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The following article was written by a contertulio of mine (in Círculo Hispano-Filipino), the erudite scholar Fernando Ziálcita y Nákpil.
He is a professor of Cultural Anthropology at the Ateneo de Manila University and is also the director of the Cultural Heritage Program of the said school. Professor Ziálcita has written several articles and books, namely Notions Of Justice: A Study Of An Ilocos And A Bulacán Barangay, Nick Joaquín: a portrait of the existentialist as Filipino, and Philippine ancestral houses (1810-1930). He specializes in the encounter between indigenous culture and Spanish influence.
This article, A Local Yet Global Style, was first published in the book Endangered: Fil-Hispanic Architecture which is actually a compilation of selected papers which were presented at the 1st International Congress on Fil-Hispanic Architecture that was held in Manila (27-29 November 2002). The book was published by the Instituto Cervantes de Manila five years ago.
Remember that "architecture is another form of language" (Guillermo Gómez Rivera).
Fernando Ziálcita
During the 16th-19th centuries, new architectural styles using timber and stones emerged in Luzón, Visayas, and Northern Mindanáo. My interest centers on what I call the "Wood-and-Stone style" of urban dwellings. I have tried to show that it should be called "Filipino" rather than either "Spanish" or Antillean (Ziálcita 1980; 1997; 1997B). There is more public interest in these structures at present than there was previously. Still, a number of architects continue to deny that there is any Filipino architecture other than the bahay kubo (the farmer's house-on-stilts). One who has built many mansions for the rich has commented that these houses and churches, shown in a traveling exhibit organized in 2000 by the National Commission for Culture and the Arts to draw attention to Filipino architectural heritage, were "colonial impositions".
In this article, I would like to point out the following:
• It is important to distinguish between types of nationalist discourses.
• To appreciate the complexity of the Filipino's architectural heritage, we need a dialectical rather than a reductionist discourse.
• When viewed properly, the Wood-and-Stone style is both a unique local product and a product with multiple international connections.
Assimilation versus Exclusion
Nationalism is a discourse that crystallized during the 1789 French Revolution. It proposes that members of a large extended group "imagine" themselves as a sovereign, political "community" that transcends ethnic, religious, and class divisions because of a shared history, heritage, and mission (Anderson 1983). Nationalism thus excludes outsiders even as it defines criteria for membership. But who are the members? And what is the heritage that unites them? I distinguish between two types of nationalism. The first I call "reductionist"; the second, "dialectical" nationalism.
Reductionist nationalism uses "race" as the criterion for membership and "indigenous culture" as the substance of the shared heritage. It assumes that race, an inherited set of biological characteristics, determines how you think and feel. If you do not look like the majority, or if you are not of the same "race" as them, then you cannot share their feelings. This nationalism also yearns for a mythical past that was supposedly more authentic because it was truly "indigenous" — that is, it had no foreign admixture. Its static perspective has no room for mutually transformative encounters between cultures. It thus ignores what 20th century anthropologists say, namely: 1) that no empirical data can support the notion that race shapes ability, 2) that racism fosters the persecution of minorities, and 3) that culture, being a set of symbols, values, and practices that is socially learned, is therefore permeable and changeable.
In contrast, dialectical nationalism believes that feelings transcend race. By joining a community and imbibing its ideals, you become loyal to it. Sympathy has nothing to do with looking like the majority. Dialectical nationalism can thus regard as local what was once imported: 1) if it has been assimilated to local symbols, values, and practices, or 2) if it has a positive contribution to the local. A dialectical view sees the world as consisting of forces that may oppose each other at particular points in time and space, but may also modify each other and fuse into one.
German nationalism of the late 19th century down to 1945 was reductionist. Johann Gottfried Herder (1744-1803) extolled the Volksgeist and the need to build institutions that emanated from it. Every people (Volk) have their own ethos (Geist) which is manifest in its language, literature, and law. A people should think and act according to its Geist, for it is unnatural to ape foreign fashions (Ergang 1966: 100-1). Herder inspired nationalists all over the world, like our own Rizal and Isabelo de los Reyes, to study popular songs, dances, architecture as manifestations of the folk's lore. His "Volksgeist" anticipated the notion of "culture" that British anthropologists would popularize in its present form, starting in the last decade of the 19th century. However, according to Wolfgang Welsch (1995: 195), Herder's notion has serious deficiencies. It ignores the fact that modern societies are multicultural. Moreover, its insistence on purity leads to political conflicts and wars. Carriers of a Volksgeist are supposed to experience "insensibility, coldness, blindness" and even "contempt and disgust" towards outsiders.
Meanwhile, during the late 19th century, another development took place. Since the Germans lived in many small states that were independent of each other, German nationalists argued for blood as the determinant of nationality. Anyone of German ancestry, regardless of residence, was German. This included even those who had migrated to other Eastern European countries centuries ago. In the 1930s, the Nazis equated Germanness with belonging to the "Aryan race". Nazi policies were junked after their defeat; contemporary Germany is an open and tolerant society. But even today, migrants, who are born in and educated in Germany, face hurdles in applying for citizenship if their parents are non-Germans (Brubaker 1992: 75 ff.).
In contrast, French nationalism has generally been dialectical and assimilationist. Being French has more to do with sensibility than with genes or skin color. To be French is to embrace the ideals of the 1789 Revolution (Brubaker 1992: 35 ff.). Thus the French call their patrie a "Terre d'asile" — a land that shelters all migrants who believe in liberty, equality, and fraternity. To be French is also to appreciate the achievements of French civilization. French citizenship is thus open to Africans, Indians, Caribbeans, Indochinese, or anyone who participates in French culture.
Moreover, anything created on French soil that either contributes to France's glory or carries the imprint of the French sensibility is French, even if the creator is a foreigner by birth. The 20th century Ecole de Paris, which invented modern painting and sculpture, was the creation of Frenchmen (Matisse, Braque, Leger), Spaniards (Gris, Picasso, Miró), Russians (Chagall), Germans (Hartung), Italians (Modigliani), Romanians (Brancusi), and others living and working in Paris. These non-Frenchmen are often classified as "French" by French authors. A work of art can be French yet cosmopolitan. French identity is thus not something determined once and for all by race and ethnicity. Writing on the diversity and conflicts between French regions, Braudel (1986: 94) says that "France" had to be "invented". We can infer that, for it to remain flexible and open, it must be reinvented today.
Mexicanness is likewise a sensibility that is the product of tradition rather than biology. During the 20th century, following the 1910 revolution, which was both economic and spiritual, Mexicans came to appreciate the diversity of their traditions. While they affirmed their once-despised Amerindian tradition (Olmec, Zapotec, Aztec, and Maya), they also claimed that the Spanish tradition constituted an integral part of their culture. Likewise the Afro-American. The magic word was "mestizaje" or the fusion of cultures (Fuentes 1992). Thus "baroque" in Mexico is Mexican rather than Spanish.
How should we characterize the discourse of Filipino nationalism? Is it reductionist or dialectical? I believe it is in-between. On the one hand, textbooks and the press say that Filipino culture is diverse. It has "Malay, Chinese, Japanese, Spanish, Arabic, and American influences". Our folk dance troupes showcase the diversity of the archipelago's dance traditions in each performance. Nick Joaquín, in his novels and essays, has shown how to approach history as a process that assimilates the diverse influences, especially the Hispanic, upon the Filipino (1989). On the other hand, however, the educated casually talk of either a "Filipino race" or a "Malay race". For instance, in preparation for the second millennium AD, the Philippine Daily Inquirer ran a daily series of short articles on its front-page on the achievements of the "Filipino race". From anthropology's perspective, the better term would have been "Filipino culture", for values and world-views are acquired by anybody who commits himself to a group. But physical characteristics, such as skin and hair color, are inherited genetically. Moreover, "Filipino race" would exclude Negritos, Chinese, and Euroamericans who consider themselves Filipinos. Unfortunately, anthropology's clarifications about "race" are ignored by the current discourse.
The permanent exhibit on the Filipino people at the National Museum has a wonderful English title, "History of the Filipino People". But the Tagalog translation is an unacceptable "Kasaysayan ng Lahì" (History of the Race). Ignored likewise by many nationalists is anthropology's concept of "culture" as a permeable, changeable set of symbols, values, and practices. I have heard many educated Filipinos characterize Filipino achievements in cookery, dances, and sculpture as "bastardized/mongrel/derivative/imitative". They imagine that a culture has to be "pure" and free of outside influences in order for it to be respectable.
Renato Constantino exerted much influence on the nationalism of the 1970s to the present. While he does not idealize pre-Hispanic culture, he has nothing positive to say either about Hispanized Filipino culture. He characterizes both the masses and the elite during the Spanish period as suffering from a "relative ignorance" brought about by the colonizer's values (Constantino 1978:52-54). Those reading him must therefore conclude that Spanish influence in any form is cause for embarrassment.
A preoccupation with race stumbles when confronted with figures like Fr. José Burgos. Born of a Spanish lieutenant and of a mestiza from Vigan, Burgos spearheaded the Filipino clergy's demands for equal treatment with Peninsular priests (Villaroel 1971). His execution in 1871, together with Frs. Gómez and Zamora, shocked the public into discovering that they were being oppressed by peninsular interests. But the highly influential historian Teodoro Agoncillo wondered if Burgos, because of his ancestry, can be called "Filipino" (Nolasco n.d.:2). On the other hand, Marilou Díaz-Abaya, in her film on Rizal, depicted Burgos as a brown-skinned Indio. In effect, nationalism became skin-color.
I sympathize with the concerns of Filipino nationalists. The Philippines is indeed a society that continues to be colonized by outside forces. Moreover, it is highly stratified with widespread poverty. But, as I have shown (Ziálcita 2000), exploitation and stratification antedate the Spanish conquest. Our national honor is not diminished by admitting that the Spaniards did positive things like eliminating slave raiding for sacrifice. Also, there are two things to consider: 1) The Philippines is a multi-ethnic society. Many Filipinos, especially in the major cities, are descendants of foreign migrants, some of whom sacrificed much on behalf of the Philippines (Nolasco 1970-71:178 ff.). Surely, they are no less Filipino than the purely indigenous; 2) Our country has to assert its presence in the world forum, and attract more interest in its culture and its products. To respond to both, we need a nationalism that can deal with complexity and multiple connections.
Filipino Modern
The Philippine has diversified its exports by selling high-quality furniture and home accessories. Designers like Ched Berenguer-Topacio, Budji Láyug, Jeanne Goulborn, Kenneth Cobonpue, and others have projected contemporary Filipino design internationally. But what is "Filipino modern"? Why has it attracted rave reviews and orders? If we examine their best sellers carefully, we shall see that some combine the indigenous with imported traditions.
For instance, a fashionable chair pioneered in by Filipino designers combines an exposed metal frame with rattan weaves that form a seat and a backrest. Sometimes the metal frame evokes a boxy armchair; at other times a curvaceous lounging chair. Always, however, the textured rattan weaves give these chairs a relaxed tropical feel. Two traditions meet in these chairs: the indigenous, which skillfully manipulates rattan for basketry, and the Spanish, which makes wrought iron furniture and lamps. The Spanish baroque tradition also shows in the generous S-curves of some of these chairs. Or, consider another example: wall hangings and shades. Filipino wall hangings made of silk have a translucent quality that evokes the Japanese, which currently is the vogue. At the same time, they have playfully inserted pieces of bamboo and rattan, for added texture. Filipino modern reinterprets international styles using skills and preferences inherited from once-foreign but localized cultural traditions.
Together with Alice Reyes and Paulo Alcazaren, I worked on a book on the best of the contemporary Filipino house designs (Reyes 2000). The staff of the Singapore-based publishing firm that produced the book was enthused by the varied forms exhibited in contemporary Filipino architecture. While some villas had strong affinities with Italian-Spanish-Mexican houses, others had rooms that, because of their shell-paned panels, recalled Japanese interiors. Other villas, though modern, had a more indigenous feel because of their imaginative local materials. As a whole, regardless of their stylistic orientation, the various houses had a common denominator: interior spaces dialogued with the surrounding gardens.
A reductionist approach accepts only the "indigenous" as Filipino. This cripples the Filipino's options in a competitive global market. In contrast, a dialectical approach appreciates the variety of both our contemporary designs and our 18th-early 20th-century urban houses, because it looks at history as a process.
Distinct yet many-sided
I have discussed the history of the Wood-and-Stone House (Bahay na bató at cahoy) in previous writings. Rather than repeat this, I would like to highlight particular points in order to show how the style is both local and global.
1. The indigenous style of architecture prevailing in the 16th century Luzón and Visayas was suited to a rural but not to an urban environment. The indigenous dwelling was essentially a frame construction where the heavy roofwork was supported not by the walls, which were either of timber planks or of bamboo sidings, but by many wooden pillars dug deeply into the ground. This type of structure thus merely swayed during an earthquake. The floor was elevated above the ground as protection against floods and insects. The steeply pitched roof made of thatch shook off the heavy downpour and allowed hot tropical air to circulate upwards.
But this style had a disadvantage when used in an urban environment where buildings press against each other. Its materials were flammable. The first Spanish Manila, whose cathedrals and dwellings were built of bamboo and thatch, was consumed by an accidental fire in 1583. This prompted a shift to construction in stone, using the deposits of volcanic tuff (locally called "adobe") that were newly discovered in Macati along the Pásig River.
Similar shifts had occurred earlier among other Southeast Asian peoples. Bas-reliefs I have seen on the temples of Prambanan (9th century), in Central Java, depict houses-on-stilts. However, during the heyday of the Majapahit Empire in the 13th-14th centuries, the Central Javanese shifted to all-brick dwellings resting directly on brick platforms (Schoppert 1997: 32-34). This continues to be the norm today in that region which is Indonesia's cultural heartland.
The famous bronze drums of Dong-son from Vietnam (5th century AD) likewise reveal longhouses-on-stilts with steeply pitched roofs, which are still common today among the upland peoples of Vietnam. But the Chinese, who incorporated what is now Northern Vietnam into their empire from the first century BC to the 10th century AD, brought in houses whose plastered brick walls stood on stone platforms a few meters above the ground (Bezacier 1955; Taylor 1983). These one-story, tile roofed dwellings of brick continue to be the norm both in rural villages and in the town centers of Vietnam.
I mention these shifts because many Filipinos reduce Filipino architecture to the house-on-stilts; they do not accept subsequent developments as relevant. Also, they reject Spanish-influenced architecture as an obstacle to an Asian identity. They believe the house-on-stilts to be more Southeast Asian, being more indigenous. The truth is that some of our neighbors long ago shifted to more durable houses, partly in response to urban environments with limited land.
2. Spanish architectural styles, which are many and varied, may have been suited to an urban environment, but not necessarily to a tropical, earthquake-racked environment. Spanish urban styles are the product of a long process reaching back to at least 1000 BC, to Celtiberian towns and urban settlements established by Phoenician and Greek colonists on Spain's Mediterranean seaboard. With their thick walls of cut stone or brick, and their roof of tile, these dwellings protected against fire. Their rigidity posed no threat in a land where earthquakes were uncommon. Their relatively small windows gave better insulation against cold.
However, these advantages failed them in the Philippines. In 1630, the Augustinian Juan de Medina ([1630] 1903-1909: 242) remarked that Manila was cooler and healthier when the buildings were made of wood, rather than stone, for this allowed the wind to blow through.
3. In 1645, 1658, and 1677, severe earthquakes collapsed Manila's tall stone dwellings. Following these earthquakes, two contrasting traditions —the Spanish and the indigenous— fused into a major synthesis. A wooden framework to carry the trusses and rafters of the roofwork extended all the way to the ground. Thick stone walls tended to be confined to the first floor, though brick walls were used in the second story for some partitions. Wooden curtain walls enveloped the second story. But these were opened up by an ensemble of three windows. On the exterior transom was an immovable opening (espejo) covered with shell panes. Between the windowsill and the floor sill was another window: the ventanilla, which was protected by a screen or either wooden balusters or a metal grille and by sliding wooden panels.
This Wood-and-Stone style was called arquitectura mestiza by the end of the 17th century, not because it was for mestizos, but because of its mixture of wood and stone (Alcina [1668] 1980). Mestizo, like the English word "mixed", comes from the Latin word "mixtus". The new style was one major response to Philippine conditions. However, it is not the only possible response.
Ilocos, particularly Vigan, developed a house, starting probably in the 1970s, that used brick on both stories (Ziálcita 1997A) but had no wooden framework (Manalo 2003). Most likely this was in response to the fire that struck the city in the late 18th century (King 2000). Despite the absence of a wooden framework, the Ilocano All-Brick-House-with-Pilasters has survived the earthquakes that have struck the coast over the past two centuries. During the 20th century, new technologies, such as the embedding metal frameworks in concrete, entered the Philippines. These have opened new possibilities for urban constructions.
When I speak of the Wood-and-Stone house as "Filipino", I claim that it was a reasonable response at a point in time, given the knowledge and skills then available, to a particular set of environmental challenges that remain with us. Surely it is not the only possible Filipino style. I like the French and the Mexicans as well. I prefer to dwell on their positive contribution to our culture, rather on how indigenous their makers were.
4. Components of the Wood-and-Stone house connect it to other traditions in particular countries. This opens intercultural bridges that should help us when projecting our country.
The house on stilts was widespread among Austronesians (the peoples of Indonesia, Malaysia, and the Philippines; some upland peoples in Vietnam like the Jarai), Austroasiatics (Cambodians and most Vietnamese), and the Thais before the entry of Chinese, Indian, Arabic, and Western influences. The irony is that the Wood-and-Stone house of Hispanized Luzón and Visayas exhibits greater continuity with this millennial Southeast Asian tradition than do the one story stone dwellings of Lowland Vietnam, post-Chinese conquest, or of Central Java, post-Majapahit.
The Wood-and-Stone style likewise connects with the several versions of the longhouse that continue to be built in Borneo as houses-on-stilts. A Sundanese graduate of mine from West Java, Budi Gunawan, made a highly significant remark before a print of a 19th century Tagalog Wood-and-Stone house. "It looks like a Bornean longhouse," he said. The house had a tile roof, it was horizontal in orientation with sliding shell windows, and had a cantilevered wooden second story over a stone first story. I thought he might have been referring to the pronounced horizontal orientation of the Wood-and-Stone house and its use of the second story as opposed to the preference by both Sundanese and Central Javanese for one-story stucco brick dwellings.
But a visit to the Dayak country in the Four Lakes District of Eastern Borneo clarified what he meant. During that visit, another Indonesian student, Martinus Nanang, and myself went to a longhouse that was still in use. The main entrance was on the long side: a log with notches led to a verandah with a series of wooden arches and fretwork. Here was the main door. The two-story house was on stilts with wooden boards for both stories. The roof was of wooden shingles. The house's ambience was not Javanese. Save for the notched log, the house exterior evoked 19th-century Visayan plantation mansions.
A common feature of houses in the Arabian peninsula, Iraq, and Western India is the screened wooden balcony. The Arabs call it mashrabiyya, also rowshan this three-meter-high balcony is supported by wooden consoles embedded into stone walls protruding 60 cm from the building. It has its own roof; its roof line is decorated with entablature. This balcony protects the occupants' privacy while permitting the air to circulate through the adjoining room through grilles (Earls 1997A, Earls 1997B, Earls 1997C). The Arabs brought it to Spain where it acquired the ajimez, two windows that share a common column in-between.
The screened wooden balcony acquired a different configuration in the various localities that adopted it in the Hispanic World. According to the Spanish art historian Dorta (1973:403), the screened balcony's evolution attained its final stage in the galería volada (jutting gallery) of the Filipino house of the Spanish period. It was neither open as in the Caribbean, not closed with lattices as in Lima. Instead, it was enclosed with shell-paned window panels.
The galería volada connects the Philippines not only with Spain and with Spanish America, but likewise with the Near East and India. This hanging gallery became commonplace in Manila by the last decade of the 17th century (Ziálcita and Tinio 1980: 8, 244 ff.). A topic for research should be the routes by which this gallery reached the Philippines. Was it only via Mexico? Or also via Indian merchants who came here during the Galleon Trade?
A particular house type that developed in Java during the Dutch period was the Rumah Gedong. This literally means the "office house", perhaps because it was originally associated with offices. Unlike the conventional Javanese house, it has two stories: stone below, wood above. It recalls our Wood-and-Stone house except that the windows are different. As is the case throughout Indonesia, Malaysia, and Thailand, the wooden shutters that protect the windows hang from the façade like wings. They open outwards. The window itself is a vertical opening that extends from lintel to the floor and has a protective wooden railing and balusters. It looks like a modified French window.
The Rumah Gedong is widespread in South Sumatran villages near Palembang. Is there any connection between them and our own Wood-and-Stone houses? I do not think the Rumah Gedong influenced the development of the Wood-and-Stone house in 17th-century Manila. Based on existing documents available, the phases in the emergence of the latter do not suggest influences coming from Java. Could it be that the Rumah Gedong may have been influenced by our Wood-and-Stone house? This deserves investigation.
I mention these similarities between our 17th-19th century house and the Rumah Gedong to underline once more that what may seem so "Spanish" and so alien to Southeast Asian converges in fact with parallel developments in the region. Outside Palembang, I did see bamboo-and-thatch houses-on-stilts scattered among the fields. But in towns and even the tiny village where I stayed, the preference was for solid materials which, in the South Sumatran case, meant using stone below and wood above, with a roof of flat tiles.
Finally, there is Chinese-Japanese influence. There were only a few Chinese in Tondo when the Spaniards came in 1570. Their numbers soared to 8,000 by 1600 because the Galleon Trade exchanged Chinese silks and porcelains for highly coveted Mexican silver coins (Scott 1977: 207). Among the Chinese who settled in Manila were artisans. The Galleon Trade also attracted the Japanese who came in, though in smaller numbers.
While Chinese migration has been continuous to the present time, Japanese migration ended in 1624 after the shogun limited foreign contacts (Hedinger 1977). However, after the opening of Japan to world trade in the 19th century, the Japanese began coming again as migrants. Among them were carpenters.
In some Wood-and-Stone houses, the roof's corner eaves curl upwards. An example is the Constantino house in Balagtás (Bigaá), Bulacán. But the more substantive Chinese-Japanese contribution may be in the framework and the openings. Both Chinese and Japanese use a wooden framework to carry the roof. The Chinese combine this with non-load bearing brick walls (Knapp 1990: 37). The Japanese raise all-wood walls (Yoshida 1954). Moreover, both of them like to expose their beams and pillars, including twisted ones.
While this was also the case in indigenous Filipino tradition, this practice's persistence in the Wood-and-Stone style may have been encouraged by Chinese-Japanese builders. The use of translucent material as windowpanes may have come in from these northerners that paste rice paper on window frames. In the Philippines, the flat shell of the cápiz, abundant in shallow waters, substituted for paper. Filipino wooden frames use a plain checkerboard pattern. A similar window pattern is universal in Japan, and in some areas in Southeastern China.
The Japanese signature is evident too in that Filipino window panels slide in a sill whereas in China, they push out. Because of these translucent panes, Filipino interiors have a parchment-like glow, which Japanese visitors say recall their own. During the late 19th century, the transforms in the interior partitions were opened with tracery, which permitted more light and air to circulate while providing decoration. These cutwork panels are found in Chinese and Japanese dwellings. Japanese called these ramma. They can feature either fine wooden latticework or a wooden panel with a variety of patterns (Yoshida 1954: 156).
In some Filipino houses, Chinese motifs, like the peony, are present. In others, like the Festejo house in Santa Lucía, Ilocos Sur, the interlocking diamond-shaped frames reveal a Japanese hand. In general, however, the motifs in these cutwork panels are inspired by the Filipino's preferences, for instance lyres and flowers — poetry and romance. These cutwork panels, though with different motifs, are also found in Thailand, Malaysia, and Indonesia. Perhaps originally Chinese and Japanese, they create another bridge between us and our neighbors.
The Galleon Trade (1565-1815) was the first trade network to encompass three continents: Asia, the Americas, and Europe. Aside from Chinese goods, products from all over Asia were purchased in Manila with coined Mexican siliver. Traders from other Asian countries came here, bringing ideas as well. For the French economic historian, Pierre Chanau (1960: 18), the Philippines was where cultural currents originating in the Atlantic and the Mediterranean and flowing in opposite directions met each other again, for the first time in world history. They also met currents from China and Southeast Asia. The Philippines is thus "the only true end-point of the world" (le seul vrai bout du monde).
The music scholar John Summers (1998: 208, 213) says that Manila's musical life was truly cosmopolitan. In 1611, entries to a citywide poetry contest were in "Latin, Greek, Italian, Portuguese, Basque, Castilian, Mexican, Tagalog, and Visayan". Non-Spanish dances and Tagalog-speaking residents formed part of the festivities. If I am correct, the story of the hanging gallery further illustrates how globalization became a reality in Manila. The gallery may have come in from two directions, from Mexico and from India and Arabia. Here it met the Austronesian preference for constructing dwellings on piles and the Chinese-Japanese tradition of woodworking, and merged with them.
Local Yet Global
Filipinos find themselves in an international environment where, on the one hand, they are expected to affirm an artistic style that is uniquely theirs. On the other hand, they are expected to show commonalities with their Asian neighbors. We should be careful of discourses on identity that imprison. A more dialectical, rather than a reductionist, approach can better show how the initially foreign can become localized. Imported Spanish traditions in stone construction had to be modified to suit the unstable Philippine floor. A dialectical approach can also disclose paradoxes. Though influenced by a non-Southeast Asian tradition, Filipino houses retain continuities with the Southeast Asian house-on-stilts that traditional Vietnamese and Central Javanese houses do not.
Finally, a dialectical approach is more open to surprises in the empirical data. The cantilevered wooden second story of the Filipino house connects in fact with traditions of both East and West. Because of the Galleon Trade, 17th-century Manila became a meeting place for different cultural currents. The Philippines developed a distinct local, urban style, from the 17th-early 20th centuries, that resonates globally. It continues to do so, as shown by its current success in furniture and furnishings.


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Rod Streater and Andre Holmes have played so well of late there's no need for the Raiders to lament the one that got away.
San Diego Chargers wide receiver Keenan Allen, a contender for the NFL's offensive rookie of the year, played in the Raiders' backyard at Cal.
Although in need of a playmaking wide receiver, the Raiders passed on Allen three times in the NFL draft in favor of cornerback DJ Hayden, cornerback Menelik Watson and linebacker Sio Moore.
Ten spots after Moore was drafted, the Chargers selected Allen at No. 76 overall. With 63 receptions for 931 yards and seven touchdowns, Allen is a front-runner for the NFL's offensive rookie of the year award and one of the steals of the draft.
Considered a first-round talent, Allen saw his draft stock plummet due to 40-yard dash time in the 4.7 range while coming off a knee injury. At the NFL scouting combine, there were rumors of a failed drug test.
It turned out Allen had a test red flagged for having too much water in his system, a sign of attempting flush or mask a potential positive test. He took another test and passed it.
"Obviously he had the injury coming out but I knew he was a talented player and he's shown that with the way he's playing,'' Raiders coach Dennis Allen said.
Keenan Allen said had no contact with the Raiders heading into the draft, which isn't unusual _ the Chargers hadn't contacted him either. Seven wide receivers had their names called before Allen.
"It was definitely hard watching, especially seeing guys picked before me,'' Allen said by conference call. "It's unfortunate, not only for me but the teams that passed on me. I've just got to make them pay for it.''
If the Raiders feel any remorse, it has been lessened by the play of two receivers who weren't drafted at all.
Streater was undrafted out of Temple in 2012 and signed with the Raiders as a free agent. Holmes also wasn't drafted out of Division II Hillsdale in 2010, hooking on with the Dallas Cowboys before being released. He also was cut by New England before signing with the Raiders.
With 54 receptions for 846 yards and three touchdowns, Streater is 154 yards shy of becoming the first Raiders receiver to gain 1,000 yards since Randy Moss in 2005.
Holmes has 17 receptions for 322 yards, all within the past month. With Streater at 6-foot-3, 200 pounds and Holmes at 6-4, 210, the Raiders have two targets capable of making jump-and-catch plays and a quarterback in Matt McGloin who believes in giving them a chance to go up and get it.
Since McGloin became the starter, Streater has 25 receptions for 423 yards and is averaging 16.9 yards per reception. Holmes, averaging 18.9 yards per catch, has made all his catches with McGloin as the starter.
With Denarius Moore (39 receptions, 615 yards) returning against the Chiefs after missing three games with a shoulder injury, the Raiders have three wide outs with the capability of making plays downfield.
All three go about their business without flash, in contrast to the diva stereotype associated with the position.
"Usually there are some characters in that group, but we have a good group of guys,'' Allen said. "They come in, they work hard, they really don't say a whole lot. They just try to do their job the best they can. From early in the year to now, I think that position group has been one of the bright spots and of the more improved spots on our team.''
— Defensvie tackle Vance Walker was not on the practice field, indicating he has not sufficiently recovered from his concussion and will be ruled out Friday afternoon. Running back Darren McFadden (ankle) and safety Charles Woodson (ribs) were on the field and expected to play.

subset: commoncrawl


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by Constance Garcia-Barrio
Loretta C. Tate executive director of the Lucien Crump Gallery Art Education Resource Center, 6380 Germantown Ave., has mastered the art of turning grief into light. When Tate's husband, Lucien Crump, II, founder of Philadelphia's first black art gallery, died of cancer six years ago at the age of 71, friends' and neighbors' pleas to keep the gallery open helped move Tate through pain toward a new purpose.
"At first I felt like I was running the gallery for Lucien," Tate said of Crump, best known for his "Universal Christ," which shows Jesus with one brown eye, one blue one and many shades of skin and hair. Tate had always lent a hand with bookkeeping and framing but not the art. She tried to imagine Crump's views on projects. A shift came after two years. "I'm not an artist. I realized I couldn't see things as Lucien would have."
Originally from Atlanta, Georgia, Tate, a vibrant 60-something, has a health care background that helped her preserve Crump's legacy and also meet him in the first place. With certification in radiologic technology from Johns Hopkins Hospital in hand in 1968, Tate studied physical therapy on a fellowship at the State University of New York at Buffalo.
In 1972, she changed majors and transferred to St. Louis University to pursue a bachelor's degree in radiologic technology. After arriving in St. Louis, Tate, out strolling, saw a handmade stainless steel choker in a window. She soon met the owner of the gallery that displayed the choker, Lucien Crump. "He invited me out for a drink," Tate said.
Their romance flourished. Tate graduated from St. Louis University in 1973, landed a job in radiologic technology at Thomas Jefferson University's College of Allied Health and moved to Philadelphia. Crump, whose father lived here, eventually closed his St. Louis gallery. He began teaching art in the Philadelphia School System in 1977, the year he and Tate married.
Tate rose to chairman of her department at Jefferson. "I liked teaching radiologic technology, but the administrative work was rough," she said. She held positions in other health care settings and earned a Master's degree in health science education and evaluation. In 1983, Tate traveled to Germany and Holland to study health care in those countries.
"I was in the first trimester with my second child at the time," said Tate, whose sons, Lucien III and Brendan are now 31 and 28, respectively. Lucien is a stock broker while Brendan is a successful songwriter. "I used to say I had three children, my husband being the oldest," Tate said. "My sons love nature and once kept a snake in the house. My husband knew all about it but didn't tell me."
A knowledge of medical issues and Crump's priorities guided Tate's next steps. She launched the Lucien Crump Gallery Art Education Resource Center, a nonprofit, in 2007. "Lucien had compassion toward women and children, especially single parents, because he'd seen his mother struggle after his father left the family," Tate said.
To honor Crump's commitments, Tate began "Art from the Heart" in March, 2007. Tate hosts a weekly workshop for women in recovery from addictions. They work in a variety of media, including knitting, crocheting, painting, drawing and quilting to release their feelings. One group of women is HIV-positive.
"These women come faithfully for two hours twice a month," said Tate, familiar with issues the women face, thanks to her clinical experience.
"They're goal-oriented. They have an urgency to accomplish things. Some of the women have never held a needle and thread before. Here they have a safe space to express feelings and learn skills that may help them remain sober."
In 2009, Tate took the gallery's mission a step further with "Art from the Heart with Photography and Videography," an after-school program for grieving children. Elementary school principals and counselors in Northwest Philadelphia refer students. A van brings the children from school to the program at 4 p.m. and takes them home at 6 p.m.
First, the children have a healthful snack. "They've begun to read nutrition labels and become savvy about salt and sugar content," Tate said. "They eat foods like clementines, new to some of them." The children also follow Tate's bedrock rule: "What's said here, stays here."
"I chose to explore grief because many adults think it doesn't affect children," said Tate, whose father died when she was eight. The children use painting, photography, puppetry, doll-making and other media to show feelings for which words may elude them.
They seem especially drawn to puppets. "The children stand behind a screen and move the puppets. It frees them to reveal shattering events. In one puppet show a child shared a story about shocking violence. When I asked her if she'd made it up, she said no, that it really happened."
Ellen Contrevo, owner of Chestnut Hill's Natural Cuts Salon, volunteers with the program. She teaches participants photography and videography. "Ellen shows them how to use a camera," Tate said. "She takes them to Cliveden's grounds or nearby parks to see and sometimes photograph nature. She also shows them how to videotape program activities."
A counselor is always on hand in case a child needs immediate care.
The program runs three days a week from October through June. At year's end, Tate asks the children for suggestions about the program. "They'd like to come every day and make more dolls, both the boys and the girls," Tate said. "A counselor said that the dolls allowed them to create families.
"In an ideal world, the children would come five days a week, but it's a cost issue. Transportation eats up 85 percent of our budget. We do what we can."
Donations to the Lucien Crump Gallery Art Education Resource Center, Inc., 6380 Germantown Avenue, Philadelphia, PA 19144, are 100 percent tax-deductible. For more information visit www.crumpgallery.org or call Loretta Tate at 215-843-8788.


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Yes, you've read that right. After some major difficulties with ABC, it's now back to working again. Wich means we can finally open the actual draft.
Plaese sign up as soon as you can and get ready for the 1st scrim funday next Saturday @SBT. We're gonna use it to get back into the game and do some testing on the new maps we've added.
Scrim #1 will be on the 16th after the army picks have been announced.
Since the holidays are coming up and we don't expect too many people to show on either the 23rd/24th, or the 30th/31st, we're gonna have a two week break and start the campaign proper with a BFI on the 6th of January.
Until then, don't forget to sign up and have a good one


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"The Hangover 2″ Teaser Trailer [VIDEO]
Back in 2009, a little movie called "The Hangover" came out. Aside from feeling like someone had followed me to at least one drunken outing and made a movie out of it, the movie was, in my opinion, comedy gold.
Now, I've never been "Punched Out" by Mike Tyson (if you catch this pun, you're an old school gamer) for stealing his tiger or kidnapped an asian mob boss but almost every guy who's ever drank too much and watched this movie had to think there was at least one of his friends involved in the writing process.
I'm always hesitant to think any movie could benefit from a sequel but "The Hangover" is one of the few on my list that I've wondered if they could top themselves. Apparently, someone else wondered the exact same thing...
Here's the trailer for "The Hangover 2".


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When & Where?
When: April 9-10, 2010
Where: Hyatt Regency Phoenix
122 North 2nd Street
Phoenix, AZ 85004
Summit Program
Research Data Access and Preservation Summit
An ASIS&T Summit
Phoenix, AZ | Hyatt Regency | April 9-10, 2010
In cooperation with the Coalition for Networked Information
Desired outcomes are:
- Identification of exemplar data management systems
- Identification of opportunities for federation across institutional repositories
- Identification of interoperability mechanisms at technology, social, and legal levels
- Promotion of collaborations between the identified parties
- Roadmap for the research agenda needed to federate systems.
Research Data Management for Access and Preservation
Researchers in all fields generate and analyze enormous quantities of digital data. In fields ranging throughout the sciences and humanities, managing, preserving, and sharing these data require substantial capital and human resources and new kinds of information professionals who are able to integrate technology, content, and policy skills. This summit aims to bring together leaders in data centers, laboratories, and libraries in different organizational and disciplinary settings to share ideas and techniques for managing, preserving, and sharing large-scale research data repositories with an eye toward achieving infrastructure-independent access and stewardship. The summit will engage three kinds of leaders: those from projects with experience in integrating high-performance technologies; those from large scale collaboratories in science, social science, and the humanities; and those from institutions coping with the challenges of integrating different technologies and data collections. The summit will address three main questions:
- What data access and preservation capabilities are required within and across research groups?
- What technical solutions exist to meet these needs and how do they scale across domains?
- What are the social contexts under which research communities assemble to share data?
The summit will take place in Phoenix April 7-9, 2010 at the Hyatt Regency Hotel. In addition to two keynote presentations, there will be a panel on each of these questions led by leaders who have practical experience dealing with the associated challenges. Participants will have ample opportunities to interact with speakers and each other and present techniques and concepts via posters and semi-structured discussions. Demonstrations of integrated systems that address data management challenges will be held, with opportunities to compare approaches and ask implementation details. Examples of large data management environments and integrated systems include SHAMAN/iRODS, Duraspace, Ocean Observatories Initiative, iPlant Collaborative, National Climatic Data Center, Large Synoptic Survey Telescope, University of Michigan digital library, MotifNetwork, Texas Digital Library
Focus of Summit
Provide opportunity for institutions to identify mechanisms and technologies that will enable large-scale collaboratories. We realize multiple solutions are viable, and seek to promote interoperability between the solutions. The summit will provide two outcomes: 1) serve as information resource for communities building collaboratories, 2) facilitate development of interoperability mechanisms between existing systems. Both outcomes are examples of consensus building on the best way to move forward, both within a social context and a technology context.
Panels for the three main topics are:
- What data access and preservation capabilities are required within and across research groups?
- Panel on promoting reuse and repurposing of data. How is re-purposing being handled today? What approaches are working well? What level of description is appropriate for mapping from collection attributes to user-desired information? Is there a way to converge the multiple description standards through adoption of common description models? Is there a common identifier architecture?
- Panel on data life cycle management. Can a single data management system support all phases of the data life cycle through mechanisms that support data repurposing? Can data repurposing be characterized as changes to management policies and procedures?
- What technical solutions exist to meet these needs and how do they scale across domains?
- Panel on large scale data management problems in corporate and government settings, including challenges of Inter-enterprise data sharing. Are there common concerns for both corporate and government settings?
- Panel on DataNet integration efforts to demonstrate challenges involved in implementing viable data management infrastructure, including discussion of current and established work practices. What interoperability mechanisms are available for federating registries, ontologies, and business models? (We can invite participants from groups that submitted proposals, both successful and unsuccessful.) We can ask for 1-pagers on their approach, and the research issues that need to be addressed.
- What are the social issues that drive the formation of shared collections?
- Panel on assessment criteria. Can a social consensus drive the development of the governance and management policies that the shared collection should maintain? Who is responsible for forming the consensus (discipline-oriented solutions Ocean Observatories Initiative; or university-oriented solutions institutional repositories)? Can the social consensus be expressed through assessment criteria that validate desired properties of the collection?
- Possible Participants: ISO MOIMS-rac standards group, NARA,
- Panel or session on the legal issues related to national and/or international laws and the implications for writing data management policies. Can management policies be defined that enforce regulatory requirements (Sarbanes-Oxley, HIPAA, IRB) and international laws?
Relevant sources:
The recent Nature section on data sharing highlights themes on data sharing that overlap with those of the summit, http://www.nature.com/news/specials/datasharing/index.html
The NSF sustainable digital preservation and access symposium will be a source of information on economic models after a final meeting scheduled for April 1, 2010 in New York.
This summit is chaired by Dr. Reagan Moore. The Advisory Committee includes:
William Anderson, Christine Borgman, Hsinchun Chen, Sayeed Choudhury, Michael Lesk, Gary Marchionini, William Michener, Art Pasquinelli, Sudha Ram, Stu Weibel


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Data from J.D. Power's suite of syndicated financial services studies can help institutions benchmark website satisfaction against key peers and measure consistency across product lines, which is critical given the impact that websites have on overall customer satisfaction:
- Within retail banking, the website functions as a key transactional workhorse, with many customers using the channel to conduct day-to-day activities such as checking balances, paying bills and transferring funds.
- In the credit card experience, the website stands out as a primary method of checking balances and managing expenditures, while also acting as a key access point for reviewing and redeeming rewards.
- In mortgage servicing, the website can help reduce strain on contact center resources by providing customers with clear and concise information related to things like fee policies and escrow administration.
However, analysis of J.D. Power study data finds that many financial institutions are struggling to meet their customers' needs and demands related to the website. Additionally, many institutions are not providing a consistently satisfying experience across their different product lines.
For example, as displayed in the chart below, 'Brand C' receives the second highest website score related to small business banking, but receives the lowest website score related to credit card. Conversely, 'Brand B' more consistently receives high scores across each of the product lines.
Things for Financial Institutions to Consider:
- Utilize independent research to benchmark your current website offerings (and associated satisfaction) across product lines, against peers and within different customer segments
- Regularly conduct reviews/audits of competitor website offerings (including companies outside of Financial Services) to understand the competitive landscape and potentially identify new ideas to incorporate
- Educate customers on the functionality of the website and associated benefits of using the website, particularly as new features are introduced
- Collect and analyze website-related data to identify strengths, weaknesses and opportunities for increasing website satisfaction
- Quantitative survey data can help provide an overall picture of website satisfaction, awareness and usage
- Biometric or eye-tracking analyses can help isolate specific aspects of the website experience that are most likely to grab the users attention and/or which aspects tend to result in confusion or frustration
- Independent web-evaluations include hiring an outside consultant to audit current website functionality/design/navigation/etc. and compare to competitive offerings


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Feb. 11, 2007
Lipscomb's Lady Bisons softball team opens the season Sunday afternoon at Draper Diamond with a number of new faces.
The Lady Bisons will play the Western Carolina Catamounts in a doubleheader beginning at 1.
Coach Kristin Peck., starting her second season as head coach, welcomed 11 newcomers to the team including nine freshmen, one sophomore and one junior college transfer.
Returning for the Lady Bisons are outfielder Leigh Little (.311 BA), outfielder Julia Davidson (.309 BA), first baseman Heather Collins (.237 BA), catcher Niki Bails (.221 BA) and pitcher Kim Jacobson (4.08 ERA, 2-9 record).
The Catamounts opened their season Saturday afternoon at Tennessee State University, dropping both ends of a doubleheader.
Tennessee State came back in the seventh to force the first game into extra innings, winning 4-3 in nine innings.
In game two Tennessee State prevailed 6-1.
The Catamounts are coached by Christine Hornak, who is in her first season as head coach of the program.
In 2006 the Catamounts finished 41-20 and were first in the Southern Conference with a 16-4 record. They return 10 letter winners from that team.


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2012-08-15 / Schools
We learned this week from Haldane School Superintendent Dr. Mark Villanti that last week's article "Got Local Milk? Haldane Does," may have been misleading. The Haldane school board has not yet formally accepted a bid for school milk for the 2012-13 school year.
The full version of this story is available only to subscribers. Subscribe now to access to full versions of news stories in our archive of over 12,000 stories going back to 1999.


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Web Analytics Consultancy. Delivering online business intelligence
Open Web Analytics (OWA) is open source web analytics software that you can use to track and analyze how people use your websites and applications.
Open Web Analytics is leading in Top 10K Sites, Top 100K Sites, Top 1M Sites and The Entire Web.
In terms of market share, Lynchpin Analytics is clearly lagging behind, losing to Open Web Analytics in all segments.
Open Web Analytics has better usage coverage in more websites categories. Including News & Media, Business & Industry, Arts & Entertainment, Shopping and 16 other categories.
Lynchpin Analytics hasn't got a lead over Open Web Analytics in any websites category.
Open Web Analytics is leading in most countries, including Austria, Germany, France, United States and 28 other countries.
Lynchpin Analytics is leading in United Kingdom.


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SPA WATCH | Ten Thousand Waves, Santa Fe
I AM on edge. Winter in the Midwest is something else. Unlike any other nightmare I've ever experienced. There's no cafe culture, so my only outlet on days and times that aren't Friday or Saturday night -- the only time people in this part of the world will go out and deviate from a soul-destroying schedule of work, gym, sleep, work, gym, sleep -- is... well, no escape at all. Because it's THE GYM.
That sounds like just the thing to make me less depressed about winter in this place. No, it really does. Swear I didn't actually get teary eyed on the flight back to Chicago from Vail in January.
As evidenced by that last statement, the trick to surviving winter here is to not spend it here.
Might I recommend one such place that'll make you never want to come back... It's a Japanese-style onsen (bath/spa) just north of Santa Fe in the southwest called Ten Thousand Waves.
Yes, it's a bit crunchy.
Sure, there are some creepy men. (But newsflash: there are creepy men EVERYWHERE there are women wearing less than a hazmat suit.)
It's also serenely and wonderfully woodsy, in/on the edge of Santa Fe State Park, so you can go on a hike right from your front door.
The baths (women's and mixed. They closed the men-only bath. It appears men get even creepier when left alone) are surrounded by minimal oriental, wooden decks with outdoor cold showers, plunge pools and saunas just an amble away. If you're up for it, splurge on one of the private huts with baths, showers and private decks. They're pretty sweet and run about $45 for 90-minutes per person (plus, no creepy men unless you bring them with you). You feel like a movie star renting one of the private huts, I swear.
And even during the winter it's a pleasant 55-65 during the day and 45-35 at night. Not a mind-numbing 20 below ZERO (that's zero in Farenheit, not Celsius, so a whopping 52 BELOW FREEZING, common in the Midwest). Sometimes there's snow, in which case you can do a nudie dive bomb into the powder before running back into the sauna.
Thankfully, for now, there's no on-site bar. But we heard there's a sake bar in the works on our last trip which could make things a bit more interesting... or sloppy or both.
If you don't want to stay in Santa Fe proper (and I feel you. It can be suffocatingly touristy), there are 12 (or is it 13?) lodges on premise that are the BOMB and feel proper Japanese. We staying in one of the smallest on offer, and it was amazing. Futon-style beds, wooden screens, kimonos and slippers, hibachi grill, private patio with super cool Japanese-style gardens (rock and otherwise) and... drumroll...
Japanese toilets. The ones that can do everything, even, I suspect, your taxes.
Early in the morning, before the main baths were open, we'd creep out in our canvas kimonos and slippers in the morning dew and scurry up the winding stone pathway to the women's pool -- open for all lodgers before the rest of the spa opened -- where we'd stew in the hot bath while reading books and drinking tea we'd snuck up from the cabin.
We also took advantage of the spa menu, something I highly recommend doing along with bathing and sauna-ing. Not least of all because they have real therapists there. No 18 year-olds with icy hand who went to massage school because they didn't know what else to do.
My masseur had hands like Gerard Depardieu's -- huge, in a word. And he was French to boot. Maybe he was his cousin. Or brother...
I think one paw covered the girth of my back. Mr. Magic Paws was In. To. His. Work. And I came out the other end as soft as a stick of butter sat on the counter all day. No more knots in my back. Or neck. Or anywhere.
I'm still on the hunt for someone with similar talent (and hand girth) locally. My last massage here was given by a man who had hands the size, softness and strength of a five-year old girl's. Not exactly Magic Paws.
The only downer (other than aforementioned creepy dudes) is the lack of on-site food. Fair enough as they only have 12 lodges and everyone comes there for the atmosphere, treatments and amenities. But they wouldn't go amiss with something, even a small sushi bar for the lodgers. Because, man oh man, were we hoooongry (so hungry we were almost hangry (hungry angry) sometimes and didn't feel like driving into town and sifting through the tourist trappy restos.
That aside, I'd happily take up permanent residence (at least to winter) here and no doubt would look, feel, smell (stress makes me stink), sleep et al better.
Japanese style baths and spa above Santa Fe in the Sangre de Cristo mountains in/near Santa Fe State Park. Beautiful, manicured landscape done in, duh, Japanese style that weaves itself up and amid the mountain range's foothills. It's wooded, quiet and private. There are several public baths and saunas and indvidual bath houses. 12 private, minimal (but gorgeous) Japanese lodges that vary in size and amenities. Treatments available from massage to facials. The prices are pretty standard in the US, meaning everything is priced as, sadly, a luxury.
Located just a mile north of Santa Fe, New Mexico.
Lodging runs from $119 to $269, treatments run $65 to $179 and hot baths runs from $18.80 to $49. However, the communal hot baths, sauna, etc. are complimentary to lodgers.


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Store > Shop By Category > Coffee Beans & Equipment, Chocolate, Snacks > Brewing Equipment > AeroPress Coffee Maker
This product is available in our Palo Alto Store
For a smooth, rich brew.
We also carry AeroPress replacement paper filters.
Total immersion brewing results in uniform
extraction and full, rich coffee flavor.
Air pressure shortens filtering time to 1-2 minutes. This avoids the bitterness of long
processes such as drip brewing.
Micro-filtered for grit-free coffee - unlike
other press-type coffee makers.
1-2 minutes from start to finish. The actual
press time takes only 20-40 seconds.
Back to the store page


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All form fields are required.
Price in GBP
£28.99 - £79.99
Despatch of this item is currently 5 to 7 working days from the date of ordering
- Fabric Details
- Product Features
- Safety & Fitting Information
Bring the luxurious botanical feel to your home with this stylish design of scattered monstera leaves on a plain white base. This look is easy to incorporate into many design schemes and very effective and eye catching.
Ordering FAQ:
- To order a recess size blind enter the wall to wall measurement at the smallest point of your window for width and drop. Our factory will make a small 0.5cm reduction to ensure your blind fits into this space.
- An exact blind size is the finished blind size including brackets so the fabric will be approximately 3.5cm smaller than this width.
- We will add enough fabric to the roll so that when the blind is fully extended the roller tube is still covered.
Blind Features:
- Made on a rust free aluminium roller tube.
- Pattern repeat is 64x64cm
- Supplied with sidewinder mechanism for complete control which can be fitted on the left or right as you desire.
- Supplied with a child safety clip for peace of mind.
- Comes fully made to measure.
- Measurements are in metric with width first followed by drop.
- Made from 100% polyester semi-opaque fabric or 100% blackout polyester fabric if you select blackout.
Safety and Fitting information:
As members of the BBSA and Make It Safe Campaign we take child safety very seriously when making your blinds. We only use quality roller blind components such as aluminium tubes, metal brackets and Louvolite sidewinder mechanisms to assemble your blind. When it comes to the control chain we provide every roller blind that uses a chain with a tensioning safety device like the one shown in our gallery photo for peace of mind.
Fitting instructions for this made to measure roller blind can be downloaded by clicking here


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The mod you are trying to view has ceased development and consequently been archived. If you are a member of this mod, can demonstrate that it is being actively developed and will be able to keep this profile up to date with the latest news, images, videos and downloads, please contact us with all details and we will consider its re-activation.
This mod is based in My version of the future of sirius. Lots of work to be done but im getting there (barely..so far). Soon there will be a storyline to this mod I have yet to think up of one.
Only registered members can share their thoughts. So come on! Join the community today (totally free - or sign in with your social account on the right) and join in the conversation.
these are the screen shots from FLFOSM v1.1


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2012 CMA Music Festival Lineup Scores Glen Campbell, Kenny Rogers + More
As the star-laced lineup for the 2012 CMA Music Fest is unrolled, it would seem the Country Music Association is saving the most legendary for last. The Association just announced the newest talent slated to set their boots on the stage of Nashville's LP Field in early June, and they're undoubtedly adding some of the biggest heavy hitters yet. Among them are legends like Glen Campbell, Kenny Rogers, Ronnie Milsap and the Mavericks, who will be reuniting for the show after almost 10 years apart.
These names are being added to a bill that already includes some of the biggest stars on today's country music scene. Martina McBride, Jake Owen, Hunter Hayes, Blake Shelton, Alan Jackson, Rascal Flatts, Lady Antebellum, Brad Paisley, Carrie Underwood and tons more are planning to join the more than 60,000 fans who will be staking their claim in Nashville that week.
The shows, which are scheduled to take place from June 7-10 during a four-day event, help raise money for the CMA Foundation. The group has made charitable contributions of more than $6 million to the Keep the Music Playing program since 2006.
When you buy a ticket for the event -- available online now for anywhere from $115 to $325 plus handling -- 50 percent of the proceeds of your ticket sale will go toward the charitable program, which goes to benefit the music programs for the 78,000 students who attend Nashville's public schools. With all the great music expected to be on hand at the 2012 CMA Music Festival, it's a win-win situation for everyone.


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Maxim Lighting Basic-max
100+ In Stock
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About Maxim Lighting
Maxim Lighting, founded on values and principles passed down for generations, has propelled to the top of the lighting industry and continues to set themselves apart from the status quo with their devotion to excellence. Maxim Lighting will dress your home in functional art from the Olde World European influenced Knob Hill outdoor wall and ceiling fixtures to the Spanish inspired La Scalle Chandeliers and Bathroom lights. Maxim also offers Island and Billiard Lighting, Mini Pendants, Wall Sconces, Flush Mounts, Cabinet Lighting and Ceiling Fans.
About The Maxim Basic-Max Collection
The Basic-Max ceiling fan features the ability to be installed three different ways: close mount, standard stem, and optional stems up to 72 long.
All Maxim products (including Freight) ship for FREE within the contiguous United States on orders over $50.
All Maxim products that ship via UPS or FedEx Ground within the contiguous United States are FREE to return.
We do not charge a restocking fee for any returnable Maxim products.
If you find a Maxim product on another site for less than us, we will match it PLUS 10% of the difference. Learn more


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Homemade Hardcovers: Yet Again, Anti-Circumvention Interferes With Fair Use
from the bound-by-law dept
Font blogger Thomas Phinney writes in to tell us about his concerns with the DMCA anti-circumvention clause in relation to creating home-printed versions of digital books. Phinney prints, stitches and binds his own books at home, producing fancy hardcovers for purely personal use from legally-purchased PDF ebooks. This, alone, is a clearly protected case of fair use -- even if it runs afoul of the overreaching copyright notices found in so many ebooks. The problem is that making nice, bound editions takes some extra work, and anti-circumvention laws get in the way:
Making a really high end hardcover from a document such as a PDF involves rearranging the pages ("imposition") in order to print them in sets on sheets with more than one page per side, so that you can fold them and sew them in groups ("signatures").
Commercial e-books sold as PDFs are often encrypted with flags on the PDF permit printing, but not modification. Nor do they permit "document assembly" which is exactly what I need: the ability to rearrange, add and delete pages in the PDF. Unfortunately, common approaches to doing imposition involve generating a modified PDF: one in which the pages are at least rearranged and put more than one to a (now larger) page. So far, it looks like many (perhaps all?) imposition apps do it this way and don't work with PDFs that have restrictions on modification (perhaps on PDFs that have *any* access restrictions?).
Now, I can easily break the encryption on a PDF, if that PDF allows opening but just has restrictions on specific uses like modification. If I do that, I can then use imposition software on a PDF that allows printing but not modification, and make a fancy book.
But (at least as I understand it, and admittedly I'm not a lawyer) the Digital Millenium Copyright Act says that circumventing an access restriction is always illegal, regardless of why I do it. That makes me a criminal if I do that, even if for the sole reason of making a pretty hardcover book. Even when printing the pages out normally and slapping glue on the spine, like a typical softcover "perfect-bound" book, is permitted and legal.
The inherently nonsensical nature of the anti-circumvention clause strikes again: the ends are fair use, but the means are illegal. Of course, since circumvention software itself is illegal too, this raises questions about the applications that are available -- but breaking PDF protection is so trivial that the law seems futile. MacOS even ships with a system tool (ColorSync Utility) that inadvertently removes PDF passwords (an old graphic designer's trick for clients who have lost their source files). This kind of thing is inevitable when you have a law that targets the tools instead of the actual activity, since it's a near-universal truth about tools that they can all be used for both good and bad purposes.
Filed Under: anti-circumvention, book, dmca, pdf


text: For nonnative speakers who have a good command of English. Focus on paragraph-length compositions and complex grammar and sentence structures. Academic Level Undergraduate Level Subject English As a Second Language Department Language Studies Credits 3 Prerequisites ESL-1020 : English as a Second Language: Intermediate II ESL-0102 : English as a Second Language: Intermediate II Corequisites None Return to Paralegal/Legal Assistant, Assoc. of Applied Science Academic Calendar Catalog and Class Schedules Online Learning Bookstore Register For Classes Request Information


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|Biographical information
|Physical description
|Circuitry Color
|Primary: White
Secondary: Yellow
|Other information
|Vehicle maintenance
|Identity Disc
|Out of universe information
|Mandy Moore
|TRON: Uprising
Mara is a supporting character in TRON: Uprising, voiced by Mandy Moore. She is one of Beck's best friends and his co-worker at Able's garage. Mara specializes in making deadly weapons and vehicles. She has also expressed admiration for Beck's renegade program disguise, completely unaware of his true identity.
Beck's BeginningEdit
Mara had worked at Able's garage for much of her life. She specialized in working on the deadliest vehicles and weaponry on the Grid. Then Clu's forces took control of Argon City, and Mara's friend Bodhi was derezzed before her eyes by a guard. Mara was upset but did nothing. A short time later, a new statue of Clu was destroyed by a mysterious program who, unknown to Mara, was her friend Beck in disguise. Talking about the incident with her friends at the garage, Mara expressed admiration for the program's bravery, and also commented that he looked handsome, though Zed noted in exasperation that he was wearing a mask. This was the first of what would be many clashes between them about whether the Renegade was a blessing or a curse.
General Tesler began to have programs seized and forced to fight in the Games, hoping to draw the Renegade out and capture him. Mara and her friend Zed were among the captured programs, and were taken by light rail toward the city's new Coliseum. En route, the train's beam supports were sabotaged, causing it to crash, and the Renegade freed the trapped programs. As the prisoners fled in all directions, Mara wanted to stop and greet or thank their rescuer, but Zed took her wrist and pulled her onward.
The RenegadeEdit
Unaware of the crush that Zed had been secretly nursing for her, Mara accompanied him and several of their other coworkers to the 0001001 Club, their most frequent hangout. Zed, too embarrassed to take the initiative and ask to dance with Mara, sat alone at a table and enviously watched her dance with the others. By the time Mara rejoined him, he had been approached by a program named Perl; Mara asked him to dance, but Zed, disappointed that she had asked out of friendship, departed with Perl.
During their next workshift, Mara noticed Zed was acting strangely. She realized what was wrong when Able walked in, looking for the missing baton of his rare ENCOM-786 light cycle. Zed started to make up a story, but Mara pulled him away with an excuse, using a tracking device to help him find the stolen baton.
Together, Mara and Zed confronted Perl and her criminal gang; Perl taunted Zed, but Mara punched her, saying that nobody insulted her best friend like that. Zed grabbed the missing baton and the two sped off. They accidentally led the pursuing gang straight into Paige, who had been fighting the Renegade, and in the confusion Mara and Zed escaped. Mara later reassured Zed when he complained that he'd never be worthy of a girl like Perl.
Mara was present during the start of the Argon Race, supporting Zed, who was taking part. She was also present during Tesler's speech, disapproving of the general's message even as Zed cheered for it. Beck later told Zed that Mara had informed him what happened at the race, in order to avoid revealing that he had been there himself as the Renegade.
Speculating on the Renegade's identity, Mara decided she hoped he actually wasn't Tron, as she liked his air of mystery; she disapproved when Zed scoffed that the program was simply afraid to show his face.
When Zed excitedly showed her his new invention, a weapon that could derezz a light cycle by hitting its light ribbon, she pointed out in dismay that the weapon wouldn't just stop the Renegade but derezz him. Zed tried once again to convince her that the renegade was the bad guy and he was only trying to do the right thing by inventing a way to stop him, but she expressed her disappointment that he had fallen in with Bartik and Hopper, saying that she hadn't expected him to be like them. Nonetheless, she showed up for his first official test of the invention, and her presence influenced him to sabotage the device so that Paige's anti-Renegade taskforce wouldn't use it.
The Price of PowerEdit
Mara interrupted Bartik and Hopper when they arrived at the garage to harass Zed and the other workers. When Hopper said that they were there to see that her "pretty little hands" worked as fast as possible on Tesler's new battle tank, she said that her "pretty little fists" worked much faster, and, slapping a fist into her palm, offered to demonstrate. However, Able intervened before she could finish the threat. After the two threatening programs left, Mara offered to help Zed with the light cycle they had knocked over, but Zed, embarrassed to have been seen in a bad light, brushed her off and rolled it away.
Later, she saw Beck breaking up another confrontation between Hopper and Zed by twisting Hopper's arm and throwing him to the ground. When Beck drew his disc, Mara ran forward to stop him, shocked that he had come close to seriously hurting another program. However, when she later learned that Hopper and Bartik had instigated the arrest of the garage crew by Tesler's guards, she said that if her hands were free she would derezz them.
When a fight broke out in the garage between Pavel and the Renegade, Zed broke free during the chaos, and freed Mara as well. Mara ran to save another coworker, but Zed saw that a detached light jet was about to fall on her, and leaped to throw her clear. The fall knocked her out and left her with a wound on one arm; Zed carried her to safety and left her with Able while going back into the garage to rescue Hopper and Bartik.
After the battle, Mara used her identity disc to edit a patch over the wound on her arm, and said she wished she could have thanked "Tron" for saving her. Beck, however, broke in and told her it was Zed who saved her; astonished, she took Zed's hand and thanked him.
The RewardEdit
When General Tesler offered a reward for the capture of the renegade, Mara, among the crowd gathered in the Coliseum, was grabbed in a headlock by Zed, who joked that he had the Renegade right there. Mara, however, was more excited that Argon City's curfew had been temporarily canceled, and she, Beck, and Zed would be able to have a carefree night on the town, just like the old days. However, their evening at the 0001001 Club was interrupted when Pavel marched in to arrest Hopper as the Renegade. Knowing that she and Zed could prove that Hopper had been present when Pavel was fighting the Renegade at the garage, the two brought their information to Paige; but Tesler, predisposed to believe Pavel and offended that Mara had reached out to touch his cloak as she pleaded to be heard, sentenced Mara and Zed to die with Hopper.
The three programs were bound in the center of Argon Square, with Occupation light cycles ready to take off and tear them apart. As the ropes were slowly tightened, Zed told Mara that it would be okay, and that she should close her eyes. Mara replied that he was her best friend, but that there was something she had always wished had happened; but before she could finish, the Renegade arrived in Link's new light roadster and rescued them.
Driving away with the Renegade, after Zed, at Mara's instigation, booted an ungrateful Hopper out of the car, Mara expressed glee at the exciting rescue. She scolded Zed for remarking that the trouble they were in was the Renegade's fault to begin with, and wished that Beck could have been there with them, saying he would have loved this. The Renegade, not wishing to reveal his identity, told them to remember that Tron lived, and separated the roadster into two double-seater lightcycles. Mara drove away with Zed in the seat behind her; Zed asked her, as he had several times before, what she had intended to say in the square, but she evaded the question.
Mara's planned ring game with Zed and Beck was canceled due to sentries hogging the playing field. Later, in the garage, Zed was supposed to keep an eye on Beck but wandered off to help Mara with her work instead, nearly allowing Beck to sneak out against Able's orders.
Mara was later in the crowd at Argon Square, watching the Renegade battle Tesler.
We Both Know How This EndsEdit
Arriving at the garage before the start of her shift, Mara criticized the state in which the second shift had left their workspace. Her ruminations were interrupted by Able, who, taking a day off to complete a task, put her in charge for the shift, responding to her surprise with, "What other choice do I have?"
Mara's shift started off on a sour note when Beck and Zed came in late. They were surprised to find her in charge and agreed to back her up, but soon proceeded, along with Copper and Dash, to slack off as much as they could, brushing aside her entreaties. Things took an even worse turn when Pavel arrived with twelve tanks which had been sabotaged by the renegade, threatening the entire shift with the Games unless the tanks were repaired by the time he returned. When Mara tried to rally her coworkers to work together and thus finish sooner, Dash scoffed that there was no time and that listening to her would get them all derezzed. Overriding Mara's protests, he convinced the team to scatter and work by themselves, throwing the garage into chaos.
As the time limit approached, Mara discovered that Link had inadvertently and briefly reset the tank he was working on, and extrapolated a way to fix all of the vehicles. Beck, fearing that there wasn't enough time for the team to finish, attempted to sneak off to his locker for his Renegade disguise in order to stall Pavel somehow, but Mara followed and sternly informed him that his slacking might have been okay with Able but it was not with her, and that he needed to spend more time working on not getting derezzed. Back on the floor, she called the team to attention, telling them she'd made a mistake trying to act a friend when what they needed was a leader, and saying that if they failed to fix the tanks, she would take all the responsibility herself. She then showed them Link's fix, and the team managed to implement it on all twelve tanks just in time for Pavel's deadline.
When Able returned, he told her he was pleased he hadn't made a mistake with her. Surprised, she said she'd thought he had no choice, and he clarified that that was because she'd been his first and only choice.
Mara recruited two programs, Moog and Rasket, to help her spread the message that Tron lived by tagging buildings all across Argon City with free code. When a program in a red-circuited disguise captured the masked trio, Mara stubbornly insisted that she believed Tron lived. The program then revealed himself to be the Renegade, and Mara unmasked herself after her teammates did, delighted to meet her hero and immediately pledging herself to "Tron"'s cause, unaware all the time that the Renegade was really Beck.
When the Renegade gathered the three together to plan a raid on Tesler's ship, Mara understood immediately that she and her teammates were meant to provide a distraction while the action took place. She sought approval from the others, but they were disappointed with the lack of fun and notoriety for them in the plan. Disappointed, the Renegade turned to leave, but Mara called him back, and roundly scolded the others for focusing on trivial things while the Renegade was risking his life for them. She declared that whatever they did, she would be on his side, and after a moment's reflection, they agreed.
The raid went off without a hitch, but Moog and Rasket separated from Mara instead of accompanying her to the meeting place afterward, though she tried to call them back. She met the Renegade alone and told him that the two had decided to tag Tesler's ship by themselves; when the Renegade asked what they thought they were doing, she retorted that they hadn't been thinking and that she'd been accustomed to doing the thinking for them. The Renegade told her to wait while he went in after them, but she refused, boldly citing her knowledge of her teammates and their ways and stating that he'd never find them without her. Reluctantly, he agreed to bring her along.
Mara and the Renegade discovered Rasket and Moog being tortured by Pavel, and broke the torture device to rescue them. While the Renegade held Paige off, Mara tried to reopen the door of the ship, which was steadily closing, but there wasn't enough time. A recognizer loomed overhead; Moog and Rasket ran from it, but Mara snatched Rasket's free-code tool and corrupted the craft with TRON LIVES graffiti, obscuring its viewscreen and causing it to crash. Worried about the Renegade, she hung back as her friends bailed out of the ship, and was stunned and jolted from its platform by light copter fire. When she came to, the Renegade had caught her in mid-air, and she put her head trustingly on his shoulder and closed her eyes again as his light jet carried her back to the meeting point.
After her teammates quit, she turned to the Renegade, renewing her commitment in determined tones, unknowingly echoing Beck's own early words to Tron -- "I'm ready for this!" -- but he brushed her off, using the excuse that she was no use to him alone in order to mask his concern for her safety.
Later, a crowd in Argon Park gathered around yet another monument defaced with the "TRON LIVES" code. Mara, letting her rebel mask retract under a concealing hood, observed her handiwork and smiled.
State of MindEdit
While driving to work, letting her vehicle operate automatically, Mara skimmed through potential new hair colors on her identity disc, asking her Bit which one would express her commitment to the revolution. When a drone tanker drove off a bridge ahead of her and caused an accident in her lane, she switched her truck to manual to avoid the pileup, but her truck swerved out of control and crashed. Injured and semiconscious, she was taken to a medical facility along with the other crash victims and unknowingly used as a test subject for an experimental pathogenic code before being released again.
The effects of the drug soon became apparent: first with her uncharacteristic admiration of all things related to the Occupation, then with her violent reaction to Zed's mention of the Renegade and changing her hair from blue to orange. Expressing disgust at the Renegade and admiration for Clu, Mara behaved violently toward Zed when he interrupted her meeting with Bartik and Hopper at the 0001001 Club, and eventually left with them to attend an Occupation party in Argon Square.
Later, Zed found her at the party, dancing with the rest of the hypnotized programs, and managed to draw her away, but she again reacted violently when they came across another building marked with the "TRON LIVES" tag, hacking at the V until it read instead, "TRON LI ES". Zed tried to stop her, but she counterattacked and pinned him down with her identity disc poised menacingly above him. Just then, Beck destroyed the control tower that was controlling all of the programs infected with the mind control drug, and Mara was returned to her senses, unable to remember what had happened while the pathogen was working. Just to make sure that she was really herself, Zed asked her about the Renegade, and she, believing the question to be a prelude to another one of his anti-Renegade tirades, exasperatedly told him that she thought the masked program was doing some good.
Later, in her quarters, she returned her hair to its normal shade of blue, a change heartily approved by the Bit.
No BoundsEdit
Injured by an explosion, Mara, lying on a gurney as a medic worked on her disc, explaining to Beck and Zed in dismay that an eyewitness had implicated the Renegade. Though still believing in him, Mara was unable to deny the evidence of the witness's identity disc. Her account was interrupted by the medic, who, brandishing a long set of pincers, extracted a large shard of glass from her injured leg; Mara did her best to control her pain, but Zed, watching, collapsed in a dead faint at the sight.
Mara and Zed were later met at the 0001001 Club by Cyrus, who, as part of his plan to revenge himself on Beck and Tron, introduced himself as an old friend of Beck's and became an instant hit with both of them. Cyrus had begun to spread a rumor that Beck had quit his job, and Mara confronted Beck with the news when he arrived, but he assured her -- unable to publicly reveal that Cyrus had somehow learned of his quitting his job as the Renegade -- that whoever had been spreading such rumors should be locked up. She was eager for details about the friendship Cyrus had professed, but her favorite song started playing and she jumped up and hauled Zed out to the floor to dance with her, making Beck promise not to reveal any juicy backstory tales until they returned. While they danced, Cyrus, who had been taunting Beck with his inability to protect his friends against a threat he couldn't warn them about, spoke about Mara with creepy intensiveness, further unsettling Beck.
Cyrus later managed to incapacitate Mara and Zed and lock them in a crane with time bombs strapped to their backs. When they came to, they found Able attempting to remove the bombs. He was eventually successful, but when he tried to tell them who had been responsible for their predicament, the bombs began to sizzle, trapping him in place. He shouted for them to run; Mara held back, but Zed pushed her out of the crane, and they both plunged into the water below as the crane exploded, with Able perishing in the blaze.
Zed helped Mara climb onto the docks, and they found themselves in a ring of confused programs as the Renegade arrived. Furious, grieving, and influenced by the damage Cyrus, in the Renegade's disguise, had done to the masked program's reputation, Mara accused him of killing Able, and he was forced to flee.
Mara later turned off the lights in Able's office, and the Bit followed her out, hovering next to her and Zed as they leaned on one another and gazed up at the wanted poster for the program they thought had killed their beloved mentor.
Personality and traitsEdit
Mara is an upbeat program who enjoys dancing, music, and relaxation. She values her friends and strives to keep a cheerful attitude, but has little sympathy for programs who threaten others. She is also an excellent strategist, quick-thinking, cool under pressure, and thriving in dangerous situations. For the most part, Mara believes that the Renegade - "Tron", - is the hero the Grid needs most. She is one of his staunchest followers, though she is unaware that the masked program is actually her friend Beck; she is willing to do whatever it takes to support him, and expresses annoyance at Zed's constant criticism of his methods. After an imposter's campaign to discredit the Renegade, Mara's opinion changed so far as to blame him for Able's death, but finally concluded that the city's residents couldn't expect one program to fight all their battles, a decision that prompted her to launch the first true resistance movement in Argon City.
- Mara does not appear in Isolated, Scars: Part 1, Part 2, The Stranger, Welcome Home, and Rendezvous.
- Mara is one of the few Basic programs who does not seem to be named after an aspect of computing history.
External Links Edit
- Mara at Heroes Wiki


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If you are suffering from pain, know you are not alone!
According to the American Academy of Pain Management, you are just one of the 75 million patients in the United States that suffer from chronic or acute pain. Nationally, pain is the leading cause of disability. The daily impact can be severe and dominate each day of your life. Take your first step at regaining control of your pain by reviewing our website to discover what Advanced Pain Institute is and how we can be the right team of clinicians for you. Our top board-certified pain management physicians and providers treat patients with a compassionate, comprehensive approach. We believe in treating pain at its source. Are you ready to take the next step?


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Clamerica may be off to Washington, D.C. this year to carry the word about Cedar Key's clams to the nation's capitol on July Fourth, but things will not be dull in Cedar Key.
The city is not sponsoring a fireworks show, but some residents will be putting on their own show and the morning will kick off with the annual Independence Day parade of vehicles and vessels.
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Power of the Word
Like any life-sustaining resource, language can also become depleted and polluted, Marilyn Chandler McEntyre writes in Caring for Words in a Culture of Lies. She reflects on what it means to be good stewards of language, focusing on 12 practices that can revive and restore it. Eerdmans
For writer Nora Gallagher, Holy Communion illustrates a web of people being continually stitched together. In The Sacred Meal, she reflects on her own experiences of Communion, includes a brief history of the practice, and presents various Christian perspectives on it. Thomas Nelson
Made for Relationship
For Living L'Arche: Stories of Compassion, Love and Disability, Azusa Pacific University psychology professor Kevin Reimer studied U.S. L'Arche communities for two years, asking questions about humanity and security, "downward mobility," and "disability." The result is a collection of stories that illustrate the transformative effects of compassionate love. Liturgical Press
Spiritual Awareness
Why do most of us feel spiritually imprisoned within ourselves? Why do our egos resist change? In The Naked Now: Learning to See as the Mystics See, author and spiritual adviser Richard Rohr takes up these questions with love and directness—teaching us the difference between believing in God and experiencing God. Crossroad Publishing Company


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Yul: the man who would be king : a memoir of father and son
Simon and Schuster, 1 oct. 1989 - 252 pages
Yul Brynner's only son offers a memoir of life with his famous father, his exotic early life, his triumphs on Broadway and in film, his stormy personal life, the troubled relationship with his son, and painful death from cancer
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WASHINGTON — A divided federal appeals court Tuesday overturned a regulation clamping down on power plant pollution that contributes to unhealthy air in neighboring states.
In a 2-1 decision, a panel of the U.S. Court of Appeals for the District of Columbia Circuit said the Environmental Protection Agency's cross-state air pollution rule exceeded the agency's statutory authority. The court faulted the EPA for imposing "massive emissions reduction requirements" on upwind states without regard to limits imposed by law.
In adopting the regulation a year ago, the EPA sought to reduce downwind pollution from power plants in more than two-dozen states. The rule was scheduled to go into effect in January, but several large power companies and some states sued to stop it. The appeals court agreed last December to suspend the rule pending its review.
"Our decision today should not be interpreted as a comment on the wisdom or policy merits of" the EPA rule, wrote Judge Brett Kavanaugh, in a decision joined by Judge Thomas Griffith — both appointees of Republican President George W. Bush. "It is not our job to set environmental policy. Our limited but important role is to independently ensure that the agency stays within the boundaries Congress has set. EPA did not do so here."
In a dissent, Judge Judith Rogers, an appointee of Democratic President Bill Clinton, said that the court had disregarded "limits Congress placed on its jurisdiction, the plain text of the Clean Air Act, and this court's settled precedent interpreting the same statutory provisions at issue today. Any one of these obstacles should have given the court pause; none did."
Sulfur dioxide and nitrogen oxide pollution from power plants can be carried long distances and the pollutants react with other substances to form smog and soot, which have been linked to illnesses. The cross-border pollution has prevented many cities from complying with health-based standards set by law.
EPA spokeswoman Alisha Johnson said the agency is reviewing the decision, and will determine what steps to take after the review is complete.
"EPA remains committed to working with states and the power sector to address pollution transport issues as required by the Clean Air Act," she said.
Tuesday's ruling follows a decision June 26 by a different panel of judges in the appeals court upholding the first-ever regulations aimed at reducing the gases blamed for global warming.
The EPA has been at the center of attacks by industry groups for what they view as job-killing and economically destructive regulations.
The new downwind pollution rule was triggered by a federal court throwing out the previous one penned by the Bush administration. The new regulation would have replaced a 2005 Bush administration rule. The new rule would have cost power plant operators $800 million annually in 2014, according to EPA estimates. That's in addition to the $1.6 billion spent per year to comply with the Bush rule that was still in effect until the government drafted the new one.
The EPA said the investments would be far outweighed by the hundreds of billions of dollars in health care savings from cleaner air. The agency said the rule would prevent more than 30,000 premature deaths and hundreds of thousands of illnesses each year.
Tuesday's court decision leaves the 2005 regulation in place.
Scott Segal, director of the Electric Reliability Coordinating Council, a coalition of utilities and energy companies, called the ruling a "stern warning" to EPA.
"The fair and appropriate regulation of electric power production in the United States is no mere academic exercise," he said. "When the EPA takes liberties with its legal authority, the result is higher prices for consumers, businesses, schools and hospitals. At a time of economic recession, the country cannot afford sloppy rulemaking of this sort. The EPA can and should do better."
On the other side, the Clean Air Task Force, an environmental group, said that the ruling "will mean that American lives will continue to be needlessly lost. Long-overdue pollution controls that had been required by the rule on many of the nation's coal-fired power plants, including those in the Midwest, will now be delayed even further."
John Walke, clean air director at the Natural Resources Defense Council, called on the EPA to appeal the ruling.
"This rule would have prevented thousands of premature deaths and saved tens of billions of dollars a year in health costs, but two judges blocked that from happening and forced EPA to further delay long overdue health safeguards for Americans," he said.
Road conditions cited as factor in Hartland crash that injured two
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Saco 7th-grader wins Maine State Spelling Bee
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Vintage plane, soon to become bar, tours Times Square
Men's lacrosse: Colby has the answers in win over Connecticut College
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New Jersey attorney general sues California company over 'ghost guns'


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Russell Brand Reaches Deal On Charges In New Orleans
NEW ORLEANS (AP) — Actor Russell Brand must perform 20 hours of community service and pay a $500 court fee to resolve a misdemeanor charge stemming from a confrontation with a photographer in New Orleans.
Brand did not appear in Municipal Court on Thursday morning, but his attorney, Robert Glass, entered a not-guilty plea on his behalf to a charge of criminal damage to property.
Glass said that under a deal with the district attorney's office, the case would be dismissed if the actor provides proof he has completed the service requirement by Aug. 31.
He said he is hopeful Brand may be able to fulfill the requirement through his charitable work with people suffering addictions.