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Almost from the start of modern trading of futures contracts in the early 1980s, there's been an expected trading connection between crude oil and natural gas.
Of course, the parallel between the two had tacitly existed much earlier.
It was usually calculated in "Btu equivalences," meaning that the convenience of moving from gas to oil (or vice versa) was summarized by how much heat energy each could generate (measured in British thermal units – Btu).
That both energy resources happened to be drilled in essentially the same way and, even more so, tended to be found together only accentuated the equivalence.
Given these factors, market prices often changed in lockstep.
But over the past two decades, the traditional assumptions underlying this connection have been predicated on a factor that's quickly going away…
Which is why I now see oil and gas prices diverging.
Here's who the "winner" will be…
Oil and Gas Prices Are Already Diverging
When the Btu relationship between oil and gas was initially advanced, thermal heat had been the main ingredient. While both natural gas and low-sulfur heating oil remain staple ways to heat a home in the winter (a central Btu-related matter), these days the environment is quite different.
And with these changes, the coupling of crude oil and natural gas prices has been eroded.
To be sure, there is still a connection. But it is far weaker.
Take the most recent pricing, for example.
WTI (West Texas Intermediate, the benchmark crude oil rate used in New York and set in Cushing, Okla.) and Henry Hub (the major natural gas pipeline confluence in Louisiana, where natural gas prices are set) have had similar price changes over the past month through close of trade yesterday – up 1.14% and 1.7%, respectively.
Yet for the most recent week, Henry Hub is up 3.5%, while WTI is up only 0.8%.
Natural gas has experienced a more sluggish recovery than crude oil has. But as we move back into a cooler winter cycle for much of the country, that is likely to reverse.
In fact, despite some significant concerns over surpluses in storage, many analysts (myself included) see gas prices moving up quicker than oil for at least the next three quarters. The main reason involves how different the end-use markets are for each resource, compared to those from only a few years ago.
And this is the reason oil and gas are likely to see a separation in prices moving forward. While both are experiencing increasing demand, natural gas has seen a greater expansion of consumption options…
About the Author
Dr. Kent Moors is an internationally recognized expert in oil and natural gas policy, risk assessment, and emerging market economic development. He serves as an advisor to many U.S. governors and foreign governments. Kent details his latest global travels in his free Oil & Energy Investor e-letter. He makes specific investment recommendations in his newsletter, the Energy Advantage. For more active investors, he issues shorter-term trades in his Energy Inner Circle.


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Experimental and avant-garde outfit "Den Svarta Fanan" will be at The Acheron on June 20. This show is a special collaboration of music & words about the Japanese Fukushima nuclear-reactor meltdown & anti-nuclear movement's response. It will feature Yuko Tonohira (voice), Nonoko Yoshida (alto), Joe Merolla (bass) and Weasel Walter (drums).
Full details below.
>COMMON VISIONS (Asheville, N.C.)
>>FLOWN (ex-Frankie & the Outs)
>>>>JFISSURES + DEN SVARTA FANAN (NYC / Hokkaido, Japan)
The Acheron
57 Waterbury St
L Train to Montrose station. 8pm

subset: commoncrawl


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Valve submits Etsy C&D Order/
It is no small fact that you can find stuff from just about any fandom on Etsy.com. Ponies, anime, Doctor Who, etc. And for the most part the owners of these IPs look the other way on things being sold through this massive market. But there is a key word here, mostly. As of this week Valve has submitted a cease and desist order to Etsy requesting all Valve merchandise be removed. That means as of now you can no longer find Portal patches, TF 2 trays, or Half Life hangers (no clue if two of those things actually existed).
I will be honest that I am a little surprised that this does not happen more often. With no quality control anything could go out with a companies brand on it, for good oor bad. But given the rarity of events like this it makes you wonder, is something is going down at the house Gabe built?


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Bean Products and Recipes
- Beans, Peas, and Lentils: Health Benefits
- Healthy Eating: Meals Without Cooking
- Healthy Eating: No-Cook Recipes
- Shopping for Health: Beans, Peas, and Lentils
What is EDIS?
EDIS is the Electronic Data Information Source of UF/IFAS Extension, a collection of information on topics relevant to you. More...


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New Delhi [India], September 11 (ANI): The Congress">Congress on Monday took on Union Home Minister Rajnath Singh over his visit to Jammu and Kashmir in a bid to interact with delegations from the different sections of the society, citing that the Bharatiya Janata Party (BJP) is known to make 'fake promises'.
Speaking to ANI, senior Congress">Congress leader Mani Shankar Aiyar said, "These are just promises or speeches which can be forgotten and left behind. The value of the words will prevail only if the things said by Rajnath Singh can be implemented; then only the Valley would be a better place to live in. But if you go to see, the saffron party is great in playing with words and people's feelings. They have always made fake promises and this time too the same will happen."
Echoing similar sentiment, another Congress">Congress leader Sandeep Dikshit stated that just promising big dreams for the people of the Valley will not make things happen.
"Rajnath Singh's initiative is not bad, but we would like to see the plans he takes out. Only speaking and promising big dreams for the people of the Valley is not enough. Transforming them into actions is way more important," he said.
The Union Home Minister is on a four-day visit to Jammu and Kashmir, where he is expected to conduct a review meeting of the prime minister's development package. (ANI)


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Daan Roosegaarde | TED Talk Video Intro Maker Illustration
Here is our illustration of this awesome TED Talk!
TED Talk | A smog vacuum cleaner and other magical city designs
From a bike path in Eindhoven, where he reinterpreted "The Starry Night" to get people thinking about green energy, to Beijing, where he developed a smog vacuum cleaner to purify the air in local parks, to a dance floor that generates electricity to power a DJ booth. This video was created from a video from TED which holds the copyrights of the audio content of this video.
Love this video illustration? Head to our main page and get your own illustration or explainer video in only a week!


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Dolenio 90 Comprimés
Notes et avis clients
Description:To bend osteoarthritis
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Veroval Tensiometre Duo Control...
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Puressentiel Diffuseur Bois...
89,80 €
62,86 €
Notes et avis clients
Description:To bend osteoarthritis
Dolenio is a drug based on glucosamine sulfate stabilized with sodium chloride, intended for the relief of symptoms of mild to moderate osteoarthritis of the knee.
Dolenio) is a medicine for adults. Read carefully the package leaflet and ask your pharmacist for advice. No prolonged use without medical advice. Do not take Dolenio during pregnancy or in cases of allergy to shellfish.
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Located in the heart of Brussels, close to the South Station, Selfpharma offers you all the expertise of its pharmacists! The website is approved by the Federal Agency for Medicines and Health Products.
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The pharmacy is open from Monday to Friday (8.30am to 6.30pm)
and Saturday (9.00am to 12.30pm)
Guard duty: www.pharmacie.be or 090010500 (0.5€/min)
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Microwave Powder, 19GHz Peak
Darkshield is a fully sintered compoundable ferrite powder designed for maximum microwave energy absorption at 19GHz.
- Extreme wide temperature range.
- Maximum energy absorption at 19GHz
- Mixes with elastomers, epoxy, paint & other coating materials.
- Can be sprayed, injected, molded or spread
- Finished material can be machined, diced, die cut
- Fully compoundable-make into any shape and size.
A 1mm thick layer of this material mixed with epoxy can attenuate a signal by nearly 14db at 19GHz. Thicker layers or stacked layers can reduce the signal even further. Click on the Specifications tab for a detailed, downloadable pdf file full details.
Download this data sheet on Darkshield fully compoundable sintered ferrite powder for attentuating cellphone frequency microwaves.
The image below shows a 1mm thick plate made with Darkshield ferrite powder. The plate is roughly 25x40mm in size & is 80% ferrite powder by weight. Our 25g size vial has enough powder to make a plate large enough to cover one side (the non-antenna size) of 2 cell phones or any device you care to use it with.


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The first thing Andrew Livingston did when he moved into his two-bedroom apartment in Williamsburg, Brooklyn, was to furnish the guest room with a good mattress. "I needed it up and running on Day 1," he said.
Mr. Livingston, a designer and entrepreneur, leased the duplex in a converted 19th-century Catholic church 18 months ago with the intention of offsetting his rent by letting out the second bedroom through Airbnb. His overnight guests are primarily friends of friends and business associates.
"I got the idea from the way we run the factory," said Mr. Livingston, 23, the majority owner and creative director of the Knickerbocker Mfg. Co., a clothing company that he runs out of an industrial space on the border of Ridgewood, Queens, and Bushwick, Brooklyn.
He leased the space with two friends, Daniel McRorie and Kyle Mosholder, who now use part of the factory for their own projects. "We have 8,000 square feet and rent out work space to like-minded people to help with the overhead." About 25 percent of the space is leased to others.
Now he's using his experience as a landlord to organize booth rentals to furniture and home accessories vendors at the Liberty Fairs men's wear trade show Jan. 26 to 28 at Pier 94 on Manhattan's West Side.
"I'm the curator of a new section they're calling 'The Living Room,' " said Mr. Livingston, who convinced the fair's organizers to expand into home design because he believes the coolest fashion retailers are selling a "lifestyle — although I hate that word."
"They're both ways we showcase our identity," said Mr. Livingston, who has tattooed arms, thick-rimmed glasses and slicked-back, precision-cut hair. "When you walk into my shop or home you clearly know where my interests lie."
That the "shop" he works in is an old factory and he lives in an old church reflect Mr. Livingston's nostalgia for eras he's never known. In his upstairs bedroom, which has a glass wall overlooking the double-height kitchen, he has a gallery of heroes, black-and-white photos of men he admires, including Gene Kelly, James Dean, John F. Kennedy and the racecar driver James Hunt. "He's the man!" Mr. Livingston said of Mr. Hunt.
"This is my favorite photo," he continued, pointing to a faded color picture of a huddle of anonymous men in formal attire and top hats. "I love that they are all wearing the same thing. I would say they are at a racetrack taking bets."
Mr. Livingston's apartment is as well-styled as any booth at the Brooklyn Flea. "It's a lot of knickknacks," he said, surveying a shelf with his grandfather's rings, religious icons, a silver tooth, and a Vietnam War-era lighter he bought in Japan.
He collects artwork by friends such as a blue-on-black print of a skeletal head by Daniel Albrigo. "He's a painter and local tattoo artist who just moved to California," he said, adding that the print was produced by their friend Mark Herschede, who runs Brooklyn's Haven Press, which also makes the prints that Knickerbocker sells online.
Mr. Livingston's home is like a Venn diagram of overlapping personal and professional relationships. On another shelf in his bedroom, he keeps an assortment of knives, including one with a bone and horn handle and a hand-forged blade by his friend Max Poglia, who rents workshop space from Knickerbocker. "Then I got some knives as gifts and it began to look like I had a collection," Mr. Livingston said. "I found this Bakelite switchblade hidden away at a place called Eclectic Collectibles on Metropolitan Avenue, which has some crazy things. It's one of the best junk stores I've ever seen."
Another local haunt is Stella Dallas Living, where he bought a World War II-era white wool blanket woven with the words "U.S. Navy Medical Department" and the old red Pendleton blanket with a cowboy riding a bucking bronco that covers his bed.
"But it's tough to find great vintage things you can afford in New York," he said, "because everybody knows what's cool."
Mr. Livingston appreciates well-made reproductions like the vintage-style iron bed and tailor's rack in the guest room and the letterpress cabinet in his living room. "I got them at the Restoration Hardware Outlet sale," he said. "They're pretty cool. In the perfect world, I would have real ones, but forget about it — they're so expensive. I could barely afford them at the outlet sale."
Mr. Livingston traces his fascination with style to his teenage years in California, when he was a competitive snowboarder. "I was riding for a company called Billabong," he recalled. "I used to go to their offices and see everyone working on graphics and it got me thinking about clothing. It was my first time being around something really creative and seeing a whole community built around something."
After graduating from high school in San Diego, he enrolled at New York University, where he started Ferris, a company that specialized in hand-printed T-shirts, with Taylor Conlin and Taylor Spong. He sold them his stake in the company to finance Knickerbocker, he said.
Determined to learn the nitty-gritty of the garment industry, Mr. Livingston started hanging out at the Watman Headwear Corporation on the Ridgewood/Bushwick border. When the owner said he was retiring, Mr. Livingston and his two partners took over his lease and bought his ancient machinery, including sewing machines and steamers.
The factory and the clothing company are separate entities, both named Knickerbocker after the 19th-century baseball club. The clothing company not only produces hats and shirts under its own label but has also collaborated on caps with other hipster labels such as Blind Barber and the denim brand 3sixteen.
The people who run these outfits have "all become friends," he said.
The clothing company has six full-time employees, Mr. Livingston said. He designs the clothes and selects the fabric, trim and stitching before handing things over to pattern, sample and garment makers. Knickerbocker Mfg. clothing is available online and at stores such as Brooklyn Denim Co.
Mr. Livingston said living in Williamsburg has been ideal because it allows him to monitor fashion and retail trends on a daily basis. "They're calling this the SoHo of Brooklyn now," he said. "That's exactly right, except we don't have the cobbled streets."


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Amarnath to Tiruchirappalli is not as alliterative a phrase as Kashmir to Kanyakumari, but it means the same. Kashmir is an integral part of India and we are one. The basic fact of Indian life is not born out of camaraderie or compassion, but violence. At Amarnath, militants or terrorists in the name of Islam, killed seven people simply because these strangers who they had never met in their lives happened to be Hindus. Kashmir shone the path for religious separatism almost three decades ago when Islamic separatists forced their Hindu neighbours out of the valley.


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The Malone Stax Pro™ universal car...
Enjoy-Crete is now the main distributor for NDK (Nigel Dennis Kayaks) in Greece and the only one authorized expedition centre from Nigel Dennis in Greece.
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Baku. 3 August. REPORT.AZ/ Serbia expressed interest in joining the project to transport gas from Azerbaijan to Europe bypassing Russia. Report informs referring to the foreign media, Serbian Prime Minister Aleksandr Vučić said before his first visit to Albania.
"We are ready to diversify the sources of gas supply for Serbia, which is very important also for our American friends", he said.
A.Vucic said his country will accept U.S. calls to reduce dependency on Russian gas supplies by adding an American-backed pipeline that would bring gas to Europe from Azerbaijan.
Earlier, Serbian President Tomislav Nikolic said that Serbia refused to participate in the construction of infrastructure for the "Turkish stream," but it doesn't completely replace the "South Stream".


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Cornerstone Spine InstituteSpecializing in Sports, Biomechanics and Neuromuscular therapies.Have served Murrieta/Temecula for over 18 years
(951) 600-8024
41555 Cherry St. Suite LMurrieta CA 92562
What is Chiropractic?
Taking A Natural Systemic Approach To Healing
Chiropractic is an overall way of looking at the human body. It's based on the idea that the body is self-sustaining and self-healing. The body is in essence completely controlled by the brain through its connection via the spinal cord and the vast networks of nerves that make up the body. When this system is not functioning at its peak, the overall performance of the human body is lacking.
In the chiropractic world, drugs and medicine are not utilized as a form of treating a patient. While supplementation and nutrition are almost always a part of the bigger picture, drugs and prescriptions can be viewed as band-aids to treat symptoms rather than going to the source and treating the real problem.
While it's often perceived that the chiropractor is solely here to treat back and neck pain, this is simply a small piece of what the profession really is capable of handling. Chiropractors not only treat soft and hard tissue problems such as sciatica and joint pain, but are largely called on to deal with more significant issues. Some of these issues include fibromyalgia, allergies, insomnia, headaches and many more.


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Category Archives: Karma
The Dodo!
Me and mummy had such an exciting day last week! The amazing people at the Dodo featured a story on me!!! CLICK HERE TO WATCH MY DODO VIDEO! We've been so busy – yesterday was just my third Gotcha Day … Continue reading
Embracing Karma Project
Well, Karma and I have been absent from our blog for a long time – and we're so sorry we've been away! Turns out when you take on a not for profit project helping dogs, and you already HAVE a … Continue reading
Time to GIVE back!
I'm starting a recycling clothes for rescue dogs program! Read on to see what it's all about! Continue reading
Karma's Gotcha Day Ice Cake :)
So mum is a self professed Crazy Dog Mum so she was pretty excited about making me my very own Pup Cake out of ice (since it's the last week of summer here in Australia!) for my Gotcha Day / … Continue reading
Beach Day!
~Mum and I love going to the beach early in the morning when there is no one else there. It's so peaceful and I can play in the waves and not worry about any other pups running up and knocking … Continue reading
Hi New Friends!!!!
If you're a new friend please check out the menu above to read my Rescue Anniversary (good summary of everything ME!) and "Karma – her story" that my mum wrote. ❤ Karma Find LOTS more of me on Instagram @embracingkarma … Continue reading
Throwback Thursday to when mum tried to dress me up all fairy princess girlie!!! (grrrrumble grumble….) I don't know when she's gonna realize what I really wanna do is play in mudpuddles and roll around in dead animals??? Probably eat … Continue reading
Divorce and a Dog….
It's been over a year now since my husband and I separated, and I still haven't "announced it" on social media like facebook or anything until today right here. It was just simply too sad I would sit and cry … Continue reading
Hitting the campaign tail!!!
Karma here! Well, mum says i can't run cause actually i'm Australian…. BUT i happen to have lots of American Staffy in me! So from my understanding i think it makes me a better candidate than those other two options! … Continue reading
(a post by Karma's mum) October 9th marks two years to the day since my amazing baby was rescued from such cruelty and abuse that it's difficult for me to imagine. Today she is the happiest and most spoiled pup … Continue reading


text: Mueller report expected to be released Thursday morning | 15 April 2019 | Special Counsel Robert Mueller's much-anticipated Russia report is set to be released to the public and Congress on Thursday morning, the Justice Department announced. Justice Department spokeswoman Kerri Kupec told Fox News on Monday the report would be made available -- with redactions -- Thursday morning to lawmakers and to the public. The news comes despite mounting calls from Democrats to first release the report to Congress without redactions. Attorney General Bill Barr testified last Wednesday he planned to have the report available "within a week," maintaining his original vow to release Mueller's full report by mid-April.


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A type of game or indulgent that permits you to earn an outsized overprices on the coin within the short time potential with the Satta Matka game and with the most effective because of the kalyanmatkatips to succeed. The matka game may be game wherever the player unit of measurement is said to Associate in Nursing indulgent time and it means they need the equal chances of losing.
There is a section unit with the Satta Matka instrumentation. the globe health organization attracts anyone to hitch them and provides himself up to gambling. One should be really arduous whereas connecting the business as a result of it desires heaps of tricks related to traps to play with Associate in Nursing opponent. The kalyanmatkatips acknowledge the choices and rules of the game and can assist them for counting on it.
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At Ingomar Church we exist to lead our students in a growing relationship with Jesus Christ. We believe that life is better, when Christ is at the center. Our goal is to walk with our students on their faith journeys and help them strengthen their faith.
Sunday Morning Small Group Experiences for Grades 6-12
ELEVATE is our Sunday Morning Experience for 4th-7th Graders
Room Location: Community Life Center, Cafe
Small Group Leaders: Girls Group – Ally Meehan & Ally Boretsky // Boys Group: Craig Hunkele, Eric Pernell, & John Vogt
Curriculum 252 Preteen
Students come together, play games, worship, have a Bible lesson, and join in aged and gendered small group times.
Confirmation is our Sunday Small Group for 8th Graders
Community Life Center, Room 124A
Leaders: Darlene Brideweser, John & Tammy Debonis, Matt & Susan Moudry
Curriculum: Collaborate
8th Grade students join together to deepen their faith through a year of learning what it means to live out their Christian faith.
Senior High Sunday School for 9th-12th Graders
Community Life Center, Youth Room
Leaders: Jim Mountain and Mark Naylor
Curriculum: Varies
Senior High Students come together to study God's word.
Evening Youth Group Experiences for Grades 6-12
Youth Ministry can be a life preserver for students entering Junior and Senior High. Weekly group meetings offer community, support, and mentorship to our students in grades 6-12. We believe that Youth Ministry can change a student's life, and we encourage students to join us each week as we learn how to put our faith into action. God designed us to yearn for healthy communities, and that is what we provide for students: a healthy, safe, and nurturing environment where students can explore their faith without judgment.
Notice: Our doors lock to keep our students safe!
At 5:15 for ROOT, and 6:45 for FISH our doors automatically lock. This helps us to keep our students and leaders safe throughout the night. We encourage parents to drop students off on time, or to let Megan know in advance if they will be late so we can ensure the doors are open.
ROOT Youth Group: Grades 6-8
Sundays 5:00-6:30pm; Youth Room, Community Life Center (room 226)
10 minute hang out time, 35 minute game, 15 minute lesson, 20 minute small group time. Snacks are plentiful!
Middle School Parents should come INSIDE for Pick Up!
I know your students are awesomely responsible, but I ask that for their safety that you come inside to pick them up. Please express to your child that they are to wait inside for pick up until you arrive. There is lots of traffic in the lot with teenagers coming in, mourners in the cemetery, and people who use our lot to turn around. We want to keep everyone safe and you coming inside for pick up helps us to do that.
FISH Youth Group: Grades 9-12
Sundays 6:30pm-8:30pm; Youth Room, Community Life Center (room 226)
10 minute hang out time, 35 minute game, 15 minute announcements 20 minute lesson, 30 minute small group time. Snacks are plentiful!
Additional Resources:
Parent Cue Devotionals
Each week there are take-home parent devotionals that go along with the series we are studying at Youth Group? It gives you practical tips on how to take what students learn in Elevate, ROOT, and FISH and apply it in your home as a family. Copies can be picked up in the Youth Room.
YouVersion Bible App
Each series we study at ROOT and FISH has a Bible App Daily Devotional on the YouVersion Bible App that goes along with it? Consider doing this study together as a family! Plans change month to month so keep up with our emails to find out the current plan.
Cyber Safety is Important! Here are some Tips!
Back To School Cyber Safety Information
Feel free to contact our Youth Director, Megan at:
E-mail: [email protected]
Office Phone: 412-364-3613 X204
Or drop by the Youth Ministry Office located in the
Community Life Center
1501 W. Ingomar Rd.
Pittsburgh, PA 15237


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Indian Summer - Hampton Bays
Summer has returned even though its technically now fall! After a rainy, cloudy August, September has been absolutely beautiful in Long Island. (Minus our little brush with Hurricane Jose.)
A couple weekends ago my husband, pup and I took a little day trip out to the Hamptons. Instead of finding inspiration on the beach, I found so much more beauty in the bay. All the colors of the grass, mixing with the sky, had me itching to create some marsh paintings. So here are my two newest pieces, Indian Summer & Hampton Bays.
I've really enjoyed creating these marsh paintings and still feel the itch to create more. I think I might try to incorporate some of the Long Island bridges into these as well. Stay posted!


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6 Ways To Redefine Your Parenting As Your Kid Enters Middle School
Middle school is where your child needs to start learning responsibility and independence if they haven't already. Middle school is a testing ground and trial run for high school. Kids will never go through the natural process of learning to be self-reliant if mom and dad keep treating them like they did in grade school.
- Loosen your grip on their backpack. If you made it a point to teach your kid good organizational skills, you should not have to re-pack their backpack every night after homework. He or she handles putting everything in the proper places. Do a weekly or bi-weekly backpack check in front of them. Check for papers in wrong subject folders, loose forms, etc… and then make them fix it.
- Leave more of the communication to your kid. So, you have a question for your child's teacher? Perhaps something simple like when is picture money due? Resist the urge to shoot a quick email off. Have your child find out and report back to you the next day.
- Hold them more accountable for forgotten, lost or missing items. Do not run back up to the school so they can get a forgotten book or assignment from their locker. It is their responsibility to remember. If they failed at that responsibility, they must be held accountable to the consequences. Yep, that means your kid might get dinged on an assignment or fail a test.
- No more saving the day. If your son or daughter forgot his or her gym clothes or cello, too bad. Do not, I repeat- do not- run your kid's forgotten whatever over to the school to save them.
- Stop hovering over homework. Of course, homework should always be completed in a common area, like the kitchen, but you should not be looking over your child's shoulder the entire time. Allow him or her to make mistakes, discover they made a mistake and figure out how to fix it. They can check their own math homework with a calculator, there is no reason for you to do it!
- Go volunteer elsewhere. As an involved parent, you may have been "room mom" or volunteered in other capacities in your kid's school. While that's all well and good in elementary school, cut that out when he or she gets to middle school. Trust me, your kid does not need you in the building. Frankly, he or she shouldn't want you there.
It's all part of the natural individualization process. Don't take it personally. Don't be scared. Use that time to pamper yourself or learn something new: mani? pedi? massage? spin class? learn to meditate? Use your new found freedom wisely, my friend.
Have you been through the elementary to middle school transition? What advice would you offer others?


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Swiss craft beer brewers Dr Gabs approached us to help create a cider brand that was cheekier and fresher than the existing main stream European ones on the market.
Knowing that 'Crafty' apple cider would be one of the first craft ciders in Switzerland to use all natural ingredients, we decided to react to the competition with something that was clever, crafty, fun and authentic.
This enabled us to position Crafty as the premium, locally sourced, craft cider.
The main challenge in an oversaturated cider market was to create cut through. We did this by reacting to the traditional conventions of the category with illustration and hand drawn typography. We created characters and playful graphic elements to bring a cheeky personal touch to the brand.
Illustration: Rudi de Wet


text:
On Siblings: Paolo and Oriana Fallaci
It was a rolling rhythm. The gallop of paws, silent and light movement. Grace in motion.
Paolo and Oriana.
I hadn't had them together alone like this since they were puppies. I always paired them with an older dog, so they could learn the ropes about hiking and the responsibilities of being loose. Paolo dropped out of the racing pool last year for maturity, and Oriana raced in every single race team. They were apart.
When I decided to go for a hike, to scale Mt Success, I knew I wanted Oriana to come with me, with her joy and experience and her fuzzy face. Maybe because I was reading about antoher training run, when I paired all the siblings and relatives together, but I wanted to bring the siblings. Keep it in the family.
Cut loose from the dog yard, they tore around the front yard and the house, Oriana roughhousing with her brother. She came to the truck first, and I had to chase down Paolo who wanted to go back to the dogyard. Once both were into the truck, we headed up Mill Brook Road to where the trail crosses the logging road. Oriana came out of the box first, frenetic energy directed entirely at me, but once I unloaded Paolo she attached herself to him and they took off.
They were so fast.
They chased each other around and around, playing in the wildflower fields along the dirt road.
They moved as one. Siblings.
It was cool and cloudy at first, the walking was easy, including the part I dislike the most, the greened-over road grade once we leave the crumbling logging road. They were ahead, smooth circling movements on and off the trail. I trusted them completely, and let my mind wander and my feet move up the trail I've walked up so many times, for so many years.
They would unexplicably tear into the woods, Paolo usually leading the charge, and Oriana closing the gap quickly because she's so damn fast and athletic.
On this trail, the road grade levels off, and the hardwoods become softwoods, the dirt becomes ledge. From the ground up, the ecosystem is different, a sharp contrast. In a few steps, the world changes from growing-in clearcuts and skid roads to lush boreal swamp, twin planked bog bridges and beaver dams. Silence.
Mahoosucs. The ridgelines I've loved.
As we crossed a broken bridge, Oriana trotted right along. She has crossed this bridge a handful of times already this summer. Paolo attempted to follow her, but distrusted the log, and chose his own route. I tried to correct him, assuming from my decade of crossing this bridge that there was thick rushing water beneath.
The beavers had stopped up the flow, leaving a trickle of brown water.
I laughed, as I descended and crossed the muddy stream, avoiding the bridge entirely.
'Thanks for opening my eyes, Paolo.'
Paolo and Oriana's movements were fast but familiar. They wanted to run, to flow. Pure beautiful movement. They chased squirrels not to get the squirrel, but to look for a reason to run off trail. I know this, because after the squirrel was treed, they'd circle back to the trail immediately. More so than any of the dogs in the kennel, in the team, they embody pure athletic desire to run.
We reached Gentian Pond easily, quickly. I had been entertaining the thought of not going to Mt Success, but instead doing a different loop over Upper Gentian Pond and through Dream Lake. I had done that with Ellie and Foreman a few weeks prior. It would be shorter and faster, getting me home earlier.
Yet we got to Gentian Pond and the trail junction so easily, in just over an hour. Of course I knew I wanted to go to Mt Success.
The trail to Mt Success is a series of ups and downs, of steep ledge and flowing water. I have hiked it in so many conditions and for so many reasons over the years. I have hiked it in cold spring rain, postholing in snow as we tried to guess where the mud pits were so we could helicopter the trail bridge materials a few weeks later. I have hiked it in late June, with a heavy pack loaded with the tools necessary to move rocks and fell trees, misty clouds curling around the trees. I have hiked it in the dry clear August, for no real reason other than I wanted to see the view in the middle of my work day. I have hiked it in September, in the middle of a long weekend of overnights on my way to Carlo Col. I have thrashed around on the boundary that edges the mountain, repainting blazes and trimming back brush. I have slept on the side of that trail, camped out with Trail Crew. This mountain and I have a long history. But I still have so much to learn from it.
On this day, the climb to Success was straightforward. It was breezy and cool, perfect weather for moving uphill, for moving my body higher into the atmosphere. There was no humidity pressing me down into the earth. It's easy to climb when the wind urges you on.
The air got cooler, the breeze fiercer. I regretted not bringing a warmer jacket as we climbed higher.
Paolo and Oriana would unleash their loud gruff sibling bark and everyone we met. I learned to get them by hikers by rustling the snack bag, distracting them so they would follow me silently. Paolo figured it out first, Oriana less sure. We didn't encounter many hikers, and the few that we did were trail-hardened Appalachian Trail hikers, who aren't disturbed by much at that point in their journey.
Of course, as we walked, I thought about racing. About training. About how I wanted to show up this year.
I wanted to go fast. I wanted to re-cultivate speed. Watching Paolo and Oriana run, I wanted to bring that back to the team.
Oriana and Paolo are siblings, and they interact as such. Paolo gives confidence to Oriana, urging her to keep ahead of me and explore more things in the woods. Oriana brings a degree of reasonableness to Paolo's decision making, keeping him close and encouraging him to respond quickly to my calls. Towards the end of the day, I did have the thought 'imagine if I could train them both to be leaders.'
The sun started to come out about halfway up the mountain, pieces of blue sky and bright white clouds. Oriana would light up glowing, the sun on her golden coat, iridescent. She and Paolo were still in constant movement, running ahead and returning.
At the summit, I returned to the spot where I had sat with Oriana and Bonobo in early July. It was windy and there was a notch where I had a windbreak. The sun came out and the earlier thoughts about needing a jacket disappeared, and I settled in, Paolo in my lap for a short while. I held him, surrounded him, kissed his ears and eased him more fully into my lap. He was a little calmer, having been tired out from the hike up. I held him, and then let him go.
Paolo and Oriana each had their noses in my lunch until I discouraged them enough that they moved away. They settled above and behind me, on a ledge. I was able to eat my sandwich in peace. Paolo had learned to sit on that ledge from Oriana, who had been hiking with me so much already. Eventually Oriana moved over, to a rock by my face, and I leaned towards her and kissed her fuzzy nose, her golden soft ears.
There were so many times throughout the day when they both rushed at me, paws thumping my chest, pushing me back, tails wagging and grinning.
Just like when they were puppies.
It had been so long since I had stopped seeing them as puppies, not fully realizing that they had grown. Part of that was acquiring other puppies behind them, a lot of it was running and racing with them last winter. I saw them as adults. For the most part.
The same bark that Paolo and Oriana have, I heard first from their father when Stephane's team came up behind me on Portage Lake in Can Am in 2015. I had been waiting for Stephane to catch me, as he had in the Eagle Lake 100 earlier that season, moving past in a beautiful fluid lope. These fast fuzzy dogs. My jaw actually fell open when they passed.
I got to know Stephane in Can Am that year, as we ran together and I looked over his dogs at checkpoints. He laughed at me stuck in my sleeping bag in my sled at Maibec. He dropped out of the race not long after that, and said to me when I passed him in the night 'Ah it is good for you, you can move up a place in finishing.'
That was the first Can Am 250 I finished.
At the finisher's banquet, I got up the courage to ask Stephane and Nancy if they had puppies they would sell. I wanted those puppies so badly, I wanted those fast fuzzy dogs of my own. I called and bothered them, and emailed them, and in July I finally came up to get the puppies.
Paolo and Oriana are special in a number of ways, and it shows through the way I talk about them, the times the show up in the stories and the photos. A lot of that is because they are the first and only pair of puppies that I sought out intentionally, not opportunistically. I pursued them. Their origin story is tied up with my own origin story, of finishing the 250 for the first time. There is a lot there.
I took them for their first hikes, I put them in harness the first time, and I crossed the five finish lines with Oriana this past winter.
I sent a photo of Oriana and Paolo to my sister Rachel, who adores Oriana's little paws. Rachel pointed out their symmetry, their sibling-ness. She reminded me that there was something special in siblings.
Their movements, the entire day, were coordinated. They sensed when ther was something to speed p for. They encouraged each other. They played with each other. If I can train them both to be leaders….watch out.
The light on the descent was golden afternoon glowing through the trees. Golden light like that at 3 p.m. is the sign of the tilting earth, the swiftly darkening day. The tilt in the earth and the way we receive the sun. The evenings are cool enough now for fleece and warm pants.
What else can I say about this day of suspended time, of walking through the memories of the lives I've lived on that landscape, and with these dogs?
I will say that my feet hurt, from gripping ledge for 10 miles.
I will say that I relished in that time away from screens.
And I will say that I am so happy with Paolo and Oriana.
We covered 10 miles in about 5 hours. It won't be long before, in that same 5 hour period, we'll be covering a lot more ground.


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When people walk into a conference room, they don't want to struggle with the technology – they want it to just work. PanaCast provides that while significantly enhancing employee productivity by streamlining collaboration with its intelligent features. That's why we've deployed hundreds of PanaCast devices across Uber's conference rooms globally.
Ravi Sharma, Head of Collaboration and AV Services of Uber
How many times have you heard someone say "I ubered there?" This verb is testament to Uber's rising prevalence and the company's position as a leader in the ridesharing economy. Almost 10 years after its founding in San Francisco, CA, Uber and its drivers give about 15 million rides a day – proof of the company's success in accomplishing its mission: to "ignite opportunity by setting the world in motion". Uber's commitment to helping passengers reach their final destination via Uber – whether via UberPool, UberX or any of the company's many offerings – mimics their criteria for video conferencing technology. Just like the ideal Uber ride, a video call should be easy and efficient, should enhance productivity and should leverage the latest in cutting edge video collaboration technology.
Enter PanaCast! Uber has deployed more than 850 PanaCast camera systems worldwide over the course of the past 2 years. Their technical team began working closely with Altia Systems / PanaCast's sales and engineering teams in September 2016. This was in response to a dramatic uptick in demand for conference rooms amongst Uber employees. Uber was growing at a rapid pace and the need for ZoomRooms – the selected video conferencing service – was multiplying, a good problem to have, if you will. The PanaCast team worked closely with Ravi Sharma, Uber's Head of Collaboration and AV Services. Sharma joined Uber to lead their AV 2.0 effort. Responsible for connecting thousands of Uber global sites via cloud collaboration technologies, Sharma built a task force dedicated to that single mission. Under his leadership, the team has revolutionized how Uber collaborates via video, offering a premier user experience while simultaneously reducing cost and enhancing remote manageability.
Streamlining enterprise scale video conferencing technology updates while offering a superior end user experience is no small feat, especially for enterprise companies. Sharma's mission was to accomplish both for all 15,000+ Uber employees in 400+ offices. First, the team conducted deep analysis of users' needs and selected solution components which would deliver an outstanding, immersive, easy-to-use experience. This included Zoom as the preferred VC cloud services provider and PanaCast as the preferred device to provide Panoramic-4K quality video with a 180° immersive experience. Zoom and the Altia Systems / PanaCast teams worked together to integrate PanaCast controls into the Zoom Room control panel via an open API, which simplified and enhanced participants' experience.
Sharma selected PanaCast for its panoramic field of view, Panoramic-4K video quality and Intelligent Zoom experience. He loves the fact that PanaCast offers full coverage of a conference room and a full 180° view. "Full room coverage is the biggest thing in real estate," he states. "You have 5 chairs per huddle room. If 2 are not in the camera's field of view, those 2 chairs are not usable and you've lost those seats at the table – literally." Sharma recognizes that PanaCast has saved the company money on what would otherwise be lost real estate while simultaneously enhancing how employees collaborate globally. "PanaCast has significantly improved the productivity of our employees," Sharma attests. "This is why we've standardized on PanaCast. The devices are now being used in about 850 collaboration rooms and spaces in Uber offices around the world."
Next, the team reviewed and reduced the amount of equipment (and suppliers) in each conference room. They evaluated each product's contribution to an immersive and engaging experience and each product's ease of manageability. Solution components which required manual updates were replaced with devices which support network-based updates. The PanaCast engineering team worked closely with the Uber AV team to integrate our enterprise manageability solution with Uber IT so that the more than 850 devices (and growing) deployed at Uber are managed through a simple IT-driven push process.
Finally, Uber took an early lead in integrating Intelligent Vision capabilities – such as Intelligent Zoom and PanaCast Vivid – into the solution. This helped optimize users' experience by replacing the need for manual adjustments using remote control devices for traditional PTZ cameras with autonomous intelligent technology. Such technology automatically ensures an always-right field of view and a great presentation of participants regardless of how room lighting changes through the day or between seasons.
When asked what his favorite PanaCast feature is, Sharma raves about Intelligent Zoom. "When employees previously walked into conference rooms, they had to figure out how to zoom into the right part of the room. It was hugely disruptive. Now, with PanaCast's Intelligent Zoom feature, I walk into a room and wherever I sit, the camera knows where I am and frames me right away. What was a struggle previously is no longer one."
Uber has been one of PanaCast's largest and most active customers, giving the PanaCast team a lot of feedback to improve user experience. Naveed Alam, Yashket Gupta and John Zhang from the PanaCast Engineering team dedicated a great deal of effort to further enhance Uber's Intelligent Zoom experience. "For Intelligent Zoom, we changed the zoom in/zoom out transition from a gradual transition to instant reframing," explains Zhang. "This means Intelligent Zoom 'jumps', if you will, from the prior starting setting to the final setting immediately." PanaCast's engineering team also spent time developing 2.5x zoom-in capability for Intelligent Zoom, which is especially useful when there is only a single person in an Uber conference room, and PTZ presets so that Uber employees can switch to certain PTZ settings with a single click. Sharma commends PanaCast's team on their efforts. In his words: "We are getting a lot of 'kudos' for Intelligent Zoom."
Beyond the technical benefits of PanaCast mentioned above, Sharma has thoroughly enjoyed working with PanaCast's engineering team. "They've really enabled global deployment," he says. The Altia Systems and Uber teams are now looking ahead, integrating the unique PanaCast capability to deliver real-time data and information to automate workflows and enhance users' experience even further, utilizing precise data and information to continually optimize the solution, its usage, and users' experience. And that will be the subject of our next story…


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"Near Tiny Town Miniature Golf"
A Beautiful Dry Climate 300 Days Of Sunshine Per Year Stunning Mountain Vistas Friendly People And A Charming Downtown. Estes Park Is A Small Town With A Lot To Love. Music Festivals Christmas Parades Art Shows And Rodeos Fill Out An Active Social Calendar And Quiet Green Spaces For Picnicking Abound. Plus The Town Sits At The Entrance To Rocky Mountain National Park Giving You Access To One Of The Finest Parks In The United States. The Inspiring Peaks And Dizzying Valleys Will Lift Your Spirits And Stir Your Imagination. Its No Wonder Estes Park Is A Favorite Year-Round Destination.Cabin Living At Worldmark Estes Park Doesnt Mean Rustic - You Can Choose From Studio Units With Small Kitchenettes To Three-Bedroom Cabins With Full Kitchens And Gas Fireplaces. Plus Your Resort Is Situated On The Big Thompson River And Wildlife Surrounds You. Take A Walk To The Rivers Edge To Fish For Trout Or Pack A Lunch And Spread Out On The Spacious Lawns. And Dont Be Surprised If You See And Elk Or Two From Your Window Or Porch.
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text:
Summer Work: The Art of Pae White
Originally published in Afterall magazine in 2013.
In 2005, while walking through the Frieze Art Fair in London, I detected the distinctive whiff of fresh popcorn. I remember thinking it must be coming from the snack bar, but on turning into the next booth on the right, I was confronted with a monumental artwork: a skip (in the US we'd call it a dumpster) filled to the brim with popped kernels. It turned out that this was a work by the Mexican conceptual artist Gabriel Kuri. My immediate reaction was: how very art fair. The beckoning but sickly scent; the explicit reference to mass entertainment; the inevitable onset of staleness; the sheer grandiosity and absurdity of it. Kuri had created the perfect emblem for an art world given over to commercial spectacle.
More recently, I encountered a sculptural use for popcorn a second time, at Art Basel Miami Beach in 2011. This time the kernels gave off no smell. That's because they were made of porcelain, coloured by hand to look like the real thing. They were also a bit oversized, and were arranged in rows hanging from the ceiling that together described a serpentine river of salty snacks. The installation was by the Californian artist Pae White –and I was smitten right away. If I had smiled ruefully at Kuri's arch gesture about the current condition of art production and viewership, and then moved on quickly, when I saw White's work I giggled and wanted to linger. The jaded, seen-it-all frame of mind that sets in so easily at art fairs drained away for a little while. In its place was the joy of finding something trivial made into something wondrous.
It's a reaction that White's work produces regularly, and not just in me. Contemporary art does lots of things well, but this sort of considered optimism isn't one of them. For every artist who can pull off a genuinely life-affirming gesture, you'll find a hundred who remind you of our reasons (equally genuine) not to be cheerful. And of course, it's a hard act to keep up. White says that she's 'the most cynical, grumpy, impatient person I know'– and speculates that perhaps the positivity in the work 'comes from a desire for something that eludes me personally'.(1) She points out that the popcorn kernels are slightly burnt, so the piece is as much about disappointment as it is about little explosions of delight. Nor is it without a referential register ('pop art'– get it?). These aspects of the work seem to me subsidiary, but perhaps they are the key elements that prevent the work from becoming simple-minded spectacle.
One way or another, something somewhere is driving Pae White onwards. In common with many successful artists today, she is constantly on the move, completing multiple exhibitions and commissions scattered across the US and Europe. In 2009, at Art Basel Miami Beach, she erected a village of illuminated tower blocks that served as the principal nightlife spot for the most recent edition of the art fair. When I spoke to her she was also working on an architectural project for San Diego, and a solo exhibition, accompanied by an artistic intervention in the permanent galleries, at the Museum für angewandte Kunst (MAK) in Vienna. The latter took White's own globetrotting itinerary as its subject. She decided to work with a collection of toys in the museum's collection – reminiscent of early twentieth-century Wiener Werkstätte design, but consigned indefinitely to storage because they were unattributed – and to ask various artisan workshops worldwide to interpret the forms as chess pieces, each in their own specialist medium and traditional decorative style. There would be pottery and porcelain versions from Mexico and Lithuania, wood from Ethiopia and China, and from the US, a plastic set that she likened to a 'promotional toy from McDonalds'. Also for the solo exhibition component at the MAK, she was working with a tapestry factory in Belgium to realise a metallic textile no less than twenty-nine meters long. The plan for its design was to represent hundreds of pieces of ephemera from the collection piled into a giant archive, a near-abstract jumble that would communicate the depth but also the inherent confusion of the collection.
White's project in Vienna is the culmination of a trend that has been brewing for some time in her work. Like many artists today, she often has her work made by others.At the beginning of her career, she often crafted her works by hand, carefully and painstakingly. She still makes more than half of her work herself, but another important area of her expertise lies in the sourcing and management of skilful producers. Her popcorn kernels, for example, are made by two trusted ceramic artisans in Lithuania. In fact, part of what gave her the idea of making popcorn in the first place was its universality, which eases the logistics of offsite production. You can get popcorn in any corner store worldwide, so models are readily available for the artisans. Furthermore, given the near-abstraction and wide variation of the form of a popped kernel, there is what she calls'a high tolerance for interpretation' on the part of the fabricator. This deliberate margin of error is a consistent feature in White's work. Though she is determined to get a high-quality outcome achieved through precision craftsmanship, she is willing for this result to be approximate. She creates a big target so as to be more certain her producers will be able to hit it squarely. In effect, this means that she affords a calculated degree of agency to her collaborators. When she has a piece fabricated she rarely asks for a revision, and she values the lack of control that she has in the fabrication process, which makes for 'a richness, surprise, maybe even a contradiction that I'd be too self-conscious to produce on my own'.
These same dynamics hold true for what are perhaps White's best-known works, massive tapestries bearing images of fleeting beauty. The series, which began in 2006, has included such ethereal subject matter as a light effect playing in a bank of fog, or a single wisp of smoke against an inky black background. Perhaps the best of these was a commission for the Oslo Opera House, partly because of the context. The building, designed by the Norwegian firm Snøhetta and completed in 2008, has been justly celebrated for its marriage of high-tech computer-generated form, and intensive craftsmanship. That combination is symbolically represented in the upper echelon of the Opera House, which sports a decorative motif that looks like Braille, or computer punch-cards, but was actually taken from nineteenth-century weaving patterns. The inner auditorium is sheathed in thousands of pieces of hand-split timber, and the exterior of the building in long, sloping planes of white marble. White won the competition to design a stage curtain for this fantastic space, the first thing the audience sees when they enter. Her proposal for the design expressed the spirit of the building beautifully: a digitally-woven tapestry representing a piece of aluminium foil blown up to gargantuan proportions. [Fig 1] To derive the pattern White carefully crinkled a piece of foil by hand until she got an evenly dispersed field of triangular facets. There's a mild joke here, in that the image recalls the all-over 'optical' effects prized by Clement Greenberg in the work of Jackson Pollock or Jules Olitski. White comments, "understanding that the viewers were a captive audience, I was very careful to maintain an "overall abstraction" and not privilege any specific area. I wanted to eyes of the viewers to always be roving the image." As with the porcelain popcorn kernels, White is aiming for the formal abstraction found in the context of the everyday. The tapestry is powerfully illusory, in that it is dead flat, but reprises at grand scale the haphazard glints that you might experience while unwrapping leftovers in your own kitchen. Though it looks like it is composed of metallic threads, in fact the materials are plain cotton and polyester, artfully interwoven to give a persuasive sense that it is shimmering. White describes this magical effect in anthropomorphic terms, as if the threads "had a dream of becoming something that was not in their nature, a fantasy of being silver and reflective... As if the material itself were in costume, and stage."
When making major commissions like the Oslo curtain, White's problem-solving capabilities come strongly to the fore. This is the designer/engineer side of her work, which makes her comparable to figures like Thomas Heatherwick, Joris Laarman and Mark Newson. Cross-disciplinarity is supposedly the norm these days, but it's still rare to find figures who traverse the realms of sculpture, installation art, product design and architecture so freely. White isn't very interested in such questions of category, but she has a designer's natural curiosity about different production systems and materials ('if you were to look at my studio, it's like a sample room') and an architect's ability to meet the conditions of a given site. These 'weird contingencies',' as she puts it, lay at the heart of another of White's most successful projects – her installation for the 2009 Venice Biennale, where she was part of Daniel Birnbaum's 'Making Worlds'. The project had its origins in two haphazard discoveries: first, the ancient Venetian tradition of bird callers or chioccolatori; and second, a recent injunction against feeding pigeons anywhere in the city. White was struck by the ironic disparity between these two trivialities, and she decided to create an artwork to fill the conceptual gap.
The resulting installation reflected her contradictory instincts for the Grand Guignol and the light touch. White stretched what she calls "a ghost tapestry," a roof of colourful stretched threads, overhead in the Arsenale exhibition space. The main sculptural elements were a set of monumental bird feeders encrusted with seed, whose elaborate forms were derived from a variety of sources: crystal chandeliers you might encounter at the opera house, cathedral gargoyles, modernist designs, and the glass made on the island of Murano in the Venetian lagoon. Wandering through the space were professional bird mimics, re-creating complex bird calls without any particular fanfare like whimsical refugees from a Tino Seghal event. The idea was that visitors would hear birdsong all around them, but would be unsure initially of where the tweets were coming from. That could be a nice pun on contemporary social technology, but White's intention was simply to intrigue visitors to explore and inspect the space. Given the high-profile nature of the Biennale and the heavy medieval architecture of the Arsenale, the playful and deceptive installation came across as a deft sidestep of the gravity of the occasion, like a toreador neatly evading the charge of an enormous bull.
That manoeuvre, so characteristic of White's work, raises the possibility that she is a sort of escape artist – which is, in turn, only a hairsbreadth away from being escapist. She grew up in the California of the 1960s, at a time when the West Coast was portrayed as a place of eternal summer. The undeniably upbeat quality of White's work has its origins in this cultural moment. Her early years were saturated in the material culture of Pop – Milton Glaser posters, Paolo Soleri bells, George Nelson furniture, Vera scarves – and though it is hard-won, her work shares the easeful clarity, high colour and infectious energy of all those designers. White has an extensive collection of Vera textiles, which were some of the first art that she experienced, sleeping on her sheets and peering through her curtains. With her single-name brand (White: 'it was a mystery to me. Who does she think she is?'), her apparently intuitive method of translating everything around her into designs ('her dinner last night becomes a scarf the next day'), and talent for aesthetic condensation ('like a graphic haiku'), Vera is something of a cult figure for White, and an ongoing object of identification.
After Vera, White's next important aesthetic encounter was with Millard Sheets, the wide-ranging Southern California artist, whom White knew through his granddaughter, a family friend. Sheets is remembered today both for the breadth of his career – though trained as a painter, he also was an architect, illustrator, and designer, -- and for his work as an educator. He held teaching posts at one time or another at most of the key art colleges in South California (including Scripps and Otis), and also headed up the art component of the Los Angeles County Fair. Sheets was the first professional artist that White encountered, and what she calls his 'expanded approach' of working across media (not to mention his tremendous work ethic) was an important permissive model. Though she is hardly alone among artists of her generation in referring back to 1960s design – think for example of Jim Isermann, Jorge Pardo, Simon Starling, and Assume Vivid Astro Focus -- White returns to the era with unusual fondness. She has made several hanging cut-paper cascades which call to mind various icons of the Pop era: a Calder mobile, a psychedelic light projection, the concentric glass designs of Michael and Frances Higgins, or a particularly spectacular lava lamp. Restless Rainbow (2011), an outdoor installation she created for the Art Institute of Chicago, gave visitors the pleasurable feeling of wandering about on a giant Kenneth Noland painting. Less jovial, yet much funnier, is a tapestry entitled Sea Beast (2010) depicting a found fibre-art hanging – complete with wooden stretcher bars – turned on its side and stretching nearly seven meters along the wall. [Fig 2] Macramé, the ultimate in un-cool craft, is here laid out for inspection, like a frog awaiting a schoolchild's scalpel. But it is also monumentalised through the medium of tapestry, a major textile art used to ennoble a minor one – another example of White's use of technique and scale to call our attention to things overlooked, and to juxtapose radically different styles of making, from the handmade to the industrial.
Does White ever long to truly scale down? The answer is yes. 'I fantasise about moving through a painting series in my studio,' she says. 'I want to make art that doesn't involve attorneys.' Will she ever get around to it? I'm not sure. If ever there was an artist who thrived on the big stage, she is it. But every so often, running through her work, you do see traces of longing for the simple life. One recent sculpture depicts the leaves that litter the Pasadena sidewalk where she takes her morning run. It's another image of everyday transience, this time memorialised in canvas and aluminium. That elegiac mode runs all the way back to the beginning of her career, and her first one-woman show, held at the Shoshana Wayne Gallery in Santa Monica in 1995 and wonderfully titled 'Summer Work', as if she were a student just back from the holidays. There she exhibited the series that first won her wide attention, a series of works of paper incorporating spider webs gathered from her neighbourhood. 'The fabricators were living in the trees,' she says, 'and I would go and collect their output.' She even got to know the weaving patterns produced by different species. That early project contained the portents of much to come: the instinct to collect the uncollectible, the discovery of abstract draughtsmanship in unlikely places, the permanent fixing of something ephemeral. Behind it all, there is the simultaneously lyrical and deathly sensibility that one finds in so many of her pinned beauties, a quality reminiscent of Romanticism. White's spider webs put me in mind of that most British of quips, attributed to the poet Samuel Taylor Coleridge: 'the summer has set in with its usual severity'.
One last fact about Pae White, and perhaps a telling one, is that her first job out of art school was that of a film prop maker. (She worked on Gregg Araki's hyperactive teen romp Nowhere, 1997.) This wasn't quite art – it was art direction –but it taught her a lot about the potent combination of detail, focus, and narrative fiction. If you did it right, she says, 'you could get the whole world into a cigarette'. By now White has left film sets behind, and assumed her role on the stage of contemporary art. But like any good movie-maker, she knows that this is a contrivance, that you know it too, and that many possibilities arise from this complicity. When you encounter a work by Pae White, the best thing is to give in to its magic – because it's sure to give right back.
- All quotations from the artist taken from conversation with the artist, September 1, 2012.


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Earlier this week, I went into a house at the request of a bank. The real estate agent that was generating a BPO (Broker Price Opinion) for them and became worried about what she saw. Not having a lot of training in some of the oddities of inspection but possessing abundant common sense, she told the bank to hire an inspector to evaluate the property.
That was me.
It didn't take more than a few seconds to go from normal inspector mode to "don't touch a thing" mode. It was that bad. The odor, bitter and strong, hit me hard at the front door. The kitchen was to the right and the rolling smoke stains told the story of repeated cooking.
The bath tub was etched and scarred, abused by all the chemicals that got dumped down the drain.
Chemical stains were everywhere.
Unfortunately, there were no chemical bottles present except for a pair of oxygen bottles. I think they were used for transport of anhydrous ammonia. Anyone taking a hit off the tanks would like be dead. The meth cooks have used propane tanks for years to disguise their ingredients. I think they are evolving again.
The most disturbing part of the process was finding a bedroom door with a lock hasp on the outside.
The meth cooks had kids and were locking them up.
Sometimes I get to see a little too much.


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The Pulse (B.C): Matthew 4
The Prophecy of the Völva
My copy of The Völuspá is slipping from its precarious cradle around the faucet and threatening to plunge into the water below. 800 years old, it recounts the birth of the world and the final cataclysm. It was written by the völva, or seeress.
The corner of my notebook, once balanced firmly on my knees, is already dipping into the water. The screen of my laptop is starting to flickr. I reach over and select the playlist, 99 Songs to be Played During the Apocalypse, which contains dire warnings and faint hopes — from the damnation of Gorgoroth to the unlikely optimism of Led Zeppelin and Queen.
The screen seems to be sending me signals in morse code. The deeper I look into it the deeper its messages become. Or perhaps it's just my eyelids that are blinking up and down, on and off, in an attempt to ward off the phantoms of sleep. I put my fingers here and there on the trackpad and the screen blinks on and off various sites — apocalypse.org, odinsrefuge.edu, endoftheworld.cia — while my thoughts slip toward Ragnarök, the final Battle of Evermore.
I'm not sure Old Rex will be impressed with references to popular culture, but I could note, by way of introduction, that the apocalypse of Ragnarök has been retold recently in Norwegian Speed Metal — in Darkthrone's Panzerfaust and Transilvanian Hunger, and by Gaahl, the Sauron of Norwegian black metal, in Gorgoroth's 2003 album Twilight of the Idols.
The music conjures the desolation of Tolkien's high dark plateau, Gorgoroth, the bleak realm of Sauron's forges and mines. The music isn't recommended for suicidal adolescents, unless they find it somehow cathartic to travel deep into the province of Mordor, which if I had to locate on a map would be somewhere north of Hammerfest, in the north of Norway, in the Land of the Ice and Snow.
A BBC travel writer notes that the small town of Hammerfest has "a luckless narrative of natural disasters, fires, plagues and war, spanning a timeline from Napoleon to the Nazis." The name of the town is also the name of the Welsh festival featuring black, death, thrash, doom, and other forms of heavy metal. It's not a refined, Brideshead Revisited sort of affair.
One of the strangest albums of Norwegian black metal is by the noxious, solitary figure, Hrothgar the Skald. Titled Raiders from the Frozen Skiff, the album follows the history of brutal free-trading aliens from another universe. Their leader, Odeen, made a whirlwind tour of our own universe a mere 1500 years ago. He and his gang of alien thugs scraped precious metals and heavy crystals from the deepest caves and darkest quarries. They even built an icy castle in the Far North, somewhere near Hammerfest, where their military commander practiced his hammer-throwing on what he called "the Reindeer People" and a few tribes of primitive Germans, whose language the Frozen Skiffers could almost understand.
The album hasn't sold well, however, given that its music drones on for sixty minutes in what can only be described as a cavernous and cacophonous scramble, and given that its Norse themes and characters are obviously ripped off from Marvel comics and movies.
From his cell in the Oslo Asylum for the Criminally Insane Church Burners, Hrothgar laughs at the critics, and calmly tells them, "Beware the orange beams from the Sky!" When asked what he means by this, Hrothgar's eyes turn from dark green to icy blue, and he says, "No need to hold your breath. Just wait until July 14. Their friends will be back."
I look at the paragraphs I've written so far, about the tragedy of war and the hope represented by the rheinmaidens. I add a title and sub-title:
Northern Versions of Doom
Although the epic story of the Norse cataclysm is now shrouded in the mists of time, the chaos of Ragnarök has been resurrected in the Scandinavia of its birth in the form of black metal. In its bleak soundscapes and in its shrieking, thrashing guitars, one can hear the pounding of Nietzsche's godless hammers, the battering-ram rhythms of the Viking longships, the splintering altarpieces of Lindisfarne, and the smoke rising through the fractured rafters of the Holmenkollen Chapel. Forget Wagner, this is the real grinding, screeching deal.
An earlier version of Ragnarök, however, was written by Snorri Sturluson, who collected the Völuspá and other stories in his Prose Edda at the start of the 13th century. How, I wonder, did the Christian Snorri feel about the Völuspá? Did it sound to him at all like The Book of Revelation? Did he start to wonder if maybe it wasn't so much a sin to believe in the old gods as the same old burden to believe in the new one?
Snorri undoubtedly read the story of Ragnarök in The Poetic Edda, a collection of poems which appear to have been written and re-written from the 10th century onward. The first story of this collection is the Völuspá, a seeress' vision of how the world was born from chaos and how it will ignite into war, rise in flames, sink into the sea, and then rise again as Gimli, paradise in the sea — at last safe from the fires of Loki and Hel.
In this paper I'll suggest that the epic is full of dire warnings about who we are and what we do. From The Odyssey to The Divine Comedy, from the Völuspá to The Waste Land, we've been given the same prophetic vision. The differences between the Greeks and the Norse aren't that great, because despite democratic councils — the agora or the Allthing — we've all been unable to divert the catastrophe. Perhaps it's because we're only human, only apes that have learned to philosophize. We still hoard and fight, like monkeys on the Congo. We're still bound by our limited, self-centred nervous systems. After two World Wars and countless scientific facts about the degradation of our environment, we're still stocking arms and slipping, inch by inch, back into the primal muck.
I look at what I've written and wonder how Old Rex will read it. What if he doesn't believe in arms control or global warming? What if he thinks these things are a matter of believing or not believing? Or, worse, what if he likes opera? But how can I write about Ragnarök and leave out the three things that seem closest to it — black metal, war, and global warming? Still, why antagonize the old goat when he's the one who grades my exam?
I decide to mitigate my paean to the pagan metallists and my warning about war and environmental destruction. I decide to soften my tone. Honey, not vinegar. What I've got so far will work as long as I don't keep hammering it home. I remember Sylvia saying that in tackling war and extinction, "You shouldn't dump fancy balsamic vinegar into people's coffee. You have to make them feel comfortable about their lives. You have to reassure them that they can keep on living in the lap of luxury — even though you have every intention of taking it all away." She then whistled an old Bob Dylan tune, and sang softly, The carpet, too, is moving under you / And it's all over now, baby blue."
I need to give Old Rex that warm feeling, the one you get when it's cold outside yet you decide to forget about the end of the world and let yourself sink into a warm bath. So I title the next section,
Snorri's Bath
What better place to start our journey into the Western Epic than with the estate of Snorri, who brought together the early Norse legends, perhaps while sitting and musing in his outdoor bath. According to Wikipedia, "In 1206 Snorri Sturluson settled in Reykholt. The remains of his farm, including his hot outdoor bath (called "Snorralaug," or "Snorri's bath"), have been preserved to some extent."
Sylvia insists that ecologically we're slipping dangerously toward a watery abyss, just as I slipped into the warm sudsy water of my Matthalaug, and am now slipping toward Dreamland. I'm sliding deeper and deeper into the water, leaving the things of this world behind. Despite the fact that I'm drifting into the currents below, I'm nevertheless conscious of the fact that my notebook's dipping into the water, a door's closing at the end of the hallway, and Sylvia's standing above me.
I look over at the door and see her grey hoodie drop to the floor. Her tight jeans float over white panties, while her thin cotton t-shirt brushes her nipples. The thinnest layer of strata is levitating northward. The white cotton cloud drifts so softly upward, then it falls to the south, away from the Wall and the White Walkers and those phallocentric orcs. And yet she brings with her the frozen ether as she stands there in all her teutonic glory, icy and blue like the image of Scarlett Johansson on my long lost igoogle page.
Sylvia warms her fingers in the water that fills the Matthalaug to its brim. She lifts one leg up and over the lip into the slipstream. White foam courses over the brim and onto the floorboards.
In my dream I tell myself I'm just hallucinating. Like when you walk into a room of naked girls and all of a sudden you're Adonis. But you look into the mirror on the wall which becomes the smooth surface of a lake. You look closer and realize that you're not even Narcissus. You're Actaeon instead. You don't see the underworld in the lake. Not even a little white and gold flower. All you see are dogs.
But I don't have time for this erotic oneiric nonsense. I turn on the cold tap and splash water onto my face. I have five hours to come up with a thesis! I must look inward, downward, past slim fingers resting on white enamel into the deep blue. Past the cobalt and into the black. I must drift downward whether she's with me or not, riding my coat-tails like a Valkyrie.
I must ride the blue eddies of the sky like a valkyrie funnelling downward
precipitous like a tornado bearing downward into the cold water
through Jötunheimr, the land of the giants, to Mimir's well
with its nine circular worlds and its strange visions
I must follow Odin into the mystic currents
into the 81 hidden worlds lying beneath
into the darkest depths of Mordor
ring under ring, all unified in
one ring of elven power
for the Dark Lord —
all bounded by
white enamel
here in my
In brief, I must commune with the spirit of Jimmie Page.
I must concentrate. If only I could ignore the figment of my dreamworld — that long white leg with no hair on it that's curling its slim ankle around my neck. Did she have to shave her legs just before coming over? Is she here to distract me, or torture me, or both — a Banquo of the bathtub, eating away at my time and accusing me of ignoring our star-crossed gender (she was meant to be a lesbian, she's sure) but somehow everything mixes so smoothly in the currents beneath our friendship, our shins and ankles slipping and sliding like the geologic zones beneath that deep Romantic chasm where we hear ancestral voices prophesying war, and Sylvia's voice warning me about ecological zones, magna and warm waters rising from the earth's core, Vulcan and Hades, and the carbon footprint that she didn't make as she stepped into the bath. Can there be a footprint in water, Albert Camus? The polar icecaps are blowing their tops like angry polar bears, and Hel is riding across the sea with Loki toward the great heated mineral springs of Iceland.
The ghost of Sylvia, dripping suds from her smooth chin like a hoary beard, asks me point-blank: Did you know that Iceland is heated by more than 10,000 metric tonnes of thermal water every day? She grabs the computer from the toilet seat and shows me the hot water coming up ↑ and the cold water going down ↓. It's all very confusing, as you can see at http://tigger.uic.edu/~cstein/resice.html:
It's especially confusing because they use terms like bathymetry and heat flow and global average values for that lithospheric age. The bathy part I get (her ankle has wrapped itself around my ear), but not the average values. And when it comes to lithoshperic age I'm thinking dinosaurs, possibly Old Rex. And what about that referent that? It gets even more confusing when you take into account that as the room steams up I can barely read the screen and as the water cools down the currents mix and dissipate, mixing beneath the polar ice-capped mountains of my knees and around the other submerged body parts. Alot seems to be happening down there, which makes it really hard to concentrate.
I slide my right foot around her left shoulder to reach the gleaming silver taps. I release hot blasts into the tepid deep. I am doing my part to keep the Gulf Stream flowing, from its southern engine in the Caribbean, to its northern engine in the land of the ice and snow:
Retracting her ankles, once snugly wedged between smooth enamel and codslick bells to keep her feet warm, Sylvia pounds me with another question, more inconvenient than the first: "What if the arrows stop once the towers of ice have crashed into the sea and the northern generator sputters?"
We've clearly strayed into ecological territory, a secular Ragnarök. But I must leave Sylvia's question unanswered, and get back to studying for the English exam. I must slowly, carefully back away from her world of depressing facts, and try to imagine what the world was like before the Industrial Revolution and all those dark satanic mills. I must get back to the French Provençal Poets and capital letters, because there's always the possibility that traditions courtly and otherwise will be on the exam. Oscar Wilde and his dandy henchman are waiting in the wings four and a half hours from now. As Hamlet said to his buddy Horatio, The readiness is all. I'm sure that Macbeth would have something to add.
I must get back to Norse, Celtic, Greek, and Christian myth, back to the dark Western mines of lore, the gates of Moria, and Led Zeppelin. I must stop thinking about Sylvia's thighs and stop trying to measure the depth of Odin's well with multibeam echosounders and isobaths. It would be far better to read about paleobathymetry, that is, the study of past underwater depths — but without the echosounders.
I must strip myself of my existential self so that I can focus on Jimmie Page's inner eye and focus on what was, transcending time itself. I must stop seeing breasts rising from the foam, just out of reach, everywhere.
I must read in palindromic Malayalam
(looking online I find:
"sex I felt, so pay zoo bastard rats a boozy apostle fixes")
angels on a pin and elfin scrawl
following the letters, like devanagari on a string
सर्वं ज्ञानं मयि विद्यते
("All that I have to learn is already within me")
or follow the bubbling brook
from these sudsy waters into a forest
where I will meet Dante and Virgil
or wander alone, along some other trail
following Robert the frosty leprechaun
along a trail of words wandering onward, inward to Rivendale
and the last supper of the remaining elves in Gimli
after the fire and flood
there with the Ljósálfar, the light elves, safe from fire and flood
and from the real world of peak oil and ice caps
to Tolkienland
from Al Gore to the epic lore of Beowulf
Lancelot, Ronsard, and Geraldine
a Game of Faraway Thrones
and the skaldic bards of the Scylding line
Next: The Academic
The Pulse: Table of Contents - Chart of Contents - Characters - Glossary - Maps


text:
The Weird Things Causing Your Dental Problems
"Exercise is the single best thing you can do for your brain in terms of mood, memory, and learning," according to Harvard psychiatrist John Ratey. What he is not saying, however, is that running and endurance sports can also wreak havoc on your teeth. Local dentists reveal that some surprising things, including running, may to be blame for your dental problems. What's so bad about running, and what other weird things will result in cavities, tooth decay, and premature tooth loss?
Running Wrecks Your Teeth
"While training, triathletes and runners consume a lot of carbs — specifically sports drinks, bars, and gels — which can lower the mouth's pH level and lead to tooth erosion and cavities. Also, they breathe heavily through their mouths during training, and that can dry out teeth-protecting saliva," Glamour magazine writes. Being extra vigilant about brushing and flossing and chewing gum (to produce more saliva) can help runners and endurance sports athletes, if they catch the problem early on.
Sweets Aren't Necessarily The Worst Foods For Your Teeth
Are you setting yourself up for cosmetic dental procedures, such as cosmetic dental surgery? Before looking into cosmetic dental plans, make sure you are eating right and properly taking care of your teeth. Know that there are foods that may be even worse for you than sweets. Highly acidic and/or vinegary foods, like pickles, wear away tooth enamel, making cavities and tooth decay even more likely.
When Brushing Your Teeth Is A Problem
Dentists caution: you should brush your teeth 45 minutes to an hour after meals exactly. Why? Waiting will give acids time to neutralize and prevent enamel erosion when you brush your teeth. If you already have tooth decay or tooth loss, know a couple of things. One, you are not alone. In fact, 15 million Americans have bridges or crowns to replace missing teeth. Three million, on the other hand, have relatively new dental implants. If necessary, implants may be the best option — with a 98% success rate, according to researchers.
Don't look into cosmetic dental plans if you don't need to. Brushing at the right times, being aware of all effects of running, and knowing what foods to avoid can help you keep your teeth healthy.


text:
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Contact for more information


text:
The Groupon on August 19, 2010 represents a potential inflection point of sorts in retailing and the Internet. While we have been watching and marveling over local Chicago area upstart Groupon for the past few years (and have written about them several times), their Gap offer today represents a new direction for them. Groupon represents a unique combination of many of the unique aspects of the Internet—social media, group buying dynamics, and limited time discounts—into one package. A Groupon deal of the day is typically half-off or more a product or service geared to a local audience. Until today, the offers have primarily been geared around service offers—spas, nail salons, yoga classes, etc. More successful offers have been around discounted memberships to the Art Institute in Chicago or esoteric pursuits like skydiving classes. Sporting events, restaurants and food offers have also experienced huge impacts with Groupon offers. To date, however, these efforts have occurred on a highly localized level, generally geared towards small business within a limited geography. So, while Groupon has grown explosively (a quick glance at the website shows Groupon operating in 91 US cities and 21 countries around the world), the offers have always been geared at the local level in whatever city it's been focused in.
Today's offer with The Gap is typical in many respects in its structure—$50 worth of Gap merchandise for $25. http://www.groupon.com/deals/gap-inc-chicago
It is very atypical for several reasons:
This is a national Groupon. We did a quick check in several cities and saw the same offer around the country.
It's the first deal we know of for a national chain the size and magnitude of Gap
Like most Groupon deals, this one tipped, and tipped early. Groupon typically displays the number of coupons purchased, which makes it easy to do the math and figure out the dollar value. Interestingly, they chose to eliminate the number and most individual cities simply say that thousands have been purchased. At 8:30 a.m. in Chicago, 8300 Groupons had been purchased, which quickly translates to over $200K in value. And most users were not even awake! On a national basis, we suspect that this will be a real test of the Groupon bump—can they move the needle on a chain the size and magnitude of The Gap? The potential dollar amount will be huge—certainly in the millions…
Perhaps today is Groupon's coming of age, in combination with one of brick and mortar's most venerable (but troubled) brands.
Thursday, August 19, 2010
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