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The "Parent Empowerment Act," has passed its first hurdle in the Legislature. The bipartisan bill, SB 1001, authored by Sen. David Holt, R-Oklahoma City, and Sen. Jabar Shumate, D-Tulsa, will give Oklahoma parents a new tool to accomplish dramatic and positive change in their child's underperforming school. The bill was approved 7-3 by the Senate Education Committee on Monday.
The Parent Empowerment Act establishes an Oklahoma version of a concept often called a "parent trigger."
If a majority of parents in an underperforming school sign a petition, they may transition the school to a charter school or terminate the administrators. The option to terminate administrators is only available in Oklahoma or Tulsa counties. An underperforming school is defined as a school that has received a 'D' or an 'F' for at least the last two years under Oklahoma's new grading system, or a 'D' or an 'F' for two of the last three years, as long as the most recent grade was a 'D' or an 'F'. If the parents choose the charter school option, the charter school will first serve all students in the existing attendance boundaries of the school.
Holt praised the Education Committee for its action saying, "I think the Parent Empowerment Act provides an important new tool for Oklahoma parents. It won't be the right answer in every circumstance, but where it is, it has the potential to change the trajectory of thousands of young lives."
Holt explained that charter schools provide more flexibility, and the goal of chartering an underperforming school under the Parent Empowerment Act would be to provide the flexibility needed to improve student performance at the school in a manner led jointly by motivated parents and school district leaders. The process of creating a charter school outlined in the Parent Empowerment Act is designed to create a collaborative relationship between the parents and the school district, rather than an adversarial one.
Parent triggers have been enacted in at least seven other states, most notably California, where the first schools are now in the implementation process. Oklahoma State Superintendent Janet Barresi, The Oklahoman, and noted education reformer Michelle Rhee have all endorsed a parent trigger law for Oklahoma.
SB 1001 now advances for consideration by the full Senate.


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2016 NFL Combine Results
Combine results will be posted as soon as possible.
The 2016 NFL Combine Timing and Testing Sessions will be held February 23-29 at the Lucas Oil Stadium in Indianapolis, IN. The scouting combine is an invitation only event, open only to invited players and NFL team officials. The workout and timing drills include: 40 yard dash, bench press, vertical jump, broad jump, 20-yard shuttle, three-cone drill, 60-yard shuttle, position-specific drills, interviews, physical measurements, injury evaluation, drug screen, cybex test, and wonderlic test. More than 300 top prospects have been invited.
Perhaps the most newsworthy test, the Wonderlic Test is an intelligence test has been given to prospective players in the National Football League since the 1970s. The Wonderlic is a 12 minute, 50 question exam meant to judge their aptitude for adapting to certain situations. Similar to other standardized tests, the Wonderlic uses a multiple choice format for its questions with increasing difficulty. It's designed so that most players won't have time to complete it. Pat McInally (P/WR from Harvard) is the only football player to record a confirmed perfect score.
2016 NFL Combine Workout Schedule
Friday, 2/26/16
Offensive Linemen Running Backs Specialists |
Saturday, 2/27/16
Quarterbacks Tight Ends Wide Receivers |
Sunday, 2/28/16
Defensive Linemen Linebackers |
Monday, 2/29/16
Defensive Backs |

subset: commoncrawl


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- CLIVE (playing an interviewer):
- Erm, I think it can be truly said that the Americans have, er, their soul singers, and we English have ars-oul singers. And, er, Bo is one our leading, er, soul singers.
- DEREK (playing 'Bo Duddley'):
- Arsehole singers, yes.
- Bo, I-, I wanted to ask you first of all, erm, .....
- Yes.
- This is obviously a sort of, er, boogie, er, .....
- This is a boogie, erm, .....
- What? Jive stuff, is it?
- Jive boogie woogie song, erm, and, erm, it is-, it is a, a story of ..... well, shall I, shall I sort of go through it?
- Yes, I-, I-, I was thinking that some of the lyrics for, er-rm, English speaking audiences might be a little obscure.
- Absolutely. Well let me .....
- I wonder what the-, what-, what-, what it really is all about?
- Well, let me-, let me just go through it, erm, for you. Ah: (sings and plays piano:) "#Mamma's got a brand new bag!" Er, "Mamma's got a brand new bag", er, this means, erm, that the-, the Harlem mother has gone out into the bustling markets of Harlem .....
- Yes.
- ..... er, to buy a gaily coloured plastic bag. Erm, and there's a certain amount of pride in this: Mamma's got a brand new bag.
- I-, I suppo-, I suppose a gaily coloured plastic bag is, er, a bit of status symbol in Harlem.
- It certainly is. Certainly is. Obviously, er, you know, sign of a birthday or something like that.
Now, when I was a 12-year-old reading British novels, I liked to read them out loud, in my best "English" accent, probably gleaned from Dick Van Dyke's murder of Cockney. One of the unfortunate effects of this was that I pronounced Hercule Poirot as something like "Ercule Pirate" (never mind that he's Belgian—he was in England and so must speak as my 12-year-old self believed the English to speak). But another effect was that I believed that when British people paused in speech, they made sounds that rhymed with my American pronunciations of her and worm. And for much of my life, I continued to believe that there were millions of English-speaking people somewhere (or somewhen) pronouncing /r/s in their hesitations.
But then I had a baby, and the penny dropped. I regret to say that this is not because motherhood has made me smarter/cleverer. It's because you spend a lot of time watching tv with the subtitles on while trapped under a baby. Watching in this way, I've become addicted to Eggheads, but when it's not 6 p.m., I often end up watching Friends or Scrubs, since one or the other seems to be on at all times. And it was only when seeing er and erm in the subtitles for American characters in these American sitcoms that I reali{s/z}ed: it's not that the British put different sounds into their filled pauses, it's just that they typically spell those pauses er and erm instead of uh and um. Since many BrE dialects do not pronounce the /r/ after vowels in such contexts, the /r/ here is just to indicate that the vowel is not a proper 'e' but a long schwa-like vowel. And before any of you complain that I should not have been allowed to have a doctorate in Linguistics if it took me this long to figure out something this basic, let me tell you: I've thought the same thing myself. I think the technical term for this is: Duh! When I mentioned a few posts ago that I'd be covering er/erm/uh/um soon, reader David Up North (as I'll call him to differentiate him from the other Davids I've mentioned before) wrote to ask:
I was interested to see in the comments to your latest blog that you were planning an article on 'er' and 'erm'. I wondered if you'd be covering 'eh?' as well? It's often pronounced (or possibly replaced by) 'ay?' (or something like that – rhymes with 'hey', but I don't recall ever seeing anyone writing either as 'eye dialect' representations of the sound, they usually use 'eh?'). It came to mind because I've occasionally seen Americans transcribe the sound as 'aye?' – which is obviously wrong.
I can't imagine why an American would transcribe eh as aye (pronounced like I in every dialect I know) and haven't seen it happen, myself. I speak a northern AmE dialect that, like Canadian English, ends many sentences with eh? (Famously parodied by the Great White North sketches on SCTV: How's it going, eh?) And when we write that, we spell it eh and pronounce it to rhyme with day. (I was happy to discover upon moving to South Africa that SAfE has the same kind of interjection, but it's pronounced hey. It was very easy to adjust to. Much better than when I moved to Massachusetts and was mocked relentlessly for the ehs that I'd never noticed myself saying.)
The problem we're seeing here is that these interjections are usually spoken and generally only written when one is trying to represent natural speech. Since they're not part of the written language (since they're not needed in the same way when the language isn't immediately interactional), people aren't used to spelling them, and thus the spellings have been slower to become standardi{s/z}ed than the spellings for nouns and verbs. Even within AmE, I find that the informal version of yes is spelt in different ways (yeah, yeh, yea, ya) by different people. To me, yeah is informal 'yes', and yea is pronounced 'yay' and is a positive vote, yay is what you say when you're giddy and ya is what South Africans say instead of yeah. I believe that my spellings are the 'standard' spellings for AmE, but, as I say, I've seen a lot of variation and it's hard to 'correct' such spellings, since the 'standard' is not as well-established for these mostly-spoken sounds. It's worth noting that all of these discourse particles have meanings, though they can be hard to put into words. My favo(u)rite quotation from the OED's entry for er is:
1958 Aspects of Translation 37 The really astute Englishman..must feign a certain diffident hesitation, put in a few well-placed — ers.The interjections' meanings are generally the same in AmE and BrE, but what may differ, as indicated by the above quotation, is how often and why people use them. One reason to use er/uh is to feign hesitation—to make it seem like you're reluctant to say something. Another reason is to hold your place in the conversation—to indicate that although you're not saying anything at this very second, you intend to finish your thought, so no one should interrupt you. It may be that people in different places from different backgrounds use these sounds for these purposes at different rates and in different situations. I believe that the stereotypes would have it that the British use er/erm to hesitate--not to rush into committing themselves to any proposition--and that Americans use um/uh because they're inarticulately rushing to commit themselves to all sorts of opinions. Nevertheless, both American uh/um and British er/erm have the potential to be used in either way by individuals.


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Pope Francis blessed a thundering parade of thousands of bikers on Sunday as Harley-Davidson riders descended on Rome to celebrate the motorcycle maker's 110th anniversary.
The Associated Press reports that the Harley's patented super-loud engines nearly drowned out the Latin recitation of "Our Father."
The AP writes:
"There was something a bit incongruous about the Harley crowd — known for their 'Freedom' motto, outlaw image and adventuresome spirit — taking part in a solemn papal Mass to commemorate a 1995 encyclical on the inviolability of human life.
'Evangelium Vitae' is a roadmap of the church's teaching against abortion, euthanasia and murder. Harley's advertising for its 2013 bike collection reads 'Live life on your own terms. More than 30 ways to defy the status quo.'"
The Milwaukee-based manufacturer of the iconic bikes gave two Harley classics to the Vatican earlier this week for use by the Holy See's police force.
Copyright 2021 NPR. To see more, visit https://www.npr.org.


text: Watch Stolen Life December 20 2023 Today Replay Episode In HD. If You are interested in watching Pinoy Tambayan tv shows or Philipines Dramas online then follow and enjoy on PinoysTambayan.co Watch Latest Pinoy Channel Stolen Life December 20 2023 Live Episode on Pinoy Tambayan Tv. Pinoy Teleserye has many drama shows that you can watch on our website from anywhere in the world.


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Rule #1 - Be Patient - Rule #2 - Don't ask when, if you don't contribute - Rule #3 - You have coding skills - LinuxMCE's small brother is available: http://www.agocontrol.com
There is already a template for it but it doesn't work. Are you saying there are templates in the database with no drivers? Why the heck are templates allowed into the production database that everyone gets if all associated pieces have not been implemented? If that's the case they should at least carry some kind of description so people know they're not fully implemented.
klovell,according to jamo the Caddx NX-8E is working. He marked the wiki article as working in 1004. You might want to open a new thread detailing what your problems are, and maybe jamo can help you get things sorted out.
If there is a spec available
and I get remote access via SSH to a system where it is hooked up to the serial, and a slave to press buttons on request, I can write a proper C++ device for it.
and a slave to press buttons on request
What spec?
So, can I please, please, pleeeease have a page?
I don't think you really need permission to create this. Just log in and do it.
If there is a spec available and I get remote access via SSH to a system where it is hooked up to the serial, and a slave to press buttons on request, I can write a proper C++ device for it.
I have to say that I appreciate all the help I have received so far. This is truly a great and willing community: this thread is a proof.
The wiki account creation uses the same login information as the forums. It is not a very intuitive process and there is a discussion on the wiki boards to improve it.
I agree completely, and have found that those willing to help themselves get the support they need. Users wiling to help others and test/develop/design are even more-so rewarded with assistance to any issue you come across. I admire your willingness so soon in your LMCE experience to do a full-blown installation and add support where existing templates do not cover your needs. I don't think I have added much to this thread as I have been busy with other projects, it is nice to have you aboard!
I'm currently using Dianemo. How would that work? Would you be able to use it for Lmce also?Also, I swapped out my panel because my house is currently staged for sale. The Caddx is at a storage facility about an hour away. I should be heading in that direction this weekend, if I don't it'll be next weekend. I have to grab a few things and I've been putting it on the back burner. I'll grab the panel, a keypad and a couple sensors and set it up on my work bench. I'll PM you once it's connected. I'll even paypal you once it's all working properly.
[..]I received the final quote from Element Controls today. Nice guys...But the price!I'm sure the technology has something to do with it, but I'd like to know:they quoted me another $6,500 for the lighting controls, does that seem right for a 2,00 sq ft 3 stories home?
Feel free to forward the quote to me, and I shall take a look.


text:
Author: Caroline Adderson , Illustrator: Kelly Collier
Parents love Epic! 4.7 stars | 400K+ APP STORE reviews
Epic is the leading digital library for kids 12 & under. Inspire a Lifetime of Reading. Anytime, Anywhere With Access To Our Digital Library.
Whoops! We're sorry but Epic doesn't work properly
settings to make sure it's enabled.


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The recall affects Chevrolet Colorado and GMC Canyon midsize trucks from the 2010 through 2012 model years. Most of the trucks were sold in North America.
The U.S. National Highway Traffic Safety Administration says some of the trucks may not have a secondary hood latch. If the main latch isn't fastened, the hoods can open while the trucks are in motion.
GM said Thursday that it doesn't know of any crashes or injuries caused by the problem. The automaker traced the problem to a parts supplier after getting four reports of trucks with missing secondary latches.
Owners will have the option of checking the hoods for the secondary latch or taking it to a dealer. If there's no secondary latch, GM will replace the hoods free of charge.
The recall includes 118,800 trucks in the U.S., 15,264 in Canada, 7,492 in Mexico and just over 4,000 in other countries, GM said in a statement. Owners are expected to get recall notices in the mail starting next month.


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Have you ever taken a peek at one of those "Chicken Soup for the Soul" books? I'm not exaggerating when I say that in a typical volume, every other chapter will bring me to tears.
Either I'm uber-sensitive or the editors really know how to pick some touching stories.
This chicken noodle casserole is also something that'll bring a person to tears, but for entirely different reasons. It's oh-so-tasty and so simple a monkey could be trained do it. Quick, too. And
Since we're talking about books, I'll take this opportunity to mention Blog2Print, a wonderful company that provides bloggers with an easy way to turn their blog into a professionally printed book. You can print everything--your pictures, posts, and comments, giving you a way to keep your recipes, great food photography, and readers' reactions to your recipes together in a book.
I can tell you from personal experience that the results are amazing--my book is something I will always treasure. I had a blast picking out which posts to include--it was a welcome walk down memory lane. The printed pictures are clear and nicely-sized, and the text is exactly as it is on my blog. And hey, you never know--I may show it to someone who decides she wants a copy for herself, and that may lead to a little pocket money for the Gracemeister!
Details for the giveaway: The randomly-selected winner will receive a $40 gift certificate (that should pay for a 90-page softcover book or a 60-page hardcover book) from Blog2Print. To enter, leave a comment on this post telling me something that makes you tear up unexpectedly and without fail; be sure your email address is included. Comments will close next Friday, August 6th, and the winner will be chosen shortly thereafter.
Comforting Chicken Noodle Casserole
4 skinless, boneless chicken breast halves
6 ounces egg noodles
1 (10.75 oz) can condensed cream of mushroom soup
1 (10.75 oz) can condensed cream of chicken soup
1 cup sour cream
salt, pepper, and paprika to taste
1 cup crumbled buttery round crackers
1/2 cup butter
Preheat oven to 350F.
Poach the chicken in a large pot of simmering water. Cook until no longer pink in center, about 12 minutes. Remove from pot and set aside. Bring chicken cooking water to a boil and cook the pasta in it. Drain. Shred or dice the chicken and mix it with the noodles.
In a separate bowl, mix together the mushroom soup, chicken soup, and sour cream. Season with salt, pepper, and paprika. Gently stir together the cream soup mixture with the chicken mixture. Place in a 2-quart baking dish.
Melt the butter in a small saucepan or the microwave. Stir in the crumbled crackers and sprinkle atop the casserole. Bake for about 30 minutes, until heated through and browned on top.


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I've had this blog since July of 08. I have only ever had one rude comment (Well, that I can REMEMBER) and that one involved my daughters. It turned my stomach, and totally FREAKED ME OUT. I quickly deleted it, and haven't had another.
Maybe resolve to stop being such a control freak, and your hubby wouldn't feel the need to cheat on you. Keep your dog on a tighter leash my dear. :)


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Portsmouth is a strong, sturdy typeface with historical character. Its inspiration comes from the height and strength of the wooden tall ships that sailed into port in their day. With caps and small caps, this typeface is great for headlines or subheads for design projects that need a historical or retro feel, such as from the 1940s and earlier.
Five different styles that can be layered allow for different colored drop shadows, outlines and fill for even more customization.


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The Horsefly (orphan story left over from p. 15 that I decided to adopt)
Doing the same thing over and over again but expecting different results is an old definition of insanity. But we all do it, right? Our Zen path helps us wake up from that repetitive insanity. We learn to be aware that we are acting like that horsefly smacking into that window over and over again. Freedom is right there in our dis-repaired lives. So what horsefly insanity moment has Zen helped you wake up from?
Loving (p. 15)
My first take on this is that re-gifting is OK, so people need to drop their aversion to this made-up social faux pas. While this may be true, thats not really the point, is it? All we can do is give and to do so freely. What someone does with what we give is not the point. What we get back from that someone we gave to is also not the point. At work, all I can do is teach, and what the students do with what I teach is largely beyond my control. I know what I want them to do, but I have had to learn to let that desire go, because thats what it is, just another form of desire. Sometimes students get a very different message than the one I intend, the one I think I am delivering, When this happens I try to take it as a lesson that I need to learn how to be a better teacher/giver, which I think is a noble aspiration.
To give can be hard, and to not have that gift appreciated can be especially hard on our ego. To give is to give up, and one of the things we need to learn to give up is how whatever we give is received. My understanding of the precept of dana is that it has nothing to do with the desire for approval or appreciation. Think about all the things you give, including things like love and time and so on. What do you want in return? Does it depend on what you give? How so? What do you need to give up about giving?
In anothers place (p. 17)
Reading this story immediately reminded me of this Shunryu Suzuki tale from Not Always So (Jumping Off the 100-foot Pole, pp. 18-19):
This is one of the greatest lessons I got from that book, and I think Shundo Aoyama is making the same point. Every moment can be its own 100-foot pole. Step off! Move on from the 100-foot tall ego pole! Hai! I try to live up to this and often dont succeed, and thats ok because theres lot of opportunity for more practice. How do you deal with interruptions as part of your practice? How can you step off that 100-foot ego pole and say Hai! when someone interrupts you in whatever you may be doing? Im not talking about someone interrupting your zazen, though that is certainly part of this. No, this is more about those life-as-practice moments.Forget this moment and grow into the next. That is the only way. For instance, when breakfast is ready, my wife hits some wooden clappers. If I dont answer, she may continue to hit them until I feel rather angry. This problem is quite simpleit is because I dont answer. If I say Hai! [Yes!], there is no problem. Because I dont say Yes! She continues to call me because she doesnt know whether or not I heard her.
Sometimes she may think, He knows, but he doesnt answer. When I dont answer, I am on top of the [100-foot] pole. I dont jump off. I believe I have something important to do at the top of that pole: You shouldnt call me. You should wait. Or I may think, This is very important! I am here, on top of the pole! Dont you know that? Then she will keep hitting the clappers. That is how we create problems.
So the secret is to just say Yes! and jump off from here. Then there is no problem. It means to be yourself in the present moment, always yourself, without sticking to an old self. You forget all about yourself and are refreshed. You are a new self, and before that self becomes an old self, you say Yes! and you walk to the kitchen for breakfast. So the point on each moment is to forget the point and extend your practice.


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The 52-year-old actor - Hollywood's most determined bachelor, famous for a litany of fleeting loves - has taken himself off the romantic market, even though he once bet Pfeiffer $100,000 that he'd never marry again.
After dating a string of actresses, models, a cocktail waitress and a former professional wrestler, Clooney recently proposed to 36-year-old international law attorney Amal Alamuddin - despite repeated protestations that marriage wasn't for him.
"This fascination with my love life is really something," he told the British newspaper The Express earlier this year. "I keep saying I'll never get married again or have children, but people just don't want to believe me."
News of the engagement was announced by the human-rights law firm where Alamuddin works. Doughty Street Chambers said Monday its lawyers and staff "offer their best wishes and congratulations to Ms. Amal Alamuddin ... and Mr. George Clooney on their engagement to be married."
Alamuddin has advised former U.N. Secretary-General Kofi Annan on Syria, helped ex-Ukrainian Prime Minister Yulia Tymoshenko challenge her imprisonment and represented WikiLeaks founder Julian Assange as he fought extradition to Sweden.
Though they may seem like opposites, the pair, who were first photographed together late last year, have more in common than some might think.
Clooney has shown increasing interest in international affairs and human-rights issues, campaigning for a resolution to the conflict in Darfur and organizing a starry telethon to help Haiti after the 2010 earthquake. He's also hosted fundraisers for President Obama, and recently made headlines for defending the president during an argument with Las Vegas casino mogul Steve Wynn.
So what about Alamuddin made Clooney decide to give up the single life? Specific details are unclear. But she certainly cuts a different swath from his previous public romances. Here's a partial list of loves Clooney left behind:
- Talia Balsam, married from 1989 to 1993: The 55-year-old actress is now married to actor-director John Slattery of "Mad Men" fame.
- Kimberly Russell, dated in the mid-1990s: The 49-year-old actress has been married to Michael Bonewitz, who works in film production, since 2000.
- Krista Allen, dated in the early 2000s: Best known for roles on "Baywatch" and "Days of Our Lives," the 43-year-old Allen met Clooney while making 2002's "Confessions of a Dangerous Mind" and dated him on and off for several years.
- Lucy Liu, dated in the early 2000s: The 45-year-old "Elementary" star was linked to Clooney in 2000 and photographed kissing him in 2006.
- Lisa Snowdon, dated in the early 2000s: A British TV personality and fashion model, the 41-year-old Snowdon made headlines for her five-year, on-and-off relationship with Clooney on both sides of the Atlantic.
- Sarah Larson, dated in 2008: Larson, 34, was a Las Vegas cocktail waitress when Clooney romanced her for nearly a year.
- Elisabetta Canalis, dated 2009 to 2011: The 35-year-old Italian TV personality went onto become a "Dancing With the Stars" contestant in the United States after she and Clooney ended their two-year romance.
- Stacy Keibler, dated from 2011 to 2013: A former professional wrestler, Keibler, 34, was Clooney's companion at countless Hollywood events during their two-year relationship. She is now married to entrepreneur Jared Pobre and expecting her first child.


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ECE497 Project Programmable Light Show
Team members: Taylor Purviance
Grading Template
I'm using the following template to grade. Each slot is 10 points. 0 = Missing, 5=OK, 10=Wow!
10 Executive Summary - Well done 09 Installation Instructions - Easy. Make sure your scripts are executable. 09 User Instructions - East to follow. Some sample scripts would be nice. 09 Highlights - Nice video. Some audio explaining what's happen would be a plus. 10 Theory of Operation 10 Work Breakdown 10 Future Work - I'd like to be able to save my programs. 10 Conclusions 10 Demo 10 Late (not) Comments: Very nice project. I think I'll add a 'save' feature. Score: 97/100
Future Ideas
Try [Realtime Collaboration]
Executive Summary
The idea of this project is to have a Beaglebone controlling a strand of LEDs and drive the LEDs to flash different colors and patterns. The patterns and colors being displayed will be programmed via a simple web interface, allowing anyone to program the lights.
The system works pretty well with a single user, allowing them to program the lights via web interface and have the lights update. Most issues of the light update speed have been rectified and now updates fast enough.
Somewhere, the first light on the chain isn't always getting set properly for some reason (which I suspect is kernel driver related). Also, there's no support yet for remembering your Blockly program if you accidentally close the tab which you were working in, and every programmer knows irreversibly losing code can be infuriating.
The project is actually in a really good position right now, though it isn't ready yet for public / multi-user access. With a few exceptions, it does what it does well and is enjoyable to use and see used, so the focus of future development can be on any of a plethora of possible new features.
Installation Instructions
Required Hardware
- In addition to a BeagleBone Black, this project requires 5 meters of Adafruit's LPD8806 LED Strip.
Required Software
- You'll find everything you need in this projects github repo: https://github.com/tpurviance/programmable-light-show
- Connect the LED light strip
- The LED light strip should be plugged in to 3.3V (should be hooked to the white dot on the LED plug), P9_22, P9_18, and ground. (Could you show a picture?) Be especially careful, as the LED light strip can be critically damaged through improper wiring or voltages.
User Instructions
1. Run the setup script
- Run the included
file. (Needs to be executable [chmod +x])
2. Start the boneserver
- Start the included
3. Navigate a the page via web browser
- With the boneserver now running, point your web browser to your bone's IP address on port 8080.
4. Drag and drop blocks
- Although there are a plethora of blocks available in blockly, you will likely be interested in the blocks under the "Lights" category. One of the blocks is for setting a light at a position to a color. The position value should be between 0 and 159, while the red, green, and blue values should be between 0 and 127. However, this is just queuing up the changes locally. To display the changes you've made, use the send lights block. If you want more than one light to change at the same time, use the set lights block multiple times before using the send lights block. If you're doing some animation, you'll likely want to give it a number of milliseconds to delay after the lights are changed before they will be set again.
5. Click the "run" button
- Once you are ready to see your code run, click the "run" button near the top of the web page. If you get a message saying something about "bad code" make sure that your blockly blocks have all of their input spots filled or simplify your design and try again.
The thing about this project is that it's really just an enabler; it enables anyone that connects to the server to come up with their own ideas about what they want to have the LED string display, and it lets them do it. That being said, here's a video to demonstrate some of the things you can have it do.
In the video there are 3 things demo'd:
- A red sine wave and a shorter-wavelengthed red sine wave
- A single red light the races to the end of the strand and races back blue, then does the same thing but as a group of 10 lights.
- A simplified no-controls version of pacman, which spawns some random white pellets and has a yellow group of pacman lights go down the strand until he's eaten them all, at which point he blinks a few times to show that he's won.
These are just some of the things someone could make. Creativity and time were my limiting factors for this demo, but I hope to see others make more interesting displays with this tool.
Theory of Operation
Work Breakdown
Here are some of the big accomplishments of the project to date:
- Integrated Blockly (hosted externally) into a web page hosted from the bone
- Added custom blocks to Blockly to 1) track the state of the lights being changed 2) sends the lights that are being changed via the program to the bone via socket.io
- Added an html5 canvas / javascript powered display of the state of the lights to the top of the web display, though it doesn't yet know how to handle the recently added delay function, so it only shows the end result of running the program.
- Added some new socket.io message handling to the server.
- Added message queuing to the server code, allowing it to do things like delays in an intelligent way. This is queuing behavior also lays the groundwork for multi-user handling, as well as "recording" and "playing" back light shows, all of which require something other than "just display the lights when we're told".
Future Work
There's a wealth of possible future features to add, as well as a few bugs to fix:
- Multi-user handling
- There's a number of ways one could go about doing this, but the simplest would be to have the server maintain not one queue of light messages, but to have a mapping of connections to queues so that each users interactions with the bone can be stored in a separate queue so their messages don't interleave and mess up the display for both of them. Deciding when to play animations from which queue is also an interesting problem. One solution is to just play some amount of each user's animation on the bone, measured in number of frames and the amount of delay they use.
- Video sending instead of frame sending
- It may be beneficial performance-wise to send an entire video of animation instead of a single frame, as it currently does. This would allow for entire animations to easily be sent, stored, and played, as well as saving on socket.io overhead. It would also help to protect the server from bad code. If the user made in infinite loop that continually sends frames to the server, the server has to off the messages itself. The server currently has a maximum frame buffer size and maximum allowable delay for this purpose. If the entire message has to be sent at once, the user would just have to deal with his non-terminating loop, as the message would never be sent at the end because their code would never finish, saving the server that much work.
- Add input controls
- This one could be very tricky, but opens a whole new world of functionality for the project. Adding some physical buttons / dials / whatever near the lights to allow people to interact with them would be very interesting. The pacman "game" demo'd above would be one such example that would be vastly improved by some user input. However, doing this would likely force the project to move away from the current setup of making frames on the front end and sending them to the back end to be displayed, and instead force the Blockly-produced lightshow programs (not frames) to be sent to the bone to be run so they could handle real-time user data. Allowing execution of arbitrary user-generated javascript code on the bone certainly strikes me as being a big security problem, though I'm not hugely knowledgeable on the subject. Perhaps there is some other way to allow input to be handled without executing arbitrary code on the bone.
- Add idle playing behavior
- While this project is cool, if the lights are up and running all the time then one can't expect someone to always be sending light displays to it. Thus, it might be a good idea to store up some light shows to display when no one else is trying to display something. After some amount of time or after all users have disconnected, have the boneserver start to play back a recording of the light setting commands someone had sent it. Perhaps a static batch of them loaded in from text files on startup, or perhaps just a rotation of the last X frames or videos that users have sent to it.
- Updating localized light visualization
- If users won't be able to be next to the lights all the time, or the lights might not currently be performing for them but rather performing some other user's code (if multi-user capabilities are added), it could be beneficial to the user experience to allow them to locally view the lightshow with the html canvas I had working before. It wouldn't be hard to do. You could copy exactly what the server does with the socket.io signals it receives from users, and execute it locally, including the queuing and the delays.
- Add more lights
- Pretty self explanatory. A longer or more densely packed light strand would look better and give the users more to work with, though the strands don't come cheaply. However, adding more lights could slow down the light refresh rate of the strand.
- Fixing the first light
- For some (I'm feeling driver-related) reason, the first light in the strand is not changing to be the correct color all the time.
Bringing the project this far has been lots of fun because it is so visual and interactive. Although there's still that rogue LED in the chain, for the most part it's all behaving fairly well. As one of the goals is to make this project usable to decorate the ECE department tree, I would suggest adding the video sending and idle playing features from above be added next, as both of them would help keep the lights playing constantly, they're both fairly easy to implement and can be up and running in time for the lights to be on the tree when it arrives.


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In the new Mac OS X Lion operating system, there has been a noticeable change to the interface: the removal of the scrollbar. Users can adjust their settings to add scrollbars back in, but the fact that this option is even offered speaks volumes about the diminishing role of this once-indispensable interface element.
Since the early days of GUIs, the scrollbar has provided a way for users to navigate around an object that's too large to fit within a window. However, over the past few years, users have been given other ways to scroll: mice with scrollwheels, laptop trackpads with scrolling capabilities, and a new set of gestures for mobile devices and tablets. With this reduction of the role of scrollbars, it's important for designers to be conscious of the scrollbar's benefits and drawbacks, and to know how to replace it with other elements that have similar benefits.
Benefits of the Scrollbar
In addition to allowing the user to scroll, the scrollbar has several other important benefits. The height of the scrollbar relative to the window corresponds to the height of the visible content relative to that of the full content. This provides an at-a-glance sense of scope and orientation. In addition, the mere existence of the scrollbar indicates that content is hidden, and communicates the direction users must scroll to find it. Furthermore, when navigating a long piece of content, the scrollbar offers a way to rapidly move to a specific point within that content. Finally, the universal familiarity with the scrollbar makes it a very intuitive interface element for the vast majority of users. It provides all these benefits elegantly and efficiently, without distracting from the page content.
Drawbacks of the Scrollbar
Despite these benefits, the scrollbar has several drawbacks that have led to its diminished importance. First, it adds to interface complexity at a time when designers are striving for, and users are demanding, simplification. Secondly, it's positioned inconveniently. If you're within the flow of a task, moving your mouse all the way over the right side of the window to scroll up and down is distracting. Another drawback of the scrollbar is that it moves on a continuum and not in defined increments, which isn't optimal in some situations, such as paging through eBooks and navigating a series of objects (e.g., a photo album or a slideshow).
Scrolling on Computers and Mobile Devices
For web pages and mobile devices, scrolling vertically is very standardized. Content almost always extends vertically, so an indication of how to find hidden content is rarely needed.
Due to the drawbacks mentioned above, the scrollbar has been replaced with other methods of navigating content panes. In mobile devices, users swipe vertically upon the content itself in order to scroll. In most cases, the scrollbar briefly appears when the content loads, then quickly disappears. It only reappears again when scrolling is activated. This gives users a sense of orientation and scope without consuming precious screen real estate.
On computers, the scrollbar's primary function—scrolling—has been made almost irrelevant by hardware innovations. Apple laptop trackpads enable users to scroll with a two-finger swipe, and their touch-sensitive mice allow scrolling with a vertical swipe. On many Windows-based computers, the right edge of the trackpad has a defined area for scrolling, while mice commonly have a scrollwheel. In web browsers, using the up and down arrows scrolls the content as well.
In addition, sites such as Google, Facebook, and Foursquare are overriding the standard browser scrollbar with a narrower, lighter version, matching Apple's slimmed-down scrollbar.
Scrolling on the iPad
Unlike mobile apps and websites, iPad apps are extremely variable in terms of their layouts, often utilizing multi-column, magazine-style displays. Designers of iPad apps are also much more experimental in their use of gestural interactions. Consequently, interfaces are very unstandardized, so having indicators that show how to navigate is important.
The Mint app (below) provides some examples of these indicators. The top graph area uses a series of dots as a clear indicator that a horizontal swipe reveals more content. By showing a specific number of dots, and the user's position within the set, it also provides orientation and scope.
In the lower right, the row of spending categories fades off the screen to the right, which is an often-used indicator of continuation, suggesting that content curves off the screen like a scroll.
In this example, users can actually vertically scroll the lower-right area as well. But this capability lacks any visual indicator, making it difficult to discover.
Like the Mint app, the USA Today app uses a subtle fade at the bottom of their main screen to suggest continuation. They also cut off the content at the bottom of the screen, suggesting that you can scroll vertically to see the rest.
To compensate for an unclear scrolling mechanism, the Wall Street Journal app shows detailed scrolling instructions. This technique is used in other apps as well; Flipboard and The Daily provide instructions on some screens to "flip" or "swipe" to continue.
This type of instruction is often necessary for apps that allow innovative gestural interactions. However, for an action as basic and essential as scrolling, apps should adhere to conventions and include visual affordances that clearly imply the interaction method.
Wired actually created a custom scrollbar for quickly scanning through their magazine. While it doesn't exactly have the traditional scrollbar functionality, its benefits match those described above: it allows the user to scroll, indicates how to see hidden content, and provides a sense of orientation and scope.
Since the early days of GUIs, scrollbars have been built into windows so designers could just take them for granted. However, as the prominence of system scrollbars has reduced, designers need to be more conscious of them, and understand the benefits of scrollbars that are lost when they're not shown. For all platforms, it's increasingly up to designers to decide whether to use scrollbars, how to format them, or how to use other methods to replace the many benefits of this once-indispensible element.


text: Julia D. Mahoney is John S. Battle Professor of Law and F. D. G. Ribble Professor of Law at the University of Virginia School of Law. She teaches courses in property, government finance, constitutional law and nonprofit organizations. A graduate of Yale Law School, she joined the University of Virginia faculty as an associate professor in 1999 and is now John S. Battle Professor of Law. She has also taught at the University of Southern California Law School and the University of Chicago Law School, and before entering the legal academy, practiced law at the New York firm Wachtell, Lipton, Rosen & Katz. Her scholarly articles include works on land preservation, eminent domain, health care reform and property rights in human biological materials.


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Hmmm, just got asked this question by @Nashvillcyclist –
@nashvillcylist – an interesting question
The short answer is that Athens Twilight is the more difficult race because there are so many more variables that have to work out perfectly for a good finish (or even to finish at all). On the other hand, Sunny King is normally harder aerobically because there is no place to rest on the course. If you saw @AdamMyerson's power data from the previous year's Twilight race, (link below), you'll notice that you get a "rest" every lap in Athens Twilight. This is not the case on the Sunny King course, you never really get a chance to rest on that course.
Adam Myerson's power data for 2010 Athens Twilight
As far as numbers go, here is a side-by-side comparison of both races. I've posted my 2009 ride file as that is the only time I have finished. In 2008, I was in a wreck on about lap 60 that stopped the race. My rear derailleur cable was broken in the wreck, and the SRAM neutral bikes had already been given out. I lasted about three more laps in my 53×11 unable to shift and then crashed out for good on Lap #64 coming into turn #1 too hot so that I could try to carry my momentum up the hill on turn #2. I decided to call it a day. In 2009, I had a great race and made it into a late race breakaway very late in the race. When there was an attack from within our break (Heath Blackgrove), I was one of the riders who got caught out. Three riders stayed away with Heath taking the win. The rest of us in the break (maybe five of us) got caught by the field with about 5 laps to go. I finished 24th in the field sprint (27th for the race).
2009 Athens Twilight heartrate summary
2011 Sunny King heartrate summary
Here in tabular form is a side by side comparison
2009 Athens | 2009 Sunny | 2011 Sunny | |
Avg speed (mph) | 28.0 | 28.2 | 27.5 |
Avg heartrate | 175 | 175 | 181 |
Max heartrate | 186 | 186 | 192 |
Distance | 47.0 | 41.6 | 42.0 |
Total time | 1:40:33 | 1:28:21 | 1:31:46 |
# Laps | 80 | 60 | 60 |
2009 Athens Twilight heartrate data – annotated
2011 Sunny King NRC Criterium heartrate data – annotated
The last statistic (number of laps) seals the deal for Athens Twilight as the more difficult race. To put it in perspective, the second lap of Athens Twilight is the most difficult lap of the entire race. The first lap bunches up and you are still full of adrenaline. By the second lap, everyone has separated enough for the race to be completely strung out single file through the start/finish line. You are absolutely crushing it as you fly through the start/finish line wondering if you can even hold onto the wheel in front of you. You look up and you see 78 on the lap card, which means you get to go around 78 more times before the finish. Ah yes, this is Athens Twilight.


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A year has passed since the revolution in Egypt began. Suddenly young people there, like this protestor in Cairo's Tahrir Square, could envision a different future for Egypt.
SAKHI SAHER: So now we're going to witness a new country with new order, with new politeness amongst the people, and no one throwing garbage in the streets. It's going to be a new start, a new beginning.
MONTAGNE: That was Sakhi Saher talking to NPR on the day that Egyptian President Hosni Mubarak resigned. NPR's Lourdes Garcia-Navarro is back in Cairo with the story of what happened to the young revolutionaries who toppled a dictator.
LOURDES GARCIA-NAVARRO, BYLINE: It's cold and windy on this winter evening in Cairo. About 100 activists huddle together on a main road in a central neighborhood as the infamously heavy traffic here crawls by. These are the vestiges of the young revolutionaries who took over Tahrir Square last January.
It hasn't been an easy year. Instead of protesting Mubarak, they are now denouncing the Supreme Council of the Armed Forces, the military junta that runs Egypt. They say the generals are simply an extension of the Mubarak regime, not interested in real democracy.
SALLY TOUMA: We're going to use some video just to show their lies.
GARCIA-NAVARRO: Activist Sally Touma says their new project is called Kazeboon, or Liars. They set up impromptu screenings in neighborhoods across the city of mini-films showing the violent crackdown on protestors in recent months. At least 80 people have been killed since Mubarak's ouster, and many more arrested. Touma says the generals have tried to demonize the protestors and so they are moving out of the iconic Tahrir Square, taking their case to the people.
SALLY TOUMA: You need to come out of Tahrir because they have isolated you, and they have created a sort of division, just by spreading rumors maybe against the protestors, so it is important for us to come to the neighborhoods and say no, we are the same people; we are the same, nothing has changed. It's not that we are thugs this time, we are still the same people believing in the revolution and continuing it.
GARCIA-NAVARRO: The group starts to move and winds its way through the narrow alleyways of the neighborhood, chanting freedom, freedom. As they pass, a group of men rail at them furiously.
UNIDENTIFIED MAN: (Foreign language spoken)
GARCIA-NAVARRO: One man says the country is in a very bad place. Another nods and says I don't want there to constantly be a fuss in the square. I want the country to be stable. They should go home, he says.
It's no small irony that one year after the Egyptian revolution began, the very people who started it, are now viewed with suspicion. And one of the main reasons, activists allege, are comments like these...
GENERAL HASSAN AL-ROWENY: (Foreign language spoken)
GARCIA-NAVARRO: That's Hassan al-Roweny, one of the generals in the ruling junta, speaking with Al-Jazeera. he's alleging that the April 6th Movement - one of the main youth groups that helped kick-start the uprising last year - is destabilizing the country and its members are trained by foreign agents.
Moshirah Ahmed is one of the founders of April 6th.
MOSHIRAH AHMED: (Foreign language spoken)
GARCIA-NAVARRO: She says the government needs to give a face to the opposition so it can use it as a scarecrow to frighten people, she says. The government says it's either us or them, stability or instability. They did this to the Muslim Brotherhood before the revolution, she says. And now we are the face of the so-called evil opposition.
But the generals aren't the only problem. The revolutionaries have also squabbled among themselves and struggled to come up with a clear message. Liberal groups allied with them were decimated in the recent parliamentary elections.
WAEL GHONIM: I think this has been one of our biggest problems in the past. We cannot focus on what matters. What matters is the complete transfer of power in a democratic way.
GARCIA-NAVARRO: That's former Google executive and revolutionary Wael Ghonim in an interview with NPR.
GHONIM: People, they are scared, they want stability. They don't want to see the country in chaos. And I think this is the message we have to work on. This is the messaging part that revolutionaries have to work on, because we do not want to see our country in chaos. We want to see our country stable, but at the same time, not at the price of democracy.
SONARI GLINTON, BYLINE: But at the demonstration, Sally Touma says the fight for Egypt is far from over.
TOUMA: It will take years, the revolution has taken years. I don't know why we give up so quickly. It depends when you feel things are changing and it's over, you know? It is a war, it's a battle, and we will continue. They will kill us, they will imprison us, they'll do whatever, but the end, you are a freedom fighter and you'll continue to fight 'til freedom.
GARCIA-NAVARRO: Lourdes Garcia-Navarro, NPR News, Cairo.
MONTAGNE: You're listening to MORNING EDITION from NPR News. Transcript provided by NPR, Copyright NPR.


text:
Did you see Jimi Hendrix in concert? Did you meet Jimi Hendrix or have the opportunity to interview him or have some other unique, first-person encounter with Jimi Hendrix? If so, Experience Hendrix wants to hear from you.
Jimi Hendrix
Did you see Jimi Hendrix in concert? Did you meet Jimi Hendrix or have the opportunity to interview him or have some other unique, first-person encounter with Jimi Hendrix? If so, Experience Hendrix wants to hear from you.
A 40-minute set by the Experience is performed at the Municipal Auditorium in San Antonio, Texas. Their set includes performances of "Purple Haze," "Fire," "Foxey Lady," "Hey Joe," "Red House," and "Tax Free" among others. Hendrix closes the set with a destructive sequence has him destroying his Stratocaster and smashing several amps on stage.
Fire Foxey Lady Live municipal auditorium Purple Haze san antonio texas
The Experience perform at Moody Coliseum in Dallas, Texas supported by the Soft Machine. Their 62-minute set includes, "Dear Mr. Fantasy," "Rock Me Baby," "Foxey Lady," "I Don't Live Today," an aborted version of "Hey Joe," plus a few notes from "I Feel Fine" and then dive into a version of "Fire." "Red House" follows then "Purple Haze" and closing with "Wild Thing."
dallas Dear Mr. Fantasy Foxey Lady i don't live today Live Moody Coliseum Rock Me Baby Soft Machine texas
The Experience perform at Sam Houston Coliseum in Houston, Texas. Among the songs performed at the 8:30 p.m. show are "Red House," "I Don't Live Today," "Spanish Castle Magic," "Fire," "Voodoo Child (Slight Return)," Purple Haze," and "Manic Depression."
houston i don't live today Live Red House Sam Houston Coliseum spanish castle magic texas
Jimi Hendrix joined by Larry Coryell and members of Ten Years After for a jam at the Scene in New York City.
The Experience are supported by Soft Machine for two performances at Auditorium Theatre in Chicago, Illinois. Among the numbers performed were "Foxey Lady," "Fire," "Purple Haze," and "Wild Thing."
Auditorium Theatre chicago Illinois Live Soft Machine the experience
Performing a 45-minute set at the Colonial Ballroom in Davenport, Iowa, the Experience play "Are You Experienced?" "Lover Man," "Tax Free," "Foxey Lady," "Red House," "I Don't Live Today," and "Fire."
The Experience perform a 45-minute set at the Merriweather Post Pavilion in Columbia, Maryland with the Soft Machine as the supporting act. The set includes "Are You Experienced?" "Rock Me Baby," "Foxey Lady," "Hey Joe," "Fire," "I Don't Live Today," "Purple Haze," "Wild Thing," and "Star Spangled Banner."
Columbia erriweather Post Pavilion Live Maryland the experience
The Experience travel to Atlanta where they perform at the Atlanta Municipal Auditorium at 3 p.m. and again at 8 p.m.. They are supported by Amboy Dukes (for the first show only), Eire Apparent, Vanilla Fudge and Soft Machine. The second show includes performances of "Red House," "Purple Haze," "Wild Thing," and "Star Spangled Banner" among others.
Amboy Dukes Atlanta Atlanta Municipal Auditorium Eire Apparent Live the experience Vanilla Fudge
Supported by Eire Apparent and Soft Machine, the Experience perform a single set at Curtis Hixton Hall in Tampa, Florida.
Curtis Hixton Hall Eire Apparent Florida Live Soft Machine Tampa
Completing two performances at the Civic Dome in Virginia Beach, Virginia, the Experience are once again supported by Eire Apparent and Soft Machine.
Civic Dome Eire Apparent Live Soft Machine the experience Virginia Virginia Beach
The Experience perform as part of the "New York Rock Festival" at Singer Bowl, Flushing Meadow, Queens. Also appearing on the bill are Janis Joplin, Big Brother and the Holding Company, Chamber Brothers and Soft Machine. The Experience's 50-minute set consists of "Are You Experienced?" "Fire," "Red House," "I Don't Live Today," "Foxey Lady," "Like A Rolling Stone," "Purple Haze," "Hey Joe," "Wild Thing," and "Star Spangled Banner." Annie Fisher of the Village Voice interviews the Experience for the August 29th issue. A late recording session at the Record Plant results in the completion of "House Burning Down" for the Electric Ladyland album.
Flushing Meadow Live New York Rock Festival Queens Singer Bowl the experience
The Experience perform at Bushnell Memorial in Hartford, Connecticut supported by Eire Apparent. Henry B. McNulty interviews the Experience for the August 26 issue of the Hartford Courant.
The Experience perform two shows at the Carousel Theatre in Framingham, Massachusetts with support from Soft Machine. The set includes "Johnny B. Goode," "Hey Joe," "Sunshine Of Your Love," "Fire," "Purple Haze," "Wild Thing," and "Star Spangled Banner." Jimi drives back to New York City immediately following the show.
Carousel Theatre Framingham Live Massachusetts New York City Soft Machine
The Experience perform at Kennedy Stadium in Bridgeport, Connecticut with support from Eire Apparent and Soft Machine.
Bridgeport Connecticut Eire Apparent Kennedy Stadium Live Soft Machine
The Experience fly from New York to Salt Lake City, Utah and book into the Newhouse Hotel. In his hotel room, Jimi Hendrix writes the intricate liner notes to Warner Bros. for the production of the Electric Ladyland. (See the liner notes from the 1997 remastered edition of Electric Ladyland for complete note transcription). The Jimi Hendrix Experience perform at the Langoon Opera House with support from Soft Machine.
Live new york Newhouse Hotel Salt Lake City The Jimi Hendrix Experience Utah


text:
SAN FRANCISCO (AP) — Facebook's mystery "press event" on Tuesday could reveal a more robust search feature that would intensify the competition between the social networking giant and its rival Google Inc.
Facebook is holding the event at 10 a.m. (1 p.m. EST) at its Menlo Park, Calif., headquarters. The company has not said what it plans to announce. Last week, it invited bloggers and journalists to "come see what we're building."
The company probably won't be showing off a new office building —unless it decided to make its invitation very literal.
It's also unlikely to be unveiling a much-rumored "Facebook phone" —unless CEO Mark Zuckerberg has changed his mind recently. Last fall, as he'd done on numerous occasions, he publicly shot down speculation that Facebook was building its own smartphone.
"It is so clearly the wrong strategy for us," Zuckerberg said at a September technology conference in his first public interview after Facebook's May initial public offering. "It doesn't move the needle for us."
As far as search goes, users would likely welcome a better way to sift through Facebook for people, businesses, events and everything else available on the vast online network.
The company, whose much-ballyhooed initial public offering turned out to be a disappointment, may also talk about new advertising features. Facebook has been especially focused on building up is mobile advertising business, since most of its users access Facebook through smartphones and tablets.
Research firm eMarketer estimates that Facebook, the No. 2 company in the U.S. mobile advertising market, had an 8.8 percent share last year —up from zero in 2011. That compared with No. 1 Google's 56.6 percent. This year, Facebook is expected to grow its share to 12.2 percent, while remaining far behind Google.
Facebook, which has been calling itself a "mobile-first" company, has been growing thanks to increased use of its mobile apps, improving ad quality and its emerging advertising network, called Facebook Exchange, said Baird analyst Colin Sebastian in a recent note to investors.
"Our field checks suggest that the recently launched Facebook Exchange is helping advertisers target consumers more effectively," he said.
Sebastian thinks that over time, Facebook will make more money from mobile ads, helped by its increasing experience in the space, as well as its "ever-increasing user profile data."


text:
West, Wester, Westest Part 2
Group show curated by Ryan Travis Christian
Mar 11 - April 2, 2011
248 Fillmore St.
San Francisco, Ca. 94117
Works by: Carl Baratta, Timothy Bergstrom, Samantha Bittman, Ted Gahl, Rogelio Gamez, David Leggett, Shona Macdonald, Rachel Niffenegger, Paul Nudd, Marcie Oakes, Melissa Oresky, Tyson Reeder, Kate Ruggeri, Deb Sokolow, and Scott Wolniak.
"In the second iteration of West, Wester, Westest, I've once again chosen a selection of emerging and mid-career artists that A) don't regularly exhibit in SF, if at all. and B) create work that "throws a wrench" so to speak, into what FFDG regularly shows. As a long time fan of Fecal Face, I'm honored to have such an immense platform to expose these artist to the world on. In terms of style and/or concept, these artists produce works that are very forward thinking and often experimental, throughout various mediums. The works exhibited, will run the gamut of content, from grossly disturbing to humorous, to bold and beautiful abstraction and then back again. Please join us @ FFDG's new location in the Lower-Haight (248 Fillmore @Haight) on March 11th for the opening reception of West, Wester, Westest Part 2, I will be in attendance." -Ryan Travis Christian
Untitled, Melissa Oresky, mixed media on paper
Droopy Dirt Beard, Rachel Niefenegger, watercolor/acrylic/spray-paint/plaster & mixed media on fabric on paper, 22"x32", 2011


text:
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text:
Now streaming on:
Shorts International presents the five live action short films selected as this year's Oscar nominees: "Asad," "Buzkashi Boys," "Curfew," "Death of a Shadow," "Henry."
Running time: 113 minutes total. MPAA rating: Not rated (suitable for all-ages viewing).
The first thing you may wonder about this year's Academy Award nominees for best live-action short is: Where's the Funny? Academy voters typically favor drama over comedy in the Best Picture category, and that bias prevails in the shorts category, too. Last year's winner was Terry George's somber Irish drama "The Shore," but I would've preferred the whimsical, slyly understated humor of the Norwegian nominee "Tuba Atlantic," or the more conventional Irish charms of "Pentecost," about a young altar boy who mischievously disrupts a Sunday service in his local parish.
Aside from one nominee ("Curfew") that tries to be amusing, this year's batch of five nominees emphasize what Woody Allen (in "Annie Hall") called "total heaviosity," which is to say: Don't look for laughs because they're in very short supply.
That's more of an observation than a criticism, however, because all five live-action nominees share another trait: They may be short on humor, but they compassionately illuminate the state of our world, our frailties and foibles, and our capacity to survive the challenges that life throws at our feet.
That quality of endurance shines brightly in this year's strongest nominee, the Afghanistan drama "Buzkashi Boys" (29:42), an international collaboration (director Sam French is American) and one of the first narrative films shot amidst the war-torn ruins of Kabul. It's here that we find two young boys — a streetwise orphan and the son of a stern but loving blacksmith — who both dream of playing Buzkashi, an Afghani variant of polo using a dead goat (and the source, presumably, of the phrase "he got your goat").
It's a rugged sport that would likely appeal to children of war, and despite a tragic turn of events, the film emerges as a muted celebration of tenacity and hope for better days to come. Like René Clément's 1952 classic "Forbidden Games," French's film views war and its aftermath through the eyes of children — still, and always, the most heartbreaking perspective on humanity's dark side. That the film ends with a hint of optimism is no small achievement.
Similarly, the U.S./South African coproduction "Asad" (16:28) effectively uses a cast of Somali refugees, offering a child's-eye view of what initially appears to be a no-win scenario: In a small, war-torn Somali fishing village, a young boy Asad (Haroun Mohammed — like the kids in "Buzkashi Boys" a superb nonprofessional actor) faces a high-pressure choice between the dangers of ship-raiding or, in defiance of the heavily armed village pirates, the honest life of a traditional village fisherman. It's been said that children are often wiser than the grown-ups around them; "Asad" embraces that sentiment with no-nonsense practicality.
A Belgium/France coproduction, "Death of a Shadow" (20:29) is a dark fantasy that looks and feels like a Steampunk collaboration between Terry Gilliam, David Fincher and Jean-Pierre Jeunet in "City Of Lost Children" mode. In the wake of World War I, a photographer with a strange, supernatural camera captures the shadow of dead soldier named Nathan (Matthias Schoenaerts, from "Rust and Bone"), and offers him a second life in exchange for 10,000 shadows.
Seizing the opportunity, Nathan sets out to find Sarah (Laura Verlinden), the woman he'd fallen in love with before he was killed in battle. When he discovers that she's now with another man, jealousy drives him to pursue an embittered course of action. With bizarrely imaginative production values that will appeal to fans of Guillermo del Toro, "Death of a Shadow" seems a bit muddled in terms of storytelling and overall purpose, but if director Tom Van Avermaet has steampunk feature in his future, it's guaranteed to be a visual feast of retro design.
Like the acclaimed 2001 drama "Iris" and Sarah Polley's superb 2006 feature "Away from Her," the Canadian French-language short "Henry" (21:11) conveys the confustion and terror of Alzheimer's disease, focusing on the internal turmoil of the 84-year-old title character, a former concert pianist played with heart-wrenching authenticity by Gérard Poirier.
It's mostly confined to one hospital corridor and directed with admirable finesse by popular Quebec actor Yan England, who employs fluid, almost waltz-like camera moves to visually manifest a disorienting parade (for Henry, not for the viewer) of people and emotions from Henry's past — most notably his violinist wife, Maria (Louise Laprade), whose apparent disappearance triggers Henry's innermost fears. Making fine use of Mascagni's "Cavalleria Rusticana" as a musical motif, "Henry" suggests that England, like fellow Canadian Polley, has a promising future behind the camera.
Finally, there's "Curfew" (19:43), which qualifies as a lucky nomination for American actor/writer/director Shawn Christensen. I say "lucky" because, like last year's comedic nominee "Time Freak," it's essentially a student film (albeit a well-made, well-funded, multiple-award-winning one) full of good-humored ideas that never gel into a satisfying whole. I'm guessing that most viewers will love the scene in which dozens of bowlers break into a funky dance routine in a crowded bowling alley, but for me it falls flat. The tissue-thin story concerns a carefree slacker named Richie (played by Christensen) who's recruited by his estranged sister to babysit his nine-year-old niece Sophia (Fatima Ptacek) for a few hours.
The kid is smarter, wiser, and more responsible than her aimless uncle, and that's pretty much the extent of Christensen's "comedy." Like the character he plays, "Curfew" meanders harmlessly from one barely-connected scene to another. Boil it down to its flimsy essence and "Curfew" is a mini-sitcom with lofty ambitions.


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Fruits & vegetables, in Colgate, are the edible parts of plants that are rich in various nutrients & dietary fibers and pose amazing health benefits if consumed on a regular basis.
Several fruits & vegetables, for their very high antioxidant content, have anti-aging and anti-cancer properties. Fruits and vegetables also help reduce high blood pressure, blood cholesterol & body fat. Risk of breast cancer among postmenopausal women gets reduced due to an increased intake of fruits. Higher consumption of fruits, berries and vegetables reduce the risk of cardiovascular disease-related death. Fruits and vegetables are known to protect against chronic disease because of their rich content of many phytochemicals. Health authorities in Colgate recommend regular consumption of at least one citrus fruit and one cruciferous vegetable to stay healthy.


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National Multiple Sclerosis Society
The way the world communicates has changed and MS activists are part of the new conversation. Use online and interactive (social) media to build awareness and drive change—become a digital activist today.
Identify yourself as an MS activist. Connect with other MS activists and public officials.
I am an #MSactivist. Multiple sclerosis affects my life (add a brief personal note sharing how). To support me on issues that affect families facing #MS please Share this and Like @National Multiple Sclerosis Society
A Facebook tag—the "@" symbol preceding a user or page name—only creates a tag if you Like that user's profile/page. The successful tag should automatically change the name to a hyperlink—and the @ symbol will disappear. Feel free to include @National Multiple Sclerosis Society or indicate that you are "with" your local page.
I am an #MSactivist – join me & support people w #MS. Please RT & follow @MSactivist
As a constituent and an #MSactivist, I urge you to support the interests of people living with multiple sclerosis. #MS is an unpredictable, often disabling disease – the exact cause is unknown, and there is no cure. (add a brief personal note if you wish)
Ask others to join you as a digital MS activist!


text: Other | 04. July 2012 Ariane 5 ready for launch in Kourou carrying one weather and one telecommunications satellite It's that time again! Final preparations for the third Ariane 5 launch this year (VA207) are currently underway at Europe's spaceport in French Guiana. Following a successful launch readiness review on Tuesday and yesterday's roll out to the launch pad, no other formalities stand in the way of tonight's launch. The launch window opens at 23:36 CEST and closes 29 minutes later, that is, tomorrow at 00:05 CEST. The launch window opens at 23:36 CEST and closes 29 minutes later, that is, tomorrow at 00:05 CEST. Arianespace will be live streaming the launch here. VA207 carries both a commercial and an institutional payload on board. Both payloads will be placed in geostationary transfer orbits. The European Organisation for the Exploitation of Meteorological Satellites (EUMETSAT) MSG-3 weather satellite is designed to supply European weather services with weather data from its orbital position at 0 degrees east. MSG-3, which will be referred to as Meteosat-10 following a successful launch, is carrying the Spinning Enhanced Visible and Infrared Imager (SEVERI) and Geostationary Earth Radiation Budget (GERB-3) instruments. SEVIRI is the satellite's centrepiece and main instrument. It is an imager (optical observation device) that supplies data about Earth in 12 spectral bands. GERB-3 is a radiometer designed to make accurate measurements of Earth's radiation budget. The EUMETSAT meteorological programme is carried out in collaboration with the European Space Agency (ESA). EUMETSAT is responsible for the entire system, the requirements and the operation of the satellites, whereas ESA is responsible for developing and building the satellites. MSG-3 is the ninth satellite in the Meteosat series to be orbited by an Ariane launcher. Meteosat-1 had to be launched on a Delta rocket in 1977, because a European launch vehicle was not available at that time, but Meteosat-2 was the payload on the third Ariane flight in June 1981. Since then, every other Meteosat has also been launched on an Ariane vehicle. The commercial payload on the flight is EchoStar XVII, a telecommunications satellite designed to provide broadband Internet connectivity across the United States for Internet provider Hughes Network Systems, taken over by EchoStar in 2011. The satellite, named Jupiter-1 before Hughes was taken over by EchoStar, is based on the LS 1300 bus from US satellite manufacturer Space Systems/Loral. EchoStar XVII is only the second EchoStar satellite to be launched on an Ariane. An Ariane 4 previously delivered EchoStar II into Earth orbit in September 1996.


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On the tenth anniversary of the September 11th attacks, an exhibition at Moma Ps1 examines their impact on our perceptions of culture.
In the decade since September 11th 2001, images of the events have proliferated media and culture to the extent that many of us have an internal slideshow of horrific snapshots that define the tragedy. In most cases, these images will be a blend of news footage from the day itself and iconic photographs, perhaps even blurred with images from the movies that have re-imagined the tragedy: Paul Greengrass' United 93 (2006) and Oliver Stone's World Trade Center (2006). Just as images of the events have been inescapable, their significance politically is impossible to overestimate, as global events continue to be shaped in their wake. As Jean Baudrillard wrote just two months after the attacks: "Not only are all history and power plays disrupted, but so are the conditions of analysis."
Having opened on the 10th anniversary of the attacks, Moma Ps1's exhibition September 11 addresses the cultural impact of the tragedy. Rather than showing works produced in direct response to the attacks, or images of the events themselves, curator Peter Eleey has decided to focus on the way the events of 9/11 have shaped our responses to and perceptions of works produced, for the most part, before 2001. The exhibition features 41 artists and more than 70 artworks across a range of genres, styles and time-periods, connected in a fundamental way only by the force of the interpretative framework of the show's title.
"Part of the job that museums and curators undertake is to bring the past to bear upon the present and to speak for the intentions of the makers and the conditions of the time in which the art was made", acknowledges Eleey, "but in part we do so because of the way that history works with impunity upon art and changes the meaning of it all the time. The scale of the cultural violence of September 11th was such that it provided a way to think about that dynamic and force of history."
The works in September 11 are therefore experienced as slightly disconnected from the context of their making, repositioned and heavily coloured by what the philosopher Jacques Derrida called the "hauntological" spectre of 9/11, profoundly altering the way they're interpreted. William Eggleston's iconic Untitled (1970) is a photograph of an aeroplane window in front of which sits a tumbler filled with what looks like the deep autumnal amber of a Manhattan cocktail. In the jading brightness from the window, the tumbler casts an imposing tower-like shadow, skewered as if through its heart by the cocktail stick. What might be seen as a glamorous and confident picture of flamboyant capitalism is, when encountered against a backdrop of an exhibition reflecting on the events of 9/11, suddenly heavy with a resonant foreshadow of the tragedy. An eerie foreshadow is also present in Two Lower Manhattan Wrapped Buildings, Project for New York (1980), in which Christo's gesture can be interpreted as a compulsion to protect or shield the tall buildings; to wrap them up like an offering or gift, or as a premonition of the erasure of the towers.
As the location to the backdrop of the September 11th attacks, New York itself plays an important role in the exhibition, which includes many quintessential New York artists such as Alex Katz, Jane Freilicher and Maureen Gallace. Freilicher's oil on linen, Dark Afternoon (2001), features a plant and vase of flowers on a bright yellow tablecloth looking out to a dull grey cityscape that seems to veer up in the background. The plant and vase themselves look a little like parallel structures, but more than that, there is a dynamic in the image between life and death. Death is symbolised by the giddy yellow of the cut flowers, which will soon die, brown paper petals already strewn across the table; life, by the sturdy, less flamboyant but longer lasting green of the potted plant.
A sombre painting by Katz of two silhouetted parallel trees calls to mind not only the twin towers, but also a sense of duality; the shadows the towers cast in the mind even when they are absent. Similarly, a Diane Arbus photograph from the 1950s of a newspaper tumbling across a New York intersection is haunted in retrospect by echoing connotations of the important, frightening junction that September 11th posed. Blowing Newspaper at a Crossroads, N.Y.C (1956) is a dark, misty image where only the road is visible and there's an invisible black mass where you might expect a building to be at the side of the road. The context of the image's origin also resonates. The photograph is suffused with a sense of historical momentousness and an atmosphere of constant apprehension that came to dominate America and the world during the Cold War era of the 1950s and which is analogous to the decade that's just passed and the impact that 9/11 has had on America's sense of itself in the world. As Eleey points out, the World Trade Center attacks forced America to look outside of itself towards the world in terms of foreign policy but have also engendered a counter turning inwards "away from a solidarity with other victims of terror and violence," a dynamic not dissimilar to the situation in the Cold War.
The scarring of recent events into the way we experience the art of the past is articulated in Mary Lucier's early video installation Dawn Burn (1975). Lucier used an early video camera to capture the sun as it rose over the east river. In pointing the camera at the sun, its brightness exceeds its capacity burning a hole in the camera tube and indelibly scarring any videotape made with the camera. Lucier exploited this accident by filming the sunrise from the same spot on seven consecutive days, allowing the burn-marks to multiply, overlap and expand. The resulting videos are played on progressively larger screens next to one another. Dawn Burn is an extremely lyrical metaphor for tragedy that is too immense, too spectacular and horrific, to be processed head-on. It is also a comment on the lasting scarring effect strong images can have on our perceptions and interpretations of other images.
In the weeks following September 11th in 2001, Janet Cardiff's sound installation The Forty Part Motet (2001) was on display in Ps1. As part of September 11, Eleey has had the piece reinstalled in the same room that it occupied a decade ago. If by focusing on artworks for the most part created before 2001, September 11 is an exhibition about how we see the culture of the past through the lens of what has happened more recently, the decision to reinstall Cardiff's sound installation a decade later suggests that the present is also haunted by the blueprint of the past. The work itself is a reimagining of a 16th century piece of choral music in which Cardiff recorded each member of the choir individually and then installed the individual recordings through speakers in a large circle. The voices are experienced both distinctly as individual recordings and chorally as part of the wider whole. Against the backdrop of events immediately following September 11th, Cardiff's installation spoke to the experience of the tragedy as both personal and individual, but with a much wider impact and significance. The curious blend in The Forty Part Motet (2001) of individuality and co-dependence is an articulation of how we experience and see things both personally and communally.
Harun Farocki's 2007 film Transmission is one of the most recent works included in the show. The film visits pilgrimage sites around the world that tourists feel compelled to touch. Beginning in Washington at the Vietnam Memorial, the film focuses on stone monuments and the act of touching them, moving on to locations including Rome, Munich and the Buchenwald concentration camp. Although not produced in direct response to 9/11, Farocki's film is concerned with the implications and significance of how we memorialise and come to understand human tragedy. Thousands of people visit the stone memorials each day and trace their fingers along the engraved names of friends and family. Farocki's film explores the role that memorials such as this play in establishing a link between our present lives and the past, and how they help shape a sense of shared cultural memory about events.
For the first month of the exhibition, Thomas Hirschhorn's Mondrian Altar (1997) has been installed on a street corner not far from Ps1's building in Long Island City, Queens. The piece takes the exhibition out of the museum, stretching outwards towards the public in a way that seems particularly crucial in the context of the show. "Among the most moving of the cultural responses to the events of September 11 was ad-hoc cultural commemoration and forms of street shrines, from missing posters that people heartbreakingly posted around the city to collections of flowers and candles at Union Square and other places," explains Eleey: "It felt important to me to engage the public space in some way because of the remarkable history of public expression in response to the event."
Hirschhorn's shrine is an unusual artwork, its assemblage of pictures and posters, quilts and T.V. screens often approached by the public not as a work of art at all. In this case, there will be people who approach it without a familiarity of Mondrian's work, who will assume it is a memorial to a recent tragedy of some sort; even, in some cases, members of the public might lay a tribute themselves, buying into the reference of the memorial in a way that transcends particulars. Hirschhorn's piece reflects on and also invites a form of shared cultural signification. Visitors who know of Mondrian's work, and who recognise Hirschhorn's altar as part of an exhibition entitled September 11, might experience the work in an entirely different way. They might see the collapse of the twin towers as the collapse, too, of crisp geometrical lines; the collapse of a dream based on that mode of expression.
Susan Hiller's installation Monument (1980-81) also deals with public commemoration. 41 photographs of plaques commemorating fatal acts of heroism in London are arranged in a diamond-like formation on a gallery wall. In front of the wall, there's a wooden park bench facing away from the photographs. Visitors are invited to sit on the bench with their backs to the plaques to listen to an audio-track of Hiller ruminating on tragedy, heroism and commemoration through headphones while sitting on the bench. In order to experience this work fully, the visitor has to, as Eleey puts it, "turn away" from the images of the event commemorated and consider them through language and thought. The commemorative plaques are in a sense merely a trigger for the personal act of commemoration, which comes from processing the events and images intellectually.
Hiller's installation forms a compelling analogy for what the exhibition achieves as a whole. By turning away from images of the attacks and works made in direct response to 9/11, the exhibition opens the viewer up to a more thoughtful and engaged examination of its effect on the way we see things in the tragedy's wake. This impulse is also present in Ellsworth Kelly's Ground Zero (2003), the only work in the show to specifically address 9/11 and, according to Eleey, an important work in shaping how he thought about curating an exhibition dealing with the events of 9/11. In Ground Zero, a proposal on the front page of the New York Times from the second anniversary of the attacks in 2003, Kelly puts forward a plan to leave the space of the World Trade Center site as a space; a green abstract field in the centre of Manhattan. Perhaps it's best understood as an experiment, a starting-from-scratch with the belief that the context of September 11th is powerful enough in and of itself to provide the space to think through the tragedy.
September 11 ran from 11 September until 9 January 2012 at Moma Ps1, New York, www.ps1.org
Colin Herd


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Things tagged with "Blekinge"
Brian Patrick McGuire
Middle Ages: Christian scholars - Denmark becomes Christian
In the High Middle Ages (1000-1300), something of a miracle happened in Denmark. Thanks to monks and the ambitions of the nobility, the country was enriched by architecture, art and learning. The rise of Christianity put Denmark in the first European community defined by this religion. The…
Anna-Elisabeth Jensen
The struggle for the Baltic Sea - Fish, money, power
In the 11th and 12th centuries, controlling the Baltic Sea meant controlling trade in the entire region. Salted herring and other fish were guaranteed sources of income. In the 13th century, the Hanseatic League emerged. Originally a trading confederation made up of coastal Low German market towns …
Lars Bisgaard
The Count's Feud - A civil war for God, class and country
The Count's Feud is one of the most important events in Danish history. Years of tension between the Hanseatic League and Denmark came to a head when Lübeck sent troops to Denmark, ostensibly to free King Christian II. Meanwhile, Protestants began their onslaught against the established…
Per Ingesman
Nobility and King - The age of the nobility
The period between the Reformation in 1536 and the introduction of absolute monarchy in 1660 is known as the the age of the nobility. After the Reformation had done away with the Church as a power player and an independent institution, the nobility became the most important of the king's…
Søren Mentz
King Christian IV - Grand buildings and broken dreams
Christian IV (1577-1648) is probably the best known king in Danish history in part because he left behind a trail of spectacular buildings that include Frederiksborg Castle, Copenhagen's Old Stock Exchange and the Round Tower. He also founded districts and towns like Christianshavn and…
Michael Bregnsbo
Absolute monarchy - The foundation of the welfare state
Absolute monarchy in Denmark refers not just to a type of government, it also refers to the period 1660-1848. During this period, Denmark as a state and society underwent fundamental changes. Compared with other countries, the period of the absolute monarchs in Denmark was unique - partly because…
Birgitte Holten
Denmark between Britain and France - Hostage of the great powers
The complicated international situation around the year 1800 saw Denmark become a hostage of the conflicts of the great powers. The country's foreign policy during these years had three primary objectives: maintain its neutrality, ensure the survival of the dual monarchy Denmark-Norway, and to …
Thomas Wegener Friis
The Cold War - The Russians never came
No sooner was World War II over than a new war had begun. Until the fall of the Berlin Wall, the Cold War divided not just the world, it also divided countries and even families. It was a conflict that pitted democracy against dictatorship, and with both sides armed with nuclear weapons, it was a…
Erland Porsmose
Lord of the manor and of the village - The manor as the seat of power
Danish landlords have held considerable power throughout history. Those loyal to the Crown helped to set up an army of knights, were exempted from paying taxes and given dominion over the population of entire villages. During the 16th century, lords came to be known as nobles, and by the 17th…
Erland Porsmose
Serfdom - Tied to the land of their birth
For centuries, serfdom kept Danish peasants bound to their local landlord. They were a source of cheap labour for wealthy landowners and could only move away if granted permission to do so. The first peasants began to break the bonds of serfdom in the late 18th century, starting the gradual…
Søren Byskov
Herring, cod and other fish - Industrialising the sea
Denmark became one of the world's leading fishing countries in the early 20th century when fishermen began using a highly effective net – the Danish seine – to catch plaice. Historically, Danish catches have included whales, seals, cod, plaice, salmon and eel. During the Middle Ages,…
Henrik Harnow
Maritime Denmark - The port to commerce and leisure
Seafaring has deep roots in Denmark. Keeping 400 islands connected with the mainland has required centuries of sailing. The maritime environment is evident everywhere. And even though Denmark is a small country, its coasts are home to everything from major industrial ports to small fishing harbours…
Flemming Just
The great movements - Power to the people
The rise of the cooperative movement and the labour movement are two pivotal developments in the evolvement of the Danish society. They emerged in Denmark at the same time as in other European countries towards the close of the 19th century. Farmers and factory workers organised in order to give…
Caspar Jørgensen
Industry - From mills to computers
Even though Denmark is known as an agricultural nation, industry has played a major role in the development of the welfare state. Around 1840, factories began to appear in earnest, and soon more were working industrial jobs than in agriculture. And between 1930 and 1970, the industrial sector was…
Anne Nørgaard Jørgensen
War and peace - Military installations of the past
Danish military history is heavily influenced by the country's strategic position between the Baltic Sea and continental Europe. Castles, castle mounds, barracks and other military installations from nearly every historical period stand rank and file throughout the country. Denmark's attractive …
Tyge Krogh
Crime and punishment - From the noose to the electric tag
That crime doesn't pay is something punishment has always needed to prove. But the way criminals are punished has changed radically down through history. At one point capital punishment was common, and the sentence was often justified by citing God's law". Today, criminals need not…
Tim Knudsen
Power and resistance - A land of peace
Question: in which country did the last regicide take place over 700 years ago? Where did the last civil war take place over 500 years ago? Where did national sentiment only arise in the 19th century? Where have first farmers, then workers been responsible for political reforms? Where are people…
Inger-Marie Børgesen
A place for the sick - From bloodletting to super hospitals
The health system we know today has its roots in the 19th century, in an age when the institutions for the sick became institutions of treatment. The sick were hospitalised and treated by doctors and nurses with the expectation that they could be healed. Hospitals are not an old institution in a…
Niels Kayser Nielsen
A time of leisure - A holiday for every class
Leisure time is something we take for granted, but that hasn't always been the case. At one time, only nobles or the wealthy middle class had time to visit the coast, go to the theatre or hunt. Eventually, white-collar workers were granted the right to holiday and time off at the weekend, when …
Camilla Mordhorst
History in the making - History is everywhere
History is more than just events and heroic tales. History sneaks its way in everywhere, and it is created every day in even the most humble of places. It is a part of buildings, natural landscapes, it is in our words and our habits. But the understanding of what is history, and what isn't, has…
Vibeke Andersson Møller
Architecture: classicism, historicism and modernism - From antiquity to concrete
Danish architectural styles have changed many times from the mid-18th century to the mid-20th century. The styles have reflected the changing architectural ideals of the day, as well as the purely practical limitations of construction technology. Originally taking the cue from antiquity and…
Martin Zerlang
Artists - Art – on location
There is a close connection between a place and the art that is created there. Danish poets and painters have always been a part of the place they lived – be it Kiergegaard's Copenhagen or Krøyer's Skagen. But place, too, is also very much defined by art.
Malene Hauxner, RIP
Trends of landscape gardening - The battle for the garden
Whether the untamed or the tended landscape is most beautiful is a discussion that has raged among gardeners for ages. Gardening has often served as an indicator of the prevailing philosophies of the day: during the period of the absolute monarchs, pleasure gardens featured forests and tree-lined…
Uffe Jakobsen
The cradle of democracy - From absolute monarchy to parliamentarism
Starting in the 1830s and until 1915, three decisive changes were implemented that were crucial for the development of democracy in Denmark. Citizens were given a legislature, the right to vote was expanded from just a small percentage of the population to nearly all adults and the introduction of …
Louise Straarup
The Danish Arts Foundation - Art production for the public throughout Denmark
2014 is the Danish Arts Foundation's 50th anniversary. The production of art in public spaces is the most visible and immediately accessible result of the Foundation's activities.
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Skåne bulhus elementbyggeri træbygningskunst østlige Sønderjylland Blekinge Scania Southeastern Jutland element construction loghouse the art of building in wood