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Field Conference Policy
1. The purpose of a Field Conference is to provide the participant with a continuum of practical, real life experiences of some aspects of Earth Science.
1.1 The preferred instructional mode should involve inquiry or discovery and group discussion rather than didactic explanation. Such explanation might be resorted to only when saving time is more important than participant discussion at the site, or when the site is unique, but not an essential part of the continuum.
1.2 Field conferences may be structured primarily for advancing the knowledge of the participants, or primarily to demonstrate field trip teaching strategies. The leader should include both of these modes and should be prepared to use either when asked or as is appropriate.
1.3 Participants should perform relevant activities in the field and keep a factual record of observations. However, writing field notes on site should not detract from observation and understanding. A log of impressions is also a valuable record both to the participant and to the leader as an evaluation.
1.4 Participants should be encouraged to keep a comprehensive photographic record of the conference; the group may wish to compile a classroom field trip from this record, the activities in which they engaged and the data collected.
1.5 Participants should be encouraged to collect representative specimens sparingly (a classroom demonstration set or possibly a student classroom set) so as not to deface outcrops unduly. Respect for the environment, the property owner, and future visitors should be the guideline.
1.6 Every effort should be made to provide optional graduate credit for the conference. Since most learning takes place on site and in discussion, evaluation should not be entirely dependent on reports or papers.
1.7 Planned free time and other socializing activities (potluck camp meals for instance) should be part of the conference schedule to maximize participant involvement.
2. NESTA sponsorship of a Field Conference requires that these guidelines be followed.
2.1 Field conference leaders must be conversant with the subject matter of the conference (geology, oceanography, etc) in the literature, in the area generally and at each site. They should have visited the area recently — a dry run trip is highly recommended about one year before the conference is scheduled, to assess the weather (and vacation population).
2.2 Leaders must be conversant with the geography of the area and be prepared to suggest restaurants, camp grounds, motels (with price range), shopping availability if the area is remote, medical facilities including hospitals, clinics and doctors, service stations, automobile repair facilities, local attractions, and folklore.
2.3 A field guide must be prepared and sent to participants shortly (3 weeks) before the conference. It should contain material relevant to the topic, activities, location, and itinerary of the conference —road logs, regional geological descriptions, etc. for instance. Participants are expected to prepare for the conference by reviewing this guide.
2.3.1 Other geologic material such as AAPG geological highway maps, books, pamphlets should be provided. Additional materials and their sources may be recommended for participant reading.
2.3.2 Field guides will be available for sale to others.
3. Leaders must present a plan and budget to the NESTA Conference Committee to obtain conference approval; financial and evaluation summaries are required within 60 days after the conference completion. The Committee chair must approve significant changes in the plan or budget.
3.1 Registration fees should be set to cover the cost of preparing and printing the guidebook, purchasing the maps and books which are provided, making reservations for accommodations and visits. Leaders fees during the conference will be paid; they may apply for dry run expenses but their personal expenses (food, etc) during the conference may not [should be] be included. Conference mileage [and expenses] should be sought from the credit granting institution.
3.2 The registration fee shall include a deposit that is not refundable after a specified date. Material that is purchased for participants should be ordered after this date so as not to incur expenses for participants who withdraw. If it is necessary to incur costs before this date (for reservations, etc), only the balance of the deposit shall be refunded.
3.3 All costs shall be clearly identified in the conference announcement and the deposit amount fixed to encourage conference attendance bearing in mind that a small deposit may result in no shows. Thought must be given to the maximum number of participants who can be accommodated at an outcrop or supervised in an activity.
3.4 All monies collected and disbursed are to pass through the NESTA treasury, including commercial tour fees.
4. Places not readily available to the average tourist such as mines, quarries, private properties, unique collecting localities, etc. should be included in the itinerary.
4.1 Permits to visit and/or collect should be obtained ahead of time through a letter and should be confirmed verbally before the permission is exercised.
4.2 All campsites and other locations visited are to be clean and in good order after the visit.
5. Information regarding living arrangements (both camping and motels) and other matters of interest (tourist sites etc.) shall be mentioned in the conference announcement; all additional information shall be provided to potential participants as it is available. See 2.0 above.
5.1 Meeting times and places during the whole conference are to be established and remain the same. They must be provided in writing to participants and marked on route maps as part of the Guide.
5.2 At the beginning of each day, outline the stops to be visited with anticipated times and update this before moving from each stop in case someone gets lost or stops for vehicle repair.
5.3 Sessions should be scheduled as appropriate (in the evening after dinner) to answer questions concerning the day and review plans for the next day.
6. Normally the leader will be at the head of the caravan. Set a driving pace below the speed limit, or at least at the same speed as the surrounding traffic. Through cities, on freeways or for long distances it is best not to travel in convoy.
6.1 A colored ribbon attached to radio antennae readily distinguishes caravan members. A tail end Charlie who may have a CB for communication with the leader can be designated to drive at the rear of the caravan.
6.2 Each driver is responsible for making sure his/her riders are not left behind at stops.
7. Field conferences may have a family or a professional orientation or both; the former is encouraged even if family members are not included in all daily activities.
7.1 Places of interest to and activities for non participants should be suggested.
7.2 Family orientation requires that additional days and free time be included in the itinerary.
8. Evaluation forms are to be prepared before the conference and distributed at the end. They should allow the participant to evaluate the trip, reflect on their personal and professional experiences, pick out the highlights and lowlights, and make suggestions, which might be incorporated into future conferences. A summary of the evaluations will be included in the conference report.


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Factor needed a new logo design and created a contest on 99designs.
A winner was selected from 157 designs submitted by 50 freelance designers.
Factor Communications
Factor Communications is a International Telecom Provider. Factor provides a suite of services that make end to end IP calling simple , secure, reliable and feature rich while significantly lowering costs to carriers, enterprises and consumers around the globe.
Global Telecom companies
Enterprise customers
We are looking for a fresh, sleek, look for the company logo. The website has been done, but the logo still needs to be done. The logo on the site is just a generic filler logo that will be replaced.
We would like for the colors to be:
Cisco Blue
You don't necessarily need to use all of those colors together.
A horizontal orientation would be the best layout.
This is a corporate logo, so it needs to look professional, but not boring.
We would like the emphasis to be on Factor and not as much on communications when sizing the typeface for each word.
Please let me know if you have any questions.
Find out how a design contest works or learn more about our logo design services.

subset: commoncrawl


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Odds and Ends
It was foggy and right at freezing on my commute this morning. All the leading edges of the bike were rimed with frost, including my gloves. It was very strange to look down and almost watch the ice forming. At least the yard dogs from hell were too cold to come out and chase.
My son came down with some sort of virus that's been going around the schools. First, Lyndsay had it and passed it to her brother. He's been sick since Wednesday. But when the April "Wheel Issues" arrived, he brightened considerably while reading the story I'd written about him. It wasn't even close to true, but he thought it was funny, especially the parts that were funny at MY expense!
Just as I arrived at work, I saw another bicycle commuter! I was about to put my bike in the rack outside my building when this guy rode past and waved! Wow! There really are more crazed people out there than I imagined. In the summer, I stumble across one or two a week, but it's been months since I've seen anyone else.


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Truth and Trust in Social Media - report from the SMWLDN panel
Social Media Week London kicked off (for me at least) at 8:30am on Monday morning. That's when I joined with fellow panelists Jenny Afia – Schillings, Guy Stephens – CapGemini, Euan Semple and Benjamin Ellis - Redcatco / Socialoptics at Like Minds opening event.
The topic at hand (to which I was afforded the luxury of providing the introductory scene and context setter) was Truth and Trust and why what you do matters in social media.
Thanks to all those who joined in from outside the room via the #smwldn or #likeminds hashtags on twitter.
I'm back at the same venue (Adam Street Club - just off the Strand in London) on Friday at 4pm for the final Like Minds event of the week on the future of being social.
In the meantime it's good to see Monday's early morning session was covered by way of a live blog - so if you missed it you can catch the summary here.


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The IBM Extensions for Memory Analyzer (IEMA) v1.1 are now available on developerWorks through ISA. This marks the graduation of the project from an alphaWorks evaluation project to an ISA Tech Preview. The 1.1 release contains the following highlights:
Garbage Analysis
The inclusion of two new queries: Find Garbage Fragments and Find Allocation Sites, makes it possible to identify fragments (chains) of objects that are eligable for collection, along with similar live data in the Java heap where the garbage fragments may previously have been allocated.
Improved WebSphere Application Class Loader Leak Analysis
Leaking application class loaders are now marked with "LEAKING LOADER" in all views, and a new more accurate "Path to Leaking Application Class Loaders" query has been provided to identify why they are being kepy alive
Mapping of WebSphere thread IDs to Java thread IDs
The Java Basics -> Thread Overview query has been updated to include a WAS Thread ID column allowing you to map the thread IDs used in the WebSphere logs to the threads IDs used in other diagnostic files.
Improved WebSphere Hung Thread detection
Threads that have been marked as hung by the WebSphere thread pool manager are now marked as [Hung] in all views, and a new section has been added to the "Thread Pool Analysis" query.
The move to ISA means that, for ISA users, there is now no need to set a new update site in the Update Preferences as the IBM extensions sit next to the other tools in the ISA tools catalog. For Eclipse Memory Analyzer Tool (MAT) users, you can install the IBM extensions by pointing your Eclipse at the ISA update site. Detailed instructions are on the new IBM Extensions for Memory Analyzer homepage.


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Just when you think you've got it, when you think you've finally mastered the differences between scones, biscuits, fairy cakes, cupcakes, and muffins, along comes this recipe. Sorry, folks. If these weren't one of our most popular items, one that many have asked us to share, we wouldn't be putting you through this torture. These are tossed together like biscuits, but rather than putting you through the paces of biscuit making, this "shaggy mess" dough is chucked first into a muffin pan and then directly into the oven. Only butter is used versus a combination of butter and lard. As a result, these have a crunchy exterior and a tender but slightly dense, crumbly interior. They are fantastic as is, but you can also slather them with sweet, creamy butter and your favorite jam, and rest assured, you won't care about any confusion they might have caused.–David Muniz and David Lesniak
LC No Going Back Note
Indulge in these shamelessly simple little hybrid hussies once and you just may find that there's no going back to roll-out biscuits—at least not for weekday morning biscuit cravings, anyways. Oh, and the authors know exactly what they're talking about when they counsel you to "slather them with sweet, creamy butter." Boy, do they.
Muffin Biscuits
- Quick Glance
- Makes 6 jumbo or 12 standard biscuit muffins
- 3 3/4 cups (20 ounces) all-purpose flour
- 6 tablespoons granulated sugar
- 1 generous tablespoon baking powder
- 1 1/2 teaspoons kosher salt
- 1/2 teaspoon baking soda
- 8 ounces (2 sticks) unsalted butter, cold, diced, plus more for the muffin tin
- 1 1/2 cups (12 ounces) buttermilk (either low-fat or full-fat)
- 1. Preheat the oven to 350°F (176°C). Butter a muffin tin containing 6 jumbo or 12 standard muffin cups.
- 2. In the bowl of an electric mixer, combine the flour, sugar, baking powder, salt, and baking soda on low speed until evenly distributed. Add the butter, 1 tablespoon at a time, and continue to mix on low just until the mixture is crumbly and there are pea-sized clumps scattered throughout. Slowly pour in the buttermilk and stir just until the dough looks evenly moistened. (It might seem counterintuitive, but the trick is to NOT stir until the dough comes together into a ball or you will end up with a tough muffin. What you want to see in the bowl are various-size lumps of butter and wet flour with some lingering bits of dry flour.)
- 3. Using a spoon or rubber spatula, gently stir up from the bottom of the bowl to incorporate any larger pockets of dry ingredients that remain into the batter. Using an ice-cream scoop, a large spoon, or even your hands, divide the dough evenly among the muffin cups. Since this dough remains loose and crumbly, you'll need to press it into the scoop or in your fist and glom into the cups. If you're concerned things still look dry and powdery, top each muffin with a little butter, which will, in a sense, baste the muffin while it bakes. And let's face it, since when did more butter ever make anything worse?
- 4. Bake for 25 to 30 minutes for smaller muffin biscuits, 30 to 35 minutes for large muffin biscuits. More important than the actual timing is the visual appearance—the tops of the muffin biscuits should turn a darkish golden brown and look ruggedly lumpy and, if you touch the tops, they should feel firm. Cool the muffin biscuits in the tin on a wire rack for 5 minutes then tip them onto the rack to cool or, if you just can't help yourselves, to consume immediately.
If you make this recipe, snap a photo and hashtag it #LeitesCulinaria. We'd love to see your creations on Instagram, Facebook, and Twitter.


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Rolla Technical Institute will offer a culinary arts program beginning in the fall of 2014, the Rolla Board of Education decided Thursday night.
Rolla Technical Institute will offer a culinary arts program beginning in the fall of 2014, the Rolla Board of Education decided Thursday night.
The vote for the new program was unanimous following a presentation by Matt Duncan, director of Rolla Technical Institute/Rolla Technical Center, and Lucas Chapman, assistant director.
"It's not all cooking," said Chapman in his part of the presentation. The curriculum will prepare students to do everything from washing dishes to managing a restaurant.
Duncan presented the background of the choice of culinary arts as a program for Rolla education. Noting that the need for career and technical education is as strong now as ever, he said RTI needed to find a new program that would help people find employment in "these challenging economic times."
"We had to look at high demand," Duncan said, and culinary arts is an area that is expected to have a high demand for workers. It was listed in Missouri's top 50 projected job openings for 2006-2016, he noted.
To offer instruction in cooking and restaurant management, Chapman said, it will take $416,500. Rolla Public Schools will pick up $130,000 of those start-up costs, while the balance will come from grants.
The annual cost will be about $85,000.
Initially, it will be open only to secondary school students. Later, adult students will be accepted.
Thirty students will be accepted into the program, Chapman said, 15 for the morning session and 15 for the afternoon session.
Instruction will take place in a classroom, a commercial kitchen and a dining facility.
Duncan and Chapman showed a blueprint of where the culinary arts program will go in the school. It will be between the second and third wing, next to the heating, ventilation and air conditioning instructional area.
Chapman said he felt confident that a qualified instructor can be found. His confidence grew when he met with East Central College personnel about their cooking program.
"I feel confident we will find some highly qualified people," he said.
High school graduates in the culinary arts program will receive recognized certificates to indicate their credentials.
Board member Aaron Froehlich asked if the program will train people well enough that they can skip the entry-level positions in the food-service profession.
Chapman indicated that would likely occur and said the Rolla program also will prepare the truly serious students for further education in the top four or five cooking schools in Missouri.
In other business or discussion:
• The board heard a report on the so-called "common core curriculum."
• An update of the construction projects going on this summer was given.
• Statistics from the summer school were presented.
• The results of a patron survey were given.


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Celebrating illustration, design, cartoon and comic art of the mid-20th century.
Friday, June 25, 2010
A Little More Wyeth
Next, also from my inherited morgue files, a 1927 cover for Country Gentleman by Wyeth. Earlier this week Charlie told us that "The Boys' King Arthur" was first published in 1908, and that "Treasure Island" was from 1911. So these two pieces provide an interesting example of the artist's development (if any) some ten-plus years later.
Finally, I was surprised to find this series of illustrations in a 1965 edition of Reader's Digest Condensed Books, sandwiched between a thoroughly modern group by Stan Galli and another, equally contemporary series by Arthur Shilstone ( both of which I plan to feature at a later date ).
Charlie explained that NC Wyeth died in 1954, so Reader's Digest was obviously confident that its audience would still have an appreciation for Wyeth's work some ten years after his death ( and several decades after the height of his popularity ).
In fact, the credits indicate that this series was originally presented in 1939.
Once again, they provide an opportunity to consider if Wyeth's work had changed in any way after approximately two decades had passed from the time of "a set of pictures, without doubt far better in quality than anything I ever did...", as Charlie told us the artist said of his "Treasure Island" series.
Unfortunately the reproduction quality on the cheap newsprint paper RDCB used is horrendous.
Even so, Wyeth's skill at devising strong, dramatic compositions can't be obscured by bad printing.
These last two pieces in the series are probably my favourites, as they really remind me very much of the kind of pictures Wyeth was creating in his earlier days. To quote Charlie once more, they are an "amazing group of illustrations... so old... and yet so new to today's viewers and readers! N.C. Wyeth was a true giant in our illustrative history."
And they really are new to me - and thanks to Charlie, I now see the artist in a new light. Wyeth's influence on many of the industry's 'modern masters' - from James Gurney to James Jean - is much more apparent to me now.
We would all do well to look more closely at the likes of NC Wyeth for the purpose of study and inspiration. Again, many thanks, Charlie!
* If you are new to Today's Inspiration and never read Charlie Allen's blog, this is your chance to get to know our guest author better. Drop by there and peruse Charlie's archives for some great stories and some truly amazing artwork!
15 comments:
- Charlie Allen3:42 PM
LEIF.....Cannot thank you enough for displaying NC Wyeth's later examples. And yes, he and his work changed dramatically as the years went by. Draftsmanship a bit unsure at times, not convinced of how much drama a subject needed....a bit of 'fish out of water' feeling with the advancing years. Had totally forgotten that he illustrated 'The Yearling'....a book quite familiar and popular when I was probably a high schooler. Again, you've given substance to a very limited blog of a great artist who deserves the very best we can show.ReplyDelete
Charlie, again I agree on all your comments. He seemed to be more daring in his earlier compositions. Also, I like the broad painterly style much better in those early illustrations. In his later work from about 1930 on, he used thinner paint applications.ReplyDelete
I couldn't put my finger on exactly why I can't seem to get excited about the Yearling illustrations, but you nailed it when you mentioned his later work looked "unsure". I think his earlier historical action scenes were some of his best illustrations, and no one used cloud formations more effectively than N.C. Wyeth.
I have noticed that quite a few illustrator's work shows less quality than when they are at their peak. Perhaps, partially because they are trying to keep up with the changing trends, and lose the strength they had in their earlier work. Or maybe they just tire of using their same approach and style, over and over. Pruett Carter's illustrations are another example of a dramatic change in styles, later in his career.
Tom Watson
CORRECTION, I meant to say "I have noticed that quite a few illustrator's work shows less quality in their later works, than when they were at their peak".ReplyDelete
Tom Watson
- Charlie Allen8:01 PM
THANKS, TOM...... I think NC Wyeth seemed to have had a longer fantasy period.... as young people do. I recall going through a knights and armor phase, a mummy and catacombs phase (weird!), and others. Wyeth seemed to love the adventurous knights & armor period, the wild and wooly pirates period, etc. When he illustrated in later years....it seems he found it almost too tame, too gentle for his skills. He seemed a bit confused by gentler subjects.ReplyDelete
Charlie; If you kept any of your mummy and catacomb drawings I NEED to see them! :^)ReplyDelete
WEll, pretty much all hyperbole over NCW is superfluous..suffice to say he created stuff that still packs a punch today. So many other pics to show..The other ones that should be included here are The Giant, the mural he did for , the Pilgrim Murals he did for the Mutual life insurance Company, which are now restored and on display in the lobby of the company's building in Manhattan.ReplyDelete
Some reading about NCW's life will reveal some things, ie: he did the Yearling after Andrew Wyeth had started having success with egg tempera, which is completely different than the impasto techniques of NCW's oil illustrations and when he tried something similar the results were mixed. Also he was having crisis of confidence over his art at that time.
Required! reading!! by any student of NCW is The Wyeths, the collected letters of NCW from his days as a student of Pyle right up to his death. A lot is revealed about his approach to his art and his life.
Any one on the east side of the country should RUN not walk to the Brandywine River Museum, where all will be made clear and your art life will changed forever!!
..oops, that was the Metropolitan Life Insurance Company in downtown NYC.ReplyDelete
...and the mural was done for the Westtown School, Pennsylvania. For five hundred dollars!!ReplyDelete
NC Wyeth is fantastic!!!!! more more more )))ReplyDelete
Thanks to the Scribner's books (and I'm sure a lot of other material that was kept in print), and due to the fact that the illustrations were timeless, Wyeth's work was still appropriate a full twenty years after his death.ReplyDelete
Scott; thanks for all the additional info and suggestions for those interested in exploring Wyeth's work further. I should emphasize however that although it would be nice to have included some of the specific pieces you referenced, the intention of this blog and these posts is to give a taste - not present anything close to a thorough overview. I'm grateful to all the enthusiastic, knowledgeable contributors and commentors who help to educate and inspire me and the TI readers - but what we show on Today's Inspiration is always just the tip of the iceberg.ReplyDelete
Michael; Thanks for your comment! But I wonder just how accurate that statement about Wyeth still being popular 20 years after his death actually is. Certainly in retrospect I can see that timeless, enduring quality... but during the '50s and '60s, I'd say Wyeth and his contemporaries were very much sidelined.
Next week I'll demonstrate what I mean.
- Charlie Allen6:46 PM
Scott, I was aware from something I'd read that NC felt near he end of his life that he was sorry he hadn't spent time on 'fine arts' as did son Andrew. He felt illustration was trivial....not serious art. If so, so wrong!! The powerful, 'out of his imagination' illustrations NC did were more important. They reached a greater audience....and they inspired more youngsters, etc.ReplyDelete
The opening 2 page spread for The Yearling looks very much like the painting style I saw in the "Golden Books" that I read as a child.They were mostly rendered in gouache,so Scott's comment about N.C. using his son's egg tempera painting style seems on the money.ReplyDelete
Here's my 2 cents regarding reading material...N.C. Wyeth: A Biography by David Michaelis. An excellent read and thoroughly researched.ReplyDelete
- Charlie Allen4:33 PM
LEIF....I was very young when I and a friend got enthusiastic on catacombs and mummies. In those old days our encyclopedia served as a source. We read all we could from that....and our 'mummies' were hand carved figures wrapped in strips of old cotton sheets. Sometimes 'burned at the stake'! Then buried in a 'catacomb'. I said weird! No drawings that I recall.ReplyDelete


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Except for Daphne Guinness ...
This is a continuation of the thought expressed in the SJP article. About no one really bringing it. But for Daphne Guinness. She's 43. An artist, an heiress, once married to a Greek shipping tycoon, these are the people who exist on yachts and in castles, who can afford to scoff at the lowly celebrity and her need to hustle even though their own lives are filled with the kind of depravity money is supposed to clean. Ha.
Daphne understands the theatre of it all. She showed up.
Photos from Larry Busacca/Stephen Lovekin/Gettyimages.com