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With the Home app, you can customize settings for an individual HomePod and manage settings that apply to all of your HomePod speakers. You can change these settings on an iOS device or Mac that's signed in with the Apple ID that you used to set up HomePod. You can also change these settings if you're a shared user of a home with admin privileges.
Customize settings for a HomePod
You can customize settings for an individual HomePod, like its name, how you engage Siri, and the type of content it plays. On iOS, open the Home app, press and hold HomePod, and tap Settings . On Mac, double-click HomePod. From here, you can find the serial number of your HomePod and turn on accessibility features, like VoiceOver and Touch Accommodations.
You can also customize the following settings.
Change its name, room, and more
Give HomePod a name, change the room where it is, and add it to Favorites to access it from Control Center and Home tab. If you have two HomePod speakers in the same room, you can also create a stereo pair.
Manage Music & Podcasts
Sign in to Apple Music with your Apple ID, manage explicit content, play all songs at the same volume, and discover music based on your listening history.
Use Siri
Choose how you engage Siri, what you want to see or hear when Siri is listening, and change the language and voice for Siri.
Change Wi-Fi networks
Tap Wi-Fi Address to see the Wi-Fi Network that HomePod is connected to. If it's on a different Wi-Fi network than your iOS device, tap "Move HomePod to [Wi-Fi network]" to connect HomePod to the same Wi-Fi network as your iOS device.
Manage settings for multiple HomePod speakers
You can manage settings that apply to all of your HomePod speakers in Home Settings on the iOS device or Mac that's signed in with the Apple ID used to set up HomePod. You can also manage settings if you're a shared user of a home and have admin privileges (the ability to edit or change something) in the Home app.1
Check for updates, share control, and more
To find Home Settings in the Home app on your iOS device, tap in the upper-left corner. If you have multiple homes, tap Home Settings. On your Mac, go to Edit > Edit Home.
From here, you can manage the following:
- Home Hub: Check if your HomePod is connected as a Home Hub.
- Share control: Invite others to control your HomePod and HomeKit accessories.
- Personal Requests: Under People, tap or click your name, then tap or click Personal Requests to allow HomePod to access Messages, Reminders, and Notes.1 On iOS, you can also press and hold HomePod, then tap Settings to turn on Personal Requests. On Mac, just double-click HomePod.
- Software update: Check for updates, turn on automatic updates, and see the software version installed on HomePod.
Change AirPlay settings
You can control how others connect to all of your HomePod speakers using AirPlay in Home Settings. Just make sure that your iOS device or Mac is signed in with the same Apple ID used to set up HomePod. You can also change these settings if you're a shared user of a home with admin privileges.
- Open the Home app on your iOS device or Mac.
- On your iOS device, tap in the upper-left corner, tap Home Settings, then tap your Home. On your Mac, go to Edit > Edit Home in the menu bar.
- Under Speakers, Allow Speaker Access then choose from the following:
- Everyone: Anyone within range of your HomePod can see and play to it.
- Anyone On the Same Network: Anyone connected to your home Wi-Fi network can AirPlay to your HomePod.
- Only People Sharing This Home: Only people that you invite to share control of your Home in the Home app can AirPlay to HomePod.
- Require Password: To AirPlay to HomePod, users will need to enter a password.2
- Shared users with admin privileges can't change settings for Personal Requests.
- If you set your speaker access to require a password, only the primary user can transfer phone calls to HomePod.


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subset: commoncrawl


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Site Survey
Here's a look at the seven biggest trends in meeting and event locations during the past 10 years.
As planners have become more savvy about experiential marketing and unconventional meeting concepts, so too have venue owners and managers. So over the course of the past decade, their locations have evolved and adapted to serve the needs of more discerning clients. Now the landscape is populated with an array of stylish spaces—big and small—that provide in-house multimedia capabilities and other technical equipment, as well as a roster of vendor partners.
Some of these changes can certainly be attributed to the strain of the recession and its sluggish recovery, where sweeping cost-cutting measures pushed the industry to watch budgets more carefully. At the same time, planners have gravitated toward a more immersive, message-focused model of events that requires a certain amount of versatility. Technological advancements have altered what many events require, and which venues are able to offer them. And of course, style always plays a factor in such changes, too. Here's a look at the biggest changes we've seen in the past decade.
1. Club Expansion
Spurred by the growth in the number of large clubs from 2003 through 2007—spots like the 43,000-square-foot Mansion in Miami and Hollywood's 1,100-capacity Avalon—more event hosts started taking their functions to hot nightlife destinations. Part of the attraction was that unlike some restaurants, raw spaces, and other convention-hotel alternatives at the time, these venues had state-of-the-art sound and lighting systems. "The more you have for clients to use in-house, the more attractive your venue is to them. Rental fees for audiovisual equipment are steep, and by taking those costs out of the equation, it makes the venue itself seem discounted," says Noah Tepperberg, co-owner of New York club Marquee, which opened in 2003 and quickly became a popular site for events, as well as Lavo and Tao in Las Vegas.
2. Rise of the Celebrity Chef
As the popularity of nightclubs started to wane in 2006, the Food Network and TV shows like Top Chef fanned the flames of the celebrity chef craze. Functions at restaurants with the added appeal of a famous chef's name on the door—and the menu—became increasingly sought-after. Aware of this more food-focused culture, corporate and nonprofit hosts are bolder about the dishes served at events, a shift that has affected venues across the spectrum. "Thirty years ago it was fruit cup, prime rib, and baked Alaska, every single night. If a catering director served that today, he would be fired," Jim Blauvelt, the executive director of catering for the iconic Waldorf-Astoria in New York, says with a laugh. "The customers today want to put things in front of their guests that haven't been seen before. You wouldn't dare do that in the old banquet days. Now it's a hallmark that you care, that you have your guests' interest and entertainment at heart, and that you want food to be a serious component of the experience."
3. Tech-Savvy Independent Spaces
When the economic downturn hit, events suffered and restricted budgets meant planners had to do more with less. In the same vein, dedicated spaces for events—the bare studios, raw industrial sites, former nightclubs, and conference centers—were driven to offer even more services, especially with the rising demand for videoconferencing and other meeting and event technology. "These days, having built-in technology is a given. Multimedia is a very big trend, and Webcast capabilities with video and audio capture are something clients are looking for. Dedicated lines for Internet access is a must, as is high-speed wireless," asserts Fred Seidler, a New York-based freelance sales agent and consultant for event sites, who manages bookings at the broadcast-ready Jerome L. Greene Performance Space. Meet Las Vegas is just one example of a growing number of souped-up sites, with capabilities that include virtual presentations and plug-and-play for high-definition media.
4. Boutique Boom
The model of the smaller, design-driven hotel became an attractive option for hosts who want built-in decor or a break from more traditional properties. (Whether or not the boutique concept has itself become another cookie-cutter approach is up for debate.) The hotel genre gained momentum in the later half of the decade—the James in Chicago; the outposts of hipster chain Ace Hotel in Portland, Oregon, Palm Springs, California, and New York; and the Morgans Hotel Group's fashionable Mondrian brand in Los Angeles and Miami. And the prevalence of boutiques continues, even in the casino cities where enormous hotels and resorts boast 1,000 or more rooms. Atlantic City now has the nongaming Chelsea, and the 150-suite Rumor opened in Las Vegas in 2010.
5. Lofty Locales
With the influx of new and newly renovated hotels and the increased effort to monetize a property's assets came a wave of rooftop spaces. Furnished as lounges and offering expansive city views, the open-air spots were marketed as warm-weather bars, as well as attractive places to host events. New York's Hotel Gansevoort made a big splash when it opened in 2004 with a pool deck on its roof, offering a more accessible option than the much coveted rooftop of its neighbor, the members-only SoHo House. And New York's Empire Hotel has hosted a variety of events—movie premiere parties, Fashion Week shows, and press events—on its 12th-floor terrace since opening it in 2008. Elsewhere, soirees for nonprofit and corporate hosts have taken place atop the London West Hollywood and the W South Beach, and even properties in cities not known for their warm temperatures got in on the act, including the Thompson Toronto and the Wit in Chicago.
6. Cultural Attractions
Art galleries, museums, and historic buildings also saw an opportunity to bring in more corporate gatherings, charity galas, and promotional stunts. Alongside renovations and new construction was the creation of areas suitable for events. When the Art Gallery of Ontario completed its multimillion-dollar expansion in November 2008, the institution unveiled an all-new 7,000-square-foot dedicated event space on the third floor, known as Baillie Court. That same month the Intrepid Sea, Air & Space Museum reopened with a more flexible layout and upgraded technology. The Tampa Museum of Art's new Cornelia Corbett Center includes an 18,000-square-foot covered outdoor facility for receptions and other functions, while the new Art of the Americas Wing at Boston's Museum of Fine Arts added a 150-seat auditorium and glass-covered courtyard to the museum's offerings.
7. Networking-Driven Sites
Within the past two years, venues—mostly the larger hotel chains—have pioneered a new take on meeting spaces, a concept that goes hand in hand with the spread of participant-driven conferences. In addition to being more stylish replacements for the traditional boardroom, these spots are designed with personal interaction in mind—with so much interaction online now, that's the point of in-person gatherings, after all. They blur the lines between conventional corporate powwows and more casual, reception-style gatherings. At the DoubleTree Philadelphia's Assembly on 5 and Hyatt's new collection of Andaz properties are function rooms centered around communal kitchens and lounges. Sheraton Hotels & Resorts partnered with Microsoft to create "Link@Sheraton"—comfortable café-like spaces equipped with wireless Internet, computer hubs, and communal tables—while the Grand Hyatt New York replaced its lobby-level restaurant with a versatile site dubbed Gallery on Lex.
- Featured Venues/Suppliers:


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DMcGrew wrote:**** this ****.
We're gona win.
Gaucho wrote:Final score will be 6-3.
Henry Hank wrote:The Pens need to worry more about playing good hockey again than trying to catch the Rangers at this point.
shafnutz05 wrote:This team is a joke tonight...good god. Nice work Paul, almost kill your own goalie
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text: While they may look like no more than fuzzy dots, these are real pictures of other worlds. Over the last few years, astronomers have been learning how to accomplish the difficult task of directly imaging extrasolar planets and have now captured about half a dozen subjects. Direct imaging is one of the next big vistas in astronomy. Soon, researchers will have telescopes that can focus in greater detail on these exoplanets, providing better information about their atmospheric composition and possibly even detecting the signatures of life. "The only way we're going to really nail down an Earth-like planet around a star like our sun is with direct imaging," said Bruce Macintosh, an astrophysicist at Lawrence Livermore National Laboratory. Though more than 100 new extrasolar planets have been announced at the Extreme Solar Systems II meeting in Moran, Wyoming this week, all were discovered through indirect methods that detect planets as they dim the light of their parent star as they pass in front of it or gravitationally tug on it to cause a wobble. These techniques can discern a planet's size and location — important clues to its habitability, but with direct imaging, light from a distant planet can be spread out into a spectrum, providing information about the molecules and compounds in its atmosphere. One day, researchers may find a directly imaged planet that harbors the ingredients of life, such as water and oxygen. But direct imaging is a tricky business. Scientists need to figure out how to block out the light from a vivid star and resolve the much dimmer light reflected by a planet. "It's like trying to see a faint ember glowing next to a very bright searchlight," said astronomer Ray Jayawardhana of the University of Toronto in Canada, author of the book Strange New Worlds. To accomplish this task with ground-based telescopes, astronomers use adaptive optics to smooth out the blurring of the distant light due to the Earth's atmosphere. They must also block out the central starlight, either by covering it with a small disk in the telescope or using computer software to subtract out the star's light while retaining any glow from nearby objects such as planets. With direct imaging, researchers have to focus their searches on young stellar systems, whose planets still retain a great deal of heat following their formation. Jupiter, an older planet, has cooled too much since it formed and now is about a billion times less bright than the sun. Directly imaged planets, still hot out of the oven, are a typically around 50,000 to 100,000 times less bright than their parent star. With indirect techniques, astronomers are better at searching for planets that orbit close to their central star, where they cause a greater wobble or eclipsing effect. Indirect searchers, on the other hand, allow researchers to find planets much farther away from their central star, where the starlight is less overpowering. The two methods can complement one another, allowing scientists to study planets in systems at a wide variety of distances. Above: Brown Dwarf and Child The first directly observed exoplanet is not quite a planet. That is, most planets we know about orbit stars. Spotted in 2004, the small red dot (the planet) is about 3 to 10 times more massive than Jupiter and is spinning around a brown dwarf, which is an object larger than a planet but without enough mass to ignite into a burning star. This odd pair is located approximately 172 light-years from Earth. This system presents a great puzzle to astronomers, says astrophysicist Bruce Macintosh. While technically the smaller object counts as a planet, it probably didn't form in a big dusty disk around a central star the way the planets of our solar system did, he says. Instead, it and the brown dwarf may have formed together, like a miniature version of two stars forming next to one another. Image: ESO/VLTFar Out Planet Another imaged planet orbits around a star known as IRXS J160929.1-210524, located 470 light-years away. The parent star is relatively young, only 5 million years old, and slightly smaller than the sun. The planet is estimated to be eight times the mass of Jupiter and orbits its companion at a whopping 330 astronomical units, or more than eight times farther out than Pluto is from the sun. That such a large planet is located so far out challenges many models of planetary formation, says astronomer Ray Jayawardhana, who was on the team that imaged this object. Some models suggest the planet originally formed much closer in and was then hurled out, while others suspect the duo formed like an extremely unbalanced binary star, with one partner gobbling all the mass and the other left to starve. Though it is probably too large and too far from its parent star to hold life, spectral data have shown that the planet has water vapor in its atmosphere. Image: Gemini ObservatoryPlanetary Family The best-studied directly imaged planets all orbit a 30-million-year-old sun-like star named HR 8799, located 129 light-years away. In 2008, data from the Keck and Gemini North telescopes on Mauna Kea in Hawaii resolved three dim companions orbiting around this star. They are estimated to be around five to seven times more massive than Jupiter and are located at roughly 25, 40, and 70 times the Earth-sun distance from their parent star. Other telescopes have since been able to pick out the little companions and confirm their existence. Scientists have even been able to take images over several years and watch the planets as they orbit around their central star, just like the planets in our own solar system. "It's very cool to see them move in real life," Macintosh said. Image: Gemini Observatory/NRC/AURA/Christian Marois, et al.Family of Four Researchers were in for a surprise when, in 2010, they found a fourth companion to the HR 8799 system. This planet was also around seven Jupiter masses and is located at 14.5 times the Earth-sun distance. By having spectra from these worlds, researchers were able to deduce that they contain carbon monoxide and were depleted in methane, which suggests they formed in part by cannibalizing comets in their system, says Macintosh. Image: NRC-HIA, Christian Marois, and the W.M. Keck ObservatoryA Controversial Case On the same day that the initial HR 8799 planets were announced, another team of researchers unveiled a small planet, approximately three times the mass of Jupiter, traveling through the dust disk of another young star. The star, known as Fomalhaut, is approximately 25 light-years away. Both star and planet were spotted using data from the Hubble space telescope. But since the announcement, some astronomers have questioned the existence of the companion. During a talk at the Extreme Solar Systems conference, Jayawardhana discussed the fact that no other telescope has since been able to spot the Fomalhaut companion. The original Hubble instrument that saw it subsequently broke and will not be fixed. Jayawardhana says the team that spotted the object reported one new data point at the conference this week. But, he says, it shows the companion behaving strangely. The initial images showed the object moving around the edge of the disk in a circular orbit, but in the newer data the planet is no longer on this trajectory. Jayawardhana does not believe this dot is a direct image of a planet. What it is, he is not sure. Possibilities include a transient feature in the dust disk or a background star. Jayawardhana says that at the conference the team that made the initial discovery countered that the companion may have an orbit that crosses the dust disk. Image: NASA, ESA and P. Kalas (University of California, Berkeley, USAInner Planet Another well-studied planet orbits around Beta Pictoris: a sun-like star 63 light-years away. The planet is estimated to be eight times more massive than Jupiter and orbit at only 8 astronomical units, about the distance between the sun and Saturn. Some data suggests the planet is unusually wide, and one explanation for this would be that it is surrounded by a ring of its own, perhaps making it even more like Saturn. Image: ESO/VLTGoing Around Because it is much closer to its star than most other directly imaged planets, astronomers have been able to image this exoplanet at many points of its orbit. It was seen once in 2003 and again, on the other side of the star, in 2009. Researchers estimate that the planet should complete its orbit in about 15 years. Astronomers can also see a dust-free gap around Beta Pictoris. Because the planet is in the middle of the gap, it is suspected of vacuuming up the gas and dust that exists around the young star. Image: ESO/VLTSeeing in the Future In the future, astronomers hope to take advantage of a slew of new tools that could help them directly see extrasolar planets with much higher precision. Currently being built, the Gemini Planet Imager will be deployed at the Gemini South telescope on Cerro Pachon, Chile in mid-2012. Specifically designed with planet imaging in mind, the instrument will have far superior adaptive optics and much smoother mechanics than current devices. "It will be 10 to 100 times more sensitive than the instruments we're using now," said Bruce Macintosh, who is principle investigator on the project. The night sky above the Gemini South telescope can be seen in the image above. Hot on the heels of this project are several others, including the European Spectro-Polarimetric High-contrast Exoplanet Research (SPHERE) instrument. This telescope will be used on the Very Large Telescope (VLT) on Cerro Paranal, Chile and is also expected to see first light around mid-2012. Together, these telescopes will raise the number of directly imaged planets from a handful to many dozens. Simulated images from the GPI depicting a hypothetical fifth companion around HR 8799 can be seen below. Image #1: Gemini photo by Manuel Paredes, Gemini Observatory/AURA Image #2: Marshall Perrin (STScI) and Christian Marois (HIA)Space-Based Telescopes Ultimately, the goal of such research would be to see an Earth-sized planet orbiting close to a star, possibly even within the habitable zone. But this day is still many years away and will require a space-based telescope mission. NASA's much-beleaguered James Webb Space Telescope is expected to help in direct imaging searches whenever it launches. Beyond that, other proposals involve a flotilla of probes that would block out light from a central star with a tool called a nuller. One example is the Terrestrial Planet Finder, seen here, which would require five spacecraft to split and focus light on mirrors between them. Though that project has been canceled, the technique may one day be used on a future mission. Another proposal is to fly a giant occulting circle in front of a telescope to block out starlight and see Earth-sized planets. One such mission still in the early stages of development that might incorporate such a technique is the Telescope for Habitable Earths and Interstellar/Intergalactic Astronomy (THEIA). Any of these missions, if selected to launch, won't be operational until 2020 or beyond. But the idea that they may someday go up gives astronomers something to look forward to. "Right now we see all these fuzzy red dots, but hopefully one day we'll see a fuzzy blue dot," said Macintosh. Image: NASA/JPL-CaltechSee Also:Exoplanet Hunters Finally Catch One in a Star's Debris DiskTop 5 Most Extreme ExoplanetsExtreme Exoplanet's Wild RideFirst Direct Image of Multiple Exoplanets Orbiting a StarNewly Discovered Extrasolar Planet Is Smallest Yet


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As a writer and a producer, Sherwood Schwartz helped create the stuff of enduring TV legend. The man who brought us the wacky castaways of "Gilligan's Island" and the iconic All-American Brady family died Tuesday at the age of 94.
Schwartz started out as a writer on the '50s sitcom "I Married Joan" and the variety series "The Red Skelton Show" before launching "Gilligan's Island" in 1964. The multi-talented hyphenate also composed music, helping to craft the instantly recognizable themes to "Gilligan's Island," "The Brady Bunch," and the earwormy "It's About Time."
Despite his advancing years, Schwartz remained active until just a few years ago, producing both late '90s "Brady Bunch" movies starring Shelley Long and Gary Cole, and even overseeing "The Real Gilligan's Island" special in 2004.
U.S. & World
Schwartz is reported to have died peacefully in his sleep of natural causes. He is survived by his wife of 69 years, Mildred, and their four children.
Selected Reading: TMZ


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Is Non-Christian Thought Futile?
Keith Parsons
Readers of recent theistic philosophers are likely to be struck by contrast between the sophistication of the logical machinery employed and the modesty of the claimed results. Alvin Plantinga expends vast labors of modal logic to argue that theism is no less rational than atheism. Richard Swinburne devotes his enormous expertise in Bayesian confirmation theory to the claim that God's existence is rather more likely than his non-existence. In such a context, Douglas Jones's claim is truly breathtaking: "...non-Christian thought, whether atheistic, agnostic, or religious, ultimately destroys rationality, science, ethics, and every other aspect of human experience." Further, " A properly Biblical critique [of non-Christian thought] will not only demonstrate the utter futility of non-Christian thought, it will positively demonstrate that the Christian view of reality is intellectually inescapable [emphasis in original]." All this in a little over two pages!
Clearly, Jones is making some very big claims, and very big claims take a lot of proving. Further, philosophical claims are like the proverbial prizefighter: The bigger they are, the harder they fall. Jones's claims fall very hard.
According to Jones, the fatal flaw of non-Christian thought is "epistemological autonomy," which he defines as follows:
Epistemological autonomy is the view that the human mind is the final criterion of knowledge. According to this view, common to non-Christian thinkers from Thales to Derrida, the Christian God has to be either non-existent or irrelevant to epistemological concerns. Human categories alone are necessary to determine modality, truth, and value.
Odd. I thought Thales flourished circa 600 B.C. and so would be most unlikely to have any sort of opinion about the Christian God. Anachronisms aside, there are a number of puzzling things about this remarkable passage. For one thing, what are we to make of the charge that non-Christians regard the human mind as the "final criterion for knowledge"? We have to know what Jones means by this last phrase before we can understand his accusation.
Perhaps, and this seems the most reasonable construal of Jones's meaning, he is accusing non-Christians of recognizing no higher authority for their judgements about truth, value, etc., than what their own minds tell them is true, valuable, and so forth. As a non-Christian, I hasten to plead guilty to this accusation.
All I want to know is, what is the alternative? Should I believe that something is true or valuable that my mind tells me is not? Should I suspend my own judgements about truth and defer to some alleged revelation? How, then do I know that it is a true revelation? Jones cannot say, on pain of appealing to the very criterion he rejects, that I could trust my own mind to tell me that it is a true revelation. Could another revelation tell me that the first revelation is true? But how, then, would I know that that revelation is true? Surely we are on the road to an infinite regress.
The upshot is that nobody, not even Jones, has any choice in the matter. We must trust our own minds about what is true, even if there is revealed truth. Purported revelations are a dime a dozen. As Mark Twain allegedly said, "Mankind has discovered the one true religion. Lots of `em." Why should we believe in Christ rather than Quetzalcoatl? The only possible answer is that our minds tell us that the Christian revelation is true and the Aztec one not. Hence, epistemological autonomy must be exercised to discover the true revelation, if there be any. Thus, it is Jones, not the non-Christian, who is in an epistemologically self-vitiation predicament.
In the main part of his article, Jones pillories Paul Kurtz, holding up Kurtz's book, The Transcendental Temptation, as exhibit number one in his prosecution of the case against non-Christian thought. Now Paul Kurtz is certainly capable of defending himself, so I would not have much to say here except for the fact that Jones tells us that Kurtz's errors are also common to such other atheistic miscreants as "Nielsen, Flew, Parsons, [and] Martin," What, then, are Kurtz's epistemic sins that we others have shared in?
Jones claims to perceive a tension in Kurtz's thought. On the one hand, Kurtz emphasizes the competence of the autonomous human mind to arrive at reliable knowledge: Science and common sense employ objective standards to arrive at reliable knowledge. On the other hand, Kurtz emphasizes the incompetence of human knower: There is much that we do not and perhaps cannot know. Epistemological standards change and we cannot ever say that human beliefs represent an absolutely correct picture of reality. Jones sees such alleged tensions as "horrendous epistemological conflicts."
What exactly is the problem here? How is my claim to know some things in any way vitiated by my admission that there are many things I do not know? Suppose I even admit that there are some things, like, say, how bread and wine can simultaneously be the body and blood of a man crucified 2000 years ago, that utterly transcend my understanding. Does my inability to fathom the mysteries of transubstantiation mean that I must, for instance, entertain serious doubts about the existence of gravity? Does the fact that epistemological standards change mean that I am incompetent to judge the validity of modus ponens?
Jones tells us that "If autonomous categories are so limited as to leave, now or forever, much of reality `unknowable' then Kurtz cannot speak with any boldness whatsoever about our present knowledge since there might be some factor in this unknown realm which makes our robust claim to knowledge false." In other words, if we don't know everything, we can't know anything. The fact that I cannot conclusively demonstrate that I am not a brain in a vat means, according to Jones, that I can make no confident claims to knowledge at all.
In short, Jones is reviving the old project of Descartes's Meditations: Knowledge is defined as absolute certainty. How, then, can we be absolutely certain that we are not the dupes of an evil genius, an omnipotent demon who amuses himself by making us err in all our knowledge claims? The only way, Descartes realized, is to become absolutely certain that an omnipotent good being exists who will not allow us to err in all our judgments about truth. But there's the rub; how can we be absolutely certain that such a good omnipotent being exists? Descartes's theistic "proofs" are embarrassingly weak, and his whole project founders on them.
As with Descartes, the only way out of the dilemma Jones sets for the secular thinker--absolute certainty or complete skepticism--is absolute certainty about the existence of God. Where, then, are Jones's proofs? To escape from the dilemma we must have absolutely indubitable theistic proofs, and Jones provides none. If Jones replies that, unlike Descartes, he does not equate knowledge with certainty, then what is the force of his objection to Kurtz? Why, in that case, cannot Kurtz and the rest of us make bold, confident knowledge claims even though we cannot be absolutely certain that they are not wrong?
Finally, and fatally, Jones's argument is self-defeating when addressed to non-Christians. Jones's conclusion is that non-Christian thought is futile. The non-Christian can evaluate this conclusion only by employing those very criteria and categories stigmatized as futile by that conclusion. Hence, if the conclusion is true, the non-Christian's attempt to evaluate the claim "all non-Christian thought is futile" is futile. It follows that if Jones's argument is sound, the non-Christian must necessarily lack rational grounds for accepting its conclusion. Surely I am justified in dismissing out of hand any argument that guarantees that I cannot rationally accept its conclusion.
In conclusion, Jones has shown absolutely no problems with the sort of fallibilistic epistemologies favored by many secular thinkers. Worse, an appeal to revelation, if it is not to be completely irrational, must be judged by the autonomous human mind. Without such judgements, what is Revealed Truth to you will only be hearsay to me. Finally, as a polemic directed to non-Christians, Jones's argument is an utterly self-defeating failure. Thus, in his effort to prove the futility of non-Christian thought, Jones only succeeds in tying himself in conceptual knots. There certainly is evidence of futility here, but not on the part of non-Christians.


text: Depression is real. As an artist, I live with it every day, and the operative word is "live." It is not easy, and at times it seems as if I have no problems with the struggle. There are times when I feel on top of the world…for a moment. Then a tunnel surrounds me blocking out any affection or caring word I've ever heard from anyone else in my life. It becomes me at my most isolated, not selfish, state where although people are surrounding me, they have been blocked from my vision.


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Monday, March 12, 2012
Stephen Gammell At Work
Posted by Rot at 6:33 AM
Labels: art, artist, awesome, stephen gammell
4 comments:
- Countess VonRauber (Heidi) said...
It was awesome to see him doing his thing. I guess i never realized that his illustrations were painted. His art is so unique.
- March 12, 2012 at 10:19 AM
- SaraB! said...
So much love. I wish there were videos of him painting some of the stuff from the scary stories books. It's fascinating to watch him work
- March 12, 2012 at 11:36 AM
- Marrow said...
Amazing. Thanks for sharing!
My favourite thing about his artwork is the weird stringy tendrils that seem to be dangling off everything.
I'm constantly trying to work those into my props.
Stephen Gammell is a legend.
- March 12, 2012 at 3:40 PM
- Shotgun_Mario said...
He lives about a mile and a half from me. I was going to walk up to his door and try to talk to him, but I haven't gotten around to it. He has a studio around here somewhere... I'd love to see it.
- March 12, 2012 at 11:15 PM
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Tuesday, February 28, 2012
How the Siren Jinxed the Oscars
Clearly, the Siren needs to get out of the Oscar Wishlist business. Because she could not have jinxed the ceremony more thoroughly if she'd sent Brian Grazer a link to Dan Kois.
The Siren's been watching this hoedown since she was a wisp of a thing, pleading with her sainted mother to let her stay up and watch in case somebody important--meaning someone OLD--showed up. And despite the fact that two nominated films were explicitly about film history, and the additional fact that a silent movie--a silent movie, my friends, has that really sunk in?--won, the Siren has never seen a show less indebted to any true sense of Hollywood history. It bordered on the perverse. No, fuck it; this crossed the border of perverse and entered the Crown Territory of Bloody-Minded on a permanent visa.
Part of the reason the Siren was MIA yesterday was that she had scheduled a physical bright and early, but the main reason was that this show just about broke her heart.
The Siren knew she was in trouble when the first "old movie" montage showed exactly one black-and-white movie--and it was Raging Bull. A fine film. If anybody had bothered to ask Mr. Scorsese, he might have told them about his movie's debt to Body and Soul, to name only one, but evidently film history stretches to Midnight Cowboy and no further. The other bone thrown to anybody who's ever clicked over to TCM was an inexplicable Cirque de Soleil flying-trapeze act, which started with North by Northwest (a film that went unnominated in all major Oscar categories, by the by) and continued with the decision to screen a clip of the most famous Technicolor movie of all time in black and white…because Gone with the Wind is flippin' old, kids. There was some flapper-style hair around, but any silent clips aside from The Artist itself were so brief as to pass the Siren right on by, which in fairness could have happened, as she took some breaks and spent some quality time with her head in her hands.
The fine old Academy tradition of taking the easiest task in the show, which is to put together a montage of the Great Film People Who've Left Us, and royally screwing it up, is in no danger of being violated, it seems. This one was particularly ghastly. Bleached-out stills, because that's what we remember about movie artists, their ability to hold still, and because if you didn't show a literal reminder of the mists of time, people might not realize these folks are dead. And bad music; in this case, "What a Wonderful World," sung by someone who is Not Louis Armstrong.
And look, the Siren realizes it's mandatory to leave someone out. At this point she suspects it's the AMPAS equivalent of Al Hirschfeld's "Nina" or Jack Lemmon muttering "magic time." Snubbing Harry Morgan, who made more than 100 movies including at least a half-dozen permanent classics…that makes me mad. It also made goddess Kim Morgan mad; she took to Facebook to swat away remarks that Morgan was primarily a TV actor with, "Yeah, and so was Fred MacMurray." (Kim is in Paris with husband Guy Maddin, offering her acting presence and invaluable cinematic intelligence as he makes a project about lost films. You can watch the filming progress live, right here, and the Siren recommends doing that with all her heart. Might cheer us all up.)
No Oscar show is ever completely worthless, though. (Yes, the Siren means that.) In this case, the award of the Foreign Film Oscar to Asghar Farhadi's A Separation was the single most moving and wholly, perfectly correct decision of the evening. If you haven't seen this superb piece of filmmaking, get thee to an arthouse on the double. Needless to say the Siren was also pleased with every Oscar that went to Hugo, a movie she's convinced will live a long time, perhaps long enough to be too old to get mentioned on the Oscars.
But say what you will about The Artist (although the Siren is kind of hoping we already took care of that, to be honest), two of its winners showed some class. Michel Hazanavicius thanked Billy Wilder; the Siren wanted King Vidor, as she said, but Wilder will do nicely under the circs.
And Jean Dujardin thanked Douglas Fairbanks. The Siren doesn't care if you thought his performance was Virginia smokehouse on rye. This was a Frenchman in a roomful of Americans, the sole person up there thanking an artist of the old days who directly and substantially contributed to what got him the Oscar.
Small mercies and small mercis. Who knows, maybe next year, Angelina Jolie will remember to thank Joan Crawford, for helping her perfect THIS POSE.
47 comments:
- Chris Edwards said...
Would it be uncharitable to point out how much healthier Crawford looked while striking that pose?
Train-wreck though last year's telecast was, at least it created some buzz. This year's show was just... I dunno what. Nothing comes to mind. Crystal put me and my Oscar party of munchie-eaters to sleep. His act was forced and old.
A Facebook friend of mine summed it up best: "Take my awards show, please!"
- Someone Said said...
Hammer. Nail. Head.
Right down to the last photo.
- joe said...
The choice of "What a Wonderful World" made me laugh, as in, what a wonderful world now that you're all dead? or what a wonderful world that you dead suckers can't enjoy anymore? Also, no Ruiz or Angelopoulos in the montage.
- Peter Nellhaus said...
I watched the Oscars annually from the time that Lawrence of Arabia was crowned until Martin Scorsese was awarded for a remake of a Hong Kong thriller few Americans would bother seeing. I just don't care any more for the show or the awards.
As for the In Memoriam section, I finally saw the Youtube version. Where was Oscar winner John Barry? I also seem to be the one-person committee for Per Oscarsson.
The Siren didn't jinx the Oscars. They done it to themselves.
- Daniel Shaw said...
Full agreement; especially that Hugo will live on. Took the wife and kids last week to see it, even my 13 year old son was not snarky and cynical about it - a very big and rare thing. He did think I was a total dork because the tears fell at the close-up of the projector, with the piece of film being threaded. I don't think he quite got how beautiful that was - that once upon a time, there was film, it got threaded, and projected, light shining through it, to create magic. Well - I hear young kids today are into vinyl records; maybe young kids a few generations from now will get how wonderful a piece of film with light shining through it can be.
- Larry said...
I only watched pieces of the show, but didn't Michel Hazanavicius end his speech with "Thank you, Billy Wilder, Thank you Billy Wilder, Thank you, Billy Wilder?"
- The Siren said...
Larry, yes, and I said he did? But Hazanavicius' film doesn't owe much to Wilder, as least not nearly as much as Dujardin owed to Fairbanks.
- Tinky said...
If I may add to your rant, I have been appalled for years now at the PRESENTERS, TV personalities in (mostly) pretty dresses at best, when there are still a few real movie stars out there. Still, I like to look on the bright side, and I adored the French ham and its homages.
- Trish said...
"What a Wonderful World" is not the best choice.
They could have made room for Harry Morgan in a number of ways: Cut the Bieber bit, cut a few George Clooney reaction shots, cut the Ferrell/Galifianiakis schtick, cut, cut, cut. If there was a mention of Wings on the broadcast, I missed it. I'm guessing that audience probably wondered "Who the f*ck is Douglas Fairbanks?"
- Tony Dayoub said...
I liked nearly every movie awarded (we just got A SEPARATION here in Atlanta, so it's next on my list), but none thrilled me like TINKER TAILOR (Oldman was robbed) with the exception of TREE OF LIFE, PINA (both ignored) and HUGO (which I still think shouldn't have beat out TOL for cinematography... it's mostly CGI).
Still, despite the long running joke of how awful the Oscars are, this year is the first time I ever truly felt like I wouldn't be missing anything if I shut the TV off by 9pm.
- Elizabeth Kerri Mahon said...
They also forgot James Farentino, who I think died at the same time as Ben Gazzara, from the telecast. He made more movies than Whitney Houston yet somehow he didn't make the In Memoriam section.
- barrylane said...
There has been something wrong with The Oscars Show for some time. Probably goes to the crowd running The Academy. Whatever it is, soulless. I had been watching since the beginning of television broadcasts, say 1950-51. They lost me when Dorothy McGuire was snubbed, and the excuse made, the snub was intentional. What a bunch of assholes.
- Arthur S. said...
What was moving to me was Thomas Langmann, thanking his père Claude Berri(director of THE TWO OF US), after winning the award for Best Picture.
Never did I think I'd see a Producer be more sincere on an Oscar stage than a director, Mr. Ham, Hazanavicius.
Vidor, a director who started the DGA(in his own house), and never won an Oscar, is apt. Because SHOW PEOPLE and THE PATSY are the definitive parodies/homages to silent cinema, and great silent films to boot. On an off-note, I saw THE ARTIST previous Friday and my mother saw it this morning. Mom tells me that she found the film vastly inferior to SINGIN' IN THE RAIN(which did not win any Oscars).
I also liked Meryl Streep's terrific self-deprecatory speech. I had a faint hope that the Oscars might award Terrence Malick instead of the other guy because it could have really done wonders for the film, as such undistributed in India and of course honouring a great body of work. Scorsese and Woody Allen don't need honours either.
That said, I liked MIDNIGHT IN PARIS winning Best Screenplay and liked even more, Woody Allen's non-participation of the Oscars.
- Trish said...
And they forgot Peter Breck from Shock Corridor.
- whereareyoufromoriginally? said...
omg that clip was hilarious!!
- Shamus said...
A Separation really was a wonderful crowd-pleaser and I'm not surprised at its win (possibly, it deserved the Screenplay Award as well). In the screening I attended, the crowd cheered and bellowed itself hoarse on numerous occasions (including a few inopportune ones), and most of them even stayed on till the end of the credits, anxiously watching the couple in the movie who are anxiously waiting in the corridor. Inexplicable, considering that it is a depressing divorce drama about the scarcely tolerable life of women in a much-villified country in the middle-east.
And this was the same crowd that was so obnoxious during the screening of Julia Leigh's Sleeping Beauty, I almost cried.
- VP81955 said...
But Hazanavicius' film doesn't owe much to Wilder, as least not nearly as much as Dujardin owed to Fairbanks.
Couldn't at least one of those three "Billy Wilder"s have gone to Ernst Lubitsch, who at least actually directed silent films? (Wilder himself no doubt would agree.) And Dujardin's shout-out to Fairbanks' granddaughter Melissa Fairbanks -- who apparently sent him a letter, in French, congratulating him for the film and for capturing the spirit of a grandfather who died a few years before she was born -- was pure class.
Meanwhile, in Hollywood heaven, Anita Page and Dorothy Provine (Anita was the last living attendee of the initial Academy Awards, for crying out loud!) are among those similarly snubbed who are telling Harry Morgan, "Welcome to the club."
As for the winners, while I'm happy "The Artist" won the big award, it was good that both it and "Hugo" each won five. I appreciate it when the industry remembers where it came from, even if the Academy itself sometimes doesn't.
- Vanwall said...
I liked Dujardin's personal salute to DF's granddaughter, that was class.
Re: "The Artist", even the short clip of Dujardin in a dirty white suit jumped out at me as a swipe, intended or not: Louise Brooks at the end of "Pandora's Box" wore her favorite outfit, deliberately ruined by Pabst to make her feel worse for the camera; that kind of vérité seems calculated now in too many ways.
The RIP was more like an RSVP, it was horrid. Beth Accomando in San Diego was wondering if Pam Grier's gun was in that 'fro, BTW - which was my exact same quirky thought.
You hit all the nails, and even drove 'em flush with a finishing hammer.
- The Siren said...
VP, I can't psychoanalyze Hazanavicius except to say that the Billy Wilder shoutout, while welcome, puzzled me no end. He's never talked about Wilder as a direct influence on The Artist, to my knowledge; all I can think is that he got up there and started blurting out his favorite director, or at least the one who was foremost in his mind at the moment.
I do get tired of rapping the death montage every year, but Jesus Christ in a slit skirt, it really shouldn't be this dang hard. It would be easier to make excuses if TCM weren't showing up AMPAS every year like clockwork. It doesn't have to be perfect; I'm not always a fan of the ultra-emo music TCM uses, or the way the clips are framed or cut, and they leave people out too, I'm sure. But they do it RIGHT nonetheless by giving the segment the time it deserves (usually about 4 minutes) and not applying some kind of arbitrary hierarchy that nobody understands.
Like Trish said, you need some extra time to pay tribute, cut Justin Bieber. What the heck was he doing there?
- VP81955 said...
Love the new header of Doug and Mary. Pickfair lives!
- Yojimboen said...
I thought it was my TV, poor Billy Crystal was doing his level best to make me smile but I couldn't hear a word of his funny (?) lyrics, the music was simply blasting too loud. I wrote it off, my giant screen is due for replacement, hey-ho. Then the phone rang: "What's with that music?! Can you hear anything??"
Story short: Five different locations coast to coast couldn't hear a word from Billy. Story shorter: Next day I spoke to my pal the studio musician who was there playing in the orchestra pit.
Most of the guys in the pit were getting frantic tweets from family and friends all through the show: "Play softer! Can't hear singers!"
How long did they prep for this? Four months? Five? And on the big night it comes down to SOME FUCKING MORON in the Kodak Theater control booth (it wasn't the Network, the commercials sounded fine) screwing up the broadcast mix levels and ruining my annual chance to throw things at the screen.
Then I remembered, Brian Grazer was in charge. And so it goes.
- Brian Darr said...
- This comment has been removed by the author.
- Brian Darr said...
agree with all of this, but for one thing: I don't want to come down too hard on the In Memoriam segment. Yes there were omissions as always, and perhaps the music could have been better chosen. But the worst thing about this segment over the years has been the applause contest the thing turns into within the Kodak. This year wasn't the first year a wise person with a line to the sound mixing board decided to prevent the home viewer from being able to hear how much (or how comparatively little) clapping is occurring for various departed souls, but any year this wisdom is continued deserves my appreciation.
Did the TCM tribute include George Kuchar? I didn't see it.
- Peter Nellhaus said...
I'm thinking Billy Wilder was named because of Sunset Boulevard, although the film could hardly be called a Valentine to silent movies.
Had someone been smarter, instead of a poorly chosen song, a suite of music composed by John Barry should have accompanied the In Memoriam segment as a way of saluting the Oscar winning composer.
- DavidEhrenstein said...
Actually Sunset Boulevard IS a Valentine to silent movies, albeit the darkest one imaginable.
Norma may be deluded, but her delusions a imbued with grandeur making her end as tragic as that of grand opera. Every time I watch it I cannot help but think of Callas in Tosca
- Yojimboen said...
@Peter N – You're not alone, kind sir, I posted an obituary of Per Oscarsson on this blog on Feb 1st 2011 – in plenty of time for last year's Oscars – but then as now, they apparently have never heard of Sweden's best actor since Sjöström. (sorry, Max)
- The Siren said...
Glenn Kenny and I were discussing Sunset Boulevard and the silents the other day, matra' fact. And John McElwee's terrific piece on it, in which he dissects the Waxworks scene and points out that not everybody in it was the heap of has-beens the movie insists they are, including Buster. Where I diverge from John is the fact that the wondrous clips from Queen Kelly do undermine Joe's casual contempt for the oldsters.
- Arthur S. said...
It also has to be pointed out that the perverse melodramatic story of SUNSET BLVD. is very much in the vein of Stroheim, who like Wilder would link love, sex and money in all his great silent films. Hollywood being the logical intersecting point of these passions.
Wilder may have wanted to be Lubitsch, but he was more like Stroheim.
The thing about SUNSET BLVD is that at the very least it looks at silent film without nostalgia and sentiment. Which is to say, it takes its defeats seriously.
THE ARTIST doesn't. The other thing that should be pointed out that, this kind of thinking about silent cinema being dinosaurs or sadsack suggests that the majority of them couldn't have done well in sound. That's neither true nor fair. And certainly the number of artists who made the transition is greater than the ones who couldn't.
- Kevin Deany said...
Peter N: I'm almost positive that John Barry was included in last year's In Memoriam montage. I remember thinking last year they should have had a Barry melody over the montage.
It seems like the Siren and I were channeling each other. I was thinking many of the same thoughts during the montages. The oldest movie clip was from "Midnight Cowboy" (1969) and the only black and white clip was "Raging Bull." Sheesh.
Like many readers of this site, I do miss the Special Achievement Oscars. It's very boring to hear nothing but acceptance speeches all night. Having a Special Achievement Oscar speech means it comes from the heart and can generate some real emotion.
I remember Barbara Stanwyck getting her Special Oscar, and she thanked the directors, writers, actors, crew members and everyone who made her career a success. And then the shout out to William Holden at the end...that's the kind of speech that makes for a memorable Oscar telecast.
And if the younger demographic can't relate to it, so what? They have the summer movie season to themselves, leave something for the rest of us.
Want to get people to watch? Announce you were having a tribute to the most successful franchise in film history, the Harry Potter series. Have as many of the cast members that they can round up appear.
2012 is the 50th anniversary of the cinematic 007. I bet people would tune in to see a Bond tribute, specially if they could get all six Bonds to appear on stage together. Maybe next year?
- rudyfan1926 said...
"The thing about SUNSET BLVD is that at the very least it looks at silent film without nostalgia and sentiment." - Of course it did, Rex Ingram's favored cameraman John Seitz was the cinematographer. That man was a master!
I dunno, I take the Academy Awards show for what it is. Entertainment that can sometimes be painful. It's a Self-congratulatory pat on the back with generally lousy and unfunny patter. The patter was better in the days of old with Johnny Carson or Bob Hope doing the hosting duties.
The like or dislike of a film or performance is purely subjective to the Academy voters. I do not know too many people who agree with them and the list of better pictures that were not "Best Picture" is a long one.
Most fine filmakers and actors don't make films to win Oscars and 99% of the films made any given year are not even in the running.
After the SNAFU of last year, I thought this telecast was crisp, quick and an easy watch. Most entertaining show I'd seen in a long time. The patter fell flat with the various presenters and I thought the Wizard of Oz focus group was a complete miss, even with a great cast. Crystal came in to do the nostalgic and I still loved him for it.
- Trish said...
Such a snooze of an Oscar show. Should have watched this instead:
- Dave said...
I just want to provide a small antidote to the meh-titude expressed toward "The Artist" in these here quarters. I liked "Hugo" -- a lot -- but "The Artist" went straight to my heart, and those of virtually all the people to whom I've recommended it.
- The Siren said...
Why thank you Dave. :)
I have such a love/hate thing with the Oscars but when I don't get my clips I get CRABBY...obviously.
- Yojimboen said...
Heaven knows the "no-matter-what-you-do-it's-gonna-be-tacky-and-you're-gonna-piss-off-somebody" obit montage has been discussed in some detail in these pages; my own question of "if they applaud louder does that mean they're happier he's dead?" remains unanswered. (In another time and place Harry Cohn would've received a standing ovation.)
Well, someone appears to have been paying attention (or reading the Siren's blog – hey, it could happen!), because here's what went down on Sunday: During the commercial break an announcement was made from the stage requesting the audience to remain silent during the obit montage and hold all applause until the end. They did.
Sounds like a plan to me.
A further FYI: the girl who wasn't Louis Armstrong was Esperanza Spalding; an odd choice, for while a decent singer, she is much more famous as possibly the greatest acoustic double-bass prodigy in the history of jazz.
- Jeff Gee said...
This isn't OT, because it concerns NEXT YEAR'S Oscar show: the first published reaction (not an official review) I've seen to Damsels in Distress.
Well, maybe it doesn't concern next year's Oscar show…
- Trish said...
Further to Yojimboen's post on Esperanza Spaulding, some of you may also remember that she beat Justin Bieber and Drake in the "best new artist" category at last year's Grammys. Bieber's fans went ape-sh*t, and hacked her Wikipedia site, while the little monster encouraged the rampage via twitter...
- DavidEhrenstein said...
I believe I made mention of it earleir but in case I didn't I have to say I utterly adored Damsels in Distress. It's Whit Stillman keep faith with his aesthetic while expanding upon it. Plus it ends with two dynamite musical numbers -- the first of which is a hommage to George Stevens as it recreates the "Things Are Looking Up" number from A Damsel in Distress with actresses who can dance a whole lot better than Joan Fontaine.
- Dave Enkosky said...
Wow, I'm glad I missed the Oscars. And crap, how did they leave out Harry Morgan? That's absurd.
- Jan said...
No one's mentioned my favorite humorous aspect of the evening (yes, there was one!). The "Wizard of Oz" skit with Eugene Levy, Katherine O'Hara, Willard Scott, and others, was funnier than anything Billy Crystal attempted. That was my first Oscars since the mid-80s, only because I had actually seen some of the movies this year, thanks to my film major son. :)
The SCTV moment brought back some wonderful memories, though not of film. I think that says something about the Oscars.
- Noel Vera said...
"No Oscar show is ever completely worthless, though"
Say it ain't so, Siren!
Best moment for me was Cohen pouring pancake mix on Ryan Seacrest.
Otherwise--haven't seen the show in years; don't intend to.
- Unknown said...
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- chubby rain said...
I was surprised that they left out Kevin Jarre in the In Memoriam section. He wrote Glory, among other films including Tombstone, produced The Mummy, and was a cineaste to his core, and died at a very young 50 or so. Leaving out Harry Morgan is appalling!
- Yojimboen said...
Link to news item of discovery of long-lost Period Posters.
- X. Trapnel said...
The posters are beautiful, but I'm trying to determine the philosophical (or philological) relation between the propositions "a challenge to women in love" and "John Boles."
- Mary said...
Even if you don't like it, watch the show. That's where AMPAS gets all its funding.
- cgeye said...
Husband? HUSBAND?
Though I'm always the last to know.... Congrats, Mrs. Maddin? Hmmm.... sometimes the world does make sense.
- The Rush Blog said...
"That said, I liked MIDNIGHT IN PARIS winning Best Screenplay and liked even more, Woody Allen's non-participation of the Oscars."
Oh . . . my . . . God!! I know I didn't read this. "MIDNIGHT IN PARIS" won the Best Original Screenplay? Oh God! This is just too horrible to accept.


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Inspired by the Moselle River, this eponymous Atelier Swarovski collection returns for another season in a mix of blue, gold and brown dégradé-effect crystals that mimic the flowing tide of the European waterway, and the luminous reflections of its surrounding natural landscapes. New contemporary hoops and stacking rings reinvigorate the range, while necklaces, bracelets and earrings featuring smaller beads offer a refined, delicate feel.
Cocktail ring - Swarovski Crystal in Golden Shadow, Smoky Quartz and Graphite; pale gold plating; brass; designed by Atelier Swarovski
Atelier Swarovski jewelry is a delicate product, crafted in a traditional way. The metal is plated, and each crystal is set individually. As a result special care is required.


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Carpentry Students Go Green
Wellington Institute of Technology carpentry students are set to gain some of the latest skills and knowledge in environmentally conscious building practices, when they begin work on a high rating energy efficient home
in Otaki this year.
WelTec have formed a partnership with Little Greenie Building Education and the Otaki Clean Technology Centre in the K?piti Coast. Students on the National Certificate of Carpentry course in Otaki will complete
a re-locatable Little Greenie-hybrid three-bedroom house, which will be sold at auction at the end of the course which starts in March.
The latest Little Greenie is also being supported by the Kapiti Coast District Council, and Mayor Jenny Rowan says she is delighted to be involved. ?It will deliver a range of educational opportunities to
promote better building techniques and ultimately increase employment and business growth in K?piti,? says Ms Rowan.
WelTec?s Head of Construction Neil McDonald says the Government has given WelTec additional funding for trade programmes. ?This means more students will be able to study all facets of construction at
WelTec like carpentry, plumbing and gas-fitting, painting, decorating, brick and blocklaying, tiling and paving.?
The original Little Greenie house, which only costs about $50 a year to heat, was completed in Golden Bay in 2009 and became New Zealand?s highest rated energy efficient home, scoring a nine out of
10 on the Home Energy Rating Scheme Scale (HERS). Its developer and builder, and a member of the Little Greenie Building Education, Lawrence McIntyre says he will be on-site to provide planning
and support to students and staff at important times in the project.
?Good on WelTec for being the first polytechnic to take the initiative with this project,? says Mr McIntyre who explains that he developed the original Little Greenie after being inspired by overseas
housing construction where new houses are built to be more passive in ways of energy demands.
Dr Finlay of CleanTech Trust says the project shows the level and quality of collaborations that are developing in the Clean Technology Park. ?We are looking forward to seeing how the Trust can
support both employment and educational opportunities, not to mention the commercial prospects that come from this and other such collaborations,? Dr Finlay says.


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Regin scores in shootout as Sens beat Candiens 2-1
Peter Regin scored in the fifth round of the shootout and Ben Bishop made 44 saves in regulation and overtime, leading the Ottawa Senators to a 2-1 win over the Montreal Canadiens on Monday night.
Jakob Silfverberg also scored in the shootout for Ottawa, while David Desharnais replied for Montreal.
After Regin gave the Senators the lead in the shootout, Bishop stopped Tomas Plekanec to secure Ottawa's season-high fifth straight win.
Regin had a chance to end the game late in overtime but his slapshot from the high slot hit the post behind Canadiens goaltender Carey Price, who finished with 23 saves.
Dave Dziurzynski had a goal in regulation for the Senators, while Andrei Markov scored for the Canadiens.
The teams were tied 1-1 after two periods and it stayed that way through the third and into overtime, which started 3-on-3 because of penalties.
Ottawa got one skater back and enjoyed a brief power play before Kyle Turris took a hooking penalty. It was back to a 3-on-3 before the Canadiens got their fourth power play of the game, but Montreal couldn't get the puck past Bishop.
Ottawa and Montreal played to a scoreless first period, although the Canadiens did have the best opportunity with Max Pacioretty hitting the post behind Bishop.
That was the beginning of the Canadiens' assault on goal posts. Erik Cole rang a shot off the crossbar in the second before Raphael Diaz hit the post to the right of Bishop.
Those two near misses came after Dziurzynski beat Price with a shot from the top of the faceoff circle that goalie should have had at 6:49.
The Canadiens finally solved Bishop with their 30th shot when Markov ripped a point shot on the power play with just 4 seconds remaining in the second.
Notes: The Canadiens were in first place on Feb. 25 for the first time since 1993, the year they last won the Stanley Cup. ... Canadiens D Francis Bouillon played his 500th game with Montreal. He has played 695 total games in the NHL. ... Entering Monday's game Ottawa captain Daniel Alfredsson had 420 career goals. The rest of the Senators' lineup had a combined 524. ... After scoring four goals in his first four games, Senators F Kyle Turris has gone 16 games without a goal.


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Talk about a backhanded compliment.
"American Psycho" author Bret Easton Ellis, upon hearing that a remake of his 1991 book (which was last adapted in 2000 with Christan Bale) was in the works, claimed he would only approve it if they cast someone who, in his mind, perfectly captured the story's slicked-back, corporate '80s psychopath Patrick Bateman.
That person? Scott Disick.
U.S. & World
News from around the country and around the globe
Yes, Kourtney Kardashian's boyfriend and the father of her son -- who walks around on his off-days looking a bit like a Patrick Bateman cosplayer -- is Ellis' choice, and he has gone on the record with his desire to see Disick take on his satirical novel.
"I have warned Lionsgate that I will not approve a new version of American Psycho unless it stars SCOTT DISICK," tweeted Ellis.
He added that he's also OK with little-known actor Miles Fisher ("Final Destination 5"), which is funny because Fisher is known for his resemblance to Tom Cruise, who Bale claims was the basis for his take of the Bateman character in the 2000 film.
Unfortunately, it doesn't look like Disick is going to bite. After Ellis tweeted, "I am waiting for Scott Disick to ask: 'Who in the hell is Bret Easton Ellis'" Disick himself took to Twitter in response.
"Not going to happen, I know just who u r!" he wrote. Although earlier he had joked, "just heard there [sic] doing a remake of American Psycho! best news i have ever heard! i hope they call me!"
Stay tuned.
Selected Reading: Bret Easton Ellis Twitter Page, Digital Spy, Scott Disick Twitter Page


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8 Rum Drinks for Summer Entertaining
All the recipes you need for cocktails, juice blends, milkshakes and more.
Whether or not you're relaxing on a sandy beach, cocktails with rum just seem appropriate for warm-weather drinking. These are a few of our recent favorites: a tart and fresh raspberry cocktail from Kenneth McCoy of Ward III in New York, a deeply tropical pitcher of pineapple punch, and six other delicious summer sippers, tested and tasted for you at Serious Eats Headquarters.
Check out all eight rum cocktails in the slideshow above, or click through to the recipes below.
Go Straight to the Recipes
My Sharona »
Pineapple Rum Punch »
Hibiscus Rum Cooler »
Campari Flamingo »
Anejo Rum Punch »
The Wayland's Bermuda Black »
El Floridita Daiquiri »
Barbados Cocktail »
About the Author: Maggie Hoffman is the editor of Serious Eats: Drinks. You can follow her on Twitter @maggiejane.
More Cocktail Recipe Roundups
22 Ways to Use Summer Fruit in Cocktails
10 Awesome Tequila Cocktails to Make at Home
5 Aperitif Cocktails from The Modern in NYC
15 Great Citrus Cocktail Recipes To Make Right Now
5 Fruity Margarita Recipes for Warm-Weather Entertaining
All products linked here have been independently selected by our editors. We may earn a commission on purchases, as described in our affiliate policy.


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|Percent Off:
Scala Rider SmartPack Duo
SMARTPACK's DMC™ Intercom mode, a group of 4 riders can communicate at a remarkable range of up to 3 miles / 5 km. This, in addition to Bluetooth connectivity with mobile phones, GPS, music, FM radio and other Bluetooth communication systems.
The scala rider SMARTPACK DUO includes 2 pre-paired units.
The scala rider® SMARTPACK™ includes both DMC™ (Dynamic Meshwork Communication) and Bluetooth® technologies to give you the best of both worlds. Bluetooth mode enables you to communicate with non-SMARTPACK riders, operate your mobile phone, receive navigation instructions from GPS devices, and listen to music (via A2DP).
What is DMC and how does it differ from traditional Bluetooth technology?
DMC is a groundbreaking technology developed by Cardo to completely change how group riders communicate with each other. Instead of the traditional Bluetooth 'daisy-chain' intercom connection, the group is connected in a dynamic network to ensure that communication remains uninterrupted at all times. In SMARTPACK's DMC Intercom mode, a group of 4 riders can communicate at a remarkable range of up to 3 miles / 5 km, and any of the members can leave / join the group, or receive incoming phone calls at any given time, without compromising the conversation for the rest of the group.
With the Cardo SmartSet app and its remote control feature, you may opt to use your smartphone or tablet to control your SMARTPACK. Make intercom and phone calls, play music or listen to the radio and customize the settings — all from your Android or iOS mobile device.


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|A group of school boys from Holt
Image courtesy of Keith Entwistle
|Royal Army Medical Corps during The Great War
Image courtesy of http://www.ramc-ww1.com/
My Written Journey Back To My Roots and Heritage : From England to Australia
|A group of school boys from Holt
Image courtesy of Keith Entwistle
|Royal Army Medical Corps during The Great War
Image courtesy of http://www.ramc-ww1.com/
How wonderful to find a link between your love of music and your ancestor's occupation as a professor of music - and also your career in nursing and your ancestors' role in the RAMC. A great posting.ReplyDelete
Thank you very much Susan, I appreciate your kind comments. I had a lot of fun writing about this. xDelete
It feels so right finding ancestors that were doing or interested in the same things we are, doesn't it? I enjoyed this post and it made me think about how certain veins continue through my family, past and present.ReplyDelete
Thank you for your comment Kristin, I agree wholeheartedly. When I started this whole genealogy journey I had no idea I would discover so many "Yes!" moments. xDelete
Congratulations on reaching the halfway mark, Deb. I have enjoyed your posts and look forward to reading the remainder as you continue your run towards the finish line.ReplyDelete
Thank you so much Jill, that is really nice of you to say. Hope I can keep the momentum going! ;-) xDelete
Another wonderful read, thanks Deb. And I can feel your excitement at finding those occupations in your history come through your writing.ReplyDelete
Thank you very much, I really appreciate your support and comments. I'm so pleased to hear that my excitement is being conveyed. xDelete
Can relate so much to this post Deb. I still shake my head, in absolute amazement, when watching various family members displaying skills/ interests/ obsessions etc that seem "to come out of fresh air" until my research showed a clear family link. Thanks for the reminding. Great post. Cheers, Catherine.ReplyDelete
Thank you for your lovely comments Catherine, I really appreciate your feedback. I totally agree with you, it still boggles my mind as well. xDelete
Isn't it interesting that you inherited the healing "gene". I rather envy people who are musical. This is another great story.ReplyDelete


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We're having a BABY! Mini Moore coming June 2016!
Weddings. Marriage. Family. Interior Design.
..for bridezillas on a budget!!
Because every great occasion needs a little sparkle
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Iowa graphic designer. Dabbling in diy, photography, food, and anything handmade.
My happily ever after!
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Jost on Cameras in the Courtroom
Ken Jost, the Supreme Court editor at CQ Press, has put together a lengthy and comprehensive analysis on all things "Cameras in the Court" in a new report for CQ Researcher. I've seen a copy–which includes a sidebar interview with me among its 20-plus pages–and the report really achieves the impossible by making the otherwise well-trod topic quite interesting by exploring its unnoticed nuances and taken-for-granted history. An excerpt introducing the report is available at CQ Researcher's blog:
[E]xcept for the working press, members of the Supreme Court bar and invited guests, all visitors to the Supreme Court face a time-consuming process in trying to see the justices in action. Would-be spectators typically line up hours in advance to claim one of the 250 seats available for the general public. At least 50 spectators are allowed to stay for an entire, hour-long argument, but others are ushered in for only a few minutes.
Camera-access advocates have been making their case over the past decade in large part by emphasizing the public's limited access to the courtroom. "There is no reason why in the 21st century the American people should not be able to watch their democracy in action, and the Supreme Court should not be an exception," says Nan Aron, president of the liberal Alliance for Justice. The alliance was part of a 46-group coalition led by the American Civil Liberties Union (ACLU) that urged the lame-duck Congress last year to pass legislation either requiring or calling on the Supreme Court to permit live TV coverage.
The pressure from Congress and outside groups has helped prompt the court to make audio recordings of arguments available sooner and more widely than in the past. But the justices have not allowed camera coverage of proceedings, whether live or delayed.
The three justices vocally opposed to cameras — Antonin Scalia, Anthony M. Kennedy and Clarence Thomas — warn that TV coverage could hurt collegiality on the court and endanger the justices' personal security. Scalia has also complained that TV coverage would reduce the Supreme Court to "entertainment."
This excerpt, however, hardly does justice to the breadth and depth of the full report, which you can purchase in print or electronic format at CQ Press.
One Response
Scaliia's comment is amusing. I guess his vamping is only "entertainment" if it is watched, not listened to.
Anyway, back in the day, regular trials (not just celebrity trials or the like) often was a major source of "entertainment" for the general public along with political debates (when would seven debates between senate candidates be all day picnic like affairs these days?) but was that a BAD thing necessarily, or a sign the general public was so concerned and informed about them to make it on some level entertainment?


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The song of Sam's meals
Words and music by Mario Papa
From "Jump Rope" by Mario Papa & Janet Shelly,
Istituto Geografico De Agostini, Novara, 2000
I have breakfast in the morning
Milk and cereal with my coffee
I don't like that tea with lemon
And tomato, bread and bacon.
And at lunch I have a salad
It's tomatoes and potatoes
With the sandwich in my schoolbag
There's an orange and an apple.
Now I say it's time for dinner
I like roast beef with potatoes
But the best of all my dinner
Is the ice cream from Westminster!


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The star-studded romance "Valentine's Day" has wooed audiences with a $52.4 million opening weekend.
The movie easily grabbed the No. 1 spot on Valentine's weekend. The cast of "Valentine's Day" includes Ashton Kutcher, Jessica Alba, Jennifer Garner, Anne Hathaway, Julia Roberts, Jamie Foxx, Queen Latifah, Jennifer Biel, Shirley MacLaine, Taylor Swift and Taylor Lautner.
Opening in a tight race for No. 2 were the action fantasy "Percy Jackson & the Olympians: The Lightning Thief" with $31.1 million and the werewolf tale "The Wolfman" with $30.6 million.
The blockbuster "Avatar" was fourth with $22 million. "Avatar" raised its domestic total to $659.6 million and its worldwide haul to $2.3 billion.


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06 December 2012 | News | By BioSpectrum Bureau
Hope for neuro patients - Allon Therapeutics develops peptide platform to inhibit tau protein aggregation in the brain
Singapore: Allon Therapeutics received composition of matter patents from the US, New Zealand and Mexico for a new family of peptides that the company believes has the potential to be develop into a cure for neurological and neurodegenerative diseases.
This new platform is derived from a protein involved in the function of microtubules that are critical to the correct structure and communication of neurons in the brain. Individual peptides derived from this platform have shown memory improvement in mice with compromised cognition caused by the aggregation of the tau protein. One of the main functions of the tau protein is to stabilize microtubules and Allon's preclinical studies have shown that peptides from this new family have the potential to inhibit tau aggregation.
"Microtubules are essential to brain function and therefore relevant to a range of neurodegenerative diseases," said Dr Alistair Stewart, VP, commercial research, Allon. "The strategy of strengthening our pipeline in this area will have considerable value if this approach is validated by our current pivotal study with davunetide."
These patents cover a family of peptides comprising an entirely new class of compounds distinct from Allon's two existing neuroprotective technology platforms, activity-dependent neuroprotective protein (ADNP) and activity-dependent neurotrophic factor (ADNF). The company's lead product candidate, davunetide, is based on ADNP.
Davunetide is being evaluated in a pivotal clinical trial as a potential treatment for progressive supranuclear palsy (PSP), a rapidly progressing and fatal degenerative brain disease. Patient treatment has been completed in the multinational pivotal phase 2/3 clinical trial, and the company is on track to release top-line data from the clinical trial in the second half of December. This novel peptide platform is the product of a research program between Allon, and its founding scientist Professor Illana Gozes, Tel Aviv University.


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Just over a week ago I had the pleasure of meeting up with Iain Dodsworth, founder of TweetDeck – one of the most-downloaded applications that have been built using Adobe AIR.
In this video Iain talks about how and why he went about creating TweetDeck, why he built it using Adobe AIR, what worked well (and what didn't) during development, what he and the team have learnt from the whole process and his plans for the future of TweetDeck. He also offers up some advice for anyone else thinking about embarking on a startup venture.
The full version (below) is approximately 20 minutes in length, but I'm working on a shorter highlight video that hopefully we'll get posted on Adobe TV – I'll post a link to that in due course.


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Iowa Waste Exchange
The Iowa Waste Exchange is a free confidential, and non-regulatory program, actively promoting the reuse and recycling of Iowa business and industry by-products and wastes. This saves resources and landfill space and is economically beneficial to businesses and taxpayers. The Iowa Waste Exchange is a cooperative effort of the Iowa Waste Reduction Center, the Iowa Department of Natural Resources and the Iowa Department of Economic Development.
Mission of the IWE program:
The Iowa Waste Exchange strives to provide Iowa industries with smart waste management alternatives and business assistance services that result in both economic and environmental benefits including waste reduction from Iowa landfills.
Goals of the IWE program:
- To divert the maximum amount of waste from landfills and other disposal sites .
- To help manufacturers save money.
- To get businesses involved in recycling and reuse.
The Iowa Waste Exchange has (since 1990) diverted more than 875,000 new tons of materials from Iowa landfills, resulting in an associated savings to businesses of more than $24.5 million dollars. Program representatives have matched almost 5,700 materials and by-products with reuse or recycling markets.
Local area contact:
Julie Plummer is the Iowa Waste Exchange Area Resource Specialist for the EICC Service area, and also for a portion of the Northeast Iowa Community College service area.
Contact Julie at:
Julie Plummer
Julie serves these eight counties:
- Scott
- Muscatine
- Louisa
- Clinton
- Jackson
- Dubuque
- Delaware
- Clayton
Contact EICC's Iowa Waste Exchange Resource Specialist for help with:
- Identifying your company's waste streams
- Facilitating transfer of those materials by actively searching for markets to reuse or recycle them
- Saving your company money in avoided disposal costs
- Locating valuable secondary materials for potential use in your business, saving your company money on the purchase of new materials.
If you would like to find an IWE contact in another area of the state, search the IWE on-line listing of by-products and wastes available for reuse and recycling, or find more information on the Iowa Waste Exchange program, call RecycleIowa at 1-800-532-1216.


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"Jam packed with…questions that seem ludicrous but will likely be asked on your next interview."
—Eve Tahmincioglu the "Your Career" columnist for MSNBC.com
"This book can help you ace job interviews. It's compact size fits easily in your purse or briefcase, and a flashcard-like format arms job seekers with the can't miss, sure-hire answers interviewers want to hear. …make it your buddy before your interviews."
—Marvin Walberg, "Getting Hired" Careers Columnist, Scripps Howard News Service
Named one of "5 Books That Will Help Your Career." Called it "the secret to every interview you have from here on out."
List of Questions vii
Introduction 1
1: Understanding the Interviewer's Concerns 7
2: Formulating Your Responses 14
101 Toughest Interview Questions
Concern #1: Can You Do the Job? 25
Concern #2: Who Are You? 81
Concern #3: Will You Fit In at the Company? 151
Concern #4: What Will You Cost Us? 211
About the Authors 235