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By Amelia © October 19, 2009
Welcome to the third stop on The Enchancted Sole's blog tour! Janel Laidman's second book of sock patterns takes you on an adventure through fairy tales and legends for your feet. If I were to sum up this book in one word, it is this: bold.
Color knitting, cables, lace, cables-and-lace, beads with cables or lace: it's all packed in here. Toe-up, cuff-down, sideways - yep, all accounted for. The book is well worth its price for Janel's unvented stretchy slipknot cast-on and her clear instructions on two methods for knitting with beads -- both clearly photo-illustrated in the back of the book.
Janel's patterns show off solids, semi-solids, and handpainted yarns wonderfully. Her advice on choosing alternate colors is delightful to this spinner -- it lets me know where in my stash to dive, for a given pattern. Most of the patterns are for 400 yards/3.5 ounces of sock yarns; some take a slightly finer yarn, and some combine two colors in one sock, so may work for your smaller skeins. The Tinker looks to be a great sock for a semi-solid and little bits of leftovers, actually.
I have three handspun skeins waiting for perfect patterns. The one shown with the book above is super-special, being not only handspun sock yarn, and not only an Abby batt, but also completely spindle-spun and plied. It shines from its Romney and silk, and is soft from its Merino and silk. I've been letting it come of age, waiting for the perfect sock pattern to fall into my lap.
And you know, it just may have: when you get this book, and if you are an adventurous sock knitter, you will!, check out Selkie. Why did I choose this pattern? It's perfect for my "semi-solid", its texture will gleam with the luster of my yarn, and if you look closely, you see it puts the knit stitches next to the skin -- a delightful treat for the skin! Try it -- take a handknit sock and put it on inside out. Doesn't that feel nice? Ahhhh.
I'm planning on another read-through; I think the second half of my skein called "Elk" may also have met its pattern here ... Naiad, or Lothlorien, I wonder. What do you think? Naiad is on the left, my skein in the middle, Lothlorien is on the right. Let me know in the comments.
Janel, thank you for these lovely socks. I'm sure they'll be as gorgeous in handspun as in the lovely yarns in the book -- and I'll enjoy the knitting as much as I enjoyed the spinning. And for my readers: if you are itching for your own copy, they are purchasable directly from Janel's Rustling Leaf Press, your local yarn store may have a copy or can order one for you, or add a copy to your next order from Amazon.
Now, I'm off to dig up my size 2's (2.75mm) for some swatching ...
If you'd like tips on spinning yarn for socks, see the posts labeled Sock Spinning.
© 19 October 2009 by Ask The Bellwether, posted at http://askthebellwether.blogspot.com/


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Yesterday, I showed you some business and dressy looks from Bergdorf Goodman's Fall 1985 catalog. Today, casual pieces from the same catalog. Would you wear any of these looks today?
Left: Ralph Lauren gold metallic lurex and wool knit hooded sweatshirt and sweat pants. Pearl choker with detachable pin by Ralph Lauren for Miriam Haskell.
Right: Cathy Hardwick purple wool jersey cropped jacket and high-waisted stirrup pants.
Left: Cilantro by Roberta Frayman Peruvian wool/mohair oversized coat in purple and black. ♥
Right: Cuddlecoat teal 3/4 coat worn over Bergdorf private label black turtleneck and skinny pants, both in wool jersey.
Left: Escada paisley pullover sweater over a silk blouse and wool flannel pants.
Right: Oversized English wool sweater worn over suede pants.
Left: Ilie Wacs tartan wool plaid coat.
Right: Abe Schrader red wool trench coat with a full skirt.
Left: Rebecca Moses ribbed lambswool layers in white. Cardigan with attached scarf, crewneck sweater, and skirt.
Right: Kikit by Maurice Sasson oversized ribbed cotton sweaters over ankle-buttons tapered jeans.
All photos by Paul Lange for Bergdorf Goodman.

subset: commoncrawl


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Samantha Crawford is living a storybook life: she's happily married, she lives on a ranch where she keeps her beloved horse, and the stories she's told and illustrated since childhood have become published books. When her husband Billy is killed in a senseless act of violence, Sam loses her faith and her will to live. But a death-defying encounter with two children leads to a reunion with Joe, her oldest friend. As Sam watches "Papa" Joe care for and love the kids in his under-resourced neighborhood, she begins to realize that no matter life's circumstances, the love of God is always reaching out to us.
Released: 2012-09-21


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Raised details on the seahorse, starfish and sealife designs. The tail on each of the 4 seahorses forms a hook which opens 3 /4 inch. Plenty of room to hang your stuff on. Coat hat robe towel purse, jewelry and more. Solid cast iron.
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The seahorse wall hook bar is 11 1/4" long by 4 1/2" high. These are solid cast iron and very heavy. Each one weighs about 1.6 pounds. These are durable and made to last. Holes for mounting. No hardware (screws) provided. You can use any type of standard screw. Sizes are approximate and may vary slightly as these are hand-cast.
These are finished in a baked-on powder coat which inhibits rust. You can easily paint them to the color of your choice. Spray paints work best and are easiest to use. If you are going to use these outdoors, we recommend that you use a rustoleum type of paint.
We have a large variety of nautical wall hooks in a variety of designs. Please let us know if you are looking for something in particular. We'd be glad to help.
The product is made of cast iron with a rustic look. They are hand cast. The mounting holes may vary in placement from piece to piece.
Thank you for your interest in WePeddlemetal. Check out our other sections filled with many different cast iron decor items to choose from.


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My little boy (11 months old) has just discovered how the buttons and dials of the washing machine work. This is inconvenient, because the machine does not react well to random button mashing while it's running - leading to program changes, stops and the like.
How could a washing machine be made childproof?


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Banyan Networks will be glad to help you with all FCC Licensing requirements. We've been managing licenses like yours for many years. We can take care of all your FCC Licensing, even if you didn't purchase your radios through us.
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Over the last few years, I've gradually become a broken record when it comes to declaring the brilliance of Let's Wrestle and the genius of their music. So if you didn't get their debut last year, you're probably a fucking idiot. But that's ok because it's soon to be re-released with an added disc of odds and sods. Lucky you. Anyway, I meet the band at The Slaughtered Lamb to chat about this. Thanks to the pathetic quality of my Argos value range 'dictation machine', we leave the steady buzz of the pub and take to the street.
DiS: So let's talk about the re-release of the album.
Wes: It just wasn't available before.
Mike: it was kind of a necessity, because it wasn't available here. And because of the release in America in the spring, it all got a bit backtracked.
Wes: I think it's also a good thing to remind people. Our second album is coming out in the not-to-distant future so I think it's a good thing to say, 'we're still here, we haven't died or anything'.
Mike: We haven't paid that much attention to England and Europe, so it's all been in America this year
Wes: Yeah.
Mike: So, I think it's a good, kind of, 'we're here…
DiS: …'We're still breathing'?
Mike: Yeah.
DiS: Cool. So erm…
Wes: (Dejected) I've spilled tobacco in my beer.
DiS: Are you gonna keep drinking or go for the…
Wes: Huh?
DiS: Just wondering what technique…
Wes: …Yeah, I'm just gonna keep drinking.
Darkus: It's caught in the foam, so you're alright.
Mike: A lot has to happen to your beer before you stop drinking it.
Wes: Yeah.
Darkus: Last time…do you remember a wasp flew in?
Wes: No.
Darkus: …and I couldn't get it.
Wes: Oh, your beer. I don't remember your beers.
Darkus: I tried to have a little sip and push it off but flicked it in by accident.
Mike: I thought a wasp stung me when I was on my bike once, but it wasn't a wasp. I screamed like…(high-pitched squeal)…but it was just a stone.
(Wes starts cracking up)
Mike: it hit me in the arm…I almost crashed.
DiS: So, talking of America, do you almost feel like you're more known in America now than England?
Mike: I think it's difficult to judge.
Wes: Well, at the moment…
Mike: …But at the same time, America is huge. It's vast. So if you say, in London we're better known than in New York, for example. But there are probably more people in America who know about us than they do here.
Wes: More people in L.A. know about us than people do in…Bristol.
Mike: do you know what I mean? Whereas in London, not everyone knows us but…
Wes: …I said that comparison because Bristol is the L.A. of England…
Wes: …that central, West coast town.
DiS: I've only ever passed through, but it felt very West coast.
Mike: What film was filmed in Bristol? It was almost like a Hollywood movie.
Wes: Skins? Skins the movie.
Mike: Rugrats the Movie, that was filmed in Paris.
Wes: (Cracking up) That was filmed in Paris.
Mike: Did you know when they did the London thing in Friends, that was the biggest studio audience, I think, of any sitcom ever.
DiS: Really?
Mike: I don't know where.
Wes: An arena…an arena with the Friends set in it.
Mike: When I went to see The Backstreet Boys…
(Wes starts giggling)
Mike: They came out, they had like a boxing ring, and they were all fighting each other, and after about twenty minutes of fighting they started playing…'cause The Backstreet Boys were hard.
DiS: Who was the hardest? can you remember who threw the best punch?
Wes: The one who went to space…(laughing)
Mike: Yeah.
Wes: (Serious) There was one who went to fucking space. He spent all of his money and went to space.
Mike: Did he?
Wes: Yeah.
Mike: You can do that now…
Wes: I don't know if he actually went to space…I dunno if he just went to a place without gravity.
Mike: There's a museum where you can go into a space ship. It's fucking nothing.
DiS: I think I've touched a space ship.
Mike: I went with my fucking grandma…
Dis: …and she fuckin' hates space, so that was…
Mike: …And what was the name of the other thing. I can't…Virgin Atlantic…Virgin…
Darkus: …Mega Space…
Mike: …Inter Planetary…No, Virgin Cosmo…what was the name of it?
Wes: What?
Mike: They were doing holidays.
Wes: I know, they do a space craft thing…
Mike: Virgin…Virgin…Cosmos…or something…
Wes: …Lunar Millennium…
Mike: I don't know. Anyway.
DiS: I was thinking…I was holding it back but, y'know…The Backstreet Boys could've called themselves (pause for effect) The Backstreet Bruisers…with the boxi…
Wes: Wow.
DiS: I know, I feel disappointed I wasn't there at the time.
Mike: Well it's still BSB isn't it?
Wes: How did it get here…how did it get to this point.
Mike: (Giggling) The Bullshit Boys.
Wes: I'm just saying, how did we get here?
Mike: I know but wouldn't it be crap if you hated The Backstreet Boys so much you called them The Bullshit Boys.
DiS: Back to America, any memorable dates?
Mike: Well, we spent all of September there. And it was good. But it was a weird one because we were doing the record at the end of it. So everyone was really fucking keen to get on the record.
Wes: Yeah, the tour wasn't the best. The tour we did before that was the best. But yeah, we weren't giving it our all, because we were there mainly to record the record and we didn't give a fuck about touring.
Mike: But the time before was fucking great.
(All agree)
Mike: I've got a theory that, the first two times of the three [American] tours, we went into South By South West, so we kind of settled in. But this time we just sort of hit the ground running, and we were so ready to record the record, we were like, 'fuck it, come on, and let's do the record'. I think. That's my theory.
DiS: That makes sense. So what happened with the recording, is it completely done now?
Wes: Yeah we did it in Chicago with Steve Albini. And yeah, it sound really good. I much prefer it to the first record…that's just about to be re-released.
Mike: I listened to it for the first time since America a couple of days ago, and I was like, 'woah'…
Wes: …it sounds like The Cars.
DiS: That's pretty good.
Wes: (Laughing) Cheap Trick and The Cars. Thin Lizzy. All the best bands. All my faves. We're playing super commercial rock now, that's the plan.
DiS: That's good. A bit of polish, a bit of sheen.
Wes: Yeah.
DiS: So what was it like working with Steve Albini?
Wes: It was awesome.
Mike: He's the weirdest person…
Mike: …Ok, well, this is going to sound horrible. And if he ever reads this, it will sound horrible. But…
Mike: …he's like, the nicest person ever, but at the same time as being the most horrible closed-off person at the same time.
(Wes laughs)
Mike: It's the weirdest thing.
Wes: He's like, the coolest guy I've ever met.
(All agree)
Mike: And he's a complete polymath, he knows about everything. He taught us how to play Billiards, and he knows about absolutely everything. But at the same time, he's really…
Wes: …he's like the angstiest person in the world. But obviously after listening to Big Black records you sort of get that. But he is so angsty. It's like, talking about labels, and like, he just fucking goes off on one.
DiS: Did you hear about the Sonic Youth thing recently?
Wes: That was fantastic.
DiS: Were you around for that?
Wes: No, that was a couple of days after we got back.
Darkus: What was that?
Wes: He was slagging off Sonic Youth…in…GQ? (Laughs) Saying, sell-out fuckers (laughs). And I was like, 'that's fucking cool'. I like Sonic Youth. But not as much as Steve Albini.
Mike: But the first thing he said to me, because these two met him a few hours before I did…the first thing he said to me was, (nasal whine) 'I've got no idea what you just said'.
Mike: I was like, 'hey, yeah, lalala, yeah'…
Wes: Very quickly, I had to stop talking to him about music. So we started talking about foreign currency, stuff like that. We got introduced to this amazing programme 'How It's Made'.
Darkus: Ah yeah, oh my god.
Wes: We just watched that the whole time. It's on the discovery channel. But this was the Canadian version. Which is far superior to the English version.
Mike: It's like a fucking…I'm not gonna say a trip, like an acid trip. It's not like that. But it's like…
Wes: …it's like the most relaxing thing you'll ever see. It's completely mundane, but so interesting.
Mike: And it's got great music like, (air slap bass) 'budangbuwanbudung'.
Mike: Well, kind of like that, but what I mean is…something's happening to you when you watch it.
Darkus: A learning trance.
Mike: It is a trance.
Wes: (Excited) My favourite one was the fucking gobstopper. They went through the whole of making gobstoppers and it was amazing. We were all talking to Steve about it, and we all came to the conclusion that the really small things were so much more interesting than the really big things. Like, a car engine is really boring to watch.
Mike: But it was great because they make it out of sand.
Wes: Oh yeah, that is cool.
DiS: Huh?
Mike: They make it out of sand, I mean…I know.
Wes: It was the scissor lift that we found really boring.
(All agree)
Mike: Because you look at it and go, 'I know how that's made'.
Darkus: But wasn't that still really interesting, with all the little…
Mike: No, that was the ladder.
Darkus: Oh yeah.
Mike: I mean, you'd look at a ladder and not really care.
Darkus: But…once you know how it's made.
Wes: My favourites were the gobstopper and the acrylic awards, like, the employee of the month awards. That's amazing.
DiS: Yeah?
Wes: Really, it's so fucking good.
Mike: I mean…ok imagine this sign (points to a small plastic sign on the side of the pub), and you think, 'someone designed that sign, it's got a making process'. Y'know? But it's just a boring sign.
DiS: Would it be too far a leap to say that watching the Canadian 'How It's Made' with Steve Albini has changed your entire outlook on the world?
Darkus: Definitely changed my life.
Wes: Definitely changed the sound of the record. We came in with this folk record, and then we were (crazed American wail) 'YEAH, HOW IT'S MADE'…
Wes: …and we just started freaking out…we kinda rock out now.
Darkus: And vinyl pressing.
Wes: yeah, that was…
Mike: I mean, it sounds very cliché, like (hipster drone) 'yeah, we just watched this edition on vinyl pressing'. But it was really interesting.
Wes: Have you heard Louie's (Darkus') vinyl cutter idea?
Darkus: Oh yeah, I'm gonna buy a vinyl cutter. But it's loads. Loads and loads of money.
Mike: Well you'll probably make some money.
Darkus: Well, yeah, that's the thing.
Wes: (Squealing with delight) He went for a fucking loan!…he went for a fucking loan for it.
Darkus: I'm not just gonna buy it out of my pocket am I? I need a loan for…
Wes: Ben phoned me up and was, 'y'know, Louie's looking to buy this vinyl cutter. He's been online all morning for banks looking to find a loan.
Darkus: (Getting frustrated) Well I'm not gonna just buy…
Wes: Didn't you register yourself as a business?
Darkus: Yeah, because you're more likely to get a loan.
(Wes collapses with laughter)
DiS: So how do you feel things are going with the band in general? Like, talking before the interview, you sounded a bit unsure about what would be happening in the run up to Christmas.
Wes: It's just…we don't really know what's going on. Same as it's always been. You don't know what's going on, somebody phones you up and says, 'do this', and so you go, 'alright'. You turn up, you do it, and you go home. Cry yourself to sleep at night.
Wes: We've had a frustrating couple of years with labels and stuff like that. I won't go into the gory details, but we've had a tough time, and things seem to be kicking off again this year. But it's half exciting, and half 'I can't really remember what to do'. Because we've had this long time off where we're stuck in financial hell, trying to get stuff sorted out. And I'm sure every band occurs this shit problem…but the industry is such a big fucking pile of shit. It's such a horrible, horrendous, wanky, industry. And you get very fucking disillusioned, very quickly. So it's hard to get excited about stuff.
Mike: I think it's less than disillusioned, and more…you just get tired of it, y'know? You go through these different loops and processes of people trying to do stuff, whatever the fuck it is. And you get very easily tired and bored. I dunno, it's a weird one. And I can't remember what the question was…
DiS: Erm…something about how you're finding it…
Wes: (Laughing) …how's it hanging?
Mike: Well, it's hanging fine, it's hanging good.
Wes: It's hanging better than it has done for a long time.
Mike: Things are happening.
Wes: It's just…finding our feet again.
Mike: Imagine you're twelve years old and you're just a goth, and you don't quite know where you are, y'know…we're just, kinda…finding ourselves…
DiS: And you're just looking for other goths?
Mike: Well no, we're saying, 'maybe I'm not a goth'.
DiS: Oh ok, so you're questioning everything and stripping it right back?
Mike: Kind of.
Wes: Yeah, well, we started the band when we were 15/16, had out first single out, and I remember being so fucking naïve. It's fantastic, but you don't really know what's going on, and the more you learn, the less happy you are with what's going on.
Mike: The same as everything.
Wes: It is the same as everything.
DiS: This is very true.
Wes: Naivety is precious folks. It's like, when we were getting started I'd expected to just record a record and it would come out and we'd go on tour, and when you got home you'd do another one. And that's what I'd like to do, I'd like to work continuously the whole time, but it's impossible to do that. It's hard when you've got a record that you've just done and you have to wait seven months till it comes out, and then you get bored of the record by the time you're touring it.
DiS: I wanted to talk about the humour in your music, and your views on humour in music in general…
Mike: I think It's like Seinfeld. It's a record about nothing, and so it's easy to relate to all of the things that happen day-to-day…about dreams or not having a girlfriend, or whatever. And it's funny and exciting when somebody else feels the same way.
Wes: I think that humour in music has to be used very carefully, because you can just not be taken seriously. And I've never written lyrics like, 'oh this will be funny, I'll put that in here'.
DiS: 'This will be a zinger'.
Wes: Yeah. It would be dishonest of me to be really fucking serious, because I'm not that person. But I think one of the things that's lost that people don't seem to pick up on with our records, is that…there is humour, but there's a huge amount of, 'this is shit' too. I think it's making the best of a bad situation.
DiS: Yeah, definitely it's dark humour. And it's the juxtaposition between the absurd and the heartbreaking.
Wes: Yeah…
DiS: …because you can combine humour and tragedy so easily in most other fields, but maybe with music its an underused effect.
Wes: Yeah, I mean, all my favourite comedy programmes are quite dark. It's like Seinfeld…they look normal, but there's something fundamentally wrong with those people. And it's the same with Chris Morris. And if you like Little Britain and write lyrics like that then you're a fucking idiot and should die.
DiS: I think the British are generally quite good at wallowing in the absurdity of their situation, and finding the dark humour from that, like on My Schedule…it's like, my friends and I, we do this thing where…you don't welcome shit situations on yourself, but you almost don't mind too much because it will make a good story and you can revel in the awfulness and get laughter from that. But it's heartbreaking at the same time.
Wes: Yeah.
Mike: One of my favourite quotes about the difference between Americans and English people is that, Americans are scared of everything, but they're positive at the end it will be a happy ending…but English people laugh at everything and are totally certain that at the end it's going to be horrible and bad. And I think that sort of sums it up about us, like…there is this comic sense, but at the same time, we're positive it will be a bad ending.
Wes: I hate to mention Facebook in any sense, but I put on my page, (laughing) 'I fucking hate everything and I'm going to kill myself', as a joke. And the woman from Merge, our label in America, was just like, (laughing) 'are you ok? What's wrong', and sent me this long e-mail asking if I was ok. And I was like, 'yeah, I'm fucking joking'.
Mike: But I do think in music it's so important to have a sense-of-humour, and be able to laugh at yourself, and have people laugh at you…
DiS: …And you think about how many musicians must not have that capacity.
Wes: Well the one I find so strange is that Morrissey can't laugh at himself, when all of his lyrics are quite humorous. I don't like people that can't laugh at themselves, it's bullshit.
Mike: if you're not having fun, fuck it…what's the point?
Wes: if you really are that depressed, just fucking die…like, I don't want to hear about it, just kill yourself, quick.
Wes: If I'm having a shit time, I'm keeping it to myself…just bottle it up, that's the best bet.
DiS: Or have a shit time, but find the humour in it. It all reminds of this thing I read once about 'Waiting For Godot', and the idea of clowning in the face of absurdity. Have you ever watched [British comedy] 'Bottom'? I didn't realise till I read that piece, but that's essentially just 'Waiting For Godot'…
DiS: …No, seriously…it's just two guys in this flat just waiting and wallowing in the absurdity of the situation with complete failure at any attempt…and it ties into what we've been saying about the British sense of humour…
Wes: …Everybody's waiting…waiting for something.
Mike: And it's never gonna happen.
DiS: 'It's never gonna happen', (laughing)…that seems like a good place to end it.
Charles Bukowski once wrote that, 'true laughter knocks even the longest odds flat on their ass', and Stewart Lee, writing in that 'Waiting For Godot' feature that I was muttering about, said that 'Godot perfectly encapsulates the theory that clowning represents man's attempt to stand upright and retain some shred of dignity in the face of impossible odds'. Just as I leave Let's Wrestle that night, they tell me an anecdote involving one of Britain's most famous guitarists and a six-pack of the children's yoghurt, Petit Fileu. It is possibly one of the funniest things I have ever heard, and keeps me in fits any time I remember it in the next few days. It's only when I tell a friend, to their complete disbelief, that the sheer insanity of the tale rears its head and I question its veracity. But then, even if fiction, it's a beautiful, hilarious fiction. And as long as you're laughing, fuck the rest.


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Home » Find Your Home » Palm Bay » Our Communities » Palm Bay » 1530 Rushmore Ave SE
Searching for new homes in Palm Bay, Florida? Select from an array of award-winning floorplans or choose a move-in ready home. Palm Bay is the perfect place to call home with its scenic locales, bustling cultural and social scene, and thriving economic opportunities. The city is the largest municipality in Brevard County – also known as Florida's Space Coast, with tons of shopping, dining and entertainment options. The city's eastern border is the Indian River Lagoon. Residents enjoy a variety of watersports, fishing, swimming and boating. There are many public parks and recreation areas with hiking and biking trails and athletic fields. Frequent manned and unmanned rocket launches from the Kennedy Space Center are a source of pride for this county.
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Located on Florida's central east coast, Palm Bay is a haven for outdoor enthusiasts and those seeking a vibrant community with easy access to the wonders of the Indian River. Whether you're seeking a day of golf, a peaceful fishing excursion, or an adventurous kayaking expedition, Palm Bay delivers. Explore the Palm Bay Marina for fishing supplies or kayak rentals to discover the beauty of the area from the water. Dive into aquatic delights at the Palm Bay Aquatic Center, which features a zero-depth entry pool, water toys, slides, lap lanes, and diving boards.
Palm Bay's prime location on the eastern border of the Indian River provides residents with endless recreational options. From fishing to boating, the city embraces its waterfront charm. The Stick Marsh, renowned as one of the nation's top bass fishing locations, awaits avid anglers. For water sports enthusiasts, kayaking, canoeing, and paddleboarding on the Indian River and Turkey Creek offer thrilling adventures. Experience the pride of Palm Bay at the Turkey Creek Sanctuary, boasting majestic sand pines, oaks, and saw palmettos. Wander along the 4,000-foot boardwalk and explore the ancient sand dunes, witness bass-filled black water creeks, and marvel at the rich birdlife, including woodpeckers and migratory species. Canoeing or kayaking in the creek and hiking the sanctuary's trails offer a deeper connection with nature.
Embark on an exploration of Palm Bay's natural treasures as you drive along the scenic highway bordering the Indian River Lagoon. The 4-mile stretch of Palm Bay serves as the gateway to the city, offering elegant dining, picturesque waterfront views, and unique shopping experiences. Palm Bay's endless summers cater to sports and outdoor enthusiasts, with championship-level golf courses, off-road cycling trails, running paths, and nature trails providing abundant recreational opportunities for all ages.
Don't miss the Palm Bay Regional Park, a sprawling 200-acre oasis dotted with four picturesque lakes. Here, you can fish, camp, play ball games, or enjoy basketball and volleyball courts. The park's playgrounds and picnic areas offer endless opportunities for outdoor fun, and you might even spot indigenous deer, alligators, turkeys, ducks, and cranes.
Castaways Point Park, a beloved destination for both locals and visitors, is a picturesque park adjacent to the beach and river area of Palm Bay. Stroll along the concrete walkway, taking in panoramic views, particularly at sunset. Enjoy fishing from the pier or embark on a kayaking or canoeing adventure.
Golf enthusiasts will find delight at The Majors at Bayside Lakes. This golf course, with its mix of old-school greens and beautiful architecture, offers a challenging yet rewarding experience. Coaches are available to assist players of all skill levels, and the breathtaking views make every swing memorable.
Palm Bay's allure extends beyond its boundaries, as it is an integral part of the larger region known as the "Space Coast." Anchored by Palm Bay, Melbourne, and Titusville, the Space Coast encompasses barrier islands, coastal communities, and the world-renowned Cape Canaveral and John F. Kennedy Space Center. The Space Coast offers pristine beaches, thriving commercial and residential hubs, and a robust agricultural presence. The presence of NASA facilities also attracts numerous high-tech firms, creating a dynamic and diverse economy.
With its natural wonders, endless outdoor activities, and vibrant community, this coastal city offers a unique lifestyle for those seeking the perfect place to call home. Uncover the charms of Palm Bay and experience the best of Florida's Space Coast.
2293 W. Eau Gallie Blvd.
Melbourne, FL, 32935
© 2024 Holiday Builders · Home Builder Website by Meredith Communications


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Disclosure: WoodAndShop.com is supported by its audience. When you purchase through certain links on our site, we may earn a small affiliate commission, at no cost to you. Learn more.
By Joshua Farnsworth
When I got started in woodworking I was incredibly confused about choosing wood. In the above video, and in the article below, I share what I've learned about the basics of choosing lumber for woodworking. I want to save you time and head aches in trying to understand lumber!
The topic of lumber confused me mainly because I couldn't find a simple summary of the topic. I found a lot of complex discussions with different terms used by different "experts". I am by no stretch of the imagination a lumber expert, but I'm very good at simplifying complex topics so that everyone can understand. As a result, this is a simple practical guide to help you understand how wood moves, what wood to buy, how to buy it, and where to buy it.
After you learn the basics from this video and article I encourage you to look at the bottom of this article for a list of links, books, and DVDs that will expand your understanding beyond the scope of this article. But this book is the best resource I have found so far: "Understanding Wood: A Craftsman's Guide to Wood Technology" by R. Bruce Hoadley.
So let's get started with the 7 simple steps below!
Question: For your woodworking projects, should you choose a hardwood lumber like Hard Maple or Lignum Vitae? Or softwood lumber like Southern Yellow Pine or Red Alder?
Answer: That depends entirely on what you are building.
Some projects even require a mix of both hardwoods and softwoods, like a violin or a workbench. For example, violin makers use a soft Spruce for the soundboard and a harder Maple for the back, sides (ribs) and neck.
Many craftsmen of the past built the bases of their workbenches with less-expensive pine (softwood) and the tops & vices with hardwoods like beech or maple. The base of the workbench wouldn't take a beating, so soft pine would work just fine. But the top of the workbench and the vice needed to be more durable.
Just use your brain to determine what type of wood you should use on different parts of your furniture.
BOOK: I have found this book to be an incredible guide to choosing different types of wood because it shows beautiful grain patterns & discusses woodworking uses for 400 different woods: "Wood Identification & Use" by Tery Porter.
The lumber industry uses the "Janka hardness test" to test and rate common woods for hardness. The test involves pressing a steel ball to gauge how much pressure each wood species takes to push the ball half way into the wood. You can download my free PDF of the Janka chart here. {If you can't open a PDF then install the free Adobe PDF Reader here.}
Unless you're set on having a wildly figurative grain pattern on your furniture, you're probably going to want to choose the most stable wood possible; especially if you are building fine furniture or woodworking hand tools that need great stability (e.g. hand planes, straight edges, or try squares):
Yes, wood moves when it dries and also with the changes in seasons and location (temperature and humidity). Wood doesn't really get longer (thank goodness) but it does expand in width as humidity rises:
Even if you are using a beautiful (yet unstable) grain pattern on part of your furniture, it's a good idea to use stable wood on the other parts. For example, look at an old wooden door. The panels usually have more decorative (less stable) wood, but the rails and stiles (parts of the frame) are usually very stable straight grained wood (don't worry, I'll clarify "straight grain" below).
So the key is to find boards that will be as stable as possible during those changes in humidity. But how do you get wood that has stable "vertical grain"? This is the question that confused me for awhile. The answer is: It all depends on how the wood is milled from the tree. This is what I'll cover in step 3:


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220.127.116.11 IP Location Information
188.8.131.52 is an IPv4 address, which is located and tracked as an IP address location with a KI country code(ASN: AS134783 Amalgamated Telecom Holdings Kiribati Ltd), at latitude 1.3237 and longitude 172.9769, in the city Tarawa, state Gilbert Islands in Kiribati (KI).
IP 22.214.171.124, which belongs to range class A, is actually a public IP address from Kiribati (KI) on the Oceania continent, as we have already seen above.
But you probably did not know that the top 5 countries in Oceania, by assigned IPv4 and IPv6 addresses, are Australia, New Zealand, Guam, New Caledonia and Fiji?
p> In terms of the number of allocated IPv4 addresses, Australia is the first in Oceania and eleventh in the world with a percentage of 1.1% of the total number of assigned IPv4 addresses, while New Zealand is second in Oceania and forty-first in the world with a share of 0.2% of the total allocated IPv4 addresses.From the aspect of the number of allocated IPv6 addresses, Australia is the first in Oceania and the tenth in the world, while New Zealand is second in Oceania and sixty-second in the world.
The final allocation of IPv4 addresses per country has been completed, so it will no longer be possible to allocate more IPv4 blocks at the country level. The future belongs to IPv6 addresses, which will be increasingly implemented and used in the future.
Exact physical address of IP 18.104.22.168?
If with find exact location you mean track exact physical address, then you should know that the exact physical address of the requested IP 22.214.171.124 in Tarawa Kiribati, which you are trying to locate, is impossible to know, due to user privacy, but in most cases, at least when it comes to the USA, Australia, Canada and Europe, you will be able to get a credible result and information from our IP lookup and know where the device or person behind the requested IP address is geolocated.
In any case, this is quite enough information, when you do your own investigation and want to see the collected details on a visual map.
Although we try to be precise with the lookup location and other details regarding a certain IP or website we cannot guarantee 100% accuracy.
Regardless of whether you are looking for as much exact information as possible, regarding IPv4, IPv6 address or domain, with the possibility of insight into the visual display of the traced geolocation on the Map, our advice is to always check your results through our Whois Lookup tool that will reveal a lot of information about the internet service provider and the organization behind the requested domain or IP including email address, phone number and the physical location of the owner of the given IP address or website.
Also do not forget that if you want to find the exact physical geolocation of your own device (note that your explicit permission is required for this method) then check out: IP Geolocation
Enter an IP or Domain to search its location and additional information.
Geolocation of IP on the Map
220.127.116.11 Basic Tracking Information


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October 31, 2005
Official Opinion 2005-5
- To
- Commissioner, Georgia Department of Corrections
- Re
- State law does not permit the Georgia Department of Corrections to delegate to the Georgia Correctional Industries Administration the administration and management of the voluntary inmate labor program authorized pursuant to the Working Against Recidivism Act under O.C.G.A. § 42 5 120 through 125 (Supp. 2005), nor is GCIA authorized to expend funds or efforts in publicizing the program.
You have requested my opinion whether the Georgia Department of Corrections ("the department") may delegate to the Georgia Correctional Industries Administration ("GCIA") the administration and management of responsibilities imposed by law upon the Board of Corrections and the department by the Working Against Recidivism Act, enacted during the 2005 session of the General Assembly at 2005 Ga. Laws 1222.1
The plain language of O.C.G.A. § 42-5-120 authorizes the board "to issue and promulgate rules and regulations for programs of voluntary labor by inmates" in compliance with "the published requirements of the Prison Industry Enhancement Certification Program authorized by 18 U.S.C. § 1761." It further provides that "[s]uch rules and regulations may provide for administration and management of such work programs by the department." Id. (emphasis supplied). Neither that Act nor any other provision of law provides specific authorization for GCIA to administer the Prison Industry Enhancement Certification ("PIE") Program.
The predecessor of GCIA was created by act of the General Assembly in 1960 as the Georgia Prison Industries Administration, and renamed in 1972 the Georgia Correctional Industries Administration. See 1960 Ga. Laws 880; 1972 Ga. Laws 572. The Georgia Board of Corrections serves ex officio as the Georgia Correctional Industries Administration, and the commissioner of corrections serves as the executive officer of GCIA. O.C.G.A. § 42-10-3. The department and the GCIA, however, are separate entities with different duties imposed by law. In response to many abuses,2 the General Assembly has narrowly prescribed the permissible use of inmate labor. See, e.g., O.C.G.A. § 42-5-60. The Attorney General has opined on numerous occasions on the permissible use of inmate labor. See, e.g., 1999 Op. Att'y Gen. 99-12; 1980 Op. Att'y Gen. 80-44. Likewise, federal law also carefully circumscribes the permissible use of the fruits of inmate labor. See 18 U.S.C. § 1761. It is against this backdrop that I address your question.
The GCIA is a creation of state law and may only exercise those powers conferred upon it by law, either expressly or by clear implication; any grant of authority to it must be strictly construed. Bryant v. Employee Ret. Sys. of Ga., 216 Ga. App. 737 (1995); Bentley v. State Bd. of Med. Exam'rs of Ga., 152 Ga. 836 (1922); 2002 Op. Att'y Gen. U02-8; 1995 Op. Att'y Gen. 95-29; 1993 Op. Att'y Gen. 93-21. For example, in 1970 Op. Att'y Gen. 70-156, the Attorney General determined that the Board of Corrections, but not GCIA (then Georgia Prison Industries Administration), had the authority to develop a service type of industrial program because the statutory language empowering GCIA was more restrictive.3
The Attorney General has consistently opined that GCIA may only engage in and expend its funds upon those activities that are authorized by law. See, e.g., 1989 Op. Att'y Gen. 89-56; 1970 Op. Att'y Gen. 70-156; 1965-66 Op. Att'y Gen. 66-89. Moreover, only those powers that are necessarily implied from the express powers are available to be exercised by entities created by state law. Beazley v. DeKalb County, 210 Ga. 41 (1953); Tippins v. Cobb County Parking Auth., 213 Ga. 685 (1957).
Although O.C.G.A. § 42-5-120(a) does authorize the Board of Corrections to promulgate and adopt rules and regulations that "may provide for the administration and management of [the PIE program] by the department," there is no such concurrent authorization for GCIA to administer and manage the PIE program. Id. In fact, it is plain from early non-adopted versions of House Bill 58 that the General Assembly considered but did not adopt language that would have specifically authorized GCIA to administer and manage the PIE program. See HB 58, Gen. Assem., Reg. Sess. (Ga. 2005) (version LC 22 5676); available at http://www.legis.state.ga.us/ legis/2005_06/ versions/hb58_LC_22_5676_a_2.htm.
Language in O.C.G.A. § 42-5-123 ensuring compensation for "any administrative costs or other costs incurred by the department or the [GCIA] for the operation of the [PIE] program or programs" and compensation for both the department and GCIA for the use of their employees or facilities does not compel a contrary result. Such language appears to be a vestige of earlier drafts of HB 58 that permitted GCIA to manage and administer the PIE program. It is not enabling language; it essentially protects against a violation of the Gratuities Clause of the Georgia Constitution. GA. CONST. art. III, § VI, VI. Language requiring that any use of the personnel, space, and other facilities of either the department or GCIA be compensated does not necessarily imply, and certainly does not expressly provide, that GCIA may manage and administer the PIE program. At most, and only consistent with this opinion and in return for appropriate compensation, GCIA might provide some service to the department in connection with the department's administration of the PIE program.
The amendment to O.C.G.A. § 42-10-4 authorizing GCIA to have the same power and authority as the department in connection with the "provision of services" provides no basis for a contrary conclusion.4 As discussed above, the Attorney General has previously opined under prior law that GCIA could not engage in programs to provide services because it lacked statutory authority.5 While the addition of that language permits GCIA to engage in such activities, it does not provide the necessary legal authority for GCIA to manage and administer the PIE program.
Regarding the proper expenditure of funds, it is necessary to have clear, express, or necessarily implied authorization. 1987 Op. Att'y Gen. 87-15, at 37. "Regardless of the worthiness of the cause, absent a clear state constitutional or statutory authority providing for the expenditure of state funds, such funds cannot be disbursed." Willis v. Price, 256 Ga. 767 (1987). As discussed at some length in this opinion, I do not find an express or necessarily implied grant of authority for GCIA to administer the PIE program.
Therefore, it is my official opinion that state law does not permit the Georgia Department of Corrections to delegate to the Georgia Correctional Industries Administration the administration and management of the voluntary inmate labor program authorized pursuant to the Working Against Recidivism Act under O.C.G.A. §§ 42-5-120 through 125 (Supp. 2005), nor is GCIA authorized to expend funds or efforts in publicizing the program.
Prepared by:
Senior Assistant Attorney General
1 Introduced as House Bill 58 and signed into law by the Governor May 10, 2005, as Act No. 383, the Working Against Recidivism Act amended several sections of Title 42 of the Code and created a new Article 6 of Chapter 5, O.C.G.A. §§ 42-5-120 through 125, authorizing a voluntary inmate labor program in compliance with the federal Prison Industry Enhancement Certification Program authorized by 18 U.S.C. § 1761.
2 The misuse of inmate labor in Georgia has a long and notorious history. During Reconstruction, Georgia set up the convict lease system in response to the growing number of persons convicted of serious crimes, the lack of money to spend on the care of prisoners, and the destruction of the state penitentiary during the just-ended war. Under this system, convicts were leased to private entities such as railroads and mining companies. With no state oversight or supervision, treatment of the prisoners and their living and working conditions was "frightful." A HISTORY OF GEORGIA 246 (Kenneth Coleman ed., University of Georgia Press 1977). Public outcry led to the first efforts at legislative reform in 1897 when the General Assembly passed a law amending the convict lease system. 1897 Ga. Laws 71, §§ 6714 6738. It was not until 1908, however, in a special session called by the governor to avoid the renewal of convict leases that were set to expire before the regular session, that the convict lease system was abolished. 3 WALTER G. COOPER, THE STORY OF GEORGIA 409-11 (The American Historical Society, Inc. 1938). See also E. MERTON COULTER, A SHORT HISTORY OF GEORGIA (The University of North Carolina Press 1933); LAWRENCE R. HEPBURN, THE GEORGIA HISTORY BOOK (The Institute of Government, University of Georgia 1982).
3 Section 5 of Act No. 383, the Working Against Recidivism Act, specifically amended O.C.G.A. § 42-10-4(4) to permit GCIA "[t]o have the same power and authority possessed by the Department of Corrections in connection with the manufacture and sale of products and provision of services." 1970 Op. Att'y Gen. 70-156 was rendered under prior law that did not permit GCIA to engage in the provision of services. Thus, to the extent that the statute on which the opinion relied has been amended 1970 Op. Att'y Gen. 70-156 is superseded.
4 Indeed, because the General Assembly specifically included a reference to GCIA in § 5 of the Act and failed to include that language in any other provision dealing with the same subject matter, it is assumed that the exclusion is intentional. See Dep't of Human Res. v. Hutchinson, 217 Ga. App. 70, 72 (1995) ("The omission of [specific statutory language] 'invites the application of the venerable principle of statutory construction expressio unius est exclusio alterius: the express mention of one thing implies the exclusion of another; or the similar maxim more usually applied to statutes, expressum facit cessare tacitum, which means that if some things (of many) are expressly mentioned, the inference is stronger that those omitted are intended to be excluded than if none at all had been mentioned.'").
5 See supra note 3 and accompanying text.


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This conference in held in cooperation with the American
Statistical Association (ASA).
John Ascuaga's Nugget is in the Reno-Sparks-Tahoe area. See Hotel Information.
Slides from the talks of most of the Invited Speakers are now available. They can be found under Invited Presentations.
The SIAM Data Mining Conference (SDM 2009) is pleased to announce the availability of a limited number of student travel scholarships to partially cover the registration, hotel, and travel expenses for students participating in SDM 2009. Please click here for the information.
2010 Data Mining Flyer [31 KB, PDF]
SDM09 Program Chair Co-Chair Report
Click here to access the SDM09 Program Chair Co-Chair Report [37KB, PDF]
Organizing Committee
Steering Committee Chair
Chandrika Kamath, Lawrence Livermore National Laboratory
Chid Apte, IBM Research
Arnold Goodman, Collaborative Data Solutions
Robert Grossman, University of Illinois, Chicago
Jiawei Han, University of Illinois, Urbana-Champaign
Anil K. Jain, Michigan State University
Vipin Kumar, University of Minnesota
David Skillicorn, Queen's University, Canada
Padhraic Smyth, University of California, Irvine
Jeffrey D. Ullman, Stanford University
Conference Chairs
Haesun Park, Georgia Institute of Technology
Srinivasan Parthasarathy, The Ohio State University
Program Chairs
Huan Liu, Arizona State University
Zoran Obradovic, Temple University
Workshop Chairs
Ian Davidson, University of California, Davis
Carlotta Domeniconi, George Mason University
Tutorial Chair
Bart Goethals, University of Antwerp, Belgium
Publicity Chairs
Aristides Gionis, Yahoo! Research, Barcelona, Spain
Lim Ee Peng, Nanyang Technological University, Singapore
Shusaku Tsumoto, Shimane University, Japan
Wei Wang, University of North Carolina
Poster Chair
David Skillicorn, Queen's University, Canada
Sponsorship Chairs
Wei Fan, IBM T.J. Watson Research Center
Vasant Honavar, Iowa State University
Publications Chair
Pang-Ning Tan, Michigan State University
Local Area Chair
George Bebis, University of Nevada, Reno
Program Area Chairs
James Bailey, University of Melbourne, Australia - Frequent Patterns and Relational
Data Mining (co-chair with Guozhu Dong)
Ramana Davuluri, Wistar Institute - Biomedical Applications
Guozhu Dong, Wright State University - Frequent Patterns and Relational Data
Mining (co-chair with James Bailey)
Jennifer G. Dy, Northeastern University - Data Reduction and Feature Selection
Minos Garofalakis, Yahoo! Research and University of California, Berkeley -
Data Stream Mining
Joydeep Ghosh, University of Texas - Clustering and Unsupervised Learning (co-chair
with Marina Meila)
Marina Meila, University of Washington - Clustering and Unsupervised Learning
(co-chair with Joydeep Ghosh)
Dino Pedreschi, University of Pisa, Italy - Privacy and Social Issues
Jian Pei, Simon Fraser University, Canada - Other Topics
Shashi Shekhar, University of Minnesota - Mining Spatial and Spatio-Temporal
Ashok Srivastava, NASA Ames Research Center - Probabilistic and Statistical
Brani Vidakovic, Georgia Institute of Technology - Probabilistic and Statistical
Haixun Wang, IBM T.J. Watson Research Center - Temporal Data Mining
Takashi Washio, Osaka University, Japan - Mining Graph and Semi-Structured
Stefan Wrobel, University of Bonn and Fraunhofer IAIS, Germany - Supervised
Learning (co-chair with Zhi-Hua Zhou)
Jianping Zhang, MITRE Corporation - Web Search and Text Mining Applications
Zhi-Hua Zhou, Nanjing University, China - Supervised Learning (co-chair with
Stefan Wrobel)
Program Committee Members
Deepak Agarwal, Yahoo! Research
Charu Aggarwal, IBM T. J. Watson Research Center
Gennady Andrienko, Fraunhofer IAIS, Germany
Arvind Arasu , Microsoft Research
Hiroki Arimura, Hokkaido University, Japan
Ricardo Baeza-Yates, Yahoo! Research
Jerzy Bala, InferX
Goethals Bart, University of Antwerp, Belgium
Michael W. Berry, University of Tennessee
Michael Berthold, University of Konstanz, Germany,
Kanishka Bhaduri, Mission Critical Technologies/NASA
Hendrik Blockeel, Katholieke Universiteit Leuven, Heverlee, Belgium
Karsten Borgwardt, University of Cambridge, United Kingdom
Jean-Francois Boulicaut, INSA, Lyon, France
Greg Buehrer, Microsoft Research
Toon Calders, Eindhoven Technical University, Netherlands
Philip Chan, Florida Institute of Technology
Nitesh Chawla, University of Notre Dame
Sanjay Chawla, University of Sydney, Australia
Colin Chen, SAS
Ming-Syan Chen, National Taiwan University, Taipei, Taiwan
Songcan Chen, Nanjing University of Aeronautics and Astronautics, China
Zheng Chen, Microsoft Research, China
Beechung Chen, Yahoo! Research
David Cheung, Hong Kong University, Hong Kong
Yun Chi, NEC Research Lab
Corinna Cortes, Google, Inc.
Alfredo Cuzzocrea, ICAR-CNR and University of Calabria, Italy
Ian Davidson, University of California, Davis
Hasan Davulcu, Arizona State University
Gautam Das, University of Texas at Arlington
Santanu Das, Arizona State University
Manoranjan Dash, Nanyang Technological University, Singapore
Antonios Deligiannakis, Technical University of Crete, Greece
Chris Ding, University of Texas at Arlington
Dejing Dou, University of Oregon
Saso Dzeroski, Jozef Stefan Institute, Ljubljana, Slovenia
Christoph Eick, University of Houston
Charles Elkan, University of California at San Diego
Wei Fan, IBM T. J. Watson Research Center
Xiaoli Fern, Oregon State University
William Ferng, The Boeing Company
Eibe Frank, University of Waikato, New Zealand
Ada Fu, Chineese University of Hong Kong, Hong Kong
Glenn Fung, Siemens Medical Solutions
Joao Gama, University of Porto, Potugal
Michael Gamon, Microsoft Research
Amol Ghoting, IBM T. J. Watson Research Center
Fosca Giannotti, CNR, Italy
C. Lee Giles, The Pennsylvania State University
Aristides Gionis, Yahoo! Research Labs, Barcelona, Spain
Alexander Gray, Georgia Institute of Technology
Robert Grossman, Univeristy of Illinois Chicago
Xiaohui Gu, North Carolina State University
Dimitrios Gunopulos, University of California, Riverside
Yuhong Guo, The Australian National University, Australia
Ali Hadjarian, MITRE
Marios Hadjieleftheriou, AT&T Labs-Research
Jiawei Han, University of Illinois at Urbana-Champaign
Xiaofei He, Zhejiang University, China
Tu-Bao Ho, Japan Advanced Institute of Science and Technology, Japan
Andreas Hotho, University of Kassel, Germany
Wynne Hsu, National University of Singapore, Singapore
Baogang Hu, Chinese Academy of Sciences, China
Tony Hu, Drexel University
Yan Huang, University of Northern Texas
Ling Huang, Intel Research Berkeley
Xiong Hui, Rutgers University
Akihiro Inokuchi, Osaka University, Japan
Daxin Jiang, Microsoft Research
Rong Jin, Michigan State University
Ruoming Jin, Kent State University
Anne Kao, The Boeing Company
George Karypis, University of Minnesota
Hisashi Kashima, IBM Research, Tokyo
Eamonn Keogh, University of California, Riverside
Latifur Khan, University of Texas at Dallas
Mei Kobayashi, IBM Tokyo Research Laboratory, Japan
Alek Kolcz, Microsoft Live Labs
George Kollios, Boston University
Ramamohanarao (Rao) Kotagiri, The University of Melbourne, Australia
Stefan Kramer, Technical University Munchen, Germany
Marzena Kryszkiewicz, Warsaw University of Technology, Poland
Rui Kuang, University of Minnesota
Vipin Kumar, University of Minnesota
Krishna Kummamuru, IBM India Research
Longin Latecki, Temple University
Dominique Laurent, University Cergy-Pontoise, ETIS-CNRS, France
Aleksandar Lazarevic, University of Minnesota
Wee Sun Lee, National University of Singapore, Singapore
Todd Leen, Oregon Graduate Institute
Feifei Li, Florida State University
Jinyan Li, Nanyang Technological University, Singapore
Jiuyong Li, University of South Australia, Australia
Tao Li, Florida International University
Ee-Peng Lim, Singapore Management University, Singapore
Guimei Liu, National University of Singapore, Singapore
Huan Liu, Arizona State University
Shixia Liu, IBM Research Lab, China
Tie-Yan Liu, Microsoft Research, Asia
Yi Liu, Google, Inc.
Boris Loginov, Bauman Moscow State Technical University, Russia
Chang-Tien Lu, Virginia Tech
Nikos Mamoulis, Hong Kong University, Hong Kong
Giuseppe Manco, ICAR-CNR, Italy
Heikki Mannila, University of Helsinki, Finland
Keith Marsolo, Cincinnati Children's Hospital Medical Center
Rodney Martin, NASA Ames Research Center
Vasilis Megalooikonomou, Temple University
Shin-ichi Minato, Hokkaido University, Japan
Mohamed Mokbel, University of Minnesota
Tsuyoshi Murata, Tokyo Institute of Technology, Japan
Mirco Nanni, ISTI-CNR Pisa, Italy
Siegfried Nijssen, Katholieke Universiteit Leuven, Belgium
Nikunj Oza, NASA Ames Research Center
Junfeng Pan, Google, Inc.
Kunal Punera, Yahoo! Research
Predrag Radivojac, Indiana University
Luc Raedt, Katholieke Universiteit Leuven, Belgium
Naren Ramakrishnan, Virginia Tech University
Rajeev Rastogi, Yahoo! Labs India
Chandan Reddy, Wayne State University
Salvatore Ruggieri, University of Pisa, Italy
Kazumi Saito, University of Shizuoka, Japan
Lorenza Saitta, University of Torino, Italy
Ashok Samal, University of Nebraska
Vasilis Samoladas, Technical University of Crete, Greece
Tamas Sarlos, Yahoo
Yucel Saygin, Sabanci University, Istanbul, Turkey
Mark Schwabacher, NASA
Rudy Setiono, National University of Singapore, Singapore
John Shafer, Microsoft Research
Dou Shen, Microsoft AdCenter Labs
Arno Siebes, University of Utrecht, Netherlands
Dan Simovici, University of Massachusetts at Boston
Ambuj K. Singh, University of California at Santa Barbara
Min Song, New Jersey Institute of Technology
Arnaud Soulet, Université de Tours François Rabelais, France
Myra Spiliopoulou, University of Magdeburg, Germany
Jaideep Srivastava, University of Minnesota
Masashi Sugiyama, Tokyo Institute of Technology, Japan
Arun Surendran, Microsoft adCenter Labs
Pang-Ning Tan, Michigan State University
Jie Tang, Tsinghua University
Yufei Tao, Chinese University of Hong Kong, Hong Kong
Alexandre Termier, Universite Joseph Fourier, France
Yannis Theodoridis, University of Pireaus, Greece
Vincent Tseng, National Cheng Kung University, Taiwan
Takeaki Uno, National Institute of Informatics, Japan
Ranga Raju Vatsavai, Oak Ridge National Laboratory
Michail Vlachos, IBM Research
Slobodan Vucetic, Temple University
Jianyong Wang, Tsinghua University, China
Ke Wang, Simon Fraser University, Canada
Wei Wang, Fudan Univeristy, China
Wei Wang, the University of New South Wales, Australia
Ji-Rong Wen, Microsoft Research Asia
Raymond Chi-Wing Wong, Hong Kong University of Science and Technology, Hong Kong
Xintao Wu, University of North Carolina at Charlotte
Dong Xin, Microsoft Research
Akihiro Yamamoto, Kyoto University, Japan
Xifeng Yan, IBM T. J. Watson Research Center
Qiang Yang, Hong Kong University of Science and Technology, Hong Kong
Jiong Yang, Case Western Reserve University
Yiming Yang, Carnegie Mellon University
Alexander Yates, Temple University
Jieping Ye, Arizona State University
Dit-Yan Yeung, Hong Kong University of Science and Technology, Hong Kong
Jin Yoo, Indiana University-Purdue University
Jeffrey Yu Xu, Chinese University of Hong Kong, Hong Kong
Lei Yu, SUNY Binghamton
Philip S. Yu, University of Illinois at Chicago
Mohammed J. Zaki, Rensselaer Polytechnic Institute
Carlo Zaniolo, University of California Los Angeles
Gerson Zaverucha, Federal University of Rio de Janeiro, Brazil
Chengqi Zhang, University of Technology Sydney, Australia
Zijiang Zheng, Microsoft Research
Aoying Zhou, East China Normal University, China
Zhi-Hua Zhou, Nanjing University, China
Xingquan (Hill) Zhu, Florida Atlantic University
Secondary Reviewers
Nagesh Adluru
Mohammad Salim Ahmed
Mohammad Al Hasan
Li An
Gowtham Atluri
Michael Barnathan
Michele Berlingerio
Juliana Bernardes
Arnold Boedihardjo
Petko Bogdanov
Bjoern Bringmann
Fabian Buchwald
Deng Cai
Keke Cai
Bin Cao
Oner Ulvi Celpcikay
Loic Cerf
Varun Chandola
Vineet Chaoji
Chun-sheng Chen
Dewei Chen
Feilong Chen
Feng Chen
Jianhui Chen
Haibin Cheng
Hong Cheng
James Cheng
Chi-Yin Chow
Wyatt Clark
Wyatt Clark
Vladimir Coric
Sorin Costiner
C.A. Curino
Bi-Ru Dai
Jing Dai
Kamalika Das
Arjun Dasgupta
Jeroen De Knijf
Timothy de Vries
Wei Ding
Luong The Dung
Ritacco Ettore
Daan Fierens
Hans-Henning Gabriel
Chuancong Gao
Jing Gao
Calin Garboni
Arnaud Giacometti
Tobias Girschick
Valentin Gjorgjioski
Aris Gkoulalas-Divanis
Sreenivas Gollapudi
Munish Goyal
Mihajlo Grbovic
Terry Griffin
Massimo Guarascio
Rajarshi Guha
Andreas Hapfelmeier
Abhay Harpale
Changjin Hong
Jian Huang
Robert Jäschke
Shuiwang Ji
Rachsuda Jiamthapthaksin
Bin Jiang
Xin Jin
Gregory Johnson
Anitha Kannan
Chris Kauffman
Yoshinobu Kawahara
Motoaki Kawanabe
Yiping Ke
Mohamed Khalefa
Pham Ngoc Khanh
Dragi Kocev
Yannis Kotidis
Abhimanyu Lad
Liang Lan
Niels Landwehr
N. Laptev
Nick Larusso
Anne Laurent
Hady Lauw
Wim Le Page
Sau Dan Lee
Victor Lee
Jinsong Leng
Biao Li
Hua Li
Rong Li
Shirong Li
Yong Li
Cindy Xide Lin
Haishan Liu
Jun Liu
Lin Liu
Xin Liu
Yanzhu Liu
Kathy Macropol
Debapriyo Majumdar
Vuk Malbasa
Michael Mampaey
Andreas Maunz
Wannes Meert
Qiaozhu Mei
Thorsten Meinl
Uros Midic
Erickson Miranda
Eynollah Khanjari Miyaneh
Amrita Mohan
Anna Monreale
B. Mozafari
Marianne L. Mueller
Joe Naps
Marie Ndiaye
Benjamin Negrevergne
Mehmet Ercan Nergiz
Khoa Nguygen
Xia Ning
Petra Kralj Novak
Riccardo Ortale
Deepak P
Aline Paes
Rong Pan
Gaurav Pandey
Pance Panov
Panagiotis Papapetrou
Mykola Pechenizkiy
Nikos Pelekis
Pedro Pereira Rodrigues
Fabio Pinelli
Cristiano Pitangui
Pascal Poncelet
Adriana Prado
Han Qin
Walter Quattrociocchi
Sayan Ranu
Eraldo Ribeiro
Vadeerat Rinsurongkawong
Brian Ruttenberg
Saeed Salem
Konstantin Salomatin
Nils Schimmelman
Nico Schlitter
Jana Schmidt
Dan Schreider
Jerry Scripps
Haidong Shi
Nobuyuki Shimizu
Manu Shukla
Zaigham Faraz Siddiqui
Fabrizio Silvestri
Vishwakarma Singh
Ivica Slavkov
Jan Struyf
Liang Sun
Xiaoxun Sun
Yizhou Sun
Taiji Suzuki
Andrea Tagarelli
Yongmin Tan
Lei Tang
Fadi Tashtoush
Nikolaj Tatti
Wei-Guang Teng
Manolis Terrovitis
Ashutosh Tewari
Carlos Eduardo Thomaz
Ryota Tomioka
Dang-Hung Tran
Roberto Trasarti
Puck Treeratpituk
Joaquin Vanschoren
Brani Vidakovic
Roopa Vishwanathan
Bo Wang
Feng Wang
Haixun Wang
Xiang Wang
Zhuang Wang
Takashi Washio
Koot Poon Wei
Bernd Wiswedel
Raymond Chi-Wing Wong
Fuxiao Xin
Xin Xin
Keisuke Yamazaki
Su Yan
Qingyan Yang
Xingwei Yang
Bin Yao
Jieping Ye
Xiaowei Ying
Kevin Yip
Man Lung Yiu
Thomas Young
Bernard Zenko
Chengyang Zhang
Yi Zhang
Yuzhou Zhang
Yanchang Zhao
Vincent Wenchen Zheng
Jing Zhou
Junlin Zhou
Yang Zi
Albrecht Zimmermann
Data mining is an important tool in science, engineering, industrial processes, healthcare, business, and medicine. The datasets in these fields are large, complex, and often noisy. Extracting knowledge requires the use of sophisticated, high-performance and principled analysis techniques and algorithms, based on sound theoretical and statistical foundations. These techniques in turn require powerful visualization technologies; implementations that must be carefully tuned for performance; software systems that are usable by scientists, engineers, and physicians as well as researchers; and infrastructures that support them.
This conference provides a venue for researchers who are addressing these problems to present their work in a peer-reviewed forum. It also provides an ideal setting for graduate students and others new to the field to learn about cutting-edge research by hearing outstanding invited speakers and attending tutorials (included with conference registration). A set of focused workshops are also held on the last day of the conference. The proceedings of the conference are published in archival form, and are also made available on the SIAM web site.
Funding Agency
SIAM and the Conference Organizing Committee wish to extend their thanks and appreciation to the U.S. National Science Foundation for its support of this conference.
Methods and Algorithms
Frequent Pattern Mining
Probabilistic and Statistical Methods
Spatial and Temporal Mining
Data Stream Mining
Abnormality and Outlier Detection
Feature Selection / Feature Extraction
Dimension Reduction
Data Reduction
Mining with Constraints
Data Cleaning and Noise Reduction
Computational Learning Theory
Multi-Task Learning
Adaptive Algorithms
Scalable and High-Performance Mining
Mining Graphs
Mining Semistructured Data
Mining Complex Datasets
Mining on Emerging Architectures
Text and Web Mining
Other Novel Methods
Astronomy & Astrophysics
High Energy Physics
Collaborative Filtering
Earth Science
Risk Management
Supply Chain Management
Customer Relationship Management
Genomics and Bioinformatics
Drug Discovery
Healthcare Management
Automation & Process Control
Logistics Management
Intrusion and Fraud detection
Sensor Network Applications
Social Network Analysis
Intelligence Analysis
Other Novel Applications and Case Studies
Human Factors and Social Issues
Ethics of Data Mining
Intellectual Ownership
Privacy Models
Privacy Preserving Data Mining and Data Publishing
Risk Analysis
User Interfaces
Interestingness and Relevance
Data and Result Visualization
Important Deadlines
October 3, 2008: Abstracts Due
October 3, 2008: Proposal for Workshop and Tutorials
October 10, 2008: Manuscripts Due
December 15, 2008: Author Notification
January 26, 2009: Camera Ready Papers
March 31, 2009
March 31, 2009


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Going to Vegas but not sure what to do other than gamble and walk the strip? Here are some of my fave things to do and see in Las Vegas from my March trip with Expedia Canada as part of the #BigWorldExplorer program.
1. Get Down at the Backstreet Boys Concert
Let me get to the chase…if you were relatively young (or perhaps young at heart) back in the 90's, then you MUST GO TO THE BACKSTREET BOYS CONCERT IN LAS VEGAS while you still can…or be forever incomplete. Sorry (not sorry) for yelling, but as someone who was obsessed with this iconic boyband back in the day, I have to say that this concert will be in the highlight reel of the best days of my life…and probably more than that.
My equally BSB-obsessed friend Karen and I were super lucky to score front spots in the GA pit (thanks to the Amex pre-sale Platinum "Beat the Line" tickets!) at their concert in March, and it was LARGER THAN LIFE. They sang (really well), they danced (dad moves aplenty), they wore silver boots and sparkly jackets, they brought Lance Bass up on stage to serenade him…and they gave it their all (they had to give). Kevin sang to me for a full minute, making me super uncomfortable (yet excited at the same time)…I got to touch Brian's hand twice and AJ's once…and it will all be forever seared into my brain (and the shape of my heart?). Yes, I am a thirty-something who lined up for a few hours to ensure that I had a front and centre spot, squealed like a teenager when the "boys" were near our side of the pit, and sang every lyric to every song (except for one) at the top of my lungs…and I just want you to know that I regret NOTHING. Forget about other Vegas performances and go see BSB at Planet Hollywood…your inner 90's teen wants it that way.
2. Visit The Neon Museum
I've been to Vegas a couple of times before, but for whatever reason I haven't visited The Neon Museum until this year…and I highly recommend you make the trek. Full of cool signs and marquees, and with a knowledgeable guide at our side, this tour was fun, educational, and perfect for Instagram. Buy your tickets online (spots tend to sell out quickly), wear sunscreen and a hat as you'll be in full sun for most of the tour, and pay a few extra bucks to visit the Neon Boneyard North Gallery at your own pace and see even more rescued signs.
3. Drive Out to Seven Magic Mountains
Ugo Rondinone's Seven Magic Mountains has become one of Vegas' most-instagrammed locations, and with good reason – seven towers of (highly-photogenic) colourful boulders in the middle of the desert, surrounded by mountains, and open to the public free of charge – I ended up going twice! The installation is located 30 minutes outside of Las Vegas and will be on view until 2018, so if you'd like to visit Nevada's own Stonehenge, then you have a year to do so. Word of advice – if you don't want a bunch of strangers in the background of every photo you take, then going at the crack of dawn Mon-Thurs is your best bet. Any other time, expect crowds.
More after the jump!
[Read more…]


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Contact: jrandtheinks(at)gmail.com
Joey Ryan & The Inks have been refining their classic pop sound for nearly a decade and Young Afternoon, the band's 4th studio release, finds itself in a space where familiar feels new. Perhaps their most introspective offering to date, the 12 tracks feature the craftsmanship and easy spirit that have become The Inks' hallmark, but with a new sense of maturity and exploration.
Over two years in the making, Young Afternoon spanned a period in which band members welcomed several new additions to their families. While the responsibilities of marriage and fatherhood made already precious recording time even more difficult to come by, they also provided the band with some rich new experiences to draw from. This new lens brought further lyrical maturity, without sacrificing the joy found in their soaring harmonies and intricately textured instrumentation.
Musically, The Inks stay true to their "sunny melancholy" vibe on Young Afternoon, but also explore some fresh terrain (Minnesota Public Radio). Seemingly disparate reference points, like the psychedelic rock of Tame Impala and the jangly pop melodies of an early Kinks record, somehow come together in a way that feels natural. Joey's vocals have a distinct clarity and sincerity on this record and the musicianship is especially crisp throughout, having been honed over the past 8+ years and countless hours spent rehearsing, performing and recording.


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Literature: A Poet's Eye, The Paintings of Kathleen Guthrie, Jonathan Eastaway, Cartmel Press, 1999, p. 43
Issued in an edition of 12
In the 1970's Guthrie embarked on a series of bold abstract paintings and silk screen prints which she referred to as her "Camelot" series. Although the prints were usually preceded by oils or collage with gouache the Camelot series evolved mostly around the possibilities offered by silkscreen printing where layers of pure colour could be laid over one and another without bleeding or distortion. Guthrie was introduced to the technique of silk screen printing as early as 1954, by Linnet Guthrie, the daughter of her first husband Robin – by the early 1970's she had mastered the art and become one of the most accomplished practitioners of any generation. Her early prints, like her paintings of the period, where semi abstract stylised decorative conversation pieces, such as The Pram (1954) or Two under one hat (1954). At the beginning of the 1960's, after her husband Cecil Stephenson suffered a stroke and was no longer able to paint, Guthrie launched into pure abstract painting. From the textured, soft edged and muted palette of the 1960's she progressed towards a hard geometric style which was increasingly inspired by her husband's work. She used the medium of silk screen printing both to reproduce some of the iconic abstracts of Stephenson from the 1930's (From a painting in Egg Tempera by Cecil Stephenson, 1936) through to abstract reproducing compositions with daring colour combinations of her own design, such as seen in the Camelot series. The silk screen prints are almost always most successful than the large oil paintings which preceded them.


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The Social Dilemma on Netflix 9th September
The world has long recognized the positive applications of social media, from its role in empowering protesters to speak out against oppression during the Arab Spring uprisings almost a decade ago, to serving an instrumental role in fighting for equity and justice today.
And in 2020, during an astonishing global pandemic, social media has become our lifeline to stay in touch with loved ones, as well as proving to be an asset for mobilizing civil rights protests. However, the system that connects us also invisibly controls us. The collective lack of understanding about how these platforms actually operate has led to hidden and often harmful consequences to society—consequences that are becoming more and more evident over time, and consequences that, the subjects in The Social Dilemma suggest, are an existential threat to humanity.
The Social Dilemma is a powerful exploration of the disproportionate impact that a relatively small number of engineers in Silicon Valley have over the way we think, act, and live our lives. The film deftly tackles an underlying cause of our viral conspiracy theories, teenage mental health issues, rampant misinformation and political polarization, and makes these issues visceral, understandable, and urgent. Through a unique combination of documentary investigation and entertaining narrative drama, award-winning filmmakers Jeff Orlowski (Chasing Ice, Chasing Coral) and Larissa Rhodes (Chasing Coral) have once again exposed the invisible in a manner that is both enlightening and harrowing as they disrupt the disrupters by unveiling the hidden machinations behind everyone's favorite social media and search platforms.
The film features compelling interviews with high-profile tech whistleblowers and innovation leaders including Tristan Harris of the Center for Humane Technology; the co-inventor of the Facebook "Like" button, Justin Rosenstein; Tim Kendall, former President of Pinterest and former Director of Monetization at Facebook; Cathy O'Neil, author of Weapons of Math Destruction; Rashida Richardson, Director of Policy at the AI Now Institute, and many others.
Demonstrating how social media affects consumers on a personal level, these fascinating insider insights are seamlessly woven into a captivating narrative, including Vincent Kartheiser (Mad Men), that illuminates the very real consequences these seemingly innocent technologies can have on our everyday lives.


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As European agriculture ministers hold an emergency meeting about the continent's spiraling E. coli outbreak, Spain is demanding full compensation to its farmers, after Spanish cucumbers were incorrectly identified as the bacteria's source. But even as scientists still scramble to diagnose the origin, experts say this outbreak's legacy could be the huge furor over mistaken claims and compensation from the European Union. A top World Heath Organization official says the source of Germany's deadly E. coli outbreak may never be known. Dr. Guenael Rodier, WHO's director of communicable diseases, tells the Associated Press that investigators must find the culprit within a week. He says after that, it would become difficult to link patients with what they ate. Rodier says the contaminated vegetables have probably already disappeared from the market.
First it was cucumbers from Spain, then bean sprouts from Germany that fell under suspicion. But European Union officials acknowledge they still do not know the precise source of an E. coli outbreak that has killed at least 23 people, mostly in Germany.
At first, German officials suggested organic cucumbers from southern Spain were to blame. But that turned out to prove false, and cost Spanish farmers hundreds of millions of euros in lost revenue. Russia and other countries banned vegetable imports from Spain and then the rest of Europe altogether.
Spain's agriculture minister, Rosa Aguilar, is demanding full compensation from Germany for her country's farmers.
Aguilar says Germany must reimburse Spain for its losses. She says that if Germany covers 100 percent, which is what Spain is demanding, then the matter will be closed. But otherwise, she says Spain reserves the right to take legal action.
Experts say the issue of compensating farmers is difficult, however, before the exact source of contamination is known. David Heymann is a global health security expert and professor at the London School of Hygiene and Tropical Medicine. He says scientists are limited to testing the current vegetable supply - not the exact food that began sickening people two weeks ago.
"That doesn't mean that there could not have been contamination, for example, in the sprouts or in cucumbers. The issue is that the studies that have been done on cucumbers that are available today, or on sprouts available today, have not shown that the organism is present. But we're looking today, we're not looking two or three weeks back," Heymann said.
Nevertheless, the European agriculture commissioner has proposed a $220-million (150-million euro) aid package for farmers across Europe. That figure, if approved, would cover barely half of Spain's losses so far. Still, the EU health commissioner, John Dalli, seemed to sympathize with Spain's position.
"I would like to stress that it is crucial that national authorities do not rush to give information on the source of infection, which is not proven by bacteriological analysis, as this spreads unjustified fears in the population all over Europe, and creates problems for our food producers selling products in the EU and outside of the EU," Dalli said.
Dalli told the European Parliament that scientists are still trying to pinpoint the outbreak's source. He said that after officials jumped to conclusions about Spanish cucumbers, they should not do the same with German bean sprouts.
"While such intensive investigations are ongoing, we must be careful not to make premature conclusions. In this respect, I want to refer to the latest information coming from Germany, regarding the suspicion that sprouts may be the source of contamination, which noted that tests have not been concluded and that consequently, premature conclusions have to be avoided," Dalli said.
After Dalli spoke, a Spanish delegate to the European Parliament waved a cucumber during his own speech, saying "We need to restore the honor of this vegetable."
Theatrics aside, scientists are still scrambling to find the bacteria's source, and European officials are trying to calm hysteria over further danger from E. coli. More than 2,400 people are sick. But Heymann says now that public health authorities are mobilized, they should be able to contain the outbreak - no matter the source.
"The source, if it can be found, is very useful because then you can prevent it from continuing or occurring again. But even without the source, we know how to control this disease, and that's what's important. Wash vegetables, wash fruits, be careful and cook them properly, and make sure that all surfaces on which these vegetables and fruits have been in contact, are cleaned as well," Heymann said.
Authorities say the outbreak is limited to northern Germany and people who have traveled there. The EU health commissioner urged Russia and other countries to lift their import restrictions, saying they are not needed.
Heymann says the legacy of this E. coli outbreak, aside from 23 tragic deaths, could be how politicians jumped to conclusions about cucumbers or bean sprouts - devastating farmers' livelihoods, and prompting this huge compensation outcry.
"Because the statements are often made by politicians rather than public health people, they sometimes don't have all the evidence necessary, and they make a statement which later has to be rescinded. What's important that in the future, the epidemiologists - the scientists, the technicians - work even closer with the politicians and the political leaders, to make sure that they're feeding messages that satisfy the political needs but which are also based on what evidence is available," Heymann said.
As EU ministers meet to quell the controversy, scientists say it is possible that they may never know the exact source of this E. coli outbreak.