text:
"Australia is bigger than extremisms and I just hope that we all remember that."
An audio snippet from this interview with Colombiano:
So, Colombiano, perhaps you could start by describing for me a normal, typical day for you?
I will divide it into a typical weekday and a typical weekend day. They are very different but very typical. On a weekday, I would wake at between 5 and 530 AM and get ready to go to work. My wife would be sleeping and the kids would be sleeping. I have my breakfast and get ready for the office. I have a hot coffee – always a hot coffee in the morning – and put Colombian radio. I like to listen to Colombian radio in the mornings. That's the afternoon radio for Colombia – because of the time difference 5 AM or 6 AM here when I start listening would be 3 or 4 PM in Colombia. So it's basically the afternoon radio that I listen to in my mornings, which is nice because it gives me a link to Colombia and news and sports and life. So I listen to the Colombian radio through the Internet and take the tram or walk to the train station. If it's winter I would take the tram and in any other season I would walk to the train station and then take the train to the city where I work. I am a technical trainer. That's what I do for work. Basically, I train people that use the software that the company that I work for sells. So I train customers – adults training – which is very interesting. 60% of the time would be here in Melbourne and the other 30 to 40% of the time would be travelling. So to interstate training I would travel either Sunday night or the eve of the training, if it is a weekday, and I'm generally there three days and then I would be coming back on the evening of the last day. Either way it would be similar mornings at the office, all day doing the training. In the afternoon, I come back home if I'm in Melbourne and have some time with my kids, watch some TV eat dinner, share some time with my wife, go to sleep, and that's a weekday.
On weekends, we go to church almost every Sunday. We try to go to church in the morning. Church should finish at midday and then the afternoon would be just family time. Then on Saturday we are trying to at least once a month do some kind of day trip or day out or big activity, just not to be at home every day. For example, the shopping centre, the Museum, the beach, if it's nice. At night I sit down with my family and we watch AFL. In the first year that we arrived, one day he was at school and came back home and said, "Dad, let's play football". I said, "Okay, okay! Let's play football", and I took out the round ball. He said, "No, no, no! Football with the oval ball. So I said, "Okay, I'm going to play with you but I need to work out how play with this". In moving here I did realised football was important in Australia and we were aware that sports is a good way of engaging with people, so we did our homework and we learnt the rules of rugby and everything. Then we moved to Melbourne and we realised that we had done the wrong homework. So I had to start again, but it's okay. I enjoy watching AFL.
I hear that you barrack for the Hawks. How was this decision made?
When we first arrived here we were living in one of Glen Eira's suburbs and we were living in Hawthorn Road. So, as most AFL teams are named after suburbs we looked for the team of that suburb, but there is no team with that name, so then we thought, "Hawthorn Road … let's barrack for Hawthorn", and they won that championship and they won the following 2 championships. We didn't follow them because they won that first year – it was good luck – but I guess that helped us engage with the sport. It was because we were living on Hawthorn Road that we started barracking for Hawthorn.
What was life like in Colombia?
We had a good life. The reason for moving was not because we were not in a good position. We had a good life. We were not having difficulties. I was working for a good company and great place to work in 'the Great Place to Work' list. I had a good position and my wife was also working in a good job, but we did not have that much of a good lifestyle. So, what was a typical day in Colombia? Kids start school when they're very, very young. Here it's mandatory from five years old and in Colombian it's mandatory from four years old but it's unofficial a mandatory from one or something like that. In Colombia, it's hard for families and it's not common the way it is here for one parent to be home with the kids and the other to work and then both to go back to work. In Colombia my son was going to kinder at 6:30 in the morning. At that time my wife was already on her way to the office and I would leave him at the school bus and go to the office. So we started with very early mornings. He would stay at school until 3:30PM and then the school bus would drop him at my in-laws' house at 4:30PM and I would pick him up at my in-laws' place about 6 PM and my wife would drive home at 7:30 PM from in the office. So, we would basically wake up, send him to school, go to work, then get back home, have some dinner and help him do some homework – because they have long homework from when they're very small – and then go to bed. On the weekends we spent time with family and friends.
As a side thought, security is not as bad in Colombia as it is presented in the news, at least not in the cities. People ask me that question a lot: "Is it safe to go to Colombia?" My answer is always, "Yes, if you stay in safe places". In other words, you are safe if you go and you stay in a nice area of the city and you don't go wandering around to not so nice neighbourhoods and you don't go away from the road too much. If you go to the places where you haven't been invited, it's not safe. As Colombians we know which places to go so we will not go there. So it is perfectly safe in comparison with what is shown in TV shows. You wouldn't see people on the streets with guns. That doesn't happen unless you go to those particular neighbourhoods. You don't see people getting hijacked. Nothing like that. In that sense it is safe, however it is not as safe as it is here. I wouldn't go on public transport with my laptop working on my laptop. It would get stolen faster than taking it out. Here when in a café, if I leave my bag to go to the bathroom usually nothing will happen, whereas it would be taken as soon as you turn around in Colombia. So there, you had to be very much more aware of your surroundings, much more aware of where your things and where your kids were. Again, having grown up there, that's how it was. It wasn't scary; that's how it was.
What was it that brought you to Australia?
When I was in school I had the blessing of being very good at Maths and I went to participate in quite a few Maths Olympics. I had the opportunity to travel to different places: to the US, Canada, Taiwan, Argentina and Chile. I had the opportunity not only travel to those places but to share with people from all over the world who were taking part in the Maths Olympics. It was a great eye-opener because in Colombia you mainly see Colombians whereas here in Australia you see people from all over the world. You can be on public transport here and I'll be speaking Spanish and the people sitting at my side will be speaking English and someone else would be speaking German – 10 different languages in just one bus or tram. In Colombia, it's very rare to see foreigners and if you see foreigners they are usually coming for work and they are usually from the US or Europe. It's very rare to see someone from Asia and very rare that you see someone from Africa. So having those trips for me was an eye-opener. I knew there were people from other places but being able to share with them was very good and I think since then I've had in my mind that I wanted to leave Colombia just to be able to live somewhere else and again, to learn from other people.
My wife also had her reasons why she wanted to leave Colombia and when we started dating she told me, "I'm not sure that I want to start dating with you, but not because I don't like you". Her plans had been that when she finished Uni she would be going to France because she has some family living there. So she said, "I'm not sure if it's worth it to start a relationship because I'm planning to leave in less than two years". My answer was, "I'll come with you. I'm planning to leave Colombia as well. It's fine by me". We were thinking of Europe, France or England. They were our original destinations and this is before 2008. We actually went to a couple of presentations of migration agents, basically advertising different countries. We were almost ready to start the process for Canada but then it came to 2008 and the global financial crisis and suddenly people were coming back to Colombia from all of these countries because the economy was not good. I was working for a German company and so I was saving to start the process but because of the crisis, one day they told me, "You're too expensive for us. You are a very good worker but the crisis is hard and we need to hire someone cheaper, so thank you".
So we stopped the process. Yes, we could have dreams of the future but we needed to live in the present. Someone I knew, knew someone that had an agency to support people to come to study in New Zealand and he knew that we had the plans to leave Colombia. He said, "Would you like to meet with her?" and we said, "Yes, okay". It was interesting to hear about the option of studying in New Zealand but we didn't want to come as students. We already had our son – he was a baby then – and as I mentioned, we were not in a bad situation. We had work. Our decision was that if we left Colombia it would be as residents knowing we were going to stay, not as students with the obligation to return. So we said, "Thank you very much but no thank you". That information session, however, made us look at this side of the world. So we said, "Okay New Zealand, no, it's not for us because of our current situation but what about Australia?", and we started researching. It seemed a better option for us. So we started the process and we prayed for it to either fail really quickly or advance really quickly. It was a really quick process. When we came here we truly believed that coming to Australia as a permanent resident was really easy. It was in fact an answer to prayer. The first payment was made to the migration agent in December and by April of the following year I had my ACS certificate of my studies and my degree in order to apply for skilled migration by June, and in October we received the permanent residency. So it was 10 months from the first contact to actually having a residency, and it was less than eight months later that we arrived in Australia. So it was 18 months from commencing the process to arriving.
So, you were already permanent residents by the time you came. You had that security you wanted.
Yes. Yes, I still believe that if it hadn't been that way, we wouldn't have left Colombia, because we were fine. We had a good jobs. I had actually been promoted a few months before I got the residency and three months before we moved my wife got a really, really great job offer, but we were pleased to be going to Australia, which is one of the best places to live and to grow, so there was no job offer good enough to make us stay, because we were coming as residents.
So how has life change for you, coming here?
We moved from Colombia four and a half years ago, actually four years and three months ago. Life has changed a lot. On one side, there is something very Australian in that expression "no worries". I think and I was actually saying to someone last week that I believe Australians really live up to "no worries" in the sense that they worry about what needs to be worried about but they don't worry about what doesn't need to be. So it's a very relaxed culture in many senses, at least in my experience. You can live good enough with a basic salary. You need to work because that's life and if you don't work …. well. But even if you can't find a good job, even if you just have to work as a casual and just a few hours a week, that could be good enough to survive and enough to provide a good enough life, a place to live, food and okay school for the kids and health. So one way is that Australia is a good place to live and we don't need to worry about the basics. If for any reason I lose my job, yes, it will be hard but I have the security that the basics will be covered, so that we won't be homeless or without food. Yes, there might be some things we would need to stretch a lot but … it took me about a year to find the skilled work in that I do, so for the year we lived on just casual jobs. We were fine. So that's very good to have that certainty that things will be okay, at least.
It also changed my thinking on government support for people. Growing up in Colombia I was very right wing, thinking "You must work; if you work you will be able to get what you need and you can buy and get what you work for and if you don't have things it's because you haven't worked for them enough and why should the government help people that don't want to work? Why should the government help people that are not working? Yes, perhaps for a few weeks but then they need to find a job". That's how I thought and it was very shocking for me because it took me a year to find a real job here. We had to live with government support for a few months because we had a son. If we had not had a son we would not have had access to child-support. It was lucky for us that we had a son. We did have a lot of support from the government then, which made me think, "It's not that I'm not looking for a job; it's not that I don't want to work; it's just that I haven't been able to do it". So that really makes some sense. I still believe it has to be well supervised because I know and I think there are people that abuse the system and that's what needs to be looked for so that that doesn't happened but it made me think that it really makes sense to have that support for some people. For us for example, having that support made us worry less about day-to-day living and gave more time to look work for the right job, which in the long term was better for everyone. So it made me change a lot of my political thinking, in that sense.
It made me change the value that I give to study. In Colombia, there is no formal class system as you may find another cultures but there is an unofficial class system. There is a high, medium and low class. They are linked to the ideas that if you work hard enough are you able to get there – but maybe not that much now. If you want to have a good job you need to have a university degree plus some additional studies at least. That's the basic. If you don't have a university degree plus extra studies you won't have a good job, you won't have a good life. Here I'm thinking of how in Colombia, looking at position descriptions, they were very clear: this degree, this extra study. A strong focus on study. Experience doesn't count so much. So if someone doesn't have the chance to study but rises in the industry and for some reason you haven't studied, in Colombia you won't be able to get to that management level, into that higher senior level. Here I think it is the other way around. At least, on position descriptions you see the study but there is a phrase that I always see, 'or equivalent experience', and that means someone that doesn't have the opportunity to study but had experience that teaches that skill has same opportunity to apply for that job. If that's how it is here that totally changes the value of studying. It's not that study doesn't count but, again, speaking to another Colombian friend, he mentioned that if he had grown up in Australia, perhaps he might not have studied engineering. He might have gone into construction or something little more physical because here he would have the opportunity of a good life. In Colombia if you do that you don't have the opportunity for a good life, a good salary. From this perspective, if my son tells me, "I don't want to go to uni. I want to go for this technical course or for sport", I think it's easier for me here in Australia to support that than it would have been back in Colombia. So I think this has changed that as well.
You have thought a lot about this.
Well, I think so. It's different. I've had the question, "Is it worth it? Do you regret it?" I had the question, "Why should I do it?" I always try to be careful in what I answer in terms of whether this fits someone, but personally I don't regret it. Also I know that for some people this might not be what they want but I have thought a lot about it. It's just that it's changed me. It's made me think differently and I do notice that.
If someone who didn't know you saw you in the street, is there something they would be surprised to know about you?
There are a couple of answers there. I have had people see me and think I was from India or the Middle East or something like that. I guess certain people from those regions look like certain Latin Americans. I've had a couple of people confidently ask me, "What part of India are you from?" and I've said, "I'm from South America, a totally different context", and they have said, "Oh, really?" So that is one.
Assuming that someone knew I was from Colombia or South America, I don't look that fit. I've put on a lot of weight for a long time and I'm trying to improve my health and it's been two years now that I've been participating in triathlons. It's an interesting routine. I guess I didn't include it in the typical day because lately I've had an injury, but I used to train from 5 to 530 AM and I hoping to go back and do some training. So that would be another thing that might surprise people because I know I don't look that fit. I look around when I'm racing and lots of the guys that are racing look fitter and stronger.
The other element is that I like writing about my life. I do have a blog telling the story of our migration, the details, the good experiences and the bad experiences. I tried to look for something like that when I was coming to Australia and I only found the good experiences and good references and good comments, and there's a saying in Spanish like, 'It's too good to be true'.
What is it in Spanish?
"De eso tan bueno no dan tanto"
I wanted to find out the good and bad before we came. It was funny. When we started to tell people that we knew that we were coming to Australia, suddenly someone knew someone that either had come to study or was here and had come. When I asked why did you come back he said, "It's too tidy and too organised for me". I said, "I don't believe it". It is like when someone goes for a job interview and they are asked for a fault and they say they are too organised, that is not a real answer. In reality, we had some not so good experiences. I was told that within three months I would find a job in my skill set and it took me over a year. We had to do cleaning, which wasn't as bad as we thought it would be, actually good. We had to do kitchen hand jobs and lot of pots. At times it was good and some days were really bad. And there are some other things that happened that were hard because the process was not as clear as it could have been. So I just thought even before coming I'd like to start writing and I started working on that. It's been good because people ask questions. I try in every possible way to make it clear that I'm not a migration agent and I don't know and I cannot give advice in terms of migration. I'm just sharing my story and inviting other people that have come to Australia to share their story. Maybe someone asks something like how much things cost and I can answer, "If you go to the store now eggs cost …". I do answer those types of questions but certainly if someone asks, "I had this experience, I've studied this, what should I do?", I say, "Look at the website, contact a migration agent". I think this is something that someone who saw me who did not know me would be surprised to know.
Are there primarily Colombians reading it or a wider range of Spanish-speaking readers?
Latin Americans. I can see, more or less, where readers are from. There are some people reading from the US and I sometimes see people from Spain, but not that much. Mainly Colombia and then Latin America. And I also see a lot of people reading from Australia, so my guess is that they are people who have migrated here.
Is there anything else that you would like to share with the reader?
I think Australia is a very good country. I think living here gives me and my kids a lot of opportunities, especially for them, for my kids. I think they have the world as an opportunity, growing up here in Australia, because it is the society that values people. Actually, I have seen lately a couple of TV shows and some concerns about racism. I haven't felt it personally at all. I can acknowledge that it might be and that there is but I can't say that I have lived it. I haven't and hopefully it keeps that way. I guess lately the world is starting to turn a little scary toward extremisms. The nice things that I've found here in Australia so far is that it doesn't go to extremes. It tends to stay in the middle and be very open and hopefully it keeps that way. I think that's it's a job for all of us to do it, to love our neighbours as ourselves, whether religious or non-religious, to open our arms to people coming. So Australia is bigger than extremisms and I just hope that we all remember that.
Read more from Colombiano at his blog (in Spanish), De Colombia Hacia Australia (From Colombia to Australia). Please find the Spanish language version of this interview at that blog, with our thanks to Colombiano for the translation.
This interview is part of the This Is Us Australia project. If you are interested in taking part, please read our Project Description and use our Contact page or email us at thisisusaustralia at gmail.com.
Follow the This Is Us Australia project on Facebook or Twitter.


text:
While our readers are already talking about Transformers: The Last Knight in the comments section of our Transformers: The Last Knight review, this is the place where you can discuss spoilers and plot twists/reveals without worrying about ruining director Michael Bay's latest installment in the robots-in-disguise franchise for those people who haven't seen it yet.
If you're posting comments here, assume that anyone in the conversation has seen Transformers: The Last Knight already. If you haven't seen Bay's fifth live-action Transformers movie yet, then we would recommend that you don't read the comments here until you have. Other than that, feel free to discuss Transformers: The Last Knight and all its many surprises (including, its connections to previous Transformers films and setup for next year's Bumblebee movie spinoff).
Want more Transformers: The Last Knight goodness? Check out some of our Transformers: The Last Knight-related features and updates:
- Transformers: The Last Knight's Cybertronian Creators Explained
- Planned Transformers Spinoff Movie Takes Place in Ancient Rome
- Bumblebee Movie Spinoff Takes Place in the 1980s
- Transformers: The Last Knight Directly Connects to Upcoming Spinoffs
- Michael Bay Was Pitched an R-Rated Bumblebee Movie
NEXT: The Last Knight's Post-Credits Scene Breakdown
The Last Knight shatters the core myths of the Transformers franchise, and redefines what it means to be a hero. Humans and Transformers are at war, Optimus Prime is gone. The key to saving our future lies buried in the secrets of the past, in the hidden history of Transformers on Earth. Saving our world falls upon the shoulders of an unlikely alliance: Cade Yeager (Mark Wahlberg); Bumblebee; an English Lord (Sir Anthony Hopkins); and an Oxford Professor (Laura Haddock). There comes a moment in everyone's life when we are called upon to make a difference. In Transformers: The Last Knight, the hunted will become heroes. Heroes will become villains. Only one world will survive: theirs, or ours.
Transformers: The Last Knight is now playing in U.S. theaters. It is 149 minutes long and is Rated PG-13 for violence and intense sequences of sci-fi action, language, and some innuendo.
- Transformers 5/Transformers: The Last Knight (2017) release date: Jun 21, 2017
- Bumblebee (2018) release date: Dec 21, 2018

subset: commoncrawl


text:
This week we added the ability to modify shapes on the canvas. For today's exercise, we'll add the ability to add Text and move it around. Before that, let's look at some links.
Build iOS apps with Elm
This is a library that lets you build a functional core for your applications in Elm, and then build an imperative shell to hold them and display their data, in Swift.
[ h/t @salutis ]
Using Prisms and ADTs for select tags (among other things)
Kyle Kress is continuing with his excellent blog posts, this time discussing a data modeling procedure for handling non-isomorphic data with Prisms. He introduces a generic select that can handle a Prism, but the general details he's covering are interesting even if you don't need a nice ADT-aware select :)
[ h/t @toastal ]
xml parser for elm
Noah Hall built an XML parser for Elm. You can encode and decode XML. So if you need that, here it is :) I've needed it a single time (AWS-related), and in my case I was able to completely hack my way around it - but this would have been much nicer.
[ h/t @eeue56 ]
Elm Decoders and Secret Spy Messages
A novel point of view into what Elm's JSON decoders are
Ossi Hanhinen wrote up a fun post comparing JSON decoders to secret spy messages like you might have gotten in a box of Cracker Jacks or from the back of a comic book, if you're old enough to remember that sort of thing.
[ h/t @ohanhi ]
A simpler alternative to (!)
NRI built a package to easily turn
("a" => "b") into
("a", "b") and deal
with that shape of data nicely in your
This week we're adding the ability to add text in our SVG editor. I'll show my solution in the next drip. I have a few suggestions to help you along.
Text shape.
Text shape, as adding a UI for
editing the text is perhaps outside of the scope of a short exercise.
Text, I'd suggest
just injecting a text field into the sidebar when the
Text is selected.


text:
Nickel is a metal which is mainly used as an alloying element of stainless steel, major ingredient of brass, and for electroplating. Nickel is also used together with lanthanum in the nickel metal hydrid (NiMH) battery.[1] Nickel is highly resistant to corrosion and is widely used to create corrosion resistant alloys and is also used heavily in the electroplating process. Nickel is used with Chromium to create Nichrome, which has a high melting point and is used for the efficient conversion of electricity to heat. Annual world production was 1.4 million tonnes in 2007
Mcx trading tips PlansBuy 1 Month At 5000


text:
(WHNT) - Cities across north Alabama celebrated Halloween in their own way.
First, we visit Michael and Deborah Kienzle's house in Decatur where they go all out decorating every year.
Madison hosted what they called Halloween on Main. It looked like hundreds of families visited Main Street in Madison to trick-or-treat at businesses on a road closed off to traffic.
And in Huntsville, the Clearview Cancer Institute held their annual Monster "Mashion" Show. Doctors, nurses, staff and volunteers from the medical facility all participated.


text:
Today's bloom is Tall Bearded Iris 'Spiced Tiger' (Iris )Bloom of the Day for June 17th, 2007:
Bloom color: Red, Bright Yellow, Medium Purple, Brown/Bronze, White/Near White, Cream/Tan
Sun requirements: Full Sun
Cold hardiness: Zone 3a to Zone 8b
Height: 24-36 in. (60-90 cm)
Spacing: 12-15 in. (30-38 cm), 15-18 in. (38-45 cm), 18-24 in. (45-60 cm)
View much more information
about this plant at PlantFiles.
12 members have or want this plant for trade.
|Talk about this bloom
There haven't yet been any comments posted about this bloom.


text: Nepal: My Summit Quest for 20,000 Feet+++ 03/12/2016 Why 20,000+ Feet??? I have always been drawn to the mountains ...let me rephrase that. I've always be drawn to the tops of the mountains. There's just something about standing on the summit of a mountain, and looking across what is almost always an incredible view. It's much more than that however ...it's that primal man vs. nature that's deep inside us, as well as the even bigger challenge that my mind puts on me to just push a bit farther, a bit higher ...conquer just one more peak! Over the


text:
Tasting the tops of Torres
For the August issue of Decanter (which will be out at the beginning of July) I wrote up a profile about Miguel Torres Jr. who, since 2012 has been the General Director of the Torres winery, taking over from his father, Miguel A. Torres. If for some reason you don't know Torres, then I feel like you should make a trip to your local store and go look at the Spanish or Chilean wine section as they'll undoubtedly be there. I'm quite happy with the resulting interview as it covers a lot of the work they're doing to counter climate change as a winery in the 21st century.
Due to the literally millions of bottles Torres produces, pot shots are doled out often. Even in Priorat where it's hard to be big, they're still the third largest producer of all the cellars. I've had my doubts about their wines as well given that these days all of us in the wine trade are looking for smaller, or more exotic, or… "natural". Many people have lost sight of the fact that a wine such as Sangre de Toro which is blended from all over Catalonia and has a crowd pleasing, fruit-forward taste profile as well as a wallet-friendly price of about 5.50€ is a fine wine for what it is.
I, as well as wine experts way beyond my pay grade should respect wines like this a lot more as they're exactly what most people want and there's nothing wrong with that. I was however curious about some of the more top-end wines and with Miguel (who is actually Miguel Torres IV) we tasted several of these as well as some experimental grapes they've been working to recuperate although this is for another, much longer article.
What I tasted during that lunch intrigued me and I told Miguel and his communications director that I needed to profile three wines to be printed along with the article. While they could be whatever they'd like, it turned out this was a tough order as they make so many wines with so many different styles picking a mere three is a difficult exercise. After a bit of back an forth, they arrived at these following three wines that are representative of the top wines they make in DO Conca de Barberà (Grans Muralles) and DO Penedès (Mas la Plana & Reserva Real).
Mas la Plana 2010
Dark ruby in color with a garnet crest. Spicy, herbal sage notes, cured cherries, smallest hint of vanilla. Medium plus body, medium acidity, and finish. Rich and textured with and overall excellent integration at this point.
Cab Sauvignon 14.5% 50€
Grans Muralles 2010
Ruby with violet rim. Mix of dark cherries and blackberries with a bit of chalky dustiness to it. Medium body with medium plus acidity. Holds rugged grape elements in check with a refined balance and lingering finish.
Grenache, Carignan, Mourvèdre, Garró, Querol 14.5% 80€
Reserva Real 2010
Dark garnet in color. Rich dark plum notes with a touch of earthiness, cigar, and vanilla. Medium body and acidity with perfect harmony across the palate. Finish lingers forever. Fantastic integration at this point with many, many years left in the wine.
Cab Franc, Cab Sauvignon 14.5% 150€


text:
Children Who Take Shortcuts
Oh, could you please talk about how to deal with (and what to do with) a child who takes shortcuts… not wanting to do the work (mostly school, but also other tasks), a child (age 11) who works very hard at not working. Guessing at answers, pretending to read, failing to do corrections because she "did not think you would recheck it"… which I always have.
A child who fills in an answer that says "ten"… ten what?? Ten minutes, ten weeks, ten years? And when asks, replies, "You should have just known." I am asking for a miracle I know… my child is not the norm (ask Cheryl) as she came to me later and has trouble connecting. Still, her education is in my hands and I am baffled. I have a younger child also, who is watching this and starting to copy some attitudes. He is seven and needs more training time, which is being stolen by bad behaviors in his sibling. How do I fix this?
Oh, Bren, I could not help but chuckle at some of the things you shared. I know it's not right, but it's always funnier when it's someone else's child, no? I'm sure you're past seeing any humor in the situation and are just plain frustrated.
I can only share with you what we've done with a similar situation, but it might not be the answer you need. Pray and ask the Lord what He thinks.
We have a child who is very mature, very responsible when it comes to getting tasks done, and a complete help with siblings. I can count on this child in so many ways.
However. This child loses EVERYTHING. Crafts have been started and then lost. Yes, whole projects, GONE. School books can't be found, clothing is missing, etc. Actually, as I write this I can see that we have made some small progress, so I can say things are getting better.
Initially I was just plain frustrated. How does someone lose an entire backpack filled and ready for vacation the day we are going to leave??? It was set out that morning...
Tears have been shed, and the child is also frustrated. That being the case, I have set about helping the child with my own exhibited patience. We've cracked open the Bible and had the child copy verses about responsibility and diligence. We've also set in motion some "reality discipline" tactics: no new crafts can be started until the old ones are found and completed. Lost school books are paid for if not found by a set date.
My kids don't have a steady income (no allowance, etc.), so having to pay for a school book is agony! It's only happened once (amazing how much time they'll spend looking for it when they know they'll have to pay for it), and after the child doled out $25 and the new book arrived, the old one was found. Painful reality.
My advice to you would be to ask the Holy Spirit to help you guard yourself from showing any kind of frustration. When I get worked up over a child's behavior, it only makes the situation worse. Then set up, in advance, the rules and the consequences. Sit down at breakfast when everyone is calm and happy and tell that sweet child what she's going to work on that day (diligence? a good attitude?). Tell her that each time you see her exhibiting that good quality, she'll get x (an m-n-m? a checkmark on a chart that leads to some prize when all the boxes are filled?). Or tell her that if she can go 15 minutes without being lazy or complaining, she'll get x. Or if she can do each task completely, without cutting corners, she'll get x. But----- remind her that she can only accomplish anything with Christ's help. And that her worth and value do not come from being good, or even from conquering this weakness! Jesus can only always be good.
Baby steps, you see? Reward every. little. accomplishment. At the end of the day, praise her to her dad and brother. Make dinner triumphant, even if she only succeeded once that day.
Don't be afraid to create some negative consequences, too. Much like having to pay for a lost school book, you could set in motion a rule that discourages half-done work. Stick to it. Don't renege. Let your yes be yes and your no be no. If you tell her the consequence of not being diligent is to not be able to participate in some fun activity, then by all means, don't let her participate.
You are on her team. Communicate that as best you can.


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Welcome to Stone Projects website.
Stonemasons based in Bermagui on the Far South Coast of NSW, we travel to all areas of NSW, ACT, Canberra, Victoria and Southern Queensland.
From heritage and restoration, new build to bespoke memorials and carving, our aim is always to provide the highest level of craftsmanship to suit each project.
We provide technical trade consultancy services for owners and custodians of older heritage and historic properties, we are experienced in the use of traditional lime mortar, and dry stone walling.
We offer clients a complete service on projects with natural stone, from assistance with design and selection of stone, budgets, installation and ongoing maintenance.
We are also more than happy to provide a simple house sign, letterbox with a difference or a few stepping stones for the garden.
Please do not hesitate to contact us to discuss your project.


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Coming up at the DMSC in August
Here's a rundown of everything we have going on this month. It's going to be a good one.
Haiku Deathmatch
Friday, August 1 – Doors 6pm, Show 7pm
All Ages
Des Moines Social Club's Basement Bar
The Haiku Deathmatch is a fast paced, team oriented poetry competition. Have I impressed you with that mash up of catch phrases yet? …No? Let's try again: Imagine what would happen if a poetry reading got knocked up by a game show. It's big, bold, bombastic, and perhaps most importantly, it is smart. Competitors at the Deathmatch are notable talents of the community and the judges are recognized writers, educators and entertainers. Come out and see us August 1st for an evening of words and wit. Those interested in participating in the Deathmatch should contact the Des Moines Poetry Slam (https://www.facebook.com/pages/Des-Moines-Poetry-Slam/234711179924543) and ask for Jonny Demo.
Spring Awakening, produced by Des Moines Onstage
Friday, August 8, 2014 7:30pm
Saturday, August 9, 2014 7:30pm
Sunday, August 10, 2014 2:00pm
Friday, August 15 7:30pm
Saturday, August 16 7:30pm
Sunday, August 17 2:00pm
All Ages
Adults: $15, Students/Senior: $12 via Midwestix
Winner of 8 Tony Awards, including Best Musical, SPRING AWAKENING is a rock musical adaptation of Frank Wedekind's 1891 expressionist play about the trials and tribulations, and the exhilaration of the teen years.
It's Germany, 1891. The beautiful young Wendla explores her body and asks her mother where babies come from. Elsewhere, the brilliant and fearless young Melchior defends his buddy Moritz — a boy so traumatized by puberty he can't concentrate on anything. One afternoon in the woods, Wendla and Melchior discover a desire unlike anything they've ever felt. SPRING AWAKENING explores the confusion and desperation that ensue when the onrushing tide of hormones meets the ignorance of children. SPRING AWAKENING celebrates the unforgettable journey from youth to adulthood with a power, poignancy, and passion that you will never forget.
Contains mature themes and content.
Adam Balbo, Elliot Burke, Doctor Dentist
Monday, August 4 – Doors 7pm, Show 8pm
All Ages
Des Moines Social Club's Basement Bar
Adam Balbo [Oakland] – www.adambalbo.bandcamp.com
Doctor Dentist – www.doctordentist.bandcamp.com
Elliot Burke – www.lesbianpoetry.bandcamp.com
Jazz Happy Hour
Friday, August 8 – 5:30pm-7:30pm
All Ages
Des Moines Social Club's Rooftop Patio
Join the Synergy Jazz Foundation and DMSC on our rooftop patio this summer for our Second Friday Happy Hour series, a free jazz concert series featuring a diverse roster of local jazz musicians as well as occasional performances by touring musicians from all over the country. Take in the late afternoon weather, sit and have a drink with friends, and enjoy the outdoor performances in the heart of downtown.
Free Cake for Every Creature, Person Whale, Lesbian Poetry, Dodge Dirt, Ylayali
Friday, August 8 – Doors 6pm, Show 7pm
All Ages
Des Moines Social Club's Handball Court
Free Cake for Every Creature: http://freecakeforeverycreature.bandcamp.com
Lesbian Poetry: http://lesbianpoetry.bandcamp.com
Person Whale: http://personwhale.bandcamp.com
Modern Love
Friday, August 8 – 9:00pm-1:00am
Des Moines Social Club's Basement Bar
After a successful three year run with Pressure Drop, DJ Eight Ten brings a new monthly dance party to the Des Moines Social Club. This party will expand upon the funky soulful musical foundation of Pressure Drop to include a vast array of new sounds. A new era, a new basement, a new sound.
Call and Response
Saturday, August 9 – 8pm-12am
$5 at the door
All Ages
Des Moines Social Club's Basement Bar
Hosted by influential Iowa musician Patrick Tape Fleming (Poison Control Center, Gloom Balloon, BiFi Records), Call and Response features intimate in depth one-on-one conversations between musician and musician. They'll not only talk back and forth with Fleming but perform songs together that have influenced both artists. Guests will also go deep into their own heart and soul about the creation of their music and perform.
Following the show, stick around as DJ TONE ZONE spins his all-vinyl collection of pop and power pop.
Open Circus
Thursday, August 14 – 8:00pm-11:00pm
All Ages
Des Moines Social Club's Basement Bar
Des Moines' BEST Open Variety Show is back in a new location and at a new time. Join host Max Farrell aka Max on the Track from 8pm – 11pm on the second Thursday of every month in the Social Club's Basement Bar underneath the Kum & Go Theater. No cover and drink specials. Come down to perform or just take in the show!
Benjamin Cartel (of Kaiser Cartel) w/ The Host Country, Canby
Friday, August 27 – 7pm doors, 7:30pm show
$7 advance via Midwestix, $10 at the door
All Ages
Des Moines Social Club's Rooftop Patio
After earning a buzz as one of New York City's up-and-coming songwriters, Benjamin Cartel put his solo career on hold in 2004, the year he co-founded the indie folk duo Kaiser Cartel. Years later, that band is still moving along… and Cartel's solo career has earned a new set of wheels too, thanks to an EP that bridges the gap between Wilco's wry rock & roll and John Lennon's classic pop.
Money and Love is Cartel's first solo release. Like the musical influences that spawned it, the EP is a mix of old and new. Several songs, like the vintage pop/rocker "No One," were written before Kaiser Cartel's formation. Others, like the rave-up title track, are newer compositions. "Julia," one of the album's harmony-drenched highlights, was written somewhere in the middle. Cartel looked everywhere for inspiration: relationships, the road, even old Alfred Hitchcock movies.
"Sentinel" by Amy Uthus
Exhibit: July 18 – August 10
All Ages
Des Moines Social Club's Viaduct Gallery
Join us at Viaduct Gallery for the opening of "Sentinel," works by ceramicist Amy Uthus, current Artist-in-Residence and Education Coordinator at RDG Dahlquist Art Studio. Amy Uthus grew up under the wide-open North Dakota skies. She earned a BA, magna cum laude, from North Dakota State University in art and English (2007). She attended graduate school at the University of Massachusetts Dartmouth, earning her MFA in ceramics in 2012. Amy has traveled extensively; most recently she was an International Student Resident at the International Ceramics Studio in Kecksemét, Hungary (Fall 2011), and an Artist-in-Residence at Guldagergaard International Ceramics Research Center in Skælskør, Denmark (Summer 2012).
Gallery Talk: Collecting
Monday, August 4 at 6:00pm
All Ages
Des Moines Social Club's Viaduct Gallery
Join us in the Viaduct Gallery on Monday, August 4th at 6pm for a Gallery Talk on collecting. A panel of local community members will weigh in on the culture of collecting and field any questions for discusssion from audience members. The panel will include Liz Lidgett, Ben Gardner, Jon Pearson, Jonathan deLima, Bob & Deb Anders, and David Safris.
"The Ones We Love" Opening Reception and Book Release
Opening Reception: Friday, August 15 – 7pm-10pm
Exhibit: August 15 – August 31
All Ages
Des Moines Social Club's Viaduct Gallery
"The Ones We Love," curated by Lindley Warren, is an intimate platform for upcoming photographers from around the world to portray the people they love, cherish, and find inspiration within. This will be the first exhibition and book release for the project and will contain work from over 50 international photographers.
Portrait Studio by Rachel Buse, Jon Pearson, & Cat Rocketship
Sunday, August 17, Sunday, August 24, Sunday, August 31 – 1pm-4pm
All Ages
Des Moines Social Club's Viaduct Gallery
The Art Friends (Rachel Buse, Jonathan Pearson, Cat Rocketship) draw portraits with, for, and of visitors. Individuals, friends, and families are all welcome on the couch — and will come away having sat for a portrait. Works created during Portrait Studio are displayed en masse and available at the end of the show for a free will donation.
Gallery Talk: Lindley Warren, "The Ones We Love"
Monday, August 18 – 6pm
All Ages
Des Moines Social Club's Viaduct Gallery
The Ones We Love curator Lindley Warren and Des Moines photographer Annick Sjobakken will speak on The Ones We Love project as well as photography and intimacy. Open to the public, Q&A to follow.
Culture Lab: Mad Scientist Art Party with Grin City Collective Artist Residency
Friday, August 22 – 7pm-9pm
All Ages
Des Moines Social Club's Basement Bar
Art exhibition meets science fair. Featuring a brand new cocktail specially designed for the show! Experience the innovative STE(A)M projects designed by artists and scientists in residence at Grin City Collective. www.grincitycollective.org
Projects include:
Documenting the Small: Microscopy art
Alternate Math History: What we could have learned in math class and why we didn't
Biomimicry: Ecosystems, horticulture, computing and robotics
Green Product Design: Reuse, recycle, or make it better to begin with
Science Fiction: Characters with an unusual scientific skill
Visualizing Mental Illness: Sculptures of your brain
Innovative Apiaries: Architecture meets urban design meets honey bees
Roach Social Zinefest
Saturday, August 23 – 10am-5pm
All Ages
Des Moines Social Club's Viaduct Gallery
One day long event to learn, grow, and share zines. Start out the day with two amazing demo/workshops by local artists Deb Anders Bond and Robert Stephens. Break for lunch. Meet back at the Roach Social for tabling! In the Viaduct Gallery at the Des Moines Social Club
Demo/workshops 10am – 12:30pm (registration required)
Lunch break 12:30pm – 2pm
Zine Sale 2 – 5pm (free and open the public)
Register to sell your zines at the sale and/or attend the morning demos on http://www.roach-motel.com/zinefest.
Coordinated by: Roach Motel Zine Distro and Art Beacon Des Moines
Team Trivia
Every Tuesday at 7:30pm
Gas Lamp, 1501 Grand Ave., Des Moines
Show off your knowledge of stuff! Des Moines Social Club's Team Trivia is every Tuesday night at 7:30pm at the Gas Lamp. Bring a team of 2-6 people for great drink specials and 8 rounds of trivia! Rounds contain 5 questions with links hinting at each previous question's answer. Also, occasional theme rounds to spice things up! Each weekly winner gets to pick the first category for the next week's trivia as well as bragging rights. Monthly winners receive fabulous prizes!
Mad Science Comedy Laboratory presents: Kevin Brody and friends from the Arguments and Grievances Podcast
Wednesday, August 13
$5, All Ages
Basement Bar
Des Moines Social Club is introducing a new high powered, high profile stand up comedy showcase: The Mad Science Comedy Laboratory. Featuring the finest of touring comics from all over the country, and rotating local hosts and features, this event adds to the already burgeoning comedy scene in Des Moines.
For August, we present the 'Sweet Boys Comedy Tour,' 3 of Chicago's finest new comics: Kevin White of Arguments and Grievances, Kevin Brody of Performance Anxiety, and Dave Losso of Yeah Buddy Awesome time. Also performing: Anthony Lobaito, Brad Turk, Bob Ketch, Dan Umthun, and the host of Capes Kafe's Comics in Capes, Marc Von Ahnen.
Decorous: Art and Poetry
Wednesday, August 27
Handball Court
Decorous: Art and Poetry is an independent reading series based in Des Moines that features Iowa-based artists alongside poets from across the country. Each artist presentation (gallery showing, reading, and Q&A) is held at the Des Moines Social Club in the Handball Court on the second floor. Artist presentations are held on a Wednesday from 7:00 pm – 8:30 pm, though the gallery will be on display beginning on the Tuesday each artist presentation. All our artists are selected by competition and poets are solicited by the coordinators.
Free Class Day: Education Open House
Saturday, August 28 – 5:30pm-8pm
All Ages
Des Moines Social Club's Classrooms
Mark your calendars for Free Class Day: Education Open House on Thurs., Aug. 28. Visitors will experience free samples of a selection of the Des Moines Social Club's class offerings. Further Free Class Day details will be released soon.
Performing Arts
Actors' Dojo
Mondays 7:00pm – 8:30pm, ongoing
$15/class or 4 classes for $40
Devin Preston, instructor
Actors' Dojo is a place for actors to work together on their craft and instrument. The goal is to establish an ensemble work ethic that pushes members to do their best work and find new avenues of creativity. The spring section will be built around a survey of Laban and Viewpoints exercises to expand performance vocabulary. Each week will include a vocal and physical exercise as well as text and scene work.
Vocal Seminar
Second Monday of each month 7:30-8:30pm, beginning May 12
Kevin Drew, instructor
A unique monthly vocal seminar for singers of all ages and skill levels, covering singing technique. Exercises will be geared to develop your range, pitch and tonality, as well as your overall musicianship. The group setting provides a fun, pressure free environment, where singers can fully explore their voice, with others who seek to improve their singing, and instruction from a professional singing coach.
Dance and Fitness
American Tribal Style® Belly Dance Level 1
Thursdays 6:15 – 7:15pm
July 10 – August 14
$15 drop-in or $60 for six-week session
Dawn Grey, instructor
This six-week session is for students who have never tried ATS® Belly Dance or for advanced students who want to refine their foundational moves. The combination of colorful costumes, adornments, coordinated movements, and a totally improvisational style, make this dance a fun and exciting venture. No prior dance experience is needed and no, you are not required to show your belly.
American Tribal Style® Belly Dance Level 2
Thursdays 7:30 – 8:30pm
July 10 – August 14
$15 drop-in or $60 for six-week session
Dawn Grey, instructor
In Level 2 we will add to and expand upon the foundation moves that were learned in level 1 by layering, levels, new moves, new zill patterns, and performance techniques that will really get students dancing. Students will need to have completed two sessions of level 1 or have the consent of the instructor to enter level 2. Level 2 contains twelve weeks of instruction, which will be held in two six-week sessions. All classes are taught by a certified instructor and FCBD® Sister Studio.
Lunch Hour Yoga
Tuesdays and Thursdays 12:00 – 12:45pm
$10 drop-in, 5 classes for $45, 10 classes for $80
Nakisha Phillips-Huffman, instructor
Join us on your lunch hour for a rejuvenating 45 minute yoga session. Geared toward all levels, this class is intended to wake up your senses and energize you for the afternoon.
Paper Mountain Yoga
Mondays: June 23-August 11 – 5:30pm-7:00pm
$15 drop-in, 5 classes for $65, 10 classes for $120
In this 1.5 hour long student centered practice we will focus on the yoking together of the mind & body, through asana, pranayama & mantra. This class is not about the clothes you wear or the mat you stand on and all levels are welcome. The only requirement from you as a student is your presence, your integrity & your love of the practice. Not there yet? We'll work on it together. Trust the journey
Open Belly Dance
Thursdays: July 3 – August 21 6:30 – 8:00pm
$10 drop-in
Held in between sessions of American Tribal Style® Belly Dance, Open Belly Dance provides an opportunity to practice your moves in a low-pressure setting.
Circus Arts
Intermediate Hooping
Wednesdays 5:30 – 7:30pm (ongoing)
Leah Barber, instructor
Beyond waist hooping for the intermediate to advanced hooper. Each week we'll work on different types of hoopdance moves. Examples: transitions, kick ups, jump throughs, duck outs, reversals, and isolations.
Sunday Circus Jam
Sundays 4:00pm – 6:00pm (ongoing)
Bring your hoop, minis, poi, staff, flow wand, etc. and come out to play! There is no instructor designated for the jam, however, if you practice here and decide you need more help, attend one of our classes! The practice jam is free!
Fourth Sunday of every month 8:00 – 11:00pm
Free-will donation to DMSC
Des Moines Fire Jam is a community of local fire dancers and spinners. Fire Jam provides a safe and supportive environment to explore the fire flow arts. Whether you are an experienced spinner, developing novice, or curious onlooker, all are welcome to join us in the courtyard. All participants must be 18 or older and will be required to take the fire safety course on site before lighting.
Beginning Poi
4th Sunday of every month – 7:00pm-8:00pm
$15 drop in only
No experience needed for this beginner workshop in which we will explore the basics of spinning poi! Spinning Poi helps one gain and/or improve dexterity, hand-eye-coordination, strength, and rhythm, but it's main purpose, both historically and now, is to have fun!
Visual Arts
Advanced Figure Drawing
Every other Sunday
3:30 – 5:00pm
Jon Pearson, instructor
A bi-weekly life drawing session with experienced models. The aim of this workshop is to provide the experienced artist with time and space to develop their skills and techniques in life drawing. There will be an optional period of critique near the end of each session. Limited tabletop easels will be provided, but otherwise artists should bring their own materials.
Intro to Arduino
August 14-28, Thursdays 6:00 – 7:30pm
$40 for three session class
Ever wondered how your oven, phone, or thermostat work? The answer is microcontrollers! Arduino is a beginner friendly introduction to microcontrollers that allows you to easily and quickly get started on your own projects. In this class we'll learn the basics of Arduino with a dash of electrical engineering and a smattering of software programming.
This class is offered in conjunction with Area515 – Des Moines Makerspace:
Area515 is not just a single community. We're a non-profit encouraging individuals from all communities to come together to create things that wouldn't have been possible alone. Working on a project, but don't have the equipment or know-how necessary to make your vision a realty? We will. We'll have table saws, CNC machines, welders, 3D printers, and much more. We provide the space for you to work, an environment for you to learn, and most importantly, an opportunity for you to collaborate with other Makers, Crafters, Do-It-Yourselfers, all kinds ofo individuals looking to create and invent just about anything.
Photography: The Art of Seeing
August 20 – September 24 – Wednesdays 6:00 – 7:30pm
Saturdays August 30 and September 20 from 1:30 – 3:00pm for optional film-based classes.
$120 for 6-week digital-only session. $150 for 6-week digital session plus two bonus film sessions.
Joe Crimmings and Lucas Moser, instructors
Using DSLR cameras, students will learn to take stunning images of any subject in any situation. Topics include composition; camera settings; qualities of natural light; use of shutter, aperture, and lenses . All lessons come together to produce creative and artistic images. For an additional $30.00 learn the process of developing black and white film.
Intro to Studio Recording
July 7 – August 11, Mondays 7:00 – 8:30pm
$60 for 6-week class
Phil Young, instructor
Take a hands- on approach to learning how to record audio in a professional studio environment. We'll learn how to record anything from a single voice to a full-fledged, multi-tracked song. This course will be perfect for artists who want to be able to record their own demos and for the hobbyists who want to learn more. We will cover everything you'll need to know to record a song, so no prior knowledge is needed.
Kids and Teens
Hip Hop Starz
Saturdays 1:30 – 2:30pm
June 21 – July 26
$50 for 6-week session
Yvette Keyes, instructor
Hip Hop is a blend of today's high-energy "street style" movement. Typically performed to "popular urban music," this style of dance has been very sought after by teens, preteens and the "young at heart." The style boasts that everyone is capable of taking part and having fun! Sometimes percussive and other times it incorporates "house or club" dancing, making Hip Hop the latest dance phenomenon. Recommended for ages 5 and up.
- Help Support DMSC
- Learn more from the bands of The Sunken Circus dual-album release show!
- Call for Entries – Artist-Designed Mini Golf
- Social Club celebrates Wells Fargo 2018 support
- AMC Donates $50,000 to DMSC through AMC Gives Back Initiative
- Calling all Food Trucks – Throw Down Applications available now!
- Valentine's Day at Des Moines Social Club
- You TEACH Here. DMSC seeks teaching artists for Summer 2019
- Teach a class with us – Spring 2019 Education Request for Proposals
- Calling all creative entrepreneurs!
- Interns Try: Cooking With Cass: Dim Sum and Then Some
- Prairie Meadows Donates $20,500 to DMSC
- disrupt – Call for Video Submissions
- 3rd Annual Des Moines Jazz Festival lineup announced
- Food Truck Throw Down winners announced!


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Weekend Cook and Tell: You Ate Where?
Welcome to the Weekend Cook and Tell. Every Wednesday we page through the food sections of various national newspapers to create a weekend cooking project. We hope you'll cook along with us and share your experiences, recipes, and photos here.
This week our inspiration comes from an article in The Boston Globe entitled A Side of Surprise With That? in which travelers recount their tales of delicious meals in some of the most unlikely spots.
These amusing anecdotes include the best omelette ever in a scary-sounding biker bar called Boneshakers and a plate of chicken curry enjoyed in a cuckoo clock factory in Germany.
For this week's challenge we want to hear all about the most unlikely and delicious meals you've ever had. Whether it was a rest stop on the Italian Autostrada, an exemplary church basement dinner, or a gas station hot dog that really blew your mind, this is the week to share.
Show us your photos on Photograzing (make sure to include "Cook and Tell" in your submission title), and tell us about your recipes here! If you'd like to blog the experience, please leave a link in the comments below. We'll post a round-up of your photos, tips, and experiences next Wednesday with all of your most unlikely dining adventures.
Comments are closed
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When you sign up as a pledge driver, you'll receive a welcome e-mail that contains a personalized "linking URL" that will send people to take the pledge with your organization's name automatically selected from the drop-down menu. You can place this link on your Web site or in an e-mail to direct people to take the pledge.
If you are having an event without Internet access, you can use our paper pledge form to record the pledges you collect and then transfer that information into our Excel template for submission to EPA. For forms and more information, email email@example.com. It usually takes about 7-10 days for these pledges to be uploaded.


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Unfinished revolutions: Oreet Ashery's Party For Freedom
March 2014
"Somewhere between a travelling cinema and theatre troupe, a kiss-a-gram..." Read an interview with the artist and film maker about her multifaceted, confrontational Party For Freedom audio visual work. By Nathan Budzinski
"Have you met Oreet?" a friend asks me, "she's dressed fantastically today, like a superhero!" I'm at Copenhagen's Overgaden art space on a warm autumn evening. The artist Oreet Ashery's show, Party For Freedom is opening tonight. Crowds spill out onto the canal bank outside. On the opposite bank, people basking in the late afternoon sun are being asked to move off the barriers so another artist can stage a performance. A man hops onto a bike, bouquet of flowers in arm, he cycles along the barrier a bit and then launches himself into the canal, just missing two moored boats. Disappearing underwater for an uncomfortable while, he resurfaces, drenched bouquet in hand. It's a fey remake of the now mythical performance artist Bas Jan Ader's 1970 Fall II (where Ader filmed himself cycling into an Amsterdam canal, without bouquet).
"I think I enjoyed the lead up best. I thought it would never end…" Ashery tells me. We've traded a running commentary during the artist's extended negotiation with the sunbathing public. My friend's description of her is accurate: bespectacled and small, quick witted, she's dressed in a striking white vinyl jumper with yellow and blue vortices across shoulder pads and straight cut white trousers. We have the kind of conversation that goes from deadly serious to laugh out loud ridiculous and back again in a few seconds.
Ashery's Party For Freedom is a multivalent performance, video and installation project that's taken several years to unfold, with a DVD version recently released by London's Performance Matters project. Working with the Artangel organisation, other iterations have included concerts and screenings in London and elsewhere. The Copenhagen version consists of a video piece split across three screens in a darkened gallery. But Ashery describes PFF as primarily an audio-visual album, the commissioned music playing the biggest role in propelling the film.
For an hour I watch choppy sequences showing a range of actors in varying states of undress navigating through different scenarios: shots of the controversial Dutch politician Pim Fortuyn who was assassinated in 2002, spouting Islamophobic babble ("the army of Ali Baba here in Europe") counterpointed with images of a woman dressed in an apron, her naked bottom sticking out and numerous chopsticks inserted in her hair porcupine-like as she wanders about a kitchen swatting flies; a chapter called "Civilisation: After Niall Ferguson", the neo-con historian and polemicist, features animated collages of chalk white busts of ancient Greek heads with red eyes rolling, moss covered stone crucifixes in a graveyard are set to baroque pipe organ music and pastoral flute airs. In another chapter a naked woman and man recline in a verdant church yard, the woman with an apple in her mouth, feet and hands wrapped in aluminium foil ready for roasting as a BBC accented male voice instructs on the legal ins and outs of pig slaughtering at home in Britain. One segment features a man playing an increasingly speedy piano concerto while giving another man an equally rapid rim job. Opposite the pair sits a woman on a laptop with a glass of wine scrolling through a Facebook timeline, her face lit blue against the dark interior of a large salon room. Most everyone who appears in PFF is in some state of undress.
Driving the hour long video along are songs specially made by feminist girl group Woolf, the composer and accordionist Timo-Juhani Kyllönen (whose mission statement reads "I want to help mankind at the battle between goodness and evil with my compositions"), vocalist Chyskyyrai from the Republic of Sakha-Yakutia in Siberia (collaborators include percussionists Z'ev and Ken Hyder) and musician and writer Morgan Quaintance. Woolf is a four piece group who've been active on London's underground queer scene for the past few years. Playing a brand of ragged and short noise-pop tunes and what they call "proto inept hardcore", their songs form the backbone to PFF, acting as manifesto-like introductions to each track.
I'd heard of PFF during its pre-production through a call out for participants: "Somewhere between a travelling cinema and theatre troupe, a kiss-a-gram" PFF was looking for willing bodies to take part in one beginning strand of the project, Party For Hire that would eventually become the finished video piece, Party For Freedom. In a series of events, the troupe performed in private homes, workplaces, pubs and clubs, art schools and art galleries, starting with an event staged at the British Conservative Party campaign headquarters at London's Millbank Tower on 1 May. The performances were based on Russian artist, poet, playwright and socialist Vladimir Mayakovsky's radical satire, Mystery-Bouffe: A Heroic, Epic, And Satiric Representation Of Our Era. Written right at the early years of Soviet times, it's a parable of global meltdown and fracture that Mayakovsky prefaced with the proviso that "in the future, all persons performing, presenting, reading or publishing Mystery-Bouffe should change the content, making it contemporary, immediate, up-to-the-minute."
… Why is this playhouse in such a mess?
To right-thinking people
it's a scandal, no less!
But then what makes you go to see a show?
You do it for pleasure –
isn't that so?
But is the pleasure really so great, after all
if you're looking just at the stage?
The stage you know,
is only one third of the hall…
From Vladimir Mayakovsky's introduction to his Mystery-Bouffe: A Heroic, Epic, And Satiric Representation Of Our Era
Ashery and I meet several months later in London. This time dressed in an oversize cotton jumper with a white tiger's head depicted in glittering sequins, she explains what drew her to Mayakovsky's play: "I felt that the story encapsulates a picture of the world, it's like a schema, something that you can adjust to anything. It's a long play but I was just interested in the beginning, where an Eskimo puts his finger in the ground [to stop a leak of water] and says, wow, it's depressing, the world is flooding."
Mystery-Bouffe is centered around two groups of people, the Clean and the Unclean, with a cast of international characters: The Clean: "An Indian Raja/A Turkish Pasha/A Russian Merchant (Speculator)/A Chinese/A Well-Fed Parisian…" The Unclean: "A Lamplighter/A Truck Driver/A Miner…" Based on national clichés, the cast signals the ascendant globalisation happening in the early 20th century, alongside social and economic divides which still remain: the world is flooding and the Unclean – proletariat – build a boat to save themselves. The privileged Clean, who are too lazy and lack the skills to build their own boat, ask for help from the Unclean. Once safely in the boat they take it over, eat all the stored food, but then are thrown back overboard by the Unclean.
Ashery found Mayakovsky's play during research into radical collectives and performance: "I was looking at that idea of the unfinished revolution. Things like race, things like gender, all these things that were fought over – we're still so far away from getting anyway near being liberated in that way. So this avant-garde work, this collective work, this experimental work from the 60s and 70s, I think in the West we so much take this for granted as a heritage, a lineage… Those ideas of changing the world, making it better, or liberating oneself. And art and music as a counterculture, within those I think that there's quite the same kind of issues of race and gender, the same patriarchal structures, and I think that those really echo in PFF, that whole gender discourse, that everyone's white, I really wanted to say that freedom is white privilege, and that all those things are, not only in a politically real way, but also in art – all those things still have a long way to go."
Ashery's also interested in trash aesthetics, something that she sees as a powerful current running through music and art – like in Woolf's inept proto-hardcore or Kyllönen's corny, accordion powered battle against evil – and politics: "I was looking at all kind of different access points for trash aesthetic… I was looking at a lot of the hippie movement, batik and tie-dye, language of protest, I went to the Occupy almost every day when they were at St Paul's, just looking at how they decorated the tents. There's a certain type of cheap production value that goes with that that we identify with freedom or liberation, the left wing."
Ashery also links this trashiness to far right wing politics: "… all these anti-Islamic, far right sites and blogs used to be incredibly trashy. Or if you look at the Innocence Of Muslims film, or at Fitna, the film that Geert Wilders produced, it has this soft edge, brown vignetting, soft focus shots. There's also a lot of cheap aesthetics that goes with some of the content of those websites. But now, some of them have changed quite drastically, they are a lot more minimalist, they look a lot more serious, I think more dangerous for that reason."
Brought up in Jerusalem in the 70s, Ashery says that she's always been drawn to DIY and tatty things, cluttered spaces: "It was all plastic, everywhere, everything was dirty, underdeveloped. It's an aesthetic that I can't shake off… In my parents' house it was only posters on the wall, or trashy objects. All the characters in my videos are dirty, their clothes are dirty…"
Ashery left Israel in her late teens – a dramatic shift documented in Why Do You Think I Left? in which she interviews her family who obviously resent her departure, treating it like a schism. Her brother tells her "I always felt that you, and all your friends, were such a blank generation," and elsewhere says he feels Ashery had "a deep need to root yourself somewhere else that is not your natural place…"
In earlier works, Ashery responded to the pressure-cooker social dynamics and divisions of growing up in Israel, creating an alter ego character called Marcus Fisher, taking on the persona of a Hasidic Jewish man – complete with unconvincing beard and suit – "he was really trashy, in everything he did. Literally, the suit I haven't washed for years." In a 2003 video, Dancing With Men, dressed as Fisher, Ashery attended the male-only orthodox Jewish festival of Lag B'aomer in northern Israel: "It's divided into stages, so you've got the Sephardic Jews, from Yemen, Morocco… All of their music is samples and techno, and they have MCs. They take sentences from prayers and sample them. Then you have the Ashkenazi from Eastern Europe, and their more traditional, sung, music. It's interesting being in two very different arenas which are ethnically divided… It's a big music scene in that way. People are literally at a rave. But women aren't allowed in, it's just men."
Most of her early work took the form of small interventions in public spaces, "I'd just do something and people around wouldn't necessarily know that they were part of an artwork." Slowly, Ashery's work grew in scale, taking on collaborators and performers at the same time as moving away from focusing on herself as an interloper or transgressor, feeling that she had over exposed herself. By the time Ashery started on PFF, she had set up a situation where she was working with a host of performers, artists, musicians, camera people, editors.
But rather than this being a collaborative buffer from over-exposure, Ashery found the opposite: "PFF was the most exposing thing that I could do. I didn't know that at the time… I thought that if I take myself out of the work, I won't be exposed. But so much of it is about the unconscious, and I think it allowed me to go almost misguidedly to myself… Because I felt safe that I'd not be in the work, in a way that ended up a lot more exposed, in terms of the content." I ask her how PFF is about the unconscious: "It's been a long process… I tried to listen to the voices in my head that I wouldn't usually listen to… I spent months of zoning into that lower frequency… in your stomach, those lower sentences, sensations, thinking with your senses – listening to those very low frequency type sounds in your head. Usually I would use my thinking mind, but I was really careful to not do that."
I say that it reminds me of a new age fascination with tuning into an inner, authentic, animal self. Ashery responds excitedly, telling me how during the editing of PFF she mounted a dismembered black pig snout on a golden card and hung it on her studio wall. She claims that throughout editing, the snout would squeal loudly, "so it's more paranormal than new age… Now it's completely quiet." When I sceptically ask if she's being metaphorical in some way, she answers "No, it's real! My friends thought I was crazy because every time they came, it was quiet, but I've recorded it… Later some friends came, and actually heard it, it's a really loud squeaking from the middle of the wall… So that's what I mean by tuning into this unconscious, I was in that zone for some time."
PFF is a romp through an unconscious of cavorting nudist performance artists, analinguist musicians, gender bending and hippie aesthetics, but it's also populated by the forces of right wing populists like Wilders and Niall Ferguson, the encrusted remnants of a global war on terror, white supremacism in Europe and bloody animal sacrifice. "One thing in my mind was a bad trip, you want to come off of the drugs but you can't come off… I wanted people to have to allow themselves to let go into the experience and just see what happens… I think as a result some people say that there's no clear political position, that there's no clear political message. But that was a part of it, not to have that – to have a slippage, a sense of slipperiness."
Though Ashery's work is full of references to ideas and histories, she says that she wanted the work to be first and foremost sensorial: "I wanted [the audience] to feel it. So they feel the music, they feel the space. To feel, in the live performances, the naked bodies, they feel the concerts… the concerts were quite big things to put on but it was important for me to have a live concert, not just a video… to experience the music live is completely different."
As a result of Ashery's focus on making PFF aesthetically appealing, some responses to the work criticised it for not explicitly taking a political position, or even saw it as a betrayal of the work done by previous generations of artists and musicians committed to social change. But for me Ashery's PFF is an ecstatic expression of frustration with the current status quo of political ambivalence and a feeling of ineffectualness in general culture – trying to cut through the miasma of relativism and the current ambient fear of taking any position at all through the tried and tested method of taking everything in one's mind, mixing it all up and seeing what comes out.
Ashery seems to agree: "My position was a bit gloomy when I made it. Disillusioned with politics, feeling like we don't really know what's going on… that we are in a real transition between an established world order in Western democracies, from left and right into something quite different. I think that a new counter-culture movement is not yet clear. And it's that real limbo state that I really wanted to bring across."
There's a mythic type of currency that both contemporary and experimental art and music worlds trade in: one of an inherent progressive, leftist, avant guardism. By simply stepping away from a general aesthetic of mainstream culture, art and music are aligned to a radical, leftist continuum. So much creative activity makes reference to radical politics and its cultural, aesthetic world, especially from the 60s and 70s – it gets replicated, remade, rehashed – but rarely does anything take on the discomforting, confrontational, even aggressive, present self of that project.
Though Ashery claims that PFF is "definitely not something that says that people in the right wing are bad" explicitly, in its ecstatic energy and frenetic tumbling through of the artist's and collaborators' collective unconscious, it brings focus to the core dynamic at stake in wider culture, that between the mind and its body, and how it expresses passiveness as well as activeness: "always in my work is a sense of an increasing state control over bodies, a lot of order, a lot of fascist control over what we might think are our free bodies and free existence… I think in PFF, the mood of kind of not knowing, of not finding a counterculture outlet, it's very strong, that mood of vagueness, of somebody who's been in the peace movement and marching since I was 13, where things were quite clear, suddenly finding this kind of apolitical mood." It's a mood of vagueness, but Party For Freedom is definitely not at peace with that ambience. It is an attempt to punch through it forcibly, with feeling.
Party For Freedom is out now as a single channel DVD by Performance Matters


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The Coquitlam school houses grades K through 12, and the administrative offices of the Mediated Learning Academy and the Variety Learning Education charity.
Prospective students, and their parents, are welcome to visit by appointment; the school can be a busy place, and we'd like to set aside the time to properly address your concerns.
The Mediated Learning Academy is a new and innovative special educational institute for children from kindergarten to grade twelve.
Phone: 604-937-3641
e-mail: email@example.com
Donations can be made to the M.L.E. Training And Research Society through our CHIMP account. > More information
We are approved as a school for US students/embassy personnel by the US Department of State.
We are a research facility for the University of Kansas and we were a part of the AVISS software for autism development project.


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Offroad LED Bars
OLB is your source for LED offroad lights. We offer a wide range of high-quality, highly rated LED lights for your truck, including LED light bars ranging from 3-50 inches. Whether you want a plug and play option or something tailored to your specific truck or vehicle, we have an affordable and easy-to-install light kit that will shine brightly in even the roughest and darkest terrain.
We know you want only the best for your truck. All of our lights are manufactured using powder-coated die cast aluminum housings, polycarbonate lenses and integrated epoxy encapsulated electronics. All lights are IP68 rated and durable enough to fit the needs of the most enthusiastic offroader.
Durability guaranteed! All lights include a limited lifetime warranty.


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Greg Mankiw is one of the more interesting economists around. He is known in the field as one of the leading exponents of "new-Kenysianism." These are folks who believe that the macroeconomy occasionally suffers from large-scale failure and that government intervention is occasionally necessary to put the economy back on track. Unlike old-Keynsians, however, new-Kenysians […]
Dueling Vice Presidents
So far a Google search produces no Dick-Cheney / Aaron Burr comparisons. Give it time.A Little Levity
Three Cheers for Oil Dependence
In response to President Bush's assertion that "America is addicted to oil," Harry linked to this article in the Wall Street Journal. The author catalogues 35 years of failed energy initiatives designed to free us from dependence on foreign oil. Time and time again politicians have been taken in by the fallacy of composition. Their […]Energy and Environment
Happy Birthday Fourth Amendment!
On December 15, 1791, the Fourth Amendment to the United States Constitution was ratified. It read: The right of the people to be secure in their persons, houses, papers, and effects, against unreasonable searches and seizures, shall not be violated, and no Warrants shall issue, but upon probable cause, supported by Oath or affirmation, and […]Constitutionalism
Young, inexperienced workers can breathe a sigh of relief. The "living wage" ordinance in Albuquerque failed–but just barely.Economic Freedom
Why we don't want a right to everything
Judge John Roberts has now been confirmed as the 17th chief justice of the US Supreme Court. Bushy is set to name another justice to fill the second vacancy any day (hour?) now. So it seems an appropriate time for another post on constitutionalism. One of the themes Senator Biden sounded during the Roberts hearings […]Constitutionalism
What an ass
Can you believe what Alaskan Republican Congressman Don Young said when someone suggested that he return the money he got for a bridge to nowhere in Alaska to pay for Hurricane Katrina relief?The Budget
Down with the fair-weather constitutionalists
We've heard a lot of platitudes about the Constitution this week. My personal favorite was Joe Biden's description of the document as "our civic bible." Most politicians treat the Constitution as some sort of flag: An iconic and patriotic symbol to be revered. It is a convenient symbol for them, easily worked into speeches as […]Constitutionalism
Constitutionalism and the Supreme Court
Readers of this page will know that constitutionalism is very near and dear to our hearts. Both Harry and I are products of George Mason University, an institution made famous by the pioneering work of Nobel Laureate James Buchanan on the political economy of constitutions. Buchanan's life-long career might be described as an intellectual defense […]Constitutionalism
Genuine Generosity
The images and stories coming out of New Orleans are just awful. It is nearly impossible to scroll through the pictures without tearing up (of course, I sometimes tear up watching Puppy Chow commercials). Anyway, the politicians will be pledging lots of taxpayer money and accepting accolades for their generosity. If you want to one-up […]General Info


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Boxercise Circuit Training
Circuit training is a system of exercise that combines resistance training exercises and cardiovascular conditioning into one efficient workout system. Exercises are arranged and performed in a sequence with little or no rest in between. The exercises in circuit training are performed for a set time or for a predetermined number of repetitions depending on the class format. Boxercise circuits use boxing-inspired conditioning exercises and drills to provide an effective workout for boxers and non-boxers alike.
Boxercise circuits use exercises, called stations, to target your entire body. There can be eight to 15 or more stations, which are usually arranged so that each station targets a different muscles group in turn; for example legs followed by core followed by upper body. Stations are normally arranged around the circumference of the training area, which leaves the center of the room free for warming up, pad work and stretching. A Boxercise circuit is controlled by an instructor who controls how long you will spend on each station.
Example Exercises
Because Boxercise is a boxing inspired workout, this type of class includes many of the conditioning exercises used by boxers. Pushups, jumping rope, shadow boxing, bag work, pad work, medicine ball exercises and core conditioning all feature in a Boxercise circuit. There is no set routine used in Boxercise circuit training and the selection of exercises used in a class is the choice of the class instructor.
Boxercise circuit training will develop your muscular endurance, aerobic fitness, coordination, and balance and is also an effective calorie burner. Although not designed to be competitive, Boxercise classes often place participants in pairs, since working out with someone else can make you train harder than you would on your own. Boxercise circuit training classes are led by a qualified instructor who offers encouragement and guidance so that you get the most out of your workout. The music used in a Boxercise class is designed to be uplifting and helps you to work harder than you might do otherwise.
Group workouts such as Boxercise can sometimes leave you without the individual attention and form correction necessary to ensure that you are performing exercises correctly. This is especially the case in very busy classes. Inexperienced exercisers or newcomers can feel intimidated when joining a well-established class, especially if everyone else seems to know exactly what they are doing. The fast pace and demanding exercises used in a Boxercise circuit mean that this type of class is quite tough and not ideally suited to beginners. This may only become apparent once you are midway through a class and find that you are working harder than you want to. Overexertion may result in post-exercise muscle soreness, severe fatigue or injury -- all of which may discourage you from trying Boxercise again.
- "Boxing Fitness: A Guide to Getting Fighting Fit"; Ian Oliver; 2007
- "Fighting Fit: Boxing Workouts, Techniques, and Sparring"; Doug Werner, et al.; 2000
- "The Gleason's Gym Total Body Boxing Workout for Women: A 4-Week Head-to-Toe Makeover"; Hector Roca, et al.; 2007
- GeorgeRudy/iStock/Getty Images


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Author(s): Ame Dyckman
The Bunny family has adopted a wolf son, and daughter Dot is the only one who realises Wolfie is going to eat them all up! Dot tries to get through to her parents, but they are too smitten to listen. A new brother takes getting used to and when (in a twist of fate) it's Wolfie who's threatened, will his big sister Dot save the day?
Families of all kinds will delight in this tale of new babies, sibling rivalry, bravery, unconditional love... and veggies!
"In the glorious tradition of Not Now, Bernard by David McKee, Dot's thwarted attempts to be heard by her parents are very funny, and her fierce and brave transformation in the face of imminent danger will have even the youngest readers shouting out in glee." Daily Mail "This book approaches sibling rivalry in an original and amusing way" -- Vanessa Lewis The Bookseller, Bookseller's Choice "OHora's acrylic paintings are the heart of this tale. They clearly show everyone's feelings from fear to sadness to joy to anger to love and everything in between, and there are brilliant bits of humor and whimsy added to the mix. VERDICT: A great book for one-on-one sharing that's also sure to be a storytime hit." School Library Journal, starred review "Interspecies adoption puts a fresh spin on the new-baby theme... A treat of a picture book." The Horn Book, starred review "A crowd-pleaser for crowds big and small." Booklist, starred review
Ame Dyckman (Author) Ame Dyckman always eats her carrots. (Especially her carrot cake.) She's the award-winning author of Boy + Bot and Tea Party Rules, and loves writing for children so she doesn't have to grow up. Ame lives in New Jersey with her family, pets, and hair-bow collection.Zachariah OHora (Illustrator) Zachariah OHora is an illustrator and author of a number of children's books. His debut, Stop Snoring, Bernard!, received the Society of Illustrators Founder's Award and was the Pennsylvania One Book, Every Young Child selection for 2012. His book No Fits, Nilson! was the Huffington Post Best Picture Book of the Year for 2013. He lives and works in Narberth, Pennsylvania. See more of his work at zohora.com.


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Famed French artist Paul Gauguin is best noted for his brilliant use of color on canvas, but the Art Institute of Chicago's fascinating exhibit, "Gauguin: Artist as Alchemist", uncovers his radical experiments in wood-carving, ceramics and other applied arts that are more typically associated with artisans and craft makers. Through rarely seen pieces including furniture, stoneware and fans, visitors will discover Gauguin's talents beyond his iconic paintings.
Less than three weeks are left to see this exhibition, plan your visit today!
Gauguin: Artist as Alchemist
Through September 10, 2017
Gauguin's famous images of Tahitian women are a major feature of "Artist as Alchemist"—but not in the manner that most visitors would expect.
Carvings of vividly painted women lounging and participating in rituals appear on fan handles, vases and furniture that Gauguin created after he returned from Tahiti in the late 1800s. His paintings generally win most of the attention, and there are plenty showcased in this exhibit, but viewers are also treated to Gauguin's varied, multimedia offerings.
Tahiti wasn't his only geographic inspiration, either. Besides rural France, the artist also visited Martinique and the Marquesa Islands. A large, carved wooden cask and a mahogany bas-relief piece bear the colorful evidence. Don't miss the carved wooden clogs, or sabots, on display from Gauguin's travels to Brittany.
Art Institute of Chicago
111 S. Michigan Avenue
Open Daily, 10:30–5 p.m., until 8 p.m. on Thursdays
$25 general admission, plus $7 special exhibit fee
Photos courtesy of Art Institute of Chicago


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Popular search terms:
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Mark your calendar for Wednesday, September 25, 2013 at 4:15 pm, when the Benedictine University Library Faculty Authors Book Talks Series resumes with Christine Fletcher, Associate Professor of Theology, discussing her recently published book, The Artist and the Trinity. Dorothy L. Sayers' Theology of Work. The discussion will take place in the BenU Library IdeaLounge on the 2nd floor of Kindlon Hall.
For more information on Dr. Fletcher, please see Faculty Authors Research Guide.
Kindlon Hall
5700 College Rd.
Lisle, IL 60532
(630) 829-6050
Gillett Hall
225 E. Main St.
Mesa, AZ 85201
(480) 878-7514


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It used to be that buyers could go house shopping and when they have found their dream home, then they go to get pre-approved. However, in today's market, that has proven to be one of the least effective methods in landing the dream home.
Most lenders can pre-qualify you for a mortgage over the phone. Based on general questions about your income, debt, assets, and credit history, lenders can estimate how much mortgage you qualify for. However, being pre-qualified and pre-approved are different things. Pre-approval means that you have applied for a mortgage; you have filled out the mortgage application, received your credit report, and verified your employment, assets, etc. When you are pre-approved, you know exactly what the maximum loan amount will be.
A pre-qualified letter is not verified and in essence, does not count for much if you are competing with other buyers who are pre-approved. When you are pre-approved, you and the seller know exactly how much house you can afford. It gives you credibility as an interested buyer and lets the seller know immediately that you will qualify for a loan to buy their property.
In addition to being pre-approved, it's important to be pre-approved with a legitimate lender. Legitimate lenders include: banks, mortgage bankers, credit unions, savings and loan associations, mortgage brokers, and online lenders.
Some lenders to avoid: those who lose a form or misplace a file, those who gather information from you in an unorganized manner, those who are not informed about interest rates, points or costs, and those who cannot provide you with the right information.
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Recently, we have seen multiple initiatives that were launched to push down the scale and cost of a fusion reactor, in attempts to work towards a commercial reactor that is cost effective.
Dennis Whyte and a team at MIT add one more compact tokamak design in a paper in the journal Fusion Engineering and Design. Key element of the design are new commercially available high-temperature superconductor tapes (as also used by for example Tokamak Energy), to produce high-magnetic field coils. The stronger magnetic field allows a smaller device size, making the device cheaper and opening the road to other reactor design improvements.
A cutaway view of the proposed ARC reactor.
Whyte says the acronym ("Affordable, Robust, Compact") is not a reference to Iron Man's power source...
We summarize the proposed features of this ARC reactor:
For the full article, we refer to:
See also: