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CONNECTING CULTURES—An Illustration
When works of art enter a museum, they take on new meanings and can be understood in new ways. In a gallery setting, we can compare objects from different cultures in ways that were not possible before they were gathered together, leading to new insights into what cultures share, and what makes them different.
The objects presented in this central area of the exhibition illustrate these opportunities for comparison. In some cases, we see objects whose original purpose was to demonstrate the status of the owner, an important function in many societies. For example, the simple fact of owning a chair, of being among those allowed to sit comfortably while others stand, is a theme that can be compared across cultures.
We also see objects whose very materials reflect the values of the cultures that produced them. The meaning of the value attached to particular materials is an important part of the study of luxury objects, for example. Which is more valuable, gold or alpaca wool? It depends on who you are.
We encourage you to examine these objects and begin to think about the people who produced them. What cultural connections can we draw through an understanding of these objects?
A Pictorial History of the Brooklyn Museum
The history of the Brooklyn Museum and its predecessors begins in 1823. It is impossible to list all the many collections, donors, and events that have made this institution what it is today. The following is a brief outline of the major moments in the Museum's rich historical legacy.
A Repository ... of books ... for enlarging the knowledge, and thereby improving the condition of mechanics, manufacturers, artisans and others.
—An Act to Incorporate the Brooklyn Apprentices' Library Association, passed November 20, 1824
In 1823, a group of concerned Brooklyn citizens begins organizing the Apprentices' Library Association, which becomes the first free and circulating library in Brooklyn. The Apprentices' Library Building on Cranberry Street, shown here, is completed in 1825.
The Library commissions and purchases its first painting, this portrait of Robert Snow by William Dunlap, in 1831. Snow was one of the founders and the first president of the Apprentices' Library Association.
Acting Librarian Walt Whitman reports in 1835 that the Library has 172 readers and 1,200 volumes, which include books devoted to a wide array of cultural and scientific topics.
Several books originally held in the Apprentices' Library remain in the Brooklyn Museum Library's collection to this day, including an atlas (its title page is shown here) by Nicolas Sanson, printed in 1692 and on display in this gallery.
We commend these Exhibitions ... and hope the spirit which prompts them will increase and multiply in Brooklyn. We wish some plan could be formed which would result in a perpetual free exhibition of works of art here, which would be open to all classes.
—Walt Whitman, "About Pictures, &c," Brooklyn Daily Eagle, November 21, 1846
The Apprentices' Library moves to new quarters (the columned building at right of center) on Washington Street in 1841 and begins a series of exhibitions of paintings, sculpture, machinery models, and curiosities of nature. By 1843 the Apprentices' Library and the Brooklyn Lyceum are legally consolidated and renamed The Brooklyn Institute. The Institute focuses its exhibitions efforts on works of art.
In 1846, The Brooklyn Institute announces plans to establish a permanent gallery of fine arts "containing specimens of the finest European artists, with productions of the best painters of our own country." American art collected at this time includes Winter Scene in Brooklyn, circa 1819–20 (shown here), by Francis Guy.
In 1855, the Institute commissions Asher B. Durand to paint The First Harvest in the Wilderness, using money from a fund bequeathed in 1851 by Augustus Graham, one of the original founders of the Apprentices' Library.
... Brooklyn should have an Institute of the Arts and Sciences worthy of her wealth, her position, her culture and her people.
—The First Yearbook of the Brooklyn Institute, 1889
A citizens' committee forms plans in 1888 for a new museum building (a preliminary rendition is shown here) that would house a unique combination of the arts and sciences. Legislation sets aside land adjacent to Prospect Park for art and educational institutions.
The newly established Department of Photography begins a series of annual exhibitions focused on pictorialism in 1889. The Institute becomes the first North American art museum to present photography as an art form. This photograph of what was then called the East River Bridge, circa 1888, by Breading G. Way, was included in the first exhibition.
The Brooklyn Institute is reorganized into the Brooklyn Institute of Arts and Sciences in 1890, the eventual parent institution of the Brooklyn Museum, the Brooklyn Academy of Music, the Brooklyn Botanic Garden, and the Brooklyn Children's Museum. Institute departments range from anthropology to zoology, and gallery displays include a wide variety of natural history specimens (shown here on display in the early twentieth century) as well as works of art.
Charles A. Schieren, mayor of the city of Brooklyn, lays the cornerstone for a new museum building in 1895 designed by McKim, Mead & White. Franklin Hooper, Director of the Brooklyn Institute, announces that the museum is to embrace "all known human history…. Through its collections in the arts and sciences, and through its libraries it should be possible to read the history of the world." The initial wing of what comes to be known as the Brooklyn Museum is shown here under construction on Decoration Day in 1896.
Booker T. Washington proclaims that "the study of art that does not result in making the strong less willing to oppress the weak means little," in an address delivered at the Institute in 1896.
By 1897, the west wing of the Museum is completed, collections are installed, and the building opens to the public. This image shows the initial wing as it looked in 1898, surrounded by farmland.
The Institute continues to expand its collections with acquisitions such as the William Wallace Tooker Collection of Indian Relics of Long Island. The Tooker Collection becomes part of the Department of Ethnology under a new collections organization plan in 1899, which includes Fine Arts and Natural Sciences departments.
... building up great ethnological collections, sending out expeditions for acquiring of antiquities, first over all America, then over the entire world.
—Brooklyn Daily Eagle, February 18, 1903
Susan A. Hutchinson, the first Museum Librarian and later Curator of Prints (served 1900–35), works to build the collections with William Henry Goodyear, the first Curator of Fine Arts (1899–1923), and Stewart Culin, the first Curator of the Department of Ethnology (1903–29). Here, Hutchinson and Goodyear work in the Library reading room, about 1910.
In 1900, Brooklyn residents raise funds for the purchase of a series of 350 watercolors by James Tissot illustrating the Gospel accounts of the life of Christ. These works, world famous at that time, are the first Museum purchase by public subscription.
Acquisitions continue, with a mission to build all parts of the collection, including both the Fine Arts and Ethnology departments.
In an effort to bring the world to Brooklyn, plaster casts of ancient sculptures and replicas of renowned works of art are acquired and installed in 1901.
In 1901, Brooklyn Mayor Charles A. Schieren donates the first southwestern Native American objects to the Museum—pottery from the Anasazi and Pueblo peoples of Arizona and New Mexico, such as this Anasazi pitcher, 900–1300.
The Egyptian antiquities collection is established in 1902 with objects obtained from the prominent Egyptologist Sir William Matthew Flinders Petrie. This faience amulet in the form of two eyes, 1539–1075 B.C.E., meant to bring good health and physical well-being to the wearer, was one of the Petrie objects. Through Petrie, the Brooklyn Museum begins a long relationship with the Egypt Exploration Society.
In 1902, Colonel Robert B. Woodward establishes an endowment fund of $50,000, which is crucial to the institution's collecting initiative, aimed at furnishing the Museum's newly opened galleries with key works representing art from around the world. This painting by Thomas Couture, The Fugitive: Study for "Timon of Athens," circa 1857, is one of the earliest purchases made using the Woodward Fund.
Stewart Culin travels extensively (here he is shown in the field) during his tenure as Curator of the Department of Ethnology (1903–29). He acquires over 9,000 objects representing Native American, African, and Asian arts and cultures, laying the foundations of several different curatorial departments for the Museum. In 1906, the Museum becomes involved with excavations in Egypt, which continue into the 21st century.
The central pavilion of the Museum building (shown here in winter) is completed in 1907, followed by the east wing. Curators continue to acquire works to fill the newly available space.
By 1907, the collection is composed of 532 paintings, watercolors, photographs, plaster casts, and decorative-arts objects as well as large quantities of archaeological, ethnographic, and natural history material collected through Museum expeditions. The Museum also purchases works, including Funerary Stela of Senres and Hormose, circa 1539–1425 B.C.E., the most significant addition to the Egyptian collection up to that time.
Thirty allegorical statues designed under the direction of the renowned sculptor Daniel Chester French are added to the façade of the Museum building in 1909. Here one is being hoisted into place.
In 1912 the Museum adds to its rich collection of American watercolors, acquiring several by Winslow Homer, including In the Jungle, Florida, 1904.
The Museum continues to collect works for display in its spacious new building. Notable acquisitions include the Samuel P. Avery collection of Chinese cloisonné, a model of a humpback whale, and many watercolors by John Singer Sargent, including The Bridge of Sighs, circa 1905–8, acquired by public subscription in 1913.
The Print Department is established as part of the Library in 1913, and the collection grows over the years. This Self-Portrait, 1914, by Max Beckmann was an early acquisition by Carl Schniewind, Museum Librarian and Curator of Books and Prints (1935–40). Beckmann was a teacher at the Museum's Art School, which existed from 1891 to 1985.
With the assistance of the noted scholar, collector, donor, and trustee Luke Vincent Lockwood, the Museum acquires several American period rooms, including the Cupola House, circa 1725, the Hall of which is shown here. Although the first period rooms are acquired in 1915, they are not installed until 1929.
Objects collected by Charles Edwin Wilbour, one of America's first Egyptologists, begin to enter the collection in 1916. This major donation is followed by additional donations from his wife and children, including objects as well as the establishment of the Wilbour Fund to support the Egyptian Department and the Wilbour Library of Egyptology. The famous Female Figure, circa 3500–3400 B.C.E., one of the oldest objects in the collection, was purchased with the help of the Wilbour Fund.
The Museum holds the First Annual Exhibition of the newly founded Brooklyn Society of Etchers in 1916. The Museum purchases this Edward Hopper etching, Housetops, made in 1921, after it is exhibited here in the Tenth Annual Exhibition, in 1925. Hopper was a member of the Brooklyn Society of Etchers.
Curator Stewart Culin, in collaboration with M.D.C. Crawford of the American Museum of Natural History, opens a Study Room in 1918 filled with ethnographic works of art such as the clothing and textiles shown here. Artists and designers are invited to visit and be inspired by the art on view.
I left the building a much delighted man ... filled with the hope that the Museum having taken the first step would take others.... The Museum struck me as having rich possibilities for experimental work in the true spirit of To-Day!
—Alfred Stieglitz to Brooklyn Museum Director William H. Fox, June 21, 1921
The opening of a subway stop in front of the Museum (the entrance is visible in the foreground of this photograph) in 1920 markedly increases attendance.
Edgar Degas's Portrait of Mlle Fiocre in the Ballet "La Source," circa 1867–68, enters the Museum collection in 1922; at the same time, A. Augustus Healy, President of the Brooklyn Institute (served 1895–1920), leaves the Museum his personal collection of works of art and an acquisitions endowment. Healy's donation, along with gifts from William H. Herriman, enhances the Museum's collection with paintings by Rubens, Sargent, and Degas.
The precedent-setting exhibition Primitive Negro Art, Chiefly from the Belgian Congo is organized by Curator Stewart Culin in 1923. The exhibition showcases over 1,500 African objects, shown as works of art rather than as ethnographic specimens.
In 1924 Delia J. Akeley, an explorer and writer, leads one of many Museum-sponsored collecting expeditions, which eventually adds over 200 Congolese objects to the collection. This early twentieth-century anthropomorphic pot from the Ubangi or Uele region of the Democratic Republic of the Congo is one such object.
Curator Stewart Culin showcases key works from the ethnographic collections in 1925 in what he calls the Rainbow House installation, located in the center of the Great Hall (where you are now standing).
In 1927, construction ends on the interiors of the east wing and the Beaux-Arts Court, the last two sections of the original McKim, Mead & White plan to be completed.
The Museum's building campaign ceases in 1927 with only one-fifth of the original McKim, Mead & White plan completed (the area shown in colors on this floor plan).
Herbert Spinden succeeds Stewart Culin as Curator of Ethnology in 1929. Spinden focuses his activities on building collections from Mexico and Central and South America. During his tenure (1929–50), he leads several collecting expeditions and also acquires key objects such as this Life-Death Figure, circa 900–1250 (on display in this gallery), making the Museum a leader in this area.
There seems to be a place ... for a museum of a different type emphasizing the history of cultures, and the social and industrial relations of art.
—Philip N. Youtz, Museum Director, in the Brooklyn Museum Annual Report, 1934
Over 6,000 books are added to the Museum Library as part of the 1930 purchase of the estate of the founding Curator of Ethnology, Stewart Culin. This image is a page from one of Culin's books, Classical Patterns for Dyeing, 1934–38, by Kodo Kawarazaki.
The Museum expands its educational mission by establishing an education department, in 1930, which focuses on continuing the educational activities begun by the Brooklyn Institute and its predecessors. Activities include programs such as the one shown here, led by Native Americans, in the Beaux-Arts Court in 1932. Additional outreach efforts at this time include working with radio station WNYC to broadcast lectures and interviews.
In 1934 the Museum building is modernized; the monumental front stairs are removed, and a new entry hall is created at ground level. The workers in this photo may be members of the Works Progress Administration (WPA). The WPA completed a number of projects at the Museum during the era of the Great Depression, including construction of a new entrance and auditorium and the creation of models, maps, and sketches for exhibitions.
The Museum establishes a new collecting policy in 1934 emphasizing the fine arts, cultural history, and the social and industrial aspects of art. Exhibition topics, such as The Story of Silk, 1934, shown here, mirror this approach.
With the new concentration on fine arts and cultural history, galleries formerly focused on natural history, like this one, photographed sometime between 1905 and 1915, are repurposed. The natural history collections are dispersed to several institutions, including the Brooklyn Children's Museum, the Brooklyn Botanic Garden, and the American Museum of Natural History. The fine-arts collections are then arranged in chronological order, beginning with the prehistoric period on the ground floor of the Museum and continuing up to the Gallery of Living Artists on the top floor.
The Restoration Laboratory, one of the first conservation laboratories in America, is established in 1934.
The Wilbour Library of Egyptology, one of the world's most important resources for the study of ancient Egypt, opens in 1934.
The Dick S. Ramsay Fund is established in 1934 to allow for the purchase of works created by American artists. This fund will support the acquisition of key works by artists including John Singleton Copley, Thomas Cole, and Thomas Eakins. This painting, Letitia Wilson Jordan, 1888, by Eakins, is one such purchase.
Frank L. Babbott, a former trustee, bequeaths his collection of Italian art as well as a fund to support acquisitions, in 1934. The Museum has been able to purchase many works using Babbott funds, including this Peruvian tapestry dating from circa 600–1000.
The Print Department is separated from the Museum Library, and the William A. Putnam Print Room is established in 1937 in honor of Putnam and his wife, who had given several works of art, including works by Dürer, Millet, and Rembrandt. This photograph from 1939 shows a researcher studying prints from the collection.
The Paracas Textile, a cornerstone of the South American collection, is acquired in 1938. This extraordinary mantle or cloak, made by early Paracas artists, is one of the most renowned Andean textiles in the world.
During World War II the Museum joins the home-front effort by tending to "victory gardens." With the help of the Brooklyn Botanic Garden, three acres of land behind the Museum are tilled for staff to plant.
The exhibition America South of the U.S. opens in 1941, showcasing the Museum's newly acquired collection of colonial Spanish American art. The Museum is one of the first North American art museums to collect and exhibit the art of the viceregal period in the Spanish colonies.
The Brooklyn Museum Art School, jointly organized by the Institute and the Brooklyn Art Association in 1891, is installed in the Museum's west wing in 1941. The school remains active until 1985. Here a faculty member demonstrates a technique for one of her students during a class in 1979.
The decorative arts collection is significantly enriched with a large gift of American ceramics given by Arthur W. Clement, an author and avid collector of early American ceramics. This unusual earthenware jug, 1860–80, is part of the Clement gift.
In 1947, the Museum debuts American Printmaking, 1913–1947: A Retrospective Exhibition in conjunction with the American Institute of Graphic Arts. The exhibition is the first in a series that continues for over sixty years, designed to foster printmaking and to showcase the work of new printmakers.
The Edward C. Blum Design Laboratory is created in 1948, in memory of the former chairman of the board of the Institute. The Laboratory, initially known as the Industrial Design Division, further develops a relationship between the New York garment industry and the Museum that was begun by Stewart Culin. Here, the Design Laboratory is prepared for its opening night.
In 1948 the Museum purchases over two thousand Egyptian antiquities from the New-York Historical Society. The acquisition of this collection (shown installed) made the Museum's Egyptian collection one of the most important in the United States.
The architectural firm of Brown, Lawford & Forbes develops a new plan to renovate the Museum.
The Nathan Sturgis Jarvis collection of Plains objects, assembled in the 1830s and formerly on deposit at the New-York Historical Society, enters the Museum collection in 1950. This Yanktonai Sioux buckskin shirt from the Jarvis collection is decorated with porcupine quills, glass beads, and pigment.
In 1952 this fourteenth-century porcelain wine jar, a cornerstone of the Asian collection, is donated to the Museum as part of the William B. Hutchins Collection.
In 1953 the Museum becomes the first American art museum to open a series of nineteenth-century American period rooms. The Parlor of the Colonel Robert J. Milligan House (1854–56) is still on view today.
Masterpieces of African Art opens in 1953. With this groundbreaking exhibition, the Brooklyn Museum is the first museum to apply the term masterpiece to African art. Up to this time, the Museum had remained the only public repository in New York to display African works as art rather than as ethnography.
In 1953, Hagop Kevorkian donates funds for the purchase and installation of twelve monumental Assyrian alabaster reliefs previously on loan from the New-York Historical Society. The reliefs are currently on view in the Kevorkian Gallery on the third floor.
Daniel Chester French's allegorical figures Brooklyn and Manhattan, removed from the approaches to the Manhattan Bridge, are placed on either side of the Museum's main entrance in 1964.
The Louis E. Stern Foundation donates a large collection of American and European prints in 1964, including this 1944 work by Alexander Calder, Circus Study, and works by Delacroix and Manet.
In 1966 Charles Kyrle Wilkinson, Curator of Ancient Middle Eastern Art, and his wife, Irma, make the first of several donations of Islamic works of art to the Museum. Prince Yahya, circa 1830s, attributed to Muhammad Hasan, was a gift from the Wilkinsons and is a cornerstone of the collection.
The Frieda Schiff Warburg Memorial Sculpture Garden, containing decorative architectural fragments from demolished New York buildings (shown here circa 1980), opens behind the Museum in 1966.
Listening to Pictures opens in 1968 and is one of the first exhibitions to use audiotapes in the galleries of an American art museum.
This early twentieth-century drum from Papua New Guinea is one of more than 150 pieces of Oceanic art donated by Evelyn A. J. Hall and John A. and Marcia Friede in 1972.
The Museum, a New York City designated landmark since 1966, is added to the National Register of Historic Places in 1977. This photograph shows the front of the Museum as it looked in the seventies.
The 1980s begin with a large service extension, added at the rear of the Museum, designed by Prentice & Chan, Ohlhausen. The addition holds administrative offices and collections storage.
The Contemporary Art department is officially established, and a series of site-specific exhibitions featuring contemporary artists is initiated for the Museum Lobby in 1983.
This Chimu-Inca seated figure, 1400–1532, enters the Museum's collection in 1986 as part of the donation of former trustee Ernest Erickson's collection, which encompasses nearly five thousand years of history and focuses on the cultures of ancient and non-European peoples.
Arata Isozaki & Associates/James Stewart Polshek and Partners are chosen in 1986 to devise a new architectural master plan to guide the renovation and refurbishment of the Museum building for several years. This print, The New Brooklyn Museum: South Elevation, 1988, was created by Arata Isozaki and is part of the Museum collection.
In 1987 the Museum mounts an exhibition showcasing one of the most significant gifts it has received in the field of modern sculpture: fifty-eight sculptures by Auguste Rodin, donated by the Iris and B. Gerald Cantor Foundation in 1984.
The Museum acquires over seventy works of African, Oceanic, and pre-Columbian art in 1989 from Esther and Adolph Gottlieb, an American Abstract Expressionist painter. These objects are included in Image and Reflection: Adolph Gottlieb's Pictographs and African Sculpture, held that year.
The Brooklyn Museum Collection: The Play of the Unmentionable opens in 1990. The exhibition features over one hundred objects chosen by the artist Joseph Kosuth. Ranging from ancient Egyptian objects to contemporary photographs, the works were deemed objectionable at the time of their creation because of the religious, social, or political issues they raised (including Gaston Lachaise's Standing Woman, shown at center in the photograph and now on display in this gallery). The exhibition affirms the Brooklyn Museum's position against censorship.
The Iris and B. Gerald Cantor Auditorium opens in 1991 on the third floor of the Museum. The 460-seat facility is part of the 1986 architectural master plan designed by Arata Isozaki & Associates/James Stewart Polshek and Partners.
In 1992 Mary Dorward, former Museum Librarian (in 1951–58), leaves an endowment of over one million dollars to the Museum, the income of which is used for the acquisition of works of art, including artist books such as Corona Palimpsest, 1996, by Nora Ligorano (shown here).
In 1993 the Museum opens renovated gallery space on three floors of the west wing, including the Egyptian galleries on the third floor, shown here, adding 30,000 square feet.
The following year the renovated west wing is renamed the Morris A. and Meyer Schapiro Wing, in recognition of Morris A. Schapiro's pledge of five million dollars, the largest single gift to the Museum up to that time, in honor of his brother, the art historian Meyer Schapiro.
The bequest of Edith and Milton Lowenthal, in 1993, enriches the Museum's collection of modern American art with key works by Arthur G. Dove, Marsden Hartley, Georgia O'Keeffe, and Stuart Davis. Davis's Pad No. 4, 1947 (shown here), was one of those works.
The Beatrice Riese Collection of African art begins to be given to the Museum in 1994 and includes significant objects that are cornerstones of the collection today, such as this nineteenth-century Fang face mask.
Through the generous support of many donors, the Museum acquires fourteen portraits of the Inca kings in 1995, further enriching the Museum's strong holdings of Spanish colonial art and colonial portraiture. This portrait is Atahualpa, Fourteenth Inca.
The exhibition Sensation: Young British Artists from the Saatchi Collection opens in 1999 and draws international attention.
The mission of the Brooklyn Museum is to act as a bridge between the rich artistic heritage of world cultures, as embodied in its collections, and the unique experience of each visitor.
—From the Brooklyn Museum's Mission Statement, adopted in 2001
The Museum acquires the uppermost panel, Christ Blessing (shown here), of Nardo di Cione's altarpiece Madonna and Child with Saints and reunites it with the lower panel. This now-complete work of art is considered one of the most important mid-fourteenth-century Italian paintings in America.
In 2001 the Museum debuts a new approach to presenting American art with the opening of American Identities: A New Look, a major installation that integrates paintings, sculpture, prints, drawings, photographs, and decorative arts ranging from the colonial period to the present.
The Martha A. and Robert S. Rubin Pavilion and Lobby opens in 2004, offering a new front entrance and public plaza designed by Polshek Partnership. The project is the first in a series of building improvements, including more extensive climate-control systems, refurbishment of the Beaux-Arts Court, and the creation of new contemporary art galleries in 2007.
The Luce Center for American Art, including the Visible Storage Study Center, opens in 2004.
In 2004 the spaces housing the Museum Libraries and Archives are refurbished, providing climate-controlled storage for the research collections. The renovated reading room is shown here.
The Elizabeth A. Sackler Center for Feminist Art is established in 2007. The Dinner Party, 1974–79, by Judy Chicago, donated by Dr. Sackler, is the focal point of this center dedicated to the study of feminist art.
American Paintings in the Brooklyn Museum: Artists Born by 1876, a two-volume catalogue, published in 2006, documenting the depth and breadth of the Museum's historic collection, receives the Alfred H. Barr Jr. Award in 2007, given each year to an especially distinguished catalogue in the history of art.
The Museum acquires Pablo Picasso's Woman in Grey (displayed in this gallery) in 2008 with the help of the Alex Hillman Family Foundation, which also donates several other important works.
In 2009 the Museum transfers its Costume Collection, which includes Charles James's "Butterfly" Dress, 1955, to The Metropolitan Museum of Art. It is to be known as the Brooklyn Museum Costume Collection at The Metropolitan Museum of Art.
... every object in our collection, and particularly every newly acquired object, must take upon itself the great responsibility of helping us to better tell the story that we as a museum are responsible for.... The better we tell the story, the broader and greater our audience will be, and the more we will deserve recognition as one of the great museums of the world.
—Brooklyn Museum Director Arnold Lehman, 2012
In 2010, the Museum establishes the Brooklyn Museum Fund for African American Art, to be used for the acquisition of pre-contemporary works by African American artists. Web of Life, 1958, by John Biggers, is the first purchase made using this fund.
The Museum acquires Free Women of Color with Their Children and Servants in a Landscape, circa 1764–96, by Agostino Brunias, in 2010—its first colonial painting of the West Indies.
The space formerly known as the Hall of the Americas is renamed the Great Hall in 2011. The redesigned space offers more galleries and continues the program to climatize and refurbish each floor of the Museum.
CONNECTING CULTURES—A World in Brooklyn
Museums bring the world's treasures to the public. Like many other museums, the Brooklyn Museum collects works of art in order to inspire, uplift, and inform.
Museums carefully organize and present these works of art in ways that make them more understandable. Traditionally, gallery presentations have been organized in several ways: by geography, or by medium, or by chronology, or sometimes a combination of these. Such categories are useful because they allow the viewer to make important comparisons within a group of closely related works. At the same time, however, those traditional categories can be limiting, because they do not offer an opportunity to make larger comparisons—across different cultures, mediums, or time periods.
This gallery challenges those traditional approaches and offers an alternative option meant to augment other organizational themes in the Museum. Here, works of different places, types, and times from across the Museum's collections are gathered into broad themes, emphasizing connections across cultures, which allow us to see the ways in which art reflects our shared humanity.
This introductory gallery represents only one approach to regrouping works of art and the ideas they embody. Using this gallery as a springboard, we invite you to make your own connections by exploring the rich collections in the rest of the Museum.
We are naturally curious about the world around us. Indeed, our lives are defined by where we live. The features of the earth—different for each place—and the features of the heavens—shared by all humanity—influence our perception of ourselves.
From realistic representations of sea and sky to artistic impressions of the forces of nature, cultures have explored their own identities through depictions of place. Many cultures have even imagined a broader cosmology, or a view of the unseen world, in elements of the place they know—in earth, wind, fire, and water; in mountains, oceans, and gardens.
Here we present a variety of works from different cultures and times, each exploring the idea of "place." What connections do you see between these works? With other works in the gallery?
For most of history, people perceived the world with themselves at its center. It is not a surprise, then, that our bodies, our shared physical humanity, play such a large role in imagination and in art.
An image of the human form can represent more than a specific person, as in a portrait. It can also represent an idea, such as the broader human condition. And it is at the heart of many peoples' concept of the divine. In the Judeo-Christian tradition, for example, God created man in his own image. Conversely, many cultures have conceived of the divine in humankind's own image. At the same time, some traditions have combined human characteristics with those of various animals. In its many diverse variations, the human image is at the center of our worldview.
Here we present a variety of works from different cultures and times, each representing "people" in a different way. What connections do you see between these works? With other works in the gallery?
All of the works in this gallery are man-made things, even if they depict places or people. This particular section, however, is devoted to objects used in daily life.
Across time and place, people have used things not only as practical tools, but also as markers of status and as means for self-definition. The emergence of stone tools was one of the most notable developments in the evolution of humankind, and it was not long before man-made things took on symbolic or religious meanings, assisting in navigating and understanding both this world and the next. Whether the objects that surround our lives manifest our wealth, express our religious devotion, or memorialize us after death, those things we make, as the only creatures on earth with the ability to create, are an essential part of how our humanity expresses itself.
Here we present a variety of "things" from different cultures and times. What connections do you see between these works? With other works in the gallery?
In the modern world, cosmology is the science that studies the nature of the universe. Cultures have always been fascinated by the world around them and have often developed worldviews that combined observation of the natural world with mystical or religious responses to the questions that observation could not answer.
From the people of the ancient Americas to our own time, trying to understand the universe in which we live has triggered both learning and imagination. Striving for a better understanding of the universe can stimulate the creation of art, and works of art can, in turn, explain and codify the concept of the universe.
When we think of chairs, we tend to think of a comfortable place to sit in order to rest or to efficiently complete a task. This, however, is a very modern idea that presumes everyone has a seat.
When looking at historical chairs it is important to consider how they were used in their own time. For much of history in places around the world, comfort was not the purpose of a chair. Instead, a chair was there to make the sitter appear important and powerful. It separated, and often raised, the sitter from others present, physically surrounding him or her with richly worked and expensive material. A chair was more like a throne.
For over two thousand years, followers of Buddhism have been making images of the Buddha, representing the historical person Siddhartha Gautama as both god and man, and in various guises. Individually, many of these images are beautiful and moving works of art, while offering diverse representations of one of the world's major religions. Brought together in rich collections such as that of the Brooklyn Museum, they reveal the many faces and interpretations of the spiritual in physical form.
Frames have multiple functions. They protect the work they surround, whether a rare painting or drawing, or an inexpensive photograph, or a piece of silvered glass mirror. They also present the work, giving it importance and making a statement about it.
Historically, frames have often been more expensive than the works of art they surround. This selection of frames dates from the mid-1880s, and expresses the style known at the time as "aesthetic."


text: News from across the College Contensis: http://www.contentmanagement.co.uk http://www.birmingham.ac.uk/university/colleges/socsci/news.aspx?SyndicationType=2 2015-09-05T14:06:19Z Experts share best autism practices with India Julie Foster On World Autism Awareness Day, UK experts are calling for stronger links with India to develop best autism practices that are relevant to the specific cultural and local needs of the country. A research team from the University of Birmingham, UCL Institute of Education (IOE) and the International Institute of Information Technology, Hyderabad (IIIT Hyderabad) are currently visiting schools in Hyderabad, engaging with teachers and parents on how technology can support children with autism in India. 2015-04-13T12:02:00Z 2015-04-13T11:51:00Z http://www.birmingham.ac.uk/schools/education/news/2015/04/autism-india.aspx University of Birmingham engagement with Brazil wins Outstanding International Strategy award Julie Foster The University of Birmingham has won the Outstanding International Strategy Award in the 2014 Times Higher Education Leadership and Management Awards (THELMAs). The award honours Birmingham's bold approach to secure its position in Brazil as the UK higher education institute (HEI) partner of choice. 2014-06-18T14:03:00Z 2014-07-07T15:28:00Z http://www.birmingham.ac.uk/schools/education/news/2014/06/University-of-Birmingham-engagement-with-Brazil-wins-Outstanding-International-Strategy-award.aspx Peter Davies discusses deregulation of universities on Australian radio Julie Foster Peter Davies offers his views on university fees and equity in the UK 2014-06-04T10:32:00Z 2014-06-04T12:17:00Z http://www.birmingham.ac.uk/schools/education/news/2014/06/deregulation-of-universities.aspx Professor Monder Ram beats stiff competition to take Best in Education Award David Morris Professor Monder Ram, Director of the Centre for Research in Ethnic Minority Entrepreneurship (CREME), fought off stiff competition to win the Best in Education at the British Indian Awards in Birmingham. 2014-05-27T13:58:00Z 2014-05-27T13:40:00Z http://www.birmingham.ac.uk/research/activity/business/creme/news/2014/may/best-in-education-award.aspx CRRE hosts Internationally renowned UIUC Scholar: Dr Adrienne Dixson Julie Foster The Centre for Research in Race & Education (CRRE) welcomes Dr Adrienne Dixson from the University of Illinois at Urbana Champaign (UIUC) to the University of Birmingham for an extended visit during May 2014. 2014-05-05T12:14:00Z 2014-09-24T12:16:00Z http://www.birmingham.ac.uk/research/activity/education/crre/news/2014/CRRE-hosts-internationally-renowned-UIUC-Scholar.aspx Birmingham announced as University of the Year Julie Foster The University of Birmingham has been named University of the Year 2014 in The Times and The Sunday Times Good University Guide. 2013-09-20T12:00:00Z 2013-09-30T13:23:00Z http://www.birmingham.ac.uk/schools/education/news/2013/09/Birmingham-announced-as-University-of-the-Year.aspx Universities of Birmingham and Manipal partner in new educational initiative Mike Lee The University of Birmingham and Manipal University in India have signed an agreement this month formalising educational links between the two institutions. The partnership will enable students to complete their first two years of study at Manipal then progress directly into year two at Birmingham. 2013-07-31T15:47:00Z 2013-08-02T13:24:00Z http://www.birmingham.ac.uk/news/latest/2013/07/31Jul-Universities-of-Birmingham-and-Manipal-partner-in-new-educational-initiative.aspx Birmingham joins Beijing, Harvard and Oxford in youth leadership initiative Julie Foster Students from the University of Birmingham are taking part in an esteemed international youth leadership programme in China this month. 2013-07-08T12:41:00Z 2013-07-08T14:58:00Z http://www.birmingham.ac.uk/schools/education/news/2013/07/Birmingham-joins-Beijing-Harvard-and-Oxford-in-youth-leadership-initiative.aspx Internationalising higher education: European academy underway at University of Birmingham Catherine Byerley More than 120 higher education professionals from over 20 countries are convening at the University of Birmingham this week for the European Association for International Education (EAIE) Spring Academy. 2013-04-16T12:16:00Z 2013-04-18T09:35:00Z http://www.birmingham.ac.uk/news/latest/2013/04/16Apr-Internationalising-higher-education-European-academy-underway-at-University-of-Birmingham.aspx Chinese students hail "transformational" UK study experience Julie Foster Chinese students who have studied in the UK have seen a "profound transformational experience" in their personal and professional lives, according to research into the impact of studying abroad. 2012-12-17T15:44:00Z 2012-12-21T09:41:00Z http://www.birmingham.ac.uk/schools/education/news/2012/12/chinese-students-study-experience.aspx UK universities embrace the free, open, online future of higher education Julie Foster Students from the UK and around the world will have free access to some of the country's top universities thanks to FutureLearn Ltd, an entirely new company being launched by The Open University (OU). The universities of Birmingham, Bristol, Cardiff, East Anglia, Exeter, King's College London, Lancaster, Leeds, Southampton, St Andrews and Warwick have all signed up to join FutureLearn. 2012-12-14T15:31:00Z 2013-05-23T11:24:00Z http://www.birmingham.ac.uk/schools/education/news/2012/12/free-open-online-future-of-higher-education.aspx UK universities embrace the free, open, online future of higher education Nathan Johnson Students from the UK and around the world will have free access to some of the country's top universities thanks to FutureLearn Ltd, an entirely new company being launched by The Open University (OU). The universities of Birmingham, Bristol, Cardiff, East Anglia, Exeter, King's College London, Lancaster, Leeds, Southampton, St Andrews and Warwick have all signed up to join FutureLearn. 2012-12-14T15:21:00Z 2012-12-14T15:16:00Z http://www.birmingham.ac.uk/schools/business/news/2012/december/free-open-online-future-of-higher-education.aspx UK universities embrace the free, open, online future of higher education Jo Kite Information on UK universities embrace the free, open, online future of higher education 2012-12-14T12:20:00Z 2012-12-14T12:13:00Z http://www.birmingham.ac.uk/news/latest/2012/12/UK-universities-embrace-the-free,-open,-online-future-of-higher-education-.aspx Alumni in Eastern Europe Julie Foster Dr Chris Williams has been working with former School of Education staff and students, in Bulgaria and Romania. 2012-07-13T14:27:00Z 2012-07-13T14:23:00Z http://www.birmingham.ac.uk/schools/education/news/2012/07/alumni-eastern-europe.aspx Ranking reveals world's top countries for higher education Catherine Byerley New research into national education systems gives the first ranking of countries which are the 'best' at providing higher education. 2012-05-11T13:33:00Z 2012-05-16T13:35:00Z http://www.birmingham.ac.uk/news/latest/2012/05/11-MayRanking-reveals-worlds-top-countries-for-higher-education.aspx 'Great need to improve autism education in India', say researchers Catherine Byerley Academics from the University of Birmingham are in India this week sharing their expertise in the area of special educational needs, and autism in particular. 2012-02-13T13:41:00Z 2012-02-13T13:37:00Z http://www.birmingham.ac.uk/news/latest/2012/02/13FebGreat-need-to-improve-autism-education-in-India,-say-researchers.aspx

subset: commoncrawl


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Anaheim, CA (Sports Network) - Mike Trout hit for the cycle and drove in five runs and Jerome Williams tossed eight scoreless innings to lead the LA Angels of Anaheim to a 12-0 dismantling of the Seattle Mariners on Tuesday.
Williams (3-1) scattered six hits and struck out six to earn the win.
"I was able to keep the ball down and attack the zone tonight," Williams said.
Josh Hamilton and Howie Kendrick both hit two-run homers, Albert Pujols drove in a pair and Erik Aybar went 2-for-3 with two doubles, an RBI and two runs scored for the Angels, winners in three straight.
Aaron Harang (1-5) gave up seven runs on nine hits over just 3 2/3 innings to absorb the loss.
"Aaron made too many mistakes up in the zone. They jumped out early, and it got away from him in the fourth inning," Mariners manager Eric Wedge said.
The Halos plated three runs in the first inning. Aybar doubled then scored on a Pujols single to left field and Hamilton followed one batter later with his two-run blast to center.
LA would added four runs in both the fourth and sixth innings to blow the game open.
Hamilton opened the fourth with a triple to right and Kendrick followed with a two-run shot to right-center field to make it 5-0. Alberto Callaspo doubled before scoring on an Aybar double to center and Trout followed with an RBI triple to center to give the hosts a seven-run edge.
With the bases loaded in the sixth, Trout ripped a three-run double to left field. Pujols followed with an RBI single to center to make it 11-0.
Trout completed the cycle with a solo homer in the eighth inning. The 21-year- old became the youngest player in American League history to accomplish the feat.
"It feels great. I didn't think about it until about the eighth inning. It was a 2-0 count, and in the back of my mind I knew I had to barrel it up," Trout said. "As soon as I hit it I knew it had a chance. I can't explain the feeling right now.
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For many people, eating out is a way to relax and socialize. But if
you are watching your weight or just are concerned with healthy eating, dining
out can be a challenge. The good news is that usually there are healthier
options at every restaurant, even at fast-food places. By following some simple
guidelines, you can enjoy eating out and still have a healthy diet.
Follow the same guidelines when you eat out that you would if you were
eating at home. This doesn't mean that you have to give up ordering dessert.
But you may want to order it less often and share it with someone else at your
Current as of:
January 25, 2013
Healthwise Staff
Medical Review:
Kathleen Romito, MD - Family Medicine
Rhonda O'Brien, MS, RD, CDE - Certified Diabetes Educator
This information does not replace the advice of a doctor. Healthwise, Incorporated disclaims any warranty or liability for your use of this information. Your use of this information means that you agree to the Terms of Use.
How this information was developed to help you make better health decisions.
To learn more, visit Healthwise.org
© 1995-2014 Healthwise, Incorporated. Healthwise, Healthwise for every health decision, and the Healthwise logo are trademarks of Healthwise, Incorporated.


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It's hard to make a joke about the Jets when you can't even get to the punchline without making like five more jokes. The whole thing's a joke. The only unfunny part of it is that it looks it's going to end.
Which is sad.
Forgive my spelling. This was sent from my phone.
Sitting on a Dolphins forum after another tough Jets loss. Life in general not going well these days mate?
Do yourself a HUGE FAVOR and WATCH THIS VIDEO!!!!!!!!
Im telling you those guys on the Jests postgame on SNY CLOWN the Jests so hard. I hate I missed it today. I wish we wouldve played at 1pm so I couldve watched the Jests postgame today.
Bill Belichick on "putting the tape on"


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Microbial Commercial Activity Notices (MCANs) for transgenic E. coli from Third Wave Technologies, j010001
On December 29, 2000, the Office of Pollution Prevention and Toxics (OPPT) received two Microbial Commercial Activity Notices (MCANs) from Third Wave Technologies, submitted under the biotechnology regulations promulgated under the Toxic Substances Control Act (62 FR 17910 (April 11, 1997); codified at 40 C.F.R. Part 725). The MCANs were given the EPA tracking designations J-01-0001 and J-01-0002. The recipient microorganism is E. coli BL21. These microorganisms will be used to produce an enzyme which would be used in biomedical research and clinical diagnostics.
For a copy of the nonconfidential version of the MCANs, please contact the TSCA Non Confidential Information Center (NCIC) by phone at 202-566-0280 , or by fax at 202-566-0282.


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How To Buy Soccer Cleats
Soccer is a game that is primarily played with your feet; therefore, your most important piece of soccer equipment is your footwear. A good pair of cleats, or boots as many people call them, is essential. There are variations of the basic soccer cleat designed for different skill levels, weather conditions, and field types.
Types of Cleats
Footwear for soccer depends on a number of factors: the level of your game, the types of fields you play on, and how much you want to spend. Most leagues require you wear the proper type of soccer cleat during play, so it is most important to understand which type you need.
Molded cleats
Detachable cleats
Turf shoes
Indoor shoes
Return To Top
Soccer shoes come in two basic materials: leather and synthetic. The pair you purchase will largely depend on your skill level and how serious you are about the sport.
Determining Your Size
Fit tips
Determining your shoe size
Sports Authority - the nation's preeminent full-line sporting goods chain. Shop online or in-store for your favorite brands - Nike, Under Armour, The North Face, Bowflex, Schwinn, Lifetime and more.
©1999 - 2015 *List price is for reference only. No sales may have occurred at this price. **See product page for details. The products available through www.sportsauthority.com may vary from those appearing in Sports Authority stores. Contact your local store for specific product information.


text:
Salt Lake City Lodging
Wasatch Front Ski Accommodations
Wasatch Front Ski Accommodations
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Best Available Rates for: Sep 05, 2015 - Sep 07, 2015 Change Dates
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- Wheelchair accessible property
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- Air conditioning
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- Kitchen in Rooms
- Microwave in Room
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- Rooms with Hot Tub Available
- Television in Room
- VCR in Room
Dining and Attractions
Location Description


text:
You must sign in to email your design.
Don't worry if you don't have an account - it's super easy and free to sign up.
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text:
Earl Lectures 2010 - Plenary Session V – Scotty McLennan
Growing Up Spiritual or Religious?: A Developmental View
Scotty McLennan is an ordained minister, a lawyer, and an author. Since 2001 he has held the post of Dean for Religious Life at Stanford University. His primary research interests are in the interface of religion, ethics, and the professions. The author of Jesus Was a Liberal: Reclaiming Christianity for All and Finding Your Religion: When the Faith You Grew Up With Has Lost Its Meaning, he teaches and oversees religious affairs on campus and is the minister of Stanford Memorial Church.


text:
Blokburst Chair Pad
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Bold & Fun! Add a touch of color to any room!
Soft chenille blended with a hint of colored ticking fabric creates the perfect accent for any playroom or bedroom. Reversible for twice the wear. This flat braid uses 75% chenille/25% cotton-blend fabric. Made with the same fine quality materials as the Colonial Mills rugs, chair pads are a simple way to coordinate colors throughout a room. Buy one or a set of 4. Made in the USA.
Dimensions: 15' W x 15' D
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text:
FLUENT is a state-of-the-art computer program for modeling fluid flow and heat transfer in complex geometries.
Availability & Restrictions
FLUENT is available on both the Glenn and Oakley clusters. The following versions are available:
A base license token will allow Fluent to use up to 4 cores without any additional tokens. If you want to use more than 4 cores, you will need an additional "HPC" token per core. For instance, a serial FLUENT job with 1 core will need 1 base license token while a parallel FLUENT job with 8 cores will need 1 base license token and 4 HPC tokens.
Academic License Limitations
Currently, there are in total 25 base license tokens and 68 HPC tokens for academic users. These HPC tokens are shared between FLUENT and ANSYS. A job using a base license token can be submitted to either Glenn or Oakley clusters. A parallel job using HPC tokens (with "ansyspar" flag) however can only be submitted to Glenn clusters due to scheduler issue.
NDEMC License Limitations
For NDEMC users, there are in total 10 base license tokens and 512 HPC tokens. These HPC tokens are shared among available ANSYS products (FLUENT, CFX, ICEMCFD, ANSYS Mechanical, etc.) All jobs should be submitted to Oakley cluster.
Use of FLUENT for academic purposes requires validation. To obtain validation please complete and return the "Academic Agreement to Use FLUENT." This can be obtained from your site consultant or from the files fluent.pdf located in the Academic Agreement Forms.
FLUENT can only be run on the compute nodes of the Oakley and Glenn clusters. Therefore, all FLUENT jobs are run via the batch scheduling system, either as interactive or unattended jobs. In either case, only once a batch job has been started can the FLUENT module be loaded with the following command:
module load fluent
Additionally, you can use the following command to see the other FLUENT versions you can load on the cluster you are using:
module avail
Batch Usage
Sample Usage (interactive execution)
Using the FLUENT GUI interactivly can be done with the following steps:
- Ensure that your SSH client software has X11 forwarding enabled
- Connect to either the Oakley or Glenn system
- Request an interactive job. The command below will request a single-core, one hour job. Modify as per your own needs:
qsub -I -X -l walltime=1:00:00 -l software=fluent+1
Once the interactive job has started, run the following commands to setup and start the FLUENT GUI:
module load fluent fluent
Sample Batch Script (serial execution using 1 base token)
Running FLUENT for five-hours on an input file "run.input" on either Glenn or Oakley:
#PBS -N serial_fluent #PBS -l walltime=5:00:00 #PBS -l nodes=1:ppn=1 #PBS -l software=fluent+1 #PBS -j oe # # The following lines set up the FLUENT environment # module load fluent # # Move to the directory where the job was submitted from # You could also 'cd' directly to your working directory cd $PBS_O_WORKDIR # # Copy files to $TMPDIR and move there to execute the program # cp test_input_file.cas test_input_file.dat run.input $TMPDIR cd $TMPDIR # # Run fluent fluent 3d -g < run.input # # Where the file 'run.input' contains the commands you would normally # type in at the Fluent command prompt. # Finally, copy files back to your home directory cp * $PBS_O_WORKDIR
As an example, your run.input file might contain:
======================================== file/read-case-date test_input_file.cas solve/iterate 100 file/write-case-data test_result.cas file/confirm-overwrite yes exit yes ========================================
Sample Batch Script (parallel execution using HPC token)
FLUENT can be run in parallel, but it is very important that you read the documentation in the FLUENT Manual on the details of how this works. You can find the Fluent manuals on-line by following the "Further Reading" link at the bottom of this page, or clicking the "Manuals" link in the left panel of any of the software pages.
In addition to requesting the FLUENT base license token (
-l software=fluent+1), you need to request copies of the ansyspar license, i.e., HPC tokens. However the scheduler cannot handle two "software" flags simultaneously, so the syntax changes. The new option is
-W x=GRES:fluent+1%ansyspar+[n], where [n] is equal to the number of cores you requested minus 4.
Parallel jobs have to be submitted on Glenn via the batch system. An example of the batch script follows:
======================================== #PBS -N parallel_fluent #PBS -l walltime=1:00:00 #PBS -l nodes=2:ppn=8 #PBS -j oe #PBS -W x=GRES:fluent+1%ansyspar+12 #PBS -S /bin/bash set echo on hostname # # The following lines set up the FLUENT environment # module load fluent # # Move to the directory where the job was submitted from and # create the config file for socket communication library # cd $PBS_O_WORKDIR # # Create list of nodes to launch job on rm -f pnodes cat $PBS_NODEFILE | sort > pnodes export ncpus=`cat pnodes | wc -l` # # Run fluent fluent 3d -t$ncpus -pinfiniband.ofed -cnf=pnodes -g < run.input
Further Reading
See Also
- The FLUENT users ARMSTRONG group


text:
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The show will include new exclusive interviews with many of the pranksters and their victims as well as tons of footage you won't believe. It'll make you snicker. It'll make you squirm. It'll make you laugh. It's VH1's 40 Greatest Pranks pt. 4.... Read Full Summary »
Join us as we watch what happens when a dog upstages a baby's first steps, an inflatable SpongeBob destroys a nightclub, and a fart fire goes very wrong--or right, depending on who you ask. We'll showcase the newest ways people have managed to slip, fall,... Read Full Summary »
One thing the internet has proven beyond a shadow of a doubt: we sure love watching people screw up! That's why VH1 has scoured the internet and TV once again for more brand new funny clips of humans failing fabulously. The result: 40 Funniest Fails 3!... Read Full Summary »
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Download the VH1 App now and watch your favorite VH1 shows anytime, anywhere! See cast tweets, exclusive bonus scenes, and more!
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Show details
Without a Trace
An FBI task force uses psychological profiling in its search for missing persons.
Anthony Lapaglia, Poppy Montgomery, Marianne Jean-baptiste, Enrique Murciano, Eric Close, Roselyn Sánchez, Michael Williams, Elizabeth Banks
Jerry Bruckheimer (Executive Producer), Jonathan Littman (Executive Producer), Ed Redlich (Executive Producer), David Nutter (Executive Producer), Hank Steinberg (Executive Producer), David Amann (Writer), Greg Walker (Writer), Jeannot Szwarc (Director), Alicia Kirk (Writer), Jan Nash (Writer), Eric Close (Director), Anthony Lapaglia (Writer), Ryan Tavlin (Writer), Byron Balasco (Writer), Bruce Ramussen (Writer), John Polson (Director), Diego Gutierrez (Writer), Gwendolyn m. Parker (Writer), Jonathan Kaplan (Director), David Rapp (Writer), Michael Amundson (Director), Tom Donaghy (Writer), Martha Mitchell (Director), Jeff Thomas (Director), Diego Gutierrez (Director), Gwendolyn Parker (Writer), Bruce Rasmussen (Director), Amanda Segel (Writer), John Showalter (Director), Bruce Rasmussen (Writer), Paul Mccrane (Director), Roselyn Sánchez (Writer), Jim Adler (Writer), Marianne Jean-baptiste (Director), Scott White (Director), Karen Gaviola (Director), Greg Walker (Director), David h. Goodman (Writer), David Mongan (Writer), Chris Long (Director), Jose Molina (Writer), Bobby Roth (Director), Kate Woods (Director), Rosemary Rodriguez (Director), Eriq La salle (Director), Peter Markle (Director), John Peters (Director), Amanda segel Marks (Writer), Randy Zisk (Director), Scott Williams (Writer), Timothy Busfield (Director), Chad Lowe (Director), David Grae (Writer), Hank Steinberg (Writer), Ken Collins (Director), Jeannot Szware (Director), Hank Steinberg (Director), Jennifer Levin (Writer), Rob Bailey (Director), Paul Holahan (Director), Allison Abner (Writer), David Von ancken (Director), Tony Goldwyn (Director), Maria Maggenti (Writer), Craig Zisk (Director), Tim Matheson (Director), Ed Redlich (Writer), Andy Wolk (Director), Dale Kutzera (Writer), Simon Mirren (Writer), Tony Wharmby (Director), David Barrett (Director), Kevin Hooks (Director), David Nutter (Director), Bob Bailey (Director), John Bellucci (Writer), Charlie Correll (Director), Judy Sachs (Writer), Harry Litman (Writer), Jacob Epstein (Writer), Mel Damski (Director), Deran Sarafian (Director), Steve Kane (Writer), Tom Mcloughlin (Director), John Mcnaughton (Director), Michelle Maclaren (Director), Francisco Castro (Writer), Leslie Libman (Director), Stacy Rukeyser (Writer), Steve Gomer (Director), Rachel Talalay (Director)
We're sorry, there are no episodes of "Without a Trace" available to record on your "East Coast " lineup in the next 14 days.
``Without a Trace'' is a fast-paced procedural drama about the Missing Persons Squad of the Federal Bureau of Investigation in New York City. The sole responsibility of the special task force is to find missing persons by applying advanced psychological profiling techniques to the evidence and decide whether the missing people have been abducted, murdered, committed suicide or simply run away. Members of the unit include supervisory agent Jack Malone (Anthony LaPaglia) and field agent Samantha ``Sam'' Spade (Poppy Montgomery).
Current cast
Anthony Lapaglia as Special Agent Jack Malone
Poppy Montgomery as Special Agent Samantha Spade
Marianne Jean-baptiste as Special Agent Vivian Johnson
Enrique Murciano as Special Agent Danny Taylor
Eric Close as Special Agent Martin Fitzgerald
Roselyn Sánchez as Special Agent Elena Delgado
TiVo subscribers who like "Without a Trace" also like...
Program data from Tribune Media Services, Inc.


text:
Wondering where to start your next room overhaul? These 8 examples prove that a new paint job will always work wonders
Sharp-Witted Design
This spin on warm pink and cool green emerges as a fuchsia and celadon palette, a good high-traffic choice for its ability to stylishly camouflage any blemishes. Who will notice a bit of wear and tear, after all, amid the blazing color? A dark floor anchors the scheme.
This dining room's energetic palette is based on two Benjamin Moore hues, Old Glory, a bright blue, and Perennial, a leaf green, seen on the walls. Striped slipcovers and curtains from Pottery Barn continue the playful scheme.
Great Ideas: The Best Kids' Bedrooms


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The Asian-African Conference Museum : Inspiring generations for World Peace
Home » The Asian-African Conference Museum: Inspiring generations for World Peace » Find Souvenir » Kartika Sari
Kartika Sari
Welcome to the "Gift of Bandung" Kartika Sari
Gift of Bandung is always identical with Kartika Sari. People are saying, you haven't visited to Bandung if you haven't visited to Kartika Sari. Visit Bandung, you must also visit Kartika Sari.
Kartika Sari is sure tourist destination for locals from other parts of Indonesia and even for overseas tourists.We have many, countless visits by Malaysians, Singaporeans and many others.
Why people choose Kartika Sari as their favorite?
Our products are extraordinary delicious with maintained freshness and quality, so it is the perfect choice for "gifts" for family, friends and colleagues back home…
Kartikasari.com is 100% for customers' satisfactions.
People who love KartikaSari's exquisite taste can finally buy our products online. It is our pleasure to be wherever you are to satisfy your longing cravings for Kartika Sari.
Our most popular and pioneer "Gift of bandung"is Pisang Bollen.
Pisang Bollen is puffed pastry fille with riped banana and cheese. Pisang Bollen has since become the motordrive of Kartika Sari. We have two variants of Pisang Bollen;Pisang Bollen Original (Cheese) and Pisang Bollen (Cheese) Chocolate. Other Bollen available are Peuyeum Bollen(Fermented Cassava Bollen),Durian Bollen and Green Mung Bean Bollen.
|Jl. H. akbar No. 4 Kebon Kawung - Bandung
|022 4231355|022 4200441


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We, Arun Narasani, and Kalyan Kankanala, founders of Brain League, would like to thank you for your kind patronage of the organisation, which has today emerged as the largest new age IP firm, offering value added services. Since Brain League's founding at IIM, Bangalore, in 2004, we have, with your support, managed to change the IP landscape of India in several ways, and we are very grateful to you for your kind co-operation.
Following ten years of dedicated efforts, we have now decided to spin off Brain League into two entities. Effective February 2014, Brain League will be constituted as two entities, IPMetrix, headed by Mr. Arun Narasani, and BananaIP Counsels, headed by Dr. Kalyan Kankanala. While the parent entity will continue to subsist, the two said entities will operate independently, with mutually exclusive teams.
Both of us are committed towards ensuring that this re-structuring does not cause any inconvenience to you, and are always available for your needs.
Dr. Kalyan C Kankanala Mr. Arun Narasani
URL: www.bananaip.com URL: www.ipmetrix.com
Email: firstname.lastname@example.com Email: firstname.lastname@example.com


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International Delivery
Give them a little extra lift with a festive "arrangement" of Congratulations Mylar balloons. Selected by our expert florists, they're a great way to congratulate someone special for any occasion, from a new job or promotion to a new baby or housewarming.
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Browse and search white papers and mission & technology studies received by the Planetary Science Decadal Survey. Click here for basic user instructions.
Title: Constraining Solar System impact history and evolution of the terrestrial planets with exploration of and samples from the Moon's South Pole-Aitken Basin
Primary Author: Brad Jolliff
Secondary Author(s): Noah Petro, Leon Alkalai, Carlton Allen, Irene Antonenko, Lars Borg, William Bottke, Barbara Cohen, Michael Duke, Amy Fagan, Bernard Foing, Lisa Gaddis, John Gruener, Justin Hagerty, James Head III, Harold Hiesinger, Peter Isaacson, Randy Korotev, Georgiana Kramer, Samuel Lawrence, Gary Lofgren, Tomas Magna, Clive Neal, Marc Norman, Larry Nyquist, Gordon Osinski, Dimitri Papanastassiou, Carle Pieters, Bhairavi Shankar, Tim Swindle, G. Jeffrey Taylor, Allan Treiman, Paul Warren, Mark Wieczorek, Ryan Zeigler, Nicolle Zellner
Institution: Washington University,
Goddard Space Flight Center
Date: September 15, 2009
Summary: A fundamental issue of Solar System science is determining the early history of the terrestrial planets, including giant impact bombardment and the evolution of differentiated crust. Exploration and sampling of the Moon's South Pole–Aitken Basin can illuminate these formative planetary processes.
Panel Selection: Inner Planets: Mercury, Venus, and the Moon.
Download File
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These documents have been prepared in coordination with the National Academies of Science in support of the National Academies Planetary Science Decadal Survey. These documents are being made available for information purposes only, and any views and opinions expressed herein do not necessarily state or reflect those of NASA, JPL, or the California Institute of Technology.


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Adam Levine Strips Down for 7 Hollywood Magazine
Peggy Truong / February 8, 2013
Credit: 7Hollywood/Alix Malka
Adam Levine Poses for 7 Hollywood Magazine
6 of 6
Adam Levine shows plenty of skin in the new issue of 7 Hollywood magazine. The 33-year-old singer is one of several celebrities featured in the magazine's ICONS issue, along with Ke$ha, Sophia Loren, Bella Heathcote, Celine Dion, David Gandy and Sigrid Agren.
Tags: Adam Levine


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Mission Type: Lander
Launch Vehicle: Titan IVB/ Centaur
Launch Site: Cape Canaveral Air Force Station, Fla., USA
Spacecraft Mass: 318 kg
Spacecraft Instruments: 1) Aerosol Collector and Pyrolyser; 2) Descent Imager and Spectral Radiometer; 3) Doppler Wind Experiment; 4) Gas Chromograph and Mass Spectrometer; 5) Huygens Atmospheric Structure Instrument; and 6) Surface Science Package.
European Space Agency, Cassini-Huygens Mission Profile, http://sci.esa.int/science-e/www/area/index.cfm?fareaid=12
Deep Space Chronicle: A Chronology of Deep Space and Planetary Probes 1958-2000, Monographs in Aerospace History No. 24, by Asif A. Siddiqi
National Space Science Data Center, http://nssdc.gsfc.nasa.gov/
Solar System Log by Andrew Wilson, published 1987 by Jane's Publishing Co. Ltd.
ESA's Huygens Probe was delivered to Titan by the Cassini Orbiter in January 2005 after a dormant interplanetary journey of 6.7 years.
The probe started its descent through Titan's hazy cloud layers from an altitude of about 1,270 km. Huygens had to decelerate from 18,000 to 1,400 km per hour. A sequence of parachutes then slowed it down to less than 300 km per hour. At a height of about 160 km the probe's scientific instruments were exposed to Titan's atmosphere and at about 120 km the main parachute was replaced by a smaller one to complete the 2.25 hour descent.
The probe descended through haze until an altitude of about 30 km above the surface. This was around half the altitude suggested by pre-mission estimates of between 70 to 50 km above the surface.
At an altitude of 700 meters above the surface the descent lamp was activated. The purpose of this lamp was to not to illuminate the landing site, the light levels on the surface of Titan are roughly 1,000 times less than sunlight and 1,000 times stronger than a full moon, but to provide a monochromatic light source and enable scientists to accurately determine the reflectivity of the surface.
The surface phase of the mission lasted 1 hour and 10 minutes - considerably longer than had been anticipated. The landing on the surface was soft meaning no damage was done to the probe.


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Staff report
Police said a 16-year-old Greenwich boy who snuck out of the family's backcountry home on Saturday has returned home.
Lt. Kraig Gray, police department spokesman, said the teen has spoken in the past about going to Washington, D.C., Ohio and California and he has the financial means to make those trips.
But now the teen is safely back at home.


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Vladimir Guerrero signs deal with LI Ducks
Guerrero was the 2004 MVP and a 9-time all star in the major leagues.
Newsday.com now uses Facebook for our comment boards. Please read our guidelines and connect your Facebook account to comment.
Serena not happy with Wednesday's performance Wrestling star 'Superfly' charged with murder USOC endorses Los Angeles for 2024 Olympics bid Will Serena win the Grand Slam? Brendan Gallagher: Always a General Muhammad Ali: fighter, activist, icon UFC 191 preview Robert Ayers embarrassed by injury Victor Cruz to miss opener? Stevie Brown back with Giants Raw: Goodell, Brady Await 'Deflategate' Ruling Cosmos vs. Railhawks highlights


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(Bloomberg) -- Janus Capital Group Inc., owner of the Janus, Intech and Perkins funds, said fourth-quarter profit declined 13% as clients pulled out money for the 14th consecutive quarter.
Net income fell to $31.2 million, or 17 cents a share, from $35.7 million, or 19 cents, a year earlier, the Denver-based company said Thursday in a statement. Profit beat the 14-cent average estimate of eight analysts surveyed by Bloomberg.
The key hurdle for Janus is to improve investment performance, Olga Roman and Charles D. Rauch, analysts at Standard & Poors in New York, wrote in a research note published Jan. 22. S&P revised its outlook for Janus to negative from stable on Jan. 9 while affirming its BBB- long-term credit rating.
Chief Executive Officer Richard M. Weil has worked to reduce Januss dependence on equities, strengthening his fixed- income team and planning the introduction of multiasset products known as absolute-return funds, as investors have shunned stocks for bonds. Poor long-term fund performance led to continued withdrawals and lower fees, even as Januss fixed-income investments topped $25 billion, or about 16 percent of total assets, for the first time in 2012.
Assets rose 5.8% from a year earlier to $156.8 billion as global stocks rose 13% in 2012, based on the MSCI AC World Index. Clients withdrew a net $3.6 billion in the quarter.
Performance Fees
Janus charges management fees for some funds that rise or fall based on performance versus benchmarks over trailing periods of 12 to 36 months. Negative performance fees cost Janus $61.8 million in the first nine months of 2012, according to S&P.
Weil struck a deal in August with Tokyo-based insurer Dai- ichi Life Insurance Co. that has helped support the firms shares. Japans second-largest life insurer agreed to purchase 15% to 20% of Janus shares within a year, invest $2 billion in the funds and help distribute them in Japan.
Dai-ichi held 19.9% as of Dec. 4, according to a regulatory filing. The company, which had options priced at $10.25 a share, bought the entire holding at lower prices on the open market.
Since the deal was announced on Aug. 10, the shares rose 16 percent through yesterday, compared with the 23% gain by the Standard & Poors 20-company index of asset managers and custody banks. Janus announced results before the start of regular U.S. trading.
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Falling for Chaco... some Chaco-sphere highlights!
Posted On: Sunday, December 02, 2012 - Chaconians
The Chaco-sphere is a place for Chaconians to come together and share their adventures, and it recently got a whole lot better! No matter your Chaco adventure of choice, be it hiking, paddling, camping, climbing or kicking back with a cold brew, we invite you to be a part of our party and join the fun.


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The Salt
To Maximize Weight Loss, Eat Early in The Day, Not Late
Originally published on Wed January 30, 2013 10:44 am
You've heard the dieting advice to eat breakfast like a king, lunch like a prince and dinner like a pauper? Well, there's mounting evidence that there's some truth to it.
A new study published in the International Journal of Obesity builds on previous studies that suggest it's best not to eat too many calories late in the day.
The Spanish study finds that dieters who ate their main meal before 3 p.m. lost significantly more weight than those who ate later in the day. This held true even though the early eaters were eating roughly the same number of calories during the five-month weight-loss study as their night-owl counterparts.
The study included 420 overweight and obese volunteers who lived in the Mediterranean seaside town of Murcia, Spain. Their average age was 42. Half were men, half women. Their midday meal constituted about 40 percent of their diet of roughly 1,400 calories a day, on average. Right — that's not a lot of calories. The average nondieting American eats about 2,700 calories a day, according to the U.S. Department of Agriculture.
On average, the early eaters in the Spanish study lost 22 pounds, compared with the late eaters who lost 17 pounds.
Both the early eaters and late eaters had similar levels of physical activity and got similar amounts of sleep, so researchers ruled out these factors as possible explanations for the differences in weight loss.
"The study suggests that it's not just what we eat but when we eat is important," says study author Frank Scheer, who directs the Medical Chronobiology Program at Brigham and Women's Hospital in Boston.
So what's at play here? Well, Scheer says recent animal studies have shown that the timing of eating can have a powerful influence on weight regulation and metabolism. This new study, he says, is among the first to suggest it's also key in people.
"Only in recent years are we trying to study this and tease apart what the underlying mechanisms might be," says Scheer.
In the study, the people who ate late and didn't lose as much weight also tended to skip breakfast or eat just a little in the morning.
Scheer says that because eating seems to send a signal to our body clocks, it's possible that when people delay eating a big meal until late in the day, things get out of whack: The master clock in the brain gets out of sync with the mini clocks in the cells of the body that regulate metabolism.
"When the timing of meals do not match with the sleep-wake cycle well, there's a disconnect between the different clocks that we have in basically all the cells of our body," explains Scheer.
And with this disconnect, the complex systems that regulate weight don't work as well, he says.
Not everyone is convinced by the findings of this study. Madelyn Fernstrom of the University of Pittsburgh Medical Center says she's skeptical that the timing of meals can influence weight loss so significantly. The study shows an association between the timing of meals and weight loss, says Fernstrom, but "it's not [proving] cause and effect."
Weight loss is complicated. But Fernstrom says as we learn more about the many factors that may influence weight regulation, it's important for dieters not to lose sight of the big picture.
"The greater importance is what you are eating," Fernstrom says. If you want to lose weight, "you need to eat fewer calories and exercise more."
That, of course, is something you likely already know.
We are also following news of interest to people who are trying to eat right and stay healthy. Turns out, it's not just what you eat; it's when you eat it.
There's an old saying: It's best to eat breakfast like a king, lunch like a prince, and dinner like a pauper - eat early. NPR's Allison Aubrey reports on a new study that adds some evidence to that idea.
ALLISON AUBREY, BYLINE: The study's lead author is Marta Garaulet of the University of Murcia in Spain. And she recently made one change in the way she goes about eating. She has not scaled back on what she's eating. Instead, she's begun eating her main meal of the day a little earlier.
MARTA GARAULET: So, I have not been doing diet, but I realize that I am better now since I eat a little bit earlier.
AUBREY: And this fits with what her study showed. Garaulet says in Spain, it's quite common to skip breakfast and eat a big lunch, sometime in the early to mid-afternoon. Dinner is often very light. As a researcher, she was interested in knowing how the timing of these meals influenced weight loss. To evaluate this, she tracked about 400 overweight people living in her town, which is located on the coast of the Mediterranean Sea. All of them had volunteered to be part of a five-month weight loss trial, which required them to limit their calories. And at the end of the study, Garaulet found that the people who had eaten their main meal of the day early - before 3 p.m. - lost about five pounds more than those who ate later in the day, even though they were all eating about the same number of calories. Garaulet says it convinced her that the timing of a meal could make a big difference.
GARAULET: Of course, you know, when I got the result, it was the day that I change my schedule.
AUBREY: You started eating earlier.
GARAULET: Yes.
AUBREY: Researchers in the U.S., including Frank Scheer of Harvard Medical School, collaborated on the study. Scheer says they wanted to rule out other factors that might have explained the differences in weight loss between the early and late eaters. So they looked at things such as physical activity, hunger hormones, as well as sleep.
FRANK SCHEER: And none of these factors were significantly different between the two groups.
AUBREY: So what's at play here? Well, Scheer, who studies chronobiology, or how time influences biology, says recent animal studies have shown that the timing of eating can have a powerful influence on metabolism and weight regulation. This new study, he says, is among the first to suggest that this may also be true in people.
SCHEER: Only in recent years are we starting to try to tease apart what the underlying mechanisms might be.
AUBREY: In the study, the people who ate late and didn't lose as much weight also tended to skip breakfast, or eat just a little in the morning. And Scheer says that since eating seems to send a signal to our body clocks, it could be that when people delay eating until late in the day, things get out of whack. The master clock in the brain is no longer in sync with the mini-clocks in the cells of the body that regulate metabolism.
SCHEER: When the timing of meals doesn't match with the sleep-wake cycle well, there is a disconnect between the different clocks that we have in basically all the cells in our body.
AUBREY: And with this disconnect, the complex systems that regulate weight don't work as well. Now, not everyone is convinced by the findings of the study. Madelyn Fernstrom of the University of Pittsburgh Medical Center says she's skeptical that the timing of meals alone can influence weight so significantly.
MADELYN FERNSTROM: Clearly, there is something biological about this whole cascade. But I think there's a lot of other unanswered questions.
AUBREY: For instance, could it be that the amount of food at breakfast rather than the timing of lunch or dinner makes a difference? It's not clear. She says the more we learn about the many factors that may influence weight, it's important for dieters not to lose sight of the big picture.
FERNSTROM: The greater importance is what you are eating. You need to eat fewer calories and move more.
AUBREY: Which is, of course, something that you likely already know. Allison Aubrey, NPR News.
INSKEEP: Your companion for a hearty breakfast. It's MORNING EDITION, from NPR News. Transcript provided by NPR, Copyright NPR.


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38th Annual Woolly Worm Festival
Will Be Held on OCTOBER 17th AND 18th, 2015
Downtown Banner Elk, North Carolina
Online E-tickets will be available October 1, 2015
Click Here For The 2015 Festival Application
Find your mountain accomodations for the Woolly Worm Festival
The 38th Annual Woolly Worm Festival takes place the 3rd weekend of October 17 & 18, 2015 in the quaint mountain town of Banner Elk North Carolina. We think it's the perfect time to share some tips that will make your experience a good one while at the festival and getting to the festival. Yes there is an admission cost to get into the festival because all of proceeds are given back to our community to enhance our schools, children's programs, and to promote businesses and tourism in Avery County. Yes, there is ample parking, but the free parking is on a first come basis and other parking by organizations for a minimal fee …please no pets inside festival gates, except Woolly Worms, of course. Doggie day care is available outside of the gates at the main entrance. There are no ATMs on festival grounds so be sure to stop at one of the bank ATM machines on your way. Admission is $5.00 for adults, $3.00 for children 6-12, under 5 years old, free. What is there to do once we get inside the festival gates? Of course wace your woolly worm! It is $5.00 to wace your worm and if you didn't find one along one of the many back roads before you get here, don't worry the PTO will have them for sale inside the gate by the main gate information booth. Be sure to arrive early as the Worm Wace Wegistration fills up quickly. What a great time to think of the holidays and purchase great wares from our handcrafted juried artists from fun items to those for decorating your house with amazing furniture, and who wouldn't love a nice piece of jewelry or pottery under the Christmas tree. There are inflatables rides, live music and dance teams… Tickets can be purchased online at WoollyWorm.com so there is no need to stand in line unless you wish too. Remember the winning woolly on Saturday has the esteemed honor of predicting the High Country weather and wins a huge pot of $$$ If you are very lucky your Woolly Worm will share it's $1000.00 cash prize with its owner. Can't make it to the festival on Saturday not to worry we begin the fun on Sunday at 9am until 4pm. Call the Avery County Chamber at 828-898-5605 for more information. The fun starts Saturday morning at 9am and the woolly worm waces begin shortly after with Mr. Woolly Worm and Merryweather leading the fun!
A little history of how this whole festival got started.
Back in the late 1970s, the editor of the now-defunct Mountain Living Magazine, Jim Morton, was preparing to include a Woolly Worm Forecast in the winter issue of the magazine. He photographed the first Woolly Worm he saw to use in formulating the prediction and illustrating his story, but the next day he saw a second worm that looked completely different from the!
"That's when it struck me that we needed some formal procedure to use to decide which was going to be the official worm for making the winter forecast," said Morton.
So since 1978, the residents of the village nestled between the Carolina's largest ski resorts have celebrated the coming of the snow season with a Woolly Worm Festival. They set aside the third weekend in October to determine which one worm will have the honor of predicting the severity of the coming winter; and they make that worm earn the honor by winning heat after heat of hard-fought races – up a three-foot length of string.
The Woolly Bear caterpillar has 13 brown and black segments, which the late Charles Von Canon explained to the small crowd that huddled together in the sub-freezing temperatures at the first Woolly Worm Festival correspond to the 13 weeks of winter. The lighter brown a segment is, the milder that week of winter will be. The darker black a segment is, the colder and snowier the corresponding week will be.
"If you went solely by the attendance figures, you probably wouldn't call the first festival a success," recalled Morton. "But WCYB-TV in Bristol sent a cameraman and their report ended up being broadcast nationwide by NBC News. That national TV coverage was really what gave me the motivation to want to keep the event going."
And the more than 20,000 people who attended the Festival last year certainly are glad that he did. Because racing Woolly Worms is a total blast!
First, no person is more likely to have a winning worm than any other person. There is no home-field advantage, no preferred age for the person who sets the worm on the string (although worms raced by children do seem to win a bit more frequently).
Second, selecting names for the Woolly Worms is a delightful way to learn how amazingly creative your friends and family members can be. Consider these clever monikers: Merryweather, Patsy Climb and Dale Wormhardt.
Finally, there is no other experience in life that can produce the absurd euphoria that comes from cheering for a caterpillar to climb a string. It is so indisputably ridiculous that it is completely liberating!
And the $1,000 first prize that accompanies the prestige of having your worm used to pronounce the official winter forecast doesn't hurt either.
The Woolly Worm races begin around 9:30 a.m. Each heat consists of 25 worms and races continue all day until the grand final around 4 p.m. The winning worm on Saturday is declared the official winter forecasting agent. The Sunday worm races are for prestige, fun and small prizes.
In addition to the Woolly Worm Races, the festival features crafts, food vendors, live entertainment and much more. Last year's festival attracted an estimated 23,000 fans, 160 vendors and around 1,000 race entrants.
The 38th Annual Woolly Worm Festival is co-sponsored by the Kiwanis Club of Banner Elk and the Avery County Chamber of Commerce. Net proceeds from the festival, go to support children's charities throughout the county, and small business and tourism. For more information phone 828-898-5605
Tickets can be purchased online via credit card or on the day of the event at the gate with cash.
Gate Ticket Prices (Cash Only):
Adults – $5.00 per day
Children (Ages 5 to 12) – $3.00 per day
Children Ages (0 to 4) – Free


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Do you have more questions about KSUCPM admissions?
We are eager to help you determine if the Kent State University College of Podiatric Medicine is the right fit for you! Please call the Office of Enrollment Management at 216-231-3300 or e-mail us at firstname.lastname@example.com.
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Please fill out the below form to receive a packet full of information about podiatry and Kent State University College of Podiatric Medicine.


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KarmelitaMember Since 23 Mar 2013
Offline Last Active Mar 28 2013 09:33 PM
About Me
Hello I'm currently 23 and began acne at age 13, I tried different creams even Proactive but it seemed that after a while the results didn't last. So I was on Youtube one day minding my own business when I saw a video about The Regimen. I decided to watch it and after some research and more videos about this I decided to give it a try. So March 22, 2013 I got my package and tried it that same night. I woke up with a red, inflamed, hot face. Needless to say I was itchy on the neckline so I washed myself with the cleanser and used moisturizer. We'll see what happens
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Sacramento, CA (Sports Network) - Isaiah Thomas had 24 points and six assists in the Sacramento Kings' 101-98 win over the Minnesota Timberwolves.
Tyreke Evans added 21 points, five rebounds and five assists, while DeMarcus Cousins finished with 15 points and 14 boards for the Kings, who have won four of their last six games.
"I wasn't in a groove and in the second half I started attacking the basket. I stayed patient. I know it's a long game," Evans said.
Nikola Pekovic tallied 18 points and 12 boards for Minnesota, which has dropped four of its last five contests.
"Too many spurts by them," Minnesota head coach Rick Adelman said. "We gave them too many easy opportunities and too many flat-out penetrations. That makes the game hard."
We were playing pretty good defense, but they had some good looks too. They're a good 3-point shooting team, but they were just missing," Thomas said of Minnesota.
Toney Douglas' jumper with 4:01 left gave the Kings a 99-91 lead, but Minnesota charged back as six straight points from Ricky Rubio pulled the Wolves within 99-97 with 1:36 remaining.
Evans' fadeaway jumper at the other end with 41.3 ticks to go upped the advantage back to four. Pekovic split a pair on Minnesota's next touch and Evans turned the ball over with 11.9 seconds to play. But Dante Cunningham's 3-pointer at the buzzer was off the mark.
Minnesota led 26-25 after a quarter of play and took a 57-53 edge into the break. But Sacramento outscored the Wolves 26-20 in the third to head into the final frame with a 79-77 margin.
John Salmons recorded 13 points and five rebounds for the Kings ... Rubio had
12 points, nine helpers, seven boards and three steals ... Minnesota held a
21-0 edge in second-chance points.


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Dwayne Bowe - WR - Chiefs
The Kansas City Star does not expect the Chiefs to offer impending free agent Dwayne Bowe a long-term deal.
Bowe played out the 2012 season on a one-year, $9.5 million franchise tender. He's expected to hit the open market as perhaps the best wideout available. In six seasons, he's averaged 4.7 catches for 65.0 yards and scored 39 touchdowns -- putting him in the conversation for the greatest Chiefs wideout of all time. Bowe will turn 29 in September.
Source: Kansas City Star Dec 19 - 10:13 AM
---------- Post added at 07:32 AM ---------- Previous post was at 07:31 AM ----------
Bowe is from florida to he might want to come home


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I agree with Monte, you should have more compassion.
Results 11 to 20 of 27
11-13-2008, 07:22 AM #11Senior Member
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11-13-2008, 11:26 AM #12Senior Member
- Join Date
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Are you happy now?
11-13-2008, 03:03 PM #13Member
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Such a shame, there are people who don't have compassion-maybe they never got any compassion. I'll miss my dog when she is gone. It's just appreciating life. The world needs more of it.Joe in NY
Clarke 131E Arc Welder
HF 4x6 bandsaw
Hitachi 4.5" Grinder
Craftsman Air Compressor
11-13-2008, 03:13 PM #14Senior Member
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11-13-2008, 04:15 PM #15turbo38t Guest
You are the typical model for someone who gets picked on and life isn't going your way lol. Take your misery out on others.....you're just a selfish, unsympathetic excuse for a human. I bet you'd have the same feelings if a family member dies.....some people don't have kids....they have pets...Dave
11-13-2008, 07:29 PM #16Warning to young ladies:
If you wear loose clothes, beware of the machinery. If you wear tight clothes, beware of the machinist.
Pretty neat, there are still good people.
punkinhead, you surely have not ate a 12 year old cow, it would not be "tasty" more like really tough.Tim Beeker,
T-N-J Industries
(my side bussiness)
Miller Synchrowave 350LX with tigrunner
Esab 450i with wire feeder
HH135 mig
Thermal Dynamics cutmaster 51 plasma cutter
Miller aircrafter 330 - sold
Marathon 315mm coldsaw
vertical and horizontal band saws
table saw
Dewalt cut off saw
Sand blast cabinet
lots of hand grinders
Harris torch
beer fridge
11-14-2008, 07:01 AM #18Senior Member
- Join Date
- May 2005
- Posts
- 600
I'm far from miserable, I am a happy and well adjusted.
sympathy? SYMPATHY?? for the DEAD!?!? Sympathy is an emotion for those still with us. Taking an ill pet 'out back' or to the vet to put it out of it's misery is sympathetic, marking the spot you buried it in is deranged. You must understand anthropomorphism is a psychiatric problem.
uhhhh, yeah, kind of. they are dead you know. And no, I do not visit graves.
Yep, THAT is a problem, once again, anthropomorphism is an ABNORMAL behavior. There is a clear and distinct difference between a human and an animal.
great looking name tags, makes for a nice memorial.
i have recently become pet-less myself, and miss them very much. with a little luck we will be able to get a new puppy to make noise around here.thanks for the help
hope i helped
feel free to shoot me an e-mail direct i have time to chat. firstname.lastname@example.com
summer is here, plant a tree. if you don't have space or time to plant one sponsor some one else to plant one for you. a tree is an investment in our planet, help it out.
11-14-2008, 07:42 AM #20Senior Member
to this day I have not had another pet - that was 30 years ago.
- Join Date
- May 2005
- Posts
- 600
30 years!!!!! for a Taco Bell dog?
THAT, is abnormal for a human's death, even the sudden demise of a close family member. And what does it do? Do those with cumpassion, think their loved ones, whether human or animal are floating around in some other dimension poking those around saying "look, look, see that, they REALLY loved me" "watch, I'm going to 'mind-meld' with them and make 'em cry like a baby"
Naw, it's prolly more like "look, look, see that, they REALLY are pathetic, I've been dead thirty years and they STILL haven't come to grips"
The Kubler-Ross model:
Five Stages Of Grief
1. Denial and Isolation.
2. Anger.
3. Bargaining.
4. Depression.
5. Acceptance.
You see that last one, ACCEPTANCE. I'm not cold, heartless, or any thing of the sort, I was taught LONG ago, what's living will die. It's unavoidable and all the tears, self flagellation, and headstones ain't bringing them back.
Me, myself, I prefer the warm memories of those past.


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Folks, is time to get back to the starting point at the beginning of the season, high expectations are natural, but we have to realize that we are not ready to compete right now, I can see that while the season progress, some of us try to predict harder ways to be in playoffs, that is almost impossible and it could be devastating if we keep putting energy on this, let us move on and enjoy what our team is accomplishing.
This season our team was mainly set to conform a core of people to start with, so, where we are right now.
1. First of all, we have good coaches, maybe the only question mark is Coyle, not only because D has had ups and downs, but mainly because he has no previous proved experience as DC; contrary to our offensive side; they also have had ups and downs, but both Sherman and Phibin have proven experience with success in the NFL.
2. We have a QB, is not as special as we'd like to, but so far is good enough to take us all the way if he is supported with a good cast of players offensively and defensively.
3. On ST, we are complete, nothing need to be added here. Check.
4. On Offense, we need a couple of guys on OL, most important than everything, LT or RG and a Guard, we need dominant players up front, a #1 receiver and a TE that can block and take strides down the field not only short passes.
5. On Defense, a couple of corners, a free safety (a ballhawk) and a dominant passrusher.
So far, we need 7 to 8 players away to be a very good team, I did not included a RB because, we had success running while our OL was dominant, we need to fix that I think.
To finish my comment, we have 2 options, keep suffering while we see how our playoffs hopes are getting slim and harder to accomplish or feel good about how our team is being built with a good group of people, some of them very talented.