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PORT ST. LUCIE, Fla. — Bob Toski, a five-time winner on the PGA Tour who went on to a legendary teaching career; and 2008 PGA Distinguished Service Award recipient Dennis Walters will be the featured guests during March for the PGA Museum of Golf Speaker Series.
Each will take part in a fireside chat beginning at 5:30 p.m., in the Museum, located at I-95, Exit 121 (St. Lucie West Blvd.). Toski will be featured on Friday, March 16; and the inspirational Walters will be the special guest on Friday, March 23.
The events are both open to the public, with complimentary admission.
Toski, a member of both the PGA Tour and Champions Tour, competed in 21 majors, and finishing tied for ninth in both the 1950 and 1954 PGA Championship. The 1954 leading money winner on Tour, Toski became one of the nation's leading instructors and a member of the World Golf Teachers Hall of Fame. Among his pupils are Tom Kite, Bruce Crampton and Judy Rankin.
Elected to PGA membership in 1947, Toski learned to play the game as a caddie at Northampton (Mass.) Country Club. He left the Tour while at the peak of his game at age 30, wanting to spend more time with his family. A pioneer in golf video instruction, Toski wrote several books and appeared on NBC Sports broadcasts in the 1980s. Later, he teamed up with Mike Fetchick to capture the 1990 and 1992 Liberty Mutual Legends of Golf on the current Champions Tour.
Walters is one of only 11 PGA Honorary Members, joining the likes of Presidents Dwight Eisenhower, Gerald Ford and George H.W. Bush. He dreamed of playing on the PGA Tour, until a freak accident in 1974 left him a paraplegic. While his dream to play on Tour was shattered, Walters pledged to never give up playing the game of golf. With that positive attitude, a remarkable public career began.
The first thing Walters had to figure out was a way to play golf again. Since he could not stand, he started by hitting golf shots from his wheelchair. He then progressed to a swivel seat mounted on the passenger side of a golf cart. Since 1977, Walters has made more than 3,000 appearances and performed in all 50 states, Mexico, Canada and the United Kingdom.
Walters and his sidekick "Bucky," a mixed terrier, appear in approximately 100 shows each year at the PGA Championship, PGA Tour events and golf courses around the world. Walters has performed for and with the likes of Jack Nicklaus, Arnold Palmer, Gary Player and Tiger Woods.
The recipient of the Ben Hogan Award from the Golf Writers Association of America for his triumph over tragedy, Walters uses his own personal experience as an example to challenge each person in the audience to do something in their life that perhaps they thought was impossible.
Attendees of both events will also be able to review the Museum's new exhibits, which include apparel worn by reigning PGA Champion Keegan Bradley, when he won at Atlanta Athletic Club in August; plaques and memorabilia honoring the seven recent inductees into the PGA Golf Professional Hall of Fame; and the PGA Cup, featuring the Llandudno International Trophy, which was retained by the United States over Great Britain Ireland in September.
Museum hours are 10:00 a.m. to 4:00 p.m. daily through Easter. Admission is free year-round.
For more information, visit pga.com/museum or call 800-800-GOLF (4653). The PGA Museum of Golf is located at 8555 Commerce Center Drive, adjacent to the PGA Center for Golf Learning and Performance, in PGA Village.
About PGA Village
The Ryder, Wanamaker, and Dye Courses form a trio of world-class courses at PGA Golf Club, at PGA Village in Port St. Lucie, Fla. Having been ranked among the best golf resorts in America, PGA Village also features the award winning, 35-acre PGA Center for Golf Learning and Performance and the PGA Museum of Golf. PGA Golf Club exists to be one of the premier public-access resort facilities in America, complete with a Private Members Club, and serves as the home club for our 27,000 men and women PGA Professionals. For more information, please visit pgavillage.com.
About The PGA of America
Since its founding in 1916, The PGA of America has maintained a twofold mission: to establish and elevate the standards of the profession and to grow interest and participation in the game of golf. By establishing and elevating the standards of the golf profession through world-class education, career services, marketing and research programs, The PGA enables its professionals to maximize their performance in their respective career paths and showcases them as experts in the game and in the multi-billion dollar golf industry. By creating and delivering world-class championships and innovative programs, The PGA of America elevates the public's interest in the game, the desire to play more golf, and ensures accessibility to the game for everyone, everywhere. As The PGA nears its centennial, the PGA brand represents the very best in golf.


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In the Garden Pendant Necklace
- Brand: Koa Jewellery
- Product Code: GFH1000
- Dimensions (LxWxH): 0cm x 0cm x 0cm
- Availability: In Stock
Standard UK Delivery - (2 - 5 Working Days): £4.99
We offer Same Day Dispatch on all orders placed prior to 12:00 noon * (Please see below for exceptions to this rule)
Express UK Delivery - (Next Working Day): £6.99
Your order must be placed before 12:00 noon to qualify for Express UK Delivery. If your order is placed after this time, it will be dispatched the next working day. If your order is placed after 12:00pm on a Friday or at any time on a Saturday or Sunday, it will be shipped on the following Monday. The exception to this is Bank Holidays, when the order will be dispatched on the next working day, usually a Tuesday.
Please note that Express UK Delivery is not available for the following areas and post codes:
The Isle of Wight, Isle of Scilly, Northern Ireland, AB31 - AB38, AB40 - AB56, IV1 - 28, IV30 - 32, IV36 - 40, IV52 - 54, IV63, KW1 - 14, PA21 - PA38, PH4 - PH41, PH49 - PH50, IV41 - IV49, IV51, 55, 56, KA27 & 28, KW15 - 17, PA20, PA41 - 49, PA60 - 78, PH42 - 44 and ZE.
Scottish Highlands & Islands, Isle of Man, Northern Ireland & Channel Islands
Standard UK Delivery - (2 - 5 Working Days): £20.00
Express UK Delivery - (2 Working Days) : £30.00
Collect in Person (Monday to Friday 09:00am - 4:30pm) : Free
By prior arrangement, orders can be collected by customers from our warehouse in Dorset, 9:00am to 4:30pm, Monday to Friday, with the exception of Bank Holidays. When placing your order, please include the date and approximate time you would like to collect your order, or call our Customer Service Team on 01258 837 970 so we may ensure that your purchase is ready for you.
Europe (Including Republic of Ireland) / Rest of the World
Unfortunately, at this time we do not deliver outside of the UK.
Important Information
- Please note that only Monday to Friday are classed as working days.
- Depending on the weight and delivery requirements or your order, the parcel will be dispatched via one of the following couriers; Royal Mail, DPD, UKMail, Yodel, Parcelforce, DX or TNT.
- Same Day Dispatch - there are some exceptions to this rule; for some larger, heavier items (please see product descriptions for details) and some peak periods such as Christmas and Easter when couriers are exceptionally busy.
- If you need your purchase to arrive on or before a specific date, please contact our Customer Service Team on 01258 837 970 to ensure that this is possible.
- Before you finalise and submit your order, please ensure the delivery address is correct, including the postcode.
- All orders will be dispatched to the address provided to complete your order. If you would like your goods to be sent to a different delivery address, please provide the details at time of ordering. We process and dispatch orders very quickly, so we may not be able to amend your delivery address at a later time and an additional charge may have to be added if your order needs to be re-directed.
- All orders that are sent via courier will be marked 'Leave in safe place and card if out'. If there is a specific place you would like the courier to leave a parcel if you are not in when they call, please provide clear instructions with your order.
- Once an item has been left in the designated safe location, we cannot be held responsible for the parcel after this. Please note that Garden Selections cannot be held responsible for failure in delivery caused by circumstances beyond our control including but not limited to vehicle breakdown, incorrect address details being provided, major roadworks or road closures and force majeure.
- Once an item has been signed for, it is accepted that the order has been received in a good condition, especially with items of furniture. Please therefore check all items carefully before signing for your parcel.
- If you contact us to say that you have not received your order, we will require you to sign a non receipt form before we can re-send your order. This may be sent via email or by the post and must be received back within 7 days.
A delightfully intricate piece, our 'In the Garden' design depicts a quaint cottage and tall trees looking down on a winding garden path.
This scene is framed within a square polished pewter surround and coloured with a beautiful, sage green resin inset.
This unique design hangs upon a 16" silver-plated snake chain, which can be extended to 17.5" using the attached extension links.
Designed and handmade with love in the UK, all materials are ethically sourced from fair trade suppliers. This piece makes a lovely gift for someone special and those who love their gardens.
* Exclusive design to Garden Selections
* Unique silver, pewter and resin combination
* Handmade in the UK


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Thanks for visiting Want This. We've stopped publishing new content to this blog. For the latest and greatest shopping intel in the city, please visit TheFeast.com. Read »
A multi-colored light-up piece to increase your desk's holiday cheer. Read »
Move over, iPad. There's a new tab in town. Read »
What looks like a newspaper, covers like an umbrella, and carries like a bag? This. Read »
This handmade scarf is composed of funky flower shapes and sewn together to create an artsy acarf. Read »
You may not be going camping, but that doesn't mean you won't ever need some cutlery spur of the moment. Read »
This luggable local leather puts the Day of the Dead right on your handmade handbag. Read »
Sure, it's Halloween time and all, but these Godzilla feet slippers may just be doable anytime of year. Read »
This real-life version of a True Blood prop contains an interesting brew. Read »
Need to get out some aggression without actually hurting someone? This unique knife holder might be the right addition. Read »


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No matter how large your presentation is intended to be: we have the right stand for you.
Our standard stands are easy to plan and to adapt to your presentation. You can put together your stand yourself in just 4 steps.
With a modular stand you have a number of additional services to choose from and can decide on the individual details of your presentation.
For a grand entrance: in conjunction with you, we will design your stand exactly to your specifications.
Enjoy the organisational benefits of a joint presentation with associate exhibitors.


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The SKY78113 SkyOne® Ultra 2.0 is a multimode multiband (MMMB) Front-End Module (FEM) which supports 3G/4G and CDMA handsets and performs efficiently in CDMA, WCDMA, HSPA, and LTE modes. The FEM consists of a WCDMA block operating in the low bands, a logic control block for multiple power control levels, and band-enable functions in both cellular and UMTS. RF I/O ports are internally matched to 50 ohms which minimizes the need for external components. Extremely low leakage current maximizes handset standby time. The InGaP/GaAs die and passive components are mounted on a multi-layer laminate substrate and the assembly encapsulated in plastic overmold.
WCDMA: The SKY78113 enhanced architecture supports WCDMA/High Speed Downlink Packet Access (HSDPA) and High Speed Uplink Packet Access (HSUPA) modulations, covers multiple bands for 3GPP including bands 8 and 26 and operates at different power modes. The module is fully controllable via a MIPI® serial interface.
LTE: The SKY78113 meets spectral linearity requirements of LTE modulation with QPSK/16QAM up to 20 MHz bandwidth, including various resource block allocations, with good power-added efficiency.
CDMA: The SKY78113 meets spectral linearity requirements of CDMA2000 and EVDO Release 'A' modulation with good power-added efficiency.
Receiver Section: The SKY78113 includes integrated Duplexers, RX SAWs, and a SP9T which switch supports simultaneous Downlink Carrier Aggregation for additional Rx data rate and provides 3G/4G Rx paths from antenna to LNA port of RFIC. Carrier Aggregation (CA) requirements for noise and harmonics are designed-in for best desense performance. Optimized low insertion-loss Rx paths, matching circuits and well-grounded guard traces (high Tx–Rx isolation) inside the module mitigate desense problems and enhance sensitivity performance. With an integrated RX consolidated switch, it is feasible to match different RX port mapping on different platforms.
TRx and Rx Ports: The SKY78113 provides three TRx ports.
Please note: SKY78113-21 is being discontinued and is not recommended for new designs.
The suggested replacement is SKY78130-13..


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Online learning opportunities
BIOFIN developed two series of webinars. One series is dedicated to finance solutions and the second series focus on the BIOFIN methodology. Click on the button "webinars" for more information, watch the previous webinars, have an overview of the calendar and to subscribe to the BIOFIN webinars series.


text: Find all latest Medical Jobs in Pakistan. Newspaper jobs, Classified jobs and company website jobs at single plate form. MBBS jobs in Pakistan Jobsfeed is an online job resource, serving employer and job seekers of all sectors. We connect every job seeker with top employment opportunities. We immediately gives you access to all kinds of open positions that you would expect. The positions listed are extremely attractive. We provide valuable latest jobs from all newspapers. Jobsfeed also mainly provide classifieds and company websites jobs, so that jobseekers can search all valuable jobs at a single platform. We try to provide all career (student, entry, mid, professional) level jobs for every jobseeker. Jobsfeed always try to assist you in locking in the right position, the position you have been searching for


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Digital Community Success Factors
Infrastructure, funding and new partnerships (PDF - 2.1 MB)
How to Buy
Learn about the next steps:
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Cisco offers products, services, and solutions to help schools make the transition to Common Core State Standards (CCSS).
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Cisco Digital Media solutions are delivered over an educational institution's existing IP network, and include Cisco Digital Signs, Cisco Show and share and more.
Extend the classroom with the Cisco teleconferencing tool that offers an in-person meeting environment.
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Create a strategy to integrate IPv6 into the existing IPv4 network infrastructure at your educational institution.
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Help secure your networks, respond to threats, and communicate across different sectors of your school community.
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Deliver highly secure mobile experiences to more users on more devices with Cisco Secure mobility and BYOD solutions for education.
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Connect workers in high definition using Cisco mobile video solutions like Movi.
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The Cisco ONE approach, based on use cases, focuses on developing a portfolio of complementary technologies.


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The DEA has figured out that getting a wiretap order for an iPhone, executed at the phone company, doesn't get them iMessage content. It's pretty obvious the various TLAs engaged in law enforcement will use this as a concrete example to push the "Going Dark" initiative to get CALEA reinterpreted (or legislated) to cover various internet based communication services. And designing a service to use end-to-end protection will be right out.
iMessage is a special case here, since it inserts itself into the normal text message user interface. It's the phone's preferred way to send messages, and from the user's (and law enforcement's) perspective, it's a native feature of the phone rather than an app.
I'm worried this will bring up yet another concern–even if they get what they want with CALEA, they are going to discover that they have execute multiple, maybe even many, wire tap orders to track a single subject. How long until we require each ISP to be able to MiTM attach every TLS connection? Or another clipper chip initiative?
Apple's iMessage encryption trips up feds' surveillance | Politics and Law – CNET News
(Via MacRumors.)


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Is drinking vinegars the new trend? May be the secret to healthy, glowing skin
We've discussed Apple Cider Vinegar and its amazing beauty benefits -- we even have friends who apply it to their skin every night for clear pores. And while we understand that some are totally addicted to its benefits (and willing to brace the smell/taste to reap those benefits), we were a little surprised to hear that it's going mainstream!
More: 15 foods that are good for your skin
That's right, there's now a restaurant in London called Raw Duck, and the Daily Mail revealed that they are the first restaurant with a "menu dedicated to fermented vinegar." The owners are expecting it to catch on in a big way -- especially since stars like Miranda Kerr and Megan Fox have both sung the praises of drinking and eating more vinegar to keep their skin glowing.
You might be laughing at the idea of ordering a vinegar drink while you're at a restaurant, but how many places are now offering green juices and smoothies regularly? Trendy foods and drinks can definitely sweep the public, especially when they're heralded by celebrities.
What do you think? Would you ever order a vinegar-based drink at a restaurant if it's promising beautiful skin?


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Richard Littlemore | October 21, 2011
By Richard Littlemore • Friday, October 21, 2011 - 00:19
Richard Muller not a Koch lackey after all …
During all the bad days when people were coughing up chunks of lung while the TV still touted Camels, it was never news when the Surgeon General drew the link between smoking and cancer. But it would have been BIG news if Philip Morris had funded and publicized a major study confirming the carcinogenic nature of its product.
That's pretty much what's happened - except with a climate twist - with the publication of a paper with the snappy title: Influence of Urban Heating on the Global Temperature Land Average Using Rural Sites Identified from MODIS Classifications. Update: The revised version of the paper can be found here and is attached.
The paper was partly funded by the Koch brothers, famous for the pollution their industries spew and for the money they spend funding everything from climate change denial to the founding of the Tea Party. "Leading scientists" involved in the paper included people such as Richard Muller and Judith Curry, a man apparently out of his depth in climate science and a woman dangerously in love with her growing reputation as a contrarian. Many people took one look at the funder and the guest list and concluded that anything produced by their Berkeley Earth Surface Temperature (BEST) group was going to be tainted fodder for the denier hoards.
We were wrong.
The BEST paper, an effort to confirm or debunk whether the urban heat island (UHI) effect was skewing climate records, has affirmed - again - that global temperature records are accurate and worrisome. In doing so, they also confirmed that UHI fan Anthony Watts is, well, a silly man who refuses to let solid, peer-reviewed science get in the way of his enthusiasms. (This is purest extrapolation. BEST really IS conducting serious science and thus there would be no occasion in which they might mention Anthony Watts' name.)
Muller himself has promoted the BEST paper in a Wall Street Journal article. Typically, he begins by cosying up to the denier crowd - "Are you a global warming skeptic? There are plenty of good reasons why you might be." - before breaking down and admitting that none of those "good reasons" is supported by actual data.
That said, Muller and Curry deserve credit for standing by good science. And the other contributors to the paper (Charlotte Wickham, Don Groom, Robert Jacobsen, Saul Perlmutter, robert Rohde, Arthur Rosenfeld and Jonathan Wurtele) deserve an equally enthusiastic round of applause for keeping the ship of science steady even with Koch money rattling around in the hold.
The risk they took, accepting that money and associating with Muller and Curry when the two seemed not to care about their professional reputations, has been well-rewarded. We have, again, decisive confirmation of the obvious - that anthropogenic global warming is undeniable. And we have it from the unlikeliest source.
At some point, you might even think that this would inspire someone in government to take seriously the notion that we should do something about it … no? We live in hope.
Badgersouth replied on Permalink
Dr James Hansen nails it!
Jim Hansen, head of NASA's Goddard Institute for Space Studies, said he had not read the research papers but was glad Muller was looking at the issue, describing him as "a top-notch physicist". "It should help inform those who have honest scepticism about global warming.
"Of course, presuming that he basically confirms what we have been reporting, the deniers will then decide that he is a crook or has some ulterior motive.
"As I have discussed in the past, the deniers, or contrarians, if you will, do not act as scientists, but rather as lawyers."
"As soon as they see evidence against their client (the fossil fuel industry and those people making money off business-as-usual), they trash that evidence and bring forth whatever tidbits they can find to confuse the judge and jury."
Source: "Global warming study finds no grounds for climate sceptics' concerns," The Guardian (UK), Oct 20, 2011
To access this article, go to:
PeterS.Mizla replied on Permalink
seems like the deniers from
seems like the deniers from here foward will have more difficulty.
Antocalypse replied on Permalink
Flip side
My guess is that the denier community will not find much difficulty with this study. It's more likely that they'll use it as a vindication of other industry-funded "investigations". They'll point to the BEST report and say "See? We TOLD you fossil-fuel money doesn't influence the science!"
They'll happily give up the Heat Island Myth as a sacrificial lamb if it means being able to suggest that industry financing hasn't corrupted the rest of the denial "science".
I hope I'm wrong. :-)
"I hope I'm wrong.
"I hope I'm wrong. :-)"
Unfortunately, on the denier blogs, deniers as expected, simply deny.
Benny Peiser Cherry-Picking and Spinning BEST report
Benny Peiser is already cherry-picking and spinning Richard Muller's report:
'Sceptical Berkeley Scientists Say, "Human Component Of Global Warming May Be Somewhat Overestimated"' (1)
Notice how Peiser uses all capital letters for each word in his headline. That is not uncommon but in this case it also conveniently makes it appear as if the entire phrase quoted appears as such in the report. It doesn't.
Here's what the phrase of the BEST's report actually says:
"In that case the human component of global warming may be somewhat overestimated."
The full, correct quote obviously should leave real skeptics wondering what exactly "in that case" refers to. One has to look at the previous phrases to understand what it is all about:
"If the long‐term AMO [Atlantic Mutidecadal Oscillation] changes have been driven by greenhouse gases then the AMO region may serve as a positive feedback that amplifies the effect of greenhouse gas forcing over land. On the other hand, some of the long‐term change in the AMO would be driven by natural variability, e.g. fluctuations in thermohaline flow. In that case the human component of global warming may be somewhat overestimated." [Page 12, BEST "Decadal Variations in the Global Atmospheric Land Temperatures" (2)]
One has to be either extremely naive or have the intention to distort to turn the full quote into the claim that BEST believes human contribution may be overstated.
(1) http://thegwpf.org/the-observatory/4161-sceptical-berkeley-scientists-say-human-component-of-global-warming-may-be-somewhat-overestimated.html
(2) http://www.berkeleyearth.org/Resources/Berkeley_Earth_Decadal_Variations
David B. Benson replied on Permalink
turns out to be a poor proxy for anything. A properly done revision of the AMO, 'new' AMO, turns out to be a non-predictor.
Tamino stated of the traditional AMO that it just was global warming. After some looking into the literature I am inclinded to agree. The BEST group is years behind in the literature on this.
This is hilarious watching on
This is hilarious watching on the net, the whole thing unravel for Watts & the deniettes.
The continuous contradictions must be confusing for the denial faithful. Watts rages against the machine & so often demands that we listen to blog scientists that are not peer reviewed, or says the peer review process is dead or corrupt……….but then when the BEST report is released, says it is not peer reviewed. His own surface stations investigation was not peer reviewed, but yet he demanded that we pay attention to it.
Climate realists are playing by the rules & winning. Deniers are constantly shifting the goal posts & are getting pwned by their own game, lol.
Good day! I'm interested
Good day! I'm interested in this topic. I want to buy an essay. And I think that all human actions can be analyzed in different ways. Everyone is entitled to his opinion. Thank you for the fact that I have the opportunit to learn yours.


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evolved multimedia broadcast multicast service tag
1 result(s) displayed for evolved multimedia broadcast multicast service (1 - 1 of 1):
Improving Network Efficiency with Preloaded evolved Multimedia Broadcast Multicast Service (eMBMS)
By Mae Kowalke
One of the challenges faced by mobile network service providers deploying 4G LTE (Long Term Evolution) is using it to deliver popular multimedia content to a mass audience in the most efficient and effective manner. In the past, operators had two options: unicast or broadcast.
For those unfamiliar with the terms, below is a brief description of each:
- Unicast — the sending content to a single network destination, with a unique address. It is a one-to-one method of distribution. Traditionally, unicast has been when each individual recipient wanted or needed different content.
- Broadcast — as the name implies, is sending the same content to all possible destinations, e.g., it is a one-to-many or one-to-all method of distribution. The obvious downside of broadcast is that everyone receives identical content.
Recently, a new technology call evolved multimedia broadcast multicast service (eMBMS) entered the scene. It makes possible the efficient broadcasting of content only to interested recipients. An added attraction is that eMBMS is highly scalable. It uses only a fraction of the capacity compared with unicast. This gives operators the best of both worlds: the flexibility of unicast and the efficiency of broadcast.


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Access to real food. Simple cooking skills and knowledge of nutrition. The promise of a healthy meal tomorrow. These are basic necessities for every person, and the reason we established the Epicure Foundation™ in 2007.
Created to support research, education, and capacity-building projects that address key food security issues in Canada, this program will be awarding six finalists with in-kind donations and grants ranging from $2,500 to $25,000 in 2018!
The application period has now closed.
A selection committee will choose ten finalists that will be included in an online public vote between November 26 and December 16, 2018. This vote will determine the six award recipients, who will be notified and announced during the week of December 17, 2018.


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Welcome to our new website. We've spent a lot of time re-designing the site, listening to what you want and making the whole experience better.
You will notice that we use actual stock levels so you know when it's in stock and when it isn't. We have a fully integrated live stock system that handles stock from in store and online from one central database - plus we have live stock information from our key suppliers that allows you to see beyond what we have here within these four walls. This all helps to reduce the times you have to get an email to say what you ordered isn't available.
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Our new Checkout process allows you to check out by creating an account, signing in to an existing account (your account from our previous site will still work), a "Guest" checkout so you don't need to create an account, lastly you can just Express Checkout with Paypal.
Finally our new shipping options allow you greater control on how your order is delivered with realistic delivery times - so you'll know when you'll get it. You get despatch and tracking information (when available) with all orders.
Last of all if you have any questions, email email@example.com or just call us on 01942 826598.
If you have time please do some Reviews of the products you have used on here.
Thanks again for checking us out.
Alan Woods.
Free UK delivery over £30
Tracked Order Info Emailed
UK orders received before 15:00 are dispatched the same day
Add this
Halo Preacher Pro 20 inch Front Wheel Red
to your basket for more information.
Matt Priest Indoors from Id Tv on Vimeo.
With Pre-Order, you can purchase the latest items added to our store in advance of them arriving with us.
You Pre-Order is prioritised (at no additional charge); meaning that, as soon as the product arrives with us, we can wrap it straight back up and get it sent out to you - it often never even hits the stock room shelves!
With Pre-Launch, the date when we expect to receive the product ourselves is still a little too hazy to be confident in accepting Pre-Orders.
So, instead, you can submit your email address against the item you are interested in and we will email you as soon as stock arrives on the system.
Estimated Delivery Dates are given on Pre-Order and Pre-Launch products. They are for indication purposes only and can change at any time without notice.
The dates we provide are based on indications given by our suppliers. Whenever we get updated information from our suppliers we will endeavour to update the Estimated Delivery Dates provided on product pages.
Purchase of this wheel qualifies you for a 10% tyre discount - if you order a tyre at the same we'll also fit and inflate the tyre for you so it's ready to ride!
When you have such a world renowned rider as Matt Priest involved in this project you can be sure that the product will be something special. Matt is Ride UK Magazine's 2011 & 2012 Trails Rider of the Year and also part of the winning Stay Strong team on the 2012 Ride to Glory tour.
Here's what Matt said about his Halo wheels in his 12 page interview in Ride UK Magazine's November 2012 issue (he also got the cover shot): I really wanted everything to be right, it's my own quality control because I wouldn't put my name to anything that I wasn't totally into. The wheels have turned out sick and it's amazing to have a product that you're proud of, I mean I would go and buy the wheels anyway because they're so good.
Pro level wheels.
36mm wide box section 6000 series alloy 36H rims with welded joints.
Stealth laser-etched graphics.
Halo spokes.
Halo MXF hub.
Red rim, Black spokes, Red hub, Black nipples.
Front: 822g (897g incl cap + bolts).
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Muppets in Affiliateland
The original Kermit the Frog arrived at the Smithsonian National Museum of American History (NMAH) yesterday. Kermit made his television debut in 1955 as part of a local Washington D.C. television show created by Jim Henson called "Sam and Friends." Henson's widow, Jane Henson, donated the original Kermit along with the other puppets from the show. The original Kermit isn't as green as younger Muppet fans may remember and was fashioned by Henson using his mother's discarded winter coat. The collection will go on exhibit sometime in November.
Affiliates across the nation have collaborated with the Smithsonian to showcase Jim Henson's characters, whether through a SITES exhibition or through individual artifact loans. Here are some highlights of Muppet sightings in Affiliate-land:
Orange County Regional History Center (Orlando, Florida) hosted the Smithsonian Institution Traveling Exhibition Service (SITES) exhibition Jim Henson's Fantastic World in 2009. The exhibition wraps-up its national tour at Lakeview Museum of Arts and Sciences (Peoria, Illinois) in 2011.
The Kermit the Frog that is already in NMAH's collection was first loaned in 1979, in celebration of Sesame Street's 10th anniversary. In 1994, Jim Henson Productions designated Kermit as a gift, making him a permanent fixture in NMAH's performance collections. In 2005, NMAH loaned him to The National Mississippi River Museum & Aquarium (Dubuque, Iowa) to be included in their exhibition Toadally Frogs!
Oscar the Grouch and five additional puppets, also on loan from NMAH, made an appearance at Flushing Council on Culture and the Arts (Flushing, New York) in 2006 in their exhibition With or Without Strings.
Through the Affiliations network, communities across the country have had the opportunity to experience Jim Henson's lovable characters in their neighborhoods. You can read more about Kermit's new home at NMAH here:
Kermit gets some new friends at the Smithsonian
Kermit the Frog comes home to Washington


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THE PARTY To celebrate their latest collection with interior designer Marie Flanigan, Edgar and Kelly Podzemny of Madison Lily welcomed design lovers to a reception at their Post Oak Boulevard rug showroom.
THE SCENE Local luminaries such as Ruth Davis, Laura Rathe, Julie Soefer, James Keathley, Kristy Geary and Torie Halbert showed up to check out Flanigan's
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THE PERKS Guests noshed on small bites from Mélange Catering & Special Events and sipped Texas wines from Spicewood Vineyards while getting a sneak peek of Madison Lily's always anticipated winter sale. –Rhonda Reinhart
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In the 1960s, when married Californians Thomas and Nancy Lincoln bought a bicycle-built-for-two, they could hardly foresee that, one day, they would share it with their own two children. But when kids arrived on the scene, the Lincolns happily made room, as the 1970 portrait above, by LIFE photographer Michael Rougier, playfully attests.
When Nancy was diagnosed with leukemia in March 1969—and her oncologists gave her three months to live—the Lincolns engaged that same "take it as it comes" philosophy. Thomas, a medical research expert, sought out new, unconventional methods of treatment, asking friends and colleagues about trial studies of new drugs. Thomas even made use of the latest technology of the time: the computer. He studied hundreds of medical records of leukemia patients, tirelessly searching for recurring themes in treatment and patterns indicating which drugs should be taken, and when. He realized a computer could efficiently organize the data and aid him in his search for answers.
After 10 weeks, Nancy was in remission. She lived for another two years, and despite being hospitalized twice, in that time both she and her husband made room for the important things in life. As reported by LIFE in November 1970, Thomas had "given up his early morning jogging for the extra moments together as a family." Nancy took up Spanish lessons and finally completed a long-delayed patio-painting project. As Thomas told LIFE, "she has painted the front door—and she's thinking about doing the whole house."
Although Nancy's diagnosis was a hardship, the Lincolns actually considered themselves lucky. After all, she beat the medical odds and lived well past her initial three-month expectancy, dying in her husband's arms in February 1971. Her additional two years were yet another surprise in a life filled with them—and one the Lincolns cherished.
Katie Yee is a native New Yorker, an undergraduate studying Literature and Psychology at Bennington College, and an editorial assistant at Tweed's Magazine of Literature & Art.


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This pledge closed almost 6 years ago
From my home in suburban Michigan, it is hard to fathom that the only drinking water available for some kids overseas to drink is murky, brown, and bug-infested. As many as 6,000 children under the age of 5 die every day from diseases spread by polluted water.
I never had any reason to think about that chilling fact. In my world, I can find cool, clean, refreshing water to drink wherever I want it. At my high school. At the gym where I am a lifeguard. At my grandmother's house. Anywhere. I take it for granted.
But my view of the world was rocked when I saw a video at church about why people run. The motivation for one of the runners was to help the thousands of children in Kenya who don't have access to clean water.
I could not believe what I saw and heard, like photos of children walking miles to get water, instead of going to school. And the water wasn't even clean. I couldn't imagine missing school for that.
What I did believe was that I should do something to help. The opportunity to do so was right in front of me. My church was organizing a group of people to run the Chicago Marathon. Each runner had to raise more than $1,000 to be in the race. All the money will go to building toilets, drilling wells—whatever it takes to keep pollutants out of the water in cities and small villages in Africa. And to give people life, as I believe that water is life.
I signed up! At 16-years-old, I just made the minimum age criteria for running the marathon. Even though I was thousands of miles away, I knew I could—and should—raise money to address the environmental problems that haunt the children of developing countries, as well as the wildlife that live near them. I had never ran more than 7 miles, but I knew that running 26.2 miles would not compare to the pain and suffering those children go through on a daily basis.
Helping others and protecting the rivers and streams that God put on the Earth in places like Africa, the Amazon and our own neighborhoods—are values that are at the heart of my Christian faith. In this world of technology, the environment—the natural world—is a way to tune out. It is where I go to grow and reflect as a person, to pray, to make a friend.
Since finishing the marathon—my first!—I have started a running group called Sole Sisters that is made up of girls from my church and community who want to run so that they can stay healthy, have fun, and raise money for charities that do things like help protect the environment.
It amazes me how much my life has changed since seeing the video at my church. I am grateful to be part of a church community that not only made me aware of the environmental problems Kenya faces but helped me realize how I can make a difference if I put my mind (and feet) to it. Some people might think they are not powerful enough to make a difference. But all it takes is one person.
That's why I am signing the pledge to be an advocate for the environment. I want to show my long term commitment to addressing the environmental problems in my own community and in developing countries thousands of miles from here.
Please join me in doing so. The time to do so is now, before what's left of our natural world slips through our fingers. I'm asking thousands of youth across America to join me. If our generation steps up, change will happen.
Brianna Reeves
WWF Supporter
Troy, Michigan
This content was created by a WWF supporter like you and may not reflect WWF's views.


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Watch Movie The Departed Full Movie HDWatch Movie The Departed For Free with duration 151 Min and released on 2006-11-09 and MPAA rating is 1259.
Original Title : The Departed
Movie title in your country : The Departed
Year of movie : 2006
Genres of movie : Crime, Drama, Thriller,
Status of movie : Released
Release date of movie : 2006-11-09
Companies of movie : Warner Bros., Initial Entertainment Group (IEG), Vertigo Entertainment, Media Asia Films,
Countries of movie : Hong Kong, United States of America,
Language of movie : English, 广州话 / 廣州話,
Durationof movie : 151 Min
Average vote of movie : 7.4
Youtube ID of movie : auYbpnEwBBg
Translation of movie : EN,DE,FR,IT,HU,PT,NL,ZH,TR,ES,FI,RU,PL,SV,CS,DA,EL,SK,HE,
Cast of movie :
- Leonardo DiCaprio ( Billy )
- Matt Damon ( Colin )
- Jack Nicholson ( Costello )
- Mark Wahlberg ( Dignam )
- Martin Sheen ( Cpt. Queenan )
- Ray Winstone ( Mr. French )
- Vera Farmiga ( Madolyn )
- Anthony Anderson ( Brown )
- Alec Baldwin ( Ellerby )
- Kevin Corrigan ( Cousin Sean )
- James Badge Dale ( Barrigan )
- David O'Hara ( Fitzy )
- Robert Wahlberg ( Lazio )
- Kristen Dalton ( Gwen )
- Thomas B. Duffy ( Govenor )
- Dick Hughes ( Uncle Edward )
- Chance Kelly ( Exam Instructor )
Lies. Betrayal. Sacrifice. How far will you take it?
The Departed Synopsis:
Watch Streaming The Departed To take down South Boston's Irish Mafia, the police send in one of their own to infiltrate the underworld, not realizing the syndicate has done likewise in Martin Scorsese's multiple Oscar-winning crime thriller. While an undercover cop curries favor with the mob kingpin, a career criminal rises through the police ranks. But both sides soon discover there's a mole among them.
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Director : Martin Scorsese, Music : Howard Shore, Director of Photography : Michael Ballhaus, Editor : Thelma Schoonmaker, Casting : Ellen Lewis, Screenplay : William Monahan, Screenplay : Alan Mak, Screenplay : Felix Chong, Producer : Brad Grey, Producer : Brad Pitt, Producer : Graham King, Costume Design : Sandy Powell,
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This guide walks you through the necessary steps to configure the Eclipse IDE for PHP debugging. This can be very handy, especially when you're trying to resolve an issue in a complex PHP application or plug-in.
Things you'll need
- Eclipse
- Eclipse PHP Development Tools (PDT)
- Xdebug
Quick Overview
For those that are unaware, Eclipse is a very popular IDE for developing in Java. However, Eclipse is much more powerful than that and can in fact easily be used for developing in many other languages including PHP.
Xdebug is a brilliant debugging extension designed for use with PHP. Once configured, Xdebug will allow you to remotely connect to your web server… or in my case connect to my development localhost web server. Rather than using crude echo and logging techniques to debug your PHP code, Xdebug allows you to literally step through and inspect values and function flows in real-time.


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Although there's been a fair bit of App Store controversy over the past few weeks, Apple's high-profile rejections certainly haven't significantly impacted the number of apps available. As the numbers increase, price competition is becoming more important, especially if devs want to entice new users to their applications. As pointed out by TUAW, many games are dropping to prices like $4.99, and other applications are being given $0.99 or $1.99 price tags. Sure, developers may not be able to score the massive payouts that were seen when the App Store debuted, but the lower prices will ensure that money keeps coming in as more of the novelty of the App Store wears off, as well as when more and less expensive applications appear.
In addition to the price drops, App Store users will probably notice a recent change to the application review system. Spotted by Matt Gemmell (among others), the change prohibits users who haven't purchased or downloaded an application from reviewing that application. This is no doubt in response to the rather loud complaints from developers about the previously-broken review system: people who had never used the applications before, much less downloaded them, had been running around leaving ridiculous reviews and hurting everyone's cred.
As a result of the change, the reviews on the App Store should finally be more closely aligned with what people who have spent actual time with the applications think. Or at least those who have downloaded the apps before piling on the praise and/or hatorade.


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[This essay originally accompanied a 2010 exhibition of the same name at the Lehman College Art Gallery in the Bronx, NY.]
In his 1977 essay "Why Look at Animals?" John Berger explores the idea that, through the mechanisms of late capitalism, humankind is completing a process "by which every tradition which has previously mediated between man and nature [has been] broken." He traces the relationship between humanity and nature from prehistory — in which animals "were with man at the centre of his world," entering the imagination and providing the first metaphor and the first subject matter for painting — to our contemporary reality, in which the observation of real animals is largely relegated to zoos or mediated by television. In this world, the "animals of the mind," those of "sayings, dreams, stories, superstitions [and] language itself," have been transformed into children's playthings and cartoons.[i]
This process had an indelible effect on the childhoods of artists of my generation, born in the years surrounding the publication of Berger's essay. For many of us, the imaginary landscapes around which Wile E. Coyote chased the Road Runner were as vivid in their own way as any experienced firsthand. Menageries of stuffed animals, many of them based on characters from cartoon franchises, became the objects of projected feelings and fantasies. The stuff of the earth, its landscapes and all its inhabitants, was primarily confronted in the form in which it appeared in advertising, acting as signs of anxiety and desire. Those of us drawn to nature as a subject for our art have found that our sensibilities were permanently altered by this second-hand experience of the natural world.
Meanwhile, following Pop in the 1960s and postmodern appropriation in the 1980s, it seemed that nature as a subject for pictorial art was largely moribund. The use of catchphrases such as "Forest of Signs" to describe the contemporary condition was an indication that culture had replaced nature as the model and font of artistic creation. However, during this time a small handful of artists — often marginalized by the critical apparatus of the art world — found ways to incorporate subjects from nature into works of art that contextualized them within an impurely Pop or post-Pop sensibility. Their work has provided important precedents for that of their younger peers, in which a remarkable resurgence of interest in animals, plants, and landscapes as subjects can be seen, and this exhibition attempts to trace that thread by including work by both seminal and emerging artists.
Melissa Barrett's recent collages depict public aquarium exhibits and the children who visit them. Contra Berger's vision of zoos and the like as depressing, inevitably disappointing sites of extreme marginalization, Barrett lovingly evokes the sense of wonder children often feel in the presence of the otherwordly beauty of sea life. She does not deny the artificiality of the aquarium as a structure, where the glass that separates us from the creatures in the water is as much part of a frame as that which separates us from the lively surfaces of Barrett's collages; rather, these pictures are themselves clever mediations on the artifice of pictorial art. The cubists introduced collage into painting as part of their assault on perspectival space and other illusionistic devices of Western painting, and Barrett inverts that operation by enlisting buttons, beads and bits of fabric and lace in the service of illusionism, rendering these representations of the aquarium's highly artificial exhibits of sea life with a remarkably convincing sense of light and space.
Melissa Brown's Image From the Earth's Iron Core uses collage to very different, if no less complex, ends. The image itself has no truck with naturalism or illusionism; according to Brown, it is a spiritual diagram of energy emanating from the Earth's core appropriated from a book on the Gaia principle. Brown's interest in the image stems from the familiar geometric forms that make it up. The ubiquity of such forms dovetails in Brown's practice with the ubiquity of lottery tickets as vernacular printmaking — that is, in spite of the often extraordinarily high quality of their printing, lottery tickets are bought and discarded in such spectacular numbers that they literally become part of our urban landscape. Likewise, the mystical aspect of the image corresponds with Brown's conception of the mysticism of playing the lottery, an act in which a possibly willful misunderstanding of scientific or mathematical principles — in particular, those of probability — links up with strong feelings of hope or desperation to create the illusion that one could beat the forces of the universe at their own game.
William Crump's Grandfather Mountain Revisited is an unusually reductive piece for the artist, made up of a naturalistically rendered graphite drawing of a beard in profile superimposed over a series of flatly painted, brightly colored bands of gouache. In spite of its apparent simplicity, the drawing is full of interesting ambiguities and contradictions. The contiguous bands of color recall those that show up in certain late, high-modernist abstractions by Louis or Noland, but here are gently forced into contours that evoke stratifications in a cutaway view of a mountain. Likewise, in spite of its relatively clear status as a representation, the drawing of the beard is so decontextualized that an unequivocal reading is nearly impossible; first impressions may run through fire, smoke, clouds, or rain, depicted with varying degrees of stylization. The ambiguities of the image as a whole would seem to be resolved humorously by the title, but its combination of genealogy and geology is itself apparently nonsensical unless one is aware of the eponymous mountain's existence in Crump's home state of North Carolina.
Lorenzo De Los Angeles's Kaleidoscope, while containing its own complexities, touches on a number of themes explored in the pieces discussed above. For instance, like Grandfather Mountain Revisited, it combines seemingly contradictory modes of representation, albeit within a more uniform facture. In this case, diagrammatic and trompe-l'oeil information is superimposed upon a perspectival space in which starfish in a tank look through a kaleidoscope. The radially symmetrical patterns they see (which recall the composition of Image From the Earth's Iron Core) appear as diagrams surrounded by dotted lines and scissors. This conceit, along with the drawn intimations of cracking glass parallel to the picture plane, also recalls Barrett's play of artifice and illusionism — the diagrams, with the attendant instructions for cutting them out of the drawing, remind us that we are looking at a flat sheet of paper, while the images of cracked glass suggest an illusion that the glass of the frame is breaking, undercut by the same kind of mark-making elsewhere indicating an entirely different kind of illusion of space; and, of course, we are once again reminded of the parallel experiences of viewing animals and drawings behind glass. Meanwhile, the image as a whole raises a number of questions, the foremost being, how do the starfish interpret the images they see through the kaleidoscope? Does the radial symmetry of the patterns suggest that they interpret them as images of their own bodies? Or are they seeing something more celestial, or more mystical? And, given that the kaleidoscope is a human-made object, and therefore the patterns — although arrived at to some degree by chance — are the result of human creation, we might be led to an inverse question: what sort of ways have human beings projected meaning onto natural phenomena, and how truthful or useful have those projections been?
Nicholas Di Genova's Upright Shepard Walker offers an answer to a different question: what kind of creatures will roam the earth after human beings have managed to eradicate themselves? In this case, Di Genova proposes something like a very fierce-looking dog-penguin hybrid. Di Genova, like a number of artists in this exhibition, spent his childhood developing an artistic sensibility much more informed by cartooning than by the fine-art tradition of painting. In particular, Upright Shepard Walker bears the influence of Japanese mecha anime in the way hair and flesh have been drawn to look peculiarly robotic, as well as the use of the technique — adapted from cel animation — of drawing and painting on layered transparencies to achieve depth. It is also significant that Di Genova came of age as a street artist, wheatpasting his illustrations onto buildings in his native Toronto. While the formal range of contemporary street art is far too broad to characterize generally, common traits include strong graphic contours and mannered stylizations similar to those in Di Genova's drawings.
Felix Esquivel's drawing Divided We Prey, made with a woodburning tool and acrylic paint, depicts a rampant crocodile cut into pieces with a banner running behind announcing the title. The image is a direct reference to a political cartoon by Ben Franklin that features a snake divided into sections — each representing one of the eight colonial governments of 1754 — and captioned "Join, or Die." Franklin was exhorting the colonies to unite with a motif based on the folk belief that a snake that had been cut into two would return to life if its halves were joined before daybreak. Esquivel's drawing, made in 2007, re-imagines Franklin's print as an exemplary Bush-era political cartoon. First, Esquivel has chosen a crocodile rather than a snake to represent America; this is significant because the only state in the union in which the crocodile is indigenous is Florida, which was, of course, the site of the infamous recount that put Bush into office in 2000. Also, unlike Franklin's snake, it should be noted that Esquivel's crocodile is not dead as the result of its having been cut apart, but rather undead. As artist Zak Smith notes in his recent memoir, zombies were — appropriately — the most popular monsters of the Bush era, since "they are unusual, among monsters, for being inferior to their victims and winning only by weight of numbers, and for having no brains, but wanting to eat them."[ii] Esquivel's crocodile is a sad, funny emblem of the United States under the leadership of George W. Bush: divided by a poisonously partisan political atmosphere, wounded and angry, fiercely blundering into two protracted, costly wars.
Chie Fueki's Mt. Fuji is a history picture of a different sort, a contemporary take on one of the most well known and frequently portrayed subjects of the golden age of Japanese printmaking. Mt. Fuji is imagined here as hot pink, oozing into the bottom of a strange geometric space and spewing forth flowers, an obliquely angled disc and a half-hidden skull. One may be forgiven for being unaware of the fact that Fuji is an active volcano; its last eruption took place in the early eighteenth century, and in its most famous depiction — Hokusai's Great Wave off Kanagawa — it is a placid icon in the background of an otherwise startlingly dramatic scene. That print, of course, is part of a tradition that, along with photography, is often credited as a catalyst in the disruption of the Western tradition of linear perspective that led to modernism in painting by providing a model for the flattening of pictorial space. It is no coincidence that Fueki situates her Fuji in a flattened cube of the sort familiar to us from graphic works of the late 1960s and early 1970s by artists like Albers or Judd. By doing so, she collapses roughly one hundred years of modern art history into one image. Moreover, if we acknowledge the role Japanese prints had in the "death" of perspectival space in Western art, then we may have a clue as to why Fuji's eruption in Fueki's image is characterized by a memento mori partially obscured by ornament and geometry.
Trenton Doyle Hancock's Turmin Fluff is a portrait of one of the many creatures that occupy his mythopoeic universe, in this case a mound. Mounds, according to Hancock's formulation, are human-plant hybrids rooted to the earth by their skeletons; they survive by absorbing nutrients from rainwater as well as from insects that they trap with their sticky, black-and-white skin. Hancock explains the existence of mounds with a myth involving a family of prehistoric ape-men, the patriarch of which, Homerbuctas, creates the mounds by masturbating onto flowers in a garden. His wife, Almacroyn, discovers the mounds and reveals their existence to their children, Brouthescam and Cromalyna, who subsequently attack their half-siblings in a fit of jealous rage. As a result, the two ape-children are swallowed by the earth and banished to an underground realm, within which they become the progenitors of a cruel, ascetic race known as vegans. Of course, vegans in contemporary America are people who eat only plant matter and exclude the use of animals and animal products in their diet and lifestyle for moral, ethical or spiritual reasons. To a mound, however, this code would certainly have sinister implications, and, indeed, vegans are the villains of Hancock's story. This use of mythopoesis to invert a familiar moral paradigm echoes the work of Blake, although a number of more recent influences — Henry Darger's In the Realms of the Unreal, or Chris Claremont's work on X-Men, for instance — are equally relevant. Turmin Fluff, for its part, is a sweet portrait of a peaceable grotesque in a garden, as yet unfamiliar with morality or mortality.
Arturo Herrera's Mine, at first glance, resembles Pollock's paintings of 1947–50 in its stringy, multilayered, all-over, abstract composition. One should remember that Pollock, when asked by Hans Hoffman in 1942 if he worked from nature, replied, "I am nature."[iii] Pollock at the time was in his second year of Jungian analysis, and his response may well have been influenced by Jung's conception of the collective unconscious as a unifying force underlying all of reality, an idea that drew upon alchemy, Eastern philosophy and contemporary developments in physics as well as Jung's training in psychology. Whereas Pollock's images are formed by a collaboration between unconscious gestures and the force of gravity, Herrera arrives at similar formal ends through an entirely different process of appropriation, abstraction and collage, through which he explores the hidden lives of ubiquitous popular images. Here, although much of the representation has been obliterated, the telltale tapering and swelling of lines in the mostly white, cut-paper layer of Mine reveal their sources as Disney cartoons. These lines flow over a black ground that is itself covered in delicately drawn blue lines that alternately suggest hands, vines, leaves and rippling water. By reconciling "kitsch" imagery much abhorred by most of the Abstract Expressionists and their critical supporters with a formal language borrowed from one of their foremost practitioners, Herrera ends up affirming the evocative power of abstraction in a media-saturated culture.
Jackie Hoving's Common Buzzard depicts a scene that most of us who live in contemporary urban America rarely if ever observe firsthand — that of a carnivorous animal in mid-kill. If anything, we are likely to see it on television, perhaps narrated by Sir David Attenborough. Berger comments on this kind of second-hand experience as being the result of a "technical clairvoyance" which humans have achieved by embedding high-speed cameras with telescopic lenses in the dwelling places of wild animals.[iv] Hoving reinforces this sense of remove in the way she develops the image out of cut-and-pasted papers that have been printed or marbleized to varying effect. That is, while she maintains the observed contours of the animals depicted, the information inside those contours is frequently decorative, obscuring the naturalism of the image with overt artificiality. Her use of a floral pattern in the image of the buzzard is of particular interest, since the pattern's motif is itself a stylized image of a natural form, in this case one associated with life and beauty. To imbed it in within this representation of a creature in the midst of a violent act underscores the way romanticized ideas of nature (which frequently arise out of a condition of separation from nature and its processes) frequently underplay or altogether ignore the pervasive violence of the natural world.
Elizabeth Huey's Train Stop features haunting examples of what Berger refers to as the "animals of the mind." In fact, one of the figures (the stag in the coat and short pants holding the swaddled baby bird) is appropriated from Grandville's Public and Private Life of Animals, which plays an important role in Berger's text. He writes that the animals in the series "have become prisoners of a human/social situation into which they have been press-ganged."[v] This takes on rich connotations in the context of Huey's work, which for the last several years has been a long meditation on the history of mental illness and its treatment. Although animals appear relatively infrequently in her work, the fairy-tale quality of the figures in Train Stop is entirely of a piece with Huey's storybook asylums and the mysterious woods in which they are often situated. The relationships between the anthropomorphized animals in the piece recall the alienated qualities of Kokoschka's figures: although they occupy the same physical space, they seem disconnected psychologically and emotionally. Spatial and narrative elisions trouble any attempt at a definitive reading of the drawing's meaning. The brushwork that makes up the largely abstract ground is more suggestive than descriptive, and the stag might be about to depart with the baby or to set it on the tracks, while the she-wolf's pose might alternately indicate fretting, praying or begging. What might have been elements of a children's story are presented in a disturbingly ambiguous arrangement.
This last sentence might also be used to describe Daniel Johnston's untitled drawing from 1998. The reception of Johnston's work has long been haunted by his very public battles with mental illness, which were subject to a harrowing — if loving — examination in Jeff Feuerzeig's 2005 feature documentary The Devil and Daniel Johnston. Johnston is better known as a singer-songwriter than as a visual artist, although in his case, these two means of expression lead to remarkably similar ends. Johnston's songs are characterized by disturbing bittersweet lyrics sung in an uncannily childlike voice, and these qualities take visual form in a drawing like Untitled, whose cartoon ducks and slug-like creature are drawn with a kind of naïve, vicariously enjoyable abandon but whose expressions and arrangement on the page begin to take on an unsettling quality. There is something manic about the round, staring eyes and nervous grins of the ducks, and the largest one — the orange one on the left — looks particularly troubled, with his uncomfortable grimace, the inexplicable torsion in his neck, and the insistent marks used to outline his left eye. The ducks also seem to be walking in no particular direction while arranged in an irrational, contradictory space indicated by inconsistently cast shadows. Only two are given a sense of purpose: one by virtue of the Bible in his hand, the other by his gesture of presentation in the direction of the slug-like creature; otherwise, we are presented with beings moving seemingly purposelessly through an existential void, no less so than if we were looking at Giacometti's City Square of 1948.
Darina Karpov's Lucid Accumulations brings to mind Bataille's final words in his definition of informe, or the formless: "… affirming that the universe resembles nothing and is only formless amounts to saying that the universe is like a spider or spit."[vi] From a distance, Karpov's drawing seems to dispense with every compositional rule one could think to apply to a work of pictorial art; the image it presents appears to be a ropy, asymmetrical network of spit floating in an inky vacuum. Upon close inspection, this fluid indeed contains a universe, or at least a world, of finely articulated plants and animals fighting their way out of the ectoplasmic slime. Pieces of this world open into new, tiny spaces, such as the one in which a tree seems to grow obliquely into or out of a bear's body. There is something seemingly hopeless about this process of materializing and growing, since the available options seem to be to reincorporation into the gunk or breaking free into cold, empty space. Perhaps, though, as suggested by the title, this image is a kind of allegory of thinking, and the appearance or disappearance of these organisms is to be no more celebrated or mourned than those of thoughts passing through our minds.
Gary Panter's Nose to Nose features a dense, gestural abstract ground over which he has drawn a scene of bizarrely funny anecdotal detail that suggests a section of Bruegel's Netherlandish Proverbs as interpreted by Tex Avery. Like most of the paintings he has made throughout his career, Nose to Nose takes a landscape format, and, in spite of the layers of appropriation, mediation and stylization to which his images are typically subject, a fundamentally natural, biological conception underlies Panter's painting process. As he told Robert Storr in 2007, "When I start painting I think of where's the water. You don't necessarily see the water, but that's the first thing I think about. You already have air, or you'd be dead. You have a while to find water."[vii] Panter has also spoken evocatively about the handful of years he spent as a child in Brownsville, Texas, where "it was very colorful. There used to be orange and lemon groves that had big cutouts of cartoon characters, like a big Porky Pig head, ten or fifteen feet tall, on the side of the road by these fruit stands…"[viii] It was during this time that his father managed a dime store, where Panter was introduced to cheaply produced Mexican comic books with off-register printing, which provided an important precedent for the some of the formal devices he would develop in his mature work. His ability to synthesize formative experiences like these with an open, encyclopedic enthusiasm for art objects of both exalted and vernacular status is what makes Panter a critical link between artists like Wesley and Saul, who emerged during the Pop era, and the younger artists in this exhibition.
Chris Patch's two drawings (both untitled) are, perhaps, the most deceptively simple pieces in the show. Both depict a similar, if not identical, scene in Maine, and both are watercolors of landscapes, a combination of medium and genre that one often associates with Sunday painting and dilettantism. Yet it would be a tragic mistake to read these paintings that way. Patch, a scholar of marginalized forms and genres with a particular interest in folk art, botanical and natural history illustration, and other forms that exist on the periphery of "high" art, nevertheless borrows significantly from high modernism in these pieces. Their serial nature, and their shift in temperature, recalls Monet's paintings of haystacks or of the Rouen cathedral at various times of day; the specific quality of Patch's mark-making, particularly in the lower third of each drawing, recalls the controlled gestures of Jasper Johns. In this way, Patch's watercolors suggest a connection to the paintings of his former teacher Jim Nutt, in that they similarly use what are, by the high-concept, spectacle-driven standards of the contemporary art world, modest forms and formats (in Nutt's case, intimately scaled portraits of imaginary women) that are nevertheless profoundly historically and pictorially literate and ambitious in their reconciliation of a range of high and low cultural traditions.
Lamar Peterson's Untitled (The Doe) features a reindeer and a pine tree in a flat, manicured landscape. Two small clouds float overhead, while a segment of white picket fence (the very emblem of middle-class suburban prosperity) occupies the foreground. Together, these elements suggest an image of a skull, indicating that all is not well in this seemingly placid scene. This kind of subliminal device is familiar from Dalí's paintings of the 1940s, in which figures and elements of the landscape regularly merged to form some playful or sinister visage. Here, the two figures in the center are icons of Christmas celebrations—the evergreen tree, a vestige of pagan solstice ceremonies in which it functioned as a symbol of fertility and bounty, and the reindeer, a member of a species of the remote far north. In Peterson's drawing, both have been displaced from their original contexts, much as they have been within the Christian tradition they have come to emblematize; furthermore, these natural forms are subject to heightened alienation as a result of being co-opted by celebrants of this now largely consumerist holiday. Peterson plays up this uncomfortable subtext by situating these images associated with winter in a bright, green landscape, perhaps a nod to the potentially lethal effects of global warming, reinforced with an archetypal image of death.
Angela Piehl's work also traffics in the sometimes-sinister undertones of bourgeois lifestyles, although its dark, black-and-white atmosphere is a world away from Peterson's ironically bright, cheery palette. Part of Piehl's process involves culling editorial and advertising images from magazines like Martha Stewart Living, which she then atomizes, abstracts and combines with images of organic material like flesh, bone and muscle to create semi-narrative biomorphic abstractions. Crowning, for instance, suggests a fat, wormlike creature made up of pearls, fabrics, antlers, flower petals and tentacles (among other things), pushing its way down and through a space surrounded by waves of curling hair. It is significant for Piehl that somewhere in the DNA of this creature lay imagery that once had a life in media made for women, coded with standards and imperatives regarding femininity in contemporary American culture. The piece's title, with its alternate suggestions of bestowing, surmounting, climaxing and birthing, offers some evocative interpretative clues, but the work as a whole remains cryptic, perhaps as an antidote to the implicit essentialism of its original source material.
Peter Saul's Untitled (Study for "The Neptunes") is unique in this exhibition by virtue of being a working drawing, in this case a study for one of his recent large acrylic and oil paintings. Saul, like Wesley, came of age in the Pop era but soon ran afoul of its codifying dictates. His early work, with its vestigial abstract-expressionist tendencies, was thought to be too painterly to qualify as "true" Pop, whose facture, it was felt, should more closely imitate the relative seamlessness of mass production. Saul subsequently made a virtue of doing everything wrong, inverting every principle of reason and good taste prescribed by the art world elite. Throughout his career, he has regularly enlisted animals as agents in this campaign, for instance by painting an army of ducks invading the space of Jasper Johns' Map, or imagining a tiny dog chomping down on the left hand of Jesus in his Last Judgment. Here, Saul imagines the Roman god Neptune and his sea creature minions as a family unit similar to those in early Hanna Barbera cartoons, like The Flintstones. Although relatively innocuous as compared to most of Saul's output — which typically plays fast and loose with art-historical tropes and hot-button political and social issues in narratives populated by day-glo grotesques — there is nevertheless a characteristic moment of cartoon violence as the giant octopus on the left blithely sinks a ship.
Craig Taylor's drawings, both enigmatically entitled Lucifer, are perhaps the most painterly drawings in the exhibition. The first is an image of what appears to be a cartoon rabbit or bear in the process of losing its structural integrity, as the marks used to indicate its face are beginning to float away while the lower part of its body is being enveloped in a disheveled grid. The second resembles a landscape whose marks coalesce into highly ambiguous images that seem to suggest both city buildings and plant life against a silvery blue sky. The drawings' ambiguity, their humor and anxiety, and their evidence of process and suggestion of transformation are typical of Taylor, who for the last decade has maintained a practice of omnivorous abstraction, drawing from an enormous range of precedents and sources to make work of highly aestheticized grotesquerie. His drawings, paintings and sculptures embody Bakhtin's formulation that "grotesque images with their relation to changing time and their ambivalence become the means for the artistic and ideological expression of a mighty awareness of history and of historic change… The new historic sense that penetrates these images gives them a new meaning but keeps intact their traditional contents: copulation, pregnancy, birth, growth, old age, disintegration, dismemberment… They are contrary to the classic images of the finished man, cleansed, as it were, of all the scoriae of birth and development."[ix]
Christopher Ulivo's Go Pinatubo, Go! is an ink wash drawing of the Filipino volcano which most recently (and disastrously) erupted in the early 1990s. Its dramatic eruption is framed on either side by a monstrous animal: on the left, a turtle-like creature who resembles Gamera, the classic kaiju movie monster; and on the right, a giant screaming eagle. Together, this imagery suggests a number of associations, for instance the WWII battle over the Philippines (with the creatures embodying Japan and the U.S.), an East-meets-West theme reinforced by the use of Sumi ink in the service of American-style cartooning. For our purposes, it is especially relevant that the drawing pairs an image of a natural disaster (in this case, a volcanic eruption) with those of creatures that evoke golden age, man-in-a-rubber-suit cinematic behemoths. When we watch a film like Godzilla or King Kong, we tend to think of the monsters as horrifying natural disasters themselves — they come from the sea or the jungle, etc., to wreak havoc on humankind — but we also see them as the protagonists of their films, and are inclined to sympathize with them and to take vicarious delight in the destruction they cause. The same dichotomy arises when real natural disasters, as portrayed on television, are transformed into spectacle. The screen provides an illusory access to the genuine human misery that such an event causes, while inevitably aestheticizing its destructive power. By pairing these two kinds of calamitous spectacle together in one drawing—which is itself enjoyable, with its funny characterizations and casually vigorous gestures, and whose very title cheers on the devastation—Ulivo problematizes the pleasure we take in our roles as spectators.
John Wesley's untitled drawing presents a comical scene of revenge, in which an exasperated pink fish and a startled seabird play out a reversal of their usual predator-prey relationship. As with most of Wesley's work, it splits the difference between funny ha-ha and funny peculiar, provoking wry laughter as it raises a number of questions: Why is the fish so pink and scaleless? Why doesn't it have gills? Why does it have the eye of an old man? Why are the figures floating the way they are, superimposed onto the horizon? Which way is the gull's head turned? What exactly is that tan cloud? Is it an indication of the fish's frustration, or maybe an empty thought bubble? If it's just a cloud, why is it tan? Everything about the image seems so carefully designed and executed that these peculiarities must exist for some reason, however opaque. This confounding quality is an indication that we are looking at art rather than a simple cartoon, and it extends to the disarmingly simple formal means Wesley employs: although the flat fields of color and black outlines evoke the language of cartooning, a more fruitful comparison might be made to Attic vase painting, given Wesley's masterful arrangement of positive and negative shapes and the playfully mythic qualities of the image. Wesley's work can be thought of as a kind of urbane, stylish counterpart to Peter Saul's hysterical cartoon expressionism, and it has been a no less profound influence on the sensibilities of many of the other artists in this show. As Dave Hickey put it in his 2000 Artforum article "Touché Boucher," "At the moment of Pop's inception, American art was starving in the midst of plenty, and…young artists like John Wesley, who began exhibiting in the early 60s, could hardly have failed to notice that, while modernist painting was obsessively refining itself out of existence, the full resources of historical art making, all of its traditional idioms and repertoire of emblematic imagery, lay immediately to hand, alive and available in the pastures of vernacular culture."[x]
[i] John Berger, "Why Look at Animals?" in About Looking (New York: Pantheon Books, 1980), pp. 3–28.
[ii] Zak Smith, We Did Porn (New York: Tin House Books, 2009), p. 57.
[iii] Dorothy Seckler. "Oral history interview with Lee Krasner, 1964 Nov. 2–1968 Apr. 11," Smithsonian Archives of American Art, http://www.aaa.si.edu/collections/oralhistories/transcripts/krasne64.htm
[iv] Berger, About Looking, p. 16.
[v] Ibid., 19.
[vi] Yve-Alain Bois and Rosalind Krauss, Formless: A User's Guide (New York: Zone Books, 1997), p. 5.
[vii] Tom Spurgeon, "A Short Interview with Gary Panter," The Comics Reporter, http://www.comicsreporter.com/index.php/resources/interviews/14541/
[viii] Gary Panter et al., "Biography" in Gary Panter, ed. Dan Nadel (Brooklyn: PictureBox, 2008), p. 286.
[ix] Mikhail Bakhtin, Rabelais and His World, trans. Hélène Iswolsky (Bloomington: Indiana University Press, 1984, p. 25.
[x] Dave Hickey, "Touché Boucher: John Wesley's Gallant Subjects," in Artforum, October 2000, pp. 116–121.


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Bluffton residents who view Beaufort County Board of Education meetings from home rather than travel to the county seat will be able to see them in person within town limits starting next month.
After already voting to set its second meeting of every month at the Hilton Head Island Branch library, the Board will now hold those meetings at the Bluffton branch to accommodate the renovation schedule at the Hilton Head library, which the board discovered wouldn't be available for the Feb. 19 start date and would be off limits in future months because of the timeline for improvements, said Chairman Bill Evans. That second monthly meeting could rotate between Bluffton and Hilton Head as early as August, as renovations draw to a close, he added.
"My sense of the direction the board wants to take is that we continue to have the first meeting of the month in Beaufort then alternate the second meeting between Bluffton and Hilton Head as soon as they both become available," he said.
Meetings currently take place the first and third Tuesday of every month at 6 p.m. at County Council Chambers in Beaufort. That second monthly meeting will be held in Bluffton beginning Feb. 19.
Previous concerns about Bluffton's 5 p.m. Tuesday closing time and the already existing availability of broadcasting equipment at Hilton Head helped steer the decision toward the island, but Evans said his talks with the county made clear the board could cover the costs of having a Bluffton branch staffer stick around to lock up if necessary and logistical problems were manageable.
"I think I made it clear to (County Administrator Gary) Kubic that if there are personnel that will have to stay in order to lock it up at the end, I feel comfortable that the board will pay that overtime or whatever because we very much want to get in the position where we're making ourselves available around the county," he said.
With a Bluffton community committee scheduled to deliver recommendations to alleviate overcrowding in the short term on Feb. 19, the decision makes even more sense, Evans said.
"I think it's good for people to hear that and hear what's being discussed because it gives rise to more discussion before the final recommendation is made," he said.
County Council also recently voted to shift two meetings to southern Beaufort County to acknowledge population changes that have resulted in greater representation south of the Broad River, and Evans said the board's move similarly recognizes those changes.
"With the population shifts the majority of the board members now represent south-of-the-Broad constituencies, and the largest pool of voters is south of the Broad," he said. "I think it's important, when we can, to get out there and allow people to access us."


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Green Space and Recreational Activities are at a Premium in Chanhassen
Address: 2655 78th St West, Chanhassen, MN 55317
Phone: 612-207-6334
During a real estate transaction, you will be asked to provide information that is of a personal nature. This can be as simple as providing your email address via the internet or as personal as disclosing your income as part of a loan application. When you do business with Edina Realty, we respect your need for security and privacy. Unless we have your permission, we will never share any of your personal information outside our family of affiliated companies. Within our affiliated companies, we will share customer information so that we can make services available to you that will streamline your real estate transaction. This may include an offer of insurance coverage, which all home buyers need at the time of closing. We will also ask your permission to share the information you provide at the time of loan application with your real estate sales associate. This allows them to negotiate on your behalf with the power of loan pre-approval; find a home in your price range; customize a loan to your needs; and facilitate a smooth closing. You can be confident that we will protect your interests, safeguard your information and respect your privacy.


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FADZ needed a new logo design and created a contest on 99designs.
A winner was selected from 559 designs submitted by 153 freelance designers.
The logo needs to convey, trust, ease of use, friendly, transparent, innovative. We need a fresh, innovative and above all original logo that appeals to our customer base . It must have impact, be memorable convey professionalism while not being too corporate.We are about to redesign our website http://www.ticketsolve.com and the logo/brand identity will determine the look and feel
We are a on demand ticketing solutions provider. Whats does that mean..... well.......we provide software that allows venues, theaters, sports arenas etc sell tickets from their website and through their box office at a fraction of cost
The logo needs to be simple yet eye catching. The logo should give our customers a real feeling of our organisation/product. Our company is.
- Vibrant
- Innovative- Constantly evolving
- Customer Focused
- Trust worthy
- Increase Revenue for customers
- Fun yet professional
- New way of doing business
- Come with us you wont be disappointedThe logo needs to transfer well to collateral design i.e. stationery brochure ware etc.
When sized down the logo presents well
- Creativity... First and foremost
- http://ellislab.com/ is pretty cool as there is a whole concept to the logo with character illustration
- Logo to have a large recall value while simplistic without being over produced
- A logo that can be tweaked over time
- Needs to be part of the overall company image in print and web
- A logo that gives expression of our business (excellence but human)
- Colors are open
- Be creative .....
- Item 1...a too corporate unfriendly logo .. Logo needs to stand out from the crowd and seperate us from the competition
- Boring - No personality
Find out how a design contest works or learn more about our logo design services.


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Evening office hours are held at Hanson Town Hall the fourth Tuesday of every month from 6:30pm to 7:30pm. Appointments are not required. All residents are welcome to stop by and speak to Rep. Cutler whether it's to share your views on an issue, discuss a constituent service matter or just to say hello.
If you have a matter of a personal nature or a lengthy issue to discuss we do recommend you make a separate appointment in our District Office, which is located at 235 Washington Street in Pembroke.
Please note, if the Town Hall is closed for any reason we will not have office hours that day. Please check the website prior to the scheduled office hours as we occasionally have to rearrange our schedule when there are overlapping events.
542 Liberty St
Hanson, MA 02341
United States
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