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Faith of chardham of Hindu religion – Millions of Hindus visit Char Dham every year. By doing this journey, all their sins are washed away. The best time to start ChardhamYatra
is from May to October. Char means the four and the 'Dham' means the residence of Lord, 'Char Dham' means 'Four Holy Houses of God'. These sacred places are in Yamunotri and Gangotri in Uttarkashi district, Kedarnath of Rudraprayag district and Badrinath of Chamoli district of Uttaranchal Are there. There is also a hot tub where devotees bath. To visit Chardham, ride many devout horses. Badrinath Dham - Badrinath Temple is also known as Badrinarayan Temple. Today this temple is one of the most sacred temples of Hindu religion. This temple is dedicated by Lord Vishnu. Kedarnath Dham – the Kedarnath temple is located on top of the garhwal himalyan range located near the mandakini river in kedarnath in uttrakhand state. This Dham also considers Hindu religion a lot. Gangotri Dham - Gangotri is the source of river Ganges. Millions of pilgrims from here come here to visit Ganga Maiya of Patna Pavani between the months of May to October each year. On the day of Deepawali, the valves of the temple are closed. Yamunotri Dham - Yamunotri is the source of the Yamuna River and the seat of the Goddess Yamuna in Hinduism. Lakhs of pilgrims come here to visit this temple. Significance of Chardham Yatra - Everybody considers it a religious duty to visit Chardham. It is believed that traveling to Chardham not only destroys the sins of this birth, but the sins of previous lives are washed away. The Char Dham yatra are defined by the Pandavas in the Mahabharata as Badrinath, Kedarnath, Gangotri and Yamunotri. Chardham also has snow. Here people come from different countries to visit.
Monday, 20 November 2017
Every Hindu Should Visit Chardham Once In Their Life
Thursday, 16 November 2017
My first day trip in Mussoorie - My first day's journey in Mussoorie has been quite good as it has been a great place to stay- Kempty Falls, Gun Hill, and Municipal Garden. The snow falling on the hills Mussoorie has good effect on the mind of tourist. Here too there are many actors for the film's suit. Mussoorie's name is often due to a distortion of Mansur, which is indigenous to the region. Summer is hot and very wet. In the winter there is more rainfall than the monsoon in the east and the subsequent monsoon.
Hotel and car rental facility in Mussoorie - The hotel's facility is also good for staying at Mussoorie. But these hotels are quite expensive. Because There are plenty of facilities in these hotels. The food here is also good cleanliness also here. Here the car facility for tourists is 24 hours. The tourists can move to their favorite places. Our Saregama traveling in Dehradun has a wide range of car bookings in Dehradun, Uttarakhand.The journey is lucky for us.
Mussoorie is located in the Garhwal Hills - Mussoorie is located in the Garhwal hills in Uttarakhand state in Northern India. It is located at a height of 2500 meters from the sea level towards Dehradun valley. Dehradun City is also good enough to roam. Mussoorie is said to be the queen of hill stations. Mussoorie Hill Station attracts tourists honeymoon and enjoys the plea here. Visitors see here in hill stations, light refreshing snow in the mountains.
Great place to roam Mussoorie
*Lal Tibba – Located in London, the oldest dwelling place of Mussoorie is the
highest point of the hill station. It is called red dune.
*Tibetan Temple - This temple is the best specimen for Tibati heritage
and temple architecture. It is less than 1km distance from Lal Bahadur
Shastri National Academy of Administration in the Khus Valley region.
*Shopping - Mussoorie is famous for shopping. Here you can buy hot cups for the winter. The famous shopping area is the Gandhi Chowk, Kuli Market & Lander Market. There is So Much Crowd in Gandhi Chowk that People come there every day to make a purchase. There is a whole lot of shopping available. Good quality clothes are available here. The shopkeepers have good earnings here.
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Olympic 6 Starter Pistol, ideal for dog training.
Takes .22 blanks - either short or long, black powder blanks.
Showing reviews 1-6 of 9 | Next
Posted by Alec on 8th Jul 2019
Sturdy little pistol I am using it to train my springer pup to sit when a shot is fired working extremely well highly recommended.
Posted by Unknown on 6th Nov 2018
very happy with item just what was needed quick delivery and a good price and the blanks very handy small box thanks 5star all the way
Posted by John edwards on 30th Sep 2018
Handy size,fits in the pocket easily.
6 shots enough.
Very easy to load/unload
Makes ample noise to make the dog notice.
Very good piece of kit.
Posted by Alan Brigham on 9th Jan 2018
Perfect for our need which does not involve starting races, but scaring children! We use the starter as a demonstration of a gunshot in educational settings and it is the perfect tool as the size makes it unobtrusive during demonstrations.
Posted by John on 30th Oct 2017
The Olympic 6 is well made for the price, and Turner Richards price is a lot lower than most. The revolver is loud with the little 6 mm crimped blanks and the fact that you can use .22 long blanks on very windy days is useful.
The double action trigger pull is a bit heavy but in single action the trigger is much lighter.
With care and little or no dry firing it should last for years.
I would give it 5 stars but the new models have a shorter cylinder which looks a bit odd to me .
Posted by John on 28th Oct 2017
Well made and inexpensive gundog training aid, quite loud with 6mm short blanks and nice to have the option of using .22 long blanks on windy days.
Good bird scared too.
Showing reviews 1-6 of 9 | Next

subset: commoncrawl


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Everlane Shoe Park
For 10 days only, fashion retailer Everlane has opened a pop-up store in SOHO called Everlane Shoe Park. Open from May 13-22, the concept shop was designed to act as a playground, allowing guests to interact with the space and experience the flexibility, comfort, and style of Everlane's shoes.
The store has purely staffed brand ambassadors to run the store and there are no rules of the space except that you can't wear your own shoes around the space..they've got to be Everlane. The temporary pop-up will showcase the brand's new spring/summer collection and allow guests to browse around the space, though they cannot transact in the space, and must order online.
3 Things You Should Take Away:
1. Immersive experiences at retail are becoming more of a hot button topic around the world. Today, shoppers don't just want to go into a store to buy, they want to go into a store to experience. While the Everlane Shoe Park concept is a bit 'odd,' it does spark an ample amount of curiosity and entertainment value for guests. 2. Brand Ambassadors are almost always the make or break of a retail experience. Everlane has staffed brand experts to help guide visitors through the journey of the store, and help provide knowledge of the product to interested prospects. 3. Pop ups are becoming more and more prominent, while traditional B&M is becoming less popular in large urban areas due to escalating real estate prices. Everlane's pop up will stand for 10 days upon closing it's doors. The space took longer to construct than the actual retail experience will be open to the public.
Location: 83 Wooster Street, New York, NY 10012
Spacial Designer: Robert Storey
Brand Website: Everlane
For more information, contact us here


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We cannot compromise with the gun-grabbers
I saw this picture over at Twitter …
To answer the person's question: Yes freedom is much more important than safety, if you want a direct answer to your question.
To bolster that answer, if we are to give up our freedom … or in the context of what the "March" is for … give up our Constitutional right to keep and bear arms and put our absolute trust in the U.S. government for safety, then we would be making a fatal mistake. History is full of that scenario where the people are unarmed and very bad thing happened to them via their governments. Since when do we think America is any different? Because politicians wear suits and flag pins? Because they say patriotic things? I believe they equally say unpatriotic things … just ask Barack and Michelle Obama how much they love America. Barack made it his mission to travel the globe and apologize for America's greatness and liberties we enjoy. Michelle was never "proud" of America until Barack was elected.
I don't want to get side-tracked here. So, don't think for a minute that liberals and Democrats will stop at banning "assault style" weapons. That is only the starting point. Briefly, remember when abortion was the big issue of the day … back in the 70's? The argument of the left was, "What about in cases of incest, rape and if the life of the mother is in danger?" We caved to that argument and voila, we got abortion on demand, for any reason, at any stage of pregnancy, and it's been a fight ever since to stop the unrestrained murder of tens of millions of unborn babies.
There can be absolutely no compromise with the left.


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Aaron and Tom from Year 10 joined us last week for their work experience to find out what's involved in running a theatre company. This is their blog.
Today we took some costumes and props from the 1623 wardrobe to organise for tonight's Shakespeare Night workshop on Much Ado About Nothing.
Ben asked us to read through the extracts from the masked party in the play, make a note of the characters who speak at the party and then put together a disguise for them. This would mean the characters would need to be wearing something completely opposite to what they would normally wear.
Then we went into the Green Room and put the costumes and props on the table.
We asked a few people from the QUAD office to put on costumes and act out the snippets from the party in the play.
This was a success and we would like to thank everyone who got involved, it was great fun.
During lunch we went round the office giving out Starbursts and everyone enjoyed them.
After lunch we met Shane [Lynch, 1623 participation coordinator], who took us through the materials and ideas for the workshop tonight. After that we went back into the office and made some cards for a game at the workshop.
Thank you to everyone involved in our week of work experience and thank you for being so kind. Thank you especially to Ben. We hope to see you all in the near future and recommend 1623 theatre company and QUAD to anyone who is looking for work experience.
We started out the day by taking a visit to the Green Room where we spent time speaking to Margaret [Dewhurst, 1623 business consultant] about how we can help bring Shakespeare into the lives of Year 10 students without making it boring or too traditional. We also received a copy of the first volume of Still Cursing to have a look over. This was a photobook made by Ben and Michael who works at QUAD and Show Me Pictures. He was very friendly and full of interesting ideas. It made us realise that you can make Shakespeare mean something to the world we live in through photos, not just words on a page or in a theatre.
We also did a Shakespeare workout, which involved us doing an interactive storytelling of Troilus and Cressida where we used the many illness and diseases of Thersites, a grumpy Greek soldier, to warm up. We also marched to a beat and spoke directions to our army as if we were leading it. To cool down we did a visual representation of Helen of Troy, who is described as 'the mortal Venus' in the play. Venus is the Goddess of Love and Beauty.
Before lunch we looked at mobile charges from Zambia and Botswana back to the UK for Ben's trip, which he is going on soon.
Then we did some research into how video games could be used to engage young people with Shakespeare. We visited the Globe Theatre's website to do this.
Later on, we went back to the Green Room to take part in a business meeting and look at budgeting for 1623's future events. We met Chris [Lydon, 1623 creative producer] who has made a database for 1623 and called it Prospero after a character in The Tempest. We were really impressed by it.
Today, we learnt lots of things about the business side of 1623 and we are starting to think of ways that 1623 can make Shakespeare even more exciting for young people. We're tired now, but enjoyed today a lot.
Today we got the opportunity to take over the 1623 Twitter account and ask 3 of the company's associate artists some questions about what it's like to be an actor. We tweeted Grace Scott, Jamie Brown and Oliver Tunstall using the hashtag #AskActors. They answered all our questions and were very helpful. We would like to thank them all for sharing what they know and giving us advice.
After we had lunch (chip butties from a really kind lady called Seb who works on a photography festival), we picked out the most useful tweets from Grace, Jamie and Oliver before putting them into a document, which we printed out and added to our work experience folder.
Then we folded and stapled the booklets on Much Ado About Nothing for Shakespeare Night on Friday.
Ben showed us all the other booklets from past Shakespeare Nights on the 1623 Dropbox. We printed them and turned them into booklets to make a Shakespeare Night archive. Ben asked us to print three copies of each booklet - one for the archive and one for both of us.
We started today by making changes to the posters that we created yesterday. We changed them so that they suited a younger audience better.
Then Matthew from Steps for the Future joined us and Ben gave us a booklet on Much Ado About Nothing that he and 1623 participation coordinator Shane Lynch made last week. The booklet is for Shakespeare Night that 1623 is running on Friday at Derby Theatre.
We all read through the booklet together to find out the plot of the the play, other stories that inspired Shakespeare and a bit of historical context so that we knew what happened when Shakespeare wrote the play and when it was first performed.
Ben asked us to find objects to represent the characters in the play and then tell the story of the plot using them. We did this with Matthew who enjoyed the activity along with us. Hero and Claudio were pencils, Friar Francis was a vase of blossom, Leonato was a coat hanger, and Beatrice and Benedick were a pair of loud speakers.
It might sound weird, but it really helped to understand the story of the play by moving the objects around the room.
After lunch, we chose a scene in the play and rehearsed it on our own at first. Then Ben joined us, watched our scene and gave us feedback. Then we tried out the scene again. We chose the scene between Benedick and Beatrice where they admit to liking each other. This was lots of fun.
Today we met up with Ben, 1623 artistic director, and got a tour of QUAD, which is an amazing arts centre where 1623 is based.
Everybody was really friendly when Ben introduced us to them.
We enjoyed looking at the features of QUAD and 1623 before normal opening hours. We especially enjoyed exploring the 3rd floor which is used for projecting films into the 3 cinemas.
We spent the afternoon in the office with the spinning chairs and up-to-date computers. We worked on the computers to research 1623 and design posters to let young people know what 1623 theatre company is all about.
Then we printed out the posters and Ben gave us feedback on them. We will work on his suggestions tomorrow morning.
Ben is very friendly and kind and he is great at his job, along with the rest of the team. We are looking forward to tomorrow.
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MYT Reviews: Air BnB VS. Hostels/
MYT Reviews: Air BnB VS. Hostels
While planning our trip to Europe we wanted to search for the most cost effective living situations – being able to cook, relax in a calm space and stay safe are all very important to us. Meet you there spends a lot of time staying abroad so we want to review our experiences with airbnb.com . We constantly hear from other travelers staying in hostels is the way to go – after doing our research we came up with a different solution. We found Air BNB to be far more cost effective for the two of us to stay while in Europe and around other part of the world.
We compared the price of hostels running at about 60 -$70 Euro a night for a private room compared to a really nice private airbnb for >$40 Euro a night. Not only do you get your own apartment but your able to cook breakfast and pack lunches for your adventures – severely offsetting the costs of eating out all the time. Having access to a small kitchen really helps us out when we're constantly on the go – it's nice to make yourself a pasta dinner as well when your missing home. The Air Bnbs are unique in that they make you feel like your at home when really your in another country altogether. We enjoyed running to the local grocery store and to spend only $8-10 Euro on a small grocery trip to cook ourselves breakfast and make some lunches this can really save you money while traveling.
Having our own place to lock our things up also gives us an extra sense of security when staying in foreign countries – hostels you may have to lock your belongings up or chain them together. Also not having to share bathrooms (is always a plus). Most of the Air BNB's we've stayed in have wifi and other amenities hostels might not provide but cost more per night. Something that any backpacker needs is access to a washer and dryer to keep your simple outfits clean and smelling fresh. Almost all the airbnbs we've rent have been stocked with amenities! No need to sit around in cafés all day trying to grab shared wifi or paying to do your laundry. On the other hand if your not sharing an AirBnb with some local travelers your not getting the chance to meet people like you would while staying in hostels - which can be a very rewarding experience. We recommend trying both if your traveling solo - Air Bnbs may not be the way to go but it you link up with another traveler consider the Air Bnb your best bet. As we continue on our journey I'm sure we'll begin to utilize both hostels and continue staying in Air Bnbs as we love the concept and really suggest you try this in your next destination. Thanks for reading - more coming soon.... ~MYT


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6. David Shannon-Lier
Willis Wharf, Virginia // April, 2016
David Shannon-Lier is a good friend of mine and – by happy coincidence – absolutely one of my favorite artists. The photographs of his that I find most affecting belong to a series called "Of Heaven and Earth," in which he painstakingly calculates the arcs and angles of different astronomical events, carefully determines how those lines will intersect with a particular landscape, and then uses sticks, stones, chalk, or a little trench to connect the two. The photographs in the series are long exposures that document this complicated interaction, collapsing time and space into a two-dimensional juxtaposition of enormous motion and profound stillness. What I find so moving about these pictures is that they manage to simultaneously consider both a person's place in a landscape and that landscape's place in the cosmos; viewing them can feel like looking straight through the earth.
David and I met on an artist residency in Vermont several years ago; on one of the first nights we were there, he gave a public presentation of some of his photographs and I was so taken with the images he displayed that I immediately and successfully bullied him into letting me follow him around for a few days so that I could write an essay about his work. In the course of that process, we became great friends, and since then we've managed to frequently cross paths all around the country: we've intercepted each other in Idaho, North Carolina, Virginia, Massachusetts, Wyoming, Maine, Oregon, Montana, and probably a few more places that I can't think of at the moment.
One reason this has been possible is that – as we'll discuss below – David's wife is a physical therapist and for years she worked a traveling job that compelled the family to move to a new state every three months. Since the time of this interview, however, the Shannon-Liers have settled more permanently in Livingston, Montana, where David teaches photography over the pass in Bozeman at Montana State University, his wife practices downtown, and their son can now attend the same school for more than three months at a stretch.
David and I recorded this talk in early 2016, just after they had begun one of these three-month stints in a tiny town on Virginia's Eastern Shore, a sort of bonus section of the state that hangs down from eastern Maryland and Delaware. It's directly connected to the rest of Virginia exclusively by way of an enormous chain of bridges and tunnels that moves traffic north and south across the mouth of the Chesapeake Bay. As you'll hear us discuss, the Eastern Shore is broad, flat, lush, and damp, and reminds me more of southern Florida than it does of anywhere else in Virginia.
So here's a rambling conversation that we recorded back then. We talk about David's work, about the places where he and his family have had the opportunity to live over the past several years, about what it was like to be in each one for such a short period of time, and about a few of his more general feelings about how art and experience can most effectively intersect. More about David's photography is at his website, and I encourage you to check it out.
- - -
David Shannon-Lier: [checking microphone] …check, check. Pah. PAH. Sssskuh.
Ben Cosgrove: Yep, it's all looking good. There are your levels.
DSL: Very nice. Is that a – a metronome?
BC: Yeah, we can probably do without that. [sounds of scuffling/adjustment/clicks] This will be a free-ranging, unmetered interview.
DSL: Some real free jazz. [laughs] So you're already recording all this?
BC: Yeah, we'll leave this in. The truth is, as you can see, I don't know how to use this software at… at all, so I'm always worried that if I try to restart, it won't work at all.
DSL: [laughs]
BC: But okay. So! Where are we?
DSL: Well! I'm glad you asked. Right now we're in Maryland–
BC: Nope.
[both laugh]
DSL: Right, we're on the eastern shore of VIRGINIA, I'm sorry. On the Delmarva Peninsula. I said Maryland because it sort of seems like it should be Maryland. But there's this little stalactite of Virginia on the bottom of that peninsula, and that's where we are.
BC: I guess, in your defense, we should point out that you've only been living here for literally four days…
DSL: That's right. And before that we were in downeast Maine, and before that – what was before that? – New Mexico. And Montana, Idaho, and Vermont before that. For the past couple of years, my wife and son and I have been traveling the country: she takes jobs as a traveling physical therapist – they each run for three months, each job – and then my work as an artist and a photographer kind of fits snugly into that.
BC: Right. I think that's what I find so – well, the photographs you make obviously tend to be a lot about land and place, but in a way that kind of puts those things in a much larger framework. And I wondered about how much of that is influenced by the fact that you're able to move around so much. I know you started making this particular work when you were relatively stationary, but does moving around so frequently help you to see these landscapes as more emphemeral and impermanent?
DSL: Right, that's an interesting question. You know when I started – especially with the work you're referring to, with the moon and the sun passing through those terrestrial scenes – it was such a difficult process to nail down, just logistically. And so I didn't really stray too far from my home; I went out in kind of concentric circles from where I lived.
BC: Which was Phoenix.
DSL: Yep – Phoenix, Arizona. But to go out and make this work, which takes, you know, a day and a night, and then to have it not come out – be underexposed, or misaligned, or whatever – which it often was in the beginning, I didn't want to be traveling across the country to make something that might not work.
BC: When I first talked to you about it, you told me a little about how the idea occurred to you because, well, you'd grown up in eastern Massachusetts, and when you'd point in that direction when saying to people in Arizona where you'd come from, you found that you'd have to adjust the angle of your pointing to account for the curvature of the earth.
DSL: Right! Below the horizon. And it was kind of that shift in scale and place that kind of… well, obviously you always know the world is round. And if you dig down you'll get to China, or whatever. But just to have that slowly become... apparent, like viscerally apparent, as you travel and literally experience the curve of the earth, as we did when we drove from Massachusetts to Arizona… that experience kind of opened my curiosity. I wanted to think about how someone might describe that feeling in a photograph.
BC: Yeah, that's an interesting way of putting it. It's sort of like you're taking the ultimate three-dimensional experience and finding a way to put it into two dimensions.
DSL: [laughs] Yeah! Yeah. I like that. And kind of trying to point to this, this… well, I actually think photography is kind of the perfect medium for this, because of that ability it has. It's this flattening of space and time.
BC: Yeah. It takes those concepts and collapses them into something we can take in all at once.
DSL: Yeah! Which I think is something we do, just to, you know, remain sane. We always kind of flatten things – in memory, or narrative, or whatever.
BC: We frame them, or tell stories about them, all by isolating specific elements of them.
DSL: Right, right.
BC: Huh.
DSL: But, you know, I always – early on in the work, I always pictured it being geographically diverse. Even though the earliest pictures in that series were made in the southwest, I knew it needed to have more places represented to really get at what I was trying to do with the work. I started in the Arizona desert because that's where I was – and obviously, there it worked out well because it's almost always clear…
BC: [laughs] Yeah, for the benefit of the listeners, we should say that – well, for one thing, I've known you for a while. But yeah, when I met you, we were both on a residency in the cloudiest county in all of Vermont, and you a spent a lot of that time being mildly frustrated.
DSL: What! [laughs] Well, maybe a little. Actually, in my memory of that time, I appreciated the challenge of, you know, trying to figure out something new to do that would relate to the other things I was doing but while working around the obstacle of… never seeing the sun. [laughs]
BC: That's right! You made that installation – I totally forgot that you did that.
DSL: Yeah, it was an experiment! But yeah, I spent a month describing the paths of all these… well, I made a sort of three-dimensional map of the night sky over the course of a night, on the walls of my studio. So it had the arcs of all the stars and planets as they moved across the sky. So it was kind of… planetary and neat, but it was also a way to compel people to think about just… well, the way the heavens move around. We don't often see that, you know? We can grasp it intellectually, but not really perceive it.
BC: Yeah, I guess it's that same thing about collapsing time that we were talking about. You were expressing – or capturing – a series of gestures that wouldn't be apparent in realtime, just as with the photographs.
DSL: Yeah!
BC: And it was cool! It was – well, it was this big, white room with empty walls…
DSL: Right, yeah, the studios there – or my studio anyway – was large and white and had these sixteen-foot-high ceilings. And so, you know, I used a giant stepladder and made these marks all over the walls. And as I recall, you and I drank a lot of beer during that time. [laughs]
BC: Ha, I can verify that, yeah.
DSL: But yeah, I feel like I'm drawn to things that… that are tedious and kind of close to impossible? Well, not impossible; I always know that they're doable, but I am attracted to work that requires a lot of meticulous attention and tedious, diligent work. I don't know why I'm drawn to those things…
BC: Huh, that's funny – I was just talking to another friend about that.
DSL: I mean, I would say you're a little this way too – no?
BC: I mean, I have a little bit of it. I think it's maybe especially common among people who are… self–employed? You know, not just the whole work-ethic thing about gaining meaning and self-worth from your work, but – maybe more importantly – using it as a way to impose a little structure and stability.
DSL: Yeah. Yeah! You have a thing to churn away at and it gives your life a little more shape.
BC: Exactly. I mean, in my own projects, I love the part where I've already kind of, you know, conceived of what I'm going to do and then all I have to do is grind it out, fill in the spaces. Copying parts, or editing, or any of those tasks that don't require, you know, a lightning flash of creative inspiration. It's satisfying. But I don't know about it needing to feel… impossible.
DSL: Well, yeah, impossible wasn't the right word. But at least in… well, in the visual arts, it doesn't seem to me like a super-common personality trait. And so I wonder if in part I'm drawn to it because it's something that, while it may not be impossible, it requires a process that is annoying enough that no one else is willing to do it. No one else wants to sit there and kind of, um… well, generate big piles of photographs that might turn out to be failed and useless, or to spend hours calculating angles.
BC: Well yeah, and the willingness to all of that specific work does help to make the resulting work more uniquely an expression of, you know, your particular brain.
DSL: Yeah. Ha. That's true.
BC: Well, this is a pretty good point of reentry back onto the path that we detoured from a little while ago. So you began making these particular pictures, as you say, when you were in Arizona, in grad school, and then have continued to make them as you move around. And do you think that has affected your thinking about– well, let me back up and get into it like this: I feel like your lives, with the three months here, three months there, would be considerably more disorienting than my life of constantly driving around is.
DSL: Huh!
BC: It seems like three months would be enough time to start to get settled, but only enough that it's got to be jarring when you're suddenly uprooted again—
DSL: Yeah! That's interesting. It is a little bit… as you say, the end of that three-month period is just when you're kind of starting to…
BC: Click into the place?
DSL: Make… friends… [laughs]
BC: Well, yeah! And I guess what I was wondering earlier is about whether that affects your own feelings about the landscapes that appear in your work. Obviously your pictures show these big, sweeping celestial motions, and for me one effect of that is that they make the landscapes that frame them seem… well certainly not irrelevant, but much tinier than we might be inclined to think. Secondary, you know, to these much more massive, all-but-eternal, and universal things happening in the background. It seems like it may be a helpful and – I'd like to have a better word here, but grounding view on the world to take, if you're constantly going through that process of attachment and upheaval. To cultivate a sense of ballast by focusing on the things that are common to all those places.
DSL: Right, right, wow. I mean, yeah, that was my original idea with this project, from the beginning, even when I was starting out with it in Arizona. I felt like I really needed to make it geographically diverse, to emphasize those things which are held in common across those different places. Which is this larger world – the movement of the heavens – these things that are constant, or as close to constant as we have a conception of. And the way to show that was by making pictures where that constant can be seen in places that would otherwise seem unrelated.
But yeah, it's that thing of – no matter where I go, and no matter how long I do this, long after I'm dead, these things will be doing pretty much the same thing. Over and over and over. And yes, there certainly is something comforting about that.
And I think – well, when I was making those marks as well, the alterations to the landscape that appear in those pictures – it was important to me that those marks were somewhat ephemeral.
BC: Ooh, yeah. You mean the lines of stones, or the trenches, those things.
DSL: Right, exactly. And at first I was thinking of things like Spiral Jetty and I thought, like, "yeah, I'll get like, big bulldozers!" or like, I don't know, "I'll build a giant… brass… sculpture that'll be there forever."
[both laugh]
BC: That's a free idea for anyone listening.
DSL: But it didn't quite feel right. The more and more I did it… well, I started small anyway, just because it was easier logistically. Like with the traveling, as we were saying, I started small because I didn't want to do these huge, expensive things if they weren't going to work out until I had my methodology down. So I started with, you know, things from around. Reeds and stones and stuff.
But it began to feel a little more right, a little more human in its character, this mark, just as it was. Because if I look out at the night sky, or, you know, ponder my own mortality… well, you know, you've got just this incredibly immense universe that we live in. And the more that the Copernican Revolution expands to include not just our solar system but the universe and even concepts like time itself and matter, the more it becomes clear that we're of… of very little consequence in the universe. And so having these marks in the pictures that are, you know, fragile and impermanent… that felt completely appropriate.
BC: It seems like it'd be so easy to respond to that idea – that we're of such vanishingly little consequence – with, well, nihilism. But obviously, you don't. Can you talk about that?
DSL: Right! I don't, because I think that the other way to think about that is… well, on the other side of that is this constant and unshakeable notion that the things we do are important, right? I'm really interested in that push and pull between… well on one hand, here's this thing that's overwhelmingly immense and basically incomprehensible. And I think that in the face of that, there's this very human impulse to try and grasp that, to contain it, or make their mark on it.
BC: To make it align with our tiny, lived lives in some way.
DSL: Ha, literally, in this case! But yeah, people have been doing things like this for millennia.
BC: Yeah – and I mean, this is what I think is so cool about this particular project of yours, that it so elegantly and directly ties all these tiny, scrappy human actions to these giant, graceful patterns of movement that should feel beyond all of our control. To things that could easily be thought of as separate, but aren't.
DSL: Yeah, thanks! Yeah.
BC: To shift gears though, I wondered if we could talk a little about the places you guys have lived during this sequence of three-month chunks over the last few years. Can you walk through that a little bit?
DSL: Yeah! So, I was in Arizona, like we said – I went to grad school there – and I was there for three years. And that was the last… well, before that we were in Boston for five years and that was the longest we'd lived anywhere. But Arizona holds second-place.
BC: How long did it take you, after you moved out there, to adjust to the desert? Because man, I… Phoenix, to me, is an extremely difficult place to be a person.
DSL: Ahhh, I actually found it not so difficult an adjustment, for whatever reason. I remember right before we went down there, when we were still in Massachusetts – I'd lived in Massachusetts for my entire life – I would regularly wake up in the middle of the night like "OHMYGOSH. HOW ARE WE GOING TO DO THIS? WHAT ARE WE GOING TO DO?" You know? Like, "how are we going to take our dog for walks?! It's going to be a hundred and nineteen!" But I think in my mind it was worse than it actually was – I mean, it's hot and it's dry, but it's okay. Maybe it helped to have my expectations calibrated like that.
But also the finite nature of it. I mean, we knew I was only going to be in grad school for three years, not forever, and that made everything seem easier and more manageable. I mean, you probably think that way on a day-to-day basis. [laughs]
BC: [laughs] Oh, you may think you're kidding, but... I mean, yes. You're 100% correct.
DSL: But yeah, it's really… it's almost like another planet out there; there's truly no other landscape like it – in the states, anyway.
BC: You're right, though; the Sonoran desert especially, parts of it really do look precisely like… well, Spaceman Spiff.
DSL: [laughs] Yeah, exactly! I was going to say Dr. Seuss or something, but Spaceman Spiff is dead-on.
But anyway, I was able to revel in it down there without necessarily feeling like it was my home, or that I was trapped there or anything. And that feeling – again, I think it helps us really take advantage of all the places we've been since. So after Arizona we went to… ah, Vermont. We lived in the center of Vermont, in Rutland.
BC: Rutland, the traffic light capital of Vermont.
DSL: [laughs] Yeah, that's true, that's definitely true. But you know, I love New England, and I loved living in Vermont. We never – we've never lived in any big, cosmopolitan cities during this stretch, it's mostly been smaller places like Rutland, or… here.
BC: Here in Maryland.
[both laugh]
BC: But yeah, that's a thing that has been – it seems – a neat perk of this thing you guys have been doing, with Alison's job moving every three months. It seems all the places that it's taken you, or at least all the places I've visited you–
DSL: Which may be all of them…?
BC: Ha, not quite, but almost! Anyway, they've all seemed kind of…
DSL: Peculiar. [laughs]
BC: [laughs] Yeah! Off the beaten path; not somewhere you would have thought to make your home for a little while. And it seems like it's been a good opportunity to see what life is like in some corners of the country that you might not have stumbled upon otherwise.
DSL: Oh, that's absolutely true. I mean – well, after Vermont we went to Idaho, where we lived in Idaho Falls. And Idaho Falls, as you know, I mean… the city is really kind of depressing and not super interesting, but—
BC: But it's near a lot of very cool stuff.
DSL: It's near a lot of cool stuff! Like Craters of the Moon – you and I have hiked through there – or the Sawtooths, to the north. Or the Tetons.
BC: Yeah, I've met you there at least one or two times, too. We managed to throw you down a mountain.
[both laugh]
DSL: Yep, yep, I still can't quite fully explain that one, but yes, for the listeners, I had a very snowy, ungraceful tumble down a hill out in the Tetons last winter, while Ben watched and laughed uphelpfully.
Anyway, we were out there but then we moved to Montana – Livingston. And Livingston was really, really awesome. I mean, it may be my favorite of the places we lived. I really liked Livingston the town – you know, it feels very small, but it's got Bozeman a half hour away, and there are a bunch of breweries and things, and it's right near all these extraordinary places. You know, you're right at the foot of the Absaroka Mountains.
BC: Not super far from the Crazy Mountains, either.
DSL: No, not at all! Wait, didn't you write music for a documentary that took place out there?
BC: Yeah, some friends of mine made a really cool – actually, if you get back out to Montana I should introduce all of you; you'd all get a kick out of one another.
DSL: That would be great.
BC: But then wait, after Montana was… New Mexico?
DSL: Farmington, New Mexico.
BC: [shudders]
DSL: [laughs] I mean… well, oh right, I guess that's where your car exploded, wasn't it?
BC: Ha, yep. A few months ago. Two days after you guys moved away, too. Well, it really blew up a couple hours outside of town, but that's where it went to get "repaired," and I had a lovely time walking around Farmington waiting for news from the mechanic and kind of… staggering around as various existential crises, ah... crashed over me like tidal waves. [laughs]
DSL: Didn't… jeez, yeah, and wasn't this like, precisely when you were going through a big break-up, too?
BC: Sure was!
[both laugh]
DSL: Gosh, I'm sorry. It really is unbelievable that we missed you by about 48 hours. But yeah, I mean, I probably liked it better than you did, for various reasons. Again, the city there is nothing to write home about, but it's just surrounded by these unbelievable landscapes. In fact, that area of New Mexico may have been my area of most… productive work during this whole period. Just in terms of finding landscapes that really spoke to me. The Bisti Badlands, which obviously you weren't able to get to, sadly—
BC: Yeah, ha – I was… busy.
DSL: [laughs] Aw jeez, I so encourage you to give the Four Corners region another chance. Because seriously, the Bisti Badlands, I felt like I was driving out there almost every day to make new photographs. And I feel like I came away with a portfolio of work – work that was apart from the other work I was doing – that I'm really proud of. I mean, I really found that landscape inspiring.
But yeah, again, the city is just kind of… ugh.
BC: I mean, I do have to say, I think there is something kind of otherworldly and magical about that region – something that feels different even from other parts of the southwest. It's someplace that really does fascinate me, even if right now I have these unpleasant associations with it. But at the same time – again, I'm sure this is colored in part by the particular circumstances of my most recent experience out there – but something about that landscape seems unusually foreboding and inhospitable and sort of thrillingly… well, almost scary. You feel very exposed.
DSL: It's also that it's so far away from everything. I mean, between there and other biggish cities, there are just giant stretches of… not much. Road and dirt and sky and rock. And in a certain respect, I think it reflects something about just what our cultural idea – maybe just as northeasterners – of what the southwest is. Just, you know, this barren, arid, landscape with crazy rock formations and high temperatures.
Anyway, from there we moved to downeast Maine.
BC: WAY downeast.
DSL: Yeah, Machiasport, almost all the way out. Almost the northernmost and easternmost part of the Maine coast. We actually lived in an old sea captain's house, which was something. And we had you play a house concert there, shortly after we arrived!
BC: Yeah, that was a blast. And interestingly, you were there from December to February, which is… well, to put it mildly, an unusual time to be voluntarily hanging out in Machiasport.
DSL: [laughs] Yeah, maybe that was a weird decision. But no – every winter we tried to go somewhere with snow.
BC: I mean… success.
[both laugh]
DSL: It really wasn't so bad; this was a cold winter but not a super snowy one. But yeah, we'd spent three years in Phoenix and we missed the snow, so we spent this winter in downeast Maine and had been in Idaho the year before that. So, although it may seem insane, we did go there for the winter on purpose.
BC: Good accents out there, though.
DSL: Oh man, yes.
[several redacted moments of both men performing horrible impressions of a downeast Maine accent]
BC: I'll be sure to trim this out in the edit.
DSL: [laughing] Yes – please, please, please do that.
But yeah, we really loved it up there too. Just, we lived in this town – although now I guess we're in a town that's even smaller – but the town we lived in up there was… maybe a thousand people? Fifteen hundred?
BC: It's pretty hard to get to, as well; you've got to—
DSL: Yuh cahn't get theah from heah!
BC: [laughs] Exactly. So did that have the effect of making you feel more isolated? Or cozy? Or what?
DSL: I wouldn't say isolated, but it made us be more strategic about how we would go get stuff and share the car and that kind of thing. It's out on this little peninsula – I mean, I guess everything in that part of Maine is on some sort of peninsula or another – and it's a pretty serious project to get elsewhere. I mean, coming back up there after the holidays in Massachusetts I think it took us six or seven hours?
Anyway, here we are now in Willis Wharf, Virginia. Which is actually a village of 150 people, so we've beaten our record for population size. [laughs]
BC: I've actually never been to this part of Virginia before, and it's – well, it's not what I expected. You and I were talking earlier about how much it feels like… well, like a pinier version of the Everglades or something. In the sense that in a lot of places it's almost hard to tell what's land and what isn't.
DSL: Yeah! Yeah. It's very flat and very wet and very lush, verdant. Swampy.
BC: The flatness is what surprised me the most. I mean, where we're talking right now, it's yawningly flat. Just like, a hard horizontal line, which I hadn't expected at all.
DSL: And the water, just being… well, everywhere. There is water everywhere.
BC: Yeah, that's a good point. Or sort of weirdly blended with the land, at least. I mean, it's interesting how, on a map, the ocean is really far over that way [points], but in reality – in practical reality – pretty much everything in between here and there is neither fully land nor fully water.
DSL: Huh! Yeah… yeah, you're right.
I've enjoyed it here so far – like you mentioned, we've only been here for a few days – but I think it will be an interesting time. And to be honest, I didn't even know it was Virginia over here until—
BC: Until about twenty minutes ago!
DSL: [laughs] Come on! But no, I didn't think at all about the other side of the Chesapeake Bay. Or I just passively assumed it was Maryland or Delaware or something.
BC: Yeah, I don't actually know why this bottom section of the peninsula belongs to Virginia… I'd suspect it has something to do with Virginia holding a lot of cards and political clout relative to other colonies at the time that its borders were being drawn. And a desire to control the whole mouth of the Chesapeake.
DSL: Huh, yeah, that seems very reasonable. I'd imagine that had something to do with it. Thomas Jefferson throwing his weight around.
BC: What, no, it would have preceded —or ha, yeah, maybe Thomas Jefferson is eternal. He set that up right before he built that twenty-mile bridge.
DSL: [laughs] Indeed! By hand, I've heard.
[both laugh]
BC: Thomas Jefferson, titan of major twentieth-century public works projects. That really is a crazy bridge, though – have you been over it yet?
DSL: No, but how many times does it go underwater? Three? Two?
BC: I just came over it the other day – I think there are two tunnels? And then it touches down on an island up on this side. So there are… three, no four separate bridges. Four bridge spans, and the whole thing is, what, 23 miles? It's unreal.
DSL: Oh, man. Yeah… I wonder why they—I mean, I know why they built it, so you can get from here to there—
BC: That'd be my guess, yeah.
DSL: [laughs] No, but I mean – it doesn't seem like there are a ton of people that live on this peninsula. And it's just such an outrageous piece of infrastructure. It just seems… disproportionate?
BC: Well, I mean, it's also… if you're coming from Philadelphia or something to Virginia Beach and you want to skip all the Baltimore, DC, and Richmond stuff, it's a second, non-95 route up the coast.
DSL: True, that's a good point.
BC: But I don't mean to—you raise a good point, about how thinly-populated this part of this peninsula is, relative to the rest of the state, or even to Maryland and Delaware. I wonder why that might be. Maybe in part because there wasn't a bridge until the sixties?
DSL: True. But I think now… well, I was surprised to learn this, but apparently Virginia Beach, just on the other side of the bridge, is the most populous city in the state. And I wonder if there are now a bunch of, you know, fancy rich people who live up here on the Eastern Shore and commute down into the Big City. Which would also explain the existence of the bridge a little bit better.
BC: Yeah! That is wild, that it's not the DC area, or even Richmond. I guess there's a ton of military stuff down here and all that. But your point is well-taken, that the bridge does seem kind of ridiculous… I don't know.
I will say, it's a pretty wild sensation to be out in the middle of it and just, you know, surrounded by double-digit miles of water on either side. You're just on this strip of road, surrounded – surrounded – by water, and then… you plunge into a hole in the ocean, into a tunnel.
DSL: Right! Right! That must be the craziest, most surreal… what a weird thing. I was going to say something about how vulnerable that thing will be to sea level rise, but I suppose that by the time that bridge is underwater, this entire peninsula will already be long gone. [laughs grimly]
BC: Ha, because we're standing now at an elevation of like, one inch. Yeah… I mean, like we were saying earlier, it seems impossible not to feel very... well, intimately tied to the ocean out here.
DSL: Yeah, certainly. We're surrounded by it, and it's pressing in on all sides. Again, where we just were in Machiasport, we were on a peninsula there too – which was even tinier, even narrower – but I didn't have that same sense of the ocean just being… everywhere.
BC: Do you find it disorienting to move around as much as you guys do? I mean, we talked a little about this, but do you ever find that you crave… something more permanent? Obviously I know you've enjoyed it, but I know you're also casting around for some academic jobs and I wonder if there's part of this whole lifestyle that might be wearing on you.
DSL: No, actually! No… I mean, yeah, you'd think so. But I think, again, knowing that all these spots are impermanent is more helpful than it is exhausting. Maybe I'm just speaking for myself, but there's something about knowing we'll only be here for a little bit helps me to, you know, put up with anything. It's made us more adaptable, and more able to kind of… stretch and expand to fill a handful of different spaces. To find ways to take advantage of those things which might seem unfamiliar or challenging.
Like in Maine… Maine was actually one of the trickier spots, because Alison had to use the car for work and we only have the one car. So I was stuck at that house, pretty much in the middle of nowhere, you know, most days. But because I knew it was, you know, three months, I thought basically, "oh, okay, I'll just… this is fine." And so I'd go out with my camera and walk along the beach and make work along there. Which wouldn't ordinarily have been where I was exploring, but I would up with a bunch of work from there that I'm quite happy with.
But yeah – each individual part of the travel has been good. You know, "okay, I can definitely do this for three months." And the same goes for the traveling position itself – we knew from the start that we wouldn't do it forever, you know, we'll be looking for schools, that sort of thing. And I think that helps. And you know, our day-to-day lives stay roughly similar, from place to place – you know, all three of us are there – so that keeps it from being too disorienting as well.
BC: Huh, yeah, that's a good point. That's sort of relevant to that "sense of ballast" thing we were talking about earlier, with regard to your sun-and-moon pictures.
DSL: Well – huh. Actually, I would put that same thing to you: is that a thing you think about a lot? I mean, how do you preserve a sense of ballast as you're moving around all the time? Because you really – you really move! And you're a solo… person, a solo performer.
BC: Ha. Well – and I guess we sort of, ahem, alluded to this earlier – and not to get too far into it, but for a long time, I guess I sort of… well, I sort of hung all of that on one person. The feeling of home, or of… you know, of who I was as a person and as an adult, all that kind of thing. Which obviously isn't a fair or a reasonable thing to do, but nevertheless, in retrospect I guess I did it more and more, pretty much unconsciously, for years and years. And we saw how that worked out.
DSL: In... total emotional devastation? [laughs]
BC: [laughs] Yep, all accompanied nicely – poetically! – by an exploding car. But I don't know, in the time since that all happened, I've been thinking hard about that. And sort of… well, like we were saying: looking for things that are constant, both within myself and in the broader landscapes I'm moving through. Things that I can safely lean against – multiple things, you know, like how climbers talk about three points of contact? – even as everything around me is changing all the time.
Which I suppose may be one reason your work speaks to me so loudly, particularly recently! It highlights a consideration that I think we would all benefit from thinking more about, but which has special resonance for where I'm at.
DSL: Well, jeez, thank you for that; that's high praise. And sorry, I didn't mean to—
BC: Psh, no worries at all. I mean, thanks for asking. I'll be certain to take out all my own maudlin navel-gazing stuff out if and when I edit this.
[both laugh]
DSL: In that case, I'm sure I'll have a few edit requests of my own. [laughs]
But anyway, yeah… we kind of thought from the start that we would do the traveling job for two years and then wind down, and that's about what we're getting to now. And I'm sure that knowing it's a two-year project has helped it to seem less frenetic as we move around to all these different places. In fact, I'm kind of scared of what it will be like when we stop, you know? When I might have… whatever the opposite of that feeling is. Where I can't work around a challenging situation by thinking, "oh, I'll be somewhere else soon." Or even – well, not being able to indulge my own…
BC: Wanderlust?
DSL: Wanderlust! Yeah, the feeling of "I need to see a new landscape."
BC: Yeah, I can relate to that, for sure. I feel like that's how I'm able to live the way I do. Having the luxury of being able to look at everything without the weight of knowing you'll need to live with it lastingly, good or bad.
DSL: That feeling of "This is my life. This is all there is."
BC: Yeah! Yeah, that. But I wonder if we both might be… and this is pretending to have more self-awareness than I actually do, but maybe we're both a little overly, irrationally concerned about that.
DSL: Entirely possible. Yeah! And I'm completely willing to believe that, you know, we'll settle down someplace later this year and I'll be completely satisfied with everything about it. But yeah, I guess – it's an unknown, you know?
BC: But I know what you mean. It's not just the freedom to feel like you can experience a place without committing to it – there's also something about the pressure you feel to get as much as you can out of a place if you feel like you're only given this one, brief, special opportunity to see it and be a part of it.
DSL: Yeah! Yeah. And you're right – you used the word "luxury" earlier, which seems right. I feel very lucky.
But, to answer your original question, from way back, I definitely have found it disorienting at times. Some things… I mean, even just moving from Boston to Arizona I found that I was mixing up my internal sense of east and west. Because I always thought of "east" as... well, where the ocean is.
BC: Huh, I've heard of that happening in more coastal places – and I did it all the time in Oregon – but it's… it's surprising that you were thinking about the ocean, or that you had a conception of where the ocean was, when you were in Arizona! Can you say more about that?
DSL: Yeah! I mean, I know it's weird. But I kind of zoom out in my mind and I have this map – I'm doing it now, even here, and that's what I was picturing earlier when we were talking about being surrounded by water. But I could see the ocean, in my mind's eye, off the coast of California, and I'd think… "oh, that's – that's towards LA, that's east." And then I'd have to correct myself.
BC: I wonder why that's such a common thing! Maybe it's that it's more important, according to the most basic navigational equipment at the bottom of the most lizardy parts of our brains, to have a sense of where the water is, rather than to comprehend abstract ideas about cardinal directions. So when the situation is confused, our brain automatically defaults to the first thing.
DSL: Huh, maybe. Maybe. But in any case, now that we've been changing locations so frequently, my sense of that has become even more… challenged. And I mean, right now, the ocean is east, west, and south relative to our current location! So it's hopeless. [laughs]
But in reality, I kind of enjoy that disorientation. You know? It's a sort of luxurious place to be in, headspace to be in, if nothing like, you know, survival is riding on it.
BC: Well, and it seems like you've found a way to… you've taken on projects that make it so that your work can be a continually grounding – ha, literally grounding – activity for you. It forces you to critically engage with each new place you arrive in.
DSL: Yeah! Yeah. Right! And the project only works, in a sense, because I'm constantly adding to it from new places.
BC: Right, and all the while you're simultaneously highlighting the things that make these landscapes distinct from one another, and pointing out these big and important commonalities between them. I hadn't thought of it as you sort of training yourself to reckon with all these new spaces, but maybe that's part of it.
DSL: Huh, yeah – yeah. A bit, actually.
I mean, the sort of philosophical and conceptual impulse behind a lot of that work is… I mean, it is that, but it's also… a kind of broader desire to keep my work tied to something that's… outside of it.
BC: Yeah, can you say a little about that?
DSL: Well, yeah! I mean, you and I have talked about this, but you know, one interest I've had throughout my entire life is an interest in science, and it's been important to me to use that in my work. I think artists – I think good artists, artists that I like – work in this way a lot.
I mean, I find art as a topic in and of itself actually quite… boring?
[both laugh]
DSL: And I feel like you probably come up against similar things in your work, too. But I don't – I'm not super interested in art for art's sake. Well, I shouldn't say that, because I actually do think art is valuable in and of itself. But I think good art – or rather, the art that I'm interested in – takes its cues and its inspiration from a multitude of different sources and disciplines and interests. Which I'm sure is one reason that you and I get along so well.
BC: Ha, perhaps. I mean, I tend to agree with a lot of what you're saying. I definitely find my own work to be more gratifying when I'm kind of using it to kind of... process something nonmusical. There's a lot that can be gained during that process of... translation.
DSL: And yeah, I mean – now I feel like I may have mischaracterized my own thinking here. I love art, and I go to museums and galleries, but I guess what I'm trying to say is that I'm not interested in... art that doesn't have entry point or an exit point. Art that is self-contained within the world of art holds less interest to me than art that enters another sphere. Because I really think – yeah, as you suggested, one of art's great powers is to describe the world. To hold a mirror up to the world, like that quote says. And it can be self-reflexive, but I don't think that's when it's at its most… potent, maybe.
BC: Right, although, also… one major type of bad art in the taxonomy of bad art is the kind in which the exit point is too prescribed. Or where the journey between the entry point and exit point doesn't add anything to the observer's thinking, if I'm understanding your use of those terms correctly. You never want a direct translation...
DSL: Right! Absolutely. Yeah, yeah, yeah. That's no… that's no fun either.
But, I mean, this is all to say that I've had a long interest in things like astronomy, and in things related to space and time – the physics of space and time. And I think at my core, although I'm an artist and I love thinking about art and I love making art, I would rather read a book about astronomy than I would about… about, you know, art history.
BC: Ha, yeah! We really are weirdly… analogous people in our respective fields.
DSL: A continually satisfying discovery! But yeah, it's always true that I'd rather read about some subject that isn't art and then take whatever I glean from that and work it into my art. But that being said! I'm not knocking art history at all! I do feel very strongly that a conversation between present and past is very important and I don't think that you can make good work without being conscious of the things people have been talking about in the centuries before you arrived.
BC: I mean, we don't need to apply a universal rule, but it does sound like it's more fulfilling for you – as it is for me – when you're able to bind your art to something more… seemingly distant from it than its own traditions, even though an understanding of those is necessary.
But! You and I also happen to be operating from positions where our most passionate interests happen to fall outside of the fields we operate in; it seems like a photographer could make deeply interesting, unimpeachably work that's purely about photography if that were truly where his or her deepest interests were – it would honestly reflect that person's view on the world. By making photographs that are tied to astronomy, like the way I write music about landscape, you're doing what I think is the most important thing, which is making work that invites people into the peculiar workings of your own brain and showing how it processes the world. You're honestly representing the inside of your own, broadly-informed head and hoping that might resonate with people.
DSL: Ha! But yes. Right, right, right – exactly. I like that. And this is all... I mean, I am obviously deeply interested in photography and the history of photography and the philosophy of photography, all of which I think my work reflects also. I do feel like it's in conversation with the history of the medium, and that feels important to me. If it were just that, it wouldn't feel like good work or a satisfying project to me, but as you say, that's… that's me.
BC: Yeah, and I wouldn't be happy as a musician if I weren't constantly trying to find ways to make it relate to the other, unrelated interests that I have. But, you know, at the same time… well, Bach wrote music about music and it's some of the most amazing, affecting stuff ever made.
DSL: That's true.
BC: Well, maybe he might have said that even that music was also about math, or religion, or something. Anyway, I think in your case, and mine… I don't know, making any kind of artwork requires so much of your life and energy that if it were at all divorced from your enthusiasms, your passions, whatever those may be, I feel like... well, that it'd be impossible to put into it what it needs.
DSL: Right, right… yeah. I mean, while I've got the projects we've been talking about, which reflect my interests in science and astronomy, there's another ongoing project that's about my family, you know, which you've seen. They're all about the things that I think are… well, some of the things I think are most important about being a person in the world. I wouldn't feel good about being an artist if I wasn't... well, if I wasn't doing that.
BC: That seems like a good note on which to wrap this up. I mean, we should absolutely keep talking, but I can kind of tell we're about to spiral off into a–
DSL: Ha! You're probably right. Several hours of us just rambling.
[both laugh]
DSL: Great, though! Did we do okay here, for your thing?
BC: Oh yeah, absolutely. Thanks tons for doing this.
DSL: Of course! You're welcome. Although, really, this was good for me – I've got those job interviews coming up, so selfishly, I've been looking forward to this as an opportunity to help get myself ready for all of those.
BC: Ha! I should talk to you again afterward. You know, after you're a pro at these.
DSL: You may have to. [laughs]


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Beginning of the end for Mueller?
Dimms Panic!
With former national security adviser Michael Flynn's guilty plea likely to be set aside, the indictments announced yesterday by Deputy A.G. Rod Rosenstein, in tenor, scope, and timing, are a desperate attempt by Mueller to save his crumbling collusion investigation from complete failure.
From Our Friends at: americanthinker.com
Survival Frog Sold Out After Crisis Guide and Bonuses Book/CD – $29.97
One of the MOST Widely Read Survival Publications EVER Printed! A storm is brewing… You can see the writing on the wall. The same way you can tell when a thunderstorm is headed your way is how you know our country is in danger of an entire collapse. We're vulnerable politically, economically, structurally…basically in every way imaginable! It's scary how close we are to total meltdown! And when that crisis hits, it'll be quick, and it'll be deadly. That's precisely why we wrote this book. That's right, this book was published by the owners of Survival Frog. More than 250,000 copies of this incredibly informative book have been sold worldwide, making it one of the most widely read and best known resources for crisis survival in the world. If you want to know the closely guarded secrets for total survival you need to own a copy of this book. (Get it in hard copy or DVD.) Inside: The first food item that will fly off the shelf, (obviously it's impossible to survive without this) so I'll tell you exactly where to get it before the general public " and how to store it securely." How to practically "smell" a disaster coming, and how to lockdown your supplies or get anything you're low on before the mob goes crazy. Keep your family from being attacked and robbed by buying these items before they're "on the radar" and so much more. The truth is this book contains tons of life-saving information you must have to safely navigate a crisis. Buy this NOW and then you'll know exactly what to do when SHTF. Plus it comes with these 4 bonuses:
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I just want to remind everyone that tommorrow is the last day to sign up for the swap. So if you would like to join in on the fun just scroll down and leave a comment or send me an email at email@example.com and put swap in the subject line. So far this is who I have down to swap. If I have missed anyone just leave a comment and remind me. I will be giving out partners on Thurs somewhere around noon. Thanks everyone for joining my swap. Let's have fun!!! Dorothy from quiltndot, Lynn from life on the weinerranch, Kendra from thestonehouseprims, Natalie from tinsandtreasures, Tam from scentfullycountrygal, Linda from countrypickins, Susan from keepsakekorner, Cindi from cindispiecebypiece, Susan from daystooshort, Valerie from yorkiesprimitives, ARRGG!!!! Can someone tell me how to get these names on one line? I have tried twice and they just go back together after I hit publish!
Are you afraid of the dark?
21 hours ago


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Micropterna lateralis
Length 14 to 18 mm. A fairly large uniformly orange-brown caddis fly with some paler speckling.
Similar Species
Micropterna sequax.
Identification difficulty
Around ditches and temporary streams.
When to see it
Adult: Late May to August. It is attracted to light.
Life History
Breeds in ditches and streams that dry up over summer. It lays before the water vanishes and the species passes the summer as newly hatched larvae in the damp bottom.
UK Status
Widespread and fairly frequent in Britain.
VC55 Status
Fairly frequent in Leicestershire and Rutland.
Leicestershire & Rutland Map
Enter a town or village to see local records


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Read these "rules" AND introduce
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The Cavalli Liquid Carbon
Discussion in 'Headphone Amplifiers and Combo (DAC/Amp) Units' started by maxedfx, Oct 17, 2015.
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This wide mixed metal band features a thin textured strip of 500 palladium on a smooth satin finished sterling silver.
- 500 palladium, sterling silver
- 6mm x 1.5mm total band dimensions
- 2 x 1.5mm 500pd, 4 x 1.5mm sterling silver
- Round hammered finish and satin finish
Finger Size: 10
This ring can be special ordered in any finger size and made with different metals and textures. Please contact us to inquire.


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DieSlow Window Lurker blackonboth Kikbak Bobby Bangz Geraldino Virbius Slime Ooze
Krucial Thirteen Yo, Krucial, peep that Prophetic - "Entrepreneur" one. He's a Milwaukee rapper, prop the best thing I heard outta our home. Shit's from 2008. Been up on him since I heard it drop on Myspace back in the day. He could've blew up, definitely had the potential to.


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Check out my Weekend Challenge online video for Olga Furman Art! See a quick demonstration of how to compose, sketch, blend, and bring life to a graphite portrait. Sign up for free from Olga Furman Art to gain access:
A special thanks to Olga for including me in this fun series of inspirational videos.


text: For all of you leather lovin' camera owners, I just posted some finished handmade wrist straps on my 100km Etsy Store. These straps are a nice and stylish way to carry and support your mirrorless camera. I would recommend the neck straps for the larger DSLR and traditional cameras, those straps should be up and posted when the hardware comes in and I can get it assembled. Otherwise...enjoy! -AnRead More


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Top grain leather body and coordinating top grain leather fringe and trim. Leg straps are all hand riveted with copper rivets. Matching thigh strings, conchos and single fringe are standard.
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Chaps - Basket Stamped Bronc
Chaps - Bull/Bareback 2 Colour...
Chaps - 3 Colour Bull/Bareback...
Chaps - 2 Colour Bronc Chaps
Kids Earthtone Leather Chaps
Kids Pro Rodeo Metallic Leather...
USA 3 Colour Bull / Bareback Chaps
Chaps - Kids Size 34 inch
Chaps - Kids Size 31 inch
Chaps - Kids Size 28 inch
Chaps - Kids Size 24 inch
Youth Chap and Vest Set


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Hamburgers have certainly found a home on most restaurant menus. A burger is a popular option from steakhouses to Asian cafes. Yes, ethnic-style eateries have jumped on the bandwagon, putting their unique spin on a classic dish.
On a recent lunch with a friend to the Lemongrass Cafe in Bellaire, I was pleasantly surprised to see a Kobe Beef Burger on their lunch menu. There was no other choice to be made, so I ordered mine as cooked, well-done. For those who may not know, Kobe Beef is known for its flavor, tenderness, and fatty, well-marbled texture. The taste comes through in a well-prepared burger.
Presentation is important, and Lemongrass' is flawless. However, it is all about the meat with respect to a fine hamburger, and this burger did not disappoint. The country wheat toasted bun's sweet taste was a nice compliment to the juicy patty. Topped with tart gorgonzola cheese and grilled onions, along with lettuce tomato and bacon, the myriad of flavors came together for one sumptuous creation. A nice treat was the side of grilled pesto vegetables, a welcome departure from the traditional fries offering. Tart on the outside, with a crunchy texture, these morsels were tender and flavorful with each bite.
The Kobe Beef burger from Lemongrass Cafe was a nice surprise. The burger is only served at lunch, so I suggest you head over for your surprise very soon. They really do know that a good burger is all about the meat.
Cheers to Eating More Burgers!
12:00pm - 9:00pm Sun., 11:00am - 9:30pm Mon. - Thurs., 12:00pm - 10:00pm Fri., 12:00pm - 10:00pm Sat.; 5109 Bellaire Blvd, Bellaire $$


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FEBRUARY MISSION - LCMS Disaster Program - Gift Cards
News of a disaster striking a community moves everyone. We all want to provide immediate help to affected families. Gift cards offer an incredibly effective way to give physical assistance. Donations to this project allow for the purchase of gift cards. They supply food, clothing, tools and diapers to those in real hardship following a disaster. Gift cards fill immediate needs and build relationships. Opportunities which present congregations the chance to care for neighbors.
"For he says, "In a favorable time I listened to you, and in a day of salvation I have helped you." Behold, now is the favorable time; behold, now is the day of salvation." 2 Corinthians 6:2


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Problem solving is an opportunity for us to do our best by finding better ways to approach your unique project. We work as a team to build momentum, we tackle every challenge along the way, and we share a clear vision of our mutual success at the end of the road.
As a solutions provider, we have vast technical expertise across several market verticals. We follow a systematic approach to identify customer challenges, develop innovative solutions, and ensure that they are expertly planned and flawlessly implemented.
We live by a set of Core Values, which defines who we are. We pledge to listen, learn and be helpful to every customer need; to act honorably and always deliver as promised. Our teams are dedicated to technical excellence so that we can work intelligently to find the right solutions for our customer's needs.
How can we help you today?
Find Answers to our most frequently asked questions below:
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Deltec® TCP360 Stackable Cable Spacer, 2 x 1 in, For Use With Coaxial Cables, Polyprop more...
Deltec® TCP5255 Stackable Cable Spacer, For Use With Coaxial Cables, Polypropylene
Deltec® CSS-360 Modular Stackable Cable Spacer, 1/2 in L, Polypropylene, Black
Deltec® CSS-B Cable Tie Base, Steel, Metallic Gray
Deltec® CSS-H Cable Tie Metal Hanger, Steel, Metallic Gray
Deltec® CSS-5K Weather Resistant Cable Tie Kit, Acetal, Black
Deltec® CSS-135 Cable Tie, 13 in L x 1/2 in W x 0.06 in THK, Acetal
Deltec® WE-CSS-135 Cable Tie, 13-1/2 in L x 1/2 in W x 0.06 in THK, Acetal
Deltec® CSS-135 Cable Tie, 13 in L x 1/2 in W x 0.06 in THK, Acetal


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The Program, "It's About Change", Inc., is an independent, 501 (c)(3) non-profit organization committed to providing resources and encouragement to ex-offenders reentering our community.
Located in heart of Harrisburg, Pennsylvania, our experienced staff offers an array of evidence-based, high-quality programs and services to men and women on State or County Parole.
Because the first days, weeks, and months of freedom to a Parolee are the most critical to their success, we are determined to provide resources to individuals looking to re-establish a productive life after incarceration.
To that end, men and women have access to our Reentry Center Monday-Thursday from 9:00am-4:00pm for Workforce Development, Housing, and Mentoring.
Friday—by appointment only.


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A Technical Assistance project about empowering local and regional actors to work more effectively with rural communities in order to revitalise these areas.
Projects & Practice
Adjustments to water management and remedial measures help to preserve protected areas and conserve the landscape of the Western Langstraat.
A dairy company used RDP support to build a new wing on its factory in order to increase its production capacity. This investment strengthened the local supply chains and helps prevent the abandonment of the farming activity in the area.
Helping a new type of rural enterprise that can support a transition towards a green, diversified rural economy. Coillte Sláintiúil provides services to protect, rejuvenate and replace native woodlands.
EAFRD funding enabled the Monemvasia Winery to relocate to meet growing demand for Monemvasia-Malvasia wine.
Ensuring the preservation and restoration of species and habitats in Saxony, by offering free advice and relevant qualifications to land users.
A Local Action Group (LAG) helps coordinate the climate and energy strategies of its municipalities.
A dedicated communications campaign to promote the launch of the Rural Development Programme (RDP) in Finland.
A pilot programme in Scotland on Public Procurement led to new opportunities and markets for Scottish SMEs.
An example of an initiative promoting energy efficiency that addresses climate change through targeted actions at grassroots level.


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This unique, half-day creative seminar in group therapy will introduce participants to music, dance, and poetry as therapeutic techniques. Participants from the first CAT workshop will deepen their skills and learn new techniques.
Dance Therapy
Dr. Suzi Tortora, Ed.D, ADTR, CMA, LCAT, LMHC, KMP
Poetry and Journal Therapy
Nancy Scherlong, LCSW, is a registered poetry therapist, a clinical social worker, an EMDR practitioner, a certified hypnotist, an AMRC disaster mental health clinician and an internal family systems practitioner.
Music Therapy
Karen Popkin, LCAT, HPMT, MT-BC, provides music therapy services at
Memorial Sloan-Kettering Cancer Center.
Regular fee: $50
Alumni/Field Instructor fee: $45
Student fee: $40


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The excitement is just bursting out of me right now...I have been working on this shoot since JANUARY...and only just finished it up a few weeks ago. Lots of time, lots of collaborating, and lots of money. But the result of that kind of blood, sweat, and tears (no really, my florist actually bled profusely) is this ridiculously magical imagery. I'm baffled at myself, and really proud.
The color scheme was based off the colors of the northern lights and the style of the shoot was based off the glamping "glam camping" trend.
I knew immediately that I wanted to contact my friend Jill. She and her husband brad have this classic look, they are CRAZY attractive people...and the best part...they are ridiculously in love with each other. It took us forever to set a date but when we did, it went perfectly. My lovely friend Ali was there to beautify Jill and the clothes fit Jill like a glove. It was really nice weather for Chicago in the spring, it only got chilly at the end. We ventured to RM Champagne and a few parks and had an amazing time together.
The table setting is my baby. No really, my dad and I actually built that table. And the pieces I found for Shanon to stuff her floral magic in were so perfect. And those plates?! I die. It's a wonderful thing to see your vision actually displayed in front of your eyes...when it was scattered in your living room only hours before. The photos were romantic and rustic, just like I wanted and I am just so pumped to finally let you guys see this. I am so grateful to Jill and Brad for their love, beauty, and willingness to participate, my amazing vendors for being perfect at what they do, and for the world around me that inspired this gorgeous, laid-back style. It all came together to reveal something unique and gorgeous, a wedding I wish was my own.
And BONUS x1000...this shoot will be featured on RUFFLED very soon...that's only like the biggest deal EVER.
hair + makeup : ali onken // bella's salon
florist : shanon luhring // bittersweet floral
cakes : jordan sneath
styling : thistle & gold


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Platte County R-3's adjusted boundary went from first draft to proposal to approval in a matter of just a few days. After four meetings of the district's boundary adjustment committee and a public forum, the Platte County Board of Education reviewed the recommendation at its Thursday, Dec. 17 meeting. Members voted 6-0 with Gary Brown absent to finalize the new boundary, which sets up attendance centers for the district's three elementary and two middle schools.
The district adjusted the boundary to accommodate the opening of Compass Elementary, currently under construction as part of a voter-approved $27-million capital improvement project. The building is scheduled to open next fall.
"There wasn't always agreement," said Diane DeBacker, an educational consultant working with RSP Associates – hired by the district to help create boundary scenarios. "But I just have to say, we get to be in a lot of communities, and I've been in education; I've been a local board of education member. This is a really tough decision, but your committee and your community made it really easy.
"I walked away from last week's meeting just really trying to pinch myself because it doesn't usually go this smoothly."
Although the addition of an elementary school in the north area of the district was the main reason to form the committee, the project looked at the district as a whole.
The adopted boundary moves the north-south line from NW 128th Street down to Interstate 435, meaning all students south of I-435 will go to Pathfinder and Barry while those north will now be a part of the Platte City attendance center. District administrators will consider grandfathering cases for students affected by this change in an attempt to minimize unnecessary building changes.
Previously, those between NW 128th and I-435, including Ferrelview, were also a part of the south attendance center.
The new boundary generally splits Platte City through a north-south line but doesn't run directly along Fourth Street as originally planned, rather Interstate 29 is used as the main border on the east side. The west portion, which includes the Seven Bridges subdivision, would send students to Compass, while the east side, which includes Lakes at Oakmont and surrounding subdivisions, would be part of Siegrist Elementary.
The committee adopted a preferred draft at its third meeting and took that to a public forum days later. A few dozen patrons attended to ask questions.
The boundaries also provide for a complete feeder system, a preference of the committee.
All Pathfinder Elementary students (kindergarten through fourth grade) will attend Barry School (fifth through eighth grade). All students and Compass and Siegrist elementaries (kindergarten through fifth grade) will go to Platte City Middle School (sixth through eighth grade).
A total of 19 people, including two district staff members, worked on the committee — Tammy Kephart, Tammy Collins-Thompson, Amie Elliott, Jennifer Wilson, Cassie Linn, Cory Hall, Chris Thomas, Mary Dixon, Aaron Jung, Buffy Smith, James Everett, Jeanne Modin, Joanna Stusse, Alan Lambert, Sarah Rudis, Justin Tyler, Joshua Nickell, Doc Beeman and Tyler Crawford. One member resigned from the committee prior to the last meeting, and 13 were present at the time of the final vote on Tuesday, Dec. 8.
After receiving that feedback along with online comments, the committee voted 10-3 at the final meeting to forward the draft on to the board. Favoring the feeder system unanimously passed.
"I've grown up in this community, 42 years here," board member Adam McGinness said. "I've got a student affected by this decision. One thing I've learned: change is hard for Platte City. You definitely have the old and new. This is an anchor of the community. Naturally, as a board, we knew once this passed we had this scenario that would be a big, big decision, and we knew it would be hard to come to an agreement.
"I'm just glad we did not have to come up with this scenario, very glad the 19 members were there to do that. I respect your time and your decision."
Six members of the committee attended the board meeting, and all took time to provide brief comments on the process.
There were 10 criteria points the board of education established to guide the committee, but four were chosen as top priority: keeping neighborhoods intact, factoring in projected growth, contiguous attendance areas and duration of boundaries (listed in order of importance, per the board). Those were used to try and create equitable attendance centers in terms of demographics and educational experience.
Committee members were asked to use those in guiding their decision, while also trying to ignore personal grievances or outside perceptions of why or how it was being made.
"I thought we were very well informed throughout the process," said Hall, a committee member and Platte County graduate. "I've spoken to a lot of people in the community. Some were for this entire change; obviously, some were against. A lot of naysayers out there who don't believe in the board and what they are trying to accomplish, as far as the mission of the district itself. A lot of concerns.
"We had a lot of comments made outside of the boundary committee meeting that were very disheartening from some of the public, but I think it was to be expected. I'm very pleased in how the entire process went."


text: Channel Impulse Response And Coherence Bandwidth Estimation Under :Prof S.N Merchant SPANN LAB,IIT Bombay By:Rohit Sharma Jay Prakash Why?:- Motivation Increased Use of Wireless Devices Data-Intensive High Bandwidth Services Strain in capacity of RF Spectrum Most Communication becomes impractical above 10GHZ in Microwave Region. Multipath Effects of Channel Multiple propagation paths: Line-of-Sight (LoS) and NLoS Invites Multipath invites:Scattering, Reflection, Diffraction. Channel Becomes:Frequency dependent, Time dependent and Position dependent. Ultimately Coherence Bandwidth is adversely affected. Flow Model Apparatus Our Transmitter side Flow-Design Our Receiver side Flow-Design Host PC(Tx) Flow-chart Host Pc (Transmitter) Gb Ethernet GNU-RADIO USRP2 PN Sequence Vector Source Unpack_to_pack Digital_bert_tx.py BPSK Differential gray coded Modulation Uhd_Transmitter UHD-DRIVER USRP2 Host PC(Rx) Flow-chart USRP2 Gb Ethernet Host Pc (Receiver) I File Sink Q Data Processing I File Sink(.dat) Read Complex_to_Binary Windowing on Data-Stream Per PnSequence Window/Seq Data Processing II Cross Correlated Data Window/Seq Cross_Corr Channel Impulse Response Local Pn-Seq Coherence Bandwidth Estimation Averaged Over Windows Frequency Correlation Function Average FFT Power Delay Profile CIR Host PC(Rx) Flow-chart Host Pc (Receiver) Uhd_Receiver GNU-RADIO Demodulator Stream Converter Digital_bert_rx.py File Sink(.dat) UHD-DRIVER Octave Based Post-Processing Our Automated-Sounder APPLICATION Requirements:Software Gnu-Radio 3.6.0 Python Octave UHD_Driver (Latest stable) Hardware USRP2(Tx,Rx) Two PCs Gb Ethernet Our Automated-Sounder APPLICATION Impulse Response of a window Power Delay of the window Channel Impulse Response Power Delay of the window Power Delay Profile Frequency Correlation Function


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The Seattle Office of Economic Development (OED) and Seattle Department of Transportation (SDOT) are excited to launch #ShoptheSqueeze: a campaign to encourage locals to visit small businesses Downtown during the Seattle Squeeze—the period of transition Seattle faces over the next five years as public and private construction projects continue to change how we get around Downtown.
Driven primarily by weekly social media photo contests, the campaign encourages participants to visit their favorite Downtown small businesses via alternative transportation and share their stories. Alternative transportation includes walking, or traveling by bike, bus, ferry, Link light rail, Streetcar, or carpool – anything that helps ease traffic Downtown. Each month will feature a different small business sector, such as restaurants or art galleries, as a theme. Participants are entered to win prizes including $100 pre-loaded ORCA cards and Visa gift cards. Full contest details here.
Shop the Squeeze will focus primarily on Belltown, Pioneer Square, the Chinatown-International District , and the downtown retail core as the neighborhoods most impacted by upcoming transportation changes. The campaign mascots, Simon the Sasquatch and Pearl the Squirrel, will deliver family-friendly campaign messaging about important transit milestones, ideas for creative commuting, and photo contest details via social media, transit advertising, and our website: seattle.gov/shopthesqueeze.
While the new State Route 99 tunnel is now open, the Squeeze is long from over. Major changes to our transportation system are still on the horizon—our next big impact will hit on March 23, when the Downtown Seattle Transit Tunnel becomes Link light rail-only and hundreds of buses will move up to our surface streets. The Shop the Squeeze campaign is intended to keep people shopping and exploring Downtown neighborhoods in order to minimize the impacts of the remaining years of the #SeattleSqueeze on small businesses.
#ShoptheSqueeze rolled out Friday, March 15th, 2019 and will continue at least for the remainder of 2019. To participate, follow @SeattleEconomy on Facebook, Instagram, and Twitter, and visit our website: seattle.gov/shopthesqueeze.


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"My name is Mark Kilibarda and I live in Montevideo, MN. I am blessed to have a wonderful family with my wife Holly, my son Adam (15), my son Derek (13), my daughter Madalyn (11), and my son Landon (5). I grew up in Courtland, MN and attended high school at New Ulm Cathedral, then went on to college at Creighton University in Omaha, NE and Minnesota State Mankato. My work experience includes Minnesota Hardwoods in Courtland (IT Manager) and Schwan Foods in Marshall, MN (Help Desk Manager). My hobbies include playing all types of sports and coaching basketball for my oldest sons and daughter. In 2009, I was fortunate enough to be selected for an episode of a reality TV show (Pros vs. Joes, Spike TV), where I was flown to Miami, FL (Orange Bowl) and played football and hockey against Paul Coffey."
Mark is our Network Operations Controller here at Bennett so he's constantly working to ensure that you are given the best in customer service and prompt response time! Welcome Mark to the team by commenting below!


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Nineteenth Amendment is familiar with the incubator model as we were born out of the personal, professional incubator Startup Institute. As a young startup, we realize the value add of participating in an incubator:
- Use of a communal work space
- Access to potential funding
- Access to a network of mentors and service professionals
- Inclusion in a colaborative community with other highly motivated people
Incubators have fast become a vital piece of the startup ecosystem and we are excited to see the fashion industry adopting this same model!
On a recent trip to New York, we met with two new fashion incubators who are changing the U.S. fashion industry by helping ermeging designers and manufacturers stake a claim in the fashion world.
Pratt Design Incubator
Opening its recent expansion with lots of local attention the Pratt Design Incubator is a multi-disciplined design incubator in the heart of Brooklyn with an emphasis on creating sustainable businesses. The brain child of Debora Johnson, executive director of the Center for Sustainable Design Studies at Pratt, Deb gave us the scoop on what the incubator will offer designers. For as little as a $250/month, the incubator provides affordable space, mentorship, and a community of collaborators. The incubator houses a photo studio, a workshop for prototyping, and an educational space that can be converted into a runway. In addition, the incubator will have its own storefront, giving designers the opportunity to test their designs in the marketplace.
The best part: Pratt is offering a three-week entrepreneurship immersion program to give designers the tools to create their own businesses.
Stitch Factory
Stitch Factory is bringing fashion to the city of sin. Located in downtown Las Vegas, this fashion incubator offers resources for designers from pro to novice, including classes in fashion design, photography, makeup and hair artistry, as well as seminars on entrepreneurship. Stitch Factory has a new co-working space with direct access to state-of-the-art machines. As founder Meghan Mossler explained, the Factory supports designers with more than just space – they offer services in production, event planning, brand consulting, tailoring and alterations.
The best part: With the breadth of the Las Vegas community – your co-designing neighbor could be a costume designer from Cirque du Soleil or a casino heiress! The collaboration opportunities are endless.
In combination with Nineteenth Amendment any fashion designer who joins will be off to a solid start in starting their brands with these two incubators and the great teams backing them!