in love with and moved to Haida Gwaii after the end of their HGI programs!
It is important to understand that immersing yourself in Haida Gwaii is a key part of the Haida Gwaii Semesters experience, and will enable students to experience the full richness and vibrancy of this program and of life on island. However, students should take into consideration that access to services and lifestyle on Haida Gwaii will likely be very different than they are used to at home: slower internet and mail service, limited medical services, less variety in grocery stores etc. HGI staff works hard to provide students with detailed information packages after students have been accepted, and are happy to answer any questions students may have along the way.
Students have a range of housing options throughout both the Village of Queen Charlotte and Skidegate communities. Most accommodation is furnished and has kitchen facilities. The options range from hotel-style to boarding with a family. A detailed list of accommodation options is provided to students accepted into the Haida Gwaii Semesters at least one month in advance of students' arrival. There are a wide range of options to choose from, including room and board with local residents or renting an entire house with other classmates. We'll help you find a scenario that meets your needs.
Make sure that your accommodation is furnished with the necessities, has reliable internet connection, and is within walking distance to the town centre. It is also advisable to review and sign a working rental agreement with your new landlord. Those interested in getting a head start can visit these sites for a few options in HlG̱aagilda (Skidegate) and the Village of Queen Charlotte qciobserver.com, gohaidagwaii.ca or haidagwaiitrader.com.
We asked alumni of our programs what they would relay to incoming students, and this is what they shared with us!
"I wish I had spent more time talking face to face with people on-island about different projects. There are so many talented people on Haida Gwaii and there is potential for people to collaborate and create opportunities for themselves. I also wish I had known I did not need to bring a suitcase full of piano books. It definitely is not necessary to pack a lot of things, just essential things like gumboots." Kim, Alumni 2013
"You really need to be dedicated and willing to 100% commit yourself to this experience. You have to be willing to change the way you think about things, take a seat in the listening chair, and learn to truly value others' stories and ideas. Top quality for a potential student is respect, patience, creativity, and thoughtfulness. Also a sense of humour." Rhiannon Moore, Alumni 2012
"It's important to trust in the experience and know that all things come in good time." Emily Collins, Alumni 2010
"The remoteness of Haida Gwaii was still surprising to me even though I knew where I was going. My biggest regret from my semester is not coming out of my shell sooner. Haida Gwaii is a small community but one thriving with activity. It is important to push yourself out of your comfort zone and to mingle with locals. That is how you find out about all the amazing stuff going on in the community. Engaging with everyone within and outside the program is the best way to maximize this incredible experience." Emily Salt, Alumni 2014
Each student accepted to Haida Gwaii Semesters is sent an information package that includes more specific details. Email firstname.lastname@example.com for more info.
Should you have any further questions, HGI staff would be happy to help!

subset: commoncrawl


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Juan Acha, "La necesidad latinoamericana de un pensamiento visual independiente," in Ensayos y Ponencias Latinoamericanistas (Caracas: Galeria de Arte Nacional, 1984), 57–73.
Encouraging associations across periods, geographies, and mediums, this section draws together diverse contents from post.
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Cultural Guerrilla: Juan Acha and the Peruvian Avant-Garde of the 1960s
Writer and curator Miguel A. López offers an overview of Juan Acha's early articles of the 1960s. Acha established himself as a vigorous critical voice in Peru at a time when Conceptualist artistic approaches and political events such as the riots and military coup of 1968 strongly inflected the local art scene.
Read the essay in Spanish here.Show More
Writer and curator Miguel A. López offers an overview of Juan Acha's early articles of the 1960s. Acha established himself as a vigorous critical voice in Peru at a time when Conceptualist artistic approaches and political events such as the riots and military coup of 1968 strongly inflected the local art scene.
Read the essay in Spanish here.
Juan Acha's critical work is one of the most lucid testimonies of the evolution of aesthetic thought in Latin America between the sixties and the eighties. The shifts and turns in Acha's discourse during this time are also signs of a series of changes that transformed culture and society in Latin America, which was quickly affected by the international tensions arising from the Cold War and by the emergence of repressive military regimes in many countries in the Southern Cone. Acha was part of a generation of historians and critics including figures such as Aracy Amaral and Mário Pedrosa in Brazil, Damián Bayón and Jorge Romero Brest in Argentina, and Marta Traba in Colombia that engaged in one of the first sustained debates about the state of what came to be known as "Latin American art." These critics and theorists worked toward generating an interpretive framework through which to think about the arts in their own local contexts, and at the same time tried to formulate alternative responses to the hegemony of artistic discourses from the Northern hemisphere. This led to the creation, in the seventies, of a Latin Americanist discourse that Acha, by urging his contemporaries to produce "independent visual thinking" and to "generate theories of their own," decisively contributed to.1
This essay is a preliminary overview of Acha's early critical work, specifically the articles published in the press from the sixties to the early seventies. Acha was a vigorous critical voice in Peru until 1970, when he decided to leave the country after being unjustly imprisoned and humiliated during the authoritarian nationalist military regime of General Velasco, who seized power in a coup in October 1968. After his release, Acha traveled to the United States, where he stayed for some months before going into exile in Mexico in 1971. The period analyzed here covers the six turbulent years from 1964 to 1970, during which Acha revised his positions regarding abstract and Pop art; encouraged and accompanied the emergence and development of avant-garde aesthetics; and ultimately, in response to the riots of 1968 and the military coup that changed Peru's social and cultural prospects, redefined his own role as a critic. These were also the years in which Acha started to actively participate in the international art scene through trips and lectures that connected him to the debates taking place in metropolitan hubs around Europe and the United States. Acha was thus an active promoter of new ideas without ever ceasing to insist on the need to rethink and reframe foreign ideas through the filter of one's own local concerns.
The Early Years
Juan Acha was born in 1916 in the province of Piura in northern Peru. As a young man he traveled to Germany to study at the University of Munich, where he earned a degree in chemical engineering in 1940. On his return to Peru, Acha worked for various branches of Standard Brands Incorporated, and it was not until 1958 that he published his first articles in the newspaper El Comercio under the pseudonym J. Nahuaca—a play on the letters in his real name. Being self-taught did not stop Acha from enthusiastically contributing to the debates about the existence of a supposed Peruvian style of painting that faced the dilemma of identifying its local roots while, at the same time, responding to international aesthetics. In his early writings, Acha questioned the idea of Modernism as a universal paradigm, and inquired into the possibility of local forms of modernity in dialogue with pre-Hispanic aesthetics. At this first stage, Acha took a skeptical, dismissive stance when tidings of Pop art reached Lima around 1962 and 1963 through newspaper articles and columns, although he quickly and drastically changed his views. 2
1964 was a watershed year for the Peruvian avant-garde. Two major shows at the Instituto de Arte Contemporáneo (IAC) in Lima broke the hegemony of expressionist and lyrical abstraction in the local art scene: a striking showcase of Op art by Argentinean painter Rogelio Polesello, and an exhibition of geometric abstract painting by the German artist and co-founder of the Bauhaus school, Josef Albers. Acha responded to both exhibitions with passionate reviews, which quickly became key texts for younger generations. Similarly, Acha's extensive articles on the 32nd Venice Biennale and Documenta 3 in Kassel, published in El Comercio, made him the best-informed local critic at the time.3 In all of these texts, Acha made no secret of his desire for a renewal of artistic languages, drawing attention to the possibilities that young artists were opening up by experimenting with forms and materials.
The following year, in August 1965, Jorge Romero Brest—then director of the Instituto Di Tella in Buenos Aires and one of the most important figures in Latin American art criticism—visited Peru. During his stay, he gave six lectures in which he expounded on experimental artistic forms, establishing a climate of controversy and praising the incipient shift from painting and sculpture to ambientes (environments) and "situations" that expand the field of experience.4 Acha's affinity with the winds of change that Romero Brest enticingly brought in through new concepts and images could clearly be seen in an article in which he backed the Argentinean critic's ideas, and in his increasingly emphatic demands for new risks in the art of young artists.5 The response was not long in coming. A few months before Romero Brest's visit, a new development heralded new forms of collective organization: the artists' group Señal (Signal)—which would later become the seed of Arte Nuevo—emerged in March 1965 with a belligerent attitude, exalting the markers of technology and speed, and confronting certain ancestralist abstraction trends. However, the first three ambientaciones (environments), which were presented consecutively on November 3, 4, and 5, were the clearest evidence of the excitement and vehemence of the rising avant-garde. The first was Mimuy, an exhibition of works made by Mario Acha, Miguel Malatesta, and Efraín Montero with recycled waste; the second was a group of "environments," participatory objects, paintings, and a frustrated happening by Luis Arias Vera; and the third was a bold presentation of assemblages and muñecones (big dolls) made out of plaster, wire, and fabric by Gloria Gómez-Sánchez. All three offered experiences that resisted understanding and provoked uneasy responses, particularly from members of older generations who were incapable of perceiving the profound changes looming beneath the apparently rough and deliberately crude, ephemeral forms.6 Going against the flow, Acha published a series of critical reviews but also argued in favor of the need for change in the traditional system of artistic representation.
During this same period, new institutions, new sponsors, and new public and private competitions began to boost the presence of Peruvian art on the international scene. One of these milestones was the first Festival Americano de Pintura, also known as the 1st Lima Biennial, organized by the IAC and Asociación Jueves, in October 1966. The biennial was part of the network of American biennials held in several cities in the Latin American continent—starting with Córdoba, Argentina, in 1962—in an attempt to set up a circulatory system for art that would complement the Pan-American "progress and development" program implemented by the United States in partnership with Latin America against the backdrop of the Cold War.7
Acha also accompanied the emergence of the group Arte Nuevo (1966–1968), which quickly took a position against the 1st Lima Biennial, accusing it of glaring irregularities in terms of organizational process: a hasty call for entries, a sloppy selection of participants, and the suspicion that the major prize had been adjudicated in advance. Arte Nuevo released a statement urging guest artists to refuse to participate. In a borrowed space in a former shoe store beside Government Palace, the group organized a parallel exhibition, which was enthusiastically reviewed by Acha and by Romero Brest—who had been invited to head the jury of the Biennial.8 So while the Biennial sought to enshrine traditional aesthetics, Arte Nuevo tried to incorporate a new, challenging language, one that would disrupt the traditional criteria for evaluating art.9
This explosion of the Peruvian avant-garde in 1965 and 1966 led Acha to write a series of articles criticizing mystifying ideas of art and applauding the way in which some young artists were moving away from the model of the self-absorbed artist and instead embracing technology and the media.10 This shift could also be seen in their use of methods and materials—including stencils and spray and powder paint—which gave their work an industrial look corresponding to the transnational-consumption model to which the middle and upper classes aspired. So from 1966 to 1970, this prolific avant-garde euphorically passed through Op and Kinetic art, through geometric and hard-edge abstraction, and through an upbeat Pop art and flashes of psychedelia, before moving on to ephemeral actions, happenings, environments, and other kinds of work along the lines of Conceptual art. Moreover, the manner in which these artists transitioned through the different languages reflected the diverse ways in which all things new were being assimilated: in a kind of negotiation between the naive glorification of aesthetic cosmopolitism and the symbolic appropriation of dominant languages in order to rearticulate powerful political and critical aesthetic projects based on the pressing needs of the local context.
Reform and Revolution
In early 1968 Acha was still optimistic about the role of the avant-garde in Lima. In the catalogue accompanying the exhibition Nuevas tendencias en la plástica peruana (New Trends in Peruvian Plastic Art), organized to coincide with a visit by delegates from The Museum of Modern Art in New York, Acha wrote a kind of manifesto: "These young artists . . . renounce the idea of art as a work of genius or a charismatic product, and adopt an attitude that is not only rational and volitional but also driven by a desire to grasp reality; in other words, a desire to explore the artistic possibilities of the industrial world that we yearn for and that will—sooner or later—fulfill everyday life for Latin Americans."11 At this point, Acha's arguments were still bound up with an idea of cultural modernity stemming from a transnational-industrial model that was seen as desirable. But this position soon crumbled as a result of the sudden changes in the country's political and economic directions following the military coup in October, which brought the developmentalist project to an abrupt end.12
Soon after this exhibition, Acha embarked on a long journey around Europe. He visited Documenta 4 in Kassel and the 34th Venice Biennale, but he was also directly exposed to the May 1968 riots in France, the echoes of civil rights movements of Black communities, anti-colonial ideas, and the emergence of new political and philosophical positions. His critical discourse was radicalized during this time, and once back in Peru, in 1969, he quickly began to publish articles that spread these progressive ideas and demanded a new place for art within the social and political processes in motion. Acha even gave a series of lectures on "New Sociological References in the Visual Arts" to a small group of local artists and critics with whom he tried to set up a space for discussing the political and social roles of art. These sessions allowed Acha to test the ideas he had absorbed on his travels against the new situation in Peru, which was under the self-proclaimed Revolutionary Government of the Armed Forces, led by General Velasco. Acha expounded on the alienating consumption of technology as per theorists from the Frankfurt School (Max Horkheimer, Theodor Adorno, Herbert Marcuse); on the new ideas stemming from French structuralism, psychoanalysis, sociology, and critical re-readings of Marx (Claude Lévi-Strauss, Roland Barthes, Michel Foucault, Jacques Lacan, Louis Althusser); on mass media, information, and language theories (Marshall McLuhan, Harold Innis, Umberto Eco); and on the aesthetic reception theory developed in the field of literary studies by Hans Robert Jauss and Wolfgang Iser, since 1967.13
Like other critics of his generation, including Romero Brest and Marta Traba, Acha sought to create tools for understanding the process of radical transformation of the work of art, as it slowly veered toward increasingly elusive and immaterial processes, actions, and forms of intervention. In his lectures in Lima, Acha compared these new artistic forms with the agitation strategies used by students in the May 1968 riots, which he interpreted as a "cultural act of freedom." In an open gesture of provocation, he stated: "The streets of some Paris neighborhoods become a medium of information: posters on facades and sentences written on walls and sidewalks proclaim the intentions of the movement and spread a new way of protesting. . . The vocabulary employed in these events quickly spreads throughout the world; or at least to all places in which there are awake, non-conformist young people."14
The increasingly restrictive and repressive atmosphere under the military regime also demanded new kinds of responses from the cultural sector and art world. While a significant number of artists yielded to the reformist processes backed by the regime—including major agrarian reform—others stepped back and criticized the government's "revolutionary" rhetoric. Acha, who had been an enthusiastic supporter of early Pop art and of the environments and happenings that he had, between 1966 and 1968, interpreted as critical exaltations of reality, now started to question his former position. In this new phase, he called for a renewed, active role for avant-garde art in exposing the ideological underpinnings of the system of art and culture, and argued that cultural production should openly reveal the tensions in its relationship with Peru's military regime.
This readjustment process led Acha to redefine and test the limits of his role as art critic, at a time when all limits were breaking down. In June 1969 Acha organized a show entitled Papel y más papel: 14 manipulaciones con papel periódico (Paper and More Paper: 14 Manipulations with Newsprint), inviting artists from the avant-garde scene to create a joint "environment" in which he also participated as co-creator.15 For the show, he collected large amounts of old newspapers, which the artists then used to plaster the walls of the room and to build fragile objects, piles, and playful, sensory environments that belied individual authorship. Acha's participation would have been a way of proclaiming his desire to re-signify his role as cultural operator in Lima by calling into question his privileged role as a legitimator of aesthetic taste in favor of generating spaces for complicity and horizontal creation with his colleagues. Another premise of the show was to renounce the label "artists" and instead use the word "manipuladores" (manipulators) as a direct reference to the craftsmanship involved in working with paper, but also indirectly to the processes of production of social meaning in the public sphere through the mass media. These gestures strengthened the social perspective that Acha brought to the field of aesthetics, highlighting the relations between production of art and the modes of its distribution and consumption at a time when these ideas were not part of local cultural debate.
Utopia and Disillusionment
The process of reform that the military regime embarked on between 1968 and 1970 had raised expectations and garnered the support of some sectors of the left. The expropriation of the International Petroleum Company (IPC) in 1968 and the agrarian reform law in 1969 appeared to meet demands to stop the foreign exploitation of the country's resources and to defend the interests of disadvantaged social classes. These measures initially brought the government popular support, which nonetheless soon faded as a result of a series of authoritarian gestures, including the expropriation of certain television channels and press outlets and the deportation of intellectuals critical of the regime.
Midway through 1970, Acha had clearly taken a critical stance against the military government, and he wondered how art and culture could turn that reformist process into a truly revolutionary project. In his articles, he reflected on the new confluences of culture and politics at the global level, emphasizing civil protest against the Vietnam War, uprisings against racial segregation, and the beatnik and hippy movements, all of which he considered to be necessary steps toward a cultural revolution with the power to subvert the established values of a society dominated by bourgeois models. Acha was emphatic: "We are witnessing the awakening of a revolutionary spirit; we are headed towards socioeconomic justice, which will supposedly shape a new mind-set. In view of this situation, a group of young artists has started to express—through mimeographed sheets, events, and discussions—the need for a cultural revolution." He continued: "Cultural revolutionaries or guerrilla do not just want to tear things down. They seek what people fear most: the freedom of individual behavior within the boundaries of human respect."16
Acha never ceased to be a fierce advocate of the experimental spirit, an attitude that made him the target of occasional attacks. For instance, the Colombian-based art critic Marta Traba, who came into contact with the group Arte Nuevo and Acha's ideas on one of her trips through the countries of the south (Argentina, Uruguay, Chile, and Peru) in 1968, ironically described Acha as somebody "enlightened by MacLuhanism," whose "passion for technology leads him to harshly stigmatize" the lyrical abstraction of national roots and pictorial idealization of a mythical past that a significant number of Latin American painters were engaged in at the time.17 Traba argued that the way to set up a "culture of resistance" in Latin America was through a return to abstract painting with ancestral references—as in the work of Fernando de Szyszlo in Peru, José Luis Cuevas in Mexico, and Roberto Matta in Chile, among many others—based on a belief that the avant-garde would be incompatible with underdeveloped contexts. Acha, on the other hand, argued that the avant-garde's capacity to prevent "the negative effects of the industrialization and the consumer society that we aspire to" made it "essential" for the so-called third world.18 By this time, Acha had already started to incorporate the concept of "revolution" as an objective of artistic praxis, and sought to create the conditions for the radicalization of culture.
New artistic developments in the course of 1970 challenged not only the limits of pictorial language but also its rules and institutional nature, laying the groundwork for ideological and political critiques of the art system (art schools, galleries, art history, museums, the art market, and the notion of cultural prestige) as a whole. In his utopian yearning to imagine possibilities for a cultural revolution, Acha even equated the importance of those attacks against bourgeois culture and traditional art values with the emergence of political insurgency movements: "So, in the event of this true revolution, which is not simply about seizing power or the mere socialist distribution of consumer goods but also a mental revolution, the artist in the advance party would be as essential as the propagator of cutting-edge political ideas, or as important as the armed guerrilla fighter is to supporters of the violent revolution."19 By 1970 Acha had already begun to call this attitude "cultural guerrilla."
In June 1970 Emilio Hernández (a former member of Arte Nuevo) held an exhibition called Galería de Arte, in which he dismantled the physical and ideological architecture of the gallery Cultura y Libertad through the use of photographs. On the walls of the gallery, he displayed a map of the gallery's location in the district, its architectural plans, images of an invitation and a newspaper review, and even photographs of the gallery's staff (the director, the artistic advisor, the secretary, and an employee). Hernández's exhibition coincided with a show by Rafael Hastings at the Museo de Arte Italiano, which at the time was the temporary headquarters of the IAC in Lima. Hastings produced two works consisting of handwritten texts on large pieces of paper: one set out the development of the history of Peruvian art from 1821 until 1969, and the other charted Acha's involvement in the art scene (his personal status, his political and economic situation, his institutional commitments, the controversies in which he had been involved during those years, his international travel, and the events he covered as a journalist). The artist critiqued the bourgeois origins of art in Peru and its limited social scope and literally exposed the only art critic at the time who dared to speak out openly against the aesthetic conventionalism of the local scene. Hastings defined this work as an attempt to synthesize "a series of complex critiques around different art-related problems."20 The show was conceived along similar lines to an action by the artist Ernesto Maguiña, who entered a local art competition with a work consisting of a set of framed photocopies of the terms and conditions, the invitations, the jury statement, and the newspaper reviews of a previous competition.
A later action by Yvonne von Mollendorff further intensified the belligerent mood of the time: in August 1970 the dancer issued an invitation through the press to a dance performance at the IAC. During the show, the artist stood still as a recorded voice describing the apparent movements of a dance performance served as provocation to open what would be a heated debate on the political role of art counter to its mere bourgeois consumption: "All art must be reduced to ashes for it to be reborn pure and real, as it has become a commodity that artists and intellectuals endow with an aura of spirituality, deceiving the masses to the point of cretinization." The dancer ended the performance by distributing a manifesto that stated, "It is essential to carry out a cultural revolution, for without it there is no social revolution."21 By then, several of these artists had abandoned the official space of galleries in favor of political agitation and propaganda strategies. Rafael Hastings, for example, performed an action entitled Todo el amor at various parks, where he handed out flyers promoting free love in public spaces. Other examples of cultural activism include an anonymous graffiti series in which the words "Arte = $" were painted on the city's streets and art gallery facades by a group of students from the National School of Fine Arts with Hastings's collaboration. However, the most public and passionately discussed renunciation of the art scene was by Gloria Gómez-Sánchez (a former member of Arte Nuevo), in her exhibition at Cultura y Libertad gallery in October 1970. The artist left the gallery empty except for a poster that read: "The space of this exhibition is that of your mind. Make your life the artwork," which was accompanied by a manifesto stating her decision to switch from aesthetics to ethics.22
Acha greeted these actions with enthusiasm. He believed that it was necessary to extend the boundaries of art and to modify broader social systems, going as far as to challenge the conservative actions of the military regime: "Even the most radical transformation of socioeconomic structures is not enough to change the basis of human mentality and, as such, of society. Any change must go hand in hand with the cultural and sexual revolution, as young people all over the world have been proclaiming over the past two years."23 However, these developments were also cut short in an untimely way. The gradual demise of galleries, art centers, and awards as a result of the shrinking of the middle and upper classes, which had sustained the avant-garde, as well as the government's increasingly repressive measures and the loss of prominent figures who abandoned the art world, lowered the curtain on that period of promising radicalism. The brief imprisonment suffered by Acha in the late 1970s—after he was unjustly and irresponsibly accused of corruption of minors as a result of a police raid on a party where marijuana was supposedly being consumed—was the end of a decade of great expectations. Such humiliation, which did not elicit a action of solidarity from the local art scene, left an indelible mark on Acha's memory, prompting him to leave Peru and seek exile in Mexico a year later, framing that period within a large halo of profound disenchantment.24
Juan Acha, "La necesidad latinoamericana de un pensamiento visual independiente," in Ensayos y Ponencias Latinoamericanistas (Caracas: Galeria de Arte Nacional, 1984), 57–73.
One of the first people to introduce the discussion about Pop art into the public sphere was the abstract painter Fernando de Szyszlo on his return to Lima after spending time as visiting professor at Cornell University in the United States. When an interviewer asked, "What did you find most striking about North American painting?," Szyszlo replied: "People no longer talk much about 'action painting,' and young painters and commercial galleries only appear to be interested in a new trend they call Pop-Art. . . . Its symbol may be a huge and disturbingly realistic papier-mâché hamburger by [Claes] Oldenburg, which has been acquired by The Museum of Modern Art in New York. . . . It is neo-Dada without the rebelliousness and the novelty of the original." Fernando de Szyszlo, "Identidad, problema de la pintura peruana: Szyszlo," El Comercio, Lima, June 17, 1963, 10. At around the same time, Juan Acha participated in a public debate on Pop art at Art Center Gallery, with the director of the National School of Fine Arts in Peru, Juan Manuel Ugarte Eléspuru, and Szyszlo. At this event, Acha argued vehemently against Pop art. See "¿Será el 'Pop Art' una moda transitoria?: un producto del snobismo es 'el arte de las cosas.' Así opina Fernando de Szyszlo," La Prensa, Lima, August 25, 1963, 6.
See the following texts by Acha: "El 'Homenaje al Cuadrado' de Josef Albers," Cultura Peruana 195–96, Lima, October–December 1964, n.p.; "Rogelio Polesello en el IAC," El Comercio, Lima, December 6, 1965, sec. 2, p. 7; "La Bienal XXXII—Venecia," Cultura Peruana 193–94, Lima, July–September 1964, n.p.; "La Documenta III," ibid.; and "¿Qué es la Documenta III?," El Comercio, El Dominical supplement, Lima, September 6, 1964, 9.
Jorge Romero Brest presented several activities. The main one was of a series of four lessons entitled "Novísimas formas del arte visual contemporáneo" (Newest forms of contemporary visual art), consisting of a first lecture entitled "'Imágenes' y 'Objetos'" ("Images" and "Objects") at the Museo de Arte de Lima on August 20; a second entitled "Luz y geometría" (Light and geometry) at the same venue on August 23; a third, "Reivindicación del color" (A Defense of colour) at Universidad de San Marcos; and a fourth, given at the Museo de Arte de Lima on August 27, entitled "De los 'objetos' a los 'ambientes'" (From "objects" to "environments"). He also gave a lecture at the National School of Fine Arts, entitled "Arte argentino 1965" (Argentinean art 1965) on August 21. And lastly, he gave a talk entitled "El problema de la integración de las artes" (The problem of the integration of the arts) at the Society of Architects on August 24. In his lectures, Romero Brest showed color slides of the work of European and North American artists (including Robert Rauschenberg, Andy Warhol, Jasper Johns, David Hockney, George Segal, Arman, and Claes Oldenburg), but also of Latin American and Argentinean artists such as Luis Felipe Noé, Rómulo Macció, Eduardo Mac Entyre, Julio Le Parc, and the more radical "creators of objects": Rubén Santantonín, Marta Minujín, Delia Puzzovio, Juan Stoppani, Delia Cancela, and Pablo Mesejean, among others. See Jorge Romero Brest, "Imágenes y objetos," ms., August 1965, 23 pp. Jorge Romero Brest Archive, Julio E. Payró Art Theory and History Institute at the Faculty of Philosophy and Humanities, Universidad de Buenos Aires, Box 3-Envelope1-Folio L. For a personal account of his public presentations in Lima, see Jorge Romero Brest, "Vine a Lima para decir," El Comercio, Lima, August 26, 1965, 2.
Juan Acha, "Romero Brest: eco de su tesis," El Comercio, _El Dominical _supplement, Lima, September 19, 1965, 6. See also Luis Miró Quesada, "Soliloquio con Romero Brest," ibid., September 5, 1966, 7.
For a specific analysis of these three "ambientaciones," see Miguel A. López and Emilio Tarazona, "Erosion and Dissolution of the Object in the Peruvian Art of the 1960s. A First Barely Perceptible Tracking Coordinate," Papers d'Art, no. 93 (Girona: Fundació Espais d'Art Contemporani, 2007), 189–92. See also the four articles by Juan Acha on these exhibitions: "Próximas exposiciones: Ambientaciones y muñecones," El Comercio, Lima, November 2, 1965, 3; "La 'ambientación' del IAC," ibid., Lima, November 8, 1965, 18; "Exagerado sentido realista: Exposición de Luis Arias Vera," ibid., November 9, 1965, 3; and "Actitud legítimamente artística: Gloria Gómez-Sánchez en Solisol," ibid., November 15, 1965.
For more on this, see Andrea Giunta, "Bienales americanas de arte. Una alianza entre arte e industria," in Diana Beatriz Wechsler, ed., Desde la otra vereda. Momentos en el debate por un arte moderno en la Argentina (1880–1960) (Buenos Aires: Ediciones del Jilguero, 1998), [215]–46.
Once again, Argentinean art critic Jorge Romero Brest was a member of the jury, along with local figures including fellow critic Juan Acha, collector Mario Piacenza, artist Sabino Springett, and Hans van WeerenGriek. See E. M., "Beca de pintura para tres sobres aéreos," Oiga, Lima, December 2, 1966, 24, 26. Another important event was the series of exhibitions that each Arte Nuevo member presented at Cultura y Libertad gallery in 1967. At the same time, the group held an exhibition at Galería Lirolay (March 27–April 8), which was one of the main promoters of experimentalism in Buenos Aires.
For a detailed analysis of the events and controversies around the emergence of the group Arte Nuevo in October 1966, see Miguel A. López, "Cosmopolitan F(r)ictions. Aesthetic and Political Redefinitions of a Concept of Avant-garde in the 1960s," in Arte Contemporáneo. Colección Museo de Arte de Lima, ed. Sharon Lerner (Lima: Museo de Arte de Lima, 2013), 16–45.
See Juan Acha, "Primer Festival Americano de Pintura," El Comercio, Lima, November 5, 1966; Juan Acha, "Espíritu renovador: Exposición del Grupo Arte Nuevo," ibid., November 9, 1966; and Juan Acha, "Las artes visuales," ibid., January 1, 1967, 8.
Juan Acha, "La Vanguardia Pictórica en el Perú," Nuevas tendencias en la plásticas peruana (Lima: Fundación para las Artes, 1968), n.p. The exhibition was held from May 3 to May 20, 1968.
The developmentalism program was the product of the Cold War as a US defense strategy against socialist and communist ideas and the emergence of national liberation movements throughout Latin America, Asia, and Africa. This economic theory positioned economic development at the center of the political agenda of the so-called third world countries, attempting to implement Northern and Western modernity models of the local industrial bourgeoisie in those countries. Among others, three important elements of developmentalism are "(1) import-substituting industrialization focused on expansion of the capital goods sector, (2) capital accumulation dependent on foreign capital, and (3) broad state intervention in the economy." Makoto Noguchi, "Introduction: Globalism and Developmentalism," in Beyond Market-Driven Development. Drawing on the Experience of Asia and Latin America, eds. Costas Lapavitsas and Makoto Noguchi (Oxon: Routledge, 2005), 3.
All his lectures in this series are included in Temas de arte peruano 3. Nuevas referencias sociológicas de las artes visuales: Mass media, lenguajes, represiones y grupos, Juan Acha, 1969 (Lima: IIMA, Universidad Ricardo Palma, 2008), 19–53.
Presented from June 9 to 21, the project included interventions by Mario Acha, Regina Aprijaskis, Jorge Bernuy, Jaime Dávila, Rubela Dávila, Jesús Ruiz Durand, Queta Gaillour, Gloria Gómez-Sánchez, Emilio Hernández Saavedra, Cristina Portocarrero, José Tang, Gilberto Urday, and Luis Zevallos Hetzel, as well as by Juan Acha himself.
Juan Acha, "La Revolución Cultural," Oiga 386, Lima, August 14, 1970, 31.
Marta Traba, Dos décadas vulnerables en las artes plásticas latinoamericanas (México D.F.: Siglo XXI, 1973). Traba criticizes the ideas expressed by Acha in his text for the catalogue Nuevas tendencias de la plásticas peruana (1968).
Juan Acha, "Risveglio Rivoluzionario," D'ars 55, Milan, June 1971, 23. I would like to thank Jorge Villacorta for introducing me to this text in 2006.
Juan Acha, "Vanguardismo y subdesarrollo," Mundo Nuevo, Paris, September–October 1970, 75.
Letter sent by Hastings to the director of the IAC, Alfonso Castrillón, published almost in full in El Comercio. See "Hastings en el IAC," El Comercio, El Dominical supplement, Lima, June 28, 1970, 39. For a complete photo documentation of this piece, see Miguel A. López, ed., Rafael Hastings. El futuro es nuestro y/o por un pasado mejor. 1983–1967 (Lima: ICPNA, 2014).
Begoña Ibarra, "Ivonne: El anti-ballet," La Prensa, 7 Días supplement, no. 634, Lima, August 16, 1970, 20–21. A few months earlier, on February 19, 1970, Yvonne von Mollendorf, together with Jorge Eielson, stormed the Paris metro in an action they called Baller Subterráneo, consisting of a recital of poems by Eielson and drinks served to travelers in the underground carriages. See Emilio Tarazona, Accionismo en el Perú (1965–2000) (Lima: ICPNA, 2006).
For a more extensive reflection on the radical experiences of 1970, see Emilio Tarazona and Miguel A. López, "Otra revolución posible. La guerrilla cultural en el Perú de 1970," in Conceitualismos do Sul / Sur, eds. Cristina Freire and Ana Longoni (Sao Paulo: Annablume, USP-MAC and AECID, 2009), 299–314.
Juan Acha, "La revolución cultural," in ibid.
Acha's imprisonment had a profound and irreparable effect on him. Several years later, when asked about his reasons for leaving the country, he recalled with sorrow: "Having been charged [in 1970] and accused of drug trafficking for attending a party of young artists. Then having been stripped of my human condition during ten days in El Sexto [jail] due to the negligence of a judge, before being declared innocent in the corresponding trial. And anybody who has a record of arrest is at the mercy of many types of harassment." Juan Acha, "¿Por qué no vivo en el Perú?" [reply to a survey of the same name], Hueso Húmero 8, January–February 1981, 108–09.
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I was looking for an example of how someone can completely miss the point, when I stumbled across this joke:
A guy shows up late for work. The boss yells, "You should have been here at 8:30!" he replies, "Why? What happened at 8:30?"
Companies, not unlike people, often miss the point. (Not to single out marketing departments, but they're often the worst offenders.) Here are 3 call center ideas that totally miss the point.
1. Adopting "Industry Standard" Metrics that Don't Make Sense
Companies, in their never-ending quest to build efficient call centers, often put blind faith in metrics that just don't make sense for their business.
For example, I've been asked on several occasions what the industry standard is for Average Handle Time (AHT). C'mon, really? Asking for a universal time limit that applies equally to all call centers totally misses the point. (Whereas, the right approach is to service your customers properly and attempt to resolve their issues in a single call … without trying to hurry them off the phone.)
Measuring and monitoring metrics is an important way for call centers to track their success. However, looking for industry benchmarks to adhere to is rather like putting the cart before the horse.
2. Using an Overflow Call Center That Can't Properly Service Customers
One of the key metrics call centers worry about is the Service Level – answering X percentage of calls in Y seconds (e.g. 80/20 – answering 80% of the calls within 20 seconds). So what happens when companies lag behind? The answer depends, of course, but for many companies the answer is to send calls to an overflow call center – a third-party that will ensure that calls are answered promptly.
If you can't afford to staff up for busy periods, then this seems like a good solution, right? When implemented correctly, it can be. However in many implementations, the outsourced call center isn't actually able to service customers in the way that a company's own agents are.
Potential downsides are the linguistic and cultural differences, the lack of specific knowledge (both of your company and your customer – the lack of access to your CRM database) or simply the lack of incentive to accurately service your customers (they are your customers, right?). Whatever the reason, sending your customers to someone else because you can't get to them in time is a potential liability for your business, one that misses the point of having a call center altogether.
One viable alternative to using an overflow call center is to implement a call-back solution, like Fonolo. Offering customers a call-back when wait times are too long solves multiple problems. It alleviates the burden of hiring additional staff solely for peak periods, eliminates the costs of routing calls to an outsourced call center (while ensuring customers talk to your agents), allows you to meet target service levels, and improves the actual experience for customers who call you (so they don't need to wait on hold, or talk to someone that can't really help them).
Which brings us to idea #3 that misses the point …
3. The Call-Back Solution that Puts Customers on Hold
When companies implement a call-back technology that employs a "call-customer-first approach", they're relying heavily on an algorithm to determine when an agent will be available and when a customer should be called-back and placed on hold (to wait for that next free agent).
Offering customers a call-back (so they don't need to wait on hold) only to call them back and put them on hold truly misses the point.
Under ideal conditions and knowing staffing levels, call volumes, WFM data, etc., accurately predicting wait times is a difficult endeavor. And the real-world of call center operations is far from ideal – staffing levels and call volumes can change rapidly, leading to call-back algorithms that completely fall short. This can lead to periods where agents are free to take calls, but call-backs are queued to occur at a later time, when volumes will be high again. Unfortunately, it's a story we've heard one too many times.
By contrast, using a "call-agents-first approach" (like we offer at Fonolo) – one that actually gets an agent on the line before calling a customer back – ensures that customers will never wait on hold and maximizes the benefits of a call-back solution.
Anything that affects your relationship with customers is worth doing right. When you're offering to call them back, don't miss the point by putting them back on hold.
eBook: The ROI of Call-Backs for Your Call Center
In a perfect world, your contact center would never put any callers on hold. However if hold time is unavoidable, the next best thing to do is offer a call-back. When deployed correctly, call-backs can deliver concrete ROI.
Download our free eBook and learn how you can build a business case for call-backs.
What's Inside:
- Lower Abandon Rate
- Decrease Handle Time
- Reduce Telco Cost
- Smooth out Call Spikes


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Red Lab Coat Day kicked off Kiss Goodbye to MS on Friday the 1st May, an initiative of MS Research Australia that raises vital funds towards multiple sclerosis (MS) research. Red Lab Coat Day marked a world-first in profiling the significant talent and research capabilities in MS across Australia. A critical goal was to focus on the faces and contributions of MS research teams in Australia, promoting their valuable work via an activation on social media including Twitter and Facebook.
Over 130 researches from across Australia made a colourful change to red lab coats to show their support in understanding and finding a cure for MS. Twitter was inundated with photographs of researchers from the most prestigious institutions including The University of Sydney, Westmead Hospital, University of Melbourne, Monash University, University of Queensland and Menzies Institute of Medical Research. The #redlabcoatday hashtag reached in excess of 35,706 users on Twitter and 40,940 impressions during the first week of May. Aside from the extensive discussions via social media, coverage was also achieved across radio and print media outlets.


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Switching gears for a moment from domestic fantasy, I was recently lucky enough to be sent an advanced copy of Theodora Goss' new mythically inspired poetry collection, Songs for Ophelia.
I was impressed not only with the individual poems in the collection, but also how beautifully they all fit together as an overall narrative. The poems are organized into the four seasons, and although you see the transformation of certain natural elements across the seasons, there is little to no repetition. Some poems are canvases that capture a single moment in time, while others encompass entire lifetimes of fascinating characters.
My favorite poems in the collection all seemed to fit into the latter category, but I appreciated them all. Poems like "The Witch" and "Shoes of Bark" beautifully explore the idea of the ages of womanhood, of motherhood and daughterhood, and how we weave magic with each other or have the ability to tear each other apart. The poems are full of rich rich imagery, each one best experienced slowly so that it can be pondered and savored.
Theodora's technical prowess also quietly shines through...the quality of the meter and solidity of the structure of her poems is easy to forget when you get so caught up in the imagery she also provides, but it is nonetheless still there, like the sturdy spine of a dancer whose costume and movements distract us from her underlying strength.
I highly recommend this poetry collection. Theodora Goss is one of those authors, unlike James Patterson or Nora Roberts, who takes her time to put out a truly priceless creation rather than churning out new materials for filler. There is no filler in this collection, each poem shines like a jewel. Pluck your own jewel today!!
Sunday, August 10, 2014
Songs for Ophelia - A Review
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text: Good Culture Podcast: Choppin' It Up With Chan-Lo Brandon Caldwell February 13, 2017 Interviews, Podcast The CNK boss sits with the Good Culture Podcast to discuss #Chickspiration & more. Chan-Lo knows her shit. We've known this as we've been partners with her various brands over the past five years. When she broke away from explicitly covering music and pop culture, it was a freeing experience. As she told us before, if she wasn't in love with it, if the work didn't match her spirit then she wasn't going to do it. The Good Culture Podcast chose episode 31 to sit with the Minnesota to Dallas maven of all things femininity and sneaker culture. From the onset, she breaks down why she started CNKDaily, her #Chickspiration series, favorite sneakers and more. "Are you the type of chick that takes her heels off in the club?" Kenny asks. "No, mama said I'd get ringworms like that," Chan responds. The hour-long episode breaks into plenty of different segments, one where Chan-Lo is more than well versed to handle the antics of Kenny & company. It's not a Say Less episode but it's still a pretty great Say Less episode. Watch it below. Subscribe to Good Culture on YouTube and subscribe to the podcast on iTunes. Share this:TweetShare on Tumblr


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Hearing a cancer diagnosis is a life-altering and emotional time. A million thoughts race through your mind about treatments, life, death, your family, your friends, your job, and more. Although nothing can completely eliminate the stress of dealing with a cancer diagnosis and treatment, the tips given in this article will help to ease the process.
Exposure to the sun is the leading cause of skin cancer. Skin cancer is a very common type of cancer. Wear a hat when you go outside and be sure to use plenty of sunscreen.
There are various people who have outdated notions about cancer. Certain people believe that cancer can be transferred from person to person, while others think that they can no longer work. Make an effort to establish a frank and open dialogue on the subject.
Voice your thoughts and opinions and stand your ground when required. There are still a lot of outdated ideas out there about cancer. You may run into people who believe they can catch it or who wonder whether you can continue to hold down a job. Have a good answer planned in advance and answer them immediately. Doing so can assist in the ways that those around you treat you during your treatment regimen.
Smokers must be aware that quitting can protect them from colon and lung cancer, as well as emphysema. The smoke from tobacco can damage the colon. These facts just combine to provide all the more reason you should become tobacco free.
There are many methods and resources to help ease your stress and allay your fears about dealing with cancer in your life. There are several ways to ease the process though, but not everyone will benefit from the same things. By just focusing on the present, and using some of the advice provided here, your positive outlook will help you to be successful in your battle with cancer.


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A quality-control system in constant evolution
Bertolli, Carapelli and Carbonell have been synonymous with quality in the olive oil industry for over 100 years. Quality, alongside safety, has always been an essential aspect of our company.
All of our products and production processes follow the highest and most rigorous standards of quality in terms of food safety, receiving some of the most important international certifications (ISO 9001, IFS, BRC).
Our emphasis on quality and traceability of our products originates from our high level of attention we dedicate to our production process and quality control measures that we continuously apply throughout the course in producing our olive oil.
Every year we:
- Analyze over 5.000 samples for taste and physical-chemical analysis
- Select between 1250 and 1500 batches
- Perform analyses on all incoming raw materials
- Conduct an additional round of full analyses on all our blends prior to bottling
- Control external features of each bottle produced
- Evaluate our analysis system with external certificated labs
- Receive on average around 1 inspection per month from institutions and certification bodies
Moreover, we believe that to raise the standards of the extra virgin olive oil industry, we need to establish higher quality parameters, to guarantee the freshness of our products during the entire life cycle:
|EU limits
|Deoleo limits (at bottling)
|Acidity (%)
|≤ 0,8
|≤ 0,5
|Peroxides (mEq O2/kg)
|≤ 20
|≤ 10
|Ethyl esters (mg/Kg)
|≤ 35
|≤ 20
|≤ 2,50
|≤ 2,10
|≤ 0,22
|≤ 0,15


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Michelle Obama Hilariously Breaks Down Why Melania Trump's Inauguration Gift Exchange Appeared So Awkward
The former FLOTUS also explained to Ellen Degeneres how Barack stepped in and saved the day.
(Photo: Astrid Stawiarz/Getty Images for Mercedes-Benz Fashion Week)
New York Fashion Week always turns up a parade of over-the-top outfits and Ashanti didn't disappoint at Falguni and Shane Peacock's Fall 2012 show.
As the first signs of snow fell in the city on February 12, Ashanti tried to heat things up in a multi-colored, sequin and sheer panel piece that left little to the imagination. The dress (if you can even call a few strips of fabric that) featured blue, brown and red print on the side and a black neckline that looked like a necklace. We suspect it was also loaded with double-stick tape on the inside so she didn't let it all hang out while taking her seat in the front row, where she folded her hands in her lap for frontal coverage.
The singer wore a curious braided forehead band, chunky earrings and bangles and matched her risqué dress with risqué shoes. Her Christian Louboutin pumps were detailed with crystal embellishments at the top that spell out "Sex," when placed side by side.
She sat by Michelle Williams, who also wore one of the designer's sheer dresses, but with a much less obvious execution: a long-sleeved sheer mini with beading at the top and feathers at the bottom, paired with Christian Louboutin booties.
What did you think of Ashanti's barely-there look? Sound off in the comments!
BET.com always gives you the latest fashion and beauty trends, tips and news. We are committed to bringing you the best of Black lifestyle and celebrity culture.
The former FLOTUS also explained to Ellen Degeneres how Barack stepped in and saved the day.
"When my teacher asks me a question thinking I'm not paying attention, but I get it right."


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Business process management strategy, terms and tips: Take the quiz
Find out how much you know about business process management terms and business process strategy with this quiz. And learn a few BPM tips along the way with our expanded answers. Continue Reading
Review the latest trends in ITSM and ITIL best practices
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Do you have the qualities of a good leader? Test your leadership IQ
The qualities of a good leader transcend industry, organization and circumstance. Do you know what it takes to be a good leader in IT? Take our quiz and find out. Continue Reading
Virtualization technologies: A quiz on license best practices and more
Virtualization technology strategies are quickly evolving. Are you up to speed? Take our quiz and find out. Continue Reading
Project management evaluation: Test your PPM knowledge
Whether you're a seasoned project portfolio management (PPM) guru or just jumping into the PPM mix, test your knowledge of this topic. This quiz covers PPM software evaluation, strategies and trends. Continue Reading
Project and portfolio management quiz for enterprise CIOs
Project and portfolio management (PPM) creates visibility and helps CIOs direct spending and resources toward the proper goals. Read these stories on PPM and take our related quiz. Continue Reading
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Enterprise risk management (ERM) is getting increased attention due to concerns about data protection, NAC, cloud computing and compliance. Learn more about ERM and take our quiz. Continue Reading
What do you know about data center outsourcing?
Is your data center outsourcing strategy up to snuff? From how-tos to run-throughs, test your knowledge of data center outsourcing stats, facts, trends and more with our quiz. Continue Reading
Putting your business intelligence strategy to the test
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DR plans for remote offices, branch offices: Test your ROBO knowledge
Disaster recovery (DR) plans for remote offices, branch offices (ROBO) are often overlooked. Test your ROBO DR planning knowledge and be prepared for anything. Continue Reading
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How much do you know about virtualization and the private cloud and how can these new technologies help your organization? Take this quiz and find out. Continue Reading
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An IT Service Management implementation isn't always a top priority for CIOs on a tight budget -- but why? Test your knowledge and learn ITIL and ITSM facts with our quiz. Continue Reading
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How much do you know about Software as a Service (SaaS) and service-oriented architecture (SOA) solutions? Take this quiz and find out. Continue Reading


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Zumiez (ZUMZ) investors, on the other hand, are NOT having nice afternoon. While they beat earnings expectations by 2cents, they gave guidance for the quarter that was bad enough that shares are down 10% as I speak. They see same-store-sales for this quarter in the 7% range, while the street expects total sales to be up 11%. There will be some new stores to add to that 7%, but with the increased spending ahead of new store openings, earnings will come in weak. For a stock up 186% in twelve months, it is not surprising to see a sell-off like this.
As I speak, they just mentioned on the conference call that some of the Q1 2010 expenses that are causing the EPS shortfall are legal expenses and bonus "catch-ups" to employees. These are less "core operational" in nature, so this sell-off might be a bit of an over-reaction.
The Company is introducing guidance for the three months ending May 1, 2010 of a net loss of approximately $0.09 to $0.11 per diluted share which includes estimated pre-tax charges $1.2 million (after-tax per diluted share of $0.03) associated with its previously disclosed plan to relocate its distribution center from Everett, Washington to Corona, California. This guidance is based on an anticipated comparable store sales increase in the mid to upper single digit range for the first quarter of fiscal 2010.
Copyright 2010 AlphaNinja


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As an update to our E-Beauty: Digital Device Boom report, Stylus explores the latest key trends and innovations in the growing global beauty tools and devices market, which is projected to be worth over $94bn by 2023. A focus on low- or no-tech tools is a surprising divergence from high-tech expectations.
Beauty Tools 2018
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Welcome to Stylus – your window to tomorrow's most exciting opportunities.
By identifying, analysing and decoding the most important trends from 20 industries, we'll give you the ideas and insights you need to future-proof your business.


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Create an Account - Increase your productivity, customize your experience, and engage in information you care about.
Kathy Alexander has been with the Hewitt Police Department 12 years and currently serves as the Records Administrator. Kathy graduated from McLennan Community College with an Associate Degree in Criminal Justice. Prior to joining Hewitt P.D. she worked for Woodway Public Safety Department from June 1974 to March 1979 as a dispatcher and in March 1979 became the Communications/Records Supervisor. Kathy retired from Woodway PSD in January 2002. When E911 was implemented in McLennan County in 1987, Kathy was chosen by McLennan County Emergency Assistance District to provide training to all of the dispatchers of McLennan County Police and Fire Departments. She was also selected as the Hewitt Police Department Employee of the year in 2006 and 2008.


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We are one of the topmost Hybrid mobile app companies India, we believe in transforming success into ultimate realities. We are known as the Custom hybrid app development company in India.
Our company provides Hybrid mobile apps development services in Madurai. Our best hybrid app services include:
This digital strategy needs a deep understanding of people and digital model. Our digital transformation consulting team helps in implementing digital technologies for creating unique value for customers.
We also aim to provide multi-channel UX after design modeling, user research and tailored application development.
We cover the entire range of product engineering, such as product design and UX, Product consulting, product architecture, develops, and product testing and product development.
We provide exceptional Omni channel experience with our web content management. We work with best web content management system i.e. Drupal and Adobe experience manager.
Our develop service include disaster recovery, configure automated alerts, one-click deployment and rollback, infrastructure security, continuous integration and continuous development, performance optimization and stress testing, collaboration with team and QA team, continuous process and infrastructure development and centralized log management.
Tools and technologies for hybrid mobile app development
It is a Microsoft based software company which is founded in May 2011, our developers use Xamarin tool to write native Ios, Android and with windows app and also share code across Windows, Mac OS or other multiple platforms. It is a top hybrid mobile app development framework.
It is an open source distribution of Cordova framework. For hybrid app development, it is the most popular cross-platform framework.
It allows building a cross-platform app for each and every store. This framework is a complete frame of the tool which supports testing, development, publishing, debugging and emulation.
This framework is cross-platform with full support for Ios and Android. It is a good solution for hybrid app development.
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The demand is rapidly increasing for hybrid app developers. Hybrid apps are available even when the device is not connected to the internet. They are more users friendly. Hire hybrid app developers from us, we will make you sure that we will remain your first choice always.


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2017 rocked my world, but I love that I get to end it on a positive note with you, because even when my list of things that did not go so well was quite long, my list of gratitude for what went well was much longer and YOU are a big reason for that.
Here are some highlights from my year:
I finally made it to Bali which has been a dream travel destination for me for over a decade. When I arrived and saw the gorgeous landscape (specifically the astonishing rice terraces) I wanted to scream with happiness and joy. Big dream come true.
I felt much appreciation, love and support from my friends, family, and yoga community and when I questioned myself or the world, I could always count on it, which is so precious to me.
I was truly inspired by my teachers, and challenged by my mistakes and the lessons life kept sending me this year. So grateful to have teachers, mentors and yogis in my life who remind me why we practice and proud of myself for meditating (almost) every day.
I learned to ask for help and collaboration and to let go a bit more of my desire to be perfect. I honored my needs and stuck to speaking my truth, even when it wasn't easy. Thank you for those who were there to listen.
I brought a new little bug into my life, Lily. This small kitten has brought love, tenacity, and joy to me every day. I pretty much want to strangle her every other minute; but when she comes and snuggles up to me on the couch, or leaps from the couch, to the wall, to the cat tree, to the window, to the bathroom, to the bed and back again with a small meow, I can't help but laugh. She's a bundle of everything.
And last but not least, I created my first teacher training manual and it was a labor of love through every single step. I learned and relearned more about yoga in the process and solidified my love for this theory and science. I am so blessed to have this as my career path!
For 2018 I wish for all of us to be happy, healthy and in pursuit passionately towards our goals. What we do makes a difference in this world everyday! So make all of it count. Keep your head up/strong through any shit, and keep your smile high and present through the good times. The fluctuations of life are inevitable, but one great take away from my teacher this year carries insurmountable truth: "Attitude is everything".
Cheers to 2018! Dream big and love deeply!


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Una Healy and Ben Foden called time on their relationship earlier this year, after claims the rugby ace cheated with PR worker Becky Milne.
The Saturdays singer, who shares two children with the 33-year-old, kept quiet about their break-up at the time, with her rep simply confirming their divorce.
And, breaking her silence about their split for the first time, the 36-year-old revealed she is still trying to figure her life out.
'My life has been turned upside down and I'm trying to figure it out,' she explained. 'I'm taking each day as it comes and just being there for my children.'
The singer is now putting all her focus into kids Aoife and Tadhg, explaining she feels 'lucky' to have them.
'I never feel lonely or alone. They're lovely company and have brought joy into my life,' she continued. 'The most important job for me is to be the best parent I can and to provide and look after them. They're my priority."
'You have to be strong for your children as they're dependent on you,' she said to Hello! Magazine. 'But with that responsibility comes great satisfaction. I'm looking forward to all the milestones in their lives that we'll share.'
As well as looking after her children, Una is also excited to be getting herself into the recording studio, hinting some of her upcoming music could be tied into her split as she added: 'When things happen in my life, I write a lot. It's a form of therapy.'
The former couple tied the knot back in 2012, before announcing the end of their six-year marriage in the summer, after Ben allegedly slept with Becky.
A source at the time told The Sun: 'They once went to a very drunken party with some of Ben's rugby pals and she ended up romping with him until 4am.
'Becky told a friend about her fling with Ben. She swore her friends to secrecy but the news slipped out and Una found out all about it.
'Apparently, Una read all of Becky's and Ben's messages.'
Weeks after the news broke, the sportsman reportedly hopped on dating app Bumble in a bid to move on from the singer.
A profile believed to be belonging to the dad-of-two claimed he 'wanted to keep things casual'.
'Let's just see what happens and how things go. If your [sic] up tight and bossy I'm not for you,' the publication claims it read.
'He also used the profile to seemingly confirm he is 'getting divorced' and is 'heading Stateside in December'.
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MORE: Una Healy and Ben Foden's wedding, marriage and children as pair divorce after six years
MORE: Ben Foden 'cheated on Una Healy with PR girl at boozy party' before she ended six-year marriage


text:
In today's episode of the Learn to Code With Me podcast, I talk with Anthony Delgado. Anthony started his career as an online entrepreneur and taught himself how to code on the job. Throughout his different positions, he developed a desire for creating new things. He now works as at websignia, a digital innovation agency.
In our conversation, Anthony describes his extended learning process. Many of his skills emerged out of necessity. As projects landed in front of him, he taught himself how to solve each problem. Eventually, his passion for learning opened up new opportunities and led him to where he is today.
The lessons Anthony learned on his journey into tech are valuable. He speaks about his experiences in bootcamp and at hackathons. He stresses the importance of meeting new people and stepping outside your comfort zone. For those of you who love new tech, you'll appreciate his enthusiasm for his favorite tech tools. Ultimately, you will be motivated by Anthony's success in achieving his goals.
Key takeaways:
- Learning out of necessity is a good way to pick up new skills. Don't be intimidated by a problem. Figure out the solution.
- If your website is image or video heavy, run a CDN. You will optimize your site's performance and create a better user experience overall.
- If you're a developer and you want to create cool things, check out Twilio's tech.
- Networking with people and trying new things is important. You'll find new opportunities in unexpected places if you keep your eyes open.
- Don't let imposter syndrome scare you. Everybody struggles. Working with and helping people helps you get better too.
- To increase your skills, grow confidence, and build new things, go to hackathons.
Links and mentions from the episode:
- Websignia
- Anthonydelgado.me
- Craniumfitteds.com
- Twilio
- Lean Startup
- Y Combinator
- Rutgers Coding Bootcamp
- Slack
- CodeNewbie
- Devpost.com
- Eventbrite
- Hackathon.io
- Udacity
- Email Anthony at email@example.com
- Anthony on LinkedIn
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