text:
"The common willing of a common world is an eminently practical undertaking and not in the least abstract."
— Daniel Kemmis, former mayor of Missoula, Montana
It's a muggy July night and hundreds of people are milling outside the Walker Art Center in Minneapolis. A crowd is gathered under a tent to watch local chefs make sauerkraut. A group of regulars has grabbed some beers and joined the Drawing Club. Yarn bombers known as the Swatch Team are stationed at a nearby table, inviting anyone to knit. Far off in the field, an artist in a prairie bonnet sings to grazing sheep. The animals are followed with a boom mike to capture the soft sounds of chewing grass. The lawn has not been cut for weeks in anticipation of the evening's grand finale — a concert of people mowing the field in tandem. A line has formed as the composer ties bells to the reel mowers volunteers have brought from home. He explains how they will move in three different groups around the seated audience. After twenty-six minutes, each individual will choose a path and mow off the hill out into the neighborhood. We overhear a woman saying, "This is a really exciting experience. I never imagined that I would be performing at the Walker. I can't wait to tell my friends."
The Walker Art Center campus includes four acres of largely open greenspace directly adjacent to the building. Situated on the edge of a residential neighborhood, it is flanked by a large downtown park and the idyllic Minneapolis Sculpture Garden on two sides and a busy freeway entrance on another. This parklike space is open to all, but privately owned, similar to many other public urban environments. Originally intended for development as part of the Walker's 2005 expansion, the landscape design of the field, along with a proposed plaza entrance, was postponed. A notable addition was James Turrell's Sky Pesher, 2005 nestled into the top of the hill, a room-size chamber whose ceiling opens up to the sky. Over the years, museum staff episodically used the field for large outdoor concerts, a mini-golf course, and traditional education activities such as workshops and family days. However, as time passed and people began simply to inhabit the field — having picnics, walking dogs, or just rolling down it with their kids — we were left to wonder what might happen if we thought of our open space as a shared resource. How might it frame cultural participation as a collective and dynamic process? What form of public park could emerge from the context of a contemporary arts center? There aren't a lot of public places left in our lives where we can comfortably encounter people who, while they may not share our precise interests, hold in common an inclination toward engaged curiosity. In many respects, museums already serve this community, but an empty field provided us a rare opportunity to test something new. As a commons, the field was seen as a place for creative, social, and intellectual exchange and production rather than as a venue for the sort of presentation and cultural consumption typical for gallery, stage, or lecture room.
We assembled a loose group of non-Walker collaborators, and as we struggled to figure out how best to move forward, we jumped at their recommendation to host a community charette, a collective brainstorm session that would generate ideas; such communal planning seemed to us altogether appropriate to the goals of Open Field. This format turned out to be such a fruitful one that we repeated it the following year with a different group of artists and programmers. Six months before the opening in January 2010, thirty designers, artists, and cultural producers sat down together to think through the field's unique physical challenges as well as the conceptual and logistical dilemmas of how to engage people both creatively and socially. By the end of the day, the group identified the site's most pressing constraints and proposed an imaginative range of solutions, including a final plan for a shaded picnic area, along with the addition of a bar and grill and a plaza that could function as an impromptu stage.
The most difficult part of planning Open Field turned out to be the process of unscripting our own expectations and ideas about what should be developed. We knew we wanted the public to participate in programming, and we collectively wrestled with how to imagine an open, experimental, and functional environment that would achieve this. Walker staff had to acknowledge and set aside biases about the types of activities that people should organize; in my case, that meant foregoing some minor anxiety about mimes and juggling and a decided preference for jam-making and knitting. We were also concerned about the equity or balance of the space — that no one person or group should dominate the field in such a way that made it impossible or unpleasant for others to inhabit it with them. In the end, we took what I believe was an ambitious leap for our institution, making an earnest attempt to create a supported space in which anyone with virtually any idea or creative practice could participate.
"I have a right to know what kind of 'experiment' I'm involved in!" insisted one of our collaborators when we began to explain the project as an open experiment with the community. It was a stark reminder that we were changing the "rules" of institutional business-as-usual for the audience as well as for ourselves. We had some basic questions to address, and we needed to do so with transparency: How is one supposed to participate in a cultural commons? For that matter, what is a cultural commons? Nina Simon has written extensively in the Participatory Museum on the need for "scaffolding" participation, creating the structures by which people understand and are comfortable with how to engage and contribute. Since the museum and the public were literally entering new terrain together, we were most concerned that methods of engaging on the field be: varied (after all, we weren't sure what was going to actually work); familiar but intriguing enough to inspire creative and social risk; more fun than frustrating; and most of all, able to reinforce the values and integrity of a commons. Over the course of the next few months, with the advice of many of our partners, Walker staff designed Open Field by using what I've dubbed in hindsight as the strategy of "rules, tools, seeding, and meeting."
The first step toward not only articulating our values, but also facilitating a functionally "open field" took the form of the Rules of the Commons, later known as Field Etiquette [see accompanying sidebar], which were posted on the website. The construction and refinement of these operating guidelines brought up numerous tactical and philosophical questions, ranging from liability issues and hate speech to commercial promotion and trash disposal. While we struggled with the inherent tension between rules and radical openness, the crafting and enforcing of this document represented an ideological and pragmatic crucible for the project. [See accompanying story below.]
Our charette participants introduced the idea of providing "tools" for the field by designing things that would empower participants to create their own experience of Open Field. These included not only mock-ups for items such as portable seating, umbrellas, and shade structures, but also a model for ways that local artists might function as a kind of human prompt or "resident provocateur" by posing questions, instigating actions, or improvising the flow of exchange between visitors. Conversations on this topic inspired the production of a wooden structure aptly named the Tool Shed, which served as a hub for visitors. The fully realized construction housed sports equipment such as soccer balls, Frisbees, and hula hoops as well as art supplies, a library of books from several local presses, and even a portable tent kit designed by a local artist. Staff stationed there helped to facilitate and orient visitors, encouraging them to rummage through its shelves and use whatever they found inspiring, free of charge.
"Show, don't tell" is every writer's mantra. We also attempted to follow this maxim, yet at the beginning of Open Field's first summer, it took us some time to realize that simply issuing an invitation for members of the public to "organize a book club, host a meet-up, teach others new skills" in a big outdoor space wasn't providing enough direction; we needed to help people imagine the breadth of possibilities for what they might do on our field. A better strategy involved seeding the Walker's commons with activities throughout the summer months, programming that we hoped might galvanize Open Field's community participants to be imaginative and go public with their own interests and proposed uses for the space. We found that many had good ideas, but were tentative about doing things in the context of a contemporary arts center, particularly if they wanted to do something that had nothing to do with art. We needed to show participants what was possible, but also to offer them an invitation and, most importantly, permission to become more actively involved in planning programming themselves.
We invited local artists to use the field to experiment, to try things out. They hosted topical conversations; a playwright held public readings of plays; one local publisher even invited the community to pitch book ideas to him in an earnest but playful speed-dating format. One of our editors brought her daughter's Suzuki violin class to practice on the field on several summer evenings, where they provided an unconventional backdrop for people throwing Frisbees or just hanging out and drawing.
"Seed it and then cede it" was a phrase coined during a second charette in 2011. This suggestion became one of our core operating principles — a good reminder for us to resist the inevitable institutional impulse to program or structure the field too greatly. We aimed to lightly seed the field with interesting programs, and then get out of the way to make room for whatever else might then happen.
It was quickly evident that the social possibilities of Open Field were just as attractive, if not more so, than the invitation to create structured programs. Most of our audience is simply eager for a place to meet other curious and interesting people. In order to ensure that there was always something happening on Thursday nights, when museum admission is free, and to offer a low-threshold way for the public to participate, we launched Drawing Club.5 A weekly collaborative event, the program created an air of informal sociability around a shared task, where one could simply sit down and join in — it was art-making as a communal, informally collaborative endeavor, open to all comers. Along with events such as Acoustic Campfire (weekly acoustic music sets), artist-in-residence projects, and some intentional coordination of the publicly hosted activities, we were able to create unusual and lively programming mash-ups on the field that fostered an atmosphere of creative improvisation and social serendipity.
As much as Open Field is a space for informal creativity, we also viewed it as a site rich with potential for professional artists interested in experimenting with public practice. As it turned out, our resident artists were critical to activating Open Field. Red76, Futurefarmers, Machine Project, and Marc Bamuthi Joseph were all commissioned in the first two summers to approach the field as a launch point for collective production and investigation; they embraced the public as collaborators in imaginative and wide-ranging activities — from the improvised building of a schoolhouse and the construction of a mobile, multi-person megaphone to performances starring neighborhood dogs or requiring push mowers to the making of a community classroom for social change. These highly visible projects proposed new ways to envision making, investigating, taking action, or playing on the field. The socially engaged practices of these artists and the intellectual and creative rigor with which they approached the aesthetic, social, and political implications of commons-based cultural practices were crucial to project's evolution. The resident artists' openness and warmth toward the public and their willingness to allow their work to unfold alongside whatever else was happening on the hill played an important role in what Open Field would eventually become: a porous environment that blurred the lines and leveled the playing field between professional and nonprofessional artists, weekend hobbyists, and creative enthusiasts.
During the first two years of Open Field, more than 200 people from the local community hosted programs ranging from storytelling and dance performances to art-making workshops; they brought to the field vernacular forms that included brass bands and knitting as well as social events such as book clubs and cribbage. However, many projects defied easy categorization, such as Spin with the Whorling Sisters or the Ground Breaking Invent Event. One of my personal favorites among these activities—If You Ignore It, It Will Get Better—offered participants free financial advice while they received a massage. For many, Open Field offered a way to share passions and interests with a larger community, and an opportunity to reconnect with creative energy that some thought they'd left behind. Artist and writer Gregory Sholette has coined the term "dark matter" to describe the array of output by informal artists, amateurs, and other creative producers whose work lies outside the formal art world's critical frames — not by their choice, per se, but because of the "near-virtual hegemony [the elite art world] yields over notions of 'serious' cultural value." Open Field not only brought this dark matter into view, but in some instances fostered it anew by empowering people to see their creative labor as a form of art and themselves as artists. The field functioned not as an arbiter, but rather as a catalyst that generatively and generously supported and made possible a wide spectrum of creative activity.
I heard some say Open Field got the art world out of the way, but of course it didn't really. The contemporary art world was always right there, physically and psychologically adjacent and in constant interplay with everything happening outside in that common space. On Open Field, all forms of social and creative expression were equally respected and validated; the guiding principles of the field and the museum are not in competition, they're complementary — albeit fundamentally different and creating a provocative discursive space where we might hash out questions around cultural value and representation. Indeed, Open Field instigated provocative and soul-searching conversations among Walker staff members around issues of cultural capital and quality, both within and outside the museum. Some worried that we were "diluting our brand" or that people would only come to Open Field and never step inside to the "real" museum. Others skeptically suggested that we were trying to get people to do the museum's work for free, a comment that invites one to ask, "What precisely is the work of the museum?"
With the proliferation of alternative cultural outlets and forms, why should it matter that a contemporary arts center undertakes something like Open Field? Quite honestly, it doesn't, if the motive is simply to increase attendance or if the work is done superficially and disingenuously. It's a real challenge for an institution, even with a progressive history such as the Walker's, to facilitate a truly improvised, open environment. It requires a dedicated staff, in attendance and at attention, to participate in and acknowledge the contributions and presence of others as well as patience with failure, faith in serendipity, the courage to relinquish control, and a genuine openness to change. As field coordinator Scott Artley wrote to me after the close of the project's second year, "The physical and intellectual labor of the summer was considerable, but the real work was facing and attempting to challenge the institutional practice without alienating the very resources that made it possible to ask the questions in the first place."
"The emergent properties of systems are never apparent from the conditions going in," writes cultural critic Lewis Hyde in Common As Air: Revolution, Art and Ownership. The same could be said of my own education on Open Field. What happened on the field was neither scripted nor accidental. Yes, it was scaffolded and seeded to encourage participation, and tools were put into place. But lest we take too much credit for crafting an encounter, it should be said with great certainty that Open Field only happened because people showed up, open and willing to improvise and engage with one another. Many compared it to the seasonal and temporary pleasures of summer camp, while one participant likened it to the story of Brigadoon, an enchanted Scottish village that appears for only one day every one hundred years. For while there were moments of amazing spectacle — an opera for dogs, a silent film that drew an audience of thousands, or the surreal site of local LARPers engaged in fantasy games — the field's true enchantment arose from the practical undertaking of people coming together week after week, gathered in small groups around picnic tables, some knitting, some drawing, building something, listening to someone read a poem aloud, casually moving among others, talking, having a beer, just observing, or simply horsing around on the field.
"To inhabit a place is to dwell there in a practiced way, in a way which relies upon certain regular, trusted
habits of behavior," writes Daniel Kemmis in his eloquent book Community and the Politics of Place:
_In fact, no real public life is possible except among people who are engaged in the project of inhabiting a place. If there are not habituated patterns of work, play, grieving, and celebration designed to enable people to live well in a place, then those people will have at best a limited capacity for being public with one another. Conversely, where such inhabitory practices are being nurtured, the foundation for public life is also being created and maintained._
"Open Field reminded me how removed I've become from play," wrote one participant. "Humor can get us through the workday, but for play, we need other people and the willingness to suspend all self-consciousness with them."9 Open Field reminded me of the fundamental ways in which we actually enjoy being together — playing, sharing, creating, conversing, daydreaming, and socializing. In this regard, it has changed the way I view my work as a curator and educator and renewed my own commitment to working more locally in this place where I've lived for more than two decades. Perhaps it is more precise to say that the people I met on Open Field changed me by demonstrating what it means to practice forms of social and cultural citizenship based on principles of trust, generosity, serendipity, caring, and authenticity.
My most humbling moment came when I tried to counsel the Swatch Team yarn bombers on creating a more "compelling" system of exchange for dealing with the hundreds of hand-knitted items they had collected and made during the summer. I was promptly interrupted and told I didn't understand at all. They didn't want to exchange with people, they wanted to "give it all away" in one celebratory moment with whoever showed up to take what they wanted or needed. I realized that as much as the institution helped give people a place, there was still plenty of opportunity for us to be put in our place.
The project began with questions about institutional practice and left me considering larger questions of where and how we want our public lives to unfold. What does it mean to live a generative or creative public life? How can we be more present with and for each other? In the quest to create a cultural commons, I stumbled upon acts of "commoning," practices of gifting rather than owning, of curiosity rather than certainty, and of generosity rather than arrogance. I wish to neither reduce nor overstate what took place on the field, but truly, if we can't sit down and make a drawing together, how will we ever make a world together?
In his landmark book The Gift, LewisHyde writes, "Both anarchism and gift exchange share the assumption that it is not when a part of the self is inhibited and restrained, but when a part of the self is given away, that community appears." The inhabitants of Open Field gave generously of themselves. What tangible or intangible parts of our institutions, I ask, are we prepared to "give away," or at least hold in common so that the enchanted village appears more than once a century — or a summer?
When Bad Things Don't Happen
By Sarah Peters
When Open Field launched as an expanse of grass, a set of wishful ideals, dozens of museum-organized programs, and an explicit invitation for people to come and use the space for their own creative endeavors, it also began with a set of carefully constructed parameters. Four "guidelines" and twelve "rules" [see accompanying sidebar on Open Field Etiquette] governed what a person could do (share skills, be creative) and couldn't do (set up a grill, camp out, express hate speech) on the field.
These "Rules of the Commons" were a heavily debated subject within the museum. Questions of how to set up and maintain a privately owned, publicly available place played out in conversations that mirrored those you'd hear in a philosophy class. In staff meetings, we discussed issues such as: What are the central moral and ethical tenets of free speech and assembly? Who should be able to gather, to speak, to be here? What exactly do we mean by "the public good"? How do we construct written guidelines to communicate all of this?
The first version of the rules was intentionally minimal as a way of better communicating a spirit of openness. These most basic behavioral directives were later expanded and made more concrete after staff imagined several nightmare scenarios that could occur in an open, public space. We posted the rules on the Open Field website, but by the end of the project's first summer, none of our fears about public misbehavior had come to pass. Political extremists did not evangelize, no one set anything on fire, and there were no trumpets played at midnight, which might have angered the neighbors. At the close of Open Field's second season, we found that the situation remained much the same. Tai chi practitioners, guerrilla knitters, and Swedish chess players took turns sharing their skills on the museum's lawn, and all did so in a friendly manner. The only ideological commotion I witnessed occurred midsummer, when a Christian flash mob cheerfully invited people to pray with them one busy Thursday night—hardly a disturbance; most people just ignored them.
Troublemakers or not, the participants who shared their creative activities on the field made good our experiment in crowdsourced content. Yet, this is not all that Open Field hopes to be. From the beginning, we set out to create a cultural commons using the outdoor space—a physical commons—of the museum. Out of respect for the concept of commons, and because that word is adopted so readily to describe its antithesis (shopping plazas or the grassy sections of private college campuses, for example), I think it is important to acknowledge the root concepts of commons and to articulate the differences between them and an institutionally driven, audience-participation project such as Open Field.
Generally speaking, a commons is a resource shared by a group of people. A vast literature outlines the history and contemporary practice of these systems, primarily in the realm of natural resource management and digital culture. In a commons, a set of resources—ranging from forests to scientific ideas—is regulated and shared by groups of people, all of whom contribute to regulatory systems that sustain the stuff that everyone uses. Without going into the long history and present complexity of these models, suffice it to say that Open Field was inspired by both the oldest and newest forms of such collective resource-sharing, from rights of pasturage for grazing sheep to Wikipedia.
In the case of Open Field, the available resources may not be as self-evident as a grazing meadow is for animals, but we found that several tangible assets help facilitate staging an activity on the field. The most obvious of these include amenities that take advantage of the open space, such as double-wide picnic tables and shade umbrellas, an expanse of grass-covered land, and a roomy soft-surfaced plaza that served as a stage. We also provided platforms for advertisement (analog and digital), some staff support, and social resources in the form of an audience. To that end, the museum is able to attract more substantial crowds to Open Field, which individuals working alone may not be able to gather.
The drive to make rules governing the use and availability of these resources came out of an apprehension around the very notion of "open." We were nervous about the idea of the museum's backyard being overrun by conflicting cultural, political, spatial, and aural agendas that could lead to arguments between participants, or worse, clashes between visitors and the institution concerning the messy territories of free speech. Additionally, the Walker is located in a residential area; we had neighbors to keep in mind, too.
Establishing a set of basic guidelines allowed us to venture forward into possible conflict with greater ease, primarily by determining a clear authority for the grass-as-commons. In addition to some fundamental rules, we also set up a system by which people could submit their events to a vetted online calendar. This functioned as a way both to promote the public's activities and to filter out suggestions that didn't comply with the field rules (such as events that would cause sound violations) or proposals that didn't mesh with the spirit of the field (overt attempts to advertise goods or services, for example). We viewed the rules and staff-managed online calendar as tools that would allow us to live up to the "open" in the project's name, while maintaining the authority to stop activity we deemed potentially dangerous or damaging to either person or property.
At first, the notion of reserving such institutional authority was uncomfortable given the stated aim of the project, for isn't everyone supposed to have equal power in the commons? Not necessarily. As scholars from the fields of economics, history, politics, and culture have stated, all commons have rules and managers. Economist Elinor Ostrom discusses them extensively in her work; in fact, she adapts commons-based regulations of natural resources to serve intellectual production in her work with Charlotte Hess. Ostrom's eight design principles shared by successful common-pool resource management systems include: rules adaptable to local conditions, ways for most resource users to participate in decision-making, monitors accountable to users, and self-determination of the community of users that is recognized by authorities. It isn't that rules are unwelcome in the commons, but it is central to the notion that users will be able to participate in the process of decision-making about those regulatory principles. Architectural theorist Stavros Stavrides offers a similar view of the importance of user influence on governance. He posits that commons are not merely what people share, but also how they create and sustain these resources: "You have to be able to produce places where different kinds of lives can coexist in terms of mutual respect. Therefore any such space cannot simply belong to a certain community that defines the rules; there has to be an ongoing open process of rulemaking."
These ideas about shared resources and rules are helpful in thinking about the way Open Field's participatory goals fall short. The project aims to offer a commons of culture, but it deviates from the basic principle of users' rights to participate in shaping the framework of that shared space. We didn't set up open systems for field programmers or attendees to weigh in on the structure of the overall program, nor did we build a mechanism by which they might adapt the rules in a way that better suited their projects. In fact, it's difficult to know how many people actually read our "Rules of the Commons." They were only available on the website, not in the physical space, so it's unclear to what extent any of the field's casual users knew about the governing structure of Open Field at all, or that a theory of the commons was at play in the project as a whole.
We initially put the guidelines in place in an attempt to prevent the bad things that we imagined could happen, but as the project continued, we realized the rules we established also played an important role in imparting a set of values that both reflected and helped shape the sociality of Open Field. The social operations of commons are in need of considerable attention. Ostrom and Hess' very definition of commons is "a resource shared by a group of people that is subject to social dilemmas." As people negotiate using a shared space potentially for wildly divergent ends, a stated set of values functions as a solid foundation upon which to navigate users' differing desires.
The ethics of Open Field were more clearly articulated in the iteration of guidelines that ushered the project into its second summer. Written by Open Field coordinator Scott Artley and dubbed "Field Etiquette," this text uses the language of preservation—"Protect the Spirit, Protect the Space, Protect the People"—to communicate many of the same rules but by emphasizing values of respect, trust, and responsibility. These principles, while not foreign to the institution, are less explicitly stated or modeled inside the museum walls.
In this sense, these rules of etiquette can be read as a mission statement for Open Field. With its emphasis on creativity and community, the project's aim is similar to the Walker's core mission to be "a catalyst for the creative expression of artists and the active engagement of audiences," but it is important to note that the inside and the outside of the museum don't operate on the same principles of openness. I'm not talking about gallery admission and theater tickets (though this is a distinct and obvious difference), but about the wild territory of non-curated programming accepted outside the gallery walls. Mark Allen of Machine Project once referred to this kind of experimental programming as a "shadow institution" that operates using a different set of rules than its parent. These two mission statements—inside and outside—can and should be part of the same institution.
One lesson we've learned from Open Field is not to make the galleries more like the lawn, or vice versa, because each mode creates an interesting context for the other. The fact is that the inside and the outside don't hold equal power. The gallery show and the collecting of art is part of a market-oriented system of money and power set apart from the experiments playing out on the plaza, which may or may not possess the same measure of quality. However, the juxtaposition of these two spheres inevitably raises interesting questions about how and why we value culture.
In my earlier list of Open Field's resources, I neglected to mention an important one: cultural capital. This is a complicated term; I prefer the old-fashioned word for it, prestige. Open Field invites people to conduct creative activities in a communal space with other artists, including those chosen by the institution. Sharing a resource such as institutional prestige doesn't happen easily for museums that have traditionally played the roll of gatekeepers of culture. This proved, in fact, much harder than making rules to outlaw infrastructure damage and hate speech. It's not unreasonable that the museum asks people not to do bad things such as pounding stakes into the sprinkler system or throwing cruel epithets at each another. But what do we do if they come to the field and make bad art? Or, what if the activities they present aren't art at all?
Herein lies a challenge for institutions that employ criticality as a necessary function of their program. At Open Field, the judgment of "bad" is reserved only for actions that damage the environment, either literally or by violating the trust of its community of users; this is much the same way that other commons operate. On the field, people share picnic tables and join each other's programs. Crafters who might not otherwise find an open invitation at the museum come every Thursday for knitting club. A wide variety of forms of expression are welcomed and presented. There is enough room for everyone, so long as they respect the space and their fellow inhabitants. In this sense, the Open Field commons illustrates what David Bollier calls "a flexible template for talking about the rich productivity of social communities" as much as it is about sharing the physical resources of the site.
This way of operating effectively debunks the mindset of false scarcity informing the way many institutions dole out, or protect, their cultural capital. Open Field posits that there is plenty of prestige to go around, if we simply shift the way we view the ownership of ideas. Ostrom and Hess strike this nail directly on the head when they describe knowledge as a "'flow resource' that must be passed from one individual to another to have any public value." Perhaps the best thing that could emerge from this project would be for the Walker to give up the notion of its cultural capital as a finite resource to be controlled in favor of looking upon its institutional prestige as an infinitely available resource, continuously renewed by all of the people who come to share it.
Open Field, as a structured program of the Walker, is slated to end after 2012. [The Walker is not discussing how to continue the project.] Some significant questions now come into play. The museum expends a considerable amount of money and time to activate the field through staffing, assistance with public activities, communications, and programming. When the sun sets on this support, what will happen to the commons we've created? Will people continue to hold dance concerts on the plaza? Will Open Field's most active users return in the absence of the social infrastructure provided by the museum and develop their own methods of organization? And crucially, would the Walker welcome them once the direct invitation for participation is no longer extended?
It is clear, in hindsight, that the urgency we felt to make rules to protect Open Field and the museum from trouble were not really necessary for the reasons that first impelled us to create them; people have not disrespected the space. The real concern turns out to be the question of whether members of Open Field's commons will continue to use the space once the institutionally sanctioned program is concluded. Each September, after the official programming ends, the public-organized activities also cease, even though the field remains open—the picnic tables sit there, and the sun still shines on the grass, even as summer transitions into fall. Does this lack of continued public engagement constitute a failed project?
Poet and historian Dolores Hayden draws an inspiring conclusion about failure in her study of American utopian societies: "But failure, I think, is attributable only to the most unimaginative experiments, and I am willing to define as a success any group whose practices remain provocative even after the group itself has disbanded."
In that light, I suppose the success of Open Field remains to be seen. It was begun as a way to change the public's view of their agency in an outdoor, culturally imbued place. The challenge now for the Walker is to transition this creative usage of space from a museum-centered program to a genuinely public practice. This can only happen when the project is over, whatever "over" means for an experiment such as Open Field. My wish for its future is that this could be a space governed by a common law of creativity and an ethic of trust, and that it be tended lightly by its institution and ruled by its users.


text:
Nearly 150,000 jobless people have been refused Jobseekers' Allowance (JSA) during the past year.
A benefits expert outlines some of the pitfalls that face people who are trying to claim JSA.
Jobseekers' Allowance is the main UK benefit for unemployed people, and Job Centre Plus, the agency based in local job centres, administers it.
JSA is paid only to people who lost their job through no fault of their own, and there are rules designed to back up this approach.
Job Centre Plus officials known as decision makers decide whether claimants have broken these rules, and whether they should face a benefit sanction - which can involve losing some or all of their benefits for up to six months.
Every year thousands of people in Britain are sanctioned.
The vast majority of these cases were people who left their last job voluntarily or lost it through misconduct.
If you become unemployed and claim JSA you will normally have to attend a new jobseeker's interview.
One of the things this interview is designed to find out is whether you left your job voluntarily or for misconduct, and the adviser (the Job Centre Plus official at the interview) will ask how your last job ended.
Leaving voluntarily
The rules governing voluntary leavers are applied like a two stage test.
If the adviser thinks you may have left your job voluntarily you may be asked to complete a form giving your version of events, and your former employer might also be asked for their version.
The papers will be passed to a decision maker.
If the decision maker rules that you left your last job voluntarily, you may be barred from claiming JSA for 26 weeks.
However, if you can show that you had just cause for leaving then the decision maker may rule that you receive JSA immediately.
Just cause could occur if you were being paid less than the national minimum wage or are alleging some form of workplace discrimination.
Proving just cause is not straightforward, and you must show that you have asked your employer to rectify the situation prior to leaving your job.
Misconduct rules
If your last job ended through dismissal (or if you left to avoid dismissal) and the adviser thinks there may have been misconduct, your former employer will be sent a form asking for their version of events.
The decision maker should not impose a sanction until they have received a statement from your employer describing the alleged misconduct and is satisfied that you have had an adequate chance to respond to the allegations.
If a sanction is going to apply, the decision maker has to be satisfied that you lost your job through misconduct.
The decision maker's opinion should be based on the evidence and case law and be appropriate on a balance of probabilities.
Anyone who finds that they are facing sanctions should get advice and representation as quickly as possible from an Unemployed Workers' Centre, council welfare rights office or Citizens Advice.
The views expressed are solely those of Richard Exell's and not the BBC's. Any guidance is for general information only and does not constitute financial or legal advice.

subset: commoncrawl


text: In article <9fk53o$fga$1 at tomahawk.unsw.edu.au>, the eminent Neil Saunders at The University of New South Wales wrote >When we run the sample without digesting, we get a discrete band at about >18-20 kbp. But do you still see the ccc and oc bands that would even more strongly indicate a plasmid? Does real xsomal from the archaea run at the same place on the gel? Knowing how little cell paste one gets from some hyperthermophilic archaea, I take it you have insufficient of your material to run a CsCl purification. What about xsomal specific primers? A PCR, albeit crude, may give you an indication of xsomal contamination. Duncan -- The problem with the gene pool is that there is no lifeguard. Duncan Clark GeneSys Ltd. Tel: +44(0)1252376288 FAX: +44(0)8701640382


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Abbott names Midlander to advisory committee
Published 10:50 am, Friday, April 1, 2016
AUSTIN -- A Midlander is among those Gov. Greg Abbott named to the Technical Advisory Committee to the Bureau of Economic Geology at the University of Texas.
Craig Pearson is the state seismologist for the Railroad Commission of Texas. He is a member of the American Geophysical Union, Seismological Society of America, American Association of Petroleum Geologists and the International Society Explosives Engineers.
He is a graduate of University of Texas Permian Basin and has a master's degree and doctorate from Southern Methodist University.
The committee was created under House Bill 2 during the 84th legislative session. It will advise the Bureau of Economic Geology on the use of the funding, including the TexNet Seismic Monitoring Program and collaborative research relationships with other universities in Texas, and on the preparation of a status report to the governor and Legislature, according to a press release from the governor's office.
Also named to the committee are Dan Hill, a professor in the Harold Vance Department of Petroleum Engineering at Texas A&M University; Chris Hillman, Irving city manager; Dana Jurick of Houston, manager of Seismic Analysis for the Geoscience and Reservoir Engineering Organization at ConcoPhillips Co.; Hal Macartney of Irving, geoscience manager of Sustainable Development for Pioneer Natural Resources; Kris Nygaard of Houston, senior stimulation consultant for ExxonMobil Upstream Research Co.; Brian Stump of McKinney, a professor and the Albritton Chair of Geological Sciences at Southern Methodist University; Scott Tinker of Austin, state geologist of Texas; and Robie Vaughn of Dallas, owner of Vaughn Capital Partners LLC.


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- Press Center
- News
- Nebraska Bill Would Further Restrict All Dog Breeding
Legislative Bill 427 seeks to further regulate "commercial dog breeders" in Nebraska. Current law...
Legislative Bill 427 seeks to further regulate "commercial dog breeders" in Nebraska.
Current law defines "commercial breeders" as anyone owns or harbors four or more intact dogs or cats, who sells at least 31 dogs and cats per year, whose dogs/cats produce four or more litters per year, or who knowingly sells or leases dogs/cats for later retail sale or brokered trade.
With this low threshold in current law, LB 427 would require anyone who owns four intact dogs of any age to comply with strict engineering standards and breeder restrictions.
Under existing "commercial breeder" regulations, those who fall under the state definition of "commercial breeder" are required to be licensed, be inspected at least once every two years, and comply with basic standards of care. These standards include maintaining sanitary conditions; providing adequate food and clean water; providing adequate socialization and exercise; and providing adequate space based on the age, size, weight, and breed. Current law also requires that breeders develop and maintain a veterinary care plan in conjunction with a veterinarian and provide veterinary care "without delay when necessary."
The AKC strongly believes that all dogs deserve lives in safe, healthy environments, and that they should not be kept in conditions where their basic needs are not met. Current law already addresses these concerns. The new restrictions outlined in Legislative Bill 427 place undue, unnecessary and expensive burdens on responsible breeders and owners of intact dogs.
LB 427 Summary:
Legislative Bill 427 seeks to add more arbitrary and restrictive requirements for all dog breeders and the owners of four or more intact dogs. In addition, it creates the opportunity for breeders to obtain an "outstanding" designation from the state if the breeder complies with even more restrictive requirements. Those who achieve this designation will receive a certification and be listed on a public web site. Here are some highlights:
Breeding Restrictions – In order for a breeder to obtain the "outstanding" designation, a female dog may not be bred more than once every 12 months and breeder must restrict the breeding to once every 18 months unless the dog has been given a physical by a licensed vet.
New Primary Enclosure Requirements – The primary enclosure must be large enough for the dog to lie down, stand up, and turn around without touching another dog. To obtain the "outstanding" designation, the breeder must comply with a complicated mathematical formula for enclosure sizes.
New Requirements for Exercise Areas – Each primary enclosure must have an entry with unfettered access (or allow access at least twice a day) to an outdoor exercise area that is at least 10 times the size of the primary enclosure. Breeders have until July 1, 2016, to comply, but will not be considered "outstanding" if they use this grace period.
How You Can Help:
This bill could be considered as early as the first week in February. Also, unlike other state legislatures, the Nebraska Legislature has only one chamber. Therefore, the bill may move very quickly.
We encourage all responsible dog owners and breeders to contact their State Senator and express any concerns you have with Legislative Bill 427. Use this link to find your State Senator and their contact information.
Click here for a sample letter to personalize
Contact the AKC Government Relations Department at (919) 816-3720 or firstname.lastname@example.com for any questions or the latest information.


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Mother in a Moment & Millionaire's Instant Baby: Mother in a Moment\Millionaire's Instant Baby
Two favorite stories of instant families and everlasting love from bestselling author Allison Leigh.Mother in a MomentTaking in five newly orphaned kids wasn't on CEO Garrett Callum's agenda. But he had made a promise to his dying sister that he would look after them, and he would do whatever it took to honor that vow. Only he never expected that persuading the nurse he met at the hospital to help him with the "Fearsome Five" would be his biggest challenge yet. Darby White was sure that if Garrett knew her secrets, he wouldn't let his charges anywhere near her. And yet how could she refuse? The children and their father offered her a chance at a family, redemption and love.Millionaire's Instant BabyTycoon Kyle Montgomery was a closer. He made deals ruthlessly and by any means necessary. Including acquiring an instant wife and baby. He even had the perfect candidates: Emma Valentine and her son. The arrogant and devilishly cool Kyle wasn't the husband Emma dreamed of he was much, much more. He offered her a home, and gave her son the chance to have the life she wanted for him. And in return she could offer Kyle a different kind of deal one that lasted forever.
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Regular readers of this column (hello, Mum) will know I haven't always got on brilliantly with Audis. Driving an A1 along the motorway during a heavy rainstorm, my driver's side wiper whooshed right off the windscreen and suddenly I couldn't see a thing. It "tried to kill me" I wrote, perhaps a little melodramatically. Another time, in an A6, the satnav tried to send me the wrong way round a major roundabout (on the A1 as it happens, confusingly). "This car is trying to kill me," I wrote again. Vorsprung durch bloody murder.
Perhaps you'll understand, then, why I approached this one with some trepidation. Is it going to try to finish what the others didn't quite manage? A high-speed blowout? Death by injector seat, perhaps?
I'm afraid not – no near-death experiences to relate. So here's the dull bit about what this car is actually like. The Q3 is a baby SUV, sometimes known as a "soft-roader". You've got the higher-up position but without the screw-you-all-and-screw-the-planet hatefulness of an SUV proper. A happy compromise perhaps, or neither one thing nor the other, depending on where you stand on soft-roaders (I mean no one's really going to go off-road in one are they?).
It's nice to drive, refined and quiet, without being especially engaging or exciting. Not a car for someone who loves driving. I think it's pretty to look at, but it's not going to be turning any heads. Inside, as you'd expect, it's all very classy without being too flash. An Audi then, basically.
There are two natural rivals to this car and I'm putting the Q3 in the middle, in terms of desirability. It's certainly nicer than the BMW Dog's Dinner (also known as the X1). But I'd rather have the new small Range Rover, the Evoque. It's cuter, more Gucci, more Footballers' Wives. And that's a good thing, because footballers' wives, and wannabe footballers' wives, are exactly who these baby SUVs are for.
Perhaps they can even be compared to footballers' wives, hopefully without being too sexist. So the Evoque is… well, it doesn't matter who she is, but she's got the heels, the hair, the make-up, the tan, the nails. And she's giving you the eye. The Q3, meanwhile, has been caught nipping out to the corner shop in a grey tracksuit and slippers. I mean, she's clearly gorgeous, but she's not how footballers' wives are supposed to be.
OK, so on the plus side, she didn't try to kill me. In fact, we got along pretty well. But it was always just a successful, professional working relationship; there was never a hint of anything more.
Audi Q3 2.0 TDI (177PS) Quattro
Price from £27,650
Top speed 132mph
Acceleration 0-62mph in 8.2 seconds
Average consumption 47.9mpg
CO2 emissions 156g/km
Eco rating 6/10
Cool rating 7/10


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While Googling for something eBay related came across this post from 2013. Shows nothing has changed in all that time.
I had someone put a case against me after buying a yummy mummy bag, It was signed for but the seller said she didnt sigh for it it was her neighbour and she was never given the bag, Ebay sided with her and I was told to give her a full refund of £65 plus £5 P&P I told them I wasnt going to pay and to stuff it! I closed my paypal account and my ebay account and set up another ebay account using my OH name and a new paypal using our joint account!


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Researchers have developed a new dancing robot that analyses music played through its speaker-ears and generates real-time unique dance moves.
Researchers at Georgia Technology developed the gyrating Robotic dock that looks like a bizarre futuristic table lamp, but in fact is a fully featured dancing robot called 'Shimi'.
They have now turned into into a real gadget, and hope to fund the production of the $149 device via the Kickstarter web site, the Daily Mail reported.
"We are seriously excited to present our project to you: Shimi, the first musically intelligent robotic speaker dock," researchers say.
"Shimi is a real robot with artificial intelligence that analyzes music it plays through his speaker-ears and generates real-time unique dance moves to bring the music to life in a fun, cute way," they said.
The gadget uses five motors to move, and also has facial recognition software so it can automatically rotate so its speakers are always pointing towards the listener.
It also has a microphone and can understand human speech, so owners can simply tell it what they want to hear.
They can also tap along and the robot will adjust its rhythm accordingly.
The team promises to keep developing the robot once they hit their $100,000 target.
"We are already working on applications that will allow Shimi to respond to your facial expression, learn your musical tastes, and recommend new music to you," said researchers.
"We will keep developing new applications for Shimi. Expect apps for gaming, education, music making, telepresence and more, very soon," they said.
Image: The QRIO robot performs a dance at a New Delhi school. | Photographs: Desmond Boylan/ReutersThe image is for representation purpose only.


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This movie is made for those who love and appreciate fine acting, and yeah it is like fine wine, and in many cases it does get better with age. The acting is so great in fact that you begin to be thankful for the sub-par directing, makes the great acting performances seem to last longer, and maybe even forgive the awkward screen adaptation.
As I was watching the movie I had the impression that Gregor Jordan's directing seemed distracted or maybe even overwhelmed by the project and by having the opportunity to work with a tremendous roster of some of the most experienced actors in Hollywood, and some really talented younger ones as well. As I learned later that's not really the case but its rather a matter of Mr. Jordan trying desperatly to piece together what surely was a ridiculous screen adaptation.
The pace of this movie is really, well , it's not easy to characterize. Jordan does have quite a few really brilliant moments when his hands-off approach, merciful lack of quirky camera angles and letting the pros do their thing truly creates movie magic, but that's also the problem with the movie. It's more of a collection of great scenes lacking a strong directorial hand to knit them together and to keep the movie on pace. The format of the screen play itself – seemingly unrelated story lines weaving in and out of each other's existence – is really a minefield for a directors. Gregor Jordan does avoid blowing up the movie on any of those mines but he navigates trough that mine field at a pace that is in contrast with the fast and furious lives of the characters.
Since we are on the subject of the screenplay, it is an adaptation of Brett Easton Ellis' novel by the same name. Mr. Ellis collaborated on adapting his novel into a big screen script with newcomer Nicholas Jarecki and hence the problem. I wasn't there so I don't know what happened, but I suspect that, like all writers, Ellis jealously guarded the adaptation to be as faithful to the novel as possible, Mr. Jarecki didn't have the pull or knowledge to correct him, and the end result is a train wreck of a script that landed in the director's lap.
You are sitting there watching the movie wondering why they didn't at least allow a good editor to fix this movie and then you realize, there is some really top notch acting going on hereh, I think I'll stay.
The performances of Billy Bob Thorton and Kim Basinger as estranged husband and wife rival any put on celluloid anytime, anywhere by anyone. Billy Bob Thorton shows exactly why he is arguably the most accomplished actor in Hollywood today. Kim Basinger rises to the challenge and gives us her best performance since LA Confidential and, for my money, I have to tell you that I think she bettered it.
My favorite scene in the movie is a duet with Billy Bob Thorton and Winona Ryder, as his mistress, stealing a rendezvous in the ladies room of an LA Restaurant as the former's family is waiting at a table in the dining room. It's a short scene in a relatively minor role, but I have never seen Winona Ryder do better. Ms. Ryder recaptures the sparkle of the troubled teen from Girl Interrupted, subdued by the years gone by and the daily grind of the successful career woman of the early eighties. In that scene, dialogue seems almost superfluous and we are transported back in time to the glory days of Hollywood. Seriously, it's really that good.
It wouldn't be much of a stretch to say that Brad Renfro 's portrayal of "wrong side of town" Jack, the doorman is the best that I've seen him do and at the very least it rivals that of Thorton or anyone else in the movie. ( The morons who wrote that "we don't know if he is acting or he was just being himself" should borrow a few bucks and go rent some shame) Alas this was his last rolle as he passed away last year of a drug overdose. Hollywood and us will miss him and we will be deprived of seeing a talented actor.
Here's the rub, apparently somewhere in the three year long write and rewrite of this movie there was a vampire plot and some other such supernatural nonsense that the director edited out. This does however create a pretty big and confusing gap and a couple of minor ones as well. A young boy is kidnapped and sold as would be hors d'ouvers for the un-dead beasts. The thing is that without knowing that there are vampires lurking about the audience doesn't really know what to fully make of this subplot.
That the bat-boys and gals were tossed out of the movie is probably a very good thing. Do we really need a "Lost Boys Sequel?" That the rest of the movie wasn't massaged better to integrate the rest of the stories is not. What is left is a collection of short stories some of which have more to do with each other and some of which don't.
I suppose that in that way the movie sort of resembles real life and it's not lost on anyone that the director might have intentionally done that, but if you are going to make an avante guard movie warn me ahead of time. If not, then try hard to not make the movie as disjointed as real life. We get enough of that for free. There is no plot – just sex, debauchery, some regret, a little redemption, a generational tug-of-war, lots of drugs, a bit of death, and life goes on.
Oh yeah and the movie probably has a record number of Wayfarers per inch of celluloid, but weren't they great?
Social Commentary.
Is this Hollywood begging for forgiveness?
Along with the acting, this is the other reason to go see this movie – the life of a powerful Hollywood executive, his family, their friends and associates is shown in all its glory and all its misery. From the glitz of a paparazzi flanked red carpet fund raiser, to habitual multi-partner sex, to drugs, and finally to the misery and pain of AIDS – the movie wraps it all up and puts in on display for you to see. (The reviews from other critics are evidence that freaks really don't like mirrors.) The lives of young people that have everything except moral compasses handed to them on platinum platters, quickly dissolve into meaningless abhorrent drifts of debauchery interrupted by occasional bouts of reflection and the inevitable scream of agony that that fleeting moment of lucidity brings. Somewhere in all of this a clumsy awkward doorman with dreams of movie stardom is trying to find a way to get inside what, from his vantage point, seems to be the circle of happiness. That he never gets in and that he'll never know how lucky he was is just another of the great subplots of this movie. What he does get to do is to provide the symbolic redemption for all those involved.
Graham, played very well by Jon Foster is the heir apparent to his father's entertainment fortune, and, as such, is the prototypical and timeless poor little rich boy. In yet another great scene, his friend (and sometimes lover and sometimes lover of his girlfriend and sometimes lover of his mother – you get the picture right?) asks why someone who has everything is complaining. Graham's response is the movie and is the summary of the human condition from Cain to 1980's Hollywood and forevermore, "I just need someone to tell me what's right and wrong."
Oh yeah, you think Hollywood will ever forgive a movie that brings forth a statement like that?
If you can stand the sex and drugs scenes, go see the movie. It has a lot of merit (even if does seemingly lack a plot) and great acting.


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Need to buy parts for this project?
Click here to order!
The mass air flow sensor monitors air flow into the engine and creates a digital signal for the DME. Mass air flow sensors accuracy skews over time and can lead to fault codes or drivability problems. When replacing, inspect the plastic intake air ducts for cracks or dry rot. If intake air ducts are faulty, replace them first and see if the problem you are having is remedied. An un-metered air leak downstream of the mass air flow sensor will set codes similar to a faulty mass air flow sensor. When you suspect a mass air flow sensor as the culprit for setting a fuel trim fault code, check when the fault code was set. You can do this using OBD II freeze frame data. Normally, a vacuum leak would set a fuel trim fault code at idle or very low engine RPMs. A mass air flow meter would usually set a fault code when you are driving, or a higher RPM. You can check your fault code freeze frame data using an OBD II scan tool, similar to how you would check for fault codes.
Turn engine OFF and remove remote key from key slot.
Disconnect mass air flow sensor electrical connector by releasing tab with small flathead screwdriver and pulling connector out of sensor. (green arrow)
Remove two T20 Torx fasteners from mass air flow sensor. (green arrows)
Remove sensor from intake air duct.
If stuck, use a small flathead screwdriver to gently pry out of duct. Install new mass air flow sensor into air filter housing. If O-ring gives you a hard time going in, apply a small amount of dish soap to O-ring, it will slide right in and the soap will not damage O-ring. Check vehicle for fault codes, see our tech article on reading and clearing fault codes. Then test drive vehicle and confirm engine runs well.
Need to buy parts for this project?
Click here to order!


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Mission accomplished!
Yup. Coward Piven strategy.
System is overwhelmed.
The black market, underground economy, barter and trade, back-alley trade, whatever you want to call it, shall become the base of the economy in coming months and perhaps years. A LOT of business will be "off the books", so as not to be subject to taxation, and a goodly portion of production of hard goods will take place in people's garages and back yards.
For pointers on how to do this, look up old copies of "The Mother Earth News". They started out as "environmentalists", but they were also very much into "screwing the Man". Which means, tax avoidance (a different thing than tax evasion, by the way), which has the secondary effect of denying revenue to the Federal Government. Starve the beast, live off the grid, and it shall wither on the vine.
Of course, the folks at Ruby Ridge and the Branch Davidians of Waco had something of the same idea, and you know what AG Janet Reno did to THOSE people.
Semper Paratus. And this does not just apply to the Coast Guard.


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I'm not one to write my opinion about men's fashion because, let's face it, I'm too consumed by what's going on in the female fashion industry, but the Tim Van Steenbergen Fall 2009 collection is one line I couldn't pass up. As soon as I saw the first few images, I was taken.
Although some may see it as too riddled with details, the elegant, mature lines and interesting textures pull each piece and look together. The Tim Van Steenbergen Fall 2009 collection is not only based on design, however, it is also highly functional.
Sheepish Men's Fashion
More Stats +/-
Sunday Picnic Fashion
Attractive Menswear Accessories
Romantic Gladiator Fashion
Casual Animal Fashiontography
War Gear for Climbers
The Tim Van Steenbergen Fall 2009 Collection Will Make Your Jaw Drop
- By: Meghan YoungNov 20, 2009
References: timvansteenbergen & swipelife
References: timvansteenbergen & swipelife


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I've been a fan of using small flash on location for roughly two years. It's a great way to bring far more professional results to location photographs without having to haul along a truck-load of gear. Great sites such as Joe McNally (http://www.joemcnally.com/blog/) and The Strobist (http://www.strobist.blogspot.com/) have made location lighting that much easier for all of us.
So what can little 'ol me add to this? Sarah mentioned seeing a pole mounted lighting kit at a wedding while we were chatting yesterday at the studio. Got me to thinking about how this could be done (already mentioned on The Strobist and linked to http://www.kaceyenterprises.com/?page_id=447), however I would rather use my existing softboxes. This gives me a choice of small and medium Chimera boxes.
I've referenced a number of Manfrotto bits and pieces below. Your local photo dealer or online retailer should have them in stock as they're not unusual parts (I had them lying around the studio). My needs are to have the ability to adjust the angle plus rotation of the box and be able to withstand a good gust of wind. After trying a few different configurations, I came up with the following:
I've left the softbox off so you can see the arrangement. Using the SB-800's included "base", I was able to screw it into a Manfrotto #196 camera base that comes with their articulated arm. I think you can also purchase the base on its own under code #143. The #196 articulated arm is a real handy piece of gear to have onhand when you need to hold a card or gobo.
That same #196 base also has two holes that accept 5/8″ studs. Rather than purchasing two of these brass studs (#013), you could also likely use a couple of short pieces of 1/2″ copper pipe. The stud pointing down goes to the D200 Avenger clamp and the stud pointing up goes into the #014-14 adapter that can be screwed to the softbox ring.
At this point, the whole rig can be attached to a 5/8″ stud on a light stand or C stand. If you want to use the paint pole as your stand, then the "Metalhead" is going to be your friend. See the link above to Kacey Enterprises. You're likely smarter than I am and can somehow attach this rig to a pole without the Metalhead, however I haven't come up with a solid way of doing this. Yet.
I should note that the flash can be slid in and out of the opening in the ring. This is handy because the flaps on the back of the softbox sometimes block the small circular sensor on the side of the SB-800. Using a SU-800 to trigger the SB-800 is really handy since you can change flash mode and settings from the camera. If the distance gets too great or the triggering unreliable, I'll switch to Pocket Wizards, however being a bit of a techie means I usually reach for the SU-800 first.
Here's a shot showing all the pieces that were assembled into the rig. Up until now, I've been using a C Stand arm and Justin (#175) clamps. It's all been good, but the arm is heavy and I couldn't rotate the softbox. Tilting it involves swinging the arm which means one more thing for the client or art director to run into on set.


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Founded in 1845, the first Protestant Church of New Braunfels, Texas, developed under the direction of German Pastor Louis Cachand-Ervendberg, who had emigrated to the United States in 1839. By 1850, the church counted approximately 136 families, mostly of German descent. Originally constructed out of cedar, the church was later rebuilt in limestone from a local quarry around 1870.
Haas, Oscar.
Four bound typescripts compose the Kirchenbuch der Protestantischen Gemeinde Neu Branfels (Tex.), [ca. 1938-1939], documenting the history of the first Protestant Church in New Braunfels, Texas, during the mid- to late 19th century. Consisting of the baptismal and death records of its parishioners, the first and second volumes provide genealogical and health information on German Americans living in New Braunfels, while the third volume contains birth records and lists of individuals involved in church events, including Christmas and Easter services. Additionally, the fourth volume provides an index of individuals mentioned in the other volumes.
This collection is open for research use.
Kirchenbuch der Protestantischen Gemeinde Neu Branfels (Tex.), [ca. 1938-1939], Dolph Briscoe Center for American History, The University of Texas at Austin.
Basic processing and cataloging of this collection was supported with funds from the National Historical Publications and Records Commission (NHPRC) for the Briscoe Center's


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The Shop
Easter Box - Price Includes Shipping
Share this product
Product Description
This Box Includes: The Women of Easter By Liz Curtis Higgs : This book explores three women named Mary, each of whom have a life changing encounter with Jesus. Ladies prepare for a rich study for Easter! JennyM Verses To Live By Scripture Cards: These cards come in an adorable case and each have a modern design. They are great for daily encouragement, the perfect size to carry with you or give to a friend. Joshua 24:15 Door Hanger : This great door hanger is by ChristianArtGifts and has a beautiful message for all our households. What a great way to remind us to keep God first. (Measures 7"X5") Highlighter/Study Pen Combo : This pen/highlighter is by ChristianArtGifts and reads 2 Timothy 2:15 on the side. Rock & Glam Pearl Earrings : Measures 2cm in diameter with fish net accent


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A Cabo San Lucas Spa Resort
Where World-Class Service Awaits
Spend afternoons lounging on a pristine beach, discovering artisan shops in town, or enjoying an adventure on your own with a sunset cruise on the Pacific. A standout among Cabo San Lucas spa resorts, The Resort at Pedregal offers a distinctive balance between adventure, sophistication, and relaxation to create exquisite vacations tailored to meet your every desire. Offering an unparalleled commitment to service and plush amenities you're unlikely to find elsewhere in Baja California, The Resort at Pedregal is a 5-star Cabo beach resort that serves as a restorative oasis for each and every guest.
Personal Concierge Services
One of the reasons The Resort at Pedregal is considered the best hotel in Cabo San Lucas is our personal concierge service, a delightful addition to traditional concierge service.
Resort Pool & Plunge Pools
Swim or soak in an infinity pool or private plunge pool -- on each terrace of our rooms and suites -- while enjoying panoramic views of the sparkling Pacific Ocean.
Acclaimed Dining
Indulge at one of the resort's acclaimed dining venues, featuring a variety of unique Cabo San Lucas-inspired menus and design details.
Renowned Spa
Luna y Mar Spa is an ocean view oasis, offering 10 treatment rooms and signature treatments with only the finest organic ingredients.
AlmArte Gift Boutique
AlmArte embodies the spirit and culture of Mexico with artisan handicrafts available for purchase.
We take celebrations seriously. Learn how you can celebrate holidays and special occasions with authentic getaways at The Resort at Pedregal.
Kids' Club
Our Cabo San Lucas luxury resort offers plenty of things to do for every member of your family. Learn more about kid-friendly activities and our very own kids' club, Tortuguitas.
Review our FAQ for more information about what to expect from your stay at The Resort at Pedregal, the ideal choice among luxury Cabo beach resorts.


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Dimension Data Cloud Solutions Executive to Present at All About the Cloud Conference 2013
Cloud Solutions Business Unit Chief Strategy Officer Treb Ryan to moderate panel at premier cloud conference
May 06, 2013, 09:06 ET from Dimension Data
SAN FRANCISCO, May 6, 2013 /PRNewswire/ -- Dimension Data, the global ICT solutions and services provider, today announced that its Cloud Solutions Business Unit Chief Strategy Officer Treb Ryan will present at the eighth annual All About the Cloud conference, taking place May 7-9 at The Palace Hotel in San Francisco. The conference, presented by the Software and Information Industry Association (SIIA), is the industry's most comprehensive ISV event on cloud computing that explores all aspects of the industry through keynote sessions, panels and product demonstrations.
(Logo: http://photos.prnewswire.com/prnh/20120402/NE80686LOGO )
Ryan will moderate the panel titled "Partnering for ISV Success" on Wednesday, May 8, with panelists Feyzi Fatehi of Corent Technology Inc., Lou Guercia of Scribe Software, Kevin O'Brien of Oracle, and David Roth of AppFirst. In this breakout session, attendees will learn new ways to leverage partners that will overcome business and technology needs and better serve customers.
"Forging the right partnerships can catapult a technology company to new heights," said Ryan. "We'll explore how to evaluate and nurture partnerships in a way that leads to mutual business success."
Ryan will also be a contestant at the event's second annual "Who Wants to be a Cloud Geek?" competition on May 8, alongside Dave Batt of FPX and Rick Nucci of Dell Boomi. The game show-style session will feature a trivia match between platform, infrastructure, and application providers competing for the title of top "Cloud Geek."
Dimension Data is a specialist IT services and solution provider that helps clients plan, build, support and manage their IT infrastructures. Today the company is positioned at the forefront of networking and communications in 51 countries across five regions – Middle East & Africa, Europe, Asia Pacific, Australia and the Americas.
About Dimension Data
Founded in 1983, Dimension Data plc is an ICT services and solutions provider that uses its technology expertise, global service delivery capability, and entrepreneurial spirit to accelerate the business ambitions of its clients. Dimension Data is a member of the NTT Group. Visit us at www.dimensiondata.com/na and www.facebook.com/DimensionDataAmericas or follow us on Twitter: @DimensionDataAM.
For further information, please contact:
Jackie Funk
Mariah Torpey
Dimension Data Americas
Davies Murphy Group
SOURCE Dimension Data


text: On Wed, Aug 20, 2008 at 08:26:19AM +0200, Vegard Nossum wrote: > On Wed, Aug 20, 2008 at 3:39 AM, Andi Kleen <email@example.com> wrote: > > On Tue, Aug 19, 2008 at 09:51:44PM +0200, Vegard Nossum wrote: > >> Hi, > >> > >> With latest -git (1fca25427482387689fa27594c992a961d98768f), I got > >> this on reading from /dev/cpu/*/* while hot-unplugging cpu1. > > > > It's generally known the oprofile doesn't support CPU hotplug well. > > Someone needs to make a project out of fixing it properly. Right now > > it's just a "don't do that when it hurts" > > Hm. What you say is true, but this one in particular has nothing to do > with oprofile! It has something to do with reading /dev/cpu/*/msr > while hot-unplugging cpu1: > > [<c011733e>] msr_read+0x6e/0xa0 > [<c01a87b4>] vfs_read+0x94/0x130 > > I wasn't using oprofile when this happened. So I think it should also > be considered a separate issue. Though yes -- CPU hotplug in general > tends to break a lot of things.From my reading of the msr code, we check that the cpu is online in ->open,but we never check it again, and also, we make no guarantees that itwon't go away before we ->read or even ->close it.Would adding a get_cpu/put_cpu across the open/close solve this?Peter? Dave-- http://www.codemonkey.org.uk


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Product category
Plasma astronomy
Buyer's guide > Plasma & fusion > Plasma astronomy
Showing product 1 to 20 of 1,111 in Plasma astronomy.
Result page: 1 2 3 4 5 6 7 8 9 10 Next »
Janis Research Company Announces New Free Piston Stirling Cryocooler
Janis Research Company Inc Feb 25, 2013
Reliable and efficient (10 W @ 80 K), the StirlingCool-10 expands Janis's HTc and cryogen-free offerings.
10 to 1000eV Spectrometer
McPherson Feb 6, 2013
The McPherson Model 248/310 spectrometer provides user-friendly and fast spectra from a wide range of extreme vacuum ultraviolet (VUV) and soft x-ray (SXR) wavelengths.
Vacuum Differential Pumping Components
McPherson Nov 15, 2012
The McPherson DP100 is a high vacuum pumping tee with a removable, conductance limiting aperture. It creates a transition between an area of high pressure and a vacuum spectrometer at lower pressure.
Fiber Optic Power Meter
Philippines Fiber Optic Cables,Inc Oct 1, 2012
fiber optic power meter is a test instrument used for absolute optical fiber power measurement .
New diffraction gratings improve efficiency and range
McPherson Sep 26, 2012
McPherson's vacuum ultraviolet spectrometer, Model 234/302, is now available with improved efficiency over a wider range. Two new diffraction gratings are available.
Camera Ready Spectrometers
McPherson Sep 24, 2012
New adapters improve range of useful detectors. A new series of adapters, simplifying integration of c-mount cMOS and CCD cameras with McPherson high performance spectrometers, is now available.
650 Watt Visible-NIR Light Source
McPherson Jul 23, 2012
High power source covers full Visible-NIR spectrum
VGA Extender, VGA Fiber Extenders
Fiber Optic Converter - Fiber Optic Video Converter Jul 19, 2012
VGA Extender, VGA Fiber Extenders VOS-1VGA-T/R provide 1-Channel uncompressed VGA computer video resolutions up to WUXGA 1920x1200
VGA over Fiber, VGA Extender over Fiber
Fiber Optic Converter - Fiber Optic Video Converter Jul 19, 2012
VOSCOM VGA over Fiber, VGA Extenders VOS-1VGA-LT/R provides 1-Channel VGA, support one VGA loopback output for local display.
DVI Extender, DVI Fiber Extenders
Fiber Optic Converter - Fiber Optic Video Converter Jul 19, 2012
VOSCOM DVI Fiber Extenders provides 1-Channel uncompressed DVI video resolutions up to WUXGA 1920x1200 and HDTV up to 1080p
Purged Ultraviolet Spectrometer
McPherson Apr 12, 2012
The McPherson ultraviolet spectrophotometer is an ideal tool for research and quality control with ultraviolet materials - now with improved environment to simplify operation and extend working life.
Langmuir Probe
Impedans Ltd Apr 10, 2012
The Impedans Advanced Langmuir Probe (ALP) System provides a powerful diagnostic for measuring key plasma parameters in low and medium pressure discharges.
New Cryogenic spares and accessories website
Oxford Instruments NanoScience Mar 23, 2012
The new Cryospares website is the one stop shop for all your cryogenic spares and accessories needs offering online pricing,online ordering,account management and order tracking. www.cryospares.com
The Impedans Semion™ System
Impedans Ltd Mar 14, 2012
The Semion™ System is a high-performance retarding field energy analyzer (RFEA) system.
The Impedans ALP System™ Langmuir Probe
Impedans Ltd Mar 14, 2012
The ALP System™ is a high resolution and high performance Langmuir Probe system which can be used to characterize many plasma types including DC, pulsed DC, microwave and RF plasmas.
The Impedans Octiv VI Probe
Impedans Ltd Mar 14, 2012
The Octiv VI Probe is a useful RF Power delivery monitoring system. Installed pre-match as a high performance power meter or post match for high accuracy measurements of delivered power to the process
Programmable XUV Spectrometer
McPherson Mar 1, 2012
Direct optical measurements from 1 to 300nm with Model 248/310 grazing incidence spectrometer. Test soft x-ray (XUV) high energy light sources (plasma or laser) and samples.
precision optical components
DeLn Optics Co.,Ltd. (China) Mar 1, 2012
We specialize in the manufacture of precision optical components.
10GE S10K XFP for ZTE compatible transceivers
SFP Transceivers,Inc. Jan 16, 2012
S10k 10g xfp for ZTE compatible transceivers.
PL XKC SC S45 0C XENPAK for Q-LOGIC compatible transceivers
SFP Transceivers,Inc. Jan 16, 2012
PL XKC SC S45 0C XENPAK for Q-LOGIC compatible transceivers.


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Seahawks Notes: Lynch's status remains unchanged
Carroll says 'Beast Mode' remains a game-time decision for Monday night's tilt vs. Detroit
Published 4:21 pm, Saturday, October 3, 2015
Seattle Seahawks head coach Pete Carroll had a familiar refrain for reporters seeking an update on the status of running back Marshawn Lynch following his team's Saturday walk-through at the Virginia Mason Athletic Center.
Carroll said a decision on whether "Beast Mode" will play in Seattle's Monday night game against the Detroit Lions at CenturyLink Field will be a game-time decision.
Lynch's status has remained the same throughout practice this week since he exited Seattle's victory over the Chicago Bears last Sunday after tweaking a hamstring. The veteran back has also battled neck and calf issues this season.
If Lynch is unable to go, undrafted rookie Thomas Rawls figures to shoulder the load as Seattle's featured back once again after a solid showing against Chicago that saw him carry the ball 16 times for 104 yards.
Lynch hasn't practiced all week, but Carroll said he'd have no reservations about starting him if he's deemed ready, saying that Lynch has shown in the past that he can be productive without practicing during the week.
"If he can make it and he can pop out of it, we could go with him," Carroll said. "He's had other weeks where hasn't been able to practice and played very well. So we'll have to wait and see."
Carroll said defensive tackle Brandon Mebane is also going to be a game-time decision as he works his way back from a groin injury, while defensive backs Steven Terrell (hip) and Tharold Simon (toe) are each still a week away from making their respective returns.
Richardson "raring to go"
Carroll did give updates on the statuses of wide receiver Paul Richardson and cornerback Jeremy Lane, who each began the season on the PUP (physically unable to perform) list and are eligible to return after Week 6.
Carroll said that Richardson, who tore his ACL in Seattle's divisional-round playoff game against the Carolina Panthers last season, is progressing rapidly and should make a return to the fold as soon as he's eligible.
"Paul's in great shape," Carroll said. "He's really raring to go. He made a marvelous recovery."
Lane, however, could be a bit further away from making his return. The 25-year-old tore his ACL and broke his arm in gruesome fashion after making an interception in the first quarter of last season's Super Bowl against the New England Patriots.
"Jeremy's a little bit behind (Richardson) because of his arm," Carroll said. "His knee recovery is going well but (dealing with both injuries), I think is going to keep him a little bit longer."
Lions injury report
Detroit running back Joique Bell (ankle) and tight end Brandon Pettigrew (hamstring) have each been ruled out of Monday night's game.
Star linebacker DeAndre Levy and reserve offensive tackle Corey Robinson, meanwhile, are both doubtful, while defensive end Ezekiel Ansah, cornerback Josh Wilson and guard Larry Warford are all listed as questionable.
Levy, who was a second-team All-Pro last year and Detroit's defensive MVP in 2013 and 2014, has yet to suit up for the Lions this year after injuring his hip in practice on Aug. 24.


text:
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9.—(1) This article applies where—
(a)the CCEA requires a person, before submitting a form of a vocational qualification to it for accreditation under Article 75(1)(b) of the 1998 Order, to be recognised by it in respect of the award or authentication of that qualification or a description of vocational qualification which applies to that qualification, and
(b)an application for recognition in respect of a vocational qualification or description of vocational qualification has accordingly been made to the CCEA but not determined by it before 1st April 2010.
(2) With effect from 1st April 2010, the application is to be treated as an application for recognition under section 132 of the Act in respect of the award or authentication of that vocational qualification or description of vocational qualification.
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Monopoly Peppa Pig Jr - This is the perferct introduction to the world of MONOPOLY! Travel round the Peppa Pig MONOPOLY board visiting Peppa and her friendsas you go! Leave your Wellie Boots with people you have visited, see what Mr Fox has in his van and look out for MIss Rabbit's suprises!
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I never thought I would live to see a blowjob machine
One of my wildest dreams was to have a blowjob machine of some sort. I had read a lot of sci-fi when I was younger, and there was frequently some kind of mention of different cyborgs or robots that existed only to provide sexual gratification. I always thought it would be nice if something like that existed, but I never really got my hopes up. I knew that the chances of seeing something like that in my life was next to impossible. Wouldn't you believe that something very similar has actually come to fruition, though? I was very surprised when I found out about the Autoblow, which is the closest thing available to an actual pleasure bot that is only programmed to take care of your sexual needs.
The first time I heard of the automatic blowjob I was definitely skeptical. I didn't think that something like this could exist that actually did a great job. I loaded up roboticblowjob.com, which is the website of the company that makes this thing, and I checked out the demo videos. I was pretty impressed. It isn't really the robot of my desires, but it actually seems like it would do a great job providing a realistic blow job experience. I decided that I had to buy one and try it for myself, so I placed an order.
The first thing that really shocked me about the blowjob machine was that it came in very discreet packaging. Why should the mailman know that I just got a gadget that would give me head, anyway? I was really glad that they had done this, because after I placed my order I got nervous that someone would see what I had ordered and think I was a pervert.
Thank goodness for discreet shipping and secure online ordering! Anyway, I was really eager to give it a try and popped an erection before I even had it out of the packaging.
I lubed up and got ready to give the machine a whirl. I wasn't really expecting what happened next. I was pleasantly surprised by the way to toy felt when it started to go to work.
Now, I have to say that it is very important that you order a toy that is the right size. You have to make sure that you match up the measurement of your dick with the product recommended on the sales page if you want to actually have a good experience. Don't order one that is too small or too big. It won't line up properly and you will be disappointed.
The machine provided a really great sensation. Think about the best blow job you ever had. It is probably similar to one where the woman was using her fist and bobbing up and down really quickly. You could feel her tongue pressed firmly against the bottom of your dick and your head kept touching the back of her throat. It felt nice, didn't it? Too bad she couldn't keep it up because she had to stop and catch her breath. The robotic blow job doesn't need to catch its breath. It starts providing intense pleasure and it doesn't let up until you reach an orgasm. If you have a toy like this taking care of your orgasm you are going to be able to get off realy quickly.
Look, I never really thought that such a thing would exist, but I am glad that it does. If you give it a try, you will probably be a big fan, just like me. Check out the robotic blowjob device sold on roboticblowjob.com and fulfill your futuristic fantasies.


text: On Friday 08 December 2006 21:35, Jeremy Fitzhardinge wrote:> Arkadiusz Miskiewicz wrote:> > LD .tmp_vmlinux1> > arch/i386/kernel/built-in.o: In function `math_emulate':> > (.text+0x3809): undefined reference to `_proxy_pda'> > > > Hm, in theory nothing should ever generate a reference to _proxy_pda. > What compiler are you using?Looking at Arkadiusz' output file it looks like gcc 4.2 decided to CSE theaddress :/ movl $_proxy_pda+8, %edx #, tmp65Very sad, but legitimate.The only workaround I can think of would be to define it as a symbol(or away in vmlinux.lds.S). Or do away with the idea of proxy_pdaagain.-Andi-To unsubscribe from this list: send the line "unsubscribe linux-kernel" inthe body of a message to email@example.com majordomo info at http://vger.kernel.org/majordomo-info.htmlPlease read the FAQ at http://www.tux.org/lkml/


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Sr. Mortgage Banker
Phone: (541) 773-3131
Mobile: (541) 944-8668
Medford Branch
1555 E McAndrews Road, Suite 301
Medford, OR 97504
Thank you for visiting my personal webpage with Pacific Residential Mortgage (PRM), a lender who cares! I am proud to be working as a Mortgage Banker with what I consider the 'best of the best' in the Oregon mortgage lending industry. With over a decade of mortgage finance experience, I have the knowledge and foresight to give you a great home loan at a great price.
The mortgage lending industry has been transformed over the past few years. Some of these changes actually benefit our customers. Through it all PRM has maintained top shelf customer service standards. I offer a full line of First Time Home Buyer, Move Up, Second Home, Investor, Private Money, Reverse Mortgage and Government loan products.
Some Examples Include:
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· One-time close construction financing.
· Exclusive hobby farm/agricultural home financing (RuraLiving Home Mortgage).
· Reverse mortgages for our senior community.
· FHA 203k purchase & refinance loans that help rehabilitate foreclosed properties (or renovate your current home with new energy efficient upgrades).
My wife & I have three wonderful children together and they keep me grounded to a higher purpose. Thank you for your patronage. I appreciate the opportunity to help you and/or your family with your home financing needs. Feel free to contact me today.


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When you think of Los Angeles, you likely see the Hollywood sign, palm tree-lined streets and a lot of gorgeous people. However, there's much more to this big city that film making. In fact, you can even make your stay less expensive by looking for Los Angeles deals while you're in town. At Thrifty, we have great offers on Los Angeles car rentals. Save those dollars for some serious entertainment.
Hotspots and must-sees
Take that Los Angeles rental car down to Venice Beach for some fun in the sun. This is the perfect location for tons of free entertainment by way of people watching. Looking to learn something new? At the Museum of Jurassic Technology, you can learn interesting facts about plenty of scientific wonders. The Walt Disney Concert Hall is the best place in town to catch a live music performance, as this venue features some of the most wonderful acoustics you've ever experienced.
Los Angeles freebies
Believe it or not, there are actually a number of free forms of entertainment available in LA. Both the J. Paul Getty Museum and Getty Villa offer free admission year-round. And, of course, the Hollywood Walk of Fame on Hollywood Blvd. is open to the public at any time. Here, you will find 2,400 stars on the street with famous names such as Audrey Hepburn and Michael Jackson. If you're interested in seeing where some of the film industry's early icons have been put to rest, drive your Los Angeles car rental to the Hollywood Forever Cemetery.


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White Collar Crimes
White collar crimes are not just limited to 'professionals' anymore. Hacking and computer virus attacks are some examples of typical white collar crime that may involve teens and college-age kids. Something that started out as "fun" may have gotten out of control and became destructive. If you or someone you know has been arrested for a white collar crime, you must hire a criminal attorney to craft a creative and strategic defense. Russ Hunt Jr. always strives to provide quality criminal attorney representation in Georgetown.
White collar can cause serious defamation of your reputation and character. You must get the Georgetown criminal lawyer representation that you need to fight for your rights and help you to protect your reputation.
Some examples of white collar crime are:
- Wire Fraud
- Tax Fraud
- Healthcare Fraud
- Securities Fraud
- Business Fraud
- Computer Crime
- Identity Theft
- Accounting Fraud
- Bank Fraud
- Insider Trading
- Investment Fraud
While people sometimes have the misconception that a white collar crime yields minimal punishment, that is not true. As with any other type of crime, judgments can vary. You could be facing probation, and in some extreme cases, you could be facing life in prison.
If you or someone you know has been charged with a white collar crime in Williamson county, or is being investigated for a white collar crime, you need to have aggressive Georgetown criminal attorney representation. Call Russ Hunt, Jr. today and get the representation that you need from experienced and reputable Georgetown criminal defense attorney Russ Hunt Jr.


text: These are a mixture of new men women and children clothes. These are coming out of a famous wholesaler/retail club in the US. Some brands that you may find are Calvin Klein, Levis,Reebok's,Children s place and much more There are 200 units in each pallet Please call for quantity prices