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Hands up who knew that Ghent had its very own Light Festival? I sure didn't. To be fair, it's a blink-and-you'll-miss-it kind of special event, taking place only every three years. But that's just all the more reason to make the effort to go if you have the opportunity!
Much like London's Lumiere festival, Ghent's Licht Festival is spread all over the city. This year there were over 30 pieces of light artwork around a 7km loop, stretching out from the city centre out towards the Citadelpark and up to Huidevetterskaai. I've only been to Lumiere once (and that was a few years ago), but Ghent's offering felt a lot more cohesive. That's definitely thanks in part to the relatively small size of Ghent, as well as fabulous organisation skills which direct you around the route by way of large arrows on the screens. Endlessly helpful for those who are directionally challenged…like me.
From large-scale interactive designs to thoughtful pieces of art that make you think, Ghent Licht Festival has it all. I've popped some of my favourite works of art from this year's Festival below so you can see just how epic an event it is! The Festival runs until Sunday February 4th 2018, so be quick – otherwise you'll have to just get planning for 2021! Find more information on the Festival and the artworks here.
1. 'Keys of Light' by Mr Beam
Some of my most favourite pieces of artwork were the ones which incorporated an interactive element. Take 'Keys of Light', for instance, which required someone to play the piano in order to work. As someone played the piano, lights were projected in time onto the buildings in front. It sort of became like a dance between the sound and the visuals; the more dramatic the piece, the more colours flooded the building. This was where the Festival officially kicked off, with the mayor tinkling the ivories before a young kid jumped up and made us all feel musically inferior by bashing out a complicated classical piece.
2. 'Forgotten' by Create
This was the runaway highlight judging by your reactions to my Instagram stories! Giving all the Game of Throne vibes, this piece involved a giant dragon swooping in, crashing down light-based buildings, and breathing fire out into the atmosphere. We were so impressed with this one on the media preview that we stayed to watch it twice; but that was nothing compared to watching it with the crowds, listening to them gasp in wonder as actual fire erupted from the building! The artwork is based around the dragon which has resided at the top of the city's Belfry tower since 1377.
3. 'To The Rescue' by Create
This one was built up over several levels of a building, with light projections of fire taking it over one storey at a time. It felt like a proper live theatrical show, like something you'd find at Universal Studios! It even had gigantic spurts of water from the fire engine truck parked in front. All the heroic feels.
4. 'Museum of The Moon' by Luke Jerram
When we turned round the corner and saw this gigantic full moon hanging in the street, I took a double take. It's so crisp and clear, it was almost like the moon itself, had dropped down just metres above our head. Emma from Paper Planes and Caramel Waffles said she saw this one in Leeds, so it might well pop up at another festival near you soon!
5. 'Large Fire Tornado' by Ivo Schoofs
We had to wait a little while for this one to kick in, but it was definitely worth the wait. A guy in a fire suit took a torch of fire into the carefully contained space and lit a cauldron. Once he was safely out of the way, a burst of air would whip the fire up into a towering 16-metre tornado. As unnerving as it was to see something so destructive, it was mind-blowing to witness such a powerful display in a controlled environment!
6. 'Missing House' by LUCA, School of Arts ism KULeuven
The previous few examples would lead you to believe that most of the artists are pyromaniacs intent on filling Ghent with fire…but not quite. Some of the most effective and moving pieces had simplistic designs or concepts, like 'Missing House' by a group of local art and architecture students. They noticed that there were several 'gaps' around the city where they felt a building should be, so they created this outline which squeezed into one of these spaces.
7. Supercube, the Incredible Collection by Stéphane Masson
From afar, I genuinely thought this one was a vending machine and got a bit excited. Turns out, it's actually a piece of art (whoops), that asks you to look into a jar for a few seconds, and then find your face in one of the 448 other jars.
It's a lot easier than it sounds though. Trust. There's a large jar on the other side which is where all the faces appear. And before you ask how I got a photo of my own face – there's a 15-second delay between you popping your head in and your face appearing on the other side.
8. 'Time Paradox' by Limelight
Time Paradox at Sint-Pietersplein felt like one of the biggest spectacles of the entire loop. The performance takes audiences on a 3D journey which combines elements of architecture, music and storytelling to illustrate the paradox of travelling in time. In reality, I'm not entirely sure that particular theme was too obvious, but the 3D effects and intricate designs were enough to blow my mind away. I loved how the design used the natural shape of the building to make the effects feel more realistic.
9. Various Interactive Exhibits at the University
If the 4 degrees temperature puts you off, there are dozens of light-related exhibits based inside the UFO, one of the city's university buildings. These are all made by students, and worked to demonstrate how useful light could be. Not only could you use light to test whether you had diabetes(!), you could also get yourself 'painted' onto a screen using a light wand. I got to flex my modelling muscle by stepping in to be painted. In reality, I just had to stand deathly still, while a guy waved a light stick behind me for a few second. My silhouette then appeared on the screen in front, and my face was added with a flash of a torch. Pretty awesome, right? Just don't ask me to explain the science behind it…
What do you think? Does Ghent Light Festival sound like an event you'd be up for visiting?
I was a guest of Visit Flanders on this trip, but all thoughts and opinions are my own. And I do thoroughly encourage you to time your trip to Ghent to coincide with the festival!


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Latonia Shelecia Stewart, 26, is charged in the Bronx with a particularly despicable crime. Stewart allegedly followed obituaries in order to break into homes when grieving families were burying their loved ones.
The Journal News reported that police noticed a string of burglaries of families during funerals. They decided to stake out the family of a recently deceased individual and like the grim reaper himself, Stewart allegedly showed up in a car that matched witness descriptions from earlier crimes.
Police say that they found items in the search. Stewart is now charged with conspiracy to commit burglary, a felony, and criminal possession of stolen property, a misdemeanor.
The cruelty of the act is breathtaking to add to the pain of a family grieving the death of a loved one. Presumably, that aggravating element will drive any potential sentence higher with the court if Stewart is found guilty.

subset: commoncrawl


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I have a sample of 1,449 data points that are not correlated (r-squared 0.006).
When analyzing the data, I discovered that by splitting the independent variable values into positive and negative groups, there seems to be a significant difference in the average of dependent variable for each group.
Splitting the points into 10 bins (deciles) using the independent variable values, there seems to be a stronger correlation between the decile number and the average dependent variable values (r-squared 0.27).
I don't know much about statistics so here are a few questions:
- Is this a valid statistical approach?
- Is there a method to find the best number of bins?
- What is the proper term for this approach so I can Google it?
- What are some introductory resources to learn about this approach?
- What are some other approaches I can use to find relationships in this data?
Here is the decile data for reference: https://gist.github.com/georgeu2000/81a907dc5e3b7952bc90
EDIT: Here is an image of the data:
Industry Momentum is the independent variable, Entry Point Quality is dependent


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Saturday night was Phil Hughes' second consecutive start in which he threw a lot of pitches (117) for a lot of strikes (88) without getting a lot of outs (5 2/3 IP). The Mets, like the Red Sox earlier in the week, fouled off an incredible number of pitches (42) to drive up Phil's pitch count, work to give themselves something good to hit, and eventually knock him out of the game. Yesterday, Matt from The Yankee U had some interesting comments on Phil's approach against the Mets:
"The most trouble Hughes saw was against the Mets' 3-4-5 hitters. These hitters, Jason Bay, Ike Davis, and David Wright, saw just 7 non fastballs (6 curves, 1 change) in their nine combined at bats. The most concerning part of this was the third at bat against Wright, seen here. While the result, a strikeout, was very good, the fact that Hughes and Cervelli had the same approach against Wright as they did in the previous two at bats (RBI singles), is unsettling. Either they weren't recognizing that Wright was catching up to the fastball/cutter or Hughes was just being too stubborn and shaking off any of Cervelli's calls for non-fastballs/cutters.
... As the season progresses, I hope Phil realizes that he can't just keep going to the fastball and cutter to put guys away easily. His curveball has very good bite to it and I hate to see it go unused. As for the changeup, well, I'm actually kind of angry about that. All spring training, we were told that Phil Hughes had improved his change up and that was the reason he won the fifth starter's job over Joba Chamberlain. This was a lie. Hughes has thrown 13 changeups all season, including last night when he threw just one." (courtesy of TYU)
In praising Hughes recently, I commented on how his approach on the mound this season seemed to be one of the biggest keys to his success. He was learning to recognize what was working and what wasn't on the mound and use those pitches to his advantage to attack and get hitters out. Over the course of his early starts, Phil was pounding away with the fastball and the cutter, getting ahead in the count, and then pitching to contact to get outs or throwing the curve sparingly as his strikeout pitch.
Judging by the results of his last 2 outings, however, it seems like teams have started to catch on to Hughes' approach and are taking a more aggressive stance against him, fouling off his offerings knowing he is going to stay away from his off-speed stuff and come right back with the heat or the cutter. And this is the other, much more dangerous side, to the coin that is Phil Hughes' approach. It's one thing to pitch to your strengths and try to dictate the way you want a game to go. It's another to pitch to your strengths so much that your approach becomes monotonous and teams pick up on it to the point that they change their approach accordingly and then THEY start to dictate where the game goes.
This is all part of the maturation process that Hughes is still going through and will continue to adapt as the season moves forward. Hughes has had great success early on with his 2 strongest pitches, but to be a complete pitcher and top-line starter he needs to throw more curveballs and work his changeup into his repertoire more often. I agree with Matt that Hughes' curveball is already solid and needs to be thrown more and also that all the raving that was done about his changeup in Spring Training means nothing if he is never going to incorporate it into game situations.
Phil has already made great strides this season towards becoming a top-line starter, but he is by no means a complete pitcher yet. He needs to work with his catchers and Dave Eiland to work more off-speed stuff into his approach and keep hitters honest so he can still get max value out of his fastball and cutter. I'm sure this is something that Hughes, Eiland, and Joe are already aware of and it will be interesting to see how much Phil changes his approach during his next couple outings.
(All this being said, Hughes is still 5-1 with a 2.72 ERA, 1.09 WHIP, and 49 Ks in 49.2 IP this season. Pretty damn good for a kid who's younger than I am pitching at the Major League level.)
Monday, May 24, 2010
Holy Piss!
(Photo courtesy of The AP)
Well a shitty week got even shittier with another sloppy loss last night. CC was plain awful and once again the Yanks decided to wait until the 9th inning to start hitting the ball. If you're keeping score at home, this team has gone 5-10 since shellacking the Red Sox on that Saturday afternoon 2 weeks ago.
With as well as the club started, you had to expect the Yankees would come back to Earth and things would start to average out, especially with the sudden rash of injuries, and that has generally been the case. CC and Phil Hughes have been bad the last 2 times through the lineup, and A.J. Burnett looks lost out there, even with Cervelli catching him. The bullpen has been a constant merry-go-round of who's unavailable and who's ineffective, with Mo leading the charge over the past week. And the Robinson Canos and Nick Swishers of the world have stopped mashing the way they were in April. Mark Teixeira made a brief cameo earlier this month but now he is nowhere to be found.
But these last couple weeks have been about more than just injuries and the law of averages. The Yankees just haven't been playing good baseball. Absolutely no hitting from anybody in the top 6 of the order, no clutch hits with RISP, starters either not being able to locate the simplest of fastballs or not being able to put hitters away once they get ahead in the count, bad errors all around the field, and a glaring lack of energy and no sense of urgency coming from the team until the 9th inning when it's almost like everybody finally realizes they're losing the game.
Right now this team looks tired and worn down. The injuries have definitely caught up to them, evidenced by their lack of pop and production coming from everybody not named Francisco Cervelli right now, but that's part of the game that you have to deal with and people need to step up in those situations. And by people, I mean Jeter, A-Rod, Teix, Cano, the veterans, the heart of the order. Being top 3 in all the major offensive categories in the AL is nice and all, but that doesn't mean anything when you aren't getting your hits and runs when it counts. Even Joe is starting to get frustrated with the lack of production coming from this team right now, and you usually couldn't get a rise out of the guy if you jammed a cattle prod up his ass.
This off day comes at the perfect time. Everybody needs a day to rest, re-focus, re-energize, and get their collective shit together. I know it ain't Jeet's style, but with Jorge out of the lineup and on the shelf, he needs to step up and fill that vocal leader void in the clubhouse. A little 10-15-minute "players only" meeting to get everybody back together and get some good vibes going seems like a good idea right now.
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A Do-It-Yourself Closet VO Booth
I wanted to share with you my own recent DIY studio-in-my-closet that was simple and relatively inexpensive to hopefully give you some ideas for making your own.
Plan and Sketch
The studio needs to be comfortable and quiet with a wired internet connection. Above all, the acoustics must offer a "dead" recording environment.
Consider: What are the potential sources of sound- both from inside and your side your booth?
It should be in a quieter part of the home (or garage?) and have a wired Ethernet internet connection available. You may need to use an extension cord from your router in another room (I strung mine through my attic and over my roof and into my garage at my home studio!).
Tip: design the walls to be a few inches shorter than the dimension of the acoustic blankets you will use to make the blanket placement more even and easier to cover everything.
I select a place in my closet that is quiet, accessible and already padded with clothing. Use clothing to your acoustic advantage! And what's happening on the other side of those walls? Avoid walls that exhibit any unwanted sounds from the other side (plumbing, and outdoor AC unit, people talking, etc.).
Creating the PVC Cage
I start by creating a frame of 3/4″ PVC pipes that I can custom cut to fit the space (off of my design).
Inexpensive PVC pipes can be purchase at a hardware store in 10′ lengths or less (You can have them cut a 10-footer in half for easier transport). At my hardware store they run about $3 each. I use 3/4 inch sized. You can then cut them to fit your home space and assembled the pieces like tinker toys into a frame with PVC couplings (must match the size of the pipes- 3/4 inch!) also findable at the hardware store.
I've decided to make my frame about 3′ wide and 8′ long and six and a half feet tall because I perform standing. (You could design it any shape depending on where it will fit in your home). Note on the design sketch that I reinforce the roof and walls with extra pipes to make it sturdy enough to carry the weight of heavy acoustic blankets.
If you discover during your build that you need to reinforce your structure, you can easily add support pipes to your original design. Arriving at your final design can be a bit of an improv. Be ready to switch up your original design if need be!
Purchase the PVC couplings for straight connection and for corners and T's (sometimes in bulk containers or bags of ten). Of these pictured, I won't need the 45 degree elbow on the left, and I'll need to find some three holed corner couplings as well for the cage's corners.
Here's a rubber mallet to knock things into place (or to break it down), a regular PVC cutter, and you'll need gloves.
You can cut PVC with the inexpensive cutting tool above, but I've used PVC extensively for years to build Halloween yard creatures, so I ponied up for a rechargeable PVC pipe cutter, which is a thing of beauty (pictured below). Cuts through all that pipe with no effort and in no time! Can you tell I'm into PVC?
Here is my basic cage assembled. I make it fit the space, but not too snug- you always need a few extra inches for the width added by the audio blankets. The booth interior needs to be at least a bit wider than your desk/stand and give you sufficient head room clearance to stand (or sit, however you record).
Notice the reinforcing pipe above and on the side to give it enough strength to hold up the heavy acoustic blankets. The orange clips secure the blankets to the frame, but can be moved or used to hold open the entrance to allow cooling. You can also use office clips, but they gotta be big ones.
You might also use S-hooks which can be handy for hanging your headphones or securing your acoustic blankets if you purchased ones with grommets along the top (like a shower curtain- see link below).
I later add some USB-powered LED lighting inside the studio, dimmable to keep things as cool as possible.
I've designed my cage around a mobile computer cart which also has a nice monitor stand. Most VO home sessions require three or four applications running so a generous sized monitor is a must!
I've affixed my microphone boom clamps to a shelf not attached to my computer station so that no computer fan noise or humming can translate to the sensitive mic. The mic boom peeks in from outside my studio through a corner break in the overlapping curtains.
After testing this out, I decide to switch this to attach the mic boom inside the booth and move the Mac mini outside the booth, to better isolate any potential fan noise from the computer from the mic. Remember, you must kill noise both inside the booth and from outside as well!
Depending on your closet's design, you may be able to use clips to secure blankets to shelving or clothing rods- possibly eliminating the need for the PVC skeleton altogether!
Your Home Studio is a Stage!
I've perched a webcam on top of my monitor.
Notice my little work station has pose-able light rings- not just to illuminate the workspace. Since you use a webcam to be directed via Zoom, why not light yourself up a bit? I consider VO as sort of an on-camera gig these days!
I'm also fond of adding some LED lighting effects or interesting visuals behind me as well to set the tone for how my performance is perceived. Your frame can imply a lot about you!
My adjustable ring lights are USB powered. I found a small power bar that gives me three grounded plugs plus four USB plugs to power my interior studio lights and to keep my iPhone charged.
For more on recommended hardware and a broader discussion on sound requirements for a studio, along with other resources and ideas, check my other home studio pages.
Kill the sound with blankets!
The clothes hanging in a closet are probably not enough to dampen the sounds sufficiently (but it's a start). As much as possible, you need to kill echo and reverb inside your booth, in addition to muffling or killing all outside sounds.
You will probably need to add blankets, and more blankets, depending on the extraneous sounds of your home and the noise floor your sound booth room presents. I get proper acoustic blankets (though moving blankets can be fine as well).
Unfortunately, sometimes blankets aren't enough to kill all extraneous sounds. Hopefully adding another layer or two will do the trick, if one isn't enough!
I get my acoustic blankets from vocalboothtogo.com (CLICK HERE) I like the ones with grommets along the top so you can use S hooks to hang them like a shower curtain, from, say, a clothing rod in a closet or your PVC frame.
I've also purchased "US Cargo Control Large sound blankets" off of Amazon. They also have grommets and are 96 inches by 80 inches.
Tip: I design the wall dimensions of my closet booth to line up with the dimensions of the sound blankets I order. I make the height of my booth about 77 inches high so it accommodates the 80 in blanket width. My booth footprint is about 30 inches wide and 60 inches deep so I can cover the walls entirely with two 96 inch long blankets. The roof is small enough to be covered by a single blanket folded in half.
I use 6" Workpro clamps (from Amazon) to secure the blankets to the PVC frame or a closet shelf. (It's also nice that you can break it all down and put it back up pretty easily too).
There are many other ways to go about this kind of project! For a deeper dive into home studio basics from others who know more than I do, along with a list of more affordable but still acceptable options for things like microphones and headphones, go to my studio hardware page: CLICK HERE.
I've try to choose affordable components that still fill the bill. You don't need a huge investment.
Hopefully, you have a powerful enough computer, but sometimes an upgrade is called for (ah well, a business write off, right?). If you must purchase new, the most expensive element in my little set up is the Mac mini computer, keyboard and trackpad or mouse (maybe $1700-2200, new).
You might use whatever computer you have, but you'll need to make sure it can handle the processing needed for audio and video along with sufficient memory.
Very important: Any computer fan noise must be isolated from your mic and the surface it sits on or its boom is clamped to.
It's probably best to have your computer outside your booth- it can get noisy when running video and audio software. I set mine on a shelf near the sound cage. Just the monitor and keyboard/mouse need to sit inside the booth along with the mic.
Tip: wired connection of all devices is preferable to wireless or bluetooth! There will be less interference to contend with.
Next is your mic: You could get an acceptable new one for a $200-400. A used mic might be an acceptable option as well. Good news: You don't need to get an expensive mic!
(The following item costs are approximates, most items I purchased on Amazon, B&H Electronics or at my local hardware store:)
Acoustic blankets w/ grommets: $55-$63 each (I get mine from vocalboothtogo.com.) -US Cargo Acoustic Blankets on Amazon are about $60 each for the 96×80 sized blankets.
Option: moving blankets $28 for four on Amazon. (not at good at blocking sound, but can help if the room is already pretty quiet- you can also get creative with things like blankets, pillows or even mattresses).
PVC pipe 10 foot length $3/ each (or less)
PVC couplings, $10-18/ bag of ten, maybe three bags- corners, T's, and X's to fit your design.
PVC cutter: $16 (manual), $220 (rechargeable automatic- worth the splurge!)
Trond powerstrip outlet extender w/ 3 USB ports to power the LED lighting- $18
Super Danny 10 foot surge protector w/ 4 USB ports, six plugs: $25
27" Sceptre monitor $200 (or whatever fits your booth and computer stand). T, the bigger the monitor, the easier to see both the video conference as well as your script and monitor your sound software.)
Studio Projects C1 is also great – Just $250 new! I've never heard anything but praise when I use my SP C1.
Other mic options:
sE 2300 XLR microphone -$400
AT 2035 – $150 (I've had this recommended for home recording by a major animation studio, but haven't tried one yet.)
Ergo driven stand mat $100 (optional) -I can stand for hours on a remote gig and this helps me keep my feet happy.
6" work pro clips, eight for $22 on Amazon
Webcam ring lights w iphone holder, usb charged $33 -remember to only use LED lighting- it's much cooler. You will probably have to kill your home's AC when recording, so you want to do what you can to keep things cool!
Line Leader AV cart w/ keyboard tray, laptop stand and monitor mount $260 -This fit my space, but you can get something smaller or cheaper. You might also opt to build your sound cage around a small existing desk.
Autofocus webcam $65 (I actually prefer a more expensive Logitech webcam, it just gives a better image- perhaps not that important.) You can go cheaper on this as well.
Beyerdynamic DT 770 Pro headphones $180 (The key is "over the ear" to kill any sound bleed through.)
More affordable headphone options:
Sennheiser HD280 Pro headphones $100
OneOdio A71 headphones $40
S hooks by Ruiling 15 for $7 (Off of Amazon. You may not need this.)
Ethernet cable 200 feet length $45 (If needed, this can be shorter or longer. At my home, I've snaked a 200 foot long indoor/outdoor ethernet cable from my TV room router, out of my attic and over my roof and down into my garage! You can also have an ethernet jack professionally installed wherever you place your studio).
Adjustable microphone suspension boom, $26 (This depends on your set up. If you've enough table surface (and your computer isn't sitting on the table) you might be able to use a weighted table-boom, as long as it can get the mic placed correctly.
Also, you don't want your computer sitting on the surface that your mic boom is attached to- any whirring of your computer fan will translate through the shared surface to your microphone!)
FocusRite Scarlett Solo interface $110 -These are great. Simple and quiet. Might be the one piece of audio hardware I'd insist you purchase.
Remember as you build this: The overriding concern of the booth is the acoustics, that is, killing echo in your booth and deadening sounds from outside your booth.


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Understanding Cloud Storage
Cloud data storage is a critical part of your data infrastructure. That's because how and where you decide to store your data determines which analytics and processing tools you'll have access to, how secure your data will be, and how quickly your team can access their information.
Deciding which cloud platform to use and figuring out how to migrate your data to it and store your data on it can be a difficult (and time consuming) process. In this article, we'll help you understand how cloud storage works, why it's essential for businesses today, and help you make the case for moving your data to the cloud in order to stay competitive.
Data storage in the "dark ages"
Before the rise of cloud computing, companies and organizations relied completely on local or on-premises data storage solutions. In this scenario, each company built and maintained its own server infrastructure and stored all of its own data in an onsite location. On-premises storage solutions earned a reputation for delivering superior data privacy and security, but they were expensive to build and maintain and difficult to scale.
Companies found themselves constantly investing in hardware upgrades and capacity expansions in order to store and process the growing amount of available data. With the introduction of the internet 2.0, the arrival of mobile computing, and the emergence of the Internet of Things (IoT), companies found it increasingly difficult — and expensive — to meet their own data storage needs.
Why cloud data storage is an enterprise imperative
Even though some companies continue to rely on on-premises solutions to store their data, there is a strong trend toward cloud-native solutions. Even businesses that maintain their own local servers (for a number of reasons) often create hybrid storage solutions that combine the benefits of on-site systems with cloud computing.
Here's how common cloud data storage is becoming:
- Market research firm Forrester predicts that the market for cloud services will jump from $145 billion in 2017 to $178 billion in 2018
- Forrester forecasts a continuing annual growth rate in cloud services of 22%
- By the end of 2018, Forrester predicts that 50% of global enterprises will depend on at least one cloud platform
- By the year 2022, the US cloud storage market is expected to leap from 25B to 92B annually. That's an annual growth rate of almost 30%!
What's driving such rapid expansion of the cloud storage market? Data, and lots of it.
Driven by data
We now have an infinite capacity to generate and analyze data. Currently, the world creates 2.5 quintillion bytes of data every day. As technology continues to advance, that number will grow. (By the way, a quintillion is a lot of data. That's as much data as can be stored on 10 million Blue-Ray discs.)
Consider some of the sources of data available today: computers, mobile devices, eCommerce transactions, social media, online activity, and IoT. Companies and organizations of all types have access to more data today than ever before. In fact, the amount of data being generated is outpacing storage capacity for many businesses.
That's why cloud data storage is so critical for business success. Companies that lack the capacity to capture, store, and process data will inevitably lose their competitive edge. That means flawed business intelligence, failure to innovate, and lost revenue.
Cloud storage and business
Most of us have a general sense that cloud storage can make life a lot easier for our companies. But how does storing data in the cloud help us stay competitive? The long and short of it comes down to this: money. Cloud storage helps companies control costs, boost productivity, and increase profitability.
Cost Savings & Scalability
On-premises servers are expensive to maintain, upgrade, and replace. Cloud providers allow companies to rent only the storage capacity they need and avoid pricey investments in on-premises servers or other types of physical infrastructure. Because cloud storage options are fully scalable, companies don't have to worry about reaching capacity. They simply change their data storage plan to accommodate changes in their storage needs. Therefore, cloud storage is both economical and efficient.
Cloud storage allows users to access data from anywhere, at any time. That puts important information and files at users' fingertips whenever they have an internet connection. Users can collaborate in real time and enjoy access to the most current information. This degree of accessibility makes it easy for team members to work together across time zones and from anywhere in the world. Greater access translates to greater productivity.
Security and compliance
One of the biggest concerns for companies considering a move to cloud storage is security. Some companies are reluctant to move their data into the cloud for fear that doing so makes their data more vulnerable. This isn't necessarily the case. That's because cloud service providers know that their reputations (and business) depend on their ability to keep your data safe. Cloud storage also offers two additional, security-related advantages:
Backup: When data is stored exclusively in an on-premises environment, it's susceptible to loss due to equipment failure and natural disaster. Cloud storage ensures that your data is backed up, usually in multiple locations, to prevent this kind of catastrophic failure.
Compliance: Cloud storage solutions can automate and streamline compliance efforts. This improves efficiency since compliance efforts won't have to be duplicated, managed onsite, or manually reconfigured as laws and regulations change.
Access to data has to happen at the speed of your business. That means being able to access the most current, up-to-date data in an instant. From anywhere, on virtually any device, at any time of day. The advantage cloud storage offers with regard to data speed is straightforward. Data is often stored in systems which rely on multiple servers. More servers processing data translates into higher delivery speeds and shorter lag times. For businesses today, a few seconds can make the difference between a good decision and a bad one.
3 cloud storage strategies
If you've decided that it's time to move beyond an on-premises data storage solution, the good news is that the transition doesn't have to be difficult, sudden, or dramatic. One of the first objections to cloud storage that many of us hear is the fear of disruption. But that's a challenge that the cloud has already solved.
No two companies are alike, so a range of cloud storage options have evolved to meet a variety of needs. We'll consider some specific cloud solutions below, but first it's helpful to look at the three distinct approaches to cloud storage and their benefits.
Of the three, cloud (or total cloud) is the most straightforward. In this scenario, a company stores all of its data on remote servers owned by a third party provider. These servers may be public (shared with data from other companies) or private (in which only one company's data is stored.) Of the two, public cloud storage requires less internal maintenance and oversight than private cloud options.
Hybrid cloud
In a hybrid cloud environment, companies combine their use of on-premises servers with cloud-native data storage. This allows the company to take advantage of cloud storage and computing capabilities while retaining some data on their own servers. For example, a business may upload data related to customer behavior to Google BigQuery for analysis while retaining credit card transaction information locally.
Hybrid cloud solutions are popular because of their versatility. Companies can configure hybrid solutions to balance storage and analytics needs with data privacy and compliance regulations.
Sometimes confused with hybrid cloud, a multi-cloud approach relies on more than one cloud service provider. Companies who choose this option use multiple cloud storage platforms strategically. For example, a company may store some data with AWS in order to take advantage of its machine learning features, but may prefer Microsoft Azure for data analysis.
In multi-cloud scenarios, data from different environments does not intermingle. Processes are separated in order to take advantage of each platform's unique benefits.
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This minimalist bracelet design features tarnish-resistant 14k gold-filled accents and matte natural gemstones in lovely neutral tones. This chic and elegant bracelet is perfect for adding a touch of femininity to any outfit. Wear it solo or stack them together to create a fashion neutral look that's all your own.
- 8mm Matte Natural Fossil gemstone
- Tarnish-resistant 14k Gold-filled accents
- High quality durable elastic cord
NATURAL FOSSIL is the stone of time and evolution. It is one of the most visually unique stones with its layers of intricate lines and grains that gives it depth. This is because it tells a story of time and evolution, with every natural event contributing to its one-of-a-kind look. It's akin to each human being, who bears beautiful traces of her own history.
GOLD is the metal of honour, recognition, wealth, and happiness. It has a striking appearance that is universally flattering on anyone who wears it. We love that it has the ability to elevate any gemstone into something more eye-catching. Wearing gold accessories can unleash a sense of regality from within you. Let it remind you that when you hold that confidence and assertiveness, you become royal in your own right.
Please note that each piece is thoughtfully handcrafted with care, but due to the nature of natural gemstones, it may vary slightly in appearance from the image shown. The product images feature a size 14-15cm version of the bracelet.
Sizing Guide
Available Sizes:
Depending on the design, we have the following bracelet sizes available:
- 14 cm - Extra Small - our smallest size that fits wrists measuring 14 cm
- 15 cm - Small - fits wrists measuring 15 cm
- 16 cm - Medium - fits wrists measuring 16 cm
- 17 cm - Large - fits wrists measuring 17 cm
- 18 cm - Extra Large - our largest size that fits wrists measuring 18 cm
If your size is not available in the product page, please contact us, we can customise it for you.
How to Measure:
To get the best fit, measure your wrist with a tape measure firmly but not too tightly, it should fit snugly around your wrist, with no play or space between your skin and the tape.
If you do not have a tape measure, you can still measure your wrist with a string or strip of paper and mark where the ends meet, then lay it against a ruler.
The exact measurement of your wrist should be the size to select on our product pages. All our bracelets are made with the appropriate allowance to fit your measurement, so there is no need to step up your size. Example: If your wrist measurement is 15 cm, then select 15 cm as your size.
If your wrist measurement falls between 2 sizes, you can chose the smaller size for a snug fit, or the bigger size if you prefer a looser fit.
Please check our Sizing and Care page for more information.
Shipping & Exchanges
All our items comes with Free Standard Shipping Australia-wide.
We also offer express shipping option on checkout.
We are committed to processing all orders as quickly as possible. Due to the fact that all items are currently handmade to order, please allow up to 2-5 business days for items to be shipped. If for any reason it will take more than 2 days to process the order, we will communicate the delays to you immediately.
All shipping is fulfilled through Australia Post.
For international orders, please contact us to arrange shipping options.
We understand that shopping online could be frustrating. That is why we offer Free Return Shipping labels for exchanges for purchases bought for reasons such as wrong sizing or if you wish to replace it with a different style of the same value or greater.
For more information about our returns and exchanges, please check our Policy page.
Warranty & Care
We want you to be happy. If for any reason you are not satisfied with your purchase and wish to return it for a refund, we accept returns of items up to 15 days after delivery.
Please check our Policy page for more information.
All of our pieces are handcrafted with love and care and made to the highest quality standards. Whether you are wearing them in your daily life, or save them for special occasions, there are some easy ways to ensure the longevity of your jewellery:
- Avoid contact with perfume, lotion, makeup, and water and avoid wearing them during active or vigorous exercise/activity.
- Chemical products, detergent, excessive sweat can damage the fibres and wear the elastic more quickly.
- Keep your jewellery safe by keeping it in a cloth bag or a jewellery box when you are not wearing it.
- Please keep your jewellery out of the reach of small children and animals. This protects the gems, as well as animals and children, from causing accidental tugging and breakage of pieces.
- Our fine jewellery collection such as open rings requires additional care when wearing to avoid misshaping them or snagging on clothing or towels.
Our product packaging also comes with a free polishing cloth to clean off the jewellery pieces.


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Normal Service will resume As Soon As Possible…
This last weekend saw Brickvention 2018 take place at the Royal Exhibition Buildings in Melbourne. As an exhibitor, with a MOC still being prepared up until the last minute, I have been a little preoccupied. [ I really should highlight the excellent MOC by Jason Chicon which sums up my situation perfectly]
I had the privilege to spend the weekend hanging out with some extremely talented LEGO artists, renew some old friendships and forge new ones. I also managed to catch up with a couple of the VIP guests, Mariann Asanuma and Bailey Fullerton.
My Mystery Project X even made its debut. Nexo Classic Space. Essentially revisiting 1978-79 LEGO Space sets, using the NEXO Knights parts palette. I'll post more about that in due course.
It will take a while to process my images, and to gather my thoughts. I have a few other posts waiting on some final tweaks before publication. In the meantime, I recommend visiting Jay's Brick Blog for an excellent, timely writeup and set of photos of highlights of the event.
Thanks must go to my fellow exhibitors and convention attendees, and the volunteer organising committee for making the event such an amazing experience.
A quick random selection of MOCs seen at Brickvention: Tamara Dadswell's Lumiere; one of Jeff Carroll's Nexo Knight Inspired Mechs and Darren Reid's 'Finding Captain Nemo'. These are just a few of the incredible displays that I saw. I am, once again, overwhelmed by the talent that exists in our community. I will feature some other MOCs on the Rambling Brick Instagram Channel over the next few weeks… [ @ramblingbrick ]
Did you go to Brickvention? What did you enjoy? Why not leave your comments below. I'll take a couple of deep breaths, have a bit of a lie down, and be back soon.
Until then, play well!


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Angostura Bitters (frequently called just 'bitters') is used to flavor ice cream, fruit compotes, etc., but is most commonly known as the essential ingredient in the 'Manhattan' cocktail and Pink Gin.
Ciudad Bolivar is a city in east Venezuela, founded in 1764 as San Tomas de la Nueva Guayana, it was popularly known as Angostura. Here in 1824 a physician, Dr. J.G.B. Siegert first made Angostura Bitters, an aromatic flavoring agent used in drinks and in cooking.
Angostura Bitters is made with a secret blend of various herbs and spices, including cinnamon, quinine, and nutmeg. The original recipe used bark from the Angostura or Cusparia tree (Galipea officinalis). It is now made exclusively in Trinidad.
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"Eichler had never heard of us," Jim says. "He couldn't believe we were selling these houses in Sacramento." "We took our little handouts," Bill says. "He looked at it. 'That is a good plan!,' Eichler told us, with wonderment in his voice at these country bumpkins." The Strengs suggested building Eichlers in the Valley but said they would need to adapt them for the climate. Eichler seemed hesitant. "He said, 'I want to think about this,' " Jim says.
They never discussed details nor financing. Some time later Eichler called, with a different suggestion. "He didn't want to share plans," Jim says, "he wanted to merge. Bill and I didn't want another partner." It was their last contact with Eichler.
In the 1980s, Jim, who had been on the Sacramento County Planning Commission, was elected to the county Board of Supervisors. He served six-and-a-half years. The firm's activity slowed. The last Streng subdivision was Arlington Farm Apartments in Davis. Sparks, who remained with the Strengs his entire career, moved to Clarksburg, a Delta town near Sacramento, when he retired. He and his second wife lived in a turn-of-the-century farmhouse that Sparks remodeled. Sparks died six years ago of lung cancer. So many people squeezed into his funeral, his daughter says, it started an hour late.
Although the Strengs' sons all pounded nails for the firm when they were in college, none of their children wanted to take on the business. Two of Jim's sons are custom builders—doing traditional-style homes. The Strengs remain fit and active. Jim, 73, loves getting up to the Sierras. Bill, 77, walks a lot—on doctor's orders—often around Streng subdivisions in Davis where he notices second-story additions and other changes that cause shivers.
Covenants designed to protect the architectural integrity of the homes require homeowners to go before a committee before major remodels. But these aren't enforced. The committee includes Bill and Jim. "I haven't been called on a question in at least 10 years," Jim says. "Maybe 20."
Both Strengs remain fans of modern design and are surprised no enterprising developer has taken up the cause. Jim blames that on the inherent conservatism of corporate builders. "I'm impressed because there still is a market. People still do like contemporary design," he says. "It makes me want to go out and build more modern homes again."
Story originally published in 2004
Photos courtesy David Heitz, Jennifer Sparks, and Streng Bros. Homes
Homes built by the Streng Bros. Homes have always been popular in greater Sacramento. But they have never achieved the cult status won by the Eichlers in the San Francisco Bay Area.
More and more people, however, are becoming entranced by the homes' modern style, says David Heitz, a Coldwell Banker realtor who devotes 95 percent of his work to Streng homes and neighborhoods. Heitz lives in a Streng himself, and has worked with several clients who have restored Strengs and furnished them with modern furniture. He publishes a monthly update on the Strengs-for-sale marketplace which he sends out to Streng owners throughout the Sacramento area.
People who seek Streng homes, Heitz says, include professionals, lawyers, and architects—many transplants from the Bay Area. "Everything here in the past was ranch style, but that's not true anymore," he says. "We're behind the Bay Area by several years—but things are changing dramatically." Heitz, himself a Bay Area transplant, says: "I had always wanted to own an Eichler home but I was priced out of the Eichler market."
In Davis, real estate broker Malek Baroody hasn't seen a surge of interest in Streng homes. But he says they have maintained their popularity with people who appreciate spaciousness and light. Many people remodel their Streng homes to provide more space, improve the cabinetry, or redo the windows, he says. Some do it carefully—but many do as they please. Second-story additions are common, he says, and not all of them are appropriate to the style.
But if Heitz is correct in his belief that people are becoming more appreciative of modern design, this may change. "There's starting to be a following now of individuals who realize the true architectural interest of these homes," he says.


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Green Island & Orchid Island | Taiwan
Green Island (Ludao)
Some 33 km from the coast of Taitung County and just 17 km2 in area (and that's when the tide is low), Green Island is an isolated Pacific frontier which has transformed itself from a grim place of imprisonment to an ecologically and historically fascinating getaway.
Between 1951 and 1990, opponents of Chiang Kai-shek and his Chinese Nationalist regime were imprisoned here. That jail has now been converted into a tourist attraction – albeit a sombre one – but another prison, for the worst kind of ordinary criminal, remains in operation on the island. Relics of Chiang's dictatorship are preserved within the Human Rights Memorial Park.
Other, more uplifting, attractions include Guanyin Cave. This small cave is a place of pilgrimage for Buddhists who leave offerings before a rock outcropping that resembles the goddess of mercy. The island's almost uninhabited east coast is impressively rugged, and it's here you'll find Zhaori Hot Springs, one of the world's very few saline geothermal springs, and the only hot springs in Taiwan right beside the sea. During peak season, the springs are open 24 hours. Come at dusk and soak while watching stars come out, or just before dawn so you can enjoy sunrise over the Pacific.
Green Island is also excellent for snorkelling and scuba diving because ocean currents push fish close to the island and them block their escape. Those who don't want to get in the ocean should spend time exploring the rocky platforms that emerge as the tide goes out, because the receding waters reveal a wealth of corals, crabs and other forms of marine life.
Orchid Island (Lanyu)
The best things in life aren't easy, and getting to Orchid Island falls into this category. Boats and flights to this 46 km2 volcanic island are often cancelled because of bad weather. However, all who reach this remote spot – which is 60 km south of Green Island and the same distance east of Kenting National Park – describe it as a highlight of their time in Taiwan. It's undeveloped, unspoiled, and utterly different to other parts of the country.
The 4,000-odd Tao people who live here are Taiwan's only aboriginal island-dwellers – to them, Orchid Island is Pongso no Tao – and they continue to build canoes and hunt flying fish in the traditional way. Some still live in semi-underground dwellings (much better in a typhoon than a modern concrete box) and older tribesmen often go about in no more than a loincloth. Lives are of course dominated by the ocean. There are some lovely yet underused beaches – such as the one at Dongqing Bay – but for many, Orchid Island's real treasures are its fauna and flora. Much of the island is forested, and there are patches of original jungle. In these places, flying foxes (actually a species of large bat) and a type of owl found nowhere else on Earth make their homes.


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Richard E. Dayoub is the founder and principal of Thunderbird Management Consulting, LLC. He began his career in the chamber world in 2003 as the Chief Operating Officer...
Not everyone wants to be a leader but for those who do, what kind of a leader do you want to be? What kind of a leader are you? Do you see yourself as others see you?
I have known and have had the privilege to work with Richard Dayoub for more than ten years. First with Buck Rogers Travel, then in his role as CEO of The Greater El Paso Chamber of Commerce, and more recently in his capacity with Thunderbird Management ...
-K. Alan Rusell
The Tecma Group Companies
For many years, I have worked with Richard Dayoub in my role as a Chamber leader and in various advocacy opportunities that we both are committed to move forward. Richard is extremely professional and knowledgeable...
-Mr. Gus Rodriguez, Jr.,
Chairman of the Board of Governors, 2010.
We are all expected during our busy workday to keep up with market trends and best practices. How do you accomplish this when there are already so many demands on your time? The subject matter covered in this section is intended to provide the reader with concise, helpful information that has practical applications in day-to-day operations. Thunderbird Management Consulting has a unique approach in providing advice and guidance: we first listen to the client's concerns. During our initial consultation, at no cost to the client, we conduct an environmental scan and offer preliminary recommendations.


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The EXIS-IOP Program affords our clients significant flexibility to meet the needs of their daily lives, whether it is school, family or work, while also meeting their needs for continued growth, balance and safe recovery. This is an opportunity for our clients to employ new-found life skills and coping techniques more independently, while still receiving ongoing clinical support from our treatment team.
Currently, we offer 4 different IOP tracks, 2 of which cater to adults, 1 to professionals and 1 to adolescents:
- 9 a.m. - 12 p.m.: A minimum of 3 hours, 3 days per week – ADULT ONLY
- 1 p.m. – 4 p.m.: A minimum of 3 hours, 3 days per week – ADULT ONLY
For more information on our Adolescent IOP track and our Evening Track, please visit:
- IOP Adolescent/Young Adult Track
- Evening Track
*Smart Recovery Groups are also available on a couple of evenings during the week.
*Saturday programming and online sessions may also be available for adults based upon request and availability.
For more information, please contact us at firstname.lastname@example.com.


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Priyanka Chopra Talks To Us About The Sky Is Pink And Reveals What The Story Behind The Title Really Is
At this point, if there is one woman whose name rolls right off of our tongues when we talk about anything related to movies, success or love, it is that of our global superstar Priyanka Chopra Jonas. The actress who has redefined stardom and literally given the phrase 'take to the skies' its true meaning, is a force to be reckoned with and she has now become a household name across the globe.
From what she is wearing to what she is thinking, people want to be in the know of everything and we don't blame them. Which is perhaps why, when the actress was in town promoting her upcoming movie The Sky Is Pink, we couldn't help but have a heart to heart with her.
The actress is picking up a Hindi release after a break of three years, she was busy in Hollywood for a while. She is all fun and games about The Sky Is Pink, as she went on to talk to us about just how special a project it was for her. From telling us the true meaning and essence of the title of the movie, of how it originated from one conversation between Aisha and her son one day. Talking about how she truly does relate to the philosophy of being inspirational, Priyanka filled us in with the nitty gritties of what directed them towards creating what looks like Shonali Bose's next masterpiece.
Also Read : Shonali Bose's The Sky Is Pink Is Inspired By A Real Life Story Of Aisha Chaudhary And It's The Ray Of Sunshine You Need Today
PeeCee also opened up about the promotions, that have been going on for two weeks now and creating a buzz around the movie. From sharing how she is an 'on-the-go-eater', to talking about why she felt a 15-day-long promotion cycle was necessary for the movie, Priyanka Chopra shared how she personally loves this part of the movie promotions.
She says, "When you work so hard on a product, you should be able to tell people about it." In fact, it is during such promotions that we get an up, close and personal perspective of the film, coming straight from the cast, which is always a delight. Priyanka Chopra also went on to talk about how she hates being repetitive during the promotional drill, but if there is one thing she loves about it, it is the familiarity and the warmth of meeting and coming across people she's been working for almost two decades now.
Guess it is such star-like qualities in PeeCee that continue making her one of the coolest and generous actors of our time, considering she is always so candid and relatable when it comes to speaking her heart out about anything. The movie is set to release on 11th October.


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Herschel's View of the Horsehead Nebula Annotated
Stunning new view from ESAs Herschel space observatory of the iconic Horsehead Nebula in the context of its surroundings. The image is a composite of the wavelengths of 70 microns (blue), 160 microns (green) and 250 microns (red), and covers 4.5x1.5 degrees. The image is oriented with northeast towards the left of the image and southwest towards the right.
The Horsehead Nebula resides in the constellation Orion, about 1300 light-years away, and is part of the vast Orion Molecular Cloud complex. The Horsehead appears to rise above the surrounding gas and dust in the far right-hand side of this scene, and points towards the bright Flame Nebula. Intense radiation streaming away from newborn stars heats up the surrounding dust and gas, making it shine brightly to Herschels infrared-sensitive eyes (shown in pink and white in this image).
To the left, the panoramic view also covers two other prominent sites where massive stars are forming, NGC 2068 and NGC 2071.
Extensive networks of cool gas and dust weave throughout the scene in the form of red and yellow filaments, some of which may host newly forming low-mass stars.
Image Details
- Date
- April 19, 2013
- nhsc2013-013b
- Type
- Observation
- Credit
- ESA/Herschel/PACS, SPIRE/N. Schneider, Ph. Andr, V. Knyves (CEA Saclay, France) for the Gould Belt survey Key Programme


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Thursday, January 9, 2014
Old Who.
And so I recently decided to bring my viewing up to date.
I've started watching from the beginning. William Hartnell, 1963, and 50 years of episodes to catch up on.
The sets are a bit wonky, the dialogue is naff at times and the characters undeveloped as yet. I've been told the next story, The Aztecs, is the one where the actors start to find their way.
But there's something there, and I can see why people started to watch it.
I missed it first time around. I was in the UK, but I was about 4 months old. And I suspect my parents weren't fans.
Will it reach 100 years? I doubt I'll be around to see it.
But you never know.
Posted by Steve Cameron at 8:48 AM
Labels: doctor who, peter davidson, Science Fiction, the aztecs, tom baker, tv, william hartnell
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Match Day 36
Chievo v Roma
Last 5:
Roma (LWLLD)
Chievo (WLDLD)
Roma: 7th at 51 points, three games remaining
Chievo: 12th at 44 points, three games remaining
Last Match: Roma 2-Chievo 0 (January 8, 2012)
Roma travel to Verona four points adrift of the three way tie for third amongst Napoli, Lazio and Inter, all desperate for Serie A's allotted Champions League spots. One thing Roma does not trail in, however, is controversy.
At this point, even the most ardent Enrique supporters, myself included, find their loyalty waning in the wake of the teams recent performances, if you can even call them that. Some clamor for his head, others plead for continued patience, but this divide does not appear to exist in the locker room. None other than the twin pillars of Roma, Totti and DeRossi of course, have buttressed the Enrique cause, at least publicly.
Totti, after touting the merits of the new regime, had this to say about Luis Enrique:
"Meanwhile, the Coach is a particular person, a loyal and honest man, he says what he thinks in his mind.
"You can calmly tell him what you think and he accepts everything, it is normal that first he listens and then we carry out the ideas.
"He is a person you can rely on forever."
So, at the very least, Enrique maintains the trust of the clubs most important player. Whether this is mere political correctness from Er Purpone, one cannot say. One can assume, however, that Enrique's playing record has bought him a great deal of respect and patience amongst the clubs more important players. How long that patience will last depends on, obviously, results.
Taking it a step further, Daniele recently bolstered the Enrique cause,
citing the Spaniard as one of the words best managers.
"I still maintain that he is one of the most talented coaches in the world," he told La Gazzetta dello Sport. "He has the same aura about him as people like [Luciano] Spalletti], [Marcello] Lippi and [Fabio] Capello.
"But unfortunately he has also been very unlucky, and I will continue to stand here and defend him."
To his credit, Enrique has seldom deflected blame from anyone but himself. Meanwhile, the man upstairs, Baldini, claims that Enrique needs further time to implement his particular brand of calcio.
"Luis Enrique has great quality and needs at least another year to prove it by constructing something here. We firmly believe in him and he believes in the project, despite the difficulties we have run into."
So for the time being, we wait. Meanwhile, Enrique is taking the game-by-game approach, preferring to discuss his future, of which he is 100% sure, at the close of the season. What that might be, we can only speculate: will Baldini's clamor for patience win out or will Enrique resign?
What this all amounts to is a team clouded with controversy, not to mention an atrocious away record, heading north for a critical match. Fortunately, the Flying Donkeys aren't exactly setting the world ablaze, having been blanked four straight matches, which certainly bodes well for a Roma squad without its first choice keeper.
Amid all this uncertainty there are three life-or-death points at stake. Nothing short of a win will matter and wouldn't you know it, Enrique does not like draws, which is evident by the fact that Roma only have 6 draws this season, which is dead last in Serie A.
Its been an all-or-nothing season, to say the least.
Squad List
BORINI Fabio
CURCI Gianluca
DE ROSSI Daniele
GAGO Fernando
GRECO Leandro
HEINZE Gabriel
KJAER Simon
KRKIC Bojan
LOBONT Bogdan
PERROTTA Simone
PIGLIACELLI Mirko
PISCITELLA Giammario
PJANIC Miralem
SIMPLICIO Fabio
TADDEI Rodrigo
TOTTI Francesco
VALDES J. Angel
VIVIANI Federico
*Note: Due to some scheduling issues, there may or may not be a separate Match Day thread. If not, feel free to use this post to rant and rave during the match. If there is, obviously you can ignore this note.


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Corbu/Perriand reinvented: Chaise Lounge (1992) by jones, partners: architecture
This week, exceptionally there won't be any guest writers essays on the funambulist. Instead I propose an interesting conversation I had, two weeks ago, during a short trip in Los Angeles, with Wes Jones, who was kind enough to answer my questions about the way he intermingles the notions of machine and design in his work. Since the early 90's when he started his own office Wes Jones has indeed been proposing a design that engages a dialog between humans and "medium-tech" architectural assemblages that affirm and celebrate their mechanical legibility as a contractual agreement between the user and the architect.
Interview on August 22nd 2011 at Sci-Arc (all images have been chosen by Wes Jones himself to illustrate our conversation):
Leopold Lambert: As a form of introduction, could you please give us your definition of the notion of machine ?
Wes Jones: I see the machine as specific manifestation, not necessarily physical (deleuze abstract machine seems to me perfectly reasonable), of a more generalized technology. I see technology as an ontological category, on a par with man and nature, as that third possible form of existence that humans create and place between themselves and nature in order to mediate nature—to enhance or mitigate it.
Primitive Huts (1986) by jones, partners: architecture
Leopold Lambert: In this regard, would you define the buildings you are designing as being machines in themselves, or rather as constituted as an assemblage of machines?
Wes Jones: Technically and literally, it is the latter; conceptually though, as far as what architecture is trying to communicate, it would be more the former. In the office we think of ourselves as designing machines rather than buildings. We take the program that is given to us by the client and reimagine it as a list of reasons or excuses to design machines. The goal in this design is to have all of the sub parts or sub machines related to the main machine, and this main machine is really the overall architectural parties. Thus the whole is conceived in a direct, organic way as an assemblage of components related to the overall functioning required by the initial program. To us, the machines operate for architecture in a similar way that the aedicula operated for classical architecture, as a general organizing concept, in which all of the parts of the building are related to each other in a direct way, so it's an assemblage— not a loose assemblage but a tight assemblage, unless the machine dictates a looser assemblage. And of course we can think of machines that allow their individual components to have more freedom and flexibility. But we always begin the process by thinking from the purposive direction of the project as a collection of machines-for-something.
New York Times Capsule (1999) by jones, partners: architecture
Leopold Lambert: If you go back to Deleuze and Guattari, there are two dimensions that the notion of machine implies in their concept: Production and political resistance. How does your work potentially engage with those two dimensions?
Wes Jones: Well, it is interesting that you should bring those up, because an early criticism of our work was that it was politically conservative, or rather that an interest in technology and the machine was politically conservative. This was surprising to us because we never thought of our work as necessarily political at all. But I have definitely come to recognize over time that everything is political and that nothing should attempt to avoid it, because that would be taking a stance as well that ends up being reactionary in a way. So, the political interest of our work has gradually developed over time through, frankly, our own education and experience in the world, and seeing how the work operates and exists in the world and the effect that it can have.
Shauffleradbagger: German Bucket Wheel Excavator in Ferropolis
Deleuze is interesting because he is incredibly slippery. One can find in Deleuze support for almost any position—which is not to say that he is without convictions, but rather that his convictions are so completely against all received ideas and norms. Foucault as well, refused to promulgate any program for himself or see himself as promoting any particular program. I think that Deleuze is also like that, even to the extent of playing games with his critics and claiming a program now and then that is actually counter to whatever it seems to be, or even potentially agreeing with outrageous positions just…for fun in a way. That sort of playfulness, I think, allows the political dimension to be serious, but also to give it a little bit more room for maneuvering. I think that it is very much in the spirit of our work. That would probably be the extent to which I might see it.
Deleuze is the deconstructivist of deconstruction, even though it does not work out chronologically quite so neatly. Deconstruction was very rigorous and logical in the end despite its playfulness, and Deleuze is the guy who called them out on that, in my opinion. He described a more slippery and more loose universe to occupy, where he could not be tied down in any way that would itself become a fixed position. Therefore Deleuze ultimately becomes resistant to anything that does become fixed. What's so cool about Deleuze, is that he then pushes this attitude into all possible arenas of thinking so that it can be understood physically, mathematically, socially, politically and so forth. That also becomes interesting to us, because we see technology as universal and pervasive as the attitude that Deleuze deploys in relation to any subject that he takes on.
Air Force Memorial (1994) by jones, partners: architecture
Leopold Lambert: It's interesting that you talk about Foucault as well, because, despite the fact that he always refused to be considered as a structuralist, we can pretty much affirm that he was operating in a similar spirit than structuralism. As he was interested to precisely describe all the cogs of a system, we architects are conceiving forms of cogs that compose devices that are, in my opinion, much more oppressive than healing, and with those operations of dismantling –you said deconstructing- those cogs, there is also something interesting in the process of assemblage of those same cogs.
Wes Jones: Well, one thing that I noticed about Foucault is that he uses the language of technology because it confers a neutrality on his work. He believes that it removes from him the personal obligation to offer a critique and take a stance. In effect, he launders his opinions by using clinical, technical language. He is "a scientist," a historian, and as such he is a strictly neutral observer of these things. Since he is an historian, he is not obligated to comment about current or contemporary events, or to try to extrapolate from his work any relevance to the contemporary scene. Which of course, wink, wink, he still really hopes for and assumes. The fact that you can read from the past situations to the present is a sly way that he had developed to have his cake and eat it too, to make his critique without offering it as a critique. And so he sheds the responsibility such a critique would carry with it to offer a positive counter example.
F-15 Eagle by McDonnel Douglas for the US Air Force
In our case, I think that we are a little bit in the same boat. We come to our interest in technology and the machine as naïve American males who simply think that such stuff is cool and boss, without any kind of critical reflection. At the same time, we also recognize that this technology is unavoidable, that this is as Heidegger would say, the way that the world comes to us. Since this is the way the world is present to us, we cannot avoid it. Maybe the best way to understand it then is to push through it and to become so familiar with it, so adapted to it, that we gain for ourselves a little bit of critical familiarity. In other words, adeptness does not require subscription. You can become just as disaffected through learning something very well as you can become a stronger subscriber to it. Yet, at the same time, we recognize that if we are human, and if we genuinely think that this is so cool, there must be something there. Two possibilities: we can consider that coolness unreflectively and therefore in a potentially oppressive way or we can arm ourselves with education and experience to have some perspective on that coolness and try to continuously understand it. This is frankly something I have been trying to do for my whole career, to try to dig deeper and deeper into it to try to understand better what the dynamic is, what the relationships really are, what it is that we might be taking for granted, what questions are we not asking and what answers might be possible.
2225 Hyperion Duplex (2003) by jones, partners: architecture
Leopold Lambert: That's interesting, because I had one year and half of American education and it drove me to be very critical of the use of the word cool as an argument in itself but you seem to actually theorize it to help you with your work.
Wes Jones: Sure, why not? Actually I usually use the word boss but most people outside of the American sphere have no idea what that means so I tend to use the more general word cool to be understood.
AT-ST Walker in Star Wars: The Return of the Jedi (1983) by Georges Lucas
Leopold Lambert: Fiction is important in your projects; not only by the various means of representation you are using, but also in the inspiration of literature, like science-fiction, you seem to develop and in the way your buildings express a certain form of dramatization. I guess that it is probably also linked to these same notions of mechanics and assemblage and their legibility.
Wes Jones: Certainly there is a link. One of the interest in mechanically inspired works or the machine as a reference for architecture is for its extreme legibility. Now, obviously we are tending nowadays to make technologically more and more invisible and less and less legible but the technology that we favor is exactly the technology that you can figure out and that would ideally connect the person who is looking at it, or using it to the designer through their shared understanding of the thing that they are dealing with.
BMW Oracle Racing for the Cup of America (2003)
Leopold Lambert: This difference between legible and illegible technology makes me think of the difference in the body between anatomy and biology; we seem to have reproduced the same scheme with technology. We use to develop a very anatomical technology and we are now going more and more for a metaphorically biological one.
Wes Jones: Right. I think that the sense of architecture is rooted in a particular tradition, it is a cultural thing that could change through time. Of course, our milieu is the Western tradition. We are Westerners and I would say that this distinction may not hold as well from an Eastern perspective. I would say that the most exciting thing happening today, but also most alarming, is the fact that architecture has the opportunity to go through some serious changes at the a fundamental level, where we might not recognize architecture as architecture in fifty years.
In any case, in terms of this question of legibility and fiction, it seems to me that part of the ethical contract between the architect and the users is that the work be legible. I know that there is an interest nowadays in the opposite, in affect and sensation. Legibility is seen by folks interested in affect and sensation as the leading edge of oppression, in the sense that an authorized reading or an authorized understanding becomes oppressive: if there is only one way of reading it then all others are repressed. So, the deconstructive answer to that is to make works that shed all particular associations, leaving it ideally open to all possible readings by avoiding any particular one. I think in the case of architecture, it is a little bit of a mistake because architecture is finally physically concrete and not yielding. Very often it ends up being in the way. The point would be to decide what is the proper place or role for architecture in the world. In this regard we should distinguish between monuments and architecture, or architecture and a vernacular support for daily life. For example, somebody like Frank Gehry makes monuments, these are things that are unique and celebrate a particular issue. But you can't make a city out of these things; it would drive you nuts.
An understanding of architecture I've always liked, I heard first from Val Warke at Cornell, is that each piece of architecture is the seed of a whole city. This encapsulates the idea that any instance of architecture should be offered as exemplary. In other words, architecture ows the right to be there, and potentially be oppressive, to be there and to be in your way, in your face, by assuming for itself a correctness, or rightness that should be generalized: an experiential categorical imperitive. In other words, it should be the seed of an entire city. Now, the key here is the fact that the architect who produces this work cares enough to put in the time to learn and experience enough to be able to make good decisions about it and to make those decisions in a caring way rather than in a selfish idiosyncratic personally aggrandizing way. Real architecture is exemplary that way, not monumental. Real architecture therefore engages this contract of legibility so that at least, if you understand the thing, you can have a conversation with it and make up your mind. It's not just an enigma to you, it's putting its cards on the table so you can make your decision about it. You may disagree, you may not like it in the end but at least you know what's happening and it respects you enough to make its case in your language.
California Lifeguard Tower (1988) by jones, partners: architecture
Now to go back to your first question about fiction, I think that if you are operating with those basic principles, all architecture becomes narrative at a certain level. All programs become stories about what could be, or what should be. Another definition that I like is that architecture places us in the world. So architecture therefore has the responsibility of telling us which kind of world it is that it places you in. All of these understandings are fictions in a way, and in their expectations, in their ethical obligations to communicate, must be read, must be legible, as fictional proposals. So it is important that there'd be a little bit of openness to it and not be too cut and dry. But one thing we learn from deconstruction is that such openness is already guaranteed by all the different readers. To the extent that pieces of architecture are communicating interest in your engagement—respect for that engagement they are also legitimizing whatever understanding of it that the viewer, reader, comes to. At a certain level, it is being generous rather than being selfish.
More articles about Wes Jones:
– Four projects and an interview
– Wes Jones (old article)
– Latent City by Yaohua Wang (tutored by Wes Jones)


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Photo Damir Yusupov
Photo Damir Yusupov
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