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Katy Perry in Work Custom
Katy Perry was spotted out shopping in West Hollywood wearing Work Custom jeans and a pair of Rock & Republic Nahlo studded ankle boots. These jeans look perfect on her; I like this outfit on her for sure!
Katy looked to be enjoying herself as she shopped by the racks at Maxfield, coming out with a bag full of new stuff. Maybe she's buying stuff for her upcoming tour… Katy told press she's setting the bar high so as to give her fans the best experience she can. Buy Work Custom jeans at Singer22.
Theyskens' Theory Spring 2011
This is the first collection by former Nina Ricci designer Olivier Theyskens for Theory and it will have people waiting in line when it is released. All the pieces are very wearable and flattering. I really like the styling of this collection. You don't really need to be over-dramatic with the look to make a statement. Just let the clothes speak for themselves.
There is also a lot of denim, something that was very scarce this season. They had many styles to choose from. There were flares, skinnys, cropped, skirts and colored. I think the best ones have to be the perfectly fitted flares and the grommeted, cropped burnt sienna colored pants. They just look amazing on the models. I also like the angled shots of these photos. It still showcases the clothing yet gives a different spin than the usual frontal shots.
Robert Geller Spring 2011
Ahh…the smell of denim was on the runways of Robert Geller. He showed a few denim pieces including denim jackets, shirts and of course jeans. The jeans also didn't just come in blue this season. He chose to give some funk to an outfit and chose to make them pink.
The wash of the jeans above is absolutely amazing. The wash is just incredible. I am also a fan of the styling in this collection. Everything is well put together and the colors of each piece all bring out each other. I just think each piece from this collection is impeccably tailored, even the jumpsuit is pretty cool. This is absolutely one of my favorites this season. You can see some more from the collection below.
Nicky Hilton in James Jeans
Nicky Hilton was spotted at the Elise ├ÿverland Spring 2011 show during New York Fashion Week. She of course chose to wear her favorite jeans, the James Jeans Twiggy in Slate. She paired them with a basic tank and a leather jacket with exaggerated shoulders.
Nicky also chose these jeans to do some shopping in New York a couple of days before. They must be super comfortable. I know the wash is an amazing gray. It makes me want to get a pair each time I see them. How many of you readers are a fan of James Jeans? You can purchase them at both Singer22 and BoutiqueToYou.


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I am the courts reporter at the Avalanche-Journal. But I cover other things as the need arises.
Nine law firms, 14 attorneys connected with four parties in case.
Retired LPD officer sued over stories regarding investigation into sexual assault allegations.
Grand jury hands down one-count indictment against Fulford.
Lubbock DA recuses office because of past working relationship with Medina.
Victims of Lubbock businessman Benny Judah's Ponzi scheme got a small step closer to receiving restitution this week as more money was found in his business empire.
Texas Court of Criminal Appeals orders Hale County judge to re-examine Plainview man's sex crime conviction
Charges include assaulting two women he suspected of stealing meth from his truck.
GOP challenger May's fundraising effort netted less than $30K.
DA Powell calls Hignight deal "a good resolution."
'Expectation is that we're going all the way,' Manny Ramirez says of season.
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text: Audience Content on this page requires a newer version of Adobe Flash Player. One semiconductor stock that insiders are active in here is Audience ( ADNC), a provider of intelligent voice and audio solutions that improve voice quality and the user experience in mobile devices. Insiders are buying this stock into big time strength, since shares are up 39% so far in 2013. Audience has a market cap of $303 million and an enterprise value of $163 million. This stock trades at a reasonable valuation, with a trailing price-to-earnings of 22.38 and a forward price-to-earnings of 22.31. Its estimated growth rate for this year is -34.1%, and for next year it's pegged at 12.1%. This is a cash-rich company, since the total cash position on its balance sheet is $127.64 million and its total debt is just $5.29 million. >>5 Rocket Stocks Getting Ready for Blastoff The CFO just bought 50,000 shares, or about $659,000 worth of stock, at $13.10 to $13.25 per share. From a technical perspective, ADNC is currently trending above both its 50-day and 200-day moving averages, which is bullish. This stock recently formed a double bottom chart pattern at $12.35 to $12.44 a share. Since marking that bottom, shares of ADNC have moved higher back above its 50-day and 200-day moving averages, and it's now quickly moving within range of triggering a near-term breakout trade. If you're bullish on ADNC, then I would look for long-biased trades as long as it's trending above its 50-day at $12.91 and then once it breaks out above some near-term overhead resistance at $15 a share with high volume. Look for a sustained move or close above $15 with volume that hits near or above its three-month average action of 193,508 shares. If that breakout triggers, then ADNC will set up to re-test or possibly take out its next major overhead resistance level at $16.45 a share. Any high-volume move above $16.45 will then give ADNC a chance to re-fill some of its previous gap down zone from last September that started near $19 a share. Prev 1 of 6 Next


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It will be some time before the full impact of the Heartbleed bug will be known, but in the Dark Reading security community, members are not dragging their feet about remedial action, according to our recent online flash poll Broken Heartbeat.
The danger was perceived immediately. "If you can spoof the server and step in as if you were that server, from a malicious standpoint, there is no end to the data that will be compromised," RyanSepe observed in a comment on our breaking story, Emergency SSL/TLS Patching Under Way. In the days since, more than 260 of you have weighed in on the steps your companies are taking to prevent cyberspies and criminals from gaining access to personal data on servers, networks, and devices through the flawed OpenSSL "Heartbeat" function of TLS.
Our poll allowed respondents to choose as many of the five responses as applied to their mitigation strategy. Six out of 10 of our respondents report that they have already installed the Heartbeat fix on their servers or are in the process of doing so. Only about 40 percent said they are replacing digital certificates.
The issue of what to do about passwords was raised by many readers, both on a personal level and in relation to the need to safeguard others' personal data on corporate servers. "As a developer I find it appalling that companies are not instituting a password black list for the 100 most common passwords by now," wrote jaingverda on Emergency SSL/TLS Patching Under Way. Yet, in our poll, only 30 percent of respondents said their organizations are requiring end users to change their passwords.
Not surprisingly, fewer than 8 percent of respondents said they are doing nothing about Heartbleed. But I take with a grain of salt the 17 percent who checked "What's Heartbleed?" -- a tongue-in-cheek response we included to underscore the fact that we recognize the limits of our online poll; it's anecdotal information, not pure research.
That said, I hope we can flesh out these data points with more detail in ongoing discussions. To quote Ed Moyle in a comment titled "Tip of the iceberg IMHO:"
What really concerns me is less the population of web servers that this impacts -- because, impactful as that is, they can at least upgrade fairly easily. What really makes me nervous is what else is vulnerable that can't be upgraded quite so easily. This code is in a lot of stuff, in particular embedded systems. Mark my words -- we'll be dealing with this one for a while.
I couldn't agree more. Let's begin by chatting about what strategies have been effective for you so far and what challenges have you stumped. And, if you still want to add your two cents to the online poll, it's still live, so click here.Marilyn has been covering technology for business, government, and consumer audiences for over 20 years. Prior to joining UBM, Marilyn worked for nine years as editorial director at TechTarget Inc., where she launched six Websites for IT managers and administrators supporting ... View Full Bio
Passwords are the weak link to many things. How many people use that word for their password? I bet it's a pretty large number. That being said what else can we do? Finger prints maybe? I realize that's much easier said than done.
The cybersecurity profession struggles to retain women (figures range from 10 to 20 percent). It's particularly worrisome for an industry with a rapidly growing number of vacant positions.
So why does the shortage of women continue to be worse in security than in other IT sectors? How can men in infosec be better allies for women; and how can women be better allies for one another? What is the industry doing to fix the problem -- what's working, and what isn't?
Is this really a problem at all? Are the low numbers simply an indication that women do not want to be in cybersecurity, and is it possible that more women will never want to be in cybersecurity? How many women would we need to see in the industry to declare success?
Join Dark Reading senior editor Sara Peters and guests Angela Knox of Cloudmark, Barrett Sellers of Arbor Networks, Regina Wallace-Jones of Facebook, Steve Christey Coley of MITRE, and Chris Roosenraad of M3AAWG on Wednesday, July 13 at 1 p.m. Eastern Time to discuss all this and more.


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Camelia Iancu-Rubin, PhD
- ASSISTANT PROFESSOR | Medicine, Hematology and Medical Oncology
Research Topics:Cancer, Cell Cycle, Cell Division, Cytoskeleton, Hematopoiesis, Leukemia, Microtubules, Molecular Biology
MS, University of Medicine and Pharmacy
PhD, University of Bucharest
Mount Sinai School of Medicine
The Tisch Cancer Institute Development Award
Mentored Scientist Career Development Award
Fulbright Felowship in Biomedical Sciences
Research Interests
Megakaryopoiesis is a complex process in which bone marrow progenitors proliferate and acquire megakaryocyte-specific markers in the early stages, then undergo polyplodization (i.e. multiple rounds of DNA replication in the absence of cell division) and release platelets into the blood circulation in the later stages. The major goal of our research is to understand the mechanisms underlying these processes in normal and malignant megakaryopoiesis.
Dr. Iancu-Rubin is the Scientic Director of Hematological Malignancies Tissue Bank of the Tisch Cancer Institute http://icahn.mssm.edu/research/institutes/tisch-cancer-institute/cancer-research/shared-resources/hematological-malignancies-tissue-bank
Atweh GF, Iancu-Rubin C. p27(Kip1) and STMN1: partners again?. Cell cycle (Georgetown, Tex.) 2014; 13(20).
Iancu-Rubin C, Mosoyan G, Glenn K, Gordon RE, Nichols GL, Hoffman R. Activation of p53 by the MDM2 inhibitor RG7112 impairs thrombopoiesis. Experimental hematology 2014 Feb; 42(2).
Iancu-Rubin C, Mosoyan G, Wang J, Kraus T, Sung V, Hoffman R. Stromal cell-mediated inhibition of erythropoiesis can be attenuated by Sotatercept (ACE-011), an activin receptor type II ligand trap.. Exp Hematol 2013; 41(2): 155-166.
Iancu-Rubin C, Gajzer D, Mosoyan G, Feller F, Mascarenhas JE, Hoffman R. Panobinostat (LBH589)-induced acetylation of tubulin impairs megakaryocyte maturation and platelet formation.. Exp Hematol 2012 July; 40(7): 564-574.
Iancu-Rubin C, Gajzer D, Tripodi J, Gordon R, Hoffman R, Atweh GF. Down-regulation of stathmin expression is required for megakaryocyte maturation and platelet production. Blood 2011 Apr; 17(17).
Chen J, Peterson KF, Iancu-Rubin C, Bieker JJ. Design of embedded chimeric peptide nucleic acids that efficiently enter and accurately reactivate gene expression in vivo. Proceedings of the National Academy of Sciences of the United States of America 2010 Sep; 107(39).
Iancu-Rubin C, Atweh GF. p27(Kip1) and stathmin share the stage for the first time.. Trends in cell biology 2005 Jul; 15(7).


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20628 Broadway Ave
Snohomish, WA 98296 ·
4,100 SF · Industrial For Sale
Maltby Industrial Property
|No. Stories
|Building Size
|Clear Ceiling Height
|12 ft.
|Property Type
|No. Drive In / Grade-Level Doors
|Property Sub-type
|Lot Size
|Property Use Type
|Commission Split
|Listing ID: 17943411
|Date Created: 12/09/2012
|Last Updated: 02/02/2013
Blowout Pricing! Owner wants to move to a larger facility! Let's DO this deal!
Property is a 1.35 acre Light Industrial zoned parcel, paved, in Maltby, WA. Water is well water (tested for volume years ago. Volume of water is exceptional. Can run pressure washers all day long). 220 power is available in steel bldg.
Location is almost centered between the Echo Lake exit and the Paradise Lake exit off of 522, on Broadway Ave. Site is 90% paved, 1 steel building of 2,800 sf, 1 office building of approx. 1,300 sf. Current owner is a paving company. They are moving to a larger facility in Clearview. Maltby site has 60+ parking stalls.
Price of $15.73 sf across 1.35 acres includes functioning offices, wired for all systems, insulated steel building, paved and curbed site, all weir ponds complete and fully county compliant. With this property, you're buying a functioning industrial plant with offices and storage, for less than the asking price of surrounding zoned dirt! All you need to do is move in!
- Excellent property for an owner/user
- Close to freeway/gas stations
- Built in desks (5), cat 5 cable to each (fully set up for server/networked/node systems)
- Well insulated building
- Additional storage in upper hidden floor
- Directly next door/attached to proposed retail/industrial campus
- Fenced Yard
- Trailer Parking
- Electricity/Power - Snohomish PUD
20628 Broadway Ave, Snohomish, WA 98296 (Snohomish County)
Property Record Data - Historical Listings, current tax, mortgage, owners & tenant info for this property
Snohomish Market Trends - Asking price index trends, sale price trends, asking rent trends
Not exactly what you're looking for? Start a new custom search to find the perfect property
The LoopNet service and information provided therein, while believed to be accurate, are provided "as is". LoopNet disclaims any and all representations, warranties, or guarantees of any kind.


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Zymeta is a Media Entertainment and Promotions Systems company. The company's first product is a Video Jukebox for use in public venues such as Pubs, RestaurantMore
$10 mil. - $25 mil.in Revenue
50 - 100EmployeesContact people at this company
zymeta video jukeboxMore
Consumer ElectronicsConsumer GoodsManufacturingMore
3813-98 Street NwEdmontonAlbertat6e 5v4Canadaview map
(780) 438-6624(780) 988-6146Fax
Enterprise_Iteration-NT.1545[01] SEIDXWK-31


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- Miss Florida 2017 stripped of crown days after win - US Weekly
- Lindsay Lohan steps out amid relationship drama - TMZ
- Was Taylor Swift snubbed by the VMAs? - Gossip Cop
- Rachel Platten sings "Fight Song" with lots of stars - Just Jared Jr
- Farrah Abraham sizzles in a revealing bikini - Radar
- New pics from the Clooneys' Italian summer - Lainey Gossip
- Fox News snubs major DNC moment - The Hollywood Reporter
11 December 2012 at 1:09 PM
Rosie Huntington-Whiteley & Jason Statham: LAX Couple!
About this photo set: Rosie Huntington-Whiteley steps out in style as she arrives at LAX Airport on Monday (December 10) in Los Angeles. The 25-year-old model/actress was joined by… Read More Here
Photo #: 2773567
Posted to Jason Statham, Rosie Huntington-Whiteley
powered by ZergNet


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Published: December 5, 2013 - 10:51 PM | Updated: December 6, 2013 - 06:08 AM
Knicks 113, Nets 83
The Knicks are no longer the biggest losers in New York. The Brooklyn Nets look like the real Big Apple busts.
Carmelo Anthony had 19 points and 10 rebounds, Iman Shumpert scored a season-high 17 points, and the Knicks ended a nine-game losing streak in the first meeting of the season between the city rivals.
The Knicks (4-13) snapped a tie with the Nets (5-14) for most losses in New York, winning the game and the crowd with a dominant second half that had Spike Lee and the rest of the fans wearing blue and orange cheering perhaps the Knicks' most complete performance of the season.
Andrea Bargnani scored 16 before he was ejected in the fourth quarter, Knicks fans roaring in support of him standing up to Kevin Garnett.
Brook Lopez had 24 points and nine rebounds for the Nets.
New York made a season-high 16 3-pointers in 27 attempts (59 percent). Shumpert, who has been the subject of trade rumors and has struggled, hit five 3s and added six rebounds.
Clippers 101, Grizzlies 81
The visiting Los Angeles Clippers went on a 17-2 run in a seven-minute span in the third quarter to break open a close game and went out to rout the Memphis Grizzlies. Chris Paul, Darren Collison and Jamal Crawford each scored 15 to lead the Clippers' balanced attack that had six players hit double figures.


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text: AdChoices Terms of Use Privacy Policy Hide TOP 10 Top 10 Travel Burj Khalifa Share Tweet 0 Shares 9. It houses the first ever Armani Hotel The Armani Hotel occupies the Burj Khalifa's lower 39 floors, with 160 rooms and suites, 144 residences, plus various restaurants and bars, and was ready to welcome its first guests three months after the rest of the tower opened in 2010. Room interiors, plus the uniforms of staff, have been designed by Giorgio Armani with furniture all from the Italian's Armani Casa range. A second Armani Hotel has since opened in Milan. We're not sure if the Dubai version is where Tom stayed during his time filming in the city, but if he had, surely it would have been cheaper than renting him a trailer. Next Page TOP 10 9 8 7 6 5 4 3 2 1 Comments Share your opinion Your name More Like This Top 10 Travel The 10 American Cities With The Worst Traffic Read More Fine Living Galleries Experience What It's Like To Live Underwater Read More Top 10 Travel The 10 Best Luxury Drinking Holes In The World Read More Top 10 Entertainment The 5 Most Mind-Blowing Time-Lapse Videos Read More Top 10 Travel The 10 Cities That Need A Population Transfusion Read More Top 10 Dating Moving In Together? Here's How To Make Sure Your Relationship Survives Read More Around the Web Special Features Special Feature The Ultimate Guide To Hooking Up Online Read More Guy Gear The Best Watches Under $500 Read More


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Short on time, but need something for the commute? Let us know what you like and dislike, and we'll get you set with books, audiobooks, and music via our new service Book A Monthly Adventure!
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Chock-full of intrigue, The Weekenders by Mary Kay Andrews is a satisfying beach read. Riley Griggs arrives on Belle Island to find all is not as it seems and must find a way to investigate the secrets that could change everything she knows.
Martha Hall Kelly's extensively researched debut is inspired by the incredibly true story of the all-women "reeducation camp" at Ravensbruck. Lilac Girls is a triumph of narrative form, tells a gripping story of love, redemption and secrets from the point of view of three different women.
Suffering from Downton Abbey withdrawal? This novel of love on the eve of World War I features colorful characters, beautiful English countryside and historical intelligence. The Summer Before the War by Helen Simonson is a radiant follow-up from the author of Major Pettigrew's Last Stand.
All the Birds in the Sky by Charlie Jane Anders melds science fiction and fantasy in a way that provides a powerful new perspective on each, with relatable characters and playful details.
In the tradition of The Miracle Worker comes a compelling French drama based on true events; Marie's Story recounts the courageous journey of a young nun in the 19th century who powerfully impacts a school for deaf girls. (French with English subtitles)
Man Up succeeds in striking the balance between romance and comedy in a story of a blind date gone awry, thanks to great performances from Simon Pegg and Lake Bell.
Don't miss The Big Short - the exciting, disturbing and true story of the world of high finance and the four industry outsiders who predicted the credit and housing bubble collapse before the rest of the world did.
Spectre is the final film in Daniel Craig's tenure as James Bond and lives up to the action and intrigue that has come to be expected from the franchise. The colorful locales and pulse-pounding action will keep you on the edge of your seat from start to finish.
Santana fans rejoice! It's been a long time - 45 years to be exact - since 1971's multi-platinum classic Santana III. Santana IV is the much anticipated studio album reuniting the legendary band lineup after all those years.
Elton John brings a bright, up-tempo feeling reminiscent of his greatest hits to his latest album, Wonderful Crazy Night. Well worth a listen.
Dig In Deep is Bonnie Raitt's twentieth album and is sure to be another smash hit from the Rock and Roll Hall of Fame Grammy- winning artist. Her new CD shows the same consistency and sheer monster talent that has defined Raitt's career for more than forty-five years.
Celtic Woman once again seal Destiny with an enchanting, captivating album showcasing the exceptional talent and high energy of four Irish women.


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3 Parks near Clayton, Illinois
Camp Point, Illinois 5.97 miles NW
Mount Sterling, Illinois 10.71 miles SE
Payson, Illinois 21.15 miles SW
Rushville, Illinois 21.94 miles NE
Clayton, Illinois (map) | (217) 894-6205
Sites: 182 | Latest Rate: $18.00 | 3 Reviews
|Clean Restrooms:
|Clean Showers:
Apr 2015 - $18.00
This is a fine example of Illinois state parks. Clean, well spaced sites. If you want seclusion, this is the place. The nearest restaurants are 20+ miles away. Hunters, fishermen, and foragers will find a huge area for their interests. There is a separate equestrian campground within the park as well. - Thorfinn
Jun 2012 - $20.00
Beautiful park. Lots of shade trees, etc. Very well kept. Enjoyed our stay for a few days before going on to Missouri. We are just traveling along slowly and where we take the notion to go next. We are headed for Mark Twain country in Hannibal, Missouri next. Very friendly people stay here. Quite a few of them said they come here regularly because it is so pleasant, clean and rates are reasonable. That is all true. Highly recommend anyone stay here. Children would enjoy it, too. Ours did! - skiparnd2
Aug 2007 - $15.00
We like this park and camp here often. There are only a few 50 Amp sites, and no full hook-up sites. Showers are nice, Restrooms are non flush type but are usually clean. Lots of birds and wildlife. Lots of trees and shaded sites. Nice spring feed lake, with row boat rental. No power boats allowed. This is an older park therefore most of the sites are smaller but there are sites that will accommodate bigger units. - fimk
Rushville, Illinois (map) | (217) 322-6628
Sites: 77 | Latest Rate: $20.00 | 1 Reviews
|Clean Restrooms:
|Clean Showers:
Jun 2010 - $20.00
This city-owned park offers sites with water and electric, many of which are seasonally or permanently occupied. The park is neat, clean and provides facilities for group and community activities. Some sites are accessed by a steep single lane road in poor condition that carries traffic in both directions, luckily there is little traffic on it. We would return to this park due to close proximity to family. - never settled


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Elmbrook School District residents are invited to provide their input as the School Board develops criteria to use when searching for and selecting the next superintendent.
The board has hired search firm Ray & Associates of Cedar Rapids, Iowa, to conduct a national search. Ray & Associates will facilitate Superintendent Search Focus Groups on Nov. 15 to build a profile of the ideal Elmbrook superintendent.
Community members are invited to attend forums at the following times/locations:
10:30 to 11:45 a.m., Central Administrative Offices, 13780 Hope St., Brookfield
6:30 to 8 p.m., Brookfield East High School cafeteria, 3305 North Lilly Road, Brookfield
Additionally, residents can take an online survey about characteristics desired in a superintendent. The survey will be open until 8 a.m. Nov. 16 and can be accessed at www.surveymonkey.com/s/Q3YCXDL or through the district website, elmbrookschools.org.
Following the focus groups and survey, a profile will be created and Ray & Associates will begin the candidate recruiting and screening process, district officials said. The Board of Education is expected to interview candidates and select Elmbrook's next superintendent in February.
Superintendent Matt Gibson, who has served the district for 17 years, will retire in June.
More from News and Features
- Video: Summer fun in suburban Milwaukee in 2016
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- BEAST Robotics advances to World competition
- Sunset's 'Christmas Carol' features Dickens himself
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- Milwaukee suburbs trick-or-treat times 2015
- Business Spotlight: Elm Grove wood studio lets the creative juices flow
- Elm Grove library surveying residents on future
- Brookfield and Elm Grove Mystery Photo Contest: June18


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This was my second visit to this fantastic riad in 5 months. I cannot rate it highly enough. Catherine and Maurice are the most welcoming and informative of hosts. The staff are all delightful and so friendly. I was even shown how to make the delicious Moroccan pancakes and allowed to make my own for breakfast! Our room was amazing with the most elaborately carved and painted ceiling. Thick fluffy towels in the spotless bathroom and really hot water. Lovely fresh flowers, fruit and pastries in the room and complimentary bottled water each day. Nothing is too much trouble for our hosts. The riad is so central for the medina and easy to find. The dinners are absolutely superb and put some of the highly rated city restaurants in the shade. I hope to return in the autumn.
- Official Description (provided by the hotel):
- RYAD ZOUINA is situated in a prime location, on the main street of district "Mouassine", the most wellknown of the Medina : only seven minutes by feet from the famous Jemaa El Fna Square and three minutes from the Souks. As soon as you come through the remarkable chiselled copper door, you will be amazed at the space, quietness and spell of the site. Two authentic ancient ryads were gathered together, restored and turned into Guest House with deepest care of preserving the priceless architectural inheritance and with the full respect for Moroccan traditions. The whole RYAD ZOUINA gets now a huge surface (almost 1000 square meters) with only 10 bedrooms and 2 patios, 2 living-rooms, 1 hammam, 1 massages room, 1 swimming pool/jacuzzi, 1 terrace for breakfasts and 2 panoramic ones. Catherine, the owner, lives on site and will welcome you in her house, making your stay in Marrakesh an unforgettable experiment. ... more less
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Terror difficulty for Crescent Pale MistHome / Playstation 3 /
This page contains Crescent Pale Mist Unlockables for Playstation 3 called "Terror difficulty" and has been posted or updated on Jun 5, 2016 by kojopo.
- Developer: Rockin' Android
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- Release: Nov 9, 2010
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Terror difficulty
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000 AXNT20 KNHC 272346 TWDAT Tropical Weather Discussion NWS National Hurricane Center Miami FL 746 PM EDT WED JUL 27 2016 Tropical Weather Discussion for North America, Central America Gulf of Mexico, Caribbean Sea, northern sections of South America, and Atlantic Ocean to the African coast from the Equator to 32N. The following information is based on satellite imagery, weather observations, radar and meteorological analysis. Based on 1800 UTC surface analysis and satellite imagery through 2345 UTC. ...TROPICAL WAVES... A tropical wave in the far east Tropical Atlantic with axis that extends from 15N18W to 07N19W, moving west 10 to 15 kt over the past 12 hours. The wave coincides with a 700 mb trough south of 12N as depicted in the global models and is embedded within broad area of abundant moisture as seen on the SSMI Total Precipitable Water imagery. Scattered moderate convection is from 06N-10N between 12W-21W. A tropical wave is moving across the east Tropical Atlantic west of the Cape Verde Islands with axis from 18N32W to 10N30W, moving west near 15 kt over the past 24 hours. The wave coincides with a 700 mb low/trough as depicted in the global models and is embedded within a surge of moisture as seen on the SSMI Total Precipitable Water imagery. Scattered moderate convection prevails along the southern portion of the wave mainly south of 12N between 26W-32W. A tropical wave in the central Tropical Atlantic with axis that extends from 17N44W to 10N45W, moving west 15 to 20 kt over the past 24 hours. This wave coincides with a weak 700 mb trough as depicted in the global models. No significant convection is related to this wave as a Saharan airmass prevails in its environment inhibiting any activity. A tropical wave is moving across the central Caribbean with axis extending from 21N76W to 12N77W, moving west 15 to 20 kt over the past 24 hours. The wave coincides with a well defined 700 mb trough as depicted in the global models and is embedded within a surge of moisture north of 15N as seen on the SSMI Total Precipitable Water imagery. Scattered showers and isolated thunderstorms are observed across the northern portion of the wave affecting eastern Cuba and Jamaica north of 17N between 75W-79W. ...ITCZ/MONSOON TROUGH... The Monsoon Trough extends across Africa into the east Tropical Atlantic near 19N16W and continues to 09N48W where the ITCZ begins and continues to South America near 10N61W. Aside from the convection related to the tropical waves, isolated showers are observed within 100 nm south of the Monsoon Trough. ...DISCUSSION... GULF OF MEXICO... An inverted upper-level trough dominates the Gulf of Mexico with axis extending from the Yucatan Peninsula to near 30N89W. This feature is supporting isolated moderate convection across the whole basin. At the surface, a 1019 mb high is centered over northern Florida near 30N83W extending its ridge across the northern portion of the basin. A surface trough prevails across the Bay of Campeche supporting scattered moderate convection mainly west of 96W. Scatterometer data depicts a gentle to moderate anticyclonic flow across the Gulf waters. Expect during the next 24 hours for the surface ridge to persist. The upper level trough will move west enhancing convection across the western Gulf. A thermal trough will move off the west coast of the Yucatan peninsula each evening through the week. CARIBBEAN SEA... A tropical wave is moving across the central Caribbean. Please refer to the section above for details. The eastern portion of the upper-level trough that extends across the Gulf of Mexico is supporting isolated convection across the western Caribbean mainly west of 83W. The Monsoon Trough extends north of Panama with scattered moderate convection south 10N between 78W-83W. Aside from the convection generating by the tropical wave across Cuba, Jamaica and their adjacent waters, fair weather prevails across the central and east Caribbean as Saharan dust and dry air dominate these areas. Scatterometer data depicts moderate to fresh trades across the basin with the strongest ones prevailing just north of Colombia south of 16N between 69W-76W. The tropical wave to continue moving west during the next 24 hours with convection. Little change is expected elsewhere. The next tropical wave will enter the east Caribbean by late Friday. ...HISPANIOLA... Isolated showers and thunderstorms are observed across the western portion of the island at this time induced by diurnal heating. This weather pattern will continue through the next 24 hours. ATLANTIC OCEAN... Three tropical waves are moving across the Tropical Atlantic. Please refer to the section above for details. A 1020 mb surface high is centered across the west Atlantic near 28N74W. To the east, a stationary front was analyzed from 28N62W to 32N54W. Isolated convection is observed along this boundary. A surface ridge prevails across the remainder of the basin anchored by a 1032 mb high near 42N26W. Little change is expected through the next 24 hours. For additional information please visit http://www.hurricanes.gov/marine $$ ERA
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Instigated in conjunction with "The Locational Turn? Reflections from Chicago on documenta in Kassel, Alexandria, Banff and Kabul" panel discussion held November 13 (2013) at the Block Museum on Northwestern University.
by Daniel Tucker
Anyone who tries to generalize about "the art world" owes you an explanation about which world they are describing. While there is undoubtedly overlap between major institutions, mid-sized institutions, high-end commercial galleries, universities, art schools, community colleges, apprenticeships, auctions, internships, craft galleries, non-profit galleries, informal and community-based cultural centers, residency programs, private philanthropists, collectors, public grants, magazines, theoretical journals, blogs, public art commissions, street art, artist collectives and individual artists – they can still seem worlds apart.
One world that can seem worlds apart is that of the Documenta exhibition, founded in 1955 by Arnold Bode, to occur every 5 years and reconnect post-war Germany to the contemporary art conversations and practices developing internationally. Produced by the documenta and Fridericianum Museum Event Company which provide the ongoing organizational infrastructure to keep the project going, the exhibition is largely guided by a curator. This position is akin to "being the mayor of a small city," according to Michael Rakowitz, a Chicago artist exhibiting in this years show (1). In 2008 the search committee arrived on Carolyn Christov-Bakargiev as the curator, and she began her work on January 1st, 2009 re-inventing what has become over the last 13 incarnations, a crucial node in the intellectual and critical discourse of art around the world – itself producing conversations, catalyzing careers, and generally generating trends that will be talked about in years to come (in Chicago over the last year at the MCA, SAIC's Sullivan Galleries and U of C's Logan Center Exhibitions there have already been three exhibits of re-worked pieces shown at documenta13). In the summer for 100 days, from June 9th to September 16th of 2012, over 300 artists, writers, and thinkers participated in documenta13 in Kassel, Germany.
In 2012 a remarkable number of Chicago artists were invited as participants. Theaster Gates (with John Preus and Rebuild Foundation), Claire Pentecost, Michael Rakowitz, and Lori Waxman are all exhibiting works. A number of Chicago-based authors produced texts for the 100 Days 100 Books portion of the programs including Brian Holmes, WJT Mitchell, David Nirenberg and Jane Taylor. To have this many participants from one city would be unusual, but for it to be a city so detached from the commercial facets of art selling (gallerists, collectors, auction houses, etc) and so oriented towards political, community, and socially-engaged art is what makes the decision stand out.
Locally there has been a thriving art community in Chicago that is focused on strong social bonds, engagement with concerns and disciplines that exceed the focus of art, and political and ethical commitments around themes ranging from war and labor to housing and food. This has a long history in the city, dating back to the 1960s in terms of direct lineages with existing practices. It has developed in a particular and regionally-specific way, while art since the 1980s more generally in the United States has experienced a gradual engagement with political and social life. All over the country, but particularly on the coasts, there are art schools and universities initiating "Social Practice" focus areas for students interested in art that deals with social forms as a material in place of traditional art materials and mediums that have come to include clay, video, performance, paint, photography, sculpture, murals, and interactive websites, among many others.
Through my study of Chicago, I have observed that this turn towards "the social" is less of a turn, and more of a ever-present fascination. It has also been observed today, as well as in reflections on history that the work in Chicago has always been more serious than elsewhere. In a dialogue held at the South Side Community Arts Center, respected photographer from the Black Arts Movement Bob Crawford spoke to his experience doing a photo show in New York City, where he observed that "the Chicago photographers' work was usually more political. And the New York photographers' work was a little more "art,†narrowly."(2)
Deeply familiar with the Chicago artists and authors participating in documenta13, I traveled to Kassel last summer to see their work and consider my hometown art scene in relationship to this massive global event. Below are a few scenes from that trip.
Jorg Doerig's friends and family have joined him to go have his art critiqued. They pack into a small self-contained room, a sleek writers cottage of sorts, where Jorg unpacks his paintings of flowers, and a self portrait, and layes them out on some shelves and leaning against the wall along the floor. It was time for his appointment with the Chicago Tribune art critic and art historian Lori Waxman, who had been taking half-hour appointments with local artists in Kassel three days a week all summer. Over the visit she asks some questions, but mainly gives her attention to interpretation of the art.
"Why Paint?," she writes in response to Jorg's work. "For love of certain subjects." She concludes.
To watch her type (a mirror of her laptop monitor is displayed on a screen facing the artist and a steady-stream of passer-bys) is akin to watching a live poetry reading. Nothing else can compare to the experience of watching someone invest herself in the creative practice of another. While art criticism has become a game so detached from the making and the maker, Waxman reinvests herself in people and their artistic output. And she herself is on display, revealing the writing process, her process.
Most artists Waxman critiques in this project, titled "60 WRD/MIN Art Critic," have never had their art written about. For the most part she has executed this project in smaller towns throughout the United States with the support of a writers grant from the Andy Warhol Foundation. In these settings, her presence incites tremendous excitement.
She consults an online thesaurus. What is a synonym for "Lovingly"? Jorg stirs, he smiles and looks around at his friends. What a strange experience, to have someone craft language before your eyes about your heartfelt and time-consuming creative activities.
In "What Dust Will Rise?" Michael Rakowitz presents an entire room of enclosed vitrines and display tables immediately conjuring the space of a museum, a special collection or an archive. Upon closer look, you notice handwritten notes in thin black marker ink on the glass panes of the display shelving. Like many artists in this installment of documenta, Rakowitz engages in the legacy of the Nazi presence in Germany and in the present military operations and occupation of Afghanistan. The building in which his installation is presented, the Fridericianum, was a library when it was bombed in 1941 and all but 15% of the books were destroyed. The artist elegantly draws a parallel between that sited history, infusing it in the present, with the interrelated history of Taliban destruction of cultural artifacts in Afghanistan – most notably the Buddha statues in Bamiyan.
Presented on the tables I encounter replicas of books destroyed in that bombing, carved out of stone quarried in Bamiyan by artisans Rakowitz commissioned in Italy. Proceeding through the space, books from other bombings, fires, and cultural assassination appear. Many of the books were original printings with intricate woven and printed cover art, shown here in rich three dimensional carvings of the cover, spine, and worn pages – all beautifully carved with precise details. Other books take the form of an open spread, drawing attention to the content through subtle and surprising connections with the form or the act of destruction that inspired the installation. Others, like the oldest lexicon of classical medieval abbreviations, are just devastating because of what they contain, and what knowledge and culture was lost.
Surprise is the crucial word for this experience. As I proceed from case to case and book to book, I keep thinking that I have comprehended the scope of the artistic gesture. And then the next object or collection startles me. He did what? I think. He really brought some building fragments from dismantled public housing in St. Louis, the Twin Towers, and the Berlin Wall? Yes. Stone carving chisels from Bamiyan made from the remnants of exploded cars and abandoned tanks belonging to the occupying forces? Yes. Surprise after wonderful surprise, the installation unfolds with linkages and nuances that dispel an attempt at easy summary, but provoke curiosity in an unwritten narrative about our ongoing human projects of creation and destruction, war, imperialism, pre-modern and modern.
A highlight of the exhibition, this surprise echoes the best parts of documenta13, an exhibit without an overarching theme – forcing each work to be viewed for what it is.
Entering from the garden into the narrow glass doors on the side of the Ottoneum, I am excited to see the work of Claire Pentecost in such an ideal location. Prominently and symbolically located in the the first theater built in Germany, now serving as the Museum of Natural History, the installation is the entrypoint for an entire building full of works about seeds, science and ecology – one of the most coherent sub-themes within this massive and themeless exhibition.
Pentecost produced this work in residence at The University of Kassel Faculty of Organic Agricultural Science in Witzenhausen and following her participation in a soil workshop at the Rodale Institute in Pennsylvania.
The outcome is a multi-modal installation all centered around a proposed currency called Soil-Erg. She made dozens of drawings with pencil and mud, illustrating a heterogeneous paper money version of Soil-Erg, each depicting a different ecological scene or significant activist and research figures working with food and science. Above the two walls of paper currency, are differently sized medallions of soil. The elaborate tables at the center of the room are piled up with ingots of soil, reminiscent of fantastical gold stashes from Indiana Jones or Fort Knox.
Along the back wall is an intervention into the museum's collection – a move made by a number of artists who found inspiration in the specificity of the temporary exhibition venues. On the left there is a glass display unit from the collection of the Otteneum that shows slices of soil from different depths of the earths crust. To the right, Pentecost fabricated a similar companion unit that serves as a compost pile that will accumulate over time. The insides are equipped with microphones and through use of a headset you can literally hear the energy, heat and process of the decomposition of organic waste. On one wall of the unit, a hand-written chart depicts the phenomenon of corporate land-grabbing in the global south where North American and European companies are buying up massive farm land and even creating "soil farms" throughout Africa and Latin America.
Pentecost's participation in documenta13 is itself heterogeneous. She is one of the few exhibiting artists who also made a book for the 100 Books 100 Days project, she gave a number of lectures and workshops, made a video for the website dealing with the importance of seeds to culture, and was an instructor at the summer retreat on the theme of "retreat" at the Banff artists residency in Canada.
The immersive "12 Ballads For Huguenot House" is spearheaded by Theaster Gates along with his design collaborator John Preus, studio manager Theo Boggs, and a rotating cast of staff from his non-profit Rebuild Foundation. Walking into the house, I immediately feel a complex social energy. People buzzing around, up and down the stairs, posting schedules for the day's activities and consulting with one another about what the morning has in store. The video and audio pieces scattered throughout the 2nd and 3rd floors of the building are still being switched on, and some people just waking from bed. Art tourist's are poking their heads into the sleeping quarters, asking the people clearly in bed, "do you sleep here"? The Huguenot House is undoubtedly alive with real humans and the art pieces themselves were just a small component of the overall project. It may have one artist's name attributed to it, but something this alive is the work of many.
Mobilizing people to invest in places and buildings is one of Gates' strengths. The building at 25 Friedrichsstrasse in Kassel had been empty since World War 2. Under very different historical forces, there are homes in Gates' neighborhood in Chicago, Grand Crossing, that have also been abandoned for decades (though not quite as long as in Germany). As a crucial facet of his participation in documenta13, a deal was made where a house in Chicago would be purchased and its wooden and metal guts would be converted into objects to repopulate the building in Kassel and at a later date visa versa, forming a kind of architectural material exchange. This insistence that elite cultural institutions should subsidize projects in the places where he lives and works (which has now grown to include a number of Black communities throughout the midwest through the work of Rebuild Foundation) is something Gates unabashedly names in his public presentations.
And in the case of Hugenot House, this subsidy to Chicago cultural possibilities that lie in the future of that local project, have been reciprocated with real life-force being breathed back into the long abandoned building. Throughout documenta, it has been the site of performances, daily yoga classes, community meals and what are said to be the best parties in Kassel every Wednesday night throughout the four months of the exhibition.
Conclusion: The Rematerialization of the Art Object?
As Paul Chan, another participating artist with Chicago ties, commented in a recent interview during documenta, "It is a funny time in art when making something quiet is seen as radical."(3) The expectation has been implicitly fostered through curation and critical writing that new art needs to be participatory. It is not dissimilar from trends in governance and commerce – participation is the key to the hearts and minds!
As a counterpoint to this trend, these four projects start from complex social problems and engaged in the social processes necessary to activate and engage those problems, and then they made art objects and forms. Finding material resolutions to distill the complexity of the world into a form is one of the contributions artists have historically made to the societies in which they live. The work presented at documenta13 by Chicago artists produces a productive challenge for the debates around socially-engaged art practice and its treatment in educational and art presenting institutions. Formalist reactionaries now commonly antagonize participatory art with the same odium as was applied to performance artists in the decades past while Social Practice fundamentalists claim that objects are dead and process is the new vanguard. Perhaps these artists show a third way, a marriage between the qualities artists have long attempted to capture with material forms and the complex social processes necessary to engage the complex social world in a meaningful way.
1) Rakowitz, Michael – Conversation with the author (7/5/12)
2) Crawford, Bob – AREA Chicago (2008), http://areachicago.org/bob-crawford-and-margo-natalie-crawford/
3) Chan, Paul – Bad at Sports (2012), http://badatsports.com/2012/episode-358-paul-chan-with-john-preus/
[Special thanks to Judith Russi Kirshner, Marcia Lausen, Jennifer Reeder, Lisa Yun Lee, Carolina Ariza, Ayreen Anastas, Rene Gabri, and Scott Berzofsky]
Open Season: A Reflection on Open Engagement
July 6, 2013 · Print This Article
by Jen Delos Reyes
Two countries. Five conferences. Seven years. 14 partnerships. Over 700 presenters. Over 1600 attendees. Since the ï¬rst Open Engagement conference in 2007 this event has become a key meeting point for people interested in socially engaged art. Open Engagement: Art After Aesthetic Distance began as a hybrid project that used a conference on socially engaged art practices as its foundation and incorporated elements including workshops, exhibitions, residencies, pedagogy, curatorial practice and collaboration. I wanted to foster a different kind of conference—one that worked in the way I wanted to see it work: with a sense of togetherness, putting emerging and established voices side by side, highlighting different ways of knowing and learning, and serving as a site of production, as well as reflection. I wanted to contribute to the discourse on socially engaged art in a meaningful way. When Open Engagement began it was a student project. I was a graduate student. The conversations that I wanted to engage in were not happening at my school in Saskatchewan, so I decided to create the situation that would allow for me to have these discussions with people doing similar work. Open Engagement was the basis of my education, and now is a major foundation of my work as an educator.
This year as in most years my experience of Open Engagement happens mostly in the lead up—in conversations with students to determine the themes of exploration for the year, in the selection of keynote presenters, in the scheduling, planning, writing, partnerships, and all things organizing. In the day to day of the event itself I get to attend very few sessions, usually only the opening and closing sessions, keynote events, and a hand full of other projects and for a limited amount of time. My time during Open Engagement is mostly spent assisting and making sure things are running smoothly. But in that way of moving through the conference I intersect with people all throughout the day that I ask what they have attended, and what their thoughts are on the experience at the conference so far. This idea of needing to talk to others to fully experience the conference is intentional. Because of the parallel programming no one person can take in all of the projects and sessions that form the event on their own. We need to work together, and see from multiple perspectives to get a full sense of the ï¬eld.
In 2010 at Open Engagement Pablo Helguera said that he had always heard that a conference is meaningful in as much as it generated new questions to follow up. If you didn't ï¬nd new questions then maybe it was not successful. I had a similar feeling about conferences, and it had been one of the ways I was measuring outcomes. The conference begins with a series of calls and questions, and throughout the course of the event and the conversations there are undoubtedly more that are generated. At OE 2013 we were making a concerted effort to capture that questioning throughout the weekend, and on Sunday before Tom Finkelpearl's keynote talk were reminded by Michelle Swineheart of one of Sister Corita's "quantity assignments" of generating 100 questions when embarking on intensive work and research. With this in mind, as well as earlier feedback from the day at a session between the Creative Time summit and OE where I heard from many participants that they wanted to work together to generate something during the conference and that in general there was a desire for sessions that allowed for formats other than being talked at, I decided that the ï¬nal event would be an opportunity for just that.
For the closing event of Open Engagement 2013 instead of having a panel discussion between only keynotes and curatorial representatives we instead set out to collect 100 questions generated by the group assembled to further get a sense of what is emerging, what people are thinking, and where this conversation is going. The Sister Corita assignment felt ï¬tting for a group of presumably invested individuals, who wish to continue to be involved in research and practice, to take this on together. It was a hope that as we would move out into the world after the conference that we could then reflect on this list of the questions we are currently asking ourselves about socially engaged art. The format was that each of our six panelists joined one of six seated groups that each had about 40 chairs (based on past years we were planning for between 200-300 people at the ï¬nal panel), and we then had about 35 minutes to work together and for each group to write 17 questions and then we reconvened and the panelists shared the group work. After the instructions were given, at least 20% of the assembled group left instead of joining the break out groups. As I stood at the front of the room watching people choose to stream out, I wondered if I had made a mistake. The people that remained formed groups and were led in discussions to generate questions. There was one group in particular that voiced resentment, yet not enough resentment for them to have just left. This all came out in sharing of the questions at the end of the session. After many weeks I heard from someone who was part of that dissenting group how difï¬cult it was to contribute questions, to have a discussion, and to feel like they could share. Days after the conference I heard some thoughts from Michael Rakowitz (who was the person facilitating that group) on the conference and the ï¬nal event in general and he said, "You created a space for people to get upset, and that opens up possibilities for things that haven't been done yet.†While I had no doubt that we had created a place for people to get upset I wondered what else the space was a possibility for. I thought of other conferences and their goals, Suzanne Lacy's City Sites: Artists and Urban Strategies (1989), and Mapping the Terrain: New Genre Public Art (1991), the Creative Time summits that began in 2009, and the more recent Homework conferences organized by Broken City Lab. Lacey was trying to create a space to develop language for socially engaged art that went beyond the limitations of forms like performance and conceptual art, and with the latter intended that the activities of Mapping the Terrain would come together as a publication. The most simple way to describe the Creative Time efforts is an attempt to become the TED talks for socially engaged contemporary art. The latest incarnation of the Homework conference takes a similar approach to Mapping the Terrain with a end goal of a collectively generated publication, and a similar format to Open Engagement with three keynote presenters and framing devices.
My last memory of Open Engagement took place at Boxxes, the club that hosted the wrap party for the conference. I showed up after a late dinner and took a seat behind the DJ booth where Paul Ramirez Jonas was virtually spinning tunes for the party. I was approached by a woman I met earlier in the day who is a funder at an arts organization dedicated to supporting socially engaged art. I found myself captive behind the DJ booth during a moment of celebration hearing out her frustrations with the conference. The parts of her dialogue that rang out the loudest in my mind were, "I am not here to learn with you, I am not here to generate your content.†I nodded throughout, and thanked her for so openly sharing her criticisms. I meant it. I still do.
This encounter made me think of who was present Open Engagement, and what they expected, and how at least for this person how much of a radical departure it was from what I thought people were there for. I revisited some writing from 2007 that I had done after the conference:
What does it mean to be open? What does it mean to be engaged? What if one were to be both open and engaged simultaneously? Openness is honesty, generosity, a sense of possibility, freedom, free of boundaries and restrictions. To be engaged is a promise. It is a commitment, an obligation. It is also a sense of involvement and participation. To have an "open engagement†implies a commitment that is potentially limited or short lived. But what if the two terms once united could keep their respective deï¬nitions making openly engaged a term that would embody an obligation to honesty, sharing and possibility?Â
It happened, we did create a place of possibility, a place for honesty and sharing, one where many boundaries and expectations were crossed and left behind. What should Open Engagement be? Who should it be for? How can we adequately capture what is generated? Over the last few days I have been thinking about the possibility of an online community archive for Open Engagement that would be a collective effort that would be open for all to share their documentation, writing, thinking, and stories related to the conference.
I had always seen Open Engagement as a site of learning. In an online video conference with Ren Morrison from the Atlantic Center for the Arts weeks following the conference he off handedly referred to Open Engagement as being his "educationâ€. The conference has for the past four years been a site of convening for many of the MFA programs with a focus on publicly/socially engaged art. The fact that this conference is so embedded in the structure of an MFA program makes the very nature of it educational, as well as the fact that even the very beginning was in an educational framework. In my mind we were all working together, learning together, and teaching one another. How we organize this conference collaboratively echoes the spirit of our program and our approach to learning. An education in our program is emergent, unorthodox, and at times unruly. This translates into Open Engagement feeling slightly unkempt, and in flux. And while this might be a point of criticism for some, I would not trade this instability for rigid professionalism or a set structure. It is important that we remain open to this conference and this conversation shifting and developing in unexpected ways. It is also important that we remain open to the realization that this may no longer be a site that is necessary, or that it might need to take a completely new form and possibly a new grounding. I hope that whatever becomes of it, that Open Engagement can be a site to work together, learn together and see what we are contributing to the ï¬eld of socially engaged art from multiple perspectives. I am open to whatever comes next.
Jen Delos Reyes is an artist originally from Winnipeg, MB, Canada. Her research interests include the history of socially engaged art, group work, band dynamics, folk music, and artists' social roles. She has exhibited works across North America and Europe, and has contributed writing to various catalogues and institutional publications. She has received numerous grants and awards including a Social Sciences and Humanities Research Council of Canada Grant. Jen is the founder and director of Open Engagement, a conference on socially engaged art practice and herself speaks widely on Art and Social Practice at conferences and institutions around the world. She is currently an Assistant Professor at Portland State University where she teaches in the Art and Social Practice MFA program.
I keep trying to trace emergent themes at Open Engagement. Our organizers have done a good job of marking three umbrella categories, under which each panel, presentation or discussion resides. These headings, Publics, Contexts, and Institutions, feel like hubs through which a larger, interconnected current runs. One conversation bleeds into the next. Institution could be one example of a context, for instance. An institution could also be populated by a  public, but neither "Contexts" nor "Publics" rely exclusively on "Institutions." The project of this particular conference, one might say, is to investigate the way socially engaged art practice runs through (or negotiates) those headers.
That said, I am hunting around for additional trends, for theoretical concerns that crop up continually in the subtext of various presentations, reflecting perhaps on a collective undertow that Social Practice artists are preoccupied with. There is something problematic about my efforts. It's an artificial exercise in a way, especially when the subject of presentations — not to mention the styles of address — are so broad. My insights are additionally subjective, stemming from what panels I've seen and how the concerns therein stick to my ribs.
Still, I persist. Obviously this is a post that I deliberately published. Obviously I am interested in failing a little bit. I'm emboldened by the fact that failure, as a topic, is one of those recurring themes. Failure and the equally nebulous question about ethics. These subjects bubble to the surface not only in talks themselves, but also in audience questions. For instance, "I feel there is a danger that the projet you described could waste someone's time. Someone in your intended audience for instance. How can you be sure you're not doing that? What can you guarantee your public?" It suggests the artist ought to deliver something, and ideally that whatever is delivered is good, or worthy of (in this instance) one's time. Ethics and failure are linked up with responsibility in this regard — conveying a feeling that something in works of art that rely on audience participation ought to offer or fulfill something.
First let me make a case for the #EthicsTrend. In an account of Friday's panel, "Sociology (of and) for Socially Engaged Practice, Institute for Art Scene Studies" I was told Pablo Helguera, Barbara Adams, David Peppas, and Adeola Enigbokan staged a kind of reductio proof of what not to do as a social practice artist. I missed it, unfortunately, but heard that someone posed as an artist, presenting a series of ill-advised projects to the panel, pretending to be an artist. (For instance, the acting artist claimed to have done a project where s/he gave up all possessions in order to see what it was like to live under the poverty line.) The panel then critiqued these projects, highlighting what exactly was ill-advised about them. (Using the same example, the panel pointed out that the artist was able at any time to reenter her/his life of material stability). This was relayed to me by a rather horrified member of the audience who, at the end of her account, leaned in conspiratorially and whispered "And it was all a hoax! The 'artist'" (she used scare quotes) "was making it all up!" seeming at once relieved and frustrated that she had been duped. In a later panel that same day, "What's the Harm of Community Arts and Social Practice? The Ethics of Engagement and Negative Value," Marnie Badham, Amy Spiers, Claude Schryer, and Dr. Kathleen Irwin wrestled with questions of how and when artists intrude on a public. In her opening remarks, Badham noted first, "this turn to community is rarely explored critically," and then asked "is social change always good?" An ethical approach is often taken for granted in socially engaged art. There is an implied use or service tends to go hand in hand with these social experiments. A desire to save the world, or at least some very small piece of it.
Here the idea of failure comes in — because, in a way it is impossible to save the world. However in articulating an attempt, I would argue, the art project sets out to "do" something. As such it becomes easier to measure and assess.  Rakowitz rebuffed this point yesterday when he suggested that art didn't necessarily have to do anything. But if that's the case, one's ability to measure success and failure becomes more difficult. And, perhaps, more interesting. For instance, this morning at "Craft + Social Practice: A Roundtable Conversation" at the Museum of Contemporary Craft, a group of panelists (Gabriel Craig, Ayumi Horie, Stacy Jo Scott, Michael J. Strand, moderated and organized by Sarah Margolis-Pineo) described their relationship to failure. Many suggested that failures provided new opportunities for insight — Gabriel Craig talked about "Slow Gold," a project based on ethical metal sourcing, where he and four collaborators went to the Black Mountains in South Dakota to find gold for a couples' wedding bands. (The betrothed couple participated in this project.) They could only find .4 grains. His conclusion, "Mining, no matter what scale it's on is absolutely catastrophic for the environment." On that same panel, Stacy Jo Scott of the Craft Mystery Cult confessed, "Occult is always dealing with failure. That's because we have this desire to speak of ideals, in terms of an ideal poetic space, but also in terms of utopic vision. Knowing the failures of past utopias, but still desiring Utopia. What results is the absurd: optimism in the face of futility."
Keep this idea of ethics in one hand. Hold in your other hand the idea of failure. Now imagine yourself in the Shattuck Annex, sitting (like I was) in chair with a small desk attached. It is the sort of desk students often use. The sort of desk I haven't sat in for years. Keep in mind it is raining outside and the opening bars of Woody Guthries' "This Land is Your Land" is playing on a loop. People shuffle in slowly. Some are ushered to an overflow room when the room is at capacity. In that room this afternoon, Claire Doherty gave a fantastic keynote, opening with an observation that keynote speakers have the ability to highlight and anchor conversations in a conference. The keynote provides a kind of watering hole – a central point in the middle of the day during which most conference-goers sit in the same room, sharing the same experience, after scattering out again to different panels, rendez-vous, and performances. Doherty hastened to remind everyone about the underbelly of social practice — that many projects, while on the one hand providing photographs of an engaged and happy public digging ditches and/or eating ice cream often come out of duress or protest. These works have the ability to engage a collective, public imagination because they tend to address points of tension. She went on to discuss Nowhere Island, a project by Alex Hartley produced by Situations — the organization Doherty directs. As a travelling landmass, self-designated as a site belonging to no-country, Nowhere Island became another version of Utopia. Pulled by a tug boat through international waters, it visited many ports, acquiring 23,003 citizens over the course of a single year. There is much more to the story, of course, but I like situating this island in this post because the land mass in an of itself is what Doherty might call a "charismatic object," a physical object both engaging and alluring to a public imagination. This object was capable of, again in Doherty's words, "Nourishing the capacity for creative illusion, [such that a public was able] to act and think as though things were different." In and of itself the island is not ethical, but it enables a public to explore their own Utopian expectations thereby exploring the problems that such ideals might subsequently create.
Now, open your hand.
In Tim Etchells words, "A Utopia of dispute might be better:"
Dear Citizens of Nowhereisland
as we stop in the shelter of a doorway in the thunderstorm
S. holds out his hand to check the rain.
The hand. The flatness of it. The open-ness. The question of it. The directness. The simplicity. The pragmatism. The straightforwardness. The sunshine.
And maybe just the repetition of this gesture, which must be as old as the hills, as old as the co-presence of hands and rain.Â
(read more of Etchells' Nowhere Island response)
Open Engagement 2013 no. 01
May 18, 2013 · Print This Article
There is a reason they made a show about this town; it's so true it's a cliché : Portland is a kind of paradise. From the Tiki bar at the airport to the food truck shanty town we hit at midnight where twenty-thirty somethings fulfilled all college cuisine fantasies (the center of the parking lot contained a small circus tent where diners could enjoy they paper plated fare), the farm to table restaurants, bookstores, record stores and basement galleries named after after major art institutions, it's no wonder people live here. What's amazing is that somehow people who live here manage to get to work at all. And yet, Portland with all it's West Coast consciousness is a city with abundant social services.
So for all those reason, combined with the blend of experimentalism and casual earnestness, Portland seems like a perfect site for a social practice MFA. Perhaps even more perfect site for a conference about social practice. Which is why I am here. I am covering the 5th annual Open Engagement conference for our very own Bad at Sports.
The first Open Engagement was the result of Jen Delos Reyes' thesis project at the University of Regina back in 2007; Reyes wanted to create a "different kind of conference,†one platforming emerging and established artists while providing a site for both "production and reflection.†This is Open Engagement: a conference dedicated to socially engaged art practices. Delos Reyes came to Portland State to co-direct the MFA in Art and Social Practice once she had finished her MFA, and in 2010 Open Engagement came to Portland State. To this day, the conference is the result of collaboration between MFA students, Delos Reyes and OE Co-director, Crystal Baxley. In her opening remarks, Delos Reyes remarked on the sometimes "unkempt†nature of the conference, highlighting that it was focused on an artistic discipline that by its very nature is influx, and sometimes messy. That directive affords a kind of experimental quality which is perhaps missing from what she refered to as a more "rigid professionalism.â€
The day went on from there — featuring a fantastic keynote from Michael Rakowitz given to a jam packed room. Rakowitz brought out a "spinning set list," inviting select members of the audience to come up and spin the wheel and thereby determine which of his art projects he would discuss. Each "spinner" was then awarded a prize, from a small zip lock bag of Iraqi cardamom to a date seed the artist had previously eaten. I then attended a panel about harm and risk in social practice, and later a Portland Art Museum event "Shine Your Light," complete with (among other things) a reenactment of a lost Grateful Dead concert. I'll continue to post about things this weekend and am going to conduct a series of interviews while I'm here as well. All of which is to say, STAY TUNED. Follow the conference on twitter via #OE2013
Pruitt-Igoe Art
April 3, 2013 · Print This Article
The ghost of Pruitt-Igoe looms large in St. Louis. The 33-building public housing complex, designed by Minoru Yamasaki (who was also the architect of the World Trade Center) and completed in 1954, has long fascinated architectural historians and enthusiasts alike. Designed in accordance with Le Corbusier's utopian "Towers in the Park†vision, its demolition began less than twenty years later in 1972 as the site fell prey to dried-up funding, mismanagement, and subsequent decrepitude and crime. According to architectural theorist Charles Jencks writing in 1977, the notorious demise of Pruitt-Igoe, captured on film and televised widely at the time, marked the day that "modern architecture died.†Today, the site exists as a giant scar in the St. Louis landscape, fifty-seven acres of urban forest just north of downtown. It is an emotional scar too, a reminder of how modernist ideals and public policy failed not only the individuals and families who lived in the towers but also, to some degree, the city at large. In fact, the decline of Pruitt-Igoe coincided with the exodus to the burgeoning St. Louis suburbs that began in the 1960s; today, 89% of the metropolitan population of 2.8 million lives outside the city limits (compared with roughly 75% in 1972), according to the U.S. Census Bureau.
I think about Pruitt-Igoe a lot because I live in its aftermath. I see it in the blocks of boarded-up houses on Jefferson Avenue that I pass every day on the way to and from work. Similar houses can be found all over the city, a side effect of a population (and a tax base) that continues to decline forty years later. I also think about Pruitt-Igoe when I'm at work at the Contemporary Art Museum in the neighborhood of Grand Center. An established cultural district, Grand Center nonetheless still faces lingering assumptions that it is a rough part of town, situated as it is near the Delmar Divide that bisects the north and south sides of the city — the north side being home, not coincidentally, to the large footprint called Pruitt-Igoe.
The story of Pruitt-Igoe is by now well known and documented so I won't go into detail here (and recommend the terrific 2011 documentary The Pruitt-Igoe Myth for that). What I'm interested in is the force field-like appeal of the complex, particularly images of its punctum-style demolition, for contemporary artists. Through video and installation to social practice, a number of artists are continually circling back to Pruitt-Igoe for inspiration. Using a small cross-section of familiar artworks as case studies, I'll explore what it is about the site that offers such rich fodder for art practice today.
French artist Cyprien Gaillard's Pruitt-Igoe Falls (2009) is perhaps the best-known example. This silent seven-minute video depicts fixed-frame footage of the 2008 demolition of a building in the Sighthill housing project in Glasgow, Scotland. Halfway through the video, the image morphs into a shot of Niagara Falls at night as seen from the American side. In the piece, Pruitt-Igoe is relegated to an allusion as well as a sobering precedent for the shortcomings of contemporary public housing. The name also serves a semantic purpose, offering a way to connect the image of Pruitt-Igoe's collapse—and, by extension, the collapse of High Modernism—to other spectacles, such as Niagara Falls and the recent phenomenon of ruin porn (i.e. anything about Detroit). Though barely perceptible in Gaillard's footage, the tiny figures in the foreground of the Sighthill frame reinforce this notion, their camera flashes punctuating the image as they snap photographs of the crumbling building. Gaillard's video thus reenacts Pruitt-Igoe's unforgettable demise in a highly cynical fashion, trapping it in the endless cycle of the loop, where it can be repeatedly gawked at for sheer entertainment.
Pruitt-Igoe has also surfaced in several of Michael Rakowitz's artworks, such as his recent room-sized installation at dOCUMENTA(13) titled What Dust Will Rise? (2012) and, most extensively, in Dull Roar (2005). The latter recasts the towers as inflatable pop-ups, akin to a commercial blow-up mattress you might have in your own home. In the installation, they are surrounded by a 360-degree wooden viewing platform that allows the viewer to fully circumnavigate the balloon-like buildings as they continually inflate and deflate on a timed cycle. Rakowitz, like Gaillard, captures the image of Pruitt-Igoe's destruction in a simulated mise en abyme that points to the implicit spectacle of that moment. Interested in the idea that parts of the rubble were allegedly used to construct new mansions in the nearby suburb of Ladue (which, according to Rakowitz, was the most expensive neighborhood in the U.S. at the time Pruitt-Igoe fell), he also made several related drawings depicting these mansions propped atop the rubble. The inflatable aspect of his project is particularly acrid and pithy, reducing the complexities of the story to an amusing one-liner. Nonetheless, Rakowitz unflinchingly gets to the point, demonstrating how the destruction of Pruitt-Igoe was but one symptom in a larger enactment of domestic housing policy designed to exclude poor, non-white citizens from the American dream.
While these two projects pinpoint the demolition of the buildings as the penultimate moment, Juan William Chavez is interested in everything that happens after — the potential of Pruitt-Igoe now. For several years, Chavez, who was born in Lima, Peru, but grew up and currently lives in St. Louis, has been making a series of artworks about the physical site where the complex once stood. Together these comprise what he calls a "living proposal†in an attempt to better understand what Pruitt-Igoe might mean today. After first setting foot on the grounds in 2010, he took a series of photographs and made a film about what he saw – dense vegetation and a healthy bee sanctuary. The bees have become key players in his inquiry; as he explains it, the former Pruitt-Igoe complex has been replaced by an indigenous insect community that can actually thrive on the site. Along with his partner, Kiersten Torrez, he opened a space near Pruitt-Igoe called the Northside Workshop. They have taken up beekeeping and planted an edible garden, and they work with local students, artists, and community organizers to create programming that explores the active potential of the Pruitt-Igoe footprint. Chavez's work on Pruitt-Igoe brings additional dimensions of the story into relief. Through his efforts, I've been introduced to other stakeholders who are similarly committed to the site's rehabilitation, such as St. Louis architectural historian Michael Allen and former Pruitt-Igoe resident and journalist Sylvester Brown, who launched an after-school project for at-risk high school students to grow local sweet potatoes and market their product. (The actual land is not completely up for grabs, however. Local developer Paul McKee purchased a two-year option on the site that expires next year.) Chavez's work is therefore symbolic but also pragmatic, aimed at building awareness and galvanizing community action to transform the Pruitt-Igoe grounds into a dynamic and truly democratic public space.
I asked Juan about Pruitt-Igoe's appeal to contemporary artists and he reminded me of the scene in Godfrey Reggio's 1982 film Koyaanisqatsi featuring images of the complex immediately before and during the actual demolition. The film traces the outline of the decaying buildings both inside and out. By this point, the complex is little more than a ghost town and Philip Glass's haunting score turns it into something out of a horror movie. Juan describes this image of a crumbling Pruitt-Igoe as an "epic moment†analogous to moments in early cinema in which we experience time directly, as in the Lumière Brothers' Arrival of a Train at La Ciotat (1895) or Thomas Edison's Electrocuting an Elephant (1903). It is also evocative of something more contemporarily mediated on a global scale, like the fall of the Berlin Wall in 1989. This visual register of Pruitt-Igoe's demise, coupled with Charles Jencks's aforementioned comment about its implication in the death of architectural modernism, imbue it with a mythic pathos that still holds sway today. So what, then, can artists like Gaillard, Rakowitz, and Chavez communicate to us about Pruitt-Igoe? A sober memory? A case of what not to do? Pruitt-Igoe is all of these things. It may be a graveyard but it is also a garden. And perhaps art can sustain it in ways that housing and economic policies couldn't.


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By TrashMustache 2 Comments
A much needed introduction
Like so many other things I saw on tv, as a kid, Seagal was around somewhere in my subconcious. I used to watch him in his early movies, breaking bones, it looked cool. Later on, I would see parts of his direct-to-video movies on tv but didn't pay attention. Years later, after seeing Kill Switch I became completely obsessed with his works, especially his straight-to-dvd stuff.
I first saw Kill Switch with my uncle, who had once bought it on Blu Ray, had watched it and had never spoken to me about it. In retrospect It made me wonder why anyone would buy anything Seagal makes, let alone on blu ray, and why he didn't feel the need to mention that this movie is one the most fantastic pieces of shit ever made. My enjoyment was (and still is) purely ironic in nature, but it made me fall to the floor crying tears of laughter. At the time that I wrote the film review, which was about a year ago, I was the only person to have done so on the internet. I felt a bit proud, maybe that's why I took it upon myself to nurture his movies.
Yes, Seriously:
My Ideas for Kill Switch: The Game
Since I can't believe there are no Steven Seagal games (there was one in development for the SNES but it got canceled) here's my two cents based on this movie:
Kill Switch: The game would most definitely feature FMV cut-scenes, while the actual gameplay could be a sidescroller in which the character moves by skipping frames while being able to switch to a first person view. Seagal's mission could be to find the killer of his twin brother Daniel, a storyline that is completely redundant in the movie, and in order to do so he has to beat the shit out of his enemies. Beating an enemy would require 100 punches and/or kicks. However, with your hard earned cash, you could hire stunt doubles to ease this task, but you'll have to use them strategically as you can only use 5 max over the course of the game.
At the end of the stage you get to relax in your home and figure out the clues to the killer's location in a puzzle mini game in which you'd have to solve astrology riddles. You'd also get bonus points for neglecting your girlfriend and for hitting the "Lord Have Mercy" catchphrase prompts which are hidden throughout the game. Preferably, the game would require the use of a Move controller or other peripheral, in order to really be immersed in the beating the shit experience. Something similar to The Fight: Lights Out. The game could also feature a two player mode in which the second player has to edit player one's camera angles in real time. Or Maybe it could be closer to Stay Dead, a title he yet has to use for one of his movies.


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Thanks for the explanation Benny.I do backup ~./.gramps/grampsdb along with other similar directories on a regular basis with the Back In Time utility.
BobOn Sat, Sep 18, 2010 at 8:27 AM, Benny Malengier <firstname.lastname@example.com> wrote:http://gramps-project.org/wiki/index.php?title=How_to_make_a_backup
XML is (after unzipping) a human readable version ideal for backup, sharing or moving data between computers.
The database is a binary file that can be many Megabytes, will work on your pc with your version of database software, and might give errors should you send it to others to use.
Best backup strategy is backing up the ~/.gramps/grampsdb folder if you have the data storage to do that, otherwise you export to .gramps xml file, and back that up.
Benny2010/9/18 Bob Kuehl <firstname.lastname@example.com>Thanks Michael,My research data is a special case, so a separate database would be the desired result.So, as I understand, the actual 'database' is in a subdirectory in the ~/.gramps/grampsdb , which I now see.Is the XXX.gramps xml file an auxiliary file for editing purposes or some such thing? Or does it play some other significant roles in the scheme?BobOn Fri, Sep 17, 2010 at 5:31 PM, Michael Lightfoot <email@example.com> wrote:On Saturday 18 September 2010 09:35:57 Bob Kuehl wrote:Yes, except there is no need to export anything after importing into Gramps.
> Thanks Nick for the prompt reply.
> I think I understand the structure.
> If I have A.ged and B.ged then I create a new family tree A and import
> A.ged into it and export it as an xml file to A.gramps. Then create a new
> family tree B and import B.ged into it and export it as an xml file to
> B.gramps and the 2 family trees will be in separate databases, with data
> of either being in the data of the other. Saving, of course, each into my
> designated GrampsData directory.
The databases exist in your grampsdb directory.
I personally only have one database except when I am doing special things. If
you like to keep separate trees for entirely separate purposes then create
more than one database. Be aware, though, that Gramps does not synchronise
records between databases so if you have common people in different databases
they will have to be updated in each.
Michael Lightfoot
Canberra, Australia
OPC Merther, St Breock & Egloshayle, Cornwall
see http://www.cornwall-opc.org
Start uncovering the many advantages of virtual appliances
and start using them to simplify application deployment and
accelerate your shift to cloud computing.
Gramps-users mailing list
Start uncovering the many advantages of virtual appliances
and start using them to simplify application deployment and
accelerate your shift to cloud computing.
Gramps-users mailing list


text:
From the Publisher
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