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This post comes to you from the EcoMuseum
This question cut to the point for 75 cultural colleagues from across Victoria and NSW who attended a freeMuseum Victoria, Arts Victoria and Sustainability Victoria seminar on the 18th of May to discover the challenges and current international position.
Julian Bickersteth, Director of International Conservation Services in Sydney, laid the groundwork for current recommendations for object storage and display conditions. An expert panel comprised of leaders from the building and environmental sectors also joined Julian. They were Professor Kate Auty (Commissioner for Environmental Sustainability), Bernard Da Cruz (Director WSP Lincolne Scott) and Pippa Connolly (Principle at Arup).
The seminar was convened amongst concern about the reality of climate change, and rising energy and product costs. Such costs are driving museums, galleries (and much of contemporary business) to reduce their carbon footprint. Unsurprisingly the maintenance of specific temperature, relative humidity (RH) and light levels is in doubt. The temp and RH international guidelines represent the major energy and money consumption in the museum, library and gallery organisations. Facing the prospect of an uncertain future, a number of international groups are driving research into the possibilities for the relaxation of the parameters museums and galleries are required to fall within.
The UK to date has been taking the lead with the NMDC (National Museum Director Conference) setting up EGOR (Environment Guidelines: Opportunities and Risks). Heading up the Australian taskforce is the AICCM (Australian Institute for the Conservation of Cultural Material). Each of these groups is involved in investigating possibilities and risks in order to promote change which will benefit the environment and organisational budgets.
EGOR (coordinated by The National Archives UK), is investigating if current environmental standards align with the conservation of the three main priorities affecting museums and galleries;
- Movable cultural material (collections)
- Cultural heritage (buildings)
- Communities (visitors and staff)
EGOR is investigating the implications with researchers from the disciplines of arts and humanities, conservation, science and engineering, as well as practitioner communities.
One question that keeps arising is the one of acceptable loss? Is it realistic to expect objects receive optimum temperature and RH attention considering the enormous cost energy use extracts from the environment and society? Or should we develop a different understanding around the protection of movable cultural heritage? It is conceivable that changing attitudes for reuse, renewable resources and human adaptation to climate change will alter access, presentation and interpretation of cultural heritage in the future. It may also affect how we value cultural heritage.
The following graphic from Barbara Reeve (Australian War Memorial) demonstrates safe RH humidity ranges for a range of materials and reveals that the RH range followed by museums and galleries are not required – except in isolated cases.
However the conservation needs of movable cultural heritage need to be considered in conjunction with the limitations and potential provided by the buildings they are housed in. Many of these buildings are listed cultural heritage in their own right.
Upfront capital costs to adapt buildings to achieve preservation environments are an unhappy reality that prevents many from considering this path, and yet new museums and galleries are still being designed and constructed to heavily rely on electricity. In fact many examples would be unable to support human occupants without electricity, let alone preserve precious and rare artifacts. One example from regional Victoria during the seminar cited how their efforts to bring their heritage building into the 21st century and object preservation guidelines saw their quarterly electricity bill skyrocket to 15% of their total annual budget.
So what are the alternatives EGOR and others are exploring? International interest has only recently turned toward new technologies – and more from the need to escape rising energy costs than a sense of moral responsibility toward the environment. New building designs will need to take this into account and seek advice which will allow them to make allowances and infrastructure for emerging technologies that can be retrofitted. Melbourne Museum followed this advice ten years ago when infrastructure was placed on the roof allowing for solar technology to be fitted. Solar technology is now approaching a state where this particular retrofit may be looking like a possibility.
The small museum from regional Victoria took action that can act as a guide to us all. The first step was possibly the greatest – that remedial action was not necessarily connected to anything requiring electricity. Recognising the problem was related to sustainability and environment led them to seek advice from Sustainability Victoria. After exploring a number of options the museum expanded environmental control parameters to 18C and 60% RH from current parameters (25c and 55%RH) and achieved a 33% reduction in costs. They are also now trialling running their HVAC in 4 hour bursts. The outcomes from their research and testing will be eagerly followed by everyone who attended the seminar.
The UK, through the authority of the NMDC developed guidelines that were accepted by the European Bizot Group of major museums at their May 2009 meeting. The four primary points were led by an aim to minimise energy use;
1.     Environmental standards to become intelligent and better tailored to needs. No longer use blanket conditions for entire buildings
2.     Care of collections should not assume air conditioning
3.     Natural and sustainable environmental controls to be explored and exploited
4.     New or renovated museum buildings should aim to reduce carbon footprint as their primary objective
NMDC guiding principles for reducing museums' carbon footprint (2009)
ASHRAE (American Society of Heating, Refrigerating and Air-Conditioning Engineers) is an organisation that advances the sciences of heating, ventilating, air-conditioning and refrigerating within the limitations of humanity and sustainability. Their 2003 specifications for museums, libraries and archival conditions recommends different 'classes' of control.
Class of Control | Short Fluctuations plus Space Gradients | Seasonal Adjustments in System Setpoint | Collection Risks and Benefits |
AAAPrecision control, no seasonal changes | +/- 5%RH;+/- 2oC | RH no change;Up 5oC / Down 5oC | No risk of mechanical damage to most artifacts and paintings (so long as conditions are maintained). |
AAPrecision control,
some gradients or seasonal changes but not both |
+/- 5%RH;+/- 2oC | Up 10% RH /Down 10% RH;
Up 5oC / Down 10oC |
Small risk of mechanical damage to high-vulnerability artifacts; no mechanical risk to most artifacts, paintings, photographs, and books (so long as conditions are maintained). |
APrecision control,
some gradients or seasonal changes but not both |
+/- 10%RH;+/- 2oC | RH no change;Up 5oC / Down 10oC | Small risk of mechanical damage to high-vulnerability artifacts; no mechanical risk to most artifacts, paintings, photographs, and books (so long as conditions are maintained). |
BPrecision control,
some gradients plus winter temperature setback |
+/- 10%RH;+/- 2oC | Up 10% RH /Down 10% RH;
Up 10oC, but not above 30 oC; Down as required to maintain RH control |
Moderate risk of mechanical damage to high-vulnerability artifacts; tiny mechanical risk to most paintings, some artifacts, photographs, and books. No risk to most artifacts and books. |
There are a number of new standards and guidelines incorporating environmental sustainability on this matter.
Europe CEN/TC 346
UK BSI:Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â *Code of Practice on Environmental guidelines PAS 198 (document will become publicly available in July 2011)
*New PD 5454 replacing BS 5454
EGOR:Â Â Â Â Â Â Â *Consensus on 50% RH +/- 15%
It is important to note that the PAS 198 was developed rapidly to fulfill an immediate need and is not narrowly prescriptive. Decisions will still involve individual organisations' preservation aims, use and display, transport, loans and the budget available for energy.
There is still uncertainty whether these initiatives will actually save any money or energy. This information will no doubt present itself in time as more organisations are influenced or compelled to rethink where they most need their energy. It will be interesting to note where, geographically, the greatest savings occur, since external climate will be a factor in these results.
Major international cultural organisations who are active in this debate include the National Gallery of Denmark who has claimed it is on the way to being carbon neutral, and the Smithsonian who are recommending 37-53% RH 'tight' parameter, and a 30-62% RH 'allowable' parameter.
Discussions during the seminar forum reiterated the following perspectives;
- Larger, more resourced institutions should be leading the debate with a view to contributing to Australasian standards;
- Benefits of this leadership needs to be disseminated effectively to small and regional cultural organizations;
- Building design needs to include museum professionals and account for environmentally sustainable design (ESD);
- The advantage of long term savings from ESD capital outlays are proven, and support needed for smaller institutions to undertake ESD;
- ESD is often dropped from the planning process for cost, schedule and other constraints. ESD is seen as a 'feel good bonus', and not a critical inclusion;
- There is a need for a collegiate network to continue this debate and take it further.
There are currently no guidelines or standards from an Australasian perspective. The AICCM taskforce is currently gathering information from research, literature and projects with the view to developing guidelines for Australian conditions. The May 18 seminar served to bring those in the Victorian cultural community together to learn and share. It was clear there is a great deal of concern surrounding the future, and the ability to keep up with the rising costs of energy. However it was also clear that financial issues were not the only driver of the community, and that a genuine desire to preserve the natural environment was also a high priority. The Strategic Audit into the Victorian Government's environmental progress (Office of the Commissioner for Environmental Sustainability) and the Greening the Arts Portfolio (Arts Victoria) are two instances of the current prioritization of the environment.
Examples from attendees (State Library of Victoria, Gippsland Maritime Museum, Museum Victoria et.al.) provided information that individual organisations were involved in research and trials on this subject, but the information was largely limited internally since there is no localised forum for them to collaborate with or feed into. With this in mind the Sustainability Victoria Arts Roundtable will look to recommending and supporting a working party. Part of the working party's mandate will be to disseminate information and case studies, and also to work with organisations to participate and provide advice to cultural organisations wishing to explore new environmental conditions, technologies and methodologies.
Seminar attendees will be kept informed of further developments.
Useful websites:
www.climatechange.worldbank.org (climate portal)
the EcoMuseum, is a project of Carole Hammond, Exhibition Manager and museum professional: combining the complex ideologies of aesthetics, culture, objects, entertainment…and environment.


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Historic Couric soon may be history at 'CBS Evening News,' a victim of expectations
When offered the chance to make history, Katie Couric took it.
The money was easy.
Being everything CBS News needed was anything but.
The expectations heaped upon Couric as the first solo female anchor of a U.S. broadcast network newscast were exceeded only by the hype. Both were amplified and undone by the Hollywood superstar-size paycheck CBS had given her, and almost none of it seemed rooted in reality.
Looking back, the only thing "The CBS Evening News with Katie Couric" truly reinvented was the launch playbook going forward: Never again will the debut of any newscast or newscaster be promoted like the latest cinematic gem from Jennifer Aniston, a PR campaign that can fuel a strong opening but almost ensures a fast fade.
Continue reading my April 5 column "Katie Couric expected to leave 'CBS Evening News'"
(CBS photo of Katie Couric's Sept. 5, 2006 debut on "CBS Evening News," above, by John Paul Filo.)

subset: commoncrawl


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This week your favorite shows returned to the small screen, we got a double dose of 'The Mindy Project' (and a double dose of Chris Messina, hey ohhhh), and 'New Girl' aired on your favorite TV night: Thursday! If you want to relive the best moments, you've come to the right place — because we've got 'em all, in GIF form.
Новости партнёров


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Dreamweavers Theatre Troupe presents "Lost in Yonkers" by Neil Simon. Photo by Mike Padua.
- Copyright
- © 2011 Mike Padua. All Rights Reserved
- Image Size
- 2000x1333 / 521.6KB
- Keywords
Neil Simon, Theatre, dreamweavers, headshot, photography, bay, area, benicia, fairfield, vallejo, concord, martinez, pleasant hill, berkeley, vacaville, dixon, solano, solano county, theatre, theater, photographer, portrait, musical, headshot photographer, headshot photography, benicia headshot photographer, benicia headshot photography, theater photography, theater photographer, theatre photography, theatre photographer, solano county headshot photographer, solano county headshot photography, east bay area headshot photographer, east beay area headshot photography, business portrait photographer, business portrait photography, production photography, production photographer, promotion photography, promotion photographer, bay area production photographer
- Contained in galleries
- Lost in Yonkers


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Clipse Working on New Album With the Neptunes
The idea of what could come out of Pusha T's 20-day studio session with the Neptunes is enough to cause massive excitement. That anticipation has multiplied by a lot now that No Malice is back in the mix. Clipse have reunited.
According to Karen Civil, the two are at work on their follow-up to 2009's 'Til The Casket Drops.' The studio effort was the first not to be produced entirely by the Neptunes and had a lukewarm reception, especially when compared to the duo's classic 'Hell Hath No Fury.' Apparently the new LP, currently untitled, will be an independent release.
The dynamic between the two brothers will be interesting to watch unfold if the opus is indeed on its way. Clipse made their name off cleverly told drug raps, but while Pusha T has remained in that lane, No Malice has said that he's done with rapping about the topic.
It's a rift Pusha T has touched on a few times in his songs, including last year's '40 Acres.' "And they say I'm on the verge of winning / I claim victory when Malice on the verge of sinning."
In addition to a new Clipse project, Pusha T is working on his own sophomore release titled 'King Push.'


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Luxury hotels in Shivajinagar offer world class amenities in a plush ambiance. These hotels usually offer high-end audio/video entertainment systems, 24 hour room service, swimming pool, multi-cuisine restaurant, lounge, bar, conference rooms, wireless internet and banquet halls. 4 Star hotels go above and beyond to ensure total comfort and satisfaction of the guests.
Via.com makes it very easy to book 4 star hotel online - now you can search, choose and book the best hotel for your budget in less than 20 seconds. Book your 4 star hotel in Shivajinagar on Via.com and enjoy amazing benefits like zero cancellation fee, instant confirmation, easy cancellation/refund, reward points and 24/7 customer support.


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Matthew Prince
Matthew Prince (@eastdakota) is the co-founder & CEO of CloudFlare, the web performance and security company.
Matthew wrote his first computer program at age 7 when his mom would sneak him into university computer science courses. After attending law school, he worked as an attorney for one day before jumping at the opportunity to be a founding member of a tech startup. He hasn't looked back. CloudFlare is Matthew's third entrepreneurial venture. CloudFlare was named a 2012 Technology Pioneer by the World Economic Forum and selected by the Wall Street Journal as the Most Innovative Internet Technology company for the last two years running. Today, CloudFlare accelerates and protects more than 1.5 million customers.
Matthew holds a degree in English and Computer Science from Trinity College. He graduated with highest honors from the Harvard Business School where he was a George F. Baker Scholar and was awarded the Dubliner Prize for Entrepreneurship. He earned a JD from the University of Chicago and is a member of the Illinois Bar. He teaches technology law as an adjunct professor at the John Marshall Law School where he serves on the Board of Advisors for the Center for Information Technology and Privacy Law. He is also the co-creator of Project Honey Pot, the largest community of webmasters tracking online fraud and abuse. On the side, Matthew is a certified ski instructor, a former mountain guide, and a regular attendee of the Sundance Film Festival.


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At Capricious Space
March 7–28, 2009
The Highlights, Humble Arts Foundation,
I Heart Photograph,
Loshadka, Netmares/Netdreams,
Platform For Pedagogy, Private Circulation,
UbuWeb, VVORK, Why + Wherefore
An exhibition that invites innovative and independent online art initiatives to each come do a 4-hour residency inside the space of a gallery—attempting to explore how the distribution, production, analysis, and consumption of culture are rapidly evolving in an online context. In particular the exhibition aims to render the labor of these online practices transparent, providing "real life" access to these cultural producers, and overall inspiring public dialogue around their practices.
Organized by Laurel Ptak
Capricious Space
103 Broadway
Brooklyn, NY 11211
(between Bedford and Berry)
Gallery hours
(from March 7–March 28 only):
Saturday noon–8pm
Sunday noon–8pm
And some additional evening hours for special events, see the official calendar for full details.
For press and other inquires, please contact
Karen Codd: email@example.com
Saturday 7 March
VVORK will invite a male stripper to the gallery space whose task will be to perform a 4-hour slow strip while surfing the internet.
Renda Morton and Samuel Sherman, contributors to the website Ffffound, will assemble and go about ffffounding as usual, except in public, and for 4 hours straight.
Opening / Roundtable Discussion: Browser As Exhibition Space
Participants from the exhibition IN REAL LIFE including Art Fag City, Club Internet, Ffffound, The Highlights, Humble Arts Foundation, Platform For Pedagogy, Private Circulation, UbuWeb, Why + Wherefore, and others will collectively discuss the concept of browser as exhibition space. Moderated by Laurel Ptak. Reception to follow.
Sunday 8 March
Private Circulation
Lance Wakeling will email the fifteenth installment of Private Circulation, featuring a project by artist Martijn Hendriks. There will be coffee and tea as well as a 4-hour slideshow and mix tape session.
Club Internet
All members of Club Internet will be invited to sit behind their computers, either at home or in the gallery, as Harm van den Dorpel announces the curatorial criteria for them to create a new work on the spot and participate in an opening party—all within 4 hours. The resulting show will remain online for one month at clubinternet.org.
Friday 13 March
Docent Tour of Art on the Internet
Performed by artist Tyler Coburn. Reception to follow.
Saturday 14 March
I Heart Photograph
In a performance that enacts a recent history of data compression and transmission techniques, I Heart Photograph will attempt to assemble the world's largest archive of photographs transmitted via telefacsimile. The site's viewers will be invited to send one photograph each by fax machine during the hours of 12–4pm EST on 3/14—temporarily replacing the digital means through which work is typically submited to the blog.
Of particular interest is the relationship between data transmission techniques and their resulting forms—the fax machine itself will be considered a collaborator in the creative process here, performing alterations to the photographic content, and essentially reauthoring its visual form. Every single photograph received will be catalouged, scanned, and immediately posted on iheartphotograph.com. Along with your photo, please include a cover letter with your name, email address, URL, and title of the work. Fax to: (+001) 718.384.1208.
The Highlights
The Highlights will perform variations on the theme of visual procrastination—including, but not limited to, building a house of cards.
Sunday 15 March
Why + Wherefore
Why + Wherefore will be "at home" while in residence, inviting artists and friends to drop by for a drink and to collaborate on mix tapes and other projects. Visiting cards encouraged.
Netmares/Netdreams will simulate the true environments and experiences behind their project, whatever form that might take.
Saturday 21 March
Platform For Pedagogy
Platform for Pedagogy will make themselves available to gallery visitors for casual conversation. Near the end of their residency they will deliver a formal two-part talk. The first will be an incomplete historical overview of public lectures in New York City; the second will attempt to locate an immaterial, networked subject in the phantom audience of the lecture hall.
Humble Arts Foundation
Amani Olu and Jon Feinstein will be replicating their daily process of running Humble Arts Foundation. This will include live editing, design, and curatorial practice for all of their online projects, as well as a steady dose of g-chatting.
Sunday 22 March
Danny Snelson will give a functional tutorial of online archiving. He, along with a few other members of UbuWeb's international network, will present digitization strategies in a variety of media for the benefit of would-be bootleggers and the technologically curious alike. Meanwhile, an artist-curated selection of sound and video from the archive will be enjoyed.
No one can be sure exactly what Loshadka will do for their 4 hours in the gallery.
Saturday 28 March
Art Fag City
James Turrell and Alice Aycock Face off on Google Maps! Which artist has the largest number of public sculptures? Art Fag City will pit artist James Turrell and Alice Aycock against one another, readers searching for works captured on Google Maps. At the end of the day a map locating the sculptures will be posted to the blog, as well as a Twitter word visualization of commentary during the competition. Wikipedia results for the two artists will also be updated. May the most archivable artist win!
(This project was inspired by a series of posts by Greg Allen on Richard Serra sculptures located on Google Maps).
With Mylinh Nguyen sitting in the gallery and David Horvitz chatting live from Golden Age in Chicago, ASDF will make available an ephemeral show of 48 artists existing for only 4 hours. Each art work will be available, one at a time, for only 5 minutes. The works will be sized to print and available for download (also including instructions so that viewers may print the works using basic consumer technologies). After the 4 hours are up all the original files will be deleted.
Closing Party
Let's celebrate.
Art Fag City was founded in 2005 as an alternative voice in the art world, focusing on artists who both use and ignore the net. Paddy Johnson is a web critic and the blog's founding editor. Over the past three years she has received quite a bit of attention from the mainstream press including The New York Times, The Wall Street Journal, New York Magazine, and has spoken at Yale University, Parsons, and Hunter College. She contributes to Frieze, ArtReview, and Time Out and writes a weekly column on art for The L Magazine.
ASDF is a website that hosts collaborative projects between Mylinh Nguyen and David Horvitz. Their projects, which always feature contemporary working artists, hold equal weight in both design and art (their respective backgrounds). Everything they do embraces the internet and the digital medium, and sometimes slips back into the real world.
ASDF's recent "exhibition," For A Brief Time Only At A Location Near You, contained 24 artists who each supplied a 4-by-6-inch digital image. These images were then offered as a set of photographic prints utilizing drug store photo labs' abilities to print from uploaded media. Anyone who wanted to "see the show" would send ASDF an email. The files would then be uploaded to the viewer's nearest drugstore, and within the hour it would be ready for pickup. Using the internet, a physical experience was generated locally for each viewer. A previous work, A Wikipedia Reader, documented 13 artists travels through Wikipedia, going from page to page via hyperlinks. The result is both a document of these movements, and a reflection of each artist's conceptual concerns. This was printed as both a physical book and made available digitally. They have also offered one dollar grants to anyone with a creative idea and put a show on inside a P.O. box. Currently they are working on more "shows," as well as A Soundtrack for the Arctic Ocean, which will feature musicians and sound-artists and be available, for free, only in digital form.
Capricious Space hosts the exhibition IN REAL LIFE. The gallery is located in Williamsburg, Brooklyn and its mission is to be a sanctuary away from the city's clamor and strife. A different place with a different feeling. Throughout the year Capricious Space invites artists and curators to transform the space according to their own visions and dreams, thus bringing the Capricious generation together.
Capricious Magazine is an international fine art photography publication for emerging artists that was founded in 2003 by Swedish photographer Sophie Mörner. Capricious Space opened in June 2008 and was initiated in order to provide a physical venue to artists working in a variety of mediums with a Capricious spirit. The space is managed by Karen Codd.
Club Internet is a project initiated by Harm van den Dorpel. Its very first show took place on May 8, 2008. The site provides an online exhibition space for artworks primarily created for the internet or artworks emerging from the context of the computer and internet art scene. Shows are created by isolating artworks from their original locations— such as weblogs or portfolio sites—and displaying them together in a dedicated browser frame as a curated selection. The navigation is kept as transparent as possible, manifesting itself as an extra toolbar: just hit 'next', or click the title for more information about a work. Showing the works as they are—without any representation like thumbnails—helps the viewer investigate the possible aura and presence of these virtual objects. Presenting online art in a fixed selection for a certain time (instead of an ever-changing blog for instance) stimulates people to appreciate existing pieces in a new and exclusive way.
Tyler Coburn is an artist and critic based in New York. Recent exhibitions include In Practice at SculptureCenter; Love is a Cannibal at Sloan Fine Art, curated by Bellwether owner Becky Smith; and Ghostwriters, a collaboration with artist and i-cabin director Sebastian Craig, at Jack the Pelican Presents. Tyler has upcoming performances and exhibitions at Circus Gallery, Renwick Gallery, Thrust Projects and Cleopatra's. As part of the exhibition IN REAL LIFE, Tyler has been commissioned to perform a "museum-style docent tour of art on the internet."
Ffffound is a collaborative image bookmarking site that allows its members to post and share the images they collect as they traverse the web.
Renda Morton has been contributing to Ffffound since November 2, 2007. She has currently ffffound more than 888 images and the first thing she ever posted to the site was a picture of the book Daughter of Art History designed by her studiomate Andrew—he was sitting right next to her when she joned Ffffound. Renda is a partner at Rumors, a multi-disciplinary design studio. Before starting her own studio she worked at LUST in The Hague, Netherlands and freelanced in New York at Flat, Honest, Project Projects, and Local Projects. Renda has a BFA in Interactive Media from the Minneapolis College of Art and Design and currently teaches interactive and web design at Parsons in New York.
Samuel Sherman has been contributing to Ffffound since November 7, 2007. He has currently ffffound more than 1,054 images and his very first was an image of a sculpture by Jospeh Bueys—a yellow lightbulb plugged into a lemon. Samuel is currently a Senior Designer at The Museum of Modern Art. He works directly with curators to develop exhibition design solutions for MoMA as well as P.S.1 Contemporary Art Center. Previously, Samuel worked at Duffy and Partners in Minneapolis, Minnesota. There he designed graphic identities and in-store displays. Samuel earned a BFA in Graphic Design from the Minneapolis College of Art and Design.
The Highlights is an online arts journal devoted to artist writings and web-based projects. The co-founders are Skyler Brickley, Ethan Greenbaum, and Luke Stettner. The project began while they were in graduate school and initially the site was meant as a platform for artists to write critical reviews. It has since evolved to include a broader range of essays, interviews, and experimental web projects. The initial site design was created by Julia Weist and the current design is by Yoonjai Choi and Ken Meier. Stephen Hoban is the copyeditor.
Humble Arts Foundation works to advance the careers of emerging fine-art photographers by way of exhibition and publishing opportunities, limited-edition prints, artists grants, and educational programming. Founded in 2005 by Amani Olu and Jon Feinstein, Humble has been a pioneering hub for showcasing new fine-art photography, and has served as a resource for collectors, galleries, museums, curators, photo editors, and bloggers internationally.
I Heart Photograph is a blog about contemporary photography established in 2006 as a means to explore the edges of the medium and help shape how photography is understood as a contemporary discourse. The site's content is explored daily by thousands of viewers and is frequently used as an educational resource for high school, undergraduate, and MFA classrooms around the world. Laurel Ptak is the site's founder and curator.
Konst & Teknik is a graphic/design studio based in Stockholm, Sweden, dealing with art, technology, and things inbetween. They are responsible for the website/newsprint catalogue for the exhibition IN REAL LIFE. Konst & Teknik is Mattias Jakobsson and Peter Ström.
Leigh Claire La Berge is a Harper Fellow and Assistant Professor at the University of Chicago. She received her Ph.D. from the American Studies program at New York University in 2008. Her dissertation, "Scandals and Abstractions: 1980s Finance and the Revaluation of American Culture" examines the representation of financial forms in contemporary American film, literature, and popular culture. In addition to her work on finance and literature, she has published articles on the critical theory of Slavoj Zizek, politics within the university setting, and most recently, the aesthetics of globalization. Her next project is focused on affective labor and contemporary psychoanalysis. Her work has been funded by the Andrew W. Mellon Foundation, the American Council of Learned Societies, and the New York University Graduate School of Arts and Sciences. A conversation between Leigh Claire La Berge and the show's organizer, Laurel Ptak, is published in the exhibition catalogue for IN REAL LIFE.
Loshadka is Loshadka aLoshadk kaLoshad dkaLosha adkaLosh hadkaLos shadkaLo oshadkaL is. COOL WEED BUTT SICK BRAT CLAM YALE MACE DESK FACE HAIR DICK DOOR BOOB TOMB. The group's policy when insulting one another is to use sarcasm only as a last resort, and to keep it clean—no jokes about anyone's outfits, or mothers.
Loshadka is Justin Clark, Petra Cortright, Thomas Galloway, Eric Mack, Ilia Ovechkin, Jay Peyton, Billy Rennekamp, Ken Seeno, Hayley Silverman, Will Simpson, Travess Smalley, and Dan Wickerham.
Netmares/Netdreams is an evolving curatorial experiment employing networked methods of cultivation to explore connections among user-generated "netmare" and "netdream" experiences. The project is founded by Kari Altmann and Mark Brown and has numerous contributors.
Platform for Pedagogy notes that the history of the public lecture in the United States probably begins in 1826 with the founding of the first Lyceum or "literary club" in Massachusetts. In 1888 the popularity of the public lecture lead to New York state's legislative mandate to apply underused city spaces as sites for lectures. For over thirty years, under the auspices of Henry M. Leipziger, Superintendent of Lectures, the city funded over 4,000 annual lectures. Today, most public lectures in New York are funded and hosted by non-profit institutions as part of their supporting programs. The embedding of the public lecture in the institution's regular programming has resulted in a narrowing of attendees to those already initiated to the discursive terrain of the topic.
Platform for Pedagogy is a New York based initiative to advance a culture of cross-disciplinary public lecture attendance and develop the lecture as form. Platform Mailer is a weekly collection of public lectures in New York, and is distributed electronically. The determinate characteristic of the public lecture is form: the geographically bracketed transmission of knowledge by a privileged individual or group of individuals to an unsolicited public of mixed backgrounds and experiences. Historian Donald M. Scott has written on the birth of the public lecture in mid-nineteenth century America as a type of supplementary instruction distinct from the sermon, speech or oration — and yet borrowing formally from all three — in that the lecture is mandated and shaped by the public's desire for a certain knowledge. This public sought to expand the trajectory of education typically confined to their formal or professional training by accessing these platforms for pedagogy.
Private Circulation is a free monthly PDF bulletin distributed by email to 400 subscribers. It was started in January 2008 in response to the limited studio and exhibition space available in New York City. Private Circulation publishes proposals, unrealized art projects, large posters, essays, brief histories, and photo collections by artists, writers, and curators. Past issues of the bulletin have featured, among other things, a 36-by-36-inch poster of Brooklyn traffic patterns; a proposal for a video assembled from photographs of televisions showing the Apollo 11 moon landing; a chronicle of the inadvertent destruction of Nick Normal's digital archive of plastic bags; a list of characters from Bob and Ray radio programs by Charles Gute; and an account of the working conditions of the production of the universal archive. Private Circulation is edited and distributed by Lance Wakeling.
Laurel Ptak is the organizer of the exhibition IN REAL LIFE. She is an independent curator based in New York City. She frequently teaches, lectures, and writes about photography, the internet, and image culture as well as curates many "offline" exhibitions based on her blog, iheartphotograph.com. (Aura portrait of Laurel above taken by Carlo Van De Roer.)
VVORK is a daily selection of art. VVORK started in 2006 as a continuation of the editorial project Mi Magazine. VVORK is curated by Aleksandra Domanović, Oliver Laric, Christoph Priglinger, and Georg Schnitzer.
UbuWeb was founded by Kenneth Goldsmith as a small digital repository of visual and concrete poetry, and has become the premier online archive of the avant-garde. Goldsmith has tirelessly maintained UbuWeb's will to be free: essentially a gift economy, poetry is the perfect space to practice utopian politics. Freed from profit-making constraints or cumbersome fabrication considerations, information can literally "be free": on UbuWeb, we give it away and have been doing so since 1996.
Over the last decade the site has grown to host hundreds of gigabytes of sound files, texts, and videos. UbuWeb is sprawling: new resources pop up almost daily. Editors and curators work in conjunction with a vast international network of amateur archivists and volunteer digitizers to present an immense archive of experimentation, innovation, and—as often as not—pure insanity.
Our archival acquisition is decidedly DIY: running OCR, ripping out-of-print LPs, scanning rare books, and capturing a variety of video objects any way we can get them. In all respects, UbuWeb works to index, house, and distribute avant-garde rarities as universally accessible information—to all parties with unrestricted bandwidth.
UbuWeb thrives on the support of our partners, generously lending bandwidth and content in addition to their cultural capital: Anthology Film Archives, WFMU, PennSound, Electronic Poetry Center, WVU CLC, Artmob, Grey Lodge, Electra, Roulette, SoundEye, and Primary Information. Still, all labor and editorial work is voluntary; no money changes hands. Totally independent from institutional support, UbuWeb is able to offer an idiosyncratic, unrestricted presentation of the avant-garde-at-large: a clean, clear, cohesive set of previously unavailable works that have already infiltrated countless hard disks and educated a generation of artists, musicians, writers, and archivists.
Why + Wherefore is a curatorial platform co-founded and -directed by Summer Guthery, Lumi Tan, and Nicholas Weist. The project began in 2007 as a URL designed to facilitate experiments in curatorial practice in order to grow closer with a family of practicing artists and thinkers. Theme- or rule-based group shows are chosen collectively and produced as schedules allow. Some manifest only online, and some in physical spaces around the world, as the needs of the projects dictate. The first commissions by Why + Wherefore, by 8 major artists, were shown in 15 cities internationally, at such venues as Casa Encendida, Madrid; Hiromi Yoshi, Tokyo; and PICA, Portland, OR. Why + Wherefore recently expanded to describe the collective curatorial practice of its co-founders outside of self-generated projects, when the School of Visual Arts in New York City invited them to curate its 2009 MFA thesis show.
The exhibition IN REAL LIFE invites the people behind innovative and independent online art initiatives to each come do a 4-hour residency inside a gallery space, attempting to explore how the distribution, production, analysis, and consumption of culture are rapidly evolving in an online context. In particular the show aims to render the labor of these online practices transparent, providing "real life" access to these cultural producers, and overall inspiring public dialogue around their practices.
The 14 participating websites—Art Fag City, ASDF, Club Internet, Ffffound, The Highlights, Humble Arts Foundation, I Heart Photograph, Loshadka, Netmares/Netdreams, Platform For Pedagogy, Private Circulation, UbuWeb, VVORK, Why + Wherefore—represent a wide spectrum of online practices and practitioners. Among them are: online curators and critics, internet surfers, bloggers, artist collectives, and much more. These sites, and others like them, represent a truly expanded field for the discourse of contemporary art. Often they show us work, viewpoints, and voices missing from more established, "real world" venues. Overall they have pioneered forms and frameworks that offer us new ways to see, think about, and participate in contemporary visual culture.
The exhibition title IN REAL LIFE derives from the texting/chatting acronym IRL. This interplay between the forms of the digital world and those of the physical world is a concept explored in endless ways throughout this exhibition. For example: the catalogue and website designs are one in the same—while normally print and onscreen publications have markedly different specifications, demands, conventions, and expectations—here their differences have been conspicuously ignored to create a feedback loop between the two.
Also consider the installation, which features participants working on their websites as they would normally do privately, inside a public context. Bringing their laptops and belongings from home, they work at a desk in the center of an otherwise empty gallery space and their desktop activities are both projected large-scale onto the gallery wall and published online.
While some websites have created special projects for their 4 hours inside the gallery space, some will just go about work as usual on their sites. In either case, a crucial aspect of the exhibition is its viewing public who are greatly encouraged to stop by, chat, ask questions, and act as active participants IN REAL LIFE.
Huge thanks are owed to every single participant/website in this exhibition. And nothing would have been accomplished at all without the help of The Armory Show, Karen Codd, Rachel Day, Zach Genin, Mattias Jakobsson, Leigh Claire La Berge, The Mondriaan Foundation, Sophie Mörner, Erin Jane Nelson, Eric Nylund, Megan Plunkett, Martin Ström, Peter Ström, Webrss.com, Hilary Ferris White, and Yahoo Pipes. Very special thanks to the United States military and the Defense Advanced Research Projects Agency (DARPA) for inventing the internet. —LP
What follows is the transcript of a conversation via Skype between myself and Leigh Claire La Berge on 22 February 2009. We chatted about the concept of labor as it relates to the exhibition IN REAL LIFE.
Leigh Claire La Berge
10:01 am
Part of the aesthetic preoccupation of the exhibition is to show how immaterial labor circulates, is produced, how it appears?
Laurel Ptak
10:02 am
Yes, I suppose I'm interested in making the immaterial materialize to some extent with this show.
But certainly there is much back and forth between these two conditions happening simultaneously.
For instance: the work that the exhibition participants do on their laptops while in the space gets
projected both onto the gallery wall and published online.
Leigh Claire La Berge
10:04 am
It seems to me a kind of mimicry of the immaterial; but I don't think it is a mimicry of the affective.
That to me seems like an interesting limit of the exhibition. I mean, certainly part of all aesthetic production
includes an affective labor as well, and it seems like it will be a very important part of the viewer's experience here.
Laurel Ptak
10:07 am
That's interesting to me, say more about this idea of affective labor, what exactly do you mean by this?
Leigh Claire La Berge
10:10 am
I would say affective labor is the orienting of oneself to act, respond, and
interpret at a relational or interpersonal level. Having the people in the space
themselves producing is certainly immaterial, in all the Negri-esque senses of the word,
but it is also affective in that the viewer will be in the space with them, they will be
in the space with each other. One psychoanalyst I know says that affect
is the work of making oneself known in relation to the other.
Laurel Ptak
10:11 am
That's an important point, that the viewer of the exhibition has agency in that way.
Leigh Claire La Berge
10:12 am
This also makes me think of the nineteenth-century labor projects in department stores,
where customers could watch wooden flowers and the like being made right there in
the store at the same time and place they could buy them. Labor was portrayed as amusing
and entertaining. Walter Benjamin has some interesting stuff on this.
But with this exhibition, what are we watching being made? And, at a certain level,
is the watching of it standing in for the making?
Laurel Ptak
10:14 am
Well, I've been thinking about Benjamin too, specifically his essay "Author As Producer."
He says: "An author who has carefully thought about the conditions of production today [...]
will never be concerned with the products alone, but always, at the same time, with the means of production."
I think that the web practices this exhibition centers on do exactly that with respect to art and culture.
Leigh Claire La Berge
10:15 am
Yes, well even if not at an individual level, they would have to at a socio-historical, level, no?
Laurel Ptak
10:17 am
Well, you're the historian amongst us, so you would know better than me!
As a curator of contemporary art I am thinking much more about how meaning circulates in an immediate context I suppose.
For me these websites each represent, in their own way, extremely vital, forward-thinking, and novel spaces, approaches, and attitudes towards contemporary art and its production/distribution/circulation, that's why they're interesting to me.
Leigh Claire La Berge
10:18 am
How so? What's different about the browser as medium?
Laurel Ptak
10:19 am
Well, a lot of things. For one thing its immateriality. Most artworks in the world are still
object-based, yet the browser negates that.
Leigh Claire La Berge
10:20 am
But how is a computer immaterial? Think of all the networks, bandwidths, cables, cords, etc.
Laurel Ptak
10:22 am
The apparatuses we use to create these things might be material, but their results can be rather
immaterial and ephemeral (a lot like art itself). The installation of the show is negotiating
that to some extent. and the use of the gallery, which is also material, is about
utilizing physical space as a site of public discourse around these practices.
Leigh Claire La Berge
10:25 am
There's that great line, whose author I am forgetting, that says the injunction of
capital to its subject used to be "consume!" and now it is "communicate!"
Laurel Ptak
10:26 am
That may be so, and certainly many websites urging us to "communicate!" right now like Facebook or
Flickr are doing so in the service of capital. It's important to remember that there is a real
tradeoff for our using their technology and communication tools for "free."
Really these sites want us there because we represent valuable demographics and
because we can be marketed to. So we're back to "consume!" all over again, just under the guise of "communicate!"
But of course I see the websites collected here in this exhibition very differently. Their motives for communicating are tied to creating community and discourse as ends in and of themselves.
Leigh Claire La Berge
10:27 am
Is anything for sale here?
Laurel Ptak
10:28 am
No! Nothing is for sale.
Leigh Claire La Berge
10:29 am
A kind of pause in an indefinite chain of commodification that we should probably just enjoy because
who knows for how long it will last! To communicate in a space of capital, or communicate to form a
critical space these have to be different demands. But these websites are creating a community,
in the most important sense of the word.
Laurel Ptak
10:30 am
I suppose one open question that the exhibition asks is this: what happens when you try to
migrate those communities from the online world into the real world?
Of course one never really replaces the other, we have them both simultaneously. And they do each have their own distinct qualities. For instance I would argue that digital space does manage to reconfigure some social boundaries that feel much harder to transgress in the physical world.
Leigh Claire La Berge
10:31 am
Yes, that's why it's usually a textual or aesthetic space. But I guess we'll have to wait and
see what happens "in real life."
Laurel Ptak
10:32 am
Yes, I'll be very curious...


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Young children rely on bodily-based, iconic, basic and expressive communication and in this sense, artistic communication is the literacy par excellence of the early years of child development. At O'Hana, we place a high importance on children's artistic expression in dance, movement, role play, drama and music. Taught by our classroom teachers who all have a background in music teaching, our music program teaches Vietnamese children's folk songs and movement games, and a wide variety of children's English songs from groups such as The Wiggles, Sharon, Lois & Bram and Raffi to name a few. We also use the Oxford singing program for early childhood second language programs – Tiny Talk Kindergarten Series by Carolyn Graham. Performances are organized throughout the year: at the Moon Festival, at the end of December and in May of each year. |
We are constantly looking for new ways to represent our children's thinking. Reggio's system of planning and documenting what the children are thinking about as they explore new ideas ensures that our programs are highly creative. Each child's artistic representations are highly valued. Around the preschool you can find exhibitions of the children's work – this showcases each child's developing artistic talents and products made from painting, clay, play dough, collage, water colours, printing, as well as an assortment of everyday products. We celebrate this creativity and we use art as the medium to encourage our children to communicate. It is our job to teach children art techniques and to give them tools to express their ideas. We also use their pictures to observe their progress and to share this progress with their families. |
Young children rely on bodily-based, iconic, basic and expressive communication and in this sense, language and artistic communication is the literacy par excellence of the early years of child development and is are central to everything we do at O'Hana. This is another reason why we apply the Reggio approach in our preschool. Reggio is a collaborative, communicative progress whereby children and teachers explore new ideas together. This means we value, nurture and enhance your child's thinking and the way they express their ideas and we take every moment, every day to do so. We encourage your child to use language to investigate and explore, to reflect on their experiences. This is probably the best known aspect of the Reggio Approach: the Hundred Languages and the belief that children have a hundred different ways of thinking, of discovering, of learning.
We love the idea of one hundred different ways of thinking, of discovering, of learning and emphasize hands-on discovery learning that enriches your child's development, enveloping all their senses and enriching all their languages to learn.
We take a holistic approach to learning language. Books are central to our day and making sure we spend time reading aloud to children is something we take very seriously. We read aloud all different kinds of books from our extensive library of both English and Vietnamese children's books, most of the award winners! These books help our children learn: about cultures, and peoples other than their own; how others think, act, and feel. Informational books help our children learn facts about the world around them. These books also introduce children to important concepts and vocabulary that they will need for success in school. We read books that relate to the children's backgrounds: their experiences, cultures, languages and interests and we read about characters and situations both similar and dissimilar to those in the children's lives so they can learn about the world.
We also spend lots of time documenting children's investigations – an important consideration in Reggio. The emphasis on carefully displaying and documenting children's thoughts and progression of thinking – making their thoughts visible in many different ways: photographs, transcripts of children's thoughts and explanations, visual representations – all designed to show your child's learning process.
Bilingualism: Our Approach to Bilingual Education adapts and extends as children progress through our preschool programs. Children are exposed to listening models in Discovery and Explorer programs (with both native and non-native English speakers) before becoming exposed to listening and speaking models in Adventurer and Preschool programs where English or Vietnamese is the only language spoken for a large part of each day (again with both native and non-native English speakers). Our English Language teachers are all fully qualified.
We integrate mathematics education and science and technology together with other activities and other activities with mathematics and science. This program is presented as units of exploration and discovery throughout the year or included in our everyday adventures at O'Hana. We appreciate that when young children notice and explore dimensions of their world, when they are absorbed in their world of play, they don't realize where a math concept begins and a science idea ends. They are too busy problem-solving and reasoning as well as representing, communicating, and connecting all their ideas (to name a few). You won't find any of our children working with traditional pen and paper worksheets. We prefer to wrap our children up in a world of comparing quantities, finding patterns, navigating in space, and grappling with real problems such as balancing a tall block building or sharing a bowl of crackers fairly with a playmate. Our approach to math and science education is that it is investigative by nature and children's active exploration and data gathering using their senses and processing skills should be emphasized. A child can always learn how to count but the window for learning how to solve problems is a life-long process so let's get started.
The use of information technology is integrated across our curriculum. Given the range of computer hardware and software now available on the educational market it has become increasingly difficult to make informed choices between them. We follow recommended guidelines from the National Association for the Education of Young Children when we access information technology in our preschool programs. This means we access interactive websites that can be viewed collaboratively, which stimulate debate and discussion and which integrate into our Project Topics. |
Young children love talking about themselves, documenting their personal histories, learning about their health and safety and of course, celebrating their family and culture. Learning how to interact with other children and adults in our preschool community is a natural extension of this understanding of their world. Children also learn how to care for their environment in this series of topics especially designed to support our children's understanding of the world and their place in it. For this reason, excursions form an important third learning approach in our programs. Through taking a trip children can observe social systems and the roles people play within them, such as fire and police protection, traffic control, banking, shopping and other relative systems. Excursions also provide children with first hand experiences in which they can develop further in language and literacy, gaining new vocabulary and problem-solving skills. |
Social and emotional milestones are often harder to pinpoint than signs of physical development. This area emphasizes an increase in self-awareness and self-regulation. Helping children feel good about themselves and others is our primary goal in teaching social competency. We accelerate the process by incorporating the value of helping and being kind to others into our daily routines and schedules. We encourage children to solve problem in positive ways, help them to be calm down in risky situation and find the best solution. |
Our children develop confidence in their physical literacy through a variety of structured and unstructured activities as part of our Active for Life (Fundamental Movement Skills (FMS)). Active for Life which makes sure we challenge our kids they grow in age and physical ability. This program begins with Discovery and covers locomotion, balance and object manipulation in simple, fun activities and increases in physical dexterity with ball skills and a more complex range of balance and locomotion skills such as hopping, jumping, running, throwing, stopping and starting.


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The W3C announced today that the HTML5 definition is complete, and on schedule to be finalized in 2014. This is excellent news for the future of the open Web, that is, all of us. If you were involved in discussions about mobile development strategies at our recent conference you'll want to check out all the details at http://dev.w3.org/html5/decision-policy/html5-2014-plan.
Moving right along, the HTML Working Group also published the first draft of HTML 5.1 so you can see a little further down the road for planning purposes. See http://www.w3.org/TR/2012/WD-html51-20121217/.
From the W3C newsletter…
W3C published today the complete definition of the "HTML5" and "Canvas 2D" specifications. Though not yet W3C standards, these specifications are now feature complete, meaning businesses and developers have a stable target for implementation and planning. "As of today, businesses know what they can rely on for HTML5 in the coming years, and what their customers will demand," said Jeff Jaffe, W3C CEO. HTML5 is the cornerstone of the Open Web Platform, a full programming environment for cross-platform applications with access to device capabilities; video and animations; graphics; style, typography, and other tools for digital publishing; extensive network capabilities; and more.
To reduce browser fragmentation and extend implementations to the full range of tools that consume and produce HTML, W3C now embarks on the stage of W3C standardization devoted to interoperability and testing. W3C is on schedule to finalize the HTML5 standard in 2014. In parallel, the W3C community will continue its work on next generation HTML features, including extensions to complement built-in HTML5 accessibility, responsive images, and adaptive streaming.


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BRANDED TITLE: RUNS GREAT, DRIVES SMOOTH, EXCELLENT MPG, LOW LOW LOW MILES, ONLY 31,146 MILES AND ONLY $9,495.00. Come check it out. NO PRESSURE, NO HIDDEN FEES no additional service contract or inspection fees, etching fees, or transport fees etc... , NO HAGGLE. Let us help you pick your new vehicle and we will have you driving away with a smile IN 20 MINUTES OR LESS . Anyone can treat you like a customer , we will treat you like family. COME CHECK US OUT, 2760 SOUTH STATE ST. SLC, UT 84115, LOCAL 801483-0777 , firstname.lastname@example.com
By clicking you agree to the Terms and Conditions of Use.
Sales Tax, Title, License Fee, Registration Fee, Dealer Documentary Fee , and Emission Testing Fees are additional to the advertised price. See Dealer For Details


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But how can this possibly be? Everywhere you look, it's always said that long-duration, low-intensity training is best for fat loss. All high-intensity work does is burn carbohydrates, right?
After reading this article, I guarantee you'll develop a new respect for high-intensity cardio training for fat loss.
Low-intensity exercise is defined as working at a heart rate of about 60% to 65% of your maximum heart rate (which is equal to 220 – your age = maximum heart rate, thus if you are 20 years old, 220 – 20 = 200 max HR). High-intensity exercise is defined as working at about 75 to 85% or more of your maximum heart rate.
Using the previous example for maximum heart rate (max HR=200), working at 60% of your max HR would be 120 beats per minute and 80% of that would be 160 beats per minute.
There are several reasons low-intensity exercise is normally recommended for fat loss.
Click here for more information on The Best 8 Quiet Blenders of 2022 With 14 Delicious Recipes. Or click here if you're looking for information on 23 Best Heavy Duty Degreasers for your Home It's low risk – A personal trainer generally can't go wrong by recommending low-intensity exercise to clients. Even the most out of shape person can usually do low-intensity cardio training safely. While this is certainly appropriate advice for novice trainers, it does not necessarily apply to the more experienced trainer when it comes to effective training.
It burns a higher percentage of calories from fat – this is very true: exercising at a lower intensity does burn a higher percentage of calories from fat than high-intensity exercise. But, as I will explain, this does not necessarily mean you're going to burn more fat.
Let's crunch some numbers to show you exactly what I mean when I say high-intensity exercise burns more fat.
Low-intensity training burns about 50% fat for energy while high-intensity training burns about 40% fat for energy. This is not a huge difference.
Say, for example, walking for 20 minutes burns 100 calories. Then 50% of 100 calories is 50 fat-calories burned.
Now say 10 minutes of interval training at a high intensity burns 160 calories. Well, 40% of 160 calories is 64 fat-calories burned.
By doing the high-intensity work, you've just burned 14 more fat calories in half the time. Starting to sound good? There's more…
Low-intensity exercise only burns calories while you are actually exercising. That means the moment you stop exercising, your
caloric expenditure goes back down to nearly baseline levels. Within minutes, you're not burning many more calories than if you hadn't done anything at all.
High-intensity exercise, on the other hand, continues to boost your metabolism long after you're done (often up to 24 hours after, depending on the length and intensity of the training session). This means you're continuing to burn many more calories all day long!
Low-intensity exercise does nothing to build or support muscle mass. Maintaining muscle mass is critical to an effective fat-loss strategy as muscle burns fat just sitting there. Want to keep your metabolism working to burn fat? Do whatever you can to build or keep your muscle tissue.
High-intensity exercise has the potential to increase muscle mass. Compare the body of a top sprinter to a top marathon runner. The sprinter carries far more muscle mass. You won't get big bulky muscles from high intensity training but you will get shapely and more defined muscles!
How To Do It
Now that you've seen how effective high intensity training can be for fat loss, how is it done?
The absolute easiest way to start this type of training is to get on a cardio machine at the gym and select the interval training program. As you'll see, you'll start off with a fairly light warm-up cycle, then quickly jump up to a high intensity level for a short burst. You will then drop back down to a low level for a period of time, then back up to a high level again, repeated several times and finishing with an appropriate cool-down period.
The repetition of these intervals is the nuts and bolts of high intensity interval training. You can also do it manually by adjusting your intensity level up and down over short periods of time.
For example, do 30 seconds at high power then 30 seconds at low power. Repeat. It's very simple and very effective.
Another excellent method for doing high-intensity training is called aerobic interval training. It is essentially the same concept as the previously explained interval training but the work intervals are longer with the intensity level somewhat lower. A good example would be running at a pace that you can only keep up for about 5 minutes then walking for 2 minutes then running 5 more minutes, walking 2 minutes, etc.
High-intensity training can be applied to any form of cardiovascular exercise. Anything from walking/sprinting to swimming to bike riding will work perfectly. I would recommend doing his type of training 2 to 3 times per week for best results. As always, be sure to consult with your physician before starting any exercise program.
Remember, what you get out of exercise is directly proportional to what you put in. Work at high-intensity training for awhile and see just how much better your fat-loss efforts go.
For more information on cardiovascular training, including advice on activities you can do, reviews of different types of cardio machines, other forms of cardio training, and some well-explained, useful, basic physiology go to: http://www.fitstep.com/Library/Info/Info.htm?news


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Some freely available books, some out of print, some still available in online stores, others in plain HTML.
Thinking in C++ 2nd Edition (2 Volumes) by Bruce Eckel – This is probably the most famous one. There is also a printed version on sale.
An Introduction to GCC, by Richard M. Stallman – A GNU C and C++ manual for those who want ot get started with the GNU compilers, gcc and g++.
Nectarine City Handbook of C Programming Style by Joseph Miklojcik – A book on writing clear code.
The C Book by Mike Banahanm Declan Brady and Mark Doran – The online version of "The C Book", published by Addison Wesley in 1991 (no longer in print)
Introduction to C Programming by Rob Miles – A online introductory C book.
C Elements of Style by Steve Oualline – Building good programming style
C++ Annotations by Frank B. Broken – Moving from C to C++


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'Riverdale's Marisol Nichols Has Been Tracking Child Sex Traffickers as Undercover FBI Agent
Riverdale star Marisol Nichols revealed that for the past six years she has been volunteering as an undercover agent, tracking child sex predators.
When Nichols is not on set playing Hermione Lodge on the hit CW series, she works alongside the FBI and local law enforcement to serve as the "bait" for sting operations domestically and internationally.
In an interview with Marie Claire, the actress described participating in numerous child sex stings around the world over the last few years, in which she acts to entice adults who want to sleep with children. Sometimes she plays the role of a parent "pimping out" a child or she pretends to be a 15-year-old girl who is about to meet up with a 59-year-old man at a motel.
When her acting career slowed down in 2012, she used the time to educate herself on the world of human trafficking. She saw an opportunity to get involved while practicing her craft. She credits Riverdale and other acting opportunities for keeping her "sane," as she is able to step in and out of the heavy role.
Nichols added that she would "lose her faith in humanity" if working with sex trafficking was her full-time career.
In addition to her sting work, she speaks publicly on the topic, warning parents to monitor and restrict their kids' social media.
Her story is currently being adapted for the small screen by Sony Pictures Television. Nichols will serve as executive producer and likely star in the story.


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This is a question that has been debated endlessly over the years. The word "backslider" or "backsliding" does not appear in the New Testament and is used in the Old Testament primarily of Israel. The Jews, though they were God's chosen people, continually turned their backs on Him and rebelled against His Word (Jeremiah 8:9). That is why they were forced to make sacrifices for sin over and over in order to restore their relationship with the God they had offended. The Christian, however, has availed himself of the perfect, once-and-for-all sacrifice of Christ and needs no further sacrifice for his sin. God himself has obtained our salvation for us (2 Corinthians 5:21) and because we are saved by Him, a true Christian cannot fall away so as not to return.
Christians do sin (1 John 1:8), but the Christian life is not to be identified by a life of sin. Believers are a new creation (2 Corinthians 5:17). We have the Holy Spirit in us producing good fruit (Galatians 5:22-23). A Christian life should be a changed life. Christians are forgiven no matter how many times they sin, but at the same time Christians should live a progressively more holy life as they grow closer to Christ. We should have serious doubts about a person who claims to be a believer yet lives a life that says otherwise. Yes, a true Christian who falls back into sin is still saved, but at the same time a person who lives a life controlled by sin is not truly a Christian.
What about a person who denies Christ? The Bible tells us that if a person denies Christ, he never truly knew Christ to begin with. 1 John 2:19 declares, "They went out from us, but they did not really belong to us. For if they had belonged to us, they would have remained with us; but their going showed that none of them belonged to us." A person who rejects Christ and turns his back on faith is demonstrating that he never belonged to Christ. Those who belong to Christ remain with Christ. Those who renounce their faith never had it to begin with. 2 Timothy 2:11-13, "Here is a trustworthy saying: If we died with him, we will also live with him; if we endure, we will also reign with him. If we disown him, he will also disown us; if we are faithless, he will remain faithful, for he cannot disown himself."


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STATEPOINT — The numbers are staggering — 25.8 million people, representing 8.3 percent of the U.S. population, have diabetes, according to the most recent data available from the Centers for Disease Control and Prevention. That's one in every 12 people, and the numbers may have soared even higher since these statistics were gathered.
For those living with the disease, preventing and treating complications associated with diabetes is critical.
One serious complication is diabetic peripheral neuropathy (DPN), which affects 60 to 70 percent of people with diabetes. Since those with DPN don't generally experience symptoms at first, it often goes undiagnosed until the condition worsens.
"If left untreated, diabetic neuropathies can cause disabling chronic pain, increase the risk of falling in the elderly and trigger foot ulcers that may even require amputation," warns Shai Gozani, CEO of NeuroMetrix, a medical device company that develops home use and point-of-care devices for the treatment and management of diabetic neuropathies.
The American Diabetes Association recommends getting an annual screening to detect DPN before it leads to Painful Diabetic Neuropathy (PDN). Ask your doctor about a new fast and accurate test, DPNCheck, which may aid in the early detection and confirmation of DPN.
"With proper, early clinical intervention, more positive outcomes are possible," says Gozani.
Unfortunately, despite best efforts, many people with diabetes will develop PDN and require additional therapy.
"Staying on top of symptoms and their causes is important for early diagnosis and prompt treatment of PDN," says Gozani.
Gozani advises those living with diabetes who are wondering if they have PDN to ask themselves if they have any of these symptoms:
• Burning, stabbing or shooting pain in your feet or legs.
• Pain when you walk, as though you are walking barefoot on marbles or hot sand.
• A persistent achy feeling in your feet.
• Pain in your feet or legs that makes falling asleep and waking up difficult.
• Pain in your feet or legs that makes you depressed or anxious.
If you're experiencing any of these symptoms, make an appointment with your health care provider to get a proper diagnosis. Your doctor may prescribe medications that can help control the pain.
Be sure to ask your health care provider about emerging chronic pain relief options, which provide non-narcotic, non-addictive complements to pain medications. These include the SENSUS Pain Management System, an electrical nerve stimulator that is lightweight, wearable under clothing and the first of its kind to be cleared by the Food and Drug Administration to be used during sleep. Since many patients with PDN report trouble falling and staying asleep, a fast acting treatment that can be worn during sleep is a much needed solution.
More information about early detection of DPN and safely treating PDN can be found at www.NeuroMetrix.com.
Don't ignore the potential complications of diabetes and don't wait until you're experiencing symptoms. Early detection and subsequent treatment can help you manage conditions that can be debilitating and painful.


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The Mecklenburg County Work Release & Restitution Center is the main jail of the county, located in Charlotte, North Carolina. The Mecklenburg County District Court is situated right next to the Mecklenburg County Work Release & Restitution Center.
The administrative offices of the sheriff are inside the jail.
There is a public online record database uploaded at the Mecklenburg County Work Release & Restitution Center office, that allows users to search for the inmates. This search can be conducted by using the social security number, the first and the last name, the SPN, or the date of birth of an inmate.
A successful search through the online roster will display the SPN of an inmate, the prison facility that they are being held in, along with the charges that they are facing.
Every incoming package for an inmate at the facility must clearly mention the name of the inmate, the housing unit, their cell block location, their SPN, and complete information of the sender including the name and address. In case any of the above-mentioned information is missing from the package, the package will be delivered back to the sender.
Each and every mail package that arrives at the facility gets scanned by a jail staff. In case there are letters that are sprayed with lipstick, makeup, or perfume, or anything else will be delivered back to the sender.
At a single time, no more than 4 magazines and 2 paperback books can be sent to an inmate. Moreover, the books being delivered to the inmates must be new and should come straight from the publisher.
A package of books will be sent at the following address:
Letters on the other hand, will be sent at the following address:
There are a number of ways in which friends and family can send money to an inmate at the Mecklenburg County Work Release & Restitution Center. These ways include the following:
Making use of Lobby Machines
The Mecklenburg County Work Release & Restitution Center features a number of deposit machines in the lobbies. In order to use this service, the sender must know the full name and SPN of the inmate.
Online transfer
Considered as the most convenient method, an funds can be transferred online to an inmate into his account via the Touchpay website. The funds that are transferred this way go into the account almost instantly. However, this service incolves a small fee.
Telephone transfer
Deposits can be made via TouchPay by calling at 1-866-232-1899.
This service also access credit card and debit card payments. However, in order to make a transaction,the SPN number and full name of an inmate must be known.
Do note that this service involves a small fee, and only up to a $100 can be deposited at a time.
Using Western Union
Western Union can also be used to deposit the money. Either, you can go to the kiosks, or call at 1-800-643-3422. On the other hand, the Western Union website can also be used.
Via the Western Union, the maximum deposit via internet and phone is $300 at a time. However, this service involves a small fee.
In order to make a transfer, the full name and the SPN number of an inmate must be known along with the code city.
Sending money via Ace Cash Express
Ace Cash Express can also be used to deposit money into an inmate's account, via one of the 1485 stores. However, do note that the Ace Cash Express service only accepts cash and no payments via debit/credit cards. Moreover, the maximum amount that can be sent to an inmate through this service is $1000 with a fee involved.
Sending money via Mail
The prison accepts money orders along with cashier's checks via a mail. The money orders must be payable to the 'Inmate Trust Fund' and must include the full SPN and name of the inmate at the bottom. In case the checks are not payable to the 'Inmate Trust Fund', they will be delivered back.
The following address can be used to send the money order via mail:
The facility does not allow inmates to receive phone calls from their family and friends. However, the inmates themselves are allowed to call their friends and family via a collect call. These calls are, however, monitored.
Moreover, the facility does not allow three-way calling. A three-way call would hence, end abruptly if initiated.
The facility does not provide an internet access to the inmates. However, JPay service can be used to send messages to the friends and family of the inmates. This service, however, does involve a fee.
The Mecklenburg County Work Release & Restitution Center offers a commissary store to the inmates, with a wide range of items. At one time, inmates can spend a maximum of $120.
Moreover, every block has a unique schedule for the commissary delivery.


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