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Homelessness affects many women, an increasing number of children, and many veterans. On a single night in January, 2017, the number counted in the U.S. was 553,742. That's the highest number since 2014. More than a fifth of these were children, and 39,471 were veterans. This count has been performed every January in recent years, and it includes both people in shelters and not in shelters.
While we will talk about this issue in terms of the U.S., we want to recognize the enormous refugee problem world-wide, where there are more refugees than at any time since World War II. Most European nations also have some degree of homelessness, although we would point to Vienna as a shining example of where temporary arrangements have succeeded in getting people off the street into safer housing.
Focusing again on the U.S., it is not just a problem of the stereotypical chronically unemployed male. The root cause of homelessness is poverty, although each person and family has a unique story. Often people just suffer one or more financial setbacks that spiral out of control.
If your neighborhood, rural, urban, or suburban, contains some homeless people, you should learn more about effective measures that avoid stigmatizing the individual, while helping each to become independent again.
You might think you don't have any homeless population, but you'd be
surprised to find individuals and entire encampments along rivers and
streams, families living in their vehicles, veterans under bridges, and
groups or loners camped out in parks. Many homeless folks are staying with friends or relatives too, making them less visible.
In the U.S., the Department of Housing and Urban Development provides a number of programs for communities, and President Obama's goal was to end homelessness by 2015. Obviously that did not happen, even though progress has been made on a number of fronts.
At the neighborhood and community development level, you can't afford to ignore the problem, which presents a negative image for your community, symbolizes a collective failure as a society, and also represents lost potential for an individual who might contribute to your community in important ways if given a chance.
Two trends have converged to cause much of the current homelessness problem in the U.S.
First, rental housing, or at least affordable rental housing, is in relatively short supply in many places. There is often a long waiting list (think in terms of years, not weeks) for public housing units.
Single men especially who were living on the margin financially could find refuge in single-room occupancy (SRO) hotels or places such as YMCAs or YWCAs. Those resources have disappeared in most communities.
And in many cities the rental market is focused on young people who want luxury amenities, and older apartments that are torn down are not replaced with modestly priced housing.
Second, the poverty rate is on the rise, so about 15% of the U.S. population is estimated by the government to fall below the poverty line, compared to 11% in 2000.
Various estimates are that between 10% and 20% of the homeless population is employed, but minimum wage jobs don't pay for an apartment in many towns. Many employed homeless have only part-time work, and others frequently lose jobs because of lack of job-related or social skills.
Causes of homelessness are as diverse as human fingerprints, and include all kinds of financial setbacks. But five types of issues stand out:
After working hard on low-income housing for several years, a friend once asked why I was so passionate about this issue. It all comes down to the fact that none of us function very successfully without a home base.
Think of the times in your life when you've moved from one residence to another. Were you your most alert, organized, well groomed, well behaved self during that week or two? Now magnify this by being homeless for five months or seven months, not uncommon experiences.
Not only is there no place to stow your stuff (the shopping cart with the garbage bag in it probably doesn't include a safe place for your resume and your diploma), but also you begin to face the new elements of fear for your safety, fear of negative confrontations with neighbors or law enforcement, and fear that your hiding place will be found out or occupied by others.
In some parts of the country, climate extremes compound the problem.
Some of you are thinking no one is homeless, because everyone can go to a shelter. That's not really so. In larger and colder cities, on some nights there aren't enough beds for the entire homeless population.
In major metro areas, shelters often limit the length of time one person can stay, and they often lock people out during the day. Shelters also may be infested with crime, lice, roaches, and bedbugs, not to mention of course loud and obnoxious drunks or mentally ill folk who sneaked in while acting normal.
The homeless also complain of weapons and various forms of intimidation, not to mention complete lack of privacy, in the shelters.
Like every human society, shelters have their own pecking order and their own informal norms of behavior, so people who can't conform are left out (in the cold) again.
Prevention is the best program, with three essential elements:
1. Financial literacy should be taught in schools and to adults as needed. While states are busy trying to reform predatory lending, maybe they should require a good simple-to-read chart about financial issues to be distributed along with the payday loan!
It's amazing to watch the reality television shows about people who are deeply in debt and don't even know the extent of their shortfall each month. Often these are well-educated younger people, so imagine what happens with less educated folks who are deep in denial, addiction, or mental illness.
2. Community retention and provision of affordable housing must become a priority. A community has a moral obligation to fight to retain whatever affordable housing it has. Note that in housing markets where rents are increasing rapidly, affordability then becomes a moving target as well. In plain language, usually wage increases are not keeping up with housing cost increases in the strong market cities and regions.
While the federal government theoretically doesn't allow public housing units to be destroyed without replacement, that doesn't seem to be enforced in many cities.
Public housing can go vacant for months because its environment is so scary that no one wants to move in, or simply because the units haven't been repaired since the last people trashed the last place when they were evicted.
But beyond public housing as such, a community can look for opportunities when obsolete motel types go out of business, college dorms or student housing become vacant, and so forth. Community development dollars should go toward refurbishing these facilities into decent if modest housing allowing short-term leases if need be.
3. A region should provide good information about housing opportunities, and make that information easily understandable to social workers, faith groups, police, and others who may encounter or work with the homeless. Major cities need housing hotlines for those who are having difficulty finding housing.
If you're marginal in income, you may not have as much access as more prosperous folks to telephones, newspapers, and transportation--the elements that middle-income people use to find housing.
In small towns, or even at the county government level in more rural parts of the country, social service agencies need to go out of their way to be competent in keeping track of available reasonably priced housing.
This is so important that we decided to give this step its own headline so that you don't miss it. If you've read this far, you probably can implement this project on your own or with just a few like-minded people.
Understand that an extensive, friendly, and well-publicized network of solutions for people with mental health, substance abuse, social skills, and joblessness or underemployment issues is necessary. With cuts in social service funding everywhere, it's being left to the faith-based and non-profit sectors to take up the slack.
Many people suddenly faced with homelessness are ignorant of options outside of their old neighborhood and desperately need housing information. Sometimes they also need transit information about how to reach unfamiliar parts of their city.
Your community could print contact information about each of these issues on small laminated cards, which then can be handed out by service providers and community members likely to come in contact with homeless people and households.
If you are an activist not in a position to implement
any of our other, more systemic suggestions, at least you could
spearhead this project in your city.
Now we are moving the discussion back to more systemic ways to address the problem.
Some homeless households are able to move into a
conventional apartment or house. Many single people especially have to
take an interim step before they can move into a more permanent residence.
Sometimes you will hear professionals talk about transitional housing. We want to talk about two types of housing that will be transitional for some but nearly permanent for those with the most severe situations.
While the federal government theoretically doesn't allow public housing units to be destroyed without replacement, that doesn't seem to be enforced in many cities.
Public housing can go vacant for months because its environment is so scary that no one wants to move in, or simply because the units haven't been repaired since the last people trashed the last place when they were evicted.
Beyond public housing, a community can look for opportunities when obsolete motels go out of business, college dorms or student housing become vacant, and apartment complexes are no longer competitive.
Community development dollars should go toward refurbishing these facilities into decent if modest housing allowing short-term leases if need be.
Especially anything that still resembles an SRO downtown or on a prominent transit line should be rescued and rehabbed, concentrating on updating the electrical, heating, cooling, and ventilation systems.
Since the advent of microwaves and mini-fridges, a very livable single room can be devised. Make the rooms energy-efficient and well-repaired, allow occupants to choose their paint color, divide the smokers from the non-smokers without compromise, install any soundproofing possible, and provide good laundry facilities.
Most of all, an SRO needs what are called "supportive services." This means a social worker, or two or three, living on-site.
This is an ideal live-work situation for the social work graduate student or new grad. They can monitor for mental health needs, make sure people take their meds, make sure addictions and relapses are addressed, and teach life skills.
If the facility is large enough, a job coach could live on site as well. It might sound daunting, but it's do-able if a city has the will. Some people may never be able to advance beyond the SRO, but with support, they can live independently, stay off welfare, stay clean and sober, and support one another.
We should say that the SRO isn't the only possible architectural style that supportive housing could take. The point is to have something relatively inexpensive but large enough in scope that social, medical, or substance abuse workers could be regularly involved in the programming.
Ideally, a community also should provide an adequate number of well-run shelters with supportive daytime social service programs. The kids need to go to school (preferably continuing in the same school), and the preschoolers need enrichment while mom or dad is looking for a job, going to school, or getting their heads together.
There aren't many shelters that offer the comprehensive set of strategies that are needed to provide a base of temporary stability. Most shelters run on the principle of providing a bed at night and kicking people out in the morning.
This is short and to the point: As a society we can't afford to ignore mental illness and addiction any more. (And mental illness and addiction will make you poor, unless you are extremely high income, part of the 1%.) The social costs are just too great.
We have to treat these conditions aggressively, frequently, and for as long as necessary. One of the issues is that we've become focused on "brief therapy" as a way to control costs, but most addicts and severely mentally ill people need intensive therapy, followed by occasional therapy and a support system, whether a 12-step group or a whole different philosophy, for a long time.
Things are just upside down; teenagers and young adults are taking one or more anti-depressant medications when their life isn't perfect yet, while we're unwilling as a society to invest in adults who are deeply dysfunctional.
Refer to our community mental health page to offer some ideas on how the community can foster better identification of people having problems and offer more effective programs. The community poverty page is helpful also.
In terms of addiction, we could begin with a broader education of children and youth about life coping skills, and then of adults. People need to be rewarded for starting to become self-aware enough to understand what drives them. And then they need straightforward and sufficiently rigorous rehab programs.
As a sidebar it's important to note that our policy as a society has been not to even try to heal addictions, unless people have money.
We lock people up if their dealing or using happens to end up right under our nose; otherwise we pretend it isn't happening.
Prison doesn't cure addictions; it incubates them. Let's quit the drug incarceration insanity and concentrate on treatment, teach coping skills, and set up ordinary life so it's not quite as stressful.
The current emphasis on what is called rapid re-housing is important and effective. A quick end to homelessness limits the damage to the psyche, work skills, and social skills, and especially to the children. The rapid re-housing approach includes identifying appropriate housing quickly, providing financial help for moving and rent payments, and social services after the move.
The U.S. Department of Housing and Urban Development emphasizes an approach that it calls Continuum of Care, which calls on the entire community to commit itself to ending homelessness and to providing the broad spectrum of resources that will be useful to people trying to escape their short-term or chronic homelessness.
Long-term, the solution for homelessness requires increasing housing supply in affordable price ranges, in addition to dealing with the domestic violence, mental health, substance abuse, and financial illiteracy issues.
The asset building approach, creating programs for the poor to save money for their future through individual development accounts (IDAs) or the equivalent, can be very important too.
We need to design more attractive affordable housing, learn sophisticated strategies for mixed-income-housing within our neighborhoods, and generally de-stigmatize accepting housing subsidies for a short time.
By the way, most us live in subsidized housing. I take my mortgage deduction on my income taxes; don't you, if you live in the U.S.?
So get over your rant about subsidizing someone's housing. Housing is a basic human need, and your community has a moral responsibility to be inventive about helping to meet your share of that need.
For more information and helpful examples of what cities can do about homelessness, see this excellent homelessness and housing toolkit put together by the state of Washington. Some examples are specific to that state, but many are broadly applicable.
Housing Topics:
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|Song Title
Lionel Richie- Tell Me Lyrics
Lionel Richie- Tell Me Lyrics
Sad,sad story, about all the things I've heard.
Now baby, there's something on my mind.
You said I was your true love.
But I hear you're foolin' 'round.
I gotta know girl what's going down.
Oh, tell me, where do we go from here and.
Are you just playin' me for a fool.
Ooo, lover, I'm tired of people talking.
Why don't you tell me girl if we're through.
Why can't I hear it from you.
Everybody's talkin'
They say you're leaving me.
They say you don't want me no more,
Oh baby.
I need some understanding,
Ooo, tell me who's right and who's wrong.
Baby yea.
Do I stay with you, do I move along.
Oh, tell me, don't have me goin' crazy.
Please don't you keep me hangin' on.
Ooh i, I can't stand it.
Wondering if you still love me.
Wondering if what they say is true.
I wanna hear it from you.
Oh, tell me, wher do we go from here and.
Please don't you keep me hangin' on.
Ooh i, I can't stand it.
Wondering if you still love me.
Wondering if what they say is true.
Please tell me baby if it's true.
Tell me baby.
Tell me baby what's on your mind.
Tell me baby
Tell me yeah (what's on your mind)
Tell me, tell me yeah.
Wait a minute, tired of people talking.
Tired of all my friends telling me about you
Yo see, looking for some understanding.
I've got to know right now girl if it's true.
Don't keep me hangin'on baby.
Can't you see me standin' here askin' you
Come on and tell me.
Don't hurt me baby.
Tell me yeah.
Love me girl or leave me alone.
Tell me, tell me yeah
Don't tease me.
Tell me (don't tease me baby)
Tell me yeah
Oh, tell me, tell me yeah.
(don't tease me honey)
Tell me, tell me yeah.
[Lionel Richie- Tell Me Lyrics]
Correct these Lyrics (if needed)
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Lyrics Information
|Lionel Richie Lyrics
|"Lionel Richie" (1982)
Album Cover
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subset: commoncrawl


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We're just over halfway through the VAULT Festival and already there have been some standout LGBTQ+ plays such as the dark Kompromat, based on the unsolved murder of Gareth Williams, the 'gay spy', and Velvet which told the story of a young actor catfished by a casting agent. The Reviews Hub's Richard Maguire talked to three of the people behind three queer ...Read More »
VAULT Festival
The D Word – VAULT Festival, London
Writer: Jordan Waller Director: Max Gill Reviewer: Richard Maguire The D Word is Jordan Waller's slick one-man show about origins and grief. We are never quite sure what the D word is. At first it seems to stand for Dawn, the name of one of his lesbian mothers. But as this one-hour play progresses other words starting with D seem just ...Read More »
Monkey – The VAULT Festival, London
Writer: David K. Barnes Director: John Rushton Reviewer: Richard Maguire In writer David K. Barnes' parallel world, life is much the same in the coastal towns of England; people still eat ice creams and beauty contests are banned, but, strangely, dancing monkeys are still a seaside entertainment. This is the set-up for a dark parable on gaslighting, and yet, despite ...Read More »
INTERVIEW: Dance and The VAULT Festival 2019
As the VAULT Festival enters its fourth week, The Reviews Hub's Richard Maguire talked to Kane Husbands about his new show GIRLS, the follow-up to last year's phenomenal BOYS. A dance piece with words, GIRLS looks at the pressure on all women to conform to a certain stereotype. Kane Husbands created his physical theatre company, The PappyShow, in 2013, and ...Read More »
Kings of Idle Land – The VAULT Festival, London
Writer and Director: Conor Hunt Reviewer: Richard Maguire Oldham 2001, and a race riot turns the streets alight as Pakistani residents build barricades against the police, and white racists. Hammad and Michael take refuge in a park after being chased by men they cheerily call 'knob heads'. In the middle of this mayhem, the two 17-year-old boys can become ...Read More »
Len Blanco: Firing Blancs – The VAULT Festival, London
Writer and Performer: Len Blanco/ Helen White Director: Freyja Winterson Reviewer: Richard Maguire Len Blanco, former member of 1990s boyband M4, is live at The Palladium, for one night only! He's on the comeback tour. If the Backstreet Boys can do it, then so can Len. He's still got the moves, he's still got the voice, but, unfortunately, Firing Blancs, ...Read More »
A Wake in Progress – The VAULT Festival, London
Writer: Joel Samuels Director: Liz Bacon Reviewer: Mike Wells Death is a subject rarely associated with celebration, but A Wake in Progress challenges this idea with a mixture of good humour and audience participation. Tonight, we followed Daffodil's story (her name decided by a member of the audience) played by Molly Small (also decided by the audience). The show begins with ...Read More »
Greyscale – The VAULT Festival, London
Writers: Joel Samuels and Madeline Gould Reviewer: Richard Maguire In 2018 a female photographer with the pseudonym of Grace accused the American comedian Aziz Ansari of sexual assault after their date. The couple went back to his flat in New York after dinner, and the two engaged in sexual activity. If you read her account of the evening it is ...Read More »


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A further education college with 26,900 learners and 1,500 staff members, Leicester College used K2 to save over 550 staff hours per year over three processes.
Leicester College used K2 to build a fully automated business application for its car parking permit process. Now, employees complete an electronic application form, which is automatically passed to their line manager for approval and then forwarded to the relevant central team. The solution improves the quality and validity of the data collected from applicants and prevents time from being wasted chasing up information. K2 also allows the college to enforce greater quality in the validation process, and crucial information is less likely to be omitted. The creation of this process has resulted in tremendous time savings for the college.
Read the complete case study to learn more.
"August to October, the period when the car parking permit process occurs, I estimate that the college saved 300 hours," Urquhart said. "If all these time savings are converted into cost savings, we calculate that we recovered our investment in K2 software with this single process in the first year."


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Information about Effective Treatments for Hepatitis
Q: What is the most effective treatment for viral hepatitis?
A: Each of the three most common viral hepatitis forms—A, B and C—has its own treatment regimen. Hepatitis A doesn't need to be treated with drugs since it usually resolves on its own within two to six months. Acute hepatitis B does not usually need treatment.
Several drugs are approved for treating chronic hepatitis B, but an updated treatment algorithm suggests that entecavir (Baraclude), pegylated interferon, and tenofovir (Viread) should be the first-line treatments. Other medications such as lamivudine (Epivir HBV) and adefovir (Hepsera) can be used—and may be more suitable for some people—but are less ideal for most because of the development of viral resistance.
The standard treatment for chronic hepatitis C is pegylated interferon with ribavirin. Its success depends largely on which hepatitis C genotype the patient has.
Patients with genotype 2 infections have a higher likelihood of eradication and require only 24 weeks of treatment. About 40 percent with genotype 1 clear the virus with 48 weeks of therapy. Hepatitis C treatment is associated with side effects; most patients develop flu-like symptoms, anemia, and some hair loss. About one third of patients develop psychiatric symptoms like depression, which usually resolves two to four weeks after treatment ends.
Two newer classes of drugs, polymerase inhibitors and protease inhibitors, will likely increase the effectiveness of hepatitis C treatment in the future.
Updated by Remedy Health Media


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Can we keep it real for a second Spartans? Did we really think that this team was going to go undefeated? Were we expecting this season to be a cakewalk without any flaws whatsoever? Whatever you thoughts might have been, the answer to these questions, and more, were answered this past weekend as the MSU football team was handed a 31-13 loss at the hands of Notre Dame for their first loss of the season.
Piecing this loss together, there were various components contributing to this lopsided defeat for MSU. First, let's examine the run game. The tandem of running backs LeVeon Bell and Edwin Baker were completely shut down by the Notre Dame defense. If you recall last years MSU victory over Notre Dame in the infamous "Little Giants" game, Bell and Baker combined for a total of over 200 yards. On Saturday both men combined for a dismal 53-yard game.
Next, let's take a look at the passing attack. Although MSU quarterback Kirk Cousins threw for 329 yards, this does not tell the entire story. The offensive line for the Spartans performed more like the first level of a video game; a breeze to get through. Every snap Cousins took seemed to be met with a barrage of gold helmets charging toward the senior quarterback. The 12 penalties committed by the Spartans had much to do with confusion on trying to slow down Notre Dame's defensive line.
Lastly, let's observe the word "complacent." It's a word that the MSU football team seemed to embody throughout Saturday's loss, not looking like the Big Ten Champions we are accustomed to seeing on a weekly basis. The Spartans were coming off two easy wins against mediocre teams, Youngstown State and Florida Atlantic, forgetting about legit contenders like the fighting Irish, who were desperate for a win Saturday after starting off the season 0-2.
The Spartans were careless (two turnovers), unfocused (12 penalties for 86-yards), and…what's that word again? O yea, C-O-M-P-L-A-C-E-N-T; the Spartans got too comfortable with their 2-0 record, lowering their guard down just enough for the fighting Irish to deliver big uppercut of awakening.
Next on the schedule for MSU is Central Michigan University. The Chips are coming off a 44-14 loss to Western Michigan and itching to rebound.
Legendary basketball coach Pat Riley once said, "When a great team loses through complacency, it will constantly search for new and more intricate explanations to explain away defeat." Need I elaborate more? Be easy people…
By Allen Martin


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Best Movie Posters of 2011
Came across this list of 2011's best movie posters today. I have to say I agree with most of them (Tree of Life shouldn't be in there, in my opinion. It's too messy. Don't get me started on the film). I love that Drive is in there, but I'm not sure it's better than the fan poster made by Timo Lessmollmann. Uncle Boonme and Burning Man are beautiful.
Below is Timo's excellent poster.
Via AdFreak


text: I'm undecided about this. To what extent is the echo chamber and groupthink forming process of self-choosing internet information, and particularly Facebook dynamics, a factor in creating a fragmented, entrenched and tribalised political-thought landscape. is it a problem? Maybe overall its good that people are engaging with political ideas more (are they?), and this is a natural part of that? And if it is a problem, what's the solution? And is there any way that the internet itself (or the way we use it) can help solve the problem? I had a bit of a wake up call to this recently when i saw a couple of different Facebook friends post on what i thought were complex, nuanced questions. They often take a very strong position, and what follows in likes and comments is endless backing up and reaffirming of what the OP had said. In the recent past these strong opinions would generate argument but now those who disagree have either unfriended or given up contesting, whilst those who agree pile on support and reinforcement. Feels cultish to me.


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HiEnd Accent White Augusta Matelasse Neckroll Pillow
Item # 28475F
Details/hiend-accent-white-augusta-matelasse-neckroll-pillow/27305000012.html FB4162P7
- HiEnd Accent White Augusta Matelasse Neckroll Pillow
- Item # 28475F
Additional Information
Features & Description
- 100% Polyester
- White
- Spot of Dry Clean Only
- 21x8
This creation comes from none other than HiEnd Accents, a company that specializes in only the best western and home decor. This vintage white matelasse fabric is accented with a Greek key trim and hand-tied on each end. It has a 100% polyester fill insert and coordinates with the Augusta coverlet set and toile duvet cover.


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The New Age Series ~ Crystals ~ Book by Jessica Hundley
If you are familiar with The Local Rose, you know I am lover of crystals and have been since I was a wee lass. Nothing is as magical as gazing into a vortex of brilliance inside a beautiful crystal. I keep crystals around me for various reasons like rose quartz, citrine, black tourmaline and more. I have had amazing visits on my site with crystal experts like jeweler Ele Keats and crystal hunter Harishabd Khalsa. They have shown me that crystals can be teachers to us, and aid us in healing in many areas. There now is the most perfectly succinct and lovely book about crystals by Jessica Hundley, whom I had the pleasure of first meeting at the Echo Park Craft Fair. This book is the perfect hostess gift and a good one to quickly look up the magic of a particular crystal. One of my most favorite books on crystals is a bible called Love is in the Earth by Melody. Jessica's book is perfect for trying to remember the attributes of a specific crystal or some vital information. Jessica starts the book with … Forged by fire and fluid, and the slow, heavy press of the earth's surface, crystals are nature at its most miraculous, science as it veers into the mystical. Below is an interview with the author and some good crystal information ~. 1) What makes your heart sing?Nature, books, art, music, foodif I had get specific? Reading Walt Whitman's Leaves of Grass out loud, watching Gene Kelly dancing in Singing in The Rain, listening to the live recording of Etta James and Dr. John singing 'I'd Rather Go Blind', writing when I'm really in the groove, collaborating creatively with the people I love, watching the people I love, do the things they love, surfing as the sun is setting, California, Barcelona, my dog, my man, my friends, my family I am continually thankful for my life and this beautiful world around me. 3) What are the top three crystals we all should start with and why?Clear quartz is the ultimate starter stone. It's a perfect crystal to have on your desk while you work. 4) Do you a have a crystal inspired beauty secret?Rose quartz is all about the love.
The Great Crystal Boom of 2017
While little, if any, scientific evidence exists to substantiate crystals' efficacy, they are extolled as beneficial to physical and emotional healing. "Especially in times of uncertainty, crystals are an easy access point to tapping into a New Age movement that has experienced a modern upgrade." Her recent In Goop Health summit, with lectures by integrative medical professionals as well as crystal therapy and aura photography, sold out within days. At Taryn Toomey's new TriBeCa studio, where she leads her popular workout, the Class, large chunks of clear quartz greet clients at the desk. Each crystal is deliberately placed to help clients release negative energy and cleanse their minds, all while performing multiple jumping jacks and burpees. In glass cases along the wall are the crystal pendants Ms. Toomey designs, and which the studio sells for up to $2,800. In designing the studio, Ms. Toomey collaborated with Rashia Bell and Elizabeth Kohn, the founders of the Cristalline, a design firm. "It's the concept of how you can heal a home through crystals as well as improve the function of flow and energy," said Ms. Bell, who is also a crystal healer. Ms. Bell and Ms. Kohn laid a crystal grid beneath the studio floor. The center of the grid houses lighter crystals, like clear and rose quartz and amethyst for cleansing, calming and support. Tracie Martyn, a New York skin care salon favored by celebrities, recently introduced its Complexion Savior Mask, which uses concentrated extract from malachite crystal. Then she lays the crystals on pressure points of the body. "You're in a state of relaxation in the mind, body, soul," said Ms. Robinson, a reiki master and crystal healer. Before any youth preservationists go trading laser treatments for chunks of hematite, know that crystals have not been proven to have medical benefits.
Human Activity On Earth Triggered A New Age Of Minerals
Today 5,000 to 7,000 minerals are formally recognized on earth and every year some new ones are discovered. A new paper published by mineralogists Robert M. Hazen, Edward S. Grew, Marcus J. Origlieri and Robert T. Downs argues however that human activity in the last 250 years initiated a new age in earth's history, characterized by the formation of previously unknown minerals. At first, only magmatic rocks and minerals existed on the cooling crust of the young earth. When tectonic activity started on the early earth, metamorphic minerals started to form. Now minerals form by erosion and chemical weathering of older minerals and rocks. Most minerals formed some 1.3-to-2.3 billion years ago. Reacting with other elements, oxygen formed over 2,000 new oxides and minerals, adding to the 2,000 previously occurring minerals. The evolution of higher lifeforms and plants and new chemical reactions added further minerals over the next millions of years. Recent human activity significantly accelerated the rate of minerals formation again; 208 previously non-existent minerals formed in just the last 250 years. Humans can create artificial minerals, like synthetic gemstones, pure silicon or exotic metallic alloys, but humans also influence the formation of minerals outside the laboratory. Most modern minerals form by chemical reactions between the natural world and human infrastructure, like mines, quarries, industrial complexes and landfills. Over time, eventually involved in tectonic movements and under metamorphic conditions, landfills will act as sort of furnaces for the creation of new minerals. New minerals form by the chemical corrosion of such old and new artifacts. A new excavated tunnel tends to drain the underground, percolating groundwater reacts with materials like concrete or the freshly exposed rock surface, forming minerals like Epsomite or crusts of oxides and hydroxides.
The Encyclopedia of Crystals, Herbs, and New Age Elements …
Your essential guide to the power of New Age elements!From crystals and herbs
to flowers and essential oils, this comprehensive guide shows you how to use a …
Check Out This SNEAK PEEK of "The Dark Crystal: The Ultimate Visual History"
One of the most exciting bits of recent horror-adjacent news came in mid-May when Netflix made the surprise announcement that a 10-episode prequel to The Dark Crystal was in the works. The beautiful anomaly directed by Jim Henson and Frank Oz led to decades of collaboration, but nothing ever recaptured the wonder, power, and terror of The Dark Crystal. There's no release date at this time, but you can check out the teaser and a brief synopsis below. Perhaps timed to coincide with the premiere for the prequel, Insight Editions is releasing The Dark Crystal: The Ultimate Visual History. The book is now available for pre-order on Amazon, and the announcement came with some amazing, full-page previews of the marvels contained within; this is truly a tome fans of The Dark Crystal will consider a must-own. Official Synopsis: Dark Crystal: The Ultimate Visual History is the definitive collection of rare artwork, interviews, and on-set photos from the beloved Jim Henson fantasy classic. A true masterpiece brought to life by the ingenious puppetry and peerless storytelling of Jim Henson, Dark Crystal is revered by an entire generation of fans. Drawing from unseen archive interviews with Jim Henson and new interviews with the film's behind-the-scenes creative team, Dark Crystal: The Ultimate Visual History leaves no stone unturned in chronicling the entire production, from the initial concept based on themes close to Henson's heart to the ingenious conceptual design, puppet construction, and logistics of the shoot itself. The book also delves into the wider world of Dark Crystal, exploring the creation of comics, novels, and other official projects inspired by the film. Definitive, enthralling, and revelatory, Dark Crystal: The Ultimate Visual History is the last word on an enduring modern classic and the book that fans of the film have been waiting for. We'll keep you posted on all Dark Crystal Prequel news as details emerge, so stay tuned and check back often! In the meantime, take a stroll down Memory Lane with the trailer and synopsis for the original Dark Crystal below. He sets out to try to find a shard of the dark crystal, a powerful gem that once provided balance to the universe. After the crystal was broken, the evil Skeksis used sinister means to gain control. Jen believes that he can repair the dark crystal and bring peace back to the world, if he can only find the remaining shard.
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IF YOU WOULD LIKE TO SEE MORE CHECK OUT MY portfolio.
Sometimes even the most detailed information can have a few missing pieces. Here is a list of frequently asked questions to help you along the way in choosing a photographer.
1. Does your fee include digital images?
Yes! All my sessions include digital images. The amount will be dependent on which session you choose and how many prints you ultimately choose after your in home personalized viewing.
Please note there is a 50% non-refundable deposit due upon booking to reserve your date.
2. What if I have to postpone or cancel?
We can postpone your session two times. After this, your session will be cancelled and your deposit will not be refunded. We reserve your date for you for a reason. By constantly re-scheduling we are loosing possible business on your rescheduled date. Normally however we are very flexible. If you need to cancel your deposit is non refundable. We have booked your date for you and only you. (Wedding Cancellations/Postpone-Please see below in the special section)
2. Do you have a studio?
Yes! While I am always open to going on site, whether your home or in a special place or specific park, I do also have a studio as well. Having the studio allows me to photograph you rain or shine and if in my studio it allows me to use all my equipment to give you professional quality photos. This option is specifically amazing when it comes to newborn sessions, glamour or boudoir sessions and product photography sessions. My studio is newly renovated including a private washroom with shower if needed depending on the shoot we are doing. Where you would like your shoot will be discussed in our 20 minute pre-consultation phone meeting.
3. Do you photograph events?
You betcha! I love being a part of your families most special moments and life events. In the past I have photographed, baptisms, bar mitzvah's, bat mitvah's, birthday parties, anniversaries, corporate functions, trade shows, and wedding shows.
4. What other types of photography do you do?
As I say, if you want it photographed... I can do it. Although not a primary category in my gallery, I also photograph boudoir sessions, product photography, food photography and School Portraits.
5. What does your wedding package include?
No bride and groom are the same. Each wedding package will vary with each couple. Although I have some basic packages on my website, I have a detailed list of what information is needed before I can quote you based on your needs. Check out our Wedding Information Page to find out what we need in order to quote you correctly.
6. Do you travel for portrait sessions and weddings?
Yes! Absolutely. A fee of $2 per kilometer will be charged for any destination within Ontario over 60 kilometers from my home. Destination Wedding... we love them. See our Wedding Information Page to find out more details and packages.
7. How long will it take to receive my product?
Once your session is complete, I will go through and process your images. This can usually take about 2.5 to 3 weeks depending on the season. Once they are done we will sit down and go through the reveal which shows you all your processed images complete. We will determine which ones you best like and would like to order. We will also discuss if you would like any of these images in prints. If all the images you want you would prefer in digital only then the images will be uploaded to a USB on the spot and given to you at this point. If you require any additional changes to certain images the USB will be delivered to you with your photos within 1 week with all the updates.
Photographic product such as prints, canvases and albums take longer. I will let you know the time frame once the product has been ordered.
8. Do you do Prints, Custom Framing and Photo Books?
Yes! And we love doing them! We searched high and low to find the best quality prints, framing suppliers and photo book supplier with the best prices so we can deliver a top quality product at the best possible prices.
Copyright 2016. Patricia Beesley. All Rights Reserved.


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Grateful acknowledgment is made for permission to reprint the following material, which originally appeared in various journals, both printed and online. "The Chessboard Model of Architectural Styles" was originally published in Italian in Il Covile, No. 320 (April 2006), English translation by the author. "The Danger of Deconstructivism" first appeared in Italian in Temi di Stefano Borselli (February 2003); English version in 2Blowhards (March 2003). A much shortened version of "Charles Jencks and the New Paradigm in Architecture" appeared in Chaos & Complexity Letters Volume 3 (2004); the present full version is previously unpublished. "Deconstructing the Decons" in PLANetizen (January 2003); shorter version in The American Enterprise, Volume 13, No. 2 (March 2003), page 13; Spanish version in AMBIENTE Revista 90 (March 2003). "Death, Life, and Libeskind" published in Architectural Record Online — In the Cause of Architecture (February 2003); shortened version in 2Blowhards (January 2003), reprinted with permission from ArchitecturalRecord. com. Postscripts are hitherto unpublished. Book review of Anthony Vidler's "Warped Space. Art, Architecture, and Anxiety in Modern Culture" in Journal of Urban Design, Volume 6 (2001), pages 332-334, reprinted with permission from Carfax Publishing, Taylor & Francis Ltd. "Twentieth-Century Architecture as a Cult" in INTBAU Volume 1, Essay Number 3 (November 2002). Postscript is unpublished. "Anti-architecture and Religion" first appeared in Portuguese in Brotéria (Lisbon) Volume 155 (November 2002), pages 381-388; English version in Sacred Architecture, Issue 7 (Fall/Winter 2002), pages 11-13, reprinted with permission from The Institute for Sacred Architecture. "Contemporary Church Architecture and Saint Augustine's 'The City of God'" was originally published in Italian in Il Covile, No. 300, Speciale Architettura Religiosa (January 2006), English translation by the author. "The Derrida Virus" in TELOS No. 126 (2003), pages 66-82. "The New Ara Pacis Museum" was originally published in Italian in Il Covile, No. 329 (June 2006), English translation by the author. "The New Acropolis Museum" in 2blowhards (February 2004); republished in Temi di Stefano Borselli, No. 196 (March 2004), in I Fileleftheri (March 2004), and in Archimagazine (April 2004); "Architectural Cannibalism in Athens" originally published in Orthodoxy Today (November 2007); republished in Greek Architects (November 2007). "Architectural Theory and the Work of Bernard Tschumi" in 2blowhards (April-May 2004). "The Nature of Order: Christopher Alexander and the New Architecture" appeared in Vogue Hommes International 15 (Spring-Summer 2004), pages 116-119; French version in Vogue Hommes International 15 (Printemps-Été 2004), pages 116-119. "Aggression In Architectural Education: The 'Coup' In Viseu" appeared in a shorter version in 2Blowhards (September 2004). "Why Do We Have Horrible Inhuman Architecture?" by James Kalb was originally published in three parts in Turnabout (January 2008).
Salingaros, Nikos A.
"Anti-Architecture and Deconstruction"
Fourth Edition ISBN 978 3937954 103
© 2010 UMBAU-VERLAG & Nikos A. Salingaros
www.umbau-verlag.com • [email protected]
The book began modestly as a collection of essays severely critical of the most fashionable and esteemed contemporary architects, published in English by a small architectural press in Germany. The book was unknown to general readers, since the major American and British bookstores (including the online ones) did not sell it. One prominent architectural bookstore in the US did carry it, but astonishingly, condemned it on its website! When my publisher complained that this did not make good sense for promoting sales, the bookstore in question promptly dropped the book. Despite such obstacles, the book has been translated into French, Italian, Persian, Portuguese, and Spanish, and the first edition has now sold out.
Consistent with its original purpose, the book seems to have been quietly embraced by a number of influential people. I am gratified to have heard from architects, architectural historians, philosophers, scientists, and journalists who have adopted some of my ideas. A few of them have thanked me for providing what they consider a useful framework for discussing architectural and social topics. Others, whom I don't know personally, picked up key concepts from this book (or from the individual articles as they originally appeared before being collected into the book). All in all, many people have found here a convenient rubric for analysis.
At least the vocabulary I introduced has caught on. On the Internet, in books, in newspapers, and in journals, the most offensive contemporary "star" architects are increasingly described as "anti-architects", the paradoxical proliferation of inhuman buildings is explained in terms of viral methods of infection, and monstrous new forms are analyzed with reference to their willful non-adaptivity. People started noticing that some built forms and spaces create anxiety and symptoms of physiological distress in the user, but this connection is denied by the architect (and by architectural critics who promote that architect). I expect that the first litigations over architecture-induced sickness will settle the matter quite soon, and this book may even be used in evidence.
The architectural debate is starting to take place outside architecture altogether, in an open forum where these fundamental questions can be freely discussed. In the twentieth century, architecture assumed a wholly unjustified role of authority (characterized by some as a substitute religion, complete with proselytizing and grandiose self-delusions), yet this key aspect is hardly discussed within architecture itself. Many people projected and continue to project their aspirations onto architecture, which thus acquired lofty ideals. Those excited by new and strange shapes seek a thrill in man-made forms. Nevertheless, this sort of visceral pleasure gets mixed up with defunct religious yearnings, and subsequently assumes aspects of a religious cult open only to the initiated. At the same time, its adherents celebrate a geometry that denies the generative experience of life in the world.
Ordinary citizens have suddenly discovered that their own intuitive feelings about architectural form are not aberrations, but have a basis in scientifically-comprehensible conditions. What looks and feels ugly, monstrous, and evil is in fact bad architecture from a user's point of view. Confused and disoriented by the peculiar discourse of our prominent architectural critics, illustrious schools, and the international media, they finally found a group of people (i.e., my circle of friends and co-authors) who validate their own deeply-felt frustrations. Theirs are normal responses to the perceived decline of the built environment, and the irresponsibility of our architectural leadership. I am incredibly gratified to have been able to help people stand on their convictions against the onslaught of media propaganda and specialist conditioning, supported and promoted by powerful institutions.
As far as the practice and teaching of architecture are concerned, the situation is more complicated. Everyday architects go on as usual, oblivious to the polarization of their discipline. Most of them continue to believe the delusional assumption that ordinary citizens "just don't get" architecture. The profession is not self-governing, and as a result, the public is not protected from professionals who abuse or damage nature's delicate geometry. Accusations about the inability or unwillingness of the architectural profession to adapt to human sensibilities and the ecosphere are answered by superficial gloss and a lot of hype. The debate on contemporary architecture's failure to adapt to biological forms and processes has only just begun, and will soon get more intense.
Architectural education remains isolated from the rest of the world, its very future in question (although those in control either don't know it, or don't wish to consider the possibility). I lecture at various architecture schools around the world, where I am confronted by the fundamental disconnect between living forms, on the one hand, and what is promoted as the nihilist standard of avantgarde art by professors, required course books, magazines, and the global media on the other. Students don't see the extent of the deception going on in architectural academia; otherwise they might get locked into a destructive struggle with their teachers, and thus never get to finish their degree. It's better that they discover this when they can stand on their own two feet (either upon entering graduate architecture school, or after they begin to practice).
I have found more sympathetic recognition from colleagues within Classical and Traditional Architecture, Landscape Architecture, Sustainable and Biophilic Architecture — all respected communities that are currently somewhat peripheral to the world of iconic architecture. Those disciplines are gaining in influence, however, and may eventually supply our future architects. As the agenda of sustainability and human wellbeing becomes paramount, iconic architects are beginning to find themselves isolated, and on the defensive. Quite aside from analyses like this one, it becomes more and more difficult for iconic architects to pretend to embrace sustainable urban concepts, without anyone noticing an incompatibility with their fundamentally destructive approach to the built environment.
As a welcome and positive development, a small number of architectural educators increasingly embrace my writings as offering opportunities for innovation. Those individuals are not aligned with any particular ideology or power structure. They genuinely want their students to become better architects — and make this their priority over and above political games. It is a challenge for me to help them try and work out future directions for architectural education from within the system. Even if only a handful of academics and practicing architects (and they are so far in the minority) are willing to make a change for the better, that can surely be accomplished, although it goes against established tradition. My writings help stir up a healthy debate in schools of architecture, a process encouraged in some places. Although most architecture schools advertise an open approach to the topic, they will not go so far as to include my views!
I have actually been careful not to foment any more controversy than is strictly necessary. For instance, I recently had to sit through a lecture by the Dean of one of the world's premier architecture schools, in which he presented the three greatest architectural thinkers of all time as Vitruvius, Palladio, and Libeskind. I kept quiet, not wishing to upset the conference's organizers who had also invited me. At the same conference, I befriended the Dean of another prominent architecture school, who had given a reasonably good talk on urbanism. I later sent him this book as a gift. He sent it right back! Now that's odd — Deans receive all sorts of books they don't particularly want, and they donate them to the school library.
Clearly, he didn't want this book available in his school's library. He could have tossed it in the trash instead of paying return postage, but he must have found it remarkably provocative — so much so that he felt it necessary to distance himself from it in no uncertain terms.
The deepening crisis in which iconic architecture finds itself is of its own making — aided and abetted by a commodity culture that is only too happy to package up nihilistic kitsch. The present period of nihilistic expression continues for the time being, creating an alternative reality of seductive, translucent images offered for public consumption. Its corrupt support by vested interests might yet be superseded by a wonderful flowering of emotionally-nourishing, enduring buildings. It is with this goal in mind — a naïve wish that people will eventually rediscover simple, living architecture — that I hope this book will continue to provide inspiration to readers.
Two new parts are included in the third edition: a second essay on the New Acropolis Museum; and a description of the takeover of the Architecture School in Viseu, Portugal, written just after that architectural coup d'état took place. My original comments against the museum in Athens were published in several languages, and became known all around the world — except in Greece. That was not for lack of me trying, however. The outcome I predicted for the New Acropolis Museum turned out to be far worse than I could ever have anticipated. A successful propaganda campaign for starchitecture was carried out with consummate skill and efficiency. It destroyed, and is still threatening, part of Athens's historical urban fabric. The public was brainwashed using methods I had outlined in this book (but not learned from me!). Those who thought my warnings were exaggerated should look to Athens, where the methods were actually put into practice.
The second focus is on architectural education. We cannot hope to train humanistic architects in our existing architecture schools without a radically new type of educational program. The architectural establishment correctly perceives this as a major threat to its continued ideological domination. The ruthless takeover of one architecture school that introduced a humanistic design curriculum was a terrible setback for world architecture. Nevertheless, I believe that a lesson can be learned here. A single historic defeat can eventually become a rallying cry leading to eventual victory.
Co-opting the recent movement towards humanistic architecture by those who have suppressed it for the past several decades is a very worrying development. In the Postscript to Part 7 of this book, entitled 'The Authority of the Gospels', I mention how proponents of an inhuman architecture have now adopted a scientific vocabulary, and make up plausible-sounding but false arguments to promote their bizarre forms. This is simply an attempt to maintain their hegemony on the discipline — one more pretense in a long line of deceptive practices used to hold onto power. Students are easily fooled, however, since they are faced with new books containing attractive organic illustrations, in which deceptively sincere architectural theorists talk about exactly the same things I talk about: but twisting them to promote the worst sort of absurd anti-architecture. The arguments rely on the most superficial analogies with biological forms, betraying a fundamental lack of scientific understanding (which is unfortunately not evident to architects and students).
I must admit that this recent propaganda campaign is very cleverly done! Titles of the new books promoting a new direction in design all include the catchy words "Biological", "Green", "Landscape", or "Nature". Their authors (and publishers) have abandoned their usual sadistic architectural style of using a too small sans-serif font in a light gray ink, with blurry, grainy photographs; and have instead adopted a nice large serif font in solid black, with sharp, detailed photos of biological forms. There are also paragraph breaks for the first time in decades! Those books could be mistaken for the writings of my friends, not only for their superficial content, but also for their "look and feel". That, I'm afraid, is the intention: to marginalize us yet one more time by stealing our own vocabulary. Remember when the old totalitarian political regimes finally fell? Those who had worked for the secret police presented themselves as resistance fighters and moved quickly to take over the new democratic governments. It's the old trick all over again.
Foreword by James Stevens Curl
This book should be required reading in every institution concerned with the teaching of architecture, planning, and all other aspects of the built environment. It should also be read by every person claiming to be an architect.
That, however, is a forlorn hope, as most architects seldom read at all: they only look at seductive pictures and absorb slogans. There are a very few honorable exceptions; these are those rare individuals who conserve and restore old buildings, add to them or adapt them with sensitivity and scholarship. It includes those who can still design buildings that delight and enhance life rather than threaten it, and who understand the nature of the materials used in their buildings without having to call in engineers and contortionists to enable their designs to be realized.
The rise of Deconstructivism and its adherents can partly be explained by the spread of the contagion Salingaros, in this essential and timely book, calls "The Derrida Virus", and partly by the Imprimatur given to the style (for that is what it is) by Philip Johnson. Before the 1939-1945 War, Johnson had also encouraged the pandemic of the International Style with the exhibition he and H. R. Hitchcock organized in New York City. Now, Deconstructivism has been hailed as a "New Paradigm" by those who ought to know better, and the cult is being forced on students in those breeding grounds of the ugly and the unworkable, namely the Schools of Architecture. (In my opinion, they ought to be properly renamed "Schools for the Destruction of the Environment", and, in any reasonable society, closed down because of the menace they pose for the future).
This excellent and thoughtful book dismantles the flimsy codification known as Deconstructivism, showing how the ill-educated have been fooled by obfuscation, which they have mistaken for profundity. It also warns of the wholly negative nature of Deconstructivism. How many more of these so-called "iconic" buildings, with their jagged forms and uncomfortable spaces, their grotesquely impractical corners, their expense, and their disregard for context, can be sustained? Already, LAUS DEO, there are rumblings of discontent, and certain projects are being called into question as support falls away. Despite the pseudo-intellectual apologies for this cult/style, buildings resembling crumpled boxes, or with fronts looking as though they are sliding off in shards, cannot be justified, even using obfuscatory non-language. Nor can all the glossy pages of the journals that purport to be "architectural" (but are nothing of the sort) justify them, raising questions about trades descriptions.
"The Emperor Has No Clothes" is an old adage, but, in the sad case of Deconstructivism, it is absolutely appropriate, as the style is really nothing more than Modernism in a new guise. Modernists, notably the Bauhäusler, aimed for the clean slate — the tabula rasa — jettisoning everything that went before. Yet, at times, they claimed links with antecedents such as the Parthenon (Jeanneret-Gris alias Le Corbusier, and company), the English Arts-and-Crafts Movement (Pevsner et. al.), and Prussian Neo-Classicism (Mies van der Rohe) to give a spurious historical ancestry to their aims and creations. Now all sorts of barmy links and precedents are being claimed for the works of Deconstructivists by Deconstructivist architects and their supporters.
As this book points out, "architects and architectural critics have become expertly adept at fancy wordplay, sounding impressive while promoting the deconstructivist style's unnatural qualities. This linguistic dance is used to justify a meaningless architecture of fashion." Quite so, except that to some of us, blessed with a Classical education, it does not even sound impressive. We know it is simply empty jargon, meaningless pseudo-language, and ranting drivel of the worst sort. Cults invent their own liturgies and fraudulent language. Deconstructivism is a perfect example of this.
Deconstructivism is just another phase in the creation of the inhuman world dreamed of by Modernists. That world of uninhabitable cities, incessant noise, violent and pornographic "entertainment", destruction of natural resources, an uncivilized, dangerous, selfish population, and all other attendant horrors, is rapidly becoming a nightmare of the most ghastly kind, in which even the buildings are distorted, misshapen, and menacing.
Architects are trained nowadays to destroy: they are brainwashed into killing off living organisms such as cities, and have no feeling for old buildings other than to wreck them too. They are also trained to worship, starry-eyed, the few "star" architects who have gained favor with the arbiters of taste — the journals — so that when the stars go out or fall from the firmament, they have nothing left to worship. What is to become of them? They cannot do anything expect ape the once-fashionable and that which is passé, so (empty-headed and unskilled as they are) they really ought to be retrained to do something useful in a completely different field. Probably a mindless job — which seems to be the most common these days, and one for which the products of most architectural schools are eminently suited — is appropriate.
This book is the beginning of a long-overdue counterattack.
Professor James Stevens Curl is one of the world's leading architectural historians, and the author of "The Oxford Dictionary of Architecture" (1999).


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Equal Opportunity
Equal Opportunity Office (EOO)
Old Main 345
(360) 650-3307 or 711 (WA Relay)
Sue Guenter-Schlesinger, Vice Provost for Equal Opportunity and Employment Diversity, Title IX and ADA Coordinator
Mohammed Cato, Assistant Director, Deputy Title IX Coordinator
Laura Langley, Manager, Equal Opportunity Programs
Lynae Rickman, Administrative Assistant
1. What does your signature mean on the electronic hiring forms when you are searching for a new faculty or staff member?
Your signature represents that you have ensured that the search process has followed equal opportunity guidelines and that you have reviewed all attached paperwork to ensure it is within departmental and college parameters. Equal opportunity guidelines for Western searches are set out in Equity and Inclusion in Hiring: Best Practices for Faculty and Professional Staff Searches, and are reviewed in the equal opportunity and affirmative action briefing provided for the search committee by the Equal Opportunity Office.
On the Request to Recruit e-form, your signature additionally represents that the search committee has
identified proactive avenues for outreach to build an excellent and diverse pool of applicants, and that these venues for outreach are listed on the Recruitment Plan attached to the e-form. Your signature on the Request to Interview additionally represents that the search committee conducted proactive outreach to build a diverse applicant pool, including reaching out via all means identified on the recruitment plan.
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If a student, faculty, or staff member voices a concern regarding possible discrimination or harassment based on a legally protected characteristic, promptly contact EOO for assistance and encourage the individual to contact EOO directly as well. Under law and Western policy, legally protected characteristics are race, color, creed, religion, national origin, sex (including pregnancy and parenting status), age, disability, marital status, sexual orientation, gender identity and expression, veteran status and genetic information.
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Per Western's Policy on Preventing and Responding to Sex Discrimination, Including Sexual Misconduct, department chairs who learn about alleged sexual violence occurring while someone is a student or employee at the university (including dating violence, domestic violence, sexual assault and stalking) must promptly report the allegation to the Title IX Coordinator, Sue Guenter-Schlesinger.
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The law requires a supervisor to address a discrimination or harassment issue if he/she "knew or should have known" about it. While Western will respect an individual's request for confidentiality to the greatest extent possible, we must not ignore potential discrimination and must fulfill our responsibility to provide a safe and nondiscriminatory environment for all students and employees. If the individual indicates at the beginning of the conversation that she/he wants you to keep her or his issue confidential, you should explain that you cannot keep such matters totally confidential and tell the student, faculty or staff member that they may speak confidentially with the Counseling Center, CASAS or the Employee Assistance Program, as appropriate. You should also provide the individual with a full list of resources and reporting options.
4. If a new faculty or staff member joins your department, is any EO training required? What EO trainings are available for department chairs and their faculty and staff?
Sexual Harassment Prevention Training is required of all new faculty and staff. New employees should go to http://www.wwu.edu/eoo/training.shtml for information about upcoming training sessions and to register. Online refresher training in the prevention of sexual harassment is required every three years, and employees are emailed when they need to complete the refresher training.
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Cow Flyover Royal Highland Show Bell Ingram
Thursday, June 30th, 2016
on behalf of Bell Ingram
AN EXPERT TEAM led by Bell Ingram Design has completed one of its most unusual projects to date – to create a 'flyover' for cattle at the Royal Highland Show.
The Royal Highland and Agricultural Society of Scotland approached Perthshire-based Bell Ingram Design with the challenge to resolve a traffic issue involving livestock and visitors at the main show ring at the Ingliston showground.
In previous years, the main pedestrian walkway would be temporarily closed at intervals throughout the day to allow livestock to pass from the holding ring into the show ring. That forced hundreds of visitors to stop and wait until it reopened, which in turn caused blockages.
This year, thanks to Bell Ingram Design's innovative solution, cattle were able to travel via the new flyover, while the crowd was free to move through an underpass without delay.
Iain Cram, Director of a team of architects at Bell Ingram Design, spoke of the intricate geometry required to complete this one-of-a-kind project while taking up as little valuable space as possible.
Iain said: "It's fair to say that it's not every day you get asked to design a flyover for large numbers of prizewinning livestock.
"This commission was all about creating a better user experience for the thousands of people who visited the Royal Highland Show.
"The project was more than a little different to the norm, so was not without its challenges. For example, we were very concerned to be sure that the animals would be happy to use the flyover.
"So we had to take this into consideration and designed the ground of the crossing as a stone farm track, so that it felt natural under hoof.
"This was unusual and significant win for Bell Ingram and we were very excited to work Alltec Construction to complete the works."
Willie Gill, Chairman of The Royal Highland and Agricultural Society of Scotland, said the underpass was part of a £1.6m investment of improvements for this year's show.
He said: "This underpass is yet another demonstration of the Society's commitment to sustaining the Royal Highland Show's position as a world-class event.
"By improving the flow of livestock and people through the showground, everyone's experience was improved greatly. Fewer hold-ups meant there was more time to enjoy our celebration of the best in farming, food and rural life."
Bell Ingram Design, a division of Bell Ingram focusing on architecture, has an impressive track record in delivering innovative solutions for clients. It was appointed to identify a new site, secure planning consent and manage the built infrastructure for the move of T in the Park music festival from Kinross to Strathallan. In addition, it recently won a commission with The Landmark Trust to lead the upgrading and maintenance of a portfolio of 19 renowned properties in Scotland.
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Neat Coffee Shop Presents: The Small Glories
Neat Coffee Shop, 1715 Calabogie Rd., Burnstown, ON
October 7 2018 Tickets: $30 8:00PM START
When fully booked the dinner option will not be available in the show night selection box. Guests choosing the "ticket only" option are welcome anytime after 7:00. Please contact us if you have any questions. firstname.lastname@example.com 613-433-9960


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Submitted by Janet Eisan on
PDQ is proud and happy to announce that our new tenor is Carrie Vander Hamm Falk! Carrie sings in the Sacramento Valley Chorusand came to her first rehearsal with a possible costume in hand! We just know she will be a wonderful 25% of our whole.


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With the Democratic National Convention starting today in Denver, Barack Obama will be everywhere this week. Several magazines out now – ranging from the political to apolitical – are doing their part with cover stories to make Obama's already-familiar image downright ubiquitous.
Anyone who believes the media is in bed with Obama should check out this week's issue of the National Review. The conservative mag devotes nearly its entire issue to torpedoing Obama's policies and personality. On the personal side, an anonymous piece dissects Obama's autobiography and can't seem to find a "single positive sentence about the United States or European society."
The Atlantic Monthly pushes its own brand of analysis on the presidential race, with a cover piece from veteran James Fallows on who might win the upcoming debates. While it's an exhausting examination of both candidates' debating styles, it never really answers any questions – simply because Fallows focuses more on Obama and the Democrats than on the Republicans. Also worth checking out is the much-talked-about piece on the bitter infighting among operatives in Hillary Clinton's campaign.
Ladies' Home Journal interviews the Obamas on marriage, kids and domestic duties, but not on the political issues confronting this country. So if you care about who does the dishes come voting time, make sure you pick up a copy. Elsewhere, Dr. Phil is making the rounds to deny tabloid rumors he and his wife are on the brink of divorce, chalking it up to "celebrity plus scandals equals sales."
In typical fashion, The Economist brightly sums up the state of Obama's fight for president by outlining the obstacles he faces in convincing Americans – including "a dangerously large number of Democrats" – that he's the right man for the job. The wordy British mag contends Bam made an arrogant mistake in planning to give his acceptance speech in a sports stadium rather than the convention hall, and says he should acknowledge the effectiveness of the recent Iraq "surge."
The New Yorker has a thought-provoking read on whether the Democratic politics of Colorado – site of the national convention – offer the recipe for the party's future. The story suggests the party has the potential to be a powerful force for the western part of the nation (which is why it's holding the primary there). It also looks at the politics of Gov. Bill Ritter who governs "ruthlessly from the center," and "almost never talks about social issues." The rest of the mag, though, is summer fluff, the Style Issue, with filler features entitled "Never Enough Shoes" and "The Makeup King." But the piece on architect extraordinaire Santiago Calatrava delivers on one of our favorites, the Milwaukee Art Museum.
In what could be seen as an odd piece of timing, New York offers readers a break from Obama with a cover story on "What to See, Hear, Read, Watch, Eat & Buy This Season." The article argues that for New Yorkers, the year really begins just after Labor Day weekend, "when our stomachs begin to flutter with anticipation, expectation, even longing for culture's reawakening." The package tells you what's worth checking out on the big screen, small screen, stage and on booksellers' shelves. More interesting, however, is the analysis of Sen. Joe Lieberman, his support for Republican John McCain and what it means for the Democrats. The mag says Lieberman is backing McCain because the Republican believes in the kind of foreign policy that the Democrats (according to Lieberman) don't provide anymore.
Newsweek is the place to go for people looking for more on Obama's psychology. The cover story explores how his lack of a father figure may have made him more tough-minded and determined. The mag goes so far as to suggest that not having a father present (as was the case with Presidents Bill Clinton and Andrew Jackson), or having a domineering father (as with McCain and JFK) is a prerequisite for being president. The photo spread is particularly eye-catching, although we have to draw the line of the angelic toddler Bam in short shorts and near-brimless cloth hat and the rakish shot of him clutching to his breast a copy of the Harvard Law Review like a collection of Shakespeare sonnets. Sheesh! How do you spell sycophantish . . .?
Time is the place to go for anyone looking for a recap on Obama's perceived strengths and weaknesses. The cover piece, "The Five Faces of Barack Obama," reels readers in by asking them what they think when they look at a photo of Obama. A multiple choice is listed: black man, healer, novice, radical and the future. But the article ultimately falls short of providing original insight. That can best be shown by a pullquote: "We've got to make sure that people understand the choices that are stake." Yeah, right. Columnist Mike Murphy churns some grist in the Obama mill by drawing attention to the trouble he is having with the rural white male voter. This is key in battlegrounds like Michigan and Ohio, where McCain has been making hay.


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Read What I Loved by Siri Hustvedt Free Online
Book Title: What I Loved
Language: English
Format files: PDF
The size of the: 7.17 MB
City - Country: No data
Loaded: 1066 times
Reader ratings: 4.1
The author of the book: Siri Hustvedt
Edition: Sceptre (Hodder and Stoughton)
Date of issue: 2003
Read full description of the books:
I have rarely read a novel of such intensity. And it touches on so much: the art world as well as art itself, relationships of many kinds, family, love, loss, psychology and the outsider, the world that is New York City, personas......much more that I'm forgetting (or avoiding for spoilers sake). But then is is titled "What I Loved" and it lives up to it's title.
In addition to being one of the most intense reading experiences, in many ways this has been one of the most unusual. At times I felt I was reading, not a novel, but a memoir, the actual life story of an aging art historian and university professor looking back on who and what had figured prominently in his life---what he had loved.
The story takes place in the art and university worlds of New York City, but it is not necessary,in my opinion, to be a part of them to become engaged in Leo's life and story. His story of finding a work of art he likes, the artist who becomes his true friend; two families whose lives intermingle over decades.
The art world is a large part of this story and descriptions of various works of art can occasionally become long, somewhat rambling sidetracks. But these sidetracks always have connections to the central story if you are patient. Hustvedt also portrays the less savory side of the art world but this is once again through those many aspects of "what I loved."
And supporting all of the story is masterful prose and excellent timing of presentation. The pacing and control, emotions--everything struck me as perfectly done. Hustvedt had me in the palm of her hand. (Even a section that was a bit over the top was over the top in just the right way.)
I'm trying to be careful not to come close to any spoilers in this review which could dampen the emotional impact of this novel for other readers. I definitely recommend this book to anyone who feels a spark of interest in a book set in this world, an arrestingly written look back on a life.
As an addendum, I realize that I neglected to say what may (or may not) be obvious. I intend to continue reading the author's works.
Download What I Loved ERUB
Download What I Loved DOC
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Read information about the authorHustvedt was born in Northfield, Minnesota. Her father Lloyd Hustvedt was a professor of Scandinavian literature, and her mother Ester Vegan emigrated from Norway at the age of thirty. She holds a B.A. in history from St. Olaf College and a Ph.D. in English from Columbia University; her thesis on Charles Dickens was entitled Figures of Dust: A Reading of Our Mutual Friend.
Hustvedt has mainly made her name as a novelist, but she has also produced a book of poetry, and has had short stories and essays on various subjects published in (among others) The Art of the Essay, 1999, The Best American Short Stories 1990 and 1991, The Paris Review, Yale Review, and Modern Painters.
Like her husband Paul Auster, Hustvedt employs a use of repetitive themes or symbols throughout her work. Most notably the use of certain types of voyeurism, often linking objects of the dead to characters who are relative strangers to the deceased characters (most notable in various facits in her novels The Blindfold and The Enchantment of Lily Dahl) and the exploration of identity. She has also written essays on art history and theory (see "Essay collections") and painting and painters often appear in her fiction, most notably, perhaps, in her novel, What I Loved.
She lives in Brooklyn, New York, with her husband, writer Paul Auster, and their daughter, singer and actress Sophie Auster.
Reviews of the What I Loved
Why are you asking to write a phone number?
A useful book to free yourself from negative emotions and joy.
Best among ordinary
Books are incredible magic that you can carry with you.
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Quick Facts
- Closed Prices:$97,100 to $110,000
- Median Sale Price:$105,050 0
- Association Fee Ranges:$0 to $210,$0/mo
- Type:Attached Home (Condo, Townhouse, Loft, etc.), Single Family Home
- Age:1973 to 1991
- Sq. Ft.:855 to 1,970Sq. Ft.
- Bedrooms:2 to 3Bedrooms
- Bathrooms:1 to 2Bathrooms
Homes for Sale
This neighborhood is perfect for those seeking the low-maintenance lifestyle of a condominium. The homes in Hamlin Park represent a wide range of time periods and styles. In general, homes in Hamlin Park are $100,000 and sit on average-sized lots with two bedrooms and one bathroom.
Disclaimer: School attendance zone boundaries are supplied by Maponics and are subject to change. Check with the applicable school district prior to making a decision based on these boundaries.


text:
Mark Astley
Mark is responsible for the implementation and execution of the business strategy and overall management of the firm on a day-to-day basis and Chairs the Executive Management Committee of Millennium Global Investments Ltd.
Mark joined Millennium in 2002 and was appointed to the Board of Directors in 2008. Mark is focused on continuing to develop Millennium's objective of delivering the full spectrum of currency investment solutions to global institutional investors through a bespoke operational platform and premier governance infrastructure.
Mark began his career at Schroder Investment Management undertaking research and then managing portfolios in equity, fixed income and foreign exchange markets in Schroders' London, Hong Kong and New York businesses. Latterly, Mark was responsible for macro strategy in Schroders' USD 3 billion multi-currency fixed income business, focusing on duration management, country allocation and currency overlay.
Mark was awarded a sponsorship to and graduated from Loughborough University with a BSc in Banking and Finance.
Mark is an Associate of the CFA Society of the UK and is registered with the Financial Conduct Authority in the UK and the US Commodity Futures Trading Commission.
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Download Physical Attraction (Yaoi) ebook by Tatsumi Kaiya
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Released: October, 2013
Page Count: 200
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Most of the courts in Latin America that actually do grant divorces and annulments, caution you that the copy of the decree you get which


text:
This week we are chatting to yet another of Emporia's regular crafters, namely Rhian Boardman of Polka Dot Shirley. She gives us her opinions of the essentials needed for setting up your own crafty business, being inspired by other artists and what her top selling items are.
Who are you and what do you do?
My name is Rhian Boardman and I am the owner of Polkadot Shirley. I create a wide range of items using vintage books, maps and vinyl, from cute brooches to bespoke map items. Each and every piece is unique! I also make a few bits from fabric, like bespoke dolls, dog adornments and bags, etc.
How did you get into crafting?
I have always enjoyed making things from a very young age. When I was small I remember lots of handmade bits and pieces; my mum made all of my clothes, beautiful little rabbit dolls and my bedroom furniture was painted a new colour every year. So I think I was always going to end up crafting. When I got my own home I was forever making things for it and decided to see if other people would like to buy them!
Who and what inspires you to create?
My greatest inspiration comes from my own childhood. I love the overwhelming feeling of nostalgia when I open a certain book, or dig out a forgotten memory. These things ignite feelings of innocence, wonder, and that glorious feeling that anything is possible! My mum is also another huge inspiration for me having gloriously fed my imagination and provided me with unwavering encouragement! She runs the sister company to Polkadot Shirley in Cyprus and I always return home full of wonderful ideas and an increased sense of drive (as well as a suitcase full of fabric and excess baggage charges!).
Which crafters/artists/designers do you most admire?
Definitely illustrators. So much vision and work goes into just one page of a book, and that image can stay with you forever. I also love Gil Elvgren's gorgeous pin-up girls, which I use a lot in my work.
When did you decide to make the leap from making for friends and family to creating your own business?
My previous job wasn't looking like it had much of a future and my own future suddenly looked scarily empty so I decided to take the plunge! I had no little mouths to feed, so to struggle would not be the end of the world. It has been a rollercoaster so far, but is gradually starting to pay off.
What five things would you say were essential when you set up your craft business?
1. Perseverance. It is so tempting to give up at times. The night before my first fair I stayed up until 3am sewing frantically in case I sold out. I even dreamt I sold out. This seemed the worse case scenario. I didn't for one second consider the true outcome. That I would sell just one item!
2. Support. I dealt with the blow (and continual blows of more dismal fairs) of my initial lack of success by calling my family, who did not pity me or try to dissect the situation, but instead did what our family does best – we laughed. Because sometimes that is the only way and that laughter spurred me on!
3. My sewing machine!
4. Research! My first five or so craft fairs were BAD! The pitches were expensive, footfall minimal, atmosphere dire and takings either minimal or non-existent. I was advised to do these by a fellow crafter, so booked lots at once. Then I started to research a bit more and started to find smaller, friendly fairs run by fellow crafters. I booked one, I did well, I made friends! And in turn I found out about more small fairs.
5. And of course, books. A lot of lovely old books!
If you weren't an crafter, what would you be doing with your time?
I actually have no idea! I imagine I would probably be doing a job I didn't enjoy half as much and resenting the hours of my life I was selling. At the moment I may be selling them very cheaply, but at least they are going to me!
Name three of your most popular lines.
My brooches made from vintage books, bespoke vintage map pieces and Shirlette dolls!
What's new with your craft for 2014? Tell us about some of the exciting things we can expect to see from you in the shop or at the Emporia market this year.
The past year was very interesting in that it allowed me to really discover what sells. I had such wonderful ideas, and as a result churned out many things only to discover that maybe they were only really wonderful to me! So this year I plan to focus on just seven or eight items. I am particularly excited about the jewellery I've been making and plan to make a lot more of – think fairytales, Alice in Wonderland, flying pigs, animals in clothes which is a particular favourite!
You can see Rhian's literary creations at the Emporia Vintage and Craft Market, which now takes place every month, or check out her Etsy shop for more exciting designs.


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Hawaii Honolulu International Airport (HNL)
Honolulu Airport
300 Rodgers Blvd.
Honolulu, HI 96819
(808) 836-6413
Airport Map
General Information
Honolulu International airport is fast growing and is considered one of the busier airports in the world. It is the principal hub for Hawaiian Airlines – Hawaii's biggest airline. You can enjoy many amenities during your visit including:
ATM machines
Barber/Beauty Shop
Business Center/Postal Service
Space Museum
Free Hula Shows
Currency Exchange
Things to Do
Hawaii has many concession locations scattered throughout the airport. You can find coffee shops, cafes, and full service restaurants to suit your taste.
Accessibility Services
Hawaii Honolulu provides full accessibility services throughout the entire airport including in the Overseas, Interisland, and Commuter parking areas.
Rental Cars
There are 6 rental car companies that you can utilize for your transportation needs.
Airport Parking information can be found here.
Useful Phone Numbers
For Visitors: (808) 836-6413
Administrator (808) 838-8600
Staff Services Office (808)838-8657
Visitor Information Program Office (808) 836-6417
Information Technology Office (808) 838-8678
Airports Operations Office (808) 838-8607
Engineering Branch (808) 838-8835
Island of Hawaii District Manager (808) 327-9520
Assistant District Manager (808) 934-5800
Island of Maui District Manager (808) 246-1400
Islands of Maui, Molokai & Lanai
District Manager (808) 872-3808
Island of Oahu District Manager (808)836-6533
Hilo International Airport (808) 934-5838
Honolulu International Airport (808) 836-6413
Kahului Airport (808) 872-3893
Kona International Airport at Keahole (808) 329-3423
Lihue Airport (808) 246-1448
Molokai Airport (808) 567-6361
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