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Visit us at: www.iycusa.weebly.com
For anyone interested in working with the Global Issues Department of IYC USA,We are split into 5 teams, they are as follows: 1) Peace, Security, International/ Oceanic Law, & Terrorism …Continue
Tags: issues, global, iyc, iycusa
Started by Philroy Hinds. Last reply by Clive Daniel Figueroa Sep 14, 2015.
Hello All,I've noticed the IYC USA chapter is a little short on membership, and I was thinking about starting a sub-chapter on my college campus, and maybe some of you would follow and do the same on…Continue
Started by Philroy Hinds. Last reply by Tanvir Faisal Oct 14, 2012.
Most of our work is done outside of this platform, Ewunee. We will update you when it is appropriate. For now, you can follow our Facebook page for our most recent work.
Hello all whats happening! here looks so dull
In my speech delivered at the African Youth Development Colloquium of the University of Freiburg, Germany and recently published in The Youth Advisor Magazine, I predicted that the Swiss-trained new leader of North Korea Kim Jong-Un may become the golden child of modern-day diplomacy and "long-awaited one who will relax tension and bridge the volatile gap between the West and the East...", a move which could further pave way for beneficial diplomatic and bilateral cooperation between both regions. Today in his New Year speech, Mr Jong-Un signaled his intentions of seeing South Korea reunified with North Korea. This is a political theory which in the last administration, in the time of his late father, would have seemed a taboo. This call for reunification from this aspiring young leader is a welcome development which should be taken seriously especially by Western powers. Though to many 'an internal North Korean/South Korean issue', it is also a powerful diplomatic communication to the West in which he is saying "I am ready for reasonable co-operation". Reasonable cooperation, one which the West will go into whilst respecting the territorial integrity of North Korea. How the Barrack Obama and European Union Administrations respectively receive this statement and utilize same is expected to create a decisive phase in modern diplomacy and politics as well as for the utopian age of global peace. If this cooperation happens, the benefits cannot be over-emphasized when considering what inter-change of trade, research and development, and most importantly, cooperation for world peace could bring. This move if successful also has the ability of increasing the economic viability of the two Koreas and could give birth to another economic giant in the East after China. Future cooperation and understanding if this happens will depend on the role the West plays now.
Ndubuisi Idejiora-Kalu
Global Issues Development Working Group 3
International Youth Council
Dear distinguished Rapporteurs of Team 3,
This is yet another festive period. We've gradually come to the end of the year, a year which has been very successful, one which saw to the starting-up of our Working Group on Global Development Issues.
I wish to thank every one of you for your contributions so far and wish you and your lovely families a Merry Christmas and a very prosperous New Year.
It has been indeed an honor working with you all so far and am earnestly looking forward to continuing doing the same when we return from the holidays next year.
Ndubuisi Idejiora-Kalu
Team 3 Working Group
Global Issues Department
International Youth Council (IYC)
Hey everyone! Our website has been up for a number of days--please check it out: iycusa.com. Additionally, I will try to put all of the Global Issues group on our website tonight.
Putting a call out to anyone interested in Global Issues Group 4: Health, Humanitarianism, Food/Water & Population
There's some really interesting stuff I've been able to pull together but need a team to help me go through it!
All are welcome, even if you can't commit to a full workload or long term.
Email me at email@example.com if you're interested, be sure to put IYC in the Subject.
Working Group Team 3 of the Global Issues Department (Development, Environment/Agriculture, Governance & Democracy) kicked off today with 8 Rapporteurs, distinguished in their various fields from Engineering, Architecture to Journalism. We are looking forward to making our first diplomatic contribution to Global Issues of our world in this generation! Ndubuisi Idejiora-Kalu (Chair, Team 3)
Because of the 1884 approval of the colonization of Africa, Africa's affairs has always become internationally interwoven. Its affairs as regards specifically trade and politics have had strong links with the international community. It is then necessary that for Africa to achieve sustainable political, social and economic development in the 21st century it has to utilize this synergy, not following the usual beggerly approach of developmental help, but in a useful synergy which will see us exchanging what we have with the outside world for both out internal development and the development of other parts of the globe. An example is the resolve of the European Union which is investing billions of dollars through its DESERTEC solar technology project, allowing Africa provide its power generation needs for the future. By 2050 it is estimated that through this synergy, the African continent will be responsible for prividing Europe with over 14% of its electricity. A similar synergy can be made also to benefit not only Europe but the US and even developing parts of the world. But the huge benefit here is that Africa also benefits. For these benefits thus to be properly utilized for Africa's development needs though, a comprehensive framework for this even in the IYC level where the next African leaders can meet and discuss ways forward.


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"In Jesus Christ dwells all the fullness of the Divine bodily." - Colossians 2:6, 9
|Kempton New Church
Contact Information:
Lawson and his wife, Shanon
Lawson Smith (pastor):
e-mail address: email@example.com
Brett Buick (assistant to the pastor):
e-mail address: email@example.com
Andrew Heilman (associate pastor):
e-mail address: firstname.lastname@example.com
Arne Bau-Madsen (associate pastor):
phone: (610) 756 6140 ext. 210
Christopher Smith (associate pastor):
For Chris's contact information call Carla Kerr, the church secretary, at (610) 756-6140.
Paul Schorran (associate pastor):
e-mail address: email@example.com
Ian Keal (treasurer):
phone: (484) 619-1619
Church Address:
583 Hawk Mountain Road
Click here to show directions.
Do you want to hear from us? If so, please fill out as much of the form below as you would like.
Contact Information Form:
|© 2019 Kempton New Church

subset: commoncrawl


text:
The Executive Summary
The other prospects I'd lined up in Oregon evaporated, but I'd found a couple further south. I was about to get on a plane and head down to L.A. when I thought to take a look at Portland's Craigslist ads one last time before I decided to head out. As luck would have it, a local used car dealer had just posted a Sprinter not more than one hour earlier. I drive down the following day to take a look at it. It was perfect! It was everything that I'd been searching for. After a brief inspection and a short test drive, I bought the van and took it home.
The Details
I'd passed on the van in Seattle, but I still had a few prospect in Oregon. Or so I thought…
The one I was most interested in was down in Drain, OR. So I called the owner to ask them a few questions about the van. Unfortunately, I was told that the van wasn't starting and that they'd taken it to a mechanic to get it looked at. The seller wasn't sure when the van would get looked at or what the problem was. So it wasn't looking good for that one.
The second one was less ideal, but I was willing to settle a little at this point. It was owned by a younger guy out in Bend, OR; a couple hours drive from Portland. In his Craigslist as he said that he'd already been living out of it. I felt like that was a good sign, seeing as how I was planning on do that very things with it. Unfortunately, the seller would only communicate via text message and was less than responsive to my inquiries. I certainly wasn't going to drive two hours out my way for someone who couldn't even answer a few text messages. There was a third one listed in Gresham, OR, which is right next to Portland. However, the seller mentioned that then engine had been rebuilt once already and so I wasn't eager to buy a van with a rebuilt engine. Why did it need to be rebuilt? Who rebuilt it? How are their mechanical skills? Too many question marks.
I flew out west with multiple prospects and it felt like they had all dried up, almost overnight. I wasn't sure what I was going to do, but I had two weeks away from the office and an account full of airline miles. I didn't care if I had to jet set around the whole damn country. I was going to find myself a van!
After taking Sunday to reassess my situation, I was beginning to think that I was going to have to change my criteria for what I was willing to buy or change my price range if I was going to get what I wanted. There just weren't that many Sprinter vans on the market with super high ceilings and extended cargo bays. With this in mind, I began searching again.
I didn't find anything new in the Portland area, but I did manage to find a couple down in L.A. I also found a couple in Phoenix and one in Las Vegas. I figured the three cities were close enough together that I could fly down to one and drive to the others. I could just keep bouncing around until I found a van that I was willing to purchase. I had a friend in Vegas who offered up his couch (thank you, Eric) and so I thought this would work out perfectly! So after I had finished working on Tuesday, I went online to book my flight.
I was just about to book a flight down to L.A. when I thought that I might as well take one last look at Craigslist, just to see if anyone in Portland had posted anything. After all, it would be much nicer to buy a van in Portland and get to spend some time working on it with my dad. So I took one last look and to my surprise, a Sprinter had been posted only one hour prior! It had the super high ceiling that I was looking for and the extended cargo bay! It had been listed by a small used car dealer in Eugene; only an hour and half away. So I called up the dealer immediately to run through my usual gamut of questions.
The vehicle sounded extremely promising. The salesman I spoke with was quick to email me over the history report. Everything looked good and so I told them I would be down the next day to take a look at it.
I arrived at the dealership the next day. The salesman walked me over to the van. It was red! A stark contrast from the traditional fleet white. Having looked at a few now, it was getting easier to size these up. I felt like I knew pretty well what to look at and where to look by now and this van was in great condition! It had been previously owned by a local coffee company, Boyd's Coffee. They had been the only owner of the vehicle and it appears that they take very good care of their fleet. Trying not to let on my excitement to the salesman, I asked for the keys and took it for a test drive.
The van drove great! It handled well, the engine felt good, all the accessories seemed to work. Before returning to the dealership I found a closed business to pull into and inspect it further, as I'd done with one of the past vans. I double checked the wipers, turn signals, break lights, heat, a/c, radio, and everything else I could think to look at. I was feeling really good at this point. And so I drove it back to the dealership and, within 10 minutes, told the salesman that I'd be willing to buy it.
The asking price on this van was more than the others that I'd looked at so far, and it was more than I had originally budget for. But as I mentioned before, I was already thinking that I may have to come up on my price if I was going to find something that matched all of my criteria. This van looked and felt so much better than any others I'd looked at though that I would have happily paid asking price. After some negotiation, I got them to knock $500 off the sticker and we shook on $9000.
I had never purchased a car before. It was a new experience for me. I chatted with the salesman as we signed the required paperwork, still trying to contain my excitement. I got the dealer to agree to let me put the purchase on a credit card. This helped me to recuperate most of the airline miles that I had used on the flight out there. Once the paperwork was complete, he helped me return the rental car, handed me the keys to my new van, and I was off!
I had an hour and half drive back to Portland. I had been high on excitement for the first half of the drive, but as time went by, it had dawned on me. I just spent $9,000! Aside from my house, I'd never spent anywhere near that much money on anything. What had I done?! I was actually planning to drive this thing back across the country by myself. I was planning to live out this van. What the hell was I thinking? Did I make a mistake? A small bit of panic began to creep over me. But I managed to calm it with the thought that the van could always be resold for a similar price. What was I so worried about? This was the beginning of a new exciting journey!


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[pres-ey-juh n-tree]
the vocation or responsibilities of a press agent.
publicity produced by a press agent's work or skill, especially in making a person or thing seem more desirable, admirable, or successful.
Origin of press-agentry
First recorded in 1910–15; press agent + -ry
Dictionary.com Unabridged Based on the Random House Unabridged Dictionary, © Random House, Inc. 2019


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M831 Inkjet Document Printer for Airline Passenger Manifests and Forms
|Epson's M831 ruggedized monochrome inkjet document printer combines the durability of a dot matrix printer with the quiet, high-quality printing of an inkjet. It prints high-quality crisp, clear text and graphics, as well as high-density barcodes. In addition it features print speeds of up to 16.5 pages, durable pigment-based inks and low total cost of ownership.
- Designed for high-volume printing of manifests and forms
- Combines durability of a dot matrix with the quality of an inkjet
- Prints on same continuous form paper airlines use today
- Fast print speeds of up to 16.5 pages/minute1
- Automatic paper release to clear any paper jams
- Parallel, USB and Ethernet interfaces standard
- Drop-in replacement for existing Epson and other dot matrix printers
- Low power consumption
M831 Inkjet Document Printer for Airline Passenger Manifests and Forms
|Print Method: MicroPiezo® inkjet technology
|Print Speed:
|See note 1
|Print Resolution: 720 dpi x 720 dpi maximum
|Ink Type: Black pigment-based ink cartridge2
|Printer Fonts
|Fonts: Code 39, Code 128, Interleaved 2 of 5, EAN-13, EAN-8, UPC-A, UPC-E, POSTNET, QR Code
|Media Handling
|Type: Continuous paper (plain paper, label)
|Feed Method: Push tractor feed (rear in/front out)
|Length: 0.5 &38211; 22.0 inches (12.7 558.8mm) one page
|Media Dimensions: Weight (1000 sheets of plain paper): 45kg 110kg
|Thickness: 2.5 7.5 mils (0.065 0.19mm)
|Interfaces: USB 2.0, Bi-directional parallel (IEEE-1284 ECP mode supported), Ethernet 10/100 BASE-T
|Operating Systems: Microsoft® Windows® XP 32-bit (SP3)/64-bit (SP2), Vista® 32 -bit/64-bit (SP2), Windows 7 32-bit/64-big,
|Server Systems: Windows Server 2003, Windows Server 2008
|Power Consumption:
|Rated Voltage: AC 110 240 VAC
|Rated Frequency: 50 60 Hz
|Noise Level:
|Standards and Approvals:
|Dimensions: 18.3 x 18.3 x 8.8" (W x D x H)
|Weight: Approx. 26 lbs (12.2kg) without ink
|1 Print speed is based on printing the suite of ISO/IEC 24734 text and graphic images on 8.5" x 11" size pages. Speed of up to 16.5 pages per minute is based on draft mode. Actual print times will vary based on system configuration, software, and page complexity.
|2 Cartridge yields vary considerably for reasons including images printed, print settings, temperature and humidity. Yields will be lower with higher-density images, hot or dusty conditions, less frequent printing, or printing predominantly with one color. All ink colors are used for printing and printer maintenance, and all colors have to be installed for printing. For print quality, part of the ink from the included cartridges is used for printer startup and a variable amount of ink remains in the cartridges after the "replace cartridge" signal. See www.epson.com/cartridgeinfo for more information about EPSON ink cartridges.
|3 The printable area is fixed relative to the left tractor starting at 0.51" (12.9 mm) from the left edge of the media. Right margin may be greater than 0.51" (12.9mm) if the media extends well past the printable area.


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Inspiring Girls in Serbia on International Day of the Girl
To celebrate International Day of the Girl, yesterday the Inspiring Girls team in Serbia held an event at a school in Belgrade.
A group of influential women with a variety of careers participated in a 'speed-dating' style event with girls from the school. The women rotated around groups of girls, to have multiple and quick-fire Q&As with them.
The girls expressed how delighted they were to have an opportunity to talk with inspirational role models and reflected on the importance of learning about different jobs, hearing the first-hand experiences of these women.
This was part of numerous events held all over the world to raise awareness for International Day of the Girl, which is a UN initiative to recognise girls' rights.
For further information: www.crta.rs or via Facebook I Twitter I Instagram


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Everyone likes free plants and cuttings are an excellent way to increase the number and variety of the plants in your garden for just the cost of some rooting hormone. Some plants root easily, some are more difficult, but all are worth the effort. The advantages to starting from cuttings rather than seeds include getting starts identical to the parent plant, faster flowering, and increasing your stock before the parent is old enough to set seed.
Chose a section of the branch from which to take the cutting. This can vary from plant to plant. Softwood cuttings are made at the tip of a branch, several leaf nodes down. Hardwood cuttings are done at the more mature sections of a branch, cut into pieces, with each containing three or four nodes.
Cut about 1/4 inch below a leaf node, the point at which new roots will sprout. Prune the leaves on the cutting in half, perhaps more if they are large, such as hydrangeas.
Dip the cutting in rooting hormone powder (available at most gardening centers) and insert about half an inch into a pot filled with sterile, moist sand. Pack the sand around the cutting. Take at least three cuttings to assure success with at least one of them, though many plants will give you a 100 percent success rate.
Cover the pot with clear plastic. Support the plastic with wooden chopsticks to create an air space around the cutting. The plastic will keep the air around the cuttings moist until they have enough roots to gather water. Make sure the cuttings have as much light as possible without leaving them in direct sunlight, which could burn the leaves and dry out the tiny plants. The light provides the energy for forming new roots.
In a week (more for some plants) gently pull on the cutting. Don't pull so hard that you tear the new roots. When you're sure the roots have grown to 1/2 inch or so in length, you can remove the plastic. A few weeks later you can pot up your new plants.


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Skip to content. |
Skip to navigation
EcoBuilding is building in a way that makes sense. It requires an integrated approach and a consideration of the whole building, the whole site and the people impacted by that site and that building.
- Jason Lear, Batt & Lear Construction
Read More…


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Where the Dinosaurs Are
(or, my dance with dinosaurs)
I have been drawn to old bones for as long as I can remember. My favorite dinosaur models have always been skeletons. While some people may marvel at my
, I am not alone. A lot of effort is involved in researching and producing a decent kit and as much as I enjoy the fruits of such labors, it is very unlikely that anyone with the skills needed to produce a scale skeleton would do it just to make one for me.
Over the past fifty years a variety of manufacturers have made models of skeletons but it has often taken a lot of sweat, toil and tears to get my hands on those kits.
(Blood came later when I tried to assemble them.) These skeleton-makers actually believed there would be a market for model skeletons of prehistoric beasts and that they could sell enough of them to make it worth their efforts. Unfortunately, that that has often turned out to be a faulty assumption and the lifespan of most skeleton model production runs tends to be pretty short with
very limited
numbers. What is manufactured is often very expensive and it can be tough to justify such purchases when other costs of living and raising a family are considered. Deferring a skeleton purchase because other things in life take priority may be the right thing to do, but at the same time, such patience is likely to be punished with a permanent gap in the display case. If a kit isn't purchased as soon as it is available,
opportunities to get it in the future may be few and far between. All of this makes good and affordable skeleton models tough to find and the hunt for them can be a significant challenge. For decades I have been on a quest for good skeletons.
So why do I call it the Old Bone Odori? The Obon (
is a Japanese Buddhist festival honoring the spirits of one's ancestors. The Bon-Odori
is a dance performed at the festival to welcome the spirits of the departed. In the dance there are a lot of steps and sometimes it seems you are going in circles without getting anywhere. But in the end, it is the experience that is supposed to be meaningful, not necessarily where you are when the music stops. I have a desire to honor the great beasts of the Mesozoic with tangible representations of their existence. In my attempts to acquire them, I often feel as if I am going in circles and sometimes seem to get farther away from the objects of my desire before being rewarded
for those efforts. Of course, in some cases my my searches end in frustration and in consolation I can only reflect on having enjoyed the experience of the hunt. Old Bone Odori? I think the name seems to fit.
On this page I am trying to describe the history of my desire to have my own museum. If possible, I want to communicate what it is about models of fossilized bones that is so fascinating to me as I review bone and skeleton models that I have seen as well as those that I actually have in my personal collection. In reading this page I realize that I can get rather overblown, so if you just want to look at the pictures, then be my guest! I will give a list of important links at the end of these pages. Trying to insert them all over the text can be a hassle, especially as people often make changes in their websites that result in broken links and it can be exhausting trying to keep up with them. Here then, is my dance with the bones of the dinosaurs.
The Greek word for bone is
hence lover of bone is
. Right now, if you Google the term, you will get no results. Just wait and try again soon.
Due to the number of images, I have divided this webpage into several smaller and more manageable sections. They are
The most tangible link we have to dinosaurs is their bones. Well, there are tracks, eggshells and coprolites, but most of what we know about about the way they looked and what they ate comes from what is left of their skeletons. I have been fascinated by those eerie frameworks since early childhood. As many others have noted, bones are real. Imagining extinct animals as living things always involves a fair amount of speculation and often outright artistic license. While a lot about muscles and diet can be inferred from bones, teeth and gastroliths, soft-tissue reconstructions always involve a lot of extrapolation and imagination. Even bones are not absolute truth. Many skeletons are fragmentary. While having the bones of the right side of an animal makes it pretty easy to reconstruct the left side if it's missing (as long as it's not a lobster), many fossilized bones are broken and incomplete. In many cases, large proportions of the entire skeleton are missing and filled in with educated guesses. In the early days of dinosaur paleontology, it was not uncommon to have only teeth and a few bones. Early reconstruction reimagined theropods
as large lizards and Iguanodon thumbspikes were displayed as rhinoceros-like horns on the tips of their noses. Poor Edward Drinker Cope put the head of an Elasmosaurus on the end of the tail and had a hard time living it down. Often major portions of skulls are missing and they get "filled in" with speculation derived from what are probably related beasts, with those relationships determined by similarities in the rest of the skeleton.
Of course, this can be risky... think of putting the skull of a bulldog on the reconstructed skeleton of a greyhound . As long as you realized they are both dogs, close enough? This sort of error led to putting the head of a Camarasaurus on the body of an Apatosaurus and calling the result a Brontosaurus for a very long time. The old Tyrannosaurus in the American Museum had the feet of an Allosaurus for years. Most viewers didn't know and wouldn't have cared, but once the right feet were found, it turned out that there was a pretty significant difference. Evolutionary relationships are inferred from bony structures. That is important when there is no DNA to analyze, but even bare bones can conceal surprises. Convergent evolution may make apparent twins of distantly related cousins. Embryonic bone formation may result in bones that resemble each other even when the actual frameworks for those bones came from very different pathways. However, all such cautions aside, bones are the best we have, so
in ossa veritas
, eh?
I remember being taken to the Los Angeles County Natural History Museum sometime in my preschool days and being awestruck at the skeletons on display. In the mid-1950's, the LA displays were actually Ice Age mammals, rather than dinosaurs. However, to a small child, the distinction was not obvious and those mammoths, giant sloths, bears, camels, rhinos, Dire wolves and sabertooth cats were utterly stunning.
During our next trip to New York,
where my grandmother lived,
this naturally this led to a visit to the American Museum and its famous halls of fossils. Now those
real dinosaurs and walking into their presence felt very much akin entering a massive cathedral. The way the scaffolds of those ancient giants towered overhead in the subdued light typical of old museum displays amid the sounds of footsteps echoing off the polished floors and the murmurs of visitors admiring those exotic remnants of the past all felt very reminiscent of the ambiance of the nave in a towering Gothic church. Well OK, no rose windows, but I felt the tingle of adrenaline that still flows today when I enter a museum's hall of paleontology. Of course, from an academic point of view, bones could simply be displayed in a case, but I am so glad that museums realize that assembling them into the representation of complete creatures in action does a far more effective job of conveying the size and power of those monsters of the past. OK, it also leads to a lot of really weird dreams...
(image from
Next of Kin
In the late 1950's the American Museum refurbished their dinosaur displays and as part of the process of remounting their prized dinosaur displays, they had scale models sculpted from actual measurements of several of their more famous mounts. They were released by the ITC model company and began appearing on the shelves of toy stores across the country at the same time as many other dinosaur toys and models became available in a surge of interest and popularity among us Baby Boomers. While I had plenty of toy soldiers, cowboy hats and guns along with Davy Crockett coonskin hats, my favorite possessions were fragile, waxy prehistoric sculptures from the drugstore and the Marxian dinosaur playset that lived in the sandbox. Now I could actually have my own skeletons! I can't remember if I had to wait for a birthday or holiday to get one of those kits, but I may have simply made such a fuss that I was able to get it without the need for a special occasion. My parents gave me the Tyrannosaurus and my younger brother received the Stegosaurus. Naturally, my father had to assemble them and they promptly went on the mantle as the beginning of our own museum. One of the coolest aspects of those ITC kits was the pictures on the sides of the box that advertised other models available in the same series. They included a Triceratops, a Brontosaurus, a Pterodactyl, a Mammoth and a Dimetrodon. My brother and I went back again and again to the hobby section in our local drug store to look for those other kits, but they never had them. Eventually another company, Palmer Plastics, released a Brontosaurus and a Mammoth, which we added to our mantle museum. Those kits were a somewhat smaller scale and lacked the finish and dynamic pose of the ITC models, but we were happy to have them anyhow. It wasn't long before it seemed that the interest of American youth shifted to the space race and dinosaur models, especially those skeletons, became extinct as the dinosaurs themselves.
1957 ORIGINAL ITC TYRANNOSAURUS REX 1/25 16 1/2" (42cm)
1957 ORIGINAL ITC STEGOSAURUS 1/25 11" (28cm)
While both of these kits show the skeletons in a striding pose, they built up in a very static, standing still position.
In addition to the ITC and Palmer kits I have described, there were others, even if they pretty much went extinct without a trace. I remember having some other versions of Tyrannosaurus skeletons that came in a bag and were made of something slightly softer than the styrene I was used to gluing together. They snapped together and tipped over as there was no base. I have no idea who made them or what happened to them. Through the years there have been a number of toys that bore some vague cartoonish resemblance to skeletons and even claimed educational value, but those never held much appeal for me and I don't plan to say much more about them.
As the years went by, I managed to hang onto the two ITC models, even after many falls from their shelves and the loss of various small parts. The Palmer kits were more fragile and somehow vanished during various purges of our collections. My Tyrannosaurus and my brother's Stegosaurus were finally rescued from a box under my parents' house when I moved into my own place. At that time I was rekindling my own interest in dinosaurs and tried reassembling them with some replacement parts I had to fabricate from fast-drying clay and epoxy. I was pretty happy with them, but at times I wondered what kind of a job I could do on those kits if I were to build them as an adult and even more wistfully, what I could have done with those mysterious missing models from the sides of the ITC boxes. From time to time I fantasized that there could be a hobby shop somewhere in a small town that had a complete set gathering dust on a shelf in the back.
Sometime in the mid-1980's I received a pharmaceutical-sponsored glossy bulletin about classy things that should appeal to high earners, such as doctors. At that time I was not a particularly high earner and most of the fancy cars, luxury resorts and high-end liquor it advertised were well out of my price range and held little interest for me. However, there was one thing that grabbed my attention. It was a life-sized mounted skull of a Smilodon, marketed by a new company called Skulduggery. While not quite the real thing, it was cast from a real skull and it was gorgeous. My wife actually indulged me and bought it for me as a birthday present. It is still a focal point of my living room decor. Skullduggery also sold a beautiful cast of a huge Tyrannosaurus tooth which I bought, and they offered several dinosaur skulls, including a Tyrannosaurus and a Triceratops. I was intrigued, but never felt as if I had to have them. While nicely done, they were scaled-down sculptures rather than casts. They were each cast in one piece, so detail was lacking in the jaw articulation and teeth, but above all, they were expensive. The Triceratops cost more than the Smilodon. I am not always sure why some things appeal to me and not others. The Sabertooth looked and felt real. It was worth the space it occupied on the shelf. The dinosaur skulls looked nice, but at their smaller scale, nobody would think they were the real thing and yet they were still big enough to occupy a lot of room on the bookcase. It's sort of an odd calculus, but somehow it makes some sense to me. In the end, I decided to keep waiting for different dinosaurs.
13 1/2" (34 cm) long Fangs are 6" (15 cm)
In 1992 I bought the book
by Dr. David Norman. It was an accompaniment to an A&E show on dinosaurs. The cover featured a Deinonychus running at the reader and its skin was transparent in places, revealing its muscles and skeleton. So, regardless of the content, I probably would have bought it for that cover. On one page was a small drawing of a Deinonychus skull in profile and the caption pointed out how light it was while being strong enough to handle the forces involved in biting. I was captivated and decided I had to have one. But how? This was before the Internet was a readily available information source and commercial highway, and Deinonychus just wasn't well-known and charismatic enough to have an industry devoted to it. There weren't a lot of references at my local library either. While I didn't have much to go on, I decided to make my own. As I didn't have images beyond that profile, I decided that it would have to be a bas-relief. I bought an oak shelf and used a grid to scale up the picture to make a tracing. I cut the outline with a scroll saw and used chisels and rasps to get the shape I wanted, then stained it. It probably took me a couple of months to complete, mostly just doing a little work in evenings. Compared to Taburin, whom I'll mention later, my pace of production wasn't just slow, it was glacial. Still, I had a nice plaque of a dinosaur skull to display in my office.
Image from
page 86 Deinonychus skull from 3/4" carved oak plank 1993
As it turns out, I was just a little too impatient. During the second half of the 1990's a number of resin casts and sculptures appeared in catalogs and on the Internet, and many of these are still available today. Some were life-sized and others were scaled down. In addition to many carnivore skulls there have been complete pterosaur skeletons and even full sized mounts of complete dinosaur skeletons. Many of the skulls tended to have a rather rough and fractured surface to give the appearance of a completely prepared fossil, although that resulted in the loss of a lot of suture and muscle attachment detail. In a lot of the examples I saw, the mandibles were glued in an open position and it was obvious that even if separated, they would not line up particularly well with the maxillae. These difficulties were, of course, excused as reflecting the appearance of a fossil after being distorted by millions of years of burial. There was also a line of bronze skeleton sculptures that looked very dynamic, but given the manner in which they were manufactured with a blowtorch, it seemed that the idea behind them was to present an artful interpretation of a skeleton rather than an accurate recreation. A significant factor for me was that all of these were made to be displayed right out of the box. I always enjoyed assembling and painting kits rather than just buying something after someone else had done all the work. These recreations left no real place for me to invest any of my time, effort and personal vision in how they should look. Whatever interest I had in them was usually stifled by the price. Most of the smaller skulls started at over $200 and larger skulls, such as an Allosaurus or Tyrannosaurus, went into thousands of dollars. Had I any interest in the complete skeletons, they commanded prices up to hundreds of thousands of dollars. They were designed primarily for museums, but some of the sales people I talked to said that there were private parties who had no problem springing for them. This was the era of the dot-com bubble and apparently it was trendy for young billionaires to have a building with a Ferrari parked in front and a Tyrannosaurus in the foyer or a Tylosaurus suspended from the ceiling. I sometimes wonder what happened to a lot of that stuff after the crash, but then I don't have the shelf space.
In 1998 I went to the Mad Model Party in Pasadena. I found a bin of seconds from KronenOsteo BoneClones, a producer of resin skulls cast from a variety of species, both extant and extinct. After some searching, I found a damaged Dinictus cranium and after a few more minutes of digging, a jaw that fit. There were a lot of flaws that caused it to fail Kronen's usual exacting standards, but some extra Milliput and a lot of Dremel time made it pretty displayable. It isn't a dinosaur, but with teeth like that, it doesn't have to be.
For anyone who really wants a skeleton to call his (or her) own, there is no place like the Arizona Fossil and Mineral Show, held annually in Tucson. Dealers and shoppers come from all over the world and practically anything is available for a price. Not all of it legal, but they keep trying to clean it up... Many of the cast skeletons I mentioned above are available as well as many real skeletons. All in all, it is an amazing experience, assuming you have the budget and the shelf space to display what you can haul away.
In the spring of 1992 I was browsing in a local hobby shop and came across a Glencoe Tyrannosaurus rex and next to it, a Stegosaurus. I quickly recognized them as re-issues of the long lost ITC kits. As I already had both of the models, I didn't feel compelled to buy them, but it occurred to me that if those were available, I might actually have a chance to get the rest of the kits in the series. I asked the clerk at the hobby shop if any other dinosaur skeleton kits were available and, to my delight, he looked in his catalog and told me that there was a Brontosaurus. That was the one that had eluded me as a child! He said he would order it and it should come with his next shipment in a couple of weeks. It didn't happen. After a couple of months the guy at the shop gave me the address he had for Glencoe and told me to contact them myself. I sent a letter asking about the Brontosaurus and also inquired about the other models in the series. In a few weeks (this was still in the the days of snail mail) I received a reply from Glencoe saying that while they did indeed make the kit, they didn't sell directly to the public. They suggested that I could buy it through the Squadron mail order catalog. Sadly, however, they told me that those other models had never been produced. That portion of my dream flickered and dissolved like a mirage. My grief was assuaged when Squadron came through with the long sought Brontosaurus and after more than thirty years I finally had my hands on that prize! I carefully assembled it, cleaning molding seams and avoiding the glue burns that afflicted my childhood efforts. Instead of the kit-supplied base, I mounted it on a rock my wife found in Moab and I proudly put it on display in my office.
In the early 1990's there was somewhat of a harmonic convergence of dinosauria. Jurassic Park was published in 1990 and while I didn't read it right away, others did and a groundswell of interest in dinosaurs developed in
popular entertainment,
books, and magazines. Then Ants invaded my life. One evening in late1992 I glanced at the classified ads in Natural History and to my amazement saw an advertisement for an Allosaurus skeleton kit. While growing up, I had always considered Tyrannosaurs cooler than Allosaurs as they were bigger and more advanced, occupying the crown of dinosaur creation, as it were. The Allosaurus was more my brother's type of beast, somewhat smaller and more lithe and in any case, he was usually willing to pick something else as a favorite just because that's what he did. (He could probably cite other reasons.) When we played with our Marx dinosaur set, I always gravitated toward the Tyrannosaur and he usually picked up the Allosaurus. Nonetheless, the picture in the ad definitely grabbed me. It was a very dynamic looking pose and I began to think that even if I already had a Tyrannosaurus, an Allosaurus would be great. I sent a letter asking for more details and the reply was a bigger picture of the model and a brief note explaining that it was a resin kit with around 150 pieces produced by a dentist who made the original as a hobby. I'm not really sure what I was asking for except for a reason to spend almost $200 on a model, which seemed like a
of money for a kit, not to mention one made by a company I had never heard of before. Still, the idea of having a skeleton model in which every single bone was a separate piece was intriguing and I decided to go for it and sent a check to Albuquerque. In a few weeks I received a letter telling me that demand was higher than expected and there might be a delay in getting the model.
After the Brontosaurus I had become used to waiting, but experience didn't make me any happier about it.
Still, I was busy with a lot of other things, so I didn't mind waiting all that much. But when a year passed, I finally wrote a somewhat cranky letter asking how many times the inland ocean would rise and recede before my Allosaurus would arrive. Within a couple of days I got an apologetic phone call and a few days after that, the kit landed on my doorstep. Ants was a small operation and someone assumed that my early order had been filled a long time ago. In apologizing for the delay, they offered me a free kit of the next skeleton they would produce. At the time, Ants was considering a whale, a modern horse and a couple of dinosaurs, including Stegosaurus and Deinonychus. Over the next few years, Ants made a lot of interesting hominid skulls and produced a line of dinosaur skulls, but I kept holding out for the next skeleton. Unfortunately, it was never made. I'll say more about the skulls a bit later. The Allosaurus was a fabulous model. In assembling it I learned a lot about theropod anatomy and gained a fair amount of experience in dealing with the assembly of a resin kit. Actually, it gave a false sense of security in dealing with resin as every piece fit perfectly, an experience I have rarely had since with resin kits. The kit was molded in a bone-ish off-white color and I left it that way. It is interesting how the mind works. The real skeletons I had seen in museums and books were heavily stained fossils, mostly shades of brown and black, but somehow in my mind I always saw them as white, just like my old ITC models. At that time, even my recently acquired Brontosaurus was still white. Whatever color it was, I was delighted with my Allosaurus and hoped that more model skeletons were on the way. By the end of 1993, with Jurassic Park as one of the most successful films in history, there were a lot of dinosaur models hitting the shelves in local hobby shops, but despite the drama of the movie's climax when the Tyrannosaurus and raptors battle it out in the Park Museum's displays, none of them were skeletons.
ANTS ALLOSAURUS 1/12 26" (66 cm)
on to page 2


text:
All my memories of my grandparents are of them together.
We lived quite far away from each other and for those few times that they do visit and stayed at our place. I was always amazed how they made being married look so natural and something that I'd like for myself. If one of them enters the room, you can definitely count on the fact that the other one would be there a few minutes later. They just love being in each other's company.
When I got word that my grandmother passed away. I immediately thought of my grandfather and how he must be feeling. A little over 2 weeks after her death, my grandfather also passed away. It was sad but I also felt that they just could't bear being apart and it was how they'd want it... together, right until the end.
Their memorial service was held today at Dallas, Texas. I wish I was there to be with them for the last time, I did a presentation for their memorial service/ viewing and it was really emotional doing this little video for them.
Thank you Grandparents for being such a role model,
I look to you both... I Love You
* * * * *
GOODBYE ANGKONG and AMAH


text:
- Court: Oregon Court of Appeals
- Area(s) of Law: Criminal Law
- Date Filed: 04-26-2017
- Case #: A157030
- Judge(s)/Court Below: Tookey, J. for the Court; Sercombe, P.J.; & DeHoog, J.
- Full Text Opinion
Defendant appealed a judgment of conviction four counts of attempted aggravated murder, three counts of attempted murder, and two counts of tampering with witnesses. While awaiting trial on unrelated charges, Defendant solicited his cellmate to arrange to kill key witnesses in the case and the district attorney. Defendant argued based on the definition of "attempt", ORS 161.405(1), that the trial court erred when it denied his motion of acquittal because Defendant did not take a "substantial step" toward the commission of each of those crimes, and thus cannot be guilty of attempt. Citing State v. Carlton, 361 Or 29, 45 (2017), the Court held that to constitute as a substantial step, a defendant's conduct must (1) advance the criminal purpose charged and (2) provide some verification of the existence of that purpose. Under that standard, an attempt must be "established by conduct that is corroborative of the actor's criminal purpose." Thus, the Court found a reasonable trier of fact could find that the defendant had taken a "substantial step" towards the commission of the crime. Affirmed.


text:
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Japanese cars may hold the future for collector cars – Automatter By Roger. January 26, 2011 4:07 pm About half-way through a collector car auction held in Portland, Oregon on the last Saturday in September by Silver Auctions, a car that was a veritable time capsule, appeared on the docket. It was a 1976 Datsun B210 two-door fastback coupe, painted yellow and fitted with a black vinyl interior. Right behind it, was a late model Chevrolet Corvette; more along the lines of what one might expect at such an event. Nestled in the Datsun's engine bay was the original 1.4 liter, four-cylinder engine; backed by an automatic transmission. Mileage was just 33,043 actual. All records and owner's ...Read full article »
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text:
Brendan Fowler, Bobbi Woods, Adam Marnie
BRENDAN FOWLER: So, would it be crazy to say that it was a mutualuse/appreciation of proactive negation gestures that brought us together? Is that too much? I can say this much for sure: this past spring I was asked by Terrence Koh to curate a show at his Asia Song Society (ASS) Gallery. My initial thought was to build a show around Bobbi Woods and Adam Marnie, my two favorite artists who had yet to have major showings in New York. Then, when we spoke in depth, Terence specified the request as "do whatever you want, but we would like for the show to include yourself as well." This can be an awkward request, curating a show around one's self, but I took it backwards, as in a request to include myself in this show which I was already excited about and just trying to resolve. It seemed like it could work, right? I knew that our practices related, and I had spoken with each of you at least a little bit in the past, but I was really "curating from the gut," you could say. As such, it wasn't until the show was up and Bobbi and I began speaking about the show that I realized just how deeply the works did speak to one another. For starters, we all three employ strategies to cancel very literally, graphically, physically, but to ends that are often optimistic.
BOBBI WOODS: I really like that in that show there was a shared approach of economic means in relation to the negation/cancellation you are talking about. I think the show had a kind of silence, and not in a passive way but rather a silence which leaves your ears ringing. At least this was the case for me, as the work was visually understated and yet there was definitely a strong resonance. I am curious about your reference to optimism and what you think influences this kind of approach/attitude and where you consider optimism occurring in the work. Also, I am interested in the way our work employs repetition and how it perpetuates negation/cancellation.
BF: "Repetition" is an idea, a strategy, that tends to happen into my work out of several major impulses, I think — both conscious and lessconscious/automatic — almost like a lake of repetition that is fed by varying rivers and streams of impulse and intention, just to make a truly ugly metaphor. Growing up with the 1980/90's cultural reality of seriality (records at the record store, skateboards at the skateboard store, Warhol, et al.), and Obsessive Compulsive Disorder (the official disorder of seriality?) alone really established repetition as — you know, to be honest, the idea of just one of something feels foreign to me. I think it's that simple. Let's hit the point home, let's repeat it a million times, let's set it up in a line to pull it down, let's look at every single aspect — every version of every aspect. No serial stone unturned. And I'm really not into just repeating something to repeat it, I am into versions, and then with the canceling, it's like versions of cancellations of versions. I want to talk about the optimism, but I also want to talk about abstraction, which is happening with with many young practices these days, and certainly in ours to some degrees. As such, with my own practice, well, abstraction is coming into the work as a strategy right now for a few reasons. One of them is very much to complicate or obscure the ideas, which in and of itself is a strategy for further cancellation. As you know, as we spoke about before, cancellation for me is this dynamic act: it is at once violent, an attack, an endgame to a struggle, but at the same time the mega opener. In the place of something cancelled there is only opportunity, only potential. The latter is obviously an optimistic take, but I think that as often as it can be applied, it is the most useful take, especially in "creative" occupations where projects are not always at the mercy solely of their creator. For example, an event is cancelled, you have the night free; tour is cancelled, you have two weeks to stay at home and work in your studio and sleep in your own bed and not lose money; exhibition is cancelled, now look at all of this time and material you have floating around — just pretend the credit card debt doesn't exist! — but, you know what I mean? The bottom line is canceling as negating, as a way to remove to create potential, to create space. So after working for a while with the graphic of a literal "CANCELLED" stencil image, it was like, how do you cancel that? How does that get further negated? This question came from that fact that I was in a group show at Rental in May of 2009 where I had a wall of pieces made from these cancelled tour posters (CANCELLED Fall 2008 Westcoast Tour Poster, 2009), and then I had a solo show there in October of the same year and I felt funny at first showing so much work in the same space twice within six months. I was excited, but I felt like I had to address it, and that led to me feeling like I had to "erase" my work from the first show to make room for the second show, which was to be my first solo show for the gallery and something that I was so excited about.
So then it was like, "How do you cancel something that is already cancelled?" Well, you can literally erase it, but then how do you show that graphically? This question has been answered many times by many people, but my approach was to rescreen white —the color of erasement, right? — through the original screens of the poster over the original screened colors. In theory this was going to just cover the original three colors so that they still peeked out a little. But, when it came time to actually screen the white over the remaining original posters I remembered that I had screened the initial posters with very loose registration so I actually couldn't screen the white over them in the way that I had planned. There was just no way to register them predictably. After screening a few I realized that I needed to let the white out of the lines so I diluted the ink with extra solvent, but the solvent heavy white started picking up the black and purples from the underlayers and it became shades of grey and finally I — actually, let me back up for a sec. I have thought for a while about the old predigital photo tradition of slashing a negative once a photo edition had been completed and then printing the slashed negative as assurance that the edition was closed, done, over. And I have thought about how I wanted to do this with a silkscreen. So, going back to the screening of these posters, I realized that this was the time. I needed to cover more ground to cancel these, to negate these, and the slashed screen, the very literally opened screen became the strategy. The image is still there but abstracted into cancellation. That was the idea, anyway.
ADAM MARNIE: Bobbi, I agree, that show at ASS was a lot of fun. Let's do it again sometime. I also agree with you Brendan in that repetition is an enormously complex and useful tool. And while I don't see it specifically in terms of negation, I do see one of its possible applications to be that of creating a volumetric hum, like static. A colossal barrage; a voidlike confusion. Repetition, as it relates to the creation of modular units, or as you say in the above, a seriality, is something that I use in specific situations, like with the Objects of Premeditation, 2009 the four punched pieces I showed at ASS but for the most part I am interested in making singular works; unique forms derived from specific demands. When that uniqueness is achieved, I tend to abandon that form in pursuit of some subsequent form. The longer I keep doing this the more I have developed concurrent tacts of production to satisfy / explore different problems / interests. However these tacts do seem to be characterized by their central thematic or material repetitions; like the works in sheet rock, or the presence of wood in various forms from one group of works to the next, or the floral theme in both the Vanitas collages and the spray paintings...
Repetition is one possible characteristic within the boundaries that define a given work, boundaries marked by the path of circumnavigation around the central theme; for me repetition is less and less the outward aim, though often a kind of fracturing happens, where a work is made up of interrelated repetitious parts.
I want to try to define this thing that we're starting to talk about, these "negation strategies" that make our work resemble each other's in appearance. In certain of my works I am concerned with manipulating the image with sculptural strategies that negate some or all of its picture qualities in order to heighten other (privileged??) schema, which are more sculptural in nature. These strategies can be additive or reductive, and in some cases, like my punched pieces, don't start with an image at all but deal directly with the image plane as selected and presented with the frame. Does this description hold for either of you?
BF: Yes, for me, absolutely. A lot of times I feel like I'm just looking for something to cancel/negate/pull apart. I can say that I never select things "in vain," but to be honest I know that this later phase of my production, the part that complicates or destroys things, is my favorite. I almost can't believe I just admitted that. I feel very open right now. Bobbi, you still need to answer Adam's question, but I want to ask this question as a followup to you both: how do you see your pieces as existing in time? In my mind, Bobbi, yours are operating as active portals to an open space, the optimistic space we have been describing. Adam, I think of your punches and your sprayed flowers as materials, identities/spaces, that have been affected by an act. If this is right, then would the collages and totem pieces be more actively frozen?
BW: Until you mentioned negation, Brendan, I had not defined it that way specifically. Yet, it is present, in terms of omission. What is hidden and revealed. Like a strip tease: witholding as a form of seduction, or else withholding as seduction itself. When I block out images with large graphic shapes and leave only portions of the original image beneath, I think of it as a way to enact something as having been looked at. Given the source material I am partial to, which usually has something to do with sex and/or humor, it is a way to negotiate a place within it. Someone once asked me if my work is about censorship and I feel it is not at all. It is not a "for" or "against" situation, but rather a process of finding a space within a given image and locating my terms of arrival. In other words, I am not as interested in perpetuating a critique of the representation of sex and gendered stereotypes as much as I am in describing what it is like for me to interact with images and to be an active participant in their production and reception.
To touch more on what you said, Adam, I think of blocking out as both additive and reductive. Images can be fragmented and in other instances the poster is reduced to merely text: a movie title or tagline etc.. and in essence abstracted. Foolin' Around, 2009, which we hung in the bathroom in the ASS show, no longer related to the movie's title as much as it relates to the title's newfound context. I thought about the words in relation to (my) art production and also, and perhaps more obvious, sexually. I liked that we decided to put it in the bathroom, where it was suitable for such an encounter.
I relate to a lot of what you said, Brendan, in that once portions of the image are blocked, cancelled, or negated, this absence presents another surface, and, in the case of the work in the main space at ASS, literally, that of black glossy enamel. The folds of the poster are more apparent. I liken the geometric shapes to a curtain moving back and forth, hiding and revealing portions of the image underneath.
Repetition for me has a few functions: the text on two of the three posters said "Nothing." I thought about "nothing" a lot when I made these: nothing to do, nothing to wear, nothing to see, nothing to say, double nothing, and double negative. The third poster was blocked off on the opposite side and the rest of the tagline revealed: "if it feels good." I liked that. The unadulterated poster reads "Nothing is wrong if it feels good." I really wanted to omit the word "wrong" as it seemed too moral or preachy and I don't really want to get involved in adopting that kind of tonal strategy. I liked nothing, nothing, if it feels good.
BF: Yes! We have choice, we have say. How wonderful the power to omit that word, "wrong," because you don't like the connotations. I loved those three pieces and all that went into them, all that you said and all the I read into them before we spoke and now, but even just that gesture alone... yes please!
AM: I love how personal it is for you Bobbi, it seems like you need to interact with your chosen material so you can describe what it's like for you to interact with it. It is interesting for me to hear your varied experiences with those pieces, and to try to identify what your primary focus is with them individually. In one instance, it seems to be the adulteration of the image, in another, the glossy surface, and another, the wordplay. No doubt all three exist in each to varying degrees. What visualizing that ultimately brought to my mind was the central fact of your presence in each of these works, a physical, nearly ABEX approach to these media-canvases. This seems totally relevant to your work Brendan, too, the development of the physical gesture, and through this, the articulation of the figure / subject as you. I acknowledge this "body capture" in my own work, with the punch pieces and the totems. The two of you both have further articulated this, Bobbi, in your video works and Brendan, in your music. Brendan, I love the form that your [current work] has taken a machine designed to move forward by chewing up your past as BARR. This is something I've been hugely concerned with, both in works like the totems, that were designed specifically to put past objects to rest, as I've said before: "to rid myself of my sentimentality"; but also in tangential thematic arcs like the idea that my sculptural now is digesting and putting to form the discoveries that I made in my painting based work of the past. Perhaps an hourglass is more accurate, the emptying of one to fill another.
Brendan, in beginning to answer your question about time, I agree with the demarcation within my work that you chose. I feel the punched pieces and the flower sprays on one side exist in similar frames of immediacy and of singular time / non time, where the totems and the collages on the other operate in terms more along the lines of simultaneity or condensed time. It's important for me to have languages that operate at different speeds. The most recent punch piece the punched cube Object, 2009 may begin to bridge those two sides. I think its construction may beguile a quick read, it looks immediate, but upon inspection, it's somewhat more complicated. I like when it gets complicated, when the thing starts to take thematic hostages, like maybe it's about architecture, and maybe it's about beauty, or maybe it's about porn, or maybe it's about formalism, or maybe it's about this work over here, or maybe it's about this room..
BW: Brendan, I have been thinking a lot about the way time plays out in your work and I am interested in the way you describe presenting absence through strategies of canceling. I am thinking of this in relation to past work resurfacing in your newer work. Also, Adam, in your case, I wonder about the way you talk about thematic hostages and the way your subject(s) shift to becoming potentially something else, sculpture, images, environment. This becomes active, one potential engaging the next. Are you thinking about this as an inclusive process, subjects taking shape as an impending occurrence? I wonder if this at all has anything to do with the "optimism" which has been looming overhead?
Time affects the posters in a particular way. As promotional devices they have a limited life span to function as particularly enticing images. They are most prominently available prior to and just after their movie has been released. I wander around Ebay a lot and rifle through so many posters. The older ones have collectable cache while the more recent ones seem to exist in some kind of coma, having just lost some, if not much of their ability to successfully allure as initially intended. I think about the way revealing takes place over time and finds physical form within and throughout the work, as was the case in the ASS show. The process of looking was played out in the series of multiples, hiding and revealing like movie trailers, something is on the way, but only flirts with arrival. In other words, it does not fully put out. I guess I like waiting for certain things...
BF: So, I think we can acknowledge this other connection, a deliberate use of time, or tense, perhaps. I am, on some levels, very much chewing up my own past as you said, Adam. As well, I completely relate to this idea that you suggested of Adam, Bobbi, "subjects taking shape as[/of] an impending occurrence" and I think a lot about the way that that you described revelation coming slowly over time as in your own work, "flirt[ing] with arrival." As a fan of other artists, I love process and seeing processes develop. When I'm a fan of someone's, my favorite thing is following them from show to show, seeing languages develop. I love the steps, the reference to one's past, the reveal, however little it may be. (As a side note, I think this is one of the best things about the internet, that even though you can't see every show in person, you can now, much more so, sort of see at least some sense of every show now that people have. As a fan, an audience, you have access to so much more work). In my own practice, I have visions of things that I want to make, but it is of utmost importance that I always work my way there, no skipping ahead. For me, art is about problem solving, so it's not even just "how do I create these steps" but the steps are earned by answering actual questions. Why is this thing made? Take the crashed frame pieces for example: I talk a lot now about free jazz/improvised music as a departure point from which to adapt this compositional strategy, a still of this violent act, the crash when all of the players are improvising, playing free and then hit on the same note. Boom! The idea is that you feel it as a live moment paused, stuck as it is it feels tenuous or stressful — I think that is the best case scenario, anyways — but that's not where the idea first came from. For me, the initial idea of crashing images together came from spacial concerns. I was showing work in the 2nd Cannon's space in Los Angeles, which is a space the width of a standard two panel sliding glass deck door and about three feet deep. I wanted to show three framed images that I just couldn't resolve spatially with the dimensions of the space, so I was trying to figure out how to cram/stuff them in there. What if I could consolidate? Well, I wasn't ready to let any of the images go, I mean, there were only three to begin with. Could I keep them autonomous and still turn three into "one"? And how to resolve that question in a way which demonstrated it's own process? My resolution was my first "crash" piece. How does this complicate the narrative relationship I was trying to establish within the show? Well, for starters, now the show's whole narrative was jammed into one piece that spoke directly to the hostile relationship between the three elements which, appropriately enough, was there to begin with. So I began doing the crash pieces to solve a problem and I would like to think that I have earned this language by solving that problem. I did it for a reason and now it's, like, I learned this behavior, so I have access and right to it. It has entered both my gestural and strategic vocabularies. In my show at Rental, I wanted to make a piece that demonstrated how my frames are constructed, their built in armitures and all, because people would often ask me what they looked like on the back of the crashed pieces. So, okay, let's reveal the secret. I also wanted to create something to break up the space in the show and which I could interact with during the performance that I was to do in the space as part of Performa09, so I made the wall out of frames. It was two rows of five 36x24" frames with one row of four and a half 36x24" frames screwed down the center, face to face. The structure was only attached by the frames screwed into the frames. As a result, I have introduced another structural approach to my language and I feel I can go forth from there.
Oh, and in terms of the process photos (the email screens, working in the studio, glue setting, etc, etc, etc), these are things that I think I would find interesting were I the audience. I'm there, and I think they are interesting, dynamic situations that can expand the dialog. Yes, it is a photo of all of the frames stacked in the studio, but what is that thing in the background?
Bobbi, I LOVE your last questions directed to Adam — I sort of jumped in the middle and answered them in relation to myself, but I want to direct them back to Adam. As a major fan I wholeheartedly second those inquiries. Dying to hear the response...
AM: To begin to answer I want to back up a little bit. For a long time, until very recently, my work had been made of systematic investigations of my own immediate world. Optics, emotion, repetitive white noise abstractions, environmental studies of the studio and the landscape all played a part. I was aware of a fluctuation between an inward view and an outward view but always, the entirety of these investigations were contained to the realm of self. I believe this has changed, this focus. I understand the importance of locating my view / voice within my own subjectivity but my concern now has transffered to a larger scope. There are so many things I want to address with my work, and it can be a bit daunting trying to cram them all in. This has caused the search for and development of flexible absorbent strategies.
Bobbi, I can relate directly to what you were saying before about the potential for a complicated reception to the sex in your poster negations, and while I do believe in maintaining a responsibility for the content of the work, I can also really identify with being weary to cosign with preexisting critique. There are more than one sides to each coin, and so many fucking coins! But I do think that the appropriation of preexisting critiques is a very interesting strategy. I also relate to Bobbi's idea that the marks you make on these posters identify the marks of your eye / mind, that the forms you make indicate / frame your interest / subject, are placements of meditative weight, stake territorial claim. This resonates with Brendan's idea about earning strategies through methodic demonstration, working slowly to enlarge territory. My current aim is to get as open as possible, to let as much as I can into what I'm concerned with. I want to see all sides, oppositions, I want to bring in content that clashes, I want to investigate how we regard, collectively or singularly, huge subjects like sex, like form, like light and dark, like life. I am interested in perception, cognition, objectivity, subjectivity. I am not now concerned with an absolute conclusiveness. Taking thematic hostages is an appropriation strategy. The idea is to cast a wide and yet specific enough net to catch multiple ideas with one shot, one object, one gesture and / or an overlay of multiple approaches. Bobbi, what you called shift is a very important concept that I am actively trying to build into my current work: the possibility of simultaneous multiple perceptions; multiple meanings, overlapping trains of thought, a clearly stated argument and equally its opposition. For someone who can read this into the work, what may result is a nearly physiological phenomena, a cognitive flickering between subjects, which in part I base on the event of Bridget Riley: the eye / mind reading the black and white lines of a painting into a range of grays, or myriads of color, still lines dancing. I am both interested in the creation and moldability of the reception of the work, and the impossibility of controlling the range of subjective, potentially opposed responses - the confusion that may occur. I have been playing with this in the Vanitas collages for the last couple of years, notably in The Closed and the Infinite (IIV), and the hybrid collage / sculpture Triumph of Pleasure over Reason, and again, in Object (all 2009).
I feel resistance to using the word optimism in relation to these strategies in my work. I do understand the strategic use of doublenegative, that negating something means selecting and thereby is an affirmation of that thing's identity, and though I can totally get hyped singing right along with you Brendan with "FUCK THE MAN TO DEATH IN THE HEAD!!" and also in the power of the removal of obstructions, I don't think that NOT NOT MEANS YES defines a central ideology within the aesthetic systems that I employ, nor do I want my cognitive systems rose colored. Sometimes I need shit more raw than that, I need the anger to remain. The most important need for me is to maintain a flexibility. I realize that in part this idea of "optimistic space" is being used interchangeably with the idea of the placeholder, a marked void to be filled, the unknown "x" in an algebraic equation; which is however nonevalutive, or at least conditionally evalutive. My problem with applying optimism to absence or the act of removal is that it dehistoricizes it, separates it from significant mournful events where loss is the primary attribute. It is for their flexibility that I was drawn to these condensed gestures / strategies in the first place. Not to drop a bomb this late in the game, but I think I use the strategy of Beauty in much the same way you use the strategy of Optimism, Brendan; as this flexible smokescreen, camouflaging my intentions, complicating my subject matter.
What do you both think about flexibility, in process and reception, in your work in general? And also through two works that I think are really interesting: Bobbi's Longing Longo (2007); Brendan's Looking For (2009).
BF: Respect. 100%. Yes. I'm not ready to say that I misspoke or misread, but I will say that I think that you clarified exactly right, Adam. I think I was hoping for something like that. And you know, I had forgotten about those two Looking For pieces until just the other day. I have been thinking about how to reopen that work, so I'm happy that you mentioned it. Among other things those were an attempt to circumnavigate the traditional gallery artist/objectcollector/purchase model in a way that didn't preclude that model, necessarily. Obviously, I'm fine with that model, and I'm also a big believer in commercial galleries as wonderful spaces for everyone to come and view art for free. The argument that museums —which charge an entry fee — are for the public, whereas galleries — which do not charge an entry fee — are for the bourgeoisie is really a drag to me. So there were two pieces in this series, the first one of which, Looking For (Storm&Stress), 2009 was a silk screen print on top of the same old 2008 BARR summer tour poster that I had used in a few earlier pieces. The silk screen was a simple text that ready "Looking for live recordings or video of the band Storm&Stress anywhere/anytime between 1996 and 2002 (or before or after). WILL TRADE THIS PRINT if interested, please contact firstname.lastname@example.com" and the second one, Looking For (Smog/Bill Callahan), 2009, was the same format, except that it was screened over the promotional poster that my American record label made to promote my 2006 Album, Summary, and the text said "Looking for live recordings (pref high quality audio) of Smog/Bill Callahan anywhere/anytime between 1990 and 2005 (esp. any recordings with Jim White on drums), WILL TRADE THIS PRINT if interested please contact firstname.lastname@example.com" So the idea was that they were printed in an edition of ten each, and they were for sale, $400 each, priced appropriately for their size, etc. If sold, the sale would go through the gallery, as per/usual, who had four out of the edition of ten. But if by some chance someone saw them in the gallery and wanted to trade, they could actually just take down my email from the print and email me to set up a trade, as I had the other six from the edition, cutting out the gallery entirely. And this wasn't intended as some deeply subversive thing, which I don't think it was, it was intended as functional. I am completely obsessed with both of these bands and I really am looking for bootlegs of them, both of which were based in Chicago at various points, and the show was in Chicago, so it was, like, I was really hoping something could come of this. Also involved here, though, was that fact that I was subverting/taking on my rock/performer identity/persona and burying it under a desperate plea of fandom.
My own ads crossed out by ads for searches for other's wares. Those were the larger ideas involved, not to say anything of the implicit issues of design and all of the signifiers surrounding those artists I was looking for, but I could go on for too long with that stuff. It is interesting, though, I'm not quite sure if I am surprised or not that not only did these pieces never sell at all, but I never received any offers for trade, either. I was sort of expecting them to do well in one department or the other, but they "failed" in both departments. But I think I need to bring that dialog back. That was a very specific context, the show in Chicago, and I think they may function differently somewhere else. And perhaps the bottom line, I'm still looking for those recordings! I know they're out there.
BW: Yes! But I wanted to mention that I can also relate to Brendan's point of earned strategies, arriving there through possible questions and problems one sets up for themselves. Some of the work I am most pleased with has come out of those kind of perimeters in which minimal means and limitations are maximized. Consequently, your own language develops and as you say, Brendan, it is rightfully yours bearing in mind the volition leading up to those decisions. Your work balances dynamics of condensed implosion and also an explosive openness to the collisions you've described. You cited free jazz and I relate it to an almost Cubist approach or vibe. I really enjoy how it feeds off itself and self generates as Adam incited, mapping your strategies along the way, emerging and reemerging questions and answers. Problems and solutions. Fragments. Yours is similar Adam, by way of expansive subject matter and formal structuring layers prompting subjective reactions. I like what you said: "I want to see all sides, oppositions, I want to bring in content that clashes," and I like how your work gets at how finding ones position among many possible positions is an active process, one that touches on thinking as ongoing. Not set and still. Endlessly arriving....at.....? You also talk about "the impossibility of controlling the range of subjective, potentially opposed responses, the confusion that may occur." I think confusion is such a rich and undervalued territory. One that exists at a different pace, and is an active place to be. Rather than directing a prescribed or specific interpretationas you say your work elicits response as a process. One that is active and on going rather than reductive and static. To head toward flexibility, and I think this relates to what we've been talking about in terms of developing a "rightful(?)" intrinsic and ongoing language. Perimeters, or margins come to mind, how they may arise, self inflicted or otherwise encountered.
Working, maximizing minimal means. I think about doing very little. Barely there-ness. Transparency, at times. For example, the Youtube video was made (like others) from filming a video off my computer screen while I played it on Youtube. At the moment I decided I wanted to do something with that footage, I could not really think of another way to obtain it other than filming it directly. I thought it was merely a practical way, and a dumb one at that, to accomplish something that I could change down the road but then, after editing, I really liked the results both visually and conceptually. The texture of the video referred back to the process quite literally but I also got into the way it looked, the appearance of (my) looking at this thing made obvious by this layer of remove which interested me a lot. I thought about other work which also does this and I regarded it as occupying a ghosty space. Things like that are sometimes obviously apparent in the work or else it is something more transparent which generates its production. The video was made out of someone else's fan video, and I did not think of what I was doing as that different. Transparency in its structure, as a fan of the fan video. Although mine was a little more savage in its approach to desire, but both share a kind of pleasure in looking. Anyway, I like what looking might look like and I could go on about that. In the case of someone like Louise Lawler, I love how the off kilter angles in her photographs accomplish so much with such simplistic means.
But to answer your question, Longing Longo is really flexible and especially looking back on the process now, very very loose and wonky. I was in grad school. I did not have a script or anything like that. Luckily, John Stevens my Longo was great to work with and contributed a lot to the piece and its process. The main structural component was that I remain off camera and my directions/choreography merely heard. The poses were fairly strenuous for him to maintain at times but we joked around a lot as well, which is also part of the piece.
I think of that video mainly in relation to reenactment: an area of interest and an ongoing theme in my work. I find flexibility within the ghostly aspirations I associate with elusive qualities of reenactment. Also my posters have a considerable range of flexibility in terms of their potential meaning, relating back to what Brendan referred to as "open." This is especially true of the text based posters. To me they have multiple lives. Interpretation, re visitation, reinterpretation, misinterpretation. Specific. Vague. I think a lot about Ruscha and the kind of immersing arid expanse I feel when looking at his work, the way they can be read or misread. The huh? and then the wow, which he speaks of: "Good art should elicit a response of "Huh? Wow!" as opposed to "Wow! Huh?""
December 2009 —March 2010


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Kenny Roby
One of my favorite songwriters lives right here in Raleigh, North Carolina. Kenny Roby, frontman for the regrettably-defunct Six String Drag, has just released his third offering, Mercy Filter. I made my way out to Raleigh's Pour House for Kenny's CD Release party on Friday night. Kenny was in top form, backed by a full band that included two drummers.
Kenny's new album is available over at his website. There are several musical offerings from his first two solo discs available there, in the form of flash-playable mp3's. For the new stuff, there are soundclips for Mercy Filter are available at Myspace.


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When hosting an elegant Christmas dinner, you want to create a dressy but approachable atmosphere for your guests. To help you strike this balance, below are some tips for your holiday event. Color Palette For a Christmas dinner, a neutral palette of golds, silvers, and creams can create a luxurious and sophisticated impression. You can
Day: December 19, 2017
Selecting the Right Wine for a Holiday Party
Whether you are hosting or attending a holiday party, chances are you will be purchasing wine for the party. But how do you know whether the other guests will prefer Malbec or Cabernet? Below are some tips from fortune.com to help ensure everyone has their glass filled for the Christmas toast. Classic Choices Not everyone


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"Hipaa or not to Hipaa"
The wonderful field of health care has made it possible to join in the fun of being a Hipaa member. Oh yeah. It is our grand pleasure to inform you that you are now held liable for the protection of the "hippa". Ok,,, soooo.. What is a hippa.?? Is it a small animal found on the large continent of Africa? Or should we be looking for this beast in the rain forest of Brazil?
Turns out this wild animal is found in the bowels of the healthcare system. Yep. one more of the wonders of healing. It wonders the halls and elevators looking for those who do not comply. Large fines are charged to the individual who does not take care to watch out for the Hipaa! "BEWARE OF THE HIPAA"!!!! You could potentially cause an incidental use or disclosure... So watch for he Safeguards. 1.) Don't let the hippa beast get in the way of your care. 2.) Info is given on a need to know basis!! (sounds like the military) 3.) Only the Facts....
The TPO is a crucial part of the system... With the hipaa beast wandering the halls we often find a mess that would require the use of a bit of TP..O TP can clean up a lot of ...stuff..... and put it in contact with an organization of TP you could reasonably assume that the hospital would be a clean place.
Next we come to Gap analysis... you don't want a leak... (enough said)
Hipaa the next animal to come out of the healthcare system.... Will it be the last???


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There's another tour! Panic! At The Disco have just today released dates across the U.S. for their Death of a Bachelor tour next year! Find your city here!
Will you be attending one of the concert dates? Let me know which one/s in the comments!
This photo was taken from P!ATD's Twitter account.


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You may recognize this Yale acappella group from NBC's The Sing-Off. Well, we here at BFF are so excited to have gotten to know this group of amazingly talented singers and to share their support for the BFF bracelet initiative. We've invited Brennan from the Whiffenpoofs to do a guest blog feature today. Check it out:
The Whiffenpoofs are among Yale University's oldest traditions. Founded in 1909 by a group of Glee Club singers, the "Whiffs" have sung together ever since, counting among their ranks such artists as Cole Porter. The Whiffenpoofs are a unique institution: not only are they the oldest collegiate acappella group in the country, but the group is composed of all seniors, so the members change every single year.
The Whiffenpoofs of 2011, this year's group, took advantage of the remarkable opportunity to appear on NBC's hit reality show, The Sing-Off. Filmed over the summer, the show launched us headfirst into our year as Whiffs, acting as what member Brennan Caldwell refers to as "acappella boot camp": "We filmed the show before we really knew each other. The weeks we spent in LA gave us a chance to learn about each other, musically and socially. It was key."
Now, almost halfway through our tenure as Whiffenpoofs, we can say without a doubt that we've formed lifelong friendships. Whether singing for elementary schools, or at the Lincoln Center for a pediatric AIDS benefit, or simply hanging out on campus, the Whiffs of 2011 are as much a group of brothers as a bunch of a cappella singers.
The Whiffs are proud to support the BFF Bracelet Program and wish our troops overseas comfort and joy this holiday season. We hope you enjoy this clip of "Silent Night"!
Happy holidays from BFF and The Whiffenpoofs!


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The Virginia Department of Game and Inland Fisheries plans to start releasing wild elk into southwestern Virginia as early as 2012 as part of the state's new elk restoration plan.
"How many times in a person's life do you have a chance to make a lasting difference, one that will leave a legacy of wildlife for the future of Virginia?"
That was the question Caroline "Tinker" Frazier, RMEF Virginia state chair, challenged board members of the Virginia Department of Game and Inland Fisheries (VDGIF) to consider at their meeting on August 17, 2010.
Frazier was among a number of RMEF volunteers and staff who gathered to hear the board's final decision on restoring elk to the commonwealth. She, along with RMEF Virginia district chair Kathy Funk, director of conservation programs Tom Toman and regional director Chris Croy all spoke passionately in favor of elk restoration, commended the department on their exhaustive work in developing an elk management plan, and pledged the RMEF's support and expertise should they choose to bring elk back to the state. Several other individuals and organizations were opposed, citing concerns over potential property damage and disease issues.
The board voted unanimously to restore wild elk into Buchanan County, which strongly supported the concept. The state's restoration plan calls for relocating 75 elk to southwestern Virginia with releases possibly beginning by 2012. Biologists are hoping for a sustainable elk population and a limited elk-hunting season within four years. County officials are expecting significant economic and tourism benefits similar to those in neighboring Kentucky, which launched its own restoration program more than a decade ago and now boasts more than 10,000—the largest elk herd east of the Rockies.
After the meeting, RMEF volunteers thanked the board members with heartfelt handshakes, then congratulated themselves for their hard work in bringing elk back to Virginia. According to Frazier, a few were at a total loss for words. "We were just truly grateful for the opportunity to do the right thing for the right reasons for generations to come," she says. "What a payday this was for the dedicated Virginia RMEF volunteers who remained steadfast for so many years."
Perhaps the decision was sweetest for Funk, whose late daughter Morgan—loved camping, hiking and the Elk Foundatio, and dreamed of seeing elk restored to Virginia one day.
RMEF responded to the news by pledging support for the effort, which could include funding assistance, technical expertise and/or volunteer labor.
"Hats off to our volunteers and the citizens of Virginia, and especially those of Buchanan County, who understand there is no higher calling in conservation than restoring a native game species to sustainable, huntable, balanced populations," says David Allen, RMEF president and CEO.
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Wapiti Wire E-NewsletterThe RMEF sends out Wapiti Wire, our volunteer newsletter, to inform our volunteer members about our conservation and fundraising activities and successes throughout North America.


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I made this today. It was inspired by my cousin Liam, who gave me this jar.
Harissa is a Tunisian chili sauce that has more flavor than heat (but still a little heat).
I had never heard of it until I tried the Harissa Rabbit Lola in Seattle (the restaurant where Liam is an executive chef). He gave me the jar because I kept obsessing about how good it was. On his wedding night, his wife Audrey gave me a quick harissa tutorial (she's a chef too). So guys, here's what I came up with. I have to say, it impressed even me. I'm not bragging, I just surprised the hell out of myself when I tasted the final product. It has a sweet, spicy tang that reminded me of a mole or a really good bbq sauce (but not as sweet). This is beyond good.
Harissa Chicken Braised in Carrot Juice
4 organic free range chicken thighs
1/2 large yellow onion diced
1 C chicken broth
3 t Harissa (find a good one like Mustapha's)
1 t ground cinnamon
1 t ground ginger
1 t ground cumin
1 1/2 C fresh carrot juice (if you have a juicer, hey, dust it off and get it working again)
1/4 C dried apricots diced
1/4 C golden raisins
1/2 C quartered crimini mushrooms (optional)
1/4-1/2 t kosher salt
Season chicken thighs with salt and pepper and place them in a hot enameled cast iron dutch oven. Brown both sides. It takes about 4 minutes on each side. Let it get some good color.
Remove the chicken and add your onions to the chicken fat. Add a few tablespoons of chicken broth to release the brown bits on the bottom of the pan.
When almost translucent and all the liquid has evaporated add the spices (cinnamon, cumin, ginger and harissa). Cook for just a little while until the pan is drier and the spices are toasted.
Add the carrot juice, the rest of the chicken broth and salt to taste (don't put in too much salt because you are going to reduce the sauce). Bring to a boil.
Add chicken back to the pot with apricots, raisins and mushrooms.
Cover and simmer until chicken is cooked completely (10-20 minutes). Remove everything but the liquid. I strained the veg and pieces out with a strainer.
Reduce sauce until it's thick and viscus (don't skip this part).
Once sauce is to your liking (coating the back of a fork) return chicken, veg and fruit to the sauce to coat.
Serve over cous cous.


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Google Maps heads north...way north
Posted by Andre Tauladan in maps and earth on Wednesday, August 22, 2012
Search for [cambridge bay] on Google Maps and you'll fly to a tiny hamlet located deep in the Kitikmeot Region of Nunavut in Canada's Arctic, surrounded by an intricate lacework of tundra, waterways and breaking ice. High above the Arctic circle, it's a place reachable only by plane or boat. Zoom in on the map, and this isolated village of 1,500 people appears as only a handful of streets, with names like Omingmak ("musk ox") Street and Tigiganiak ("fox") Road.
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Posted by Karin Tuxen-Bettman, Google Earth Outreach team
(Cross-posted on the Lat Long Blog and new Google Canada Blog)
This entry was posted on Wednesday, August 22, 2012 at 6:00 PM and is filed under maps and earth. You can follow any responses to this entry through the RSS 2.0. You can leave a response.