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Previously: Winners of the VIDA awards announced.
Here is a list of the Honorary Mentions of VIDA, the international competition on art & artificial life.
Human beings, animals and even machines are affected by overlooked aspects of machines: sound, movements, vibration, heat, electromagnetic waves, etc. While similar to "carebots" and companion robots, Omo draws on Kelly Dobson's ongoing Machine Therapy work revealing the psychological, social, and political dynamics between people and machines.
In their scenario, most of the time these robots are predominantly focuses on conscious behaviour. Omo is an alternative relational object which interacts with the subconscious.
Omo's role is empathic and sometimes unexpected rather than normative. It is not a perfectly behaving companion, it does not always privilege soothing but it is neurothic and surprising. Omo isn't cute, it just looks like a big green egg, it breathes and senses the breathing of anyone interacting closely with it, matching--or seeking to lead--patterns of breathing.
Sensors can pick up tiny vibrations when placed against the torso and over time the robot can develop an informed interaction.
Placed on a machine which vibrates and works in cycles (such as a washing machines), Omo will pick up the vibration and attempt to communicate with the washing machine. There is no market for machines that counsel other machines. Not yet...
Julius Popp's bit.flow. Red and transparent liquids travel through a long flexible tube. The aim of the machine is trying to understand what it is doing, developing an understanding or some sort of consciousness. By releasing the red liquid and following the flow of the information, it somehow builds up a code which is injected in the tubes and sometimes builds a pattern which it will recognize.
Once the machine is able to reproduce patterns then it has gained some kind of consciousness. It knows what will happen if it takes this or this action, which action will follow a particular decision. Once it has recognized a pattern, it sends it to a "twin machine" and asks "Can you reproduce this pattern?" However to do so the machines, though identical, have to agree on a similar language, so a back and forth negotiation has to take place to build up a common vocabulary.
Here's a video of a previous prototype:
Hibernator: Prince of the Petrified Forrest by London Fieldworks. Jo Joelson and Bruce Gilchrist created a working animation studio in Beaconsfield's upper gallery to explore and link themes of natural animal hibernation, the cryonics movement and the myth surrounding the death of Walt Disney. The project utilised a range of video animation techniques, soundtrack, narrative, prosthetics and solar activated animatronics. The artists worked in the upper gallery to produce an animated film - Prince Of The Petrified Forest - part inspired by the seminal eco novel, Bambi by Felix Salten and Robert Ettinger's Prospect of Immortality. The 30 minute long animation was presented as a series of weekly episodes in Beaconsfield's arch space as it developed over a 7 week period. While the Disney industry was about manipulating our perception of the world, with their project, the artists invited people to come to the studio and see the making of an alternate reality.
Jed Berk's ALAVs are Autonomous Light Air Vessels which communicate the concept of connectivity among people, objects, and the environment. People can use their phones to influence the behavior of the ALAVs by starting conversations and building closer relationships with them.
The Interactive Voice Recognition system allows mobile phone users to engage in a conversation with the blimps -either the entire group or an individual, affecting both their own and the blimps' behavior.
The ALAVs have the following predefined behaviors: flocking, feeding, bread crumbs, sour milk, hide, scatter, courtship, guardian, bump, call back and the "happiness factor."
The continually evolving light sculpture allows one to see sound moving through space - at the meeting point of acoustics and optics. Using sonoluminescence, sound waves are directly converted into light inside a glass chamber filled with gas-infused liquid. After adapting to the darkness surrounding the installation, one can gradually perceive the highly detailed shapes and movements of multiple sound sources.
Delicate Boundaries, by Christine Sugrue, is an interactive installation where human touch can dissolve the barrier of the computer screen.
David Rokeby, Cloud. The kinetic installation is suspended in the Great Hall at the Ontario Science Centre. 100 elements, arranged in ten by ten grid, are rotated at slightly differing speeds by computer-controlled motors. The elements slowly shift in and out of synchronization. When the motors are just out of sync, huge waves ripple across the space. When completely in sync, the work appears almost solid then suddenly almost invisible. When far out of sync, the sculptural elements float in apparent chaos.
All images courtesy of Fundación Telefónica.
The winners of the VIDA awards have been made public this morning in Barcelona.
The international competition on art & artificial life, a project set up 10 years ago by Fundación Telefónica, rewards works of art produced with and commenting on artificial life technologies.
The many projects which have received an award over the past ten years form an inestimable and unique collection documenting the evolution of electronic art in one of its most significant aspects. Previous winners include a robot that sweats, a walking table, robotic dogs suffering from the mad cow disease, solar-powered devices which modify their own instruction code in response to environmental changes, autonomous non-violent protest agents, a Universal Whistling Machine, etc.
The Head of Fundación Telefónica, Francisco Serrano, came with some good news at the press conference:
- next year they will double the amount of money granted to the artists,
The winning projects will be exhibited at the Fundación Telefónica stand in ARCO which takes place on February 13-18 in Madrid. Coinciding with the Madrid Contemporary Art Fair, a exhibition celebrating the tenth anniversary of VIDA will present a selection of the past award-winning works and an International Forum will gather experts from all over the world to discuss artificial life art.
There was a presentation of the three winners this morning but a very brief mention of the honorary mentions. So i'll just dive into the DVDs and paper documentation i got this morning and get back with more details on the honorary mentions later. In the meantime, here are a few words about the 3 winners.
First prize (10.000 euros) went to Mission Eternity Sarcophagus by etoy.CORPORATION (Switzerland), a mobile cemetery tank which allows for simple re-location of the "massive body of information" remains of up to 1000 M∞ PILOTS. The interior of the SARCOPHAGUS is covered with a LED screen which displays the ARCANUM CAPSULE content and functions as a public installation wherever the TANK travels. Visitors of the SARCOPHAGUS access and interact with ARCANUM CAPSULES via their mobile phones or a web browser. The VIDA jury liked the project for the way it expresses eternal human fears in an innovative way and for the fact that death and the technologically-mediated memory of a person are intricately linked to life itself, be it artificial or not.
Second Prize (7.000 euros) went to NoArk (a work mentioned a few weeks ago), by Oron Catts and Ionat Zurr (Australia).
NoArk is an experimental vessel designed to maintain and grow "neo-life", a mass of living cells and tissues that originated from different organisms. This vessel serves as a surrogate body for a collection of living fragments which are presented alongside technologically preserved specimens of organisms. The work questions the validity of taxonomical systems. These new organisms, instead of being part of a cabinet of curiosities like it would have been the case in the 19th century, are now collected inside hospitals, research centers, labs of the biotech industry, etc. Today we get to know life by tweaking it, not by just observing it. How can we define these new categories of life?
The artistic director of the Vida awards, Daniel Canogar, explained that the work met with much discussion inside the jury. For the first time VIDA didn't give an award to a work based on electronics but on biotechnology. Yet it is still dealing with the concept of life, but in a broader sense.
The third prize (3000 euros) went to Propagaciones, a work by Leandro Núñez (Argentina) which brings John Conway's cellular automaton The Game of Life (1970) to reality. The installation counts 50 small robots placed on top of a pole and made with low-tech elements. They have similar circuits and components but they all look different. They form a kind of ballet, interacting both with visitors and between themselves by turning on their lights or spinning around. Besides, the robots are divided in 10 nodes. Each robot interact with the other robots around but their behaviour inside a given node also depends on the one shown by the other nodes.
All images courtesy of Fundación Telefónica.
My notes from Natalie Jeremijenko's talk at the New Cultural Networks conference, a one day event organized in Amsterdam by the Sandberg Institute.
Natalie decided to work in new media and techno art because the field promised new worlds, new relationships and looked like a place where social and cultural changes were possible.
Developments in technology are mostly done by the military and big corporations, they work for they own interests and what comes out of their R&D labs has unintended consequences and provides artists with opportunities to create social changes.
She showed one of her previous works which engaged with structures of participation. The project was installed in a "white box" type museum. Traditionally, explanatory texts are hanging or printed on the wall. People stand side by side to read it but never talk to each other. Most museums now have at least one audio tour. Visitors are then immersed in their own private audio space and won't talk to each other either because they simply wouldn't be able to hear each other. Her intervention was a sound installation which broadcasts the message. The sound seemed to pierce through the silence of the gallery but it also temporarily synchronized visitors, giving them more opportunities for exchange, local participation, interaction.
How Stuff Is Made is an online visual encyclopedia started 4 years ago. It visually documents every process in the production of goods. If you wanted to transform the industry into something more sustainable which strategy would you prefer? Would your method be characterized by secrecy and non disclosure agreements? Or would you rather promote openness and communicate where are the new ideas, the good materials? If you think of what you possess and what you wear, how much can you really account for? Do you know anything about the labor conditions? Or how these products recycle once they are dumped? We are supposed to live right into the information age, we often complain of being flooded with too much information, yet we know very little when it comes to toxic activities.
For the How Stuff Is Made visual essays, each students have to make their way inside manufactories and discuss with workers, employees, designers, etc. The students document every processes, labor conditions and environmental impacts involved in the production of the good. Afterwards they list a series of suggestions to improve the manufacturing process. Making some discoveries along the way: such as Chinese workers receiving 45 cents per hour to make the American flag or Chinese fortune cookie made mostly in Chicago by Hispanics. One of the project's aims is to redirect manufacturing practices and consumer purchasing decisions toward a transparent and legible information base.
Every students who did their assignment felt more responsible after that. They also discovered that reality is much more complex than the idea that there are just bad corporations manipulating poor innocent consumers.
Feral Robotic Dogs was inspired by the craze for interactive toys.What are robotics dogs for? What do you have to learn with interactive toys? To be interactive? We don't need them to learn how to interact.
The FRD are dogs rescued from the dumps where the abandoned robotic dogs end up. They get an upgrade: a brain surgery, a new nose and some robust legs or wheels to go everywhere.
Bronx: old tanks underneath the park. When you release a pack of FRD on a contaminated space, they sniff the area for traces of contamination. The media show up immediately and of course if they talk about the robot dogs they have to mention the existence of the contamination, they interview the students, etc.
Natalie showed a map of Silicon Valley which is the area with most Superfund Sites.
Ooz is zoo backwards and without cage.
We are facing a new phenomenon of urban migration. It used to be the poor from rural areas who migrated to the city in search of work in the industry. Nowadays, the animals "formally known as wild" are migrating to our cities. So it might be time to rethink our relationship with the natural system.
Several remote-controlled robotic geese let loose in various urban areas. The robotic goose interacts with the local goose population. The interface allows people to follow the birds closely and interact in ways that would not otherwise be possible. The goose drivers (or "gooser") can 'talk to' the geese through the interface, delivering prerecorded goose 'words,' their own vocal impersonations, or other sounds (such as goose flute hunting calls). Each utterance via the robotic goose triggers the camera in the robot's head to capture 2-4 seconds of video recording the responses of the animal. These video samples upload to the goosespeak database that the participants can annotate.
Left to their own devices, the robotic geese repeat what another (real) goose has done a few moments before. It's like a big gameboy, except that the platform is your local park.
Natalie freed her robotic gooose in the ECO Park of Los Angeles. Kids came running, they wanted to play with the robotic goose too and realized in the process that they had never noticed the existence of the geese before. By tiptoeing around to see the habitat of the geese, the children saw broken shells. They did their research and discovered that if the shell was broken it was because the pesticides and fertilizers used in the park were bad for the eggs. By playing they had discovered the complexity of ecological connections. That's another difference with Gameboy, here the game is open-ended not crypted.
Together with Debra Solomon, Natalie cooked a Dinner for Geese and People with food delicious for both the goose and the humans. Natalie and Debra are working on an interspecies cookbook and are still in search of a publisher for it.
She also designed bird operable technology. For the Whitney Biennale, the artist installed public twoilets (toilets for pigeons), the guano was collected and used for soil fertilization. She also developed perches allowing birds to communicate with humans. When the birds land on the perch they trigger a sound file that translate birds concerns into the human dialect. The messages range from "Buy some health bar (you call it bird food) and scatter it around. That's a good person!" to "It's in your interest that i am happy and healthy. Bird flu so please share your lunch with me and do not monopolize the nutritious resources."
Ooz for the Fish communication: Fishface Sensor Array. When a fish swims underneath the buoy, the light is turned on to tell humans that the fish is in that area at that particular moment and that they can throw it some food. The same goes for the fish who knows that it is the signal: food is likely to appear.
In zoo, you'll see almost everywhere notices that say "Do not feed the animals". Why not? What we eat is good enough for us but not for them? Why can't we interact with the animals? Whether we like it or not we keep interacting with them and interfering with their life and habitat.
Fish restaurant where you feed the fish instead of eating fish.
New laboratory.
We all know about global warming. Consuming less gas, closing the water tap while brushing our teeth, writing to politicians, etc. doesn't make us feel useful enough. It makes us feel impatient. But that doesn't mean that we cannot make progress. We need high standards of evidence: What works where, how and with whom? We need to concentrate our effort on our local environment.
That's how Natalie came up with her new project: a health clinic not for patients but for the environment. Impatient people would come with their environmental concerns and get our with prescriptions and advice. Prescriptions for action and referrals to relevant art, design, participatory projects, local environmental organizations, etc.
You could be prescribed a tadpole. You get one, raise it and set up a social network page for it where you can upload videos of it. Tadpole are so sensitive that we can regard them as experts in environmental pollution. PCB level in women's breast milk is the same as in the Hudson River.
The age of puberty of US girls has fallen of 3 years. A tadpole could detect the quality of the water.
Other examples of prescriptions:
Energy return system in shoes, a spring installed in the heel of the show "returns a spring to your steps."
2 specially-developed prescription products:
Greenlight (x design) addresses indoor air quality.
The solar-powered lighting product diffuses light by coupling to photosynthetic processes. Planting strategies can be specified to address particular indoor air quality issues including VOC, benzene and formaldehyde removal.
Like other prescription products this product requires a clinic appointment to introduce the design parameters involved, and the novel issues involved in distributed power production.
The second one: If we are in a climate crisis what you need is a spacestation.
Portrait of Natalie Jeremijenko by Trujillo-Paumier for GOOD magazine.
Previously: OOZ, Inc. (...for the birds), Reverse Engineers.
Aharon Ozery´s installation has peacefully invaded a big room at the Davide Gallo Gallery in Mitte, Berlin.
The Egg Project is an extremely charming kinetic mechanical structure whose arms move big egg-like objects from one location towards another in a circular movement. Again and again. It is elegant, smooth, slightly absurd and certainly less noisy than the video would have you believe.
The machine behaves like a mother whose delicate rubber fingers only live for the pleasure of nesting her eggs from one platform to another. The machine in its role as a care-taker reflects the ambivalent relation our culture sustains with machines which is that of suspicion and admiration. The machine' s potential of self awareness makes the human a possible anachronism. Not only does the machine simile humanity, it aspires to be more than human - a better version, which frightens us.
On view until 10th November 2007.
More images. Thanks for the tip Tikva!
Fancy more eggs?
almost certified (grade A noise for non-discerning consumers) are robotic drum machines that make music by playing an exotic range of real eggs.
Enjoy By employs eggs sawed in half and implanted with microcontrollers and LED displays.
Myriam Laplante gave a fantastic performance during the City of Women festival (well, that's what everybody says cuz i stupidly missed it, i arrived too late and just saw the video of the event this afternoon).
The inspiration is Brothers Grimm's tale The Wolf and the Seven Young Kids. A mother goat warns her kids to be wary of the wolf and leaves the house. Enters the wolf who claims to be their mother. The kids let him in, wolf tears apart the house, finds them and eats them all except the youngest, who was hiding in the clock.
The mother returns, sees the crime scene, looks for nasty wolf and finds him sleeping. Something is struggling inside his stomach. Mother and the son cut him open, and the other six emerge alive.
Myriam's performance Lupus in Fabula turns the image of mother the saviour into mother the destroyer of the world she herself creates. There's no woolf but three big and lovely bears sleeping on the floor. She cuts them open, disembowels them and little robot bunnies emerge from the stomach (giving a new sense of purpose to all those Chinese toys banned from the European and US market) which is really cute and endearing... Until she grabs a big hammer, goes after the bunnies in the gallery and smashes them one after the other. When i went to the gallery today, everything was neat and peaceful, all traces of the massacre had disappeared apart from a small carpet that the artist had crafted using what was left of the bear fur.
Video and more images. The remains of the tragedy are on view until October 13 at the Moderna galerija/Mala galerija in Ljubljana.
Please meet Boutique Vizique! Boutique Vizique is Hendrik Leper and Stijn Schiffeleers, plus a bunch of other artists or experts they invite to collaborate with them once in a while.
Stijn and Hendrik come from Ghent. If you're into new media art, creativity and design you might have heard of that small-ish Belgian city. They trained as photographer, started working mostly with video, collaborated with sound artists and are now developing interactive installations. The kind we like: playful, witty and beautifully executed.
Portrait of Boutique Vizique by Koen Broos.
You both studied photography at the Royal Academy of Fine Arts in Ghent, Belgium. How did you end up working on interaction design, reactive installations, performances using real time live generated images and sounds?
Boutique Vizique was originally intended to be a short-term venture. A few years after we had left the Academy, we decided to collaborate on a small video project which was supposed to last for two weeks. But two weeks became three, and this summer we are celebrating our seventh year as a collective. It has been a gradual growth and looking back reveals an organic development of our practice. Originally doing mainly video work for musicians, DJ's, opera singers, actors and dancers, we slowly made the transition to a more three-dimensional approach. We both look back at those early experiments with a blush on our face, but nevertheless we were able to let things sprout out of these early, naive try-outs.
So from the beginning, it has been like hopping from one stone to another, leaving a zigzag trail of encounters, realizations and reactions. One project lead into another and we tried to remain open to all of it. Boutique Vizique is rooted in curiosity and its exploring nature also reflects our previous wanderings. It is clear that we both like to wander and, as a result, quite often find ourselves "off-track". Last October at Matchmaking, an annual festival for electronic arts and new technology in Trondheim, we structured our lecture around the thought of 'being lost'. Supported by a quote from Rebecca Solnit's essay 'A Field Guide to Getting Lost' we discussed the role of the unknown and open doors in the line of our work. We like to believe that, as artists and human beings, every time we feel lost, it gives us an opportunity to stumble upon something new. Slowly, step by step, we have mastered different tools which are not necessarily related, but always find an integration under the Boutique Vizique umbrella.
You often develop your piece with the collaboration of other people. How does the creation start? You get an idea and look for someone who has the skills that you need? Or you meet someone you'd like to work with and decide on a project together?
Throughout the years we have collaborated in various ways on a wide range of distinct projects. Some of these collaborations were pure technical and some emerged because other artists shared similar interests. Boutique Vizique germinated from a project with two DJ's and this collaborative aspect became a natural ingredient in our practice in those first years. A handful of music bands with complete different styles asked us to provide video projections for their concerts and we also worked closely with AIM Records, a small Ghent based independent label that gave us a lot of freedom in our creations.
To a certain level we were fine with just delivering a visually interesting backdrop, but simultaneously felt the urge to look for a more direct cross-pollination. 'Super Setup', 'Starbot Ensemble', 'Early Electronics' and 'Os Gauchos do pelatão' are four projects that grew out of the desire to come to a true collaboration where sound and video got completely interwoven. Around that time we also started working closely with other forms of performing arts and theater. We had to learn about the dynamic relation between story, performer and video; and various new ways of interaction were applied to finally come to a complete integration of all components.
A turnaround occurred at the moment we took time to convey our personal ideas independently and looked for a format that would fit our personal needs. After 3 years working in collaboration with performers we began to develop interactive installations autonomously, without any specific assignment and far away from any stage or other limitations. Following collaborations mainly arose mostly out of technical needs or the lack of certain skills. We involved other artists and engineers to create specific sections like a sound file, a printed circuit board or a piece of code.
Since then, people have been coming and going and it makes sense we will continue to work this way in the near future. After seven years we often run on autopilot mode when dealing with each other during certain stages of the development process. Having completed so many projects we understand, through a minimum of communication, where the other one wants to go and it all feels very natural that way.
You worked several times on installations for kids. What are the challenges and advantages of developing projects that are aimed to be enjoyed by children?
Our older video and performance oriented work had been embedded with a decent amount of playfulness long before we made our first reactive sculpture. It seems that having this playful facet deeply rooted in our work made it almost inevitable not to develop projects specifically for children at some point. We never had an outspoken intention to do so, but also did not doubt a second at the moment we were asked to make a real time video choir for a children's music festival. Later on, we evaluated the pros and contras and from a brief look at the body of work following Babble, you can tell we enjoyed it. Seeing all those young faces light up every time we present our work is highly rewarding and it is this kind of appreciation that keeps us going I guess.
Challenges related to child and adult specific projects are often very similar. In fact we consciously endeavor to create installations that are intended to be enjoyed by both young and old. It is obvious that part of our plan is to awake the child in each one of us. And since play, poetry and simplicity are a constant in our work those challenges seem to overlap quite often. Any major difference probably revolves around the threshold of your interfaces. With children as a target group you cannot afford to make extreme subtle changes in your output. Everything needs to be more straightforward and responses from sensors must immediately cause an impact on the environment. Simultaneously the interface needs to induce an intuitive interaction and encourage participation without any instructions. Kids luckily do not need much of an explanation and often copy others to come to an understanding of what is going on.
When working with children, you also might consider building everything a little stronger. The first version of our Dustbunnies, for example, got smashed under the weight of some kid, exactly two days after the opening. Five months of work only needed a 10 year old foot to flatten and short circuit every component inside of it. Funny thing is that Dustbunnies was never intended for a young audience, because otherwise we would not have created a shape that does resemble a soccer ball to such extend. We learned a lot from that experience and it is actually wonderful to have these limitations push your creativity to another level. How do you make a large swinging object that won't chop off some kids head? Try it, it's a great exercise!
Finding a satisfying balance between the experience for the child and our personal creative impulses is probably the most intriguing challenge every time we come up with a new installation. How do you create a situation that expresses your vision and simultaneously intrigues the children? You can hang big spheres in a space and project warped faces around them, but what reference does a child have to the elements you use? In order to keep the experience for everyone as open as possible, we intentionally never create a narrative. The circumstances we set up always require a certain level of communication, verbally or not, and multiple senses get stimulated at once. Every installation needs to be explored creatively and can be approached both as an individual or within a group. By steering these conditions we aspire to find a right balance for every child or at least something enjoyable for each one to be found.
The main advantage of developing installations for children is that in general they have less social boundaries. They are allowed to play and seem to connect easier with someone they don't know. It is also beautiful to see them sink into in the environment we set up and make them forget about the world around them. The greatest advantage of course is that we ourselves are still allowed to be kids. We can play as much as we want this way!
'Kontakt' and 'Stopkontakt' invite the audience to use their body as a conductor between electrical circuits. How did you get the idea to work on that piece? How did the public react to it? Did you observe any unexpected behavior?
Kontakt was conceived during workshop, called Media Knitting, at DEAF 2003, the Dutch Electronic Art Festival in Rotterdam. This is where we met Karmen Franinovic, who at that point was getting her Master's degree at the Interaction Design Institute Ivrea in Italy. The workshop was set up so people with different tool sets could possibly connect and collaborate. Karmen was working on a custom-made pressure sensor using conductive foam and we had just received our first Teleo module. We combined both components and a bit later we were all holding hands to test how conductive our bodies actually were. Kontakt was born and we constructed a prototype version in the stairwell within the three-story building of V2. Bright orange metal plates, with hands painted on them, encouraged visitors to use their bodies and form a human chain between them. Several of these active touch points where spread throughout the space and connecting caused a set of sound and video sequences to be played. The interface required people to collectively explore the space, as it was impossible for a single visitor to make connection between the various points. Holding hands, kissing and using differently conductive objects to modulate the output all became part of the interaction. The human skin and body, mobile and unpredictable, became the sensor and the actuator of this active space.
A few months later we were commissioned to create an installation for the Happy New Ears Festival in Kortrijk, Belgium. The location was a formerly blocked off part of the directors house in an old textile factory. The space was submerged in a gloomy atmosphere as it had been collecting dust for more then a decade. The setting itself was too impressive to ignore and we had the Kontakt concept ready to unfold. Inspired by the space, we developed Stopkontakt, meaning wall outlet in Dutch, in a very site specific format.
Four rooms and the grand central stairway got wired up, filled with touch points, speaker and data cable. As an output we picked various analogue objects, like a kitschy pendulum clock, some plastic bird flutes, a water dripping valve, an old record player and more junk.
What are you trying to achieve with Tortuga? Do you plan to develop the project further?
Tortuga is another good example of how Boutique Vizique functions as a learning place. The technical part of it originates from a class on PCB design and microchip programming I took last year. Its circuit board is drafted to contain an ultrasonic transceiver and a Zigbee module in order to measure the distance between two objects without any other external hardware involved. From this pure technical starting point it has grown out to a personal research project and Tortuga is actually an extended prototype for a larger installation that has been put on hold for various reasons. Its concept is formed around creating several large mobile structures and the ability to move these objects throughout a space, dependent on their acceleration and their physical location. It is one of those projects that could have stayed half finished in a closet for the rest of our life, but when curator Virgil Pollit asked us to be part of a group show called 'Fertile Grounds', we decided to continue and build some iceberg structures around the already functioning mechanical basis.
When I fantasize about the full-scale version I see some undefined objects being moved around by a group of people in a free-flowing way. The motion is smooth and will only be interrupted if a sudden push occurs or in case the objects come within a minimal distance to each other or a wall. All visitors have to collaborate to generate a fluent movement and I am into the idea of using a loud sound or earplugs to prevent the audience from communicating verbally. I guess with Tortuga I am looking for new forms of interaction and ways to provoke pleasures similar to the one I get from moving rocks in a river. The 'useless' act of relocating random objects within a limited space, knowing they will move again once you have left, fascinates me. Still, while moving river rocks might result in a sculpture or a structure, Tortuga consciously tries to avoid any logic result or outcome. Although never choreographed, it will probably end up looking more like a dance than a sculpture at certain moments. The installation becomes an engine for a performance.
Showing the first version of Tortuga in a gallery environment has taught me a few lessons. Although the exhibition resulted in some fruitful conversations and animated interactions, it certainly was too early to present this work to a larger audience. As an artist you can not expect visitors to jump right into your fantasy world. They need a grip, something that guides them through your brain. Leaving them clueless just resulted in an uncomfortable situation and my hopes for now, Tortuga is buried in our closet again. Maybe its dream will be picked up again some day.
Can you explain us what Beat Blocks is about? And what makes it particularly exciting for you?
Beat Blocks is the result of a series of encounters with Jeff Hoefs. After I moved to San Francisco, Jeff became one of the new people in my life with whom I like to share my thoughts and dreams about physical computing. One day we decided to challenge ourselves with the design of a tangible interface that could function as a sequencer and would cost less than 300 dollars. After some initial tinkering the idea of using wooden blocks on a grid popped up and the next meeting we spend brainstorming about all possible ways to read out the different values using a relatively cheap technology. Our thoughts grew out to a project and at this point we have a functioning prototype and are in the midst of developing a second and extended version. So the way this project originated, without any request or budget from the outside world, is already pretty exciting to me.
Most fascinating about the interface is its simplicity. A wooden grid and a series of blocks form an uncomplicated interface that is completely self-explanatory. As a user you can create and manipulate a small sound loop by physically re-arranging the wooden blocks within the grid. Doing so will turn the matrix into a rhythm sequencer that operates at a 1/16 note resolution. Each block has a pattern of colored stripes representing 1/4 measures, directly indicating what kind of sequence the underlying system will play. The sequence runs in a continuous loop and a LED indicates the speed of the loop that can be changed by means of a simple slider. The direct relation between these minimal visual aspects and the instantaneously generated sound makes 'Beat Blocks' very accessible to anyone, even with little or no musical background. Since the whole system generates a MIDI output, it can be hooked up to a lot of other hardware devices.
Another exciting feature is that its unsophisticated first design can be further developed in numerous directions. The layout of the PCB allows us to connect multiple grids simultaneously and the magnetic connectors could be build into any other shape. Its flexibility enables Beat Blocks to be used for very different purposes and various situations. It could be part of an interactive museum display and so far we have plans for constructing 'Beat Blocks' both as a performance tool and as an installation. The possibilities that our basic structure offers have also seem to inspire other people. A while ago, for example, we read on a blog a comment by a visually impaired person who was wondering if the striped pattern actually could be perceived by touch. A wonderful thought and the question actually motivated us to include this facet in our next version. It also got us both excited about creating a 'Beat Blocks' blog to share our ideas and be open to suggestions for potential variations.
You are both from Belgium right? How does the country or your region support your work? Do some of your pieces get financed? Do you receive many opportunities to teach and show your work?
Continue reading the interview with Boutique Vizique.
Continue reading Interview with Boutique Vizique.


text:
A larval green spoonworm hatches from its egg, aimlessly drifting in the sea. A week later, it settles to the seabed to await its fate. Falling within reach of a female spoonworm's roving proboscis, or tongue, the young worm comes under her spell and starts inching helplessly towards her, destined to become her sex slave.
Green spoonworms (Bonellia viridis) occur in the northeastern Atlantic Ocean and the Mediterranean Sea, at depths up to 50m. Females – whose soft bodies are around 8 cm long – live in abandoned burrows or gaps between stones. They don't even leave home to feed, making use instead of their long mouthparts. Females can extend their tongues by up to two metres, vacuuming the sand around their burrow, flicking up any morsels of food.
The bright green colour of the spoonworm's tongue comes from a chemical pigment called bonellin, which has many curious properties. It's a potent antibiotic, and when activated by light it has also been found to kill cancer cells. Medical researchers hope to harness this unique ability for photodynamic therapy, whereby patients would be given an anti-tumour drug that is selectively activated within the body using light beams.
Bonellin is also the chemical that attracts young larval worms to adult females. Spoonworms aren't born female or male, and their sex isn't controlled by chromosomes. Instead, larvae that encounter a roaming tongue crawl towards the female, attaching themselves to her. They metamorphose into males, before crawling through her mouth into her uterus. Here they live out their lives as tiny sperm machines, less than 3 mm long. Larvae that settle out of reach of a female's scavenging tongue turn into other females.
Sex determination "by the presence or absence of bonellin, is very interesting, because in most other organisms sexual differentiation is regulated by internal factors such as genes in chromosomes", says Paavo Hynninen at the University of Helsinki in Finland. This weird behaviour "is thought to be an adaptation to always find a mate", says Patrick Schembri, a biologist at the University of Malta. "Dwarf males live in a sort of semi-parasitic association with a female green spoonworm. In this way, a female always has males readily available to fertilise her eggs," he explains.

subset: commoncrawl


text:
mailing list archives
In <017801c1b065$ba68f270$0b01a8c0 () tomh61ib59mm58>,
"Global InterSec Research" wrote:
| As with many of the vulnerabilities in DeleGate, a SIGSEGV occurs
| when attempting to strcpy() unexpectedly long strings.
| In spite of attempts DeleGate makes to randomise the stack, we
| were successful in overwriting the Extended instruction pointer.
| Although the stack randomisation functions make things harder, they
| do not make arbitrary command execution impossible.
And, delegate has execve(2) trap (-Tx). Can you break it?
- kjm
By Date
By Thread


text:
Igor and Moreno: Idiot-Syncrasy at The Place: Robin Howard Dance Theatre
From to
Idiot-Syncracy is the new work from Igor Urzelai and Moreno Solinas, two London based dance artists making and presenting work across Europe. Their work is characterized by a strong will to employ a poetic yet political language through the use of the body, voice, text and design to create finely crafted and playful dance works which are in equal parts exciting and uncompromising, poetic and thought-provoking.
Practical Information
From to
The Place
17 Dukes Road, London, WC1H 9PY
Adult Ticket from £15.00 (USD24.00) - View Prices
Venue Details & Map
The Place
- Address
17 Dukes RoadLondonWC1H 9PY
- Telephone:
- +44 (0)20 7383 5469


text:
|30 Dec 2011
Windows 7 64 bit
Changed Font Name Caused Corruption of Font Directory
I am trying to put some new fonts on the system for my son's project. I had one called Celtic and was trying to get another one also called Celtic. In the properties I changed the installed Celtic to Celtic Bold and then installed the new Celtic font.
Word 2003 (yes I know) then said I had memory errors with the font. The new Celtic font has not been installed and the old one cannot be seen in the font directory to change the name back.
Any suggestions how to clean it up
|My System Specs
|Thread Tools
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text:
Chess Club
A Chess Club has started at Shearwater run by Chess Teacher Mike 'the chess Guru' Duffin and Chess Coach David Andrews.
Attending the chess, we have the best chess players in the Shire. We cater for those new to the great game and the experienced. To join it is $5 per gathering and our sign on email address is firstname.lastname@example.com


text:
Although none of the rules for becoming more alive is valid, it is healthy to keep on formulating them.
This quote is about proverbs.
Record how this quote makes you feel.
You can report quote corrections via the "Conversation" tab below
Search on Google Books to find citations of this quotation.
We don't have a biography.


text:
251 County Road 687 has a Walk Score of 9 out of 100. This location is a Car-Dependent neighborhood so almost all errands require a car.
Nearby parks include Stafford Wayside and Stafford Square.
Nearby schools include Stafford Elementary School, Grace Preparatory School and Regional Alternative Education/Stafford County.
The closest grocery store is Hope Chapel Angel Food.
The closest coffee shop is County Cafe. Nearby restaurants include Five Guys Burgers and Fries, Smoke Pit Cafe and China King Restaurant.


text:
Pine Hills Lodge
2960 La Posada Way
Julian, CA 92036 | map
Website: Visit my website »
Services: Ceremony, Reception
Catering: Offered in-house
Maximum capacity: 200
Our event was absolutely flawless because of Hanna and the Pine Hills Lodge staff! They went over and beyond in service for not only myself as the bride but also my guests. The place was beautiful and I was able to ask and customize any part of our day. I have recommended this venue to all of my newly engaged friends!
Wedding: 09/06/2014
Services Used: Catering, Wedding Planning, Event Rentals & Photobooths, Ceremony & Reception Venue
Gina 1 Reviews
We had our July wedding at Pine Hills Lodge and we couldn't be happier about the entire experience. We absolutely loved the venue, it was perfect for us. The lodge and surrounding area are absolutely beautiful. The owners of the lodge were incredibly helpful, kind, and patient every step of the way! We had an absolutely wonderful wedding there, the service was outstanding and the food was excellent. We used several local vendors who often work with Pine Hills Lodge, so everything from the ceremony to the receptions went smoothly. We had an absolutely incredible experience at Pine Hills Lodge and we are so grateful we found such a gem of a venue for our special day.
Wedding: 07/05/2014
Services Used: Rehearsal Dinner Location, Ceremony & Reception Venue
Jennifer 1 Reviews
I was never that little girl who dreamed about having the perfect wedding her whole life, but that's exactly what I got at the Pine Hills Lodge in Julian, CA: perfection. Hanna, the lodge owner, was extraordinarily helpful from start to finish, making certain I had everything I needed for the big day. The venue was beautiful and our guests raved about the food. I wouldn't hesitate to recommend Pine Hills Lodge to anyone who wants to have a serene, secluded mountain wedding.
Wedding: 07/26/2013
Services Used: Catering, Lighting & Decor, Ceremony & Reception Venue
Pamela 1 Reviews
Pine Hills Lodge was a beautiful location for my daughter's wedding! The entire family was able to stay on site and have the place to ourselves! The food was fabulous, the service was professional and the set up was just as we requested. Hanna was very attentive, helpful and patient with us as we tried to solidify the plans. I would recommed Pine Hills Lodge to anyone who would like a venue in the quite hills of Julian!
Wedding: 06/01/2013
Services Used: Ceremony & Reception Venue
Dawn 1 Reviews
I would recommend Pine Hills Lodge as a wedding venue for that beautiful country wedding. It was the perfect spot for all our friends and family to gather for the weekend for my daughters wedding. Our guests were taken back by the beauty of the property and enjoyed the peace and quiet of the mountains.
Wedding: 05/25/2013
Services Used: Ceremony & Reception Venue
Private User 1 Reviews
We had a lovely outdoor wedding at the Pine Hills Lodge. Hanna was very easy to work with and the Lodge is beautiful historic setting for reception. Food and service during reception was excellent!
Wedding: 1+ year ago
Services Used: Ceremony & Reception Venue
Erika 1 Reviews
My husband and I had our wedding at Pine Hills Lodge on January 26th 2013.
From the time we booked the venue until our wedding day, the planning process went smoothly.
Hanna was a huge help. She was flexible with us, accommodating and understanding.
We loved everything about our wedding!! Even with the rain. All day long!! Lol
It was perfect :)
My only complaint/comment would be that I wish they had an on site day of coordinator. Even if it was just for the ceremony and directing guests to the cocktail hour. It was just a tad chaotic and myself/guests/family were kind of scrambling around and trying to direct people.
Other than that, everything went off without a hitch!
Tables were set, food was excellent, wait staff was wonderful. We were very pleased!
I'd definitely recommend this venue to friends. I already have to a couple of brides :)
Oh......if you can, make sure the pine hills lodge salad is on your menu. Mixed greens, dried cranberries, candied pecans (or some type of nut) and blue cheese crumbles/dressing. Delicious!! I made sure to get seconds, as did many of our guests :)
Wedding: 01/26/2013
Services Used: Ceremony & Reception Venue
I had my dream wedding at Pine Hills Lodge on May 19, 2012! Hanna (owner) is amazing! She's so friendly and easy to work with. She was very accommodating with my all requests, allowing me to do some things that had never been done before at the lodge (i.e. different ceremony site and reception table layout). We made an entire weekend getaway out of our wedding: got up there around 9 am the day before and were able to set everything up, had the rehearsal at the ceremony site then headed to Wynola Pizza Bistro for dinner, got married the next day (SO stress free because everything was set- up the day before!), and the day after had brunch with family and friends. We had the whole place to ourselves (immediate family and wedding party filled up the entire lodge) and seriously had such a blast!
If you're looking for a charming and rustic wedding venue that feels intimate, but can accommodate 150 people, Pine Hills Lodge is a great option. I was a little concerned about getting 150 people seated inside for the reception, but with creative thinking and table design, we totally made it work! My only other concern was not being able to do a food tasting – but do not let that worry you, the food was delicious! I kid you not I still have people talking about the citrus chicken and garlic mashed potatoes. I couldn't be happier that I chose to get married at Pine Hills Lodge and cannot wait to return for a weekend getaway!
Thanks Hanna and Terry!
Wedding: 05/19/2012
Services Used: Ceremony & Reception Venue
From Day 1 of planning, Hanna was always very friendly, prompt, and flexible. We made so many changes as we got closer to the wedding, and she was incredibly patient and awesome about it. During the rehearsal dinner and reception, she took care of some things that my groom and I had neglected, and she did this so swiftly and graciously. Pine Hills Lodge was the most romantic, wonderful place for us to have our reception, and we will always cherish the memories. The bartender Greg was a huge hit with many of the guests, and the catering staff was superb. There were games for the children in the pub, and everyone had a blast. I can't thank the staff enough.
Wedding: 04/14/2012
Services Used: Ceremony & Reception Venue
We had a beautiful wedding and reception at Pine Hills Lodge last December! I really wanted a warm, cozy winter wedding and I got it at Pine Hills. I know a lot of people have outdoor ceremonies there, but we opted for all indoors (December in Julian is cold!) and we couldn't have been happier with our choice. The fireplace is a gorgeous backdrop for the ceremony and the dinning room had a rustic elegance that we loved. Hanna, the owner, was even willing to let us bring in Christmas trees and lights and set up the dining room exactly how we wanted it! The food was delicious- I still have friends commenting on the Julian Salad- and the service staff was very professional and warm with our guests. We only visited in person twice and were able to make all of our arrangements from out of town through Hanna, the owner. I have to really compliment Hanna on her flexibility and variety of services. It was so convenient to have a venue that included food and bar services and helped us find vendors for the cake, the DJ, the rehearsal dinner, and additional lodging needs in town for our guests.
We were able to arrive and start setting up the day before the wedding on our own schedule. We had the rehearsal dinner catered in the pub by Wynola Pizza (great lasagna and baked ziti) with the bartender available to serve us all night. I stayed upstairs with my girlfriends in the lodge rooms the night before the wedding and my family and friends stayed in the surrounding cabins. My husband and I came back Sunday morning to join family and friends at the Sunday brunch before everyone headed home. We heard nothing but compliments on our wedding and venue choice- we have been told by several guests that it was the prettiest wedding they have ever attended. Our whole wedding weekend was wonderful because of Pine Hills Lodge- I keep telling my husband that I want to go back and do it all over again!
Wedding: 12/03/2011
Services Used: Ceremony & Reception Venue
We were married at the Pine Hills Lodge on October 1, 2011 and I can't say enough great things about this venue! Hanna, the owner, went above and beyond! She allowed us to come to the lodge the day before the wedding to decorate the area just the way we wanted. She even provided us a beverage bin and ice free of charge so we could provide our guests with ice cold bottled water. We even had a skit for our main entrance and she made sure a couple of very important props were available on command. She was so awesome and helpful and just one of the sweetest people. Plus, we were able to find our DJ (Sound Prodigy) and cake baker (Candied Apple Pastry Company) through her. Then from our DJ we found our photographers (More Than Words Photography)and all of them worked REALLY well together. Everything went without a hitch.
The lawn may look small but it was able to hold a little over 100 of our guests just fine! I haven't gotten my official photographers' photos yet but from what I've seen of other guests' photos, the altar looked absolutely beautiful with the manzanita trees and the shining green leaves in the background.
The food was delicious! The entrees we provided for our guests were the tri-citrus salmon and top sirloin with red wine cream sauce. I loved the top sirloin but if I could go back in time, I would have ordered double of the tri-citrus salmon instead. It was absolutely divine. Its so easy to overcook salmon and they had cooked it just well enough where it had that nice flaky texture outside but was still really juicy! We also ordered the Julian Salad and we got so much praise from our guests for this salad! One of my guests even said it was one of the best salads she had ever had.
It was the best days of our lives and I'm SO glad we had our wedding here.
Wedding: 10/01/2011
Services Used: Ceremony & Reception Venue
Camzin 1 Reviews
The location was beautiful and very accommodating to our needs. The owners made me feel comfortable with every interaction and set everything up for our wedding to be everything we wanted it to be.
Wedding: 08/21/2013
Services Used: Ceremony & Reception Venue
Pine Hills Lodge is a fantastic venue for San Diego brides who are looking for something besides a beach wedding (or Spanish architecture... Not that it isn't beautiful!).
The lodge is absolutely beautiful. It's set in the mountains and forest just outside of Julian, which is beautiful in its own right. The lodge itself is very flexible for planning, with an outdoor lawn, a multi-story deck, a beautiful dining room and a lobby with a huge fireplace. There's also a pub onsite with a patio!
Hanna, the venue coordinator, is patient and kind, and absolutely the type of person a stressed bride needs! She'll help you out with suggestions anytime, via phone or email.
One potential red flag is that the Lodge does not do menu tastings. This caused my groom and I a bit of stress, but when the day came our fears were laid completely to rest. The food was absolutely amazing. We received countless compliments from our guests.
Things to keep in mind: the "honeymoon" suite (the North Star Cabin) is not included in the price of the venue. You may also want to consider purchasing your own wine and paying the corkage fee (the selection is not great and the wines are marked up). If you've chosen a meat entree, don't count on getting a special meal for your one or two vegetarians. Also, plan ahead if you're feeding your vendors. The Lodge will feed them, but you'll pay full price for their meals.
All said, Pine Hills was worth every penny we paid. We enjoyed the venue every minute we were there (all weekend!), the service during the reception was excellent, and all of our guests loved the venue.
Wedding: 10/22/2011
Services Used: Catering, Event Rentals & Photobooths, Ceremony & Reception Venue
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text: Ts Magnum. so young, so hot and so everything a man wants in his Girl. This photo session was the bomb. Home girl gave me no problems what so ever and i wish like i could run into here fine ass again. I swear we had so much fucking fun working with each other i almost cried when i heard she moved from Atlanta and moved back to her home town of Dallas Texas. aww man please come back Ms. Magnum Please. The full photo gallery can be found inside of the members area.


text:
Spiritual Warfare - 7 (How the Enemy Attacks) by Jim Logan
Biblical Restoration MinistriesJun 21 2013, 89 views
Satan's desire is to Steal, Kill, and Destroy (John 10:10). Jim Logan explains how enemy attacks believers. He uses many different tactics and weapons that are mentioned in the scripture. Until I realize that Jesus has already won the battle, will I continually be a victim instead of the victor!
Press the button
if you liked the video! Thank you!
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She records an album each year as a gift for her family each year. This time she really nailed it!by heavensky
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text:
It's debt ceiling time, and the United States economy is once again on the brink, held hostage by extremists hell-bent on forcing cuts to Medicare and Social Security. Oh, wait. That was last year. In 2014, for the first time in three years, the vote to extend the nation's debt ceiling did not bring the United States to the brink of default in a high-stakes game of slash and burn.
CWA devised a simple plan for which they were uniquely suited: drag TPP out of the shadows and into the light - one city at a time - using a medium they understand intimately: Daily Newspapers!
Two CWA members - Dave Felice in Denver, CO and Madelyn Elder in Portland, OR have started the ball rolling. We just need to keep up the momentum leading up to a big day of petition deliveries.
Step 1 is to send an Op-Ed to your Daily Newspaper.
MoveOn.org Petition - Congress Don't Renew Fast Track
Public Citizen Petition - Congress Must Reject Fast Track Authority
MoveOn.org Petition - Stop the Trans Pacific Partnership
CREDO Petition - Stop the Massive Corporate Power Grab
If your Representative is not currently a cosponsor of HR 1000 they may not completely understand how important full employment is to your community; click on your state at the bottom of this page to see all the cosponsors in your state. Nothing sends a stronger message to a Congressional member than a personal visit to a district office by a voter with a written request. Phone calls and emails are incredibly important but nothing gets attention like a personal visit. Our Educate Congress page has information and a sample letter. Print the letter, sign it, deliver it.


text:
The Social Psychology Research Interest Group
International Relations/Foreign Policy Working Group
Health Policy Faculty Workshop
Rockefeller Center-sponsored workshops encourage faculty members with a common interest in a particular policy issue to engage in research-based policy discussions on a regular basis. These sessions bring a variety of disciplinary perspectives to bear on a particular problem and foster a broader understanding of the theoretical and methodological issues involved in understanding the problem. The workshops are usually held from noon to 1:30 p.m. in the Class of 1930 Room unless otherwise noted. Upcoming Faculty Workshops are posted below under each type of workshop and on the Rockefeller Center Calendar. Please see the Rockefeller Center News Blog for summaries of recent Faculty Workshops.
International history is a growing area of scholarly inquiry that includes (but goes well beyond) the old field of diplomatic history. It is a field that examines the political, economic, intellectual, and cultural relationships and interactions between countries in the past, but provides an interdisciplinary historical perspective on issues of current concern, such as globalization, human rights, and regional conflict. The Rockefeller Center has established the Dartmouth International History Group to bring together the several faculty members in the History, Government, and Economics departments who have a working interest in international history. The purpose of the group is to bring in scholars from other universities to speak on campus about issues of mutual interest.
Conveners for this group are:
Leslie Butler, Associate Professor of History
Douglas Irwin, John Sloan Dickey Third Century Professor in the Social Sciences
Edward Miller, Associate Professor of History
William Wohlforth, Daniel Webster Professor of Government
Upcoming Workshops:
The Social Psychology Research Interest Group (SPRIG) is supported by the Rockefeller Center and includes faculty from the Psychological and Brain Sciences, Sociology, Economics, the Tuck School of Business, the Dartmouth Medical School, Philosophy, Computer Science, and Government. these workshops are focused on empirical research devoted to understanding social behavior broadly defined.
Convened by: Jay Hull, Professor, Psychological and Brain Sciences
Summer 2012 Schedule:
Recent SPRIG Workshop summaries
A joint enterprise with the John Sloan Dickey Center, the International Relations/Foreign Policy Working Group provides a venue for members to receive feedback on their manuscripts and to debate new work in the field of security studies.
Convened by: Christianne Hardy Wohlforth, Acting Director of the John Sloan Dickey Center, Adjunct Assistant Professor of Government (All sessions are held 3:00–4:30 P.M. at the John Sloan Dickey Center for International Understanding, Class of 1957 library, in 353 Haldeman Center.)
Past International Relations Workshops
A collaboration of faculty members from the Social Sciences, the Medical School, The Dartmouth Institute for Health Policy and Clinical Practice, as well as administrators from the Dartmouth-Hitchcock Hospital, this workshop examines the impact of public policy on health care delivery, particularly the role of financial incentives in shaping medical practice.
Convened by: Ellen Meara, Associate Professor, The Dartmouth Institute for Health Policy and Clinical Practice, and David Goodman, MD, MS, Professor of Pediatrics and of Health Policy, The Dartmouth Institute for Health Policy and Clinical Practice, and Director, Center for Health Policy Research.
The Health Policy Faculty Workshops, are jointly sponsored by The Nelson A. Rockefeller Center (Rocky) and The Dartmouth Institute for Health Policy and Clinical Practice (TDI). The workshops are held alternately between the two locations from 12:00 pm – 1:15 pm unless otherwise stated. Lunch is usually served.Past Health Policy Workshops
Recent Health Policy Workshop summaries
The Environment and Development Workshop provides an interdisciplinary forum devoted to issues related to the interaction between human development and the environment. Since the environment is strongly influenced by the course of development worldwide, understanding changes to the global environment therefore requires an investigation of the social, political, economic, and cultural factors driving development. This workshop draws from various disciplinary backgrounds to advance knowledge in this important research area.
The Workshop invites prominent non-Dartmouth researchers and practitioners from a wide variety of fields (including anthropology, economics, geography, government, history, law and sociology) to present their work to Dartmouth faculty in an open, seminar-style forum designed to provoke thoughtful discussion. Recent Workshop themes include: resource management and conservation; environmental history; environment and trade; and environmental policy.
Convened by: Christopher Sneddon, Associate Professor, Environmental Studies Program and Geography, and Sharlene L. Mollett, Assistant Professor of Geography.
Past Environment and Development Workshops
The Gender & (Im)Migration Workshop serves as a reading and critique group for faculty research on issues of gender and immigration/migration. We also host visiting scholars and writers whose work dovetails with research and pedagogy related to migration studies. Whenever possible visitors are integrated into the curricula of our courses.
Past Gender & (Im)Migration Workshops
Last Updated: 7/14/14


text:
Original post @ DeMoNHuntS.
1.- Its a 1L$ Hunt
2.- All stores are welcome, except those who doesnt has a inworld store, BIBS or Resellers.
3.- Theme: Red colour.
4.- Fill the app till 07th July HERE
5.- Hunt will run 14July-03August.
If you need contact me you can send me a note, IM me, send me a mail to [email protected], or add me at facebook: www.facebook.com/circe.draegonne.9
I will answer all the questions, so if you dont hear about me in a few hours please try it again, sure i didnt receive your request.
Circe Draegonne
[DeMoN] Hunts owner
Visit http://demonsecondlife.blogspot.com/2014/06/passion4red-1l-hunt-taking-app.html for actual post date.


text:
The West Country Vintage
Textile Markets
The perfect place to hunt for....
Vintage Textiles, Florals, Linens, Lace, Tweeds, Trimmings ,
Buttons, Patterns, ribbons, sequins, yarns and more....
North Cadbury Village Hall, North Cadbury. Near Yeovil . BA22 7DH
Trull Memorial Hall, Church Road, Trull, Near Taunton. TA3 7JZ
Admission £1 for adults
Doors open at 9 am and finish at 2 pm
More details on our Facebook page here
email me at email@example.com for stall holder enquiries.
email me at email@example.com for stall holder enquiries.


text:
The Benefits of Collaborative Learning
- Wednesday, January 23, 2002
Cozy, convenient, and
Classroom space, tables, chairs, neutral territory, gym or kitchen space may be available.
Wear & tear on house,
sick kids,
lack of privacy,
ground rules important.
Church relations may be strained. How do you pay? What about damages? Clean-up & contact people are vital!
Consider your students:
- How many should you have?
- Will they get along?
- What about age ranges?
- Do they have similar learning abilities? If not, how do you compensate?
Consider your parents:
- Compatible worldviews?
- Compatible educational philosophies?
- Working towards the same co-op goals?
Wow! There is so much to think about. But lest you get discouraged let me offer this list that several of us compiled showing some of the reasons we co-op.
Advantages of Co-ops
1. Structure.
2. Accountability.
3. Carefully chosen group interaction (aka, socialization!).
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text:
Preventing Workplace Accidents With Safety Training
One of the best ways to prevent workplace accidents is to provide safety training on an ongoing basis. As humans, it is easy to get out of the practice of guarding our own safety. Most humans need the constant reminder of safety training in order to do their best work. The following tips can help to ensure compliance solutions.
Safety training from the beginning
The first steps of new employee training should start with safety training. An employee that is not working responsibly can endanger himself as well as those around him. Employee accidents can cost companies thousands of dollars in lawsuits. It is to the benefit of the company as well as the employee that training begin early to prevent workplace accidents.
Provide needed safety equipment
The best way to ensure compliance is to provide any needed safety equipment. Eye protection includes goggles or safety glasses. Earplugs should be provided for hearing protection. In addition, gloves or other specialty equipment should be provided by the employer. When this equipment is supplied, compliance should be mandatory. While each employee must take responsibility for his or her own safety, they employer also must take responsibility for the safety of all workers.
Continuing safety education
Telling an employee the safety rules once is not enough. Constant reminders, through classes, video recordings and safety posters help to remind employees to work safely. In regards to safety posters, remember they are only effective if changed regularly. Most companies will only conduct safety meetings if there is a regular time each month set aside on the calendar and attendance is mandatory for all employees, make plans that will provide opportunities for a person that is absent from work due to illness on the day of the meeting to get the needed training.
Specific training for use of machinery
Each employee should be trained before being allowed to use a machine in the workplace. The company SOP manual should include who is responsible for training. There should be an evaluation of the employee before he or she is allowed to operate the machinery on his or her own. Both the trainer and employee should sign a form when the training is completed. If new machinery is installed in the work place, ask the manufacturer to provide the safety education as a part of the training process.
Ensuring compliance solutions.
Supervisors must keep an eye out for unsafe practices in the work place and encourage all workers to follow safety procedures to prevent workplace accidents. Employees that are not following safety practices should receive verbal and then written warnings to ensure compliance solutions in the workplace.
Encourage all employees to report any unsafe working conditions immediately to their supervisor. Conditions that are not corrected should be reported to the safety committee.
Related posts:
- Safety Training Videos Reduce Workplace Accidents with Education Entering the ranks of "accident free workplace†is often as...
- Limiting Workplace Accidents Workplace accidents are more than common in today's industries, particularly...
- Workplace Accidents – How They Happen It's cause for alarm anytime a workplace accident occurs but...
- Workplace Accident Reduction Tips I've always loved the line by Mark Twain where he...


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Never Had Sushi
I've never tried Sushi. I would like to but not sure where to start. Of course where I live, it's not available. Eating raw fish kinda makes me cringe, but I know not all Sushi is that way. What would you recommend for a Sushi virgin?
re: weinstein5
I would add Unagi Maki (teriyaki eel and cuke) and lots of places have veg. options as well like Oshinko Maki (pickled daikon)
go easy on the wasabi and ginger.
if you dive into the sashimi - Maguro (tuna) is soooo good.
and by all means save anything with Uni (sea urchin) until you're confident and somewhere that it's perfectly fresh. It can be really good, but better left for later. took me years to try it again, now I love it.
Along with what weinstein mentioned, shrimp is generally served cooked (not always). You've also got eel and omelet. And there are some other rolls that feature cooked ingredients like dragon and spider roll. So you've got some options before you make it into raw territory. I'm sure your server can also steer you in the right direction.
This is a common theme on this board. Check out these two recent links:
Although sushi generally means items with raw OR cooked items with vinegered rice, which can be seafood, vegetable, egg, etc., it really comes down to raw fish. Dragon, spider, and super-monkey-mayonnaise-thingamabob-maki rolls are only barely sushi and are most certainly, not Japanese ethnic dining.
re: Silverjay
Did you ever enjoy the Empire of Signs (R. Barthes) ...
if not, you might seek it out ... I particularly like his take on "rice".
I was lucky the 1st time I ever had sushi. I was with a Japanese friend. I went with nigiri with tuna & salmon(I love lox, so that wan't a stretch). They did convince me to try uni my 1st time & I haven't been able to try it since. Let's just say the texture wasn't to my liking. That may also be why I can't stand maki. it's the seaweed...
I also enjoy Tekka Don, which in my experience was just a steaming bowl of rice covered in lovely slices of raw tuna. mmmmmm. I say start out "simple".
There are many people I know who won't eat sushi, but who love California rolls. It might be a good start if you truly have never had a taste of any kind of sushi (or if you're not sure about the quality of a sushi bar) but solely focusing on that is kind of like leaving a movie theater before the previews even finish. Mixed nigiri sushi plates are a good introduction to sushi because it is a combination of both cooked and raw foods, so you develop a taste for it and can decide for yourself what you like and what you don't like. As hill food mentioned though, go easy on the wasabi the first time you try it, especially if you're ordering sushi rolls, as these often have wasabi already in them. Wasabi is an acquired taste for some. I became addicted to it almost immediately, but then I already love Chinese hot mustard, which has a similar sort of intensity.
re: FoodieKat
Funny. I've never seen wasabi in a roll. Nigiri -- yes (but less common now than 20 years ago).
re: Miss Needle
The Nigiri I had in sushi bars in the UK always had wasabi, and some of the sushi rolls too. But obviously that varies based on where you are.
re: Miss Needle
I made the mistake once of putting my usual portion of wasabi on the prepared rolls from a sushi bar. Thought my head was going to explode! And I am not shy about using wasabi either, so there must have already been quite a bit in the sushi itself. Now I always taste the sushi roll before I put wasabi on it, just in case.
re: FoodieKat
I am now so addicted to wasabi to the point that if the cabinet is low I border on panic. and I don't even make sushi at home.
once had a roll at some mass market place in SF that was salmon roe marinated in wasabi until it was green and more wasabi rolled in - pow! I'm sure it and all the offerings were completely inauthentic, but if I need real, I guess I can just cart my happyass to Japan someday.
the nigiri or maki samplers are indeed a good way to start, maki to get used to some of the flavors and texture, nigiri for the more pure flavor.
if you don't like something you're only out a couple of bucks instead of plunging into a full order of sashimi.
Weezy: give uni a shot again, my first time was also one of my first tries at sushi in general, but now...(it was the texture thing for me too, but now I know what to expect)
re: hill food
My husband thinks I am insane every time we go out for sushi, because I eat so much wasabi I actually cry. I confess that is one reason why I often order sashimi - so I don't have too many tastes competing with the wasabi. I know that's not the point of eating sashimi, wasabi is only meant to be an accompaniment, yadda yadda yadda, I do it anyway. Anything wasabi-flavored appeals to me too - so long as it's not just some wimpy thing that's merely been dyed green (ugh)! I need that horseradish kick! :-)
re: harryharry
Laramie, Wyoming. If (when) I try it, I will be going to Denver (2 hours away)
re: jcattles
Ah - the Denver Lodo sushi happy hours. Such memories. Here's a few cooked items that all sushi places will generally have along with what's already been mentioned. And, by the way, they will more than likely have plenty of cooked Japanese food as well.
Ebi = steamed shrimp.
AMA ebi = raw or sometimes called "sweet" shrimp*
Unagi =broiled fresh water eel
Anago=broiled sea eel (more bony, but more flavorful)
They will almost always have a smoked salmon. It will almost always be labeled sake smoked (pronounced SHA-kay. Namasake will be raw salmon)
Tako = steamed octopus
kani = steamed crab
Ika = steamed cuttlefish. ( I think it's named because that's the sound it makes when you eat it!)
*Ama Ebi = translates to dancing shrimp. These are a trip if you can actually get them. Most of the time they just throw you a raw shrimp. I've had true ama ebi three times in my life. The chef grabs a shrimp out of a tank. and "filets" it on the spot. when served, the shrimp will still pulsate or "dance" on the tongue.
re: gordeaux
just fyi, odori ebi is the dancing (moving) shrimp. ama ebi is sweet shrimp. the japanese adjective for sweet is amai, but the i is dropped when paired with the ebi.
re: jcattles
Don't know why my original comment was deleted, but: if you're going to Denver, I highly recommend doing omakase at Sushi Sasa. Here's why: among about 8 or 9 dishes, fully 4 will be cooked (and there'll be a dessert), so you can ease yourself into it; what's more, the ones that aren't are sparkling clean in flavor. They don't throw urchin curveballs or anything; they stick to the milder, firmer stuff.
Or you could go to Izakaya Den, where you can alternate sushi/sashimi with fusion-style small plates. They also use fresh grated wasabi, which is pretty cool (& sinus-boggling).
You'll get a lot of great replies- I am not a raw fish pro but I LOVE what I consider GOOD (fresh) sushi rolls and sashimi.... That said, I will share this- DO NOT try sushi at any old grocery store or on a crappy Chinese food buffet. The pre-packaged "sushi" is GARBAGE. It's sweet, gluey rice wrapped around imitation krab and gives the good stuff a baaaaaaaad name. Please go to a nice place. Do searches for sushi on your state's board on this site. Don't get it at a piggly wiggly...... (they sell sushi-i read that someplace!)
re: Boccone Dolce
I like krab (or properly Surimi) but I'm aware it's just pressed white fish of various sources and don't kid myself for a second...
Just remember:
1. Most traditional sushi ("su" = vinegar, "shi" = rice) does not involve raw stuff ("sashimi"), but rather things like cucumber, mushroom, sliced omelette, cooked carrot, and the like. Inarizushi is seasoned rice with finely diced vegetables and mushrooms stuffed into a deep fried tofu skin.
2. We traditionally eat raw fish (sashimi of some fish) with hot steamed rice ("gohan").
3. Modern sushi that is now common consists of a bit of vinegared rice and raw fish or smoked eel. Very good as well.
Omelette, cucumber and cooked shrimp are easy first tries - you've probably had them all, just not on a pad or roll of rice with seaweed. California roll is cooked "crab" stick and avocado - creamy and mild and not raw.
If you like rare/raw beef, tuna is similar in taste and texture. Smoked salmon/lox translates into salmon.
I remember when I first tried sushi about 25 years ago. It became somewhat of a fad in NYC, where I lived. Until I actually tried it, I called sushi "bait". After my first time - had chirashi sushi - a bowl of sushi rice with slices of fish placed over it, I was hooked.
Everyone has such good suggestions. I started with crunchy rolls (fake crab/mayo mixture with tempura batter sprinkled on - well that's how they make them where I am) because I love crab. My friend showed me how to mix the wasabi in with the soy sauce. Other cooked rolls I enjoy are soft shell crab with eel sauce, and spicy crawfish rolls. Edamame is a yummy appetizer. It's salted, steamed soy beans and you kinda suck them out of the shell. Beef negi-maki is a fave of mine. It's cooked beef wrapped around a green onion in a thick teryaki sauce. I used to eat the raw stuff but I just lost my taste for it. Weird. Raw tuna rolls were a favorite of mine.
re: mrsfury
Do as you wish, but mixing soy and wasabi is not the way to go imo. That's an Anglo affectation.
re: aelph
oh aelph, I rather doubt the English or even the WASPy are terribly fond of soy and wasabi on anything, maybe horseradish on roast beef or in a cream sauce packed with pickled herring or mackerel, but...
I'm guessing it's more of a US thing and our (my?) need to put condiments on things as we (I'm?) used to finding in a reg. place not simply or badly prepared things, just uninspired.
I'm sure I've horrified plenty of sushi chefs in my time.
I have been trying to cut back, but sometimes just can't resist. it's right there! they're the enablers!
re: hill food
I knew there was a better term than "anglo" but my brain was fitzing at that moment. I have a dear friend who mixes soy and wasabi(I used to mix soy and wasabi, too)...and the comment to which I'm responding mentions being "taught" how to mix soy and wasabi implying that's the way to go about it with sushi. To each his own, but once I learned differently I was able to appreciate the individual flavors and uses for wasabi and soy in a sushi joint. By no means do I consider myself a font of sushi knowledge. I love sashimi and nigiri of all kinds, tho', have an adventurous palate, and am still inadvertantly freaking friends out by eating sushi by hand. In fact, the biggest obstacle I've had to overcome is a kneejerk dislike of maki.
re: aelph
Mixing wasabi and shoyu together is common in Japan for sashimi and not uncommon for sushi as well- though at most places the wasabi is provided on the nigiri. What is particularly American is the quantity and frequency that both are used- i.e. recieving a pile of it on your geta. Which is especially disappointing considering that most wasabi here is flavored and colored horse radish and the fact that many items that are traditionally not served with wasabi- i.e. bonita, eel, and many types of silver fish- people here have no inhibitions about piling it on.
Traditionally (and usually in Japan), maki-mono are eaten at the end of a sushi meal as "stomach stuffers" or they are provided more as attractive presentation items for platters.
re: Silverjay
Thanks for the further insight :)
re: hill food
Actually, my husband happens to be English, and he DOES eat wasabi. He loves the stuff (but isn't addicted to it like I am). And just about any other kind of hot spicy food for that matter (Vindaloo is mild for him). As a matter of fact, many English and British people I know love spicy food. It's not just roast beef and Yorkshire pudding in England you know. ;)
re: FoodieKat
stereotypes exist to be blown apart...
sort of why Margaret Cho is so funny, sweet little Asian girl with a vocabulary that could make a sailor blush...
Emme poses a good question "and, what happens when you fall IN LOVE w/ sushi and get a craving and have to drive 2 hours..."
re: hill food
Yes, that's why I live to challenge those stereotypes, and laugh at them too.
It is difficult once you've developed a taste for sushi, to the point of addiction. It sucks having to travel so far for it, but it's worth it. I had a similar experience living in Reading, England. For a town its size it was a pretty cosmopolitan place. Except for sushi. I could only find one restaurant out there that served 'real' sushi, and then it closed down (there was one other 'Japanese' restaurant that served sushi rolls, but the food was just awful - you could actually hear the microwave 'ding' in the kitchen while you were waiting for your meal- yikes!). So I had to travel over an hour by train and Tube each way into London just to get some decent sushi. I just had to do it though because it is so addictive.
re: FoodieKat
I can relate, spent some time in semi-rural KS in the 80's and although we could find nori, not much else and we'd improvise with all sorts of things. I think that's when I developed a taste for Surimi.
re: hill food
Sorry if I seemed snippy there - stereotypes about Brits and their food tastes (or lack thereof) is kind of a sensitive issue - as you can probably imagine.
Back to the wasabi though; It's weird, but most of the sushi bars I frequented in Japan served wasabi that was that green color. Though it was admittedly much stronger than most wasabi I've had here in the US or elsewhere.
re: FoodieKat
More on wasabi:
Even in Japan, much of the "wasabi" is also imitation or blended with only modest amounts of the real thing. Fresh, good quality wasabi, is not as overpowering or long lasting in effect as the imitation horseradish version. It also has a slight sweetness to it. Americanized maki-roll places are almost exclusively going to serve green horshradish mixes branded as "wasabi". The real thing is expensive and a proper chef would never pile mounds of it on to a plate to be mixed with whatever was served. The best situation is when you see the chef actually grating the root in front of you.
re: Silverjay
Hmm. In that case then, I don't think I've ever had the real thing. Now I really want to find this. I think my favorite itamae does fresh wasabi - but only if you sit at the sushi bar.
so many great suggestions here thus far.
when i first tried sushi, i know i definitely had california roll, albacore sashimi, yellowtail nigiri (which i don't like but many love and it's very mild), and tamago. i have a feeling what's going to be hardest for you is adapting to the texture; it's smooth, i'd say, with yet a toothsome element. once you do, halibut is mild, as is snapper...
in terms of rolls, you might try combining cooked and raw elements - shrimp, crab, and spicy scallop together is a lovely combo, and i prefer it wrapped in soy paper, as i do the majority of rolls (if you have an aversion to the fishy, ocean-y flavor of nori, try asking them to prepare cut rolls with soy paper).
and, what happens when you fall IN LOVE w/ sushi and get a craving and have to drive 2 hours... you might just be moving to denver!
happy sushi-ing... it just so feels so good on every level - the food feels clean going in and through your body and even the next day.
Definitely try a tempura or crunchy roll. They are very good, and an easy way to start out. And one thing I learned...the first time you go for the raw stuff, don't take it all in one bite. Trust me. I did that and ended up with a mouthful of a texture I could NOT abide but couldn't spit out, for the sake of etiquette. If you want to get adventurous on your first time out, give octopus a try.
I'm confused by what you mean when you say it's not available where you live (does this mean you need to venture elsewhere far away).
People have already made good suggestions (second the California roll, even though it's not real sushi by Japanese standards; however, it's good. :)).
Someone mentioned shrimp-- I wouldn't do shrimp, b/c I have never had a good shrimp sushi in the U.S. They overcook the shrimp. Ditto squid.
The spider/tempura rolls and other things that people mentioned are good (despite my complaint elsewhere that I don't like "adulterating" my sushi w/ sesame oil. Ha ha.).
There are also lots of rolls with assorted things that are very good. Another thing that is not "real" sushi, but might be beginner-friendly is salmon. (Either smoked or raw.)
Finally, when you do finally try raw, it's absolutely crucial to try somewhere that has fresh fish, b/c if you are already a bit wary of it, you do not want to try "so so" sushi. (You could troll your local chowhound board and find out where such a restaurant is.) We get pretty good sushi around here, but I still haven't found one as good as the places in Japan. So I often end up making my own.
Good luck!


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