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Karen Baase from Cornell Cooperative Extension of Madison County sends along this notice:
Applications are being accepted from Madison County dairy farmers who are interested in participating in the Dairy Profit Team Program.
Five dairy farms are already participating in the program, thanks to continuing support from the New York Farm Viability Institute.
More money is available to add more dairies from Madison County for one more year.
Anyone interested in more information about the program should contact Karen Baase with Cornell University Cooperative Extension of Madison County at 684-3001. Applications are being accepted now.
Dairy Profit Teams are used successfully in Pennsylvania, Minnesota, and now in New York state to help farms improve their profitability. A team usually consists of two or three of the farm owners and/or managers, a trained facilitator responsible for keeping the team on task and functioning, and three primary consultants.
The consultants may include the farms banker or accountant, a veterinarian, nutritionist, crop consultant, nutrient management planner or other person selected by the farm owner.
Through the grant, cost share funding will be available to pay a portion of the costs of the facilitators and team members participation.
The team functions as an advisory board to the farm. The farm is expected to complete a bench marking process, develop plans for growing the profitability of the farm, implement those plans, and then evaluate and adjust plans as necessary.
The team assists the farm through the entire process and holds the farm accountable for implementing the plan. Training will be provided to the facilitators and teams to help them start the process and other training may be available as needs are identified.
Farms with profit teams in other states have experienced increases in profitability, improved production and improved milk quality.
Others farms interested but not selected may be able to participate at their own cost. Dairy farms of all sizes and types of operation are encouraged to apply.
The Jefferson and Madison Counties Dairy Profit Teams Initiative is a project of the Jefferson County Agricultural Development Corporation in cooperation with the Small Business Development Center at Jefferson Community College, Cornell University Cooperative Extension of Madison County, and Cornell University Cooperative Extension of Jefferson County.
To find out more, go to this Web site.


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- The bill would give the FDA broad new powers to force recalls of tainted foods, regulate imported foods and ingredients, and conduct more frequent inspections of food-production facilities.
From the L.A. Times:
In a world where we get garlic from China, shellfish from Thailand and sugar cane from Mexico, Congress is poised to approve an ambitious food safety bill that would strengthen the nation's top regulator and impose new rules on domestic production and trading partners.
The legislation is aimed at preventing tainted food from entering the supply chain, sickening Americans and forcing massive recalls. It would give the Food and Drug Administration sweeping new powers to demand recalls and require importers to certify the safety of what they're bringing into this country.

subset: commoncrawl


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New Orleans police were investigating the shooting of a man Wednesday night in the Lower 9th Ward.
NOPD spokesman Officer Frank Robertson said an unidentified adult sustained a gunshot wound to the hip shortly after 10 p.m. Robertson said the shooting took place in the 5100 block of St. Claude Avenue.
The police spokesman said the victim was transported to Interim LSU Hospital in stable condition, but no further information was available.


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Political favors, back-room deals and a female provincial cabinet minister's sexual appetite are uncovered when the woman is found murdered.
A famous leading man is found dead in his dressing room while starring in a troubled production.
An ex-cop comes under suspicion when a promising young medical student is murdered in his up-scale home.
The detectives must deal with a prolonged blackout while investigating the murder of a retail company executive.
The detectives are filled with doubt when the only witness to a boy's murder is a psychic.
A crime reporter-turned-novelist comes under suspicion when his ex-wife is found bludgeoned to death.
An apparent model student at a prestigious boarding school is found dead in his room.
Two women with the same name are found murdered within days of each other.
A citywide manhunt takes place when an investigator is beaten and left for dead.
The wife of a missing construction company owner begins receiving the man's body parts in the mail.
Brutal mutilation murders continue even after the suspect is in custody.
A former cop from South Africa is a suspect in a diamond courier's bizarre death.
A murder suspect dies in custody, and arresting officers Pogue and Oosterhius are suspects.
Officers answering calls are being ambushed; the squad's investigation turns up some surprising suspects.
An autopsy reveals that a pop musician was already dead before he plunged from a hotel balcony; Pogue might be a father.
A a young woman is killed jogging down the road by street racers; a teen's body is recovered from a cemetery.
An unfaithful Woman is found stabbed in her husband's car; Carolyn is receiving calls with obscene threats.
A convict comes forward with information that may unravel a 14-year-old murder conviction; Barrow's first case.
Oosterhuis and Pogue investigate the murder of a male escort; Weeks checks into the man Gillam is dating.
A man is found in a parking garage, beaten and amnesiac, with only a book of bird drawings to identify him.
A girl calls to report the body of a young man by the tracks; The squad realizes the teen's problems run deeper than they could imagine.
Detectives investigate when a young girl named Erica Warner is taken from in front of a local store, with her older sister Shannon as the only witness.
The squad gets involved when a shoot-out in a market leaves a popular officer paralyzed from the waist down.
Forensic evidence suggests a serial rapist's killer was a woman -- possibly one of his victims; Castillo takes a leave of absence.
Package bombs kill prominent citizens; a political intern is found hanging in city park, dressed in bondage paraphernalia.
Castillo confronts her dark side during an online pedophile stakeout; Pogue and Esterhuis probe the hanging death of a young offender.
After a philanderer and his married lover are found dead on a houseboat, the investigation leads to a wrongful conviction case.
The squad races to stop a shooter who went postal at Revenue Canada before he can strike again; Talbot nears the end of his interim appointment.
Molotov-cocktail explosions at a suburban home may foretell a clash between members of a motorcycle gang.
The trail of a serial killer who targets homeless people leads to City Hall; a little girl is found drowned following a carjacking.
Castillo and Sweet investigate an adoption-for-profit ring; a corpse bears the marks of incomplete sex-change surgery.
Police suspect the deaths of a politician and his wife were murder/suicide, but his wounds suggest a different conclusion.
Suspicion points to the sole survivor of a bank robbery gone wrong, an off-duty officer who moonlights as a security guard.
Castillo and Sweet find themselves ill-equipped to investigate the murder of a psychiatrist at a home for the criminally insane.
A young woman survives a vicious attack in which her friend was killed, and the squad fears the killer will return to finish the job.
The Remembrance Day killer targets yet another abortionist, while squad members struggle with personal beliefs and organized militants.
Squad members battle community indifference in the wake of a racial killing.
The coroner's office gets an anonymous letter indicating that a sudden increase in the death rate at a metropolitan hospital is no accident.
Several people may have had reason to kill TV personality Dr. Tara, including a celebrity stalker and the Russian mafia.
A student is found dead in a subway station.
When a promising athlete is gunned down in a drive-by shooting, it seems to be a case of mistaken identity.
A suspect in the mutilation deaths of several young women cannily holds out hope that one may yet be alive.
The discovery of a skeleton sets the squad on a 25-year-old murder case that involves drugs, baby boomers and the suspicion of police brutality.
After a shooting in a dance club, the victim's family is also murdered.
Clues in the rape-murders of two young mothers seem to point to someone in the Blue Murder squad. With Maria del Mar, Joel Keller, Jeremy Ratchford and Mimi Kuzyk.
When a young officer is killed at home, an investigation points to police corruption and bribery.


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A nonprofit group that works with organ donors and hospitals will be the first occupant of the Hemingway at Richmond office park in Warrensville Heights.
LifeBanc plans to buy 4 acres of the former St. Jude parish property, at U.S. 422 and Richmond Road. Hemingway Development, a division of the Geis Cos. of Streetsboro, will build a 25,000-square-foot office building for the nonprofit organization, which has outgrown its longtime space on Chagrin Boulevard in Beachwood.
LifeBanc employs about 100 and has been expanding its work force by about 10 percent annually. Chief Executive Officer Gordon Bowen attributes LifeBanc's recent growth to rising donations of organs and tissues. LifeBanc provides organs to transplant centers and works with 80 hospitals in 20 counties.
The new building could be finished by April and include a tribute or a memorial garden recognizing organ and tissue donors.
Hemingway Development bought the former St. Jude property in May and is finishing demolition of the church buildings this week. Principal Greg Geis said he is negotiating with three potential tenants who could fill the second of four buildings planned for the office park.
Construction of the second building could start late this year or next spring.


text: [Congressional Record Volume 147, Number 17 (Wednesday, February 7, 2001)] [House] [Page H208] From the Congressional Record Online through the Government Publishing Office [www.gpo.gov] HOUR OF MEETING ON TUESDAY, FEBRUARY 13, 2001 Mr. PENCE. Mr. Speaker, I ask unanimous consent that when the House adjourns on Monday, February 12, 2001, it adjourn to meet at 12:30 p.m. on Tuesday, February 13, for morning hour debates. The SPEAKER pro tempore. Is there objection to the request of the gentleman from Indiana? There was no objection. ____________________


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Thanks to the interactive Wii, you can lose weight while boxing, jogging and doing deep-knee lunges in video games. So let's take a look at a new slate of sports games that might make you sweat.
EA Sports Active
EA Sports Active claims it could change your life, meaning it can change your body shape. It's like a workout video for the Wii, but better. You run in place; kick and punch a boxing bag; do curls with a stretch band; and complete many other exercises.
Since you're holding the Wii's wireless hand controllers, the game's fitness trainer-character reads your arm and leg motions and tells you if you're doing them right. You can see a cartoon image of yourself on the TV screen, running at the same pace that you are jogging in place.
That's nifty.
By EA. Retails for $60 for Wii.
Plays like an interactive exercise workout that judges your motions. Challenging. Rated "E."
4 stars
By Nintendo. Retails for $50 for Wii.
Plays fun. Looks good. Starts easy, gets very challenging. Rated "E 10+" for cartoon violence, comic mischief.
3½ stars
By EA. Retails for $60 for Xbox 360 and PS 3.
Plays fairly realistic, but the fun is burdened by frustrating artificial intelligence. Looks great. Rated "T" for mild blood, mild lyrics, suggestive themes and violence.
3 stars
By Nintendo. Retails for $50 for DS.
Doesn't play like anything; it's two wireless, digital pedometers that effortlessly keep track of the number of steps walked each day. Looks are not applicable. Very easy to use. Rated "E."
3 stars
"Sports Active" -- developed by fitness pros and including how-to videos -- is effective, especially if you're not already a gym rat and you need to hear someone motivate you every day with visual and audio cues. (It makes me slightly sore in some spots.)
The $60 bundle comes with the stretch band. But to maximize results, you need to own the "Wii Fit" balance board, and that bundle costs $90. Still, that's cheaper than hiring a weekly personal trainer in a recession.
The game's sweat factor: Potentially a 10 out of 10.
Personal Trainer: Walking
Personal Trainer: Walking merely gauges how much you walk each day. It comes with two pedometers. So you walk with one of the pedometers, then sync it up with "Walking" each day to keep track of how many steps you've taken. You won't lose weight taking 3,000 steps, but you can with 8,000 steps.
"Walking" costs $50 and comes with two wireless, digital pedometers. I hate to point out that you can buy an over-the-counter pedometer for as low as $6. But "Walking" is meant as a daily "game" friend, starring a trainer-character, to motivate kids and other flabby DS gamers to get moving.
Sweat factor: About a 5 to 7 out of 10.
Punch-Out!! is not a fitness game, but a surprisingly fun and almost addictive cartoon boxing game for Wii. Just like the 1980s arcade game it's based on, you stand in one spot, dodging and weaving rivals' punches, then throwing uppercuts and such back at them.
You beat boxers to be the champ (fairly difficult), then defend your title against them as they improve (quite hard). Like I said, it's not a fitness game. But it does require you to swing your arms constantly, more than most Wii games.
Sweat factor: About a 6 out of 10, but only uses your arms.
Fight Night Round 4
Fight Night Round 4 is nearly a boxing simulator, where you can fight as a boxer you build from scratch, or as such stars as Muhammad Ali, Mike Tyson or Manny Pacquaio -- about 40 boxers in all.
"Round 4's" mechanics look and feel cool, but it's frustratingly hard to dodge punches, and it makes computer-controlled rivals too nimble at blocking punches. It's more fun in multiplayer mode.
But it's not available for Wii, only for PS 3 and Xbox 360, neither of which make you move anything but your fingers.
Sweat factor: Zero, despite being the most athletic actual game of the bunch.
Doug Elfman is an award-winning entertainment columnist who lives in Las Vegas. He blogs at www.lvrj.com/columnists/Doug_Elfman.html.


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Interview with Rain + long overdue updates!Posted by Ben, Nov 22 2009, 10:38 PM
It's been a long while since I updated my blog. Here's a quick update for the past months.
September: My birthday of course. Had a great party and my annual PPG poker tournament. Then covered the New York Anime Festival and went to the AKB48 debut concert
October: Kinda forgot what i did this month, but i was pretty busy... probably watching the Yankees playoff games. lol Celebrated another anniversary with my gf! Then of course went to a very sexy Halloween club/party
November: Went to ad tech and won a WII! Went to the Yankees Parade! Sooo happy that "Godzilla" won a ring and was MVP. But the big thing was the exclusive interview with Rain that I was able to obtain. Man it was a pretty intense experience. Our first MAJOR SUPER star one on one in person interview. I mean we were able to interview other stars too like Se7en before, but not one on one like this.
Currently loving this song.
dvdboxroom, Mar 30 2011, 01:55 AM
i also like hot tv shows that he acts.
Breaking Bad Season DVD
Grey's Anatomy Seasons DVD
24 Hours Seasons DVD
Battlestar Galactica Seasons DVD
Accused Season DVD


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Press, Clare and Cook, J. and Blakemore, S.J. and Kilner, J.M. (2011) Dynamic modulation of human motor activity when observing actions. The Journal of Neuroscience 31 (8), pp. 2792-2800. ISSN 0270-6474.Full text not available from this repository.
Previous studies have demonstrated that when we observe somebody else executing an action many areas of our own motor systems are active. It has been argued that these motor activations are evidence that we motorically simulate observed actions; this motoric simulation may support various functions such as imitation and action understanding. However, whether motoric simulation is indeed the function of motor activations during action observation is controversial, due to inconsistency in findings. Previous studies have demonstrated dynamic modulations in motor activity when we execute actions. Therefore, if we do motorically simulate observed actions, our motor systems should also be modulated dynamically, and in a corresponding fashion, during action observation. Using magnetoencephalography, we recorded the cortical activity of human participants while they observed actions performed by another person. Here, we show that activity in the human motor system is indeed modulated dynamically during action observation. The finding that activity in the motor system is modulated dynamically when observing actions can explain why studies of action observation using functional magnetic resonance imaging have reported conflicting results, and is consistent with the hypothesis that we motorically simulate observed actions.
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|Birkbeck Schools and Research Centres > School of Science > Psychological Sciences
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|05 Nov 2012 09:32
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Oh, Deer: Mexican Restaurant Shut Down After Inspector Finds Dead Buck In Freezer
Yes, Thanksgiving may have just occurred, and yes, it's an annual reminder that you should be nice to your friends, but today's lesson: never let your friends store their recently killed deer in your restaurant's refrigerator.
Poor Agustin Juarez of Kansas City, MO., learned this lesson the hard way: after he allowed his friend to store a freshly-dead deer in the freezer of his restaurant, he was coincidentally visited the next day by his local health inspector.
The deer was fully intact — fur, hooves, antlers, head, and everything else — leading the inspector to shut down Los Alamos Market And Cocina. (We're assuming that the excuse "This is una paleta de Bambi!" didn't work.)
In an interview with local news station KCTV, Juarez insists that the deer never came into contact with any food or equipment, and that the Bambi popsicle only stayed in the freezer. Nevertheless, he'll have to dispose of the deer in a sanitary way, as well as prove to health inspectors that the food was not tainted. Until then, Juarez's restaurant will remain closed, giving him enough time to wonder who exactly his friends are in this world.
[KCTV via The Huffington Post]


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Hong Island
Not to be confused with the island of the same name in Phang Nga Bay, Koh Hong is part of a small archipelago lying between Koh Yai Noi to the West and the Krabi mainland to the east. The waters around the island are ideal for snorkeling with clear waters and plenty of marine life.
"Hong" means room in Thai and the island gets its name from a 'room-like' interior lagoon surrounded by limestone cliffs with only a small channel to the open sea. At high tide you can enter the lagoon on a small boat such as longtails to swim and snorkel in the stunning clear waters. There is also an idyllic sandy beach backed by jungle and surrounded by limestone cliffs on both sides.
View Koh Hong Island in a larger map
Hong Island Fleet
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People who are already benefiting from LIPOtrim claim to have more energy, be happier, and just feel better overall about their health and appearance after using this amazing new product for just a short time. Many of the diet supplements on the market right now have people complaining of jitters and even a afternoon crash after the morning energy has worn off, but since this product uses natural proteins and omega-3 to help your body work the way it was intended to, this product combined with a healthy diet will actually help you feel better throughout the entire day without the harsh side effects of some others.
If you are one of the many people who would like to enjoy all of these benefits, flatten your stomach, have more energy, control your appetite, and look and feel better this product is for you. The manufacturer is so confident in its results that they are willing to give our readers an exclusive risk free trial of LIPOtrim to allow you to try it worry free and see for yourself what amazing things it can do for you.
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Monthly Archives: January 2011
It's always interesting to see the media and other Church-haters jump up and down with glee when they dig up some material they consider juicy in the quest to prove that the Church is out of touch and/or not worth believing in. Many of you will recall the hoopla over the writings of Mother Teresa. In her letters, it was revealed that, like most Christians, Mother Teresa had times when her faith was not as strong as at other times. … Continue reading
Over at one of The Catholic Soapbox's sister projects, Being Frank, an author has asked a series of good questions. Unfortunately, with a large proportion of New Zealanders being in the middle of a long weekend, the comments seem to dry up. This is no exception. I want to share the thoughts of Voice in the Wilderness with a few more readers, though. He raises some interesting questions that I think are worth pondering. I don't know what most Catholics … Continue reading
Earlier this week, a friend of mine introduced me to the comic musings of a gentleman named Tom Lehrer. He was a big name in comedic circles in the late 1960s and the 1970s. Now, some Catholics might find the piece I'm highlighting here is the sort of humour that borders on sacrilege. I am not one of those Catholics. I think it's a good laugh and I believe that Catholics can get into the habit of taking ourselves a … Continue reading
I've been having some fun — well, was it fun? — today working through a long list of Catholic twitter accounts and adding them to my list of people or organisations I'm following. If you're not already doing so, you can follow me at @catholicsoapbox Anywho, it got me thinking about the respective popularity of Catholic blogs and, in a stroke of providence, jumping on Twitter tonight saw me come across a link to a website that claims to rank … Continue reading
There is no shortage of controversial topics when it comes to the Catholic Church. Wikipedia normally has a section on "controversies" or a similarly-headlined piece on its pages, and I suspect the Catholic entry would be longer than most. One area of controversy, though not always as widely publicised as some others, is the role of Catholics in World War II to assist people — Jews in particular — who were being hunted down and killed by the Nazis. The … Continue reading
If you're reading this, you're already part of the ever-growing number of people who seek a little light — and sometimes not-so-light — entertainment on this Internet thingy. It's quite mind-boggling to think that only about 15 years ago, I was just dipping my toe into the world of email and now at least four people read my blog. Amazing. In those 15 years, to state the obvious, the Internet has revolutionised the way we communicate. And that includes the … Continue reading
Infertility must be a terrible burden for some married couples. Having made a commitment to each other for the rest of their lives and promised to welcome children into the world (as Catholic couples do), to discover that nature won't support the conception of children is a cause of much pain and anguish for couples. The natural reaction is to find some solution to the problem. For decades (or more), adoption was the obvious first choice. Now, though, as modern … Continue reading
On this stormy Sunday evening in Auckland, I am saying a little prayer for the Christian missionaries who devote their lives to spreading the Gospel, through word and through their own example, in dangerous parts of the world. Last weekend, as Independent Catholic News reports, a religious sister working as a nurse was shot and killed by rebels in Africa. She is one of the first religious killed while on mission in 2011, but there are typically two or three … Continue reading
CathNews is a very valuable news service based in Australia. It has a useful website and also disseminates daily email news bulletins that share some of the big stories from the Catholic world, as well as some of the more quirky stories with a bit of a Catholic twist. CathNews also runs a blog that is pretty good, but not as good as the blog you're reading right now, of course Today, the blog post looks at an interesting topic: … Continue reading
I've never really considered myself one to get caught up in the celebrity catfights over this, that or the other thing. Sometimes, though, a headline from the entertainment section of a newspaper or website catches my eye. Today is one of those times, when I came across a report on current pop diva Katy Perry taking Madonna — the Queen of Pop — to task for the latter's use of religious imagery and symbolism in her music videos and concerts. … Continue reading


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Over the last few weeks we've covered Apple-centric gift ideas for men and women. Now teens take center stage (like they don't always anyway), as we lay down a humungous stack of sick, phat, gnarly, rad, neato, cool and completely sweater-free holiday gift ideas just for them.
Gifts For The Artsy Teen [Holiday Gift Guide 2010]
Artsy Teens have no time for academics — they're too busy creating. Art is their passion and they need the latest gadgets to keep up with them. Here are some gifts the Artsy Teen will treasure.
Gifts For The Trendy Teen [Holiday Gift Guide 2010]
The Trendy Teen is all about the latest and greatest. Never mind how much it costs, if their friends have it, they want it. Here are some gifts the Trendy Teen will definitely want.
Gifts For The Brainy Teen [Holiday Gift Guide 2010]
Brainy Teens take pride in their work, and they get great satisfaction from receiving all A's on their report cards. Here are some gifts worthy of the Brainy Teen.
Gifts For The Sporty Teen [Holiday Gift Guide 2010]
The Sporty Teen spends a lot of time outdoors; whether as part of a team or working out solo, they are active motivated to perform. Here are some gifts worthy of the Sporty Teen.


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Williams said in his column that Rob Parker, a former Detroit News columnist who currently works for WDIV-TV (Channel 4 in Detroit), wrongly questioned Washington Redskins quarterback Robert Griffin III "blackness" after Parker mentioned he "heard" that Griffin has ties to the Republican party.
Williams claims in his column that type of criticism is often used against African-Americans who choose to be Republicans as a form of punishment because they don't share more mainstream Democratic views like others of the same race.
A excerpt from Williams' column (Williams mentions in it he's not a Republican, but said he's experienced "some of this same vitriol firsthand"):
The sad truth is that being black in America still automatically places you in a box. Yes, there is rapid growth in America's minority population. Yes the President is black.
But as Parker suggested, some black Americans still think they have to act, speak and behave in a certain way that conforms to the identity that a white, liberal media has created.
In this perverse racial order, you simply cannot be authentically black if you are
conservative – politically or culturally.
The criticism of Griffin – both in public and private – is not really that different from the way black conservatives are disparaged in media, law and politics.
Whenever the mainstream media wants to know what the African American community is thinking, they invariably go to the usual old, left-wing voices, Jesse Jackson and Al Sharpton, as if they speak for all black people.
How much better would the debate about improving education, about dealing with high rates of unemployment and crime in black America if black America allowed itself the freedom of an honest, balanced approach to those issues that was open to conservative views?
Parker's criticism of Griffin led to an indefinite suspension from ESPN; he appears to still be employed at WDIV-TV as an occasional on-air contributor and write for the station's website.
Parker apologized Wednesday on Twitter for his criticism of Griffin - six days after the controversy began.
What are you thoughts about the Parker controversy and Williams' column?
Should Parker be let go from ESPN and WDIV-TV?
Do African-Americans who are Republicans - or are at least perceived as conservative - get a fair shake in the media?
Share your thoughts.


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|Readout on the US-DPRK Bilateral Meeting
QUESTION: Could you tell us what you can about the bilateral with the North Koreans yesterday?
MR. RUBIN: We regarded the talks as useful and constructive. They were conducted in a business-like atmosphere. The entire range of bilateral issues were discussed. We informed the North Koreans of a technical step we intend to take in the near future to conduct a survey of the number and the size of outstanding financial claims by US citizens against the DPRK.
This survey would be the initial step necessary to eventually resolve the issue of remaining frozen North Korean assets in the US. It would allow American claimants to register their claims against the DPRK. It would not be sufficient in itself to unfreeze DPRK assets. An unfreezing of those assets would be an independent decision as part of the step-by-step process we are hoping to achieve in normalizing to some extent the economic and political relations with the United States.
QUESTION: How much money is involved; do you know?
MR. RUBIN: I can't give you a numerical figure on that, but there's obviously a significant amount of assets that have been frozen in the past.
We also, during yesterday's meeting, discussed the food shortage in North Korea. We proposed to send a team of experts to North Korea to assess food needs at the end of the harvest and to work to further strengthen monitoring of food aid. This would be the first team of this nature sent by the United States Government. The North Koreans welcomed this proposal, and agreed to continue to discuss a concrete date for this mission.
QUESTION: What about the defector?
MR. RUBIN: I'm not aware that came up in any significant way. I mean, as we have stated earlier, we regard the defector issue as not linked to the four-party peace process or to other issues. As I understand it, they did raise it, but I doubt it got into much detail.
QUESTION: -- offset American claims against North Korea with the assets that are now frozen in the United States; is that your intention?
MR. RUBIN: Well, what this is is a survey. It's designed to try to determine who has what claims. That's a first step if you're ever going to get to a point where you then unfreeze things and figure out how you're going to match unfrozen funds with any other claims. But first you need to figure out exactly who thinks they're owed what, and that's all this is at this point.
QUESTION: There's been no decision about --
MR. FOLEY: Correct.
QUESTION: We'll just absorb some of that money without -
MR. RUBIN: No decision on what would result from this, other than that it's a first step to eventually resolving it and that it's designed to determine the number and the size of claims. But there's been no decision to unfreeze them.
Any more on North Korea?
QUESTION: What is the status of the various talks with the North Koreans?
MR. RUBIN: Well, we did discuss with them the possibility of resuming the missile talks. We proposed new dates for resumption of the talks in October, and urged the North Koreans to accept those dates, and they said they would get back to us.
As far as the four-party talks are concerned, what is our latest date on that? Thursday.
QUESTION: There will be talks on Thursday?
MR. RUBIN: Yes.
QUESTION: People who feel that they have claims, legitimate claims against the frozen assets, should they contact Treasury, or should they come to the State Department?
MR. RUBIN: I think that once this team gets down to business, they will have some announcement as to how to go about making those claims, and we will pass them on.
More on Korea?
QUESTION: Do you know how long these assets have been frozen? Are we talking about since 1945 or what?
MR. RUBIN: I think it's been part of it since the Trading With The Enemy Act, so it's been a long time. I don't have the exact date. I suspect there are different phases in which assets were frozen, but we can get you more details on that.
Any more on North Korea?
QUESTION: Just one more. Jamie, the issues that hung up the last four-party talks, that of US withdrawal from Korea, was that discussed yesterday? Was there any --
MR. RUBIN: This meeting, as I understand it, was a bilateral meeting discussing bilateral issues like this claims issue, like the question of food, whether we could have missile talks resumed, not the specifics of the four-party process.
QUESTION: Jamie, a new subject.
MR. RUBIN: More on Korea?
QUESTION: Yes, one more question. Was the chance of a consulate discussed? Was that issue moved forward at all?
MR. RUBIN: I don't have anything for you on that; I can try to check.
[end of document]


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Delirious mania is a severe but under-recognized neuropsychiatric syndrome characterized by the rapid onset of delirium, mania, and psychosis, not associated with a prior toxicity, physical illness, or mental disorder. Catatonia is often a prominent feature of the syndrome. While initially believed to be rare, recent reports suggest that delirious mania may constitute up to 15% of all acute mania cases. When delirious mania is unrecognized or improperly treated, it can progress rapidly in severity and can become life-threatening. This article reviews the pathophysiology, diagnosis, and treatment of delirious mania and includes a detailed case report. Delirious mania is robustly responsive to high-dose lorazepam or electroconvulsive therapy (ECT); thus, early recognition and definitive treatment can be life-saving.
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Mike Fitzsimmons
KXLY 920 News Scope Host
Published On: Mar 02 2012 09:20:11 AM PST Updated On: Mar 02 2012 11:39:30 AM PST
Contact firstname.lastname@example.com
Mike Fitzsimmons has been on the air in Spokane since 1974. He's been a radio and television news director for several local stations and is currently the host of KXLY 920 News Scope.
Mike is also a broadcasting instructor at Gonzaga University and had a long stint as an unlimited hydroplane racing announcer.
One of the outstanding accomplishments in Mike's broadcast career came in May, 1980, when he spent a marathon 56 hours on air reporting the Mt. St. Helens eruption and its effects on Eastern Washington.
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I am having a difficult time finding Mahjongg or any tile games to download on my NEC 780. I have gone to these sites that were listed in this forum (www.hpc.net/category.asp?ObjectID=25317; //perso.wanadoo.fr/mettavant/pdalociciels.htm; //wince.box.ru/russian/lan.htm#Telnet) and nothing will work. Is the NEC 780 a wrong choice to own?
I'd appreciate any and all feedback.


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The Verisign Labs team brings a tremendous breadth of expertise and talent.
Ph.D. in Computer and Information Science, University of Pennsylvania, 2013
Master of Science in Engineering in Computer and Information Science, University of Pennsylvania, 2010
Bachelor of Science in Computer Science, Washington & Lee University, 2007
Related Links
Andrew G. West is a Senior Research Scientist on the Verisign Labs team. Dr. West joined in Summer 2013 after completing his PhD at the University of Pennsylvania.
His work at Verisign has emphasized: (1) Incentivizing domain name purchasing via the application of machine-learning, while also understanding prior registrations with respect to longitudinal trends, forecasting, and virality. (2) Analyzing the role of network endpoints in malware and privacy disclosures via features capturing metadata, time-series behaviors, and dynamic analysis. (3) Applying big data techniques to Internet-scale quantification and characterization problems.
Moving forward, Dr. West will continue to leverage the company's network and security data using his experience with trust/reputation management, applied machine learning, and metadata analysis methodologies. Additional interests include email/Web 2.0 abuse, underground economies, behavioral profiling, Internet virality, and research ethics. This skill set has not only been demonstrated across 35+ peer-review publications but also via a research philosophy that strives to synthesize academic results into actionable business decisions.
Prior to Verisign, his dissertation research investigated security for "open collaboration" applications. His work examined how user-generated content and collaborative semantics are changing how spam and other abuses manifest and can be detected. This yielded tools still in popular use by communities of practice, notably the anti-damage software STiki that has been used to remove 700,000+ damaging revisions from English Wikipedia. Popular media outlets such as the Chronicle of Higher Education and Gizmodo also recognized his contributions, and he remains an active volunteer in the Wikipedia community.
Distinct from his research, Dr. West also manages the selective Verisign Labs Summer Internship Program. This includes the annual recruitment, interviewing, on-boarding, and oversight of a dozen graduate interns who work closely with Verisign Lab's research scientists. He has considerable experience in planning towards successful project outcomes as evidenced by intern mentorship, work with Verisign Lab's University Collaborations program, and having advised much undergraduate research at UPenn. To this end, he always welcomes new cooperative partnerships.
Finally, he remains in active service to the academic and professional communities as a reviewer/editor for multiple conferences and journals.
Dr. Burt Kaliski Jr.
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This post has been updated.
MUNDY TOWNSHIP, Michigan -- A Mundy Township police officer remained in critical condition Friday in what first appeared to be a minor crash on U.S. 23 near Baldwin Road.
Officer Tim Cook was sitting in his patrol vehicle about 9:30 p.m. Christmas Eve filling out paperwork for an earlier spinout when another car spun around on the icy road.
The rear of the spinning car hit the back of Cook's sport utility vehicle, police said.
A Whitmore Lake man driving the car that struck Cook was not hurt and police said Cook complained only of some neck and back pain at the scene.
"(Cook) was out walking around," said state Trooper Rob Mossing.
Cook was taken to the hospital as a precaution, but once there his blood pressure began dropping and it was discovered that he had ruptured his abdominal aorta.
He underwent surgery Christmas Day at Genesys Regional Medical Center where he was reported in stable condition.
The crash remains under investigation by state police.


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Edwards' annual directory to the inhabitants, institutions, incorporated companies, manufacturing establishments, business, business firms, etc., etc., in the city of St. Louis for ... /
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Cake was chocolate with chocolate fudge, 3 layers high, 1/4 sheet cake. Net is plastic with lolly pop sticks glued to it to hold it up. For a 13 year old girl.
CakeCentral.com is the world's largest cake community for cake decorating professionals and enthusiasts.
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Soon the midstate will discover if Lara Brenckle won big or walked away defeated.
The North Middleton Twp. resident will have her episode of "Jeopardy!," "Jeopardy!," the classic trivia game show hosted by Alex Trebek, air tonight.
We talked with Brenckle when she first earned the audition, where she told us how she's been practicing for years.
"I'm one of those people that I'm sitting at home on the sofa [watching the show] and calling out the answers," she said.
If she does win a considerable sum, Brenckle already has plans for the cash.
"I said I would either buy my husband a whole new suite of camera equipment or, depending on how much money, maybe take a nice beach vacation," she said in the same interview.
At that time, she wasn't sure if she would actually earn a spot on the show.
"Coming to this is like going to Harvard," she said. "You're smart in your own little school - you're the valedictorian - and then you come to Harvard and you're in class with all valedictorians."
But as luck (and skill) would have it, she did.
The episode featuring Brenckle will air at 7:30 p.m. tonight, May 21, on CBS 21.


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For the New York Yankees, it's going to come down to who would you rather face -- a pitcher that has your number, or a team that has had your number this season?
That's what the Yankees will find out tonight when the Tampa Bay Rays and Texas Rangers square off to see who gets a shot at the Yankees.
In our reader poll, the results were close with 54.7 percent saying they would rather see the Yankees take on the Rangers in the ALCS.
One SILive.com user, budboy, thinks Yankees fans would rather see the Rays, chiming in:
I'm not a Yankee fan, but all the Yankee fans in my home seem to be really afraid of the possibility of facing the Rangers. I sure it has something to do with Cliff Lee. Personally, I think either team will make for a good series. As much as I hate to say it, the Yanks will be tough to beat. If they make it to the Series though, I don't think Philly(if they make it), will roll over as easily as last year.Agree?
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Our guest at the Too Many Artists evening at Firstsite last November, Susan Jones (director of a-n The Artists Information Company), has kindly provided a very detailed and greatly expanded version of her talk, which includes a lot of additional information and data that we ran out of time for on the night. This post also contains the bibliography.
A PDF of the complete text will be available shortly.
You can the read the transcript of her actual talk here, which will of course have some overlap and repetition of what's posted below.
Markets for art practice
Writing in a-n Magazine in 2002, Conrad Atkinson commented: "Not all of us make corporate art, not all of us think art should shock the middle classes, not all of us are more interested in our own blood than in the blood of others dying in other parts of the world. Perhaps art can't really make a difference but it can highlight alternative ways of seeing and living."
It is said that since the mid 80s it has not been possible for writers to make a living from their work – some 85% have "other jobs" – that may include arts and non arts related work as is the case with visual artists.
In The Visual Arts Survey, London Institute (1990)
- 25% of artists said sales of work were their main income
- 21% gained their main income from commissions and public art
- 19% from teaching (FE/HE)
- 8% from residencies
In 1996, a survey conducted for the NAA (National Artists Association) gave these statistics:
- 20% of artists said teaching was the most important income
- 19% said residencies were the most important income
- 18% said commissions and public art were the most important income
- 14% said selling was the most important income
These 1996 figures provided a clear indicator that growth of interest in being in the visual arts was not commensurate with income acquisition. Artists were seemingly quite prepared to manage on less money whilst the cost of living rose.
If the more recent a-n and AIR Big Artists Survey findings are correct and the average turnover artists made from art practice in the last year is £9,000, then artists are either making quite a lot more from non-art sources, being financed by a partner/family (similarly to the 1977 Gulbenkian Enquiry findings), managing to 'sign on' (unlikely) or using some other means to put the bread on the table.
Although the 1996 NAA survey found 37% of artists to be gaining their work from art policies that fostered instrumentality or 'art services', The Big Artists Survey in 2011 – perhaps because of the larger sample size or because of the greater diversity of types of work now undertaken – found this 'services' area of work to be the regular or occasional role for around 24%.
Is the current 'concern' about the size of the artist constituency due to declining public sector markets? Is this situation the 'fault' of artists? Does it make them worthy candidates for 'extermination' or any other method one might wittily choose to reduce numbers to the size the art market can stand?
I'd like though here to raise an issue I fairly cursorily examined a few years ago. Should there be a redundancy mechanism available to artists? Because the majority of artists are self-employed, how otherwise can an artist 'leave' the profession if they are no longer practising or making work to their own required professional standard or have taken on a different occupation (that they may not recognise as having supplanted their artist role)? I have witnessed some members of artists' studio groups complain about certain spaces being wasted: full up with stored 'old' work – let to artists who have in fact become something other than an artist – a full-time art lecturer or manager, director of an arts (or artists') organisation, someone now running an arts business such as a gallery that is showing and framing other artists' work.
A route for such artists who are no longer practising as artists (non practising artists) could be to take redundancy – to leave the profession gracefully. A redundancy package may, for example, acknowledge an artist's length of service, their altruism to the arts and to the profession; allow them to draw a line and move onto something else. It might prevent the dilution of quality and professional recognition that others in this debate allude to, and minimise the impact of 'too many artists' on the profession as a whole.
A self-determining practice
Artists tend to select self-employment because (as Whitmyer, Rasberry and Phillips said) it is "a statement about what you are and all that is important in your life"
- 7% artists on Enterprise Allowance (1990)
- 76% of makers self-employed/sole traders (1990)
- 41% self-employment in creative industries as whole (2009)
- 72% self-employment amongst artists (2010) drops to 50% (2011)
When I started out an artist, there was no suggestion of self-employment – it just wasn't something anyone like me did. We did a bit of part-time teaching or we signed on – in 1980, the latter was what nearly all the artists in my studio group did to get by.
It was the 90s and the Tory Enterprise Allowance that moved artists towards self-employment – before then, surveys did not include the differentiation between employment and self-employment. (Nor incidentally did it suggest anywhere that the longer the practice, the higher price that artist may be able to command – this was felt to be 'anti equality' or downright unfair.)
I went to art school – I discovered recently by reading a second-year note book – because I wanted to explore the role of the artist, not because of any expectation that I was employable or that anyone would offer me a job afterwards. I had no idea I'd acquire social research, writing and editing skills nor bring my creative problem-solving skills and entrepreneurship to bear on the non-profit company I now lead.
As I commented in a recent lecture Nobody wants you but everyone needs you, "In many situations, the artist kind of 'falls in love' with their occupation and wholeheartedly embraces all that this involves. And as Bob Dylan said: 'You can't be in love and wise at the same time'."
In 2011, new graduates say that what they want to know about is things like contracts, how to set up as self-employed and other 'business-like' skills – as well as about how to locate and generate peer networks. Note they aren't yet saying this whilst students, but once they have graduated and have huge amounts of student loan and overdraft/credit card debt to deal with.
Supply and demand?
Derreck Harris quoted in 11 Course leaders, 20 questions, published by (artist-led) Q-Arts in 2011, has put another slant on 'over supply', commenting that there are "More fine art courses per capita in UK than anywhere else in the world – more than Europe and North America where there are well established art markets particularly Germany and US." So it should come as no surprise that Creative Graduates – Creative Futures (2008) said that: "One third of artist graduates earn £15,000 or under a year, less than the average starting salary for a new graduate across disciplines. Artists often already subsidise or co-fund their own projects."
So is the debate about 'too many artists' because there is not enough work for them actually a swipe at the mercenary or cynical attitudes of universities with their uncaring attitudes to employability? Given that artists continue to be heavily reliant on HE income (according to a 2011 survey by AIR Artists Interaction and Representation 69% teach or lecture to some extent to provide professional income), would the aim of this debate about 'too many artists' be to decrease the number of courses on offer and by doing so to deny these artists a worthy income?
State intervention in the arts
"State intervention …is not neutral … it has radically affected what art is, how it is understood and how it is practiced." Thus concluded Dr Nicholas Pearson in The State and the Visual Arts (1981). He asserted that state patronage was developed because 'Art' was deemed to be morally good:" He quoted from the Handbook of Practical Art (1868), that had said: "No one expects the whole of the working class to at once take up drawing and entirely denounce strong liquor".
One of the arguments for setting up what later became the Arts Council of Great Britain was the fear of what would happen to the visual arts if left to the vagaries of the market place… in the hands of the new moneyed classes (who had not got 'taste').
Historical assumptions for setting up state support of the arts as delivered by the Arts Council(s) include:
- The difference between high art and culture and anything else
- Fine art is important but very fragile
- Quality fine art is generally found in London – this is still felt to be the case and regardless of any attempts to change it is ever thus a perception due to the size of the critical mass and the centralist nature of art in England
- Artists are uncontrollable and need to be guided and 'patronised' by the state – rather than the state nurturing the creative instincts and complexity of artists and their practice.
- Artists are poor – the state needs to uplift and patronise them
- Quality is something obvious to certain types of people from certain kinds of educated classes.
- Quality is hard to define in value terms (but we all know it when we see it or someone from the above echelon tells us it's there
Less than a dozen years ago, arts policy proudly proclaimed: "The overall aim of Year of the Artist 2000 is to place the artist at the centre of society, to create better understanding of the role of the artist, to establish new partnerships between every sector of society and the arts, to empower artists and communities, and to have a lasting impact for their benefit…."
State intervention, patronage or interference in the market has certainly had the effect of creating more work within arts mediation and administration. Back in the 70s, those arts 'management' jobs tended to be done by artists who moved from practitioner to leading the arts in other ways – they set up and ran the galleries, agencies and arts centres, Nowadays, arts managers are a separate breed with special qualifications and their own peer networks. They can become 'leaders' through schemes such as the Cultural Leadership programme (which incidentally so far has enabled just one artist – Joshua Sofaer – to benefit from a Fellowship). Whilst arts leaders rely on an ongoing supply of good artists, they rarely include them in their professional networks, unless they are 'well-known'. Practitioners are rarely trusted to be a 'leader' – to behave nicely in public.
In the 80s gallery director Edna Read wrote in a-n Magazine: "I have a feeling that if all the living artists disappeared today, the contemporary art world would [not notice] – just carry on doing what they're doing". And a decade later John Pick (founder of Europe's first arts management department) commented wryly: "If arts administrators continue to grow at the current rate, there will soon be more of them than people". Is too much arts money tied up in mediation? Is it significant that in 2004 (when compared with 1989) the salary levels of arts officers working in the publicly-funded arts in England rose by some 41%?
Despite those grand statements about the value of artists made in 2000, by 2010 Arts Council England is barely mentioning artists in their policy Achieving Great Art for Everyone (its ten year strategic framework for the arts), except when in the couplet 'artists and arts organisations' will/should…. [do something or other]. Innovation, excellence and all other important arts things – they seem to be saying – are best achieved by placing subsidy into organisations whose missions are to increase audiences for the visual arts (rather than to support the artistic development or autonomy of artists). There seems to be some irony therefore that the State of the Arts conference for 2012 (organised by ACE and the BBC) is on the theme of 'Artists changing the world'.
In the current squeezed economic climate, it seems to have been the recognition of artists in financial terms which has been eroded whilst arts managers – admittedly often just as hardworking as artists – continue to assiduously find funding and income to maintain their roles, arguing they are the essential grease between market and art. (Note I have purposely placed market first, as it seems that galleries for example tend to give audience development a higher status within their ambitions than they do to supporting the artistic development of practitioners on their patch).
How are artists practising?
The 2011 Big Artists Survey reveals that:
- 93% of artists use exhibitions/gallery commissions regularly or occasionally.
- 83% of artists use private commissions regularly or occasionally
- 78% of artists use sell/retail regularly or occasionally
- 69% of artists use teach/lecturing regularly or occasionally
- 60% of artists use fairs regularly or occasionally
- 60% of artists use community art regularly or occasionally
- 52% of artists use do residency/engaged practice regularly or occasionally
- 52% of artists use offer research/consultancy regularly or occasionally
- 49% of artists use festivals regularly or occasionally
- 48% of artists carry out public art regularly or occasionally
- 35% of artists use empty shops to present their work in regularly or occasionally
The artist's portfolio of activity nowadays is staggeringly large and diverse. The gap between this grass-roots pragmatic approach to creating a livelihood and the high-end commercial dealing is ever widening – just as is the gap between the UK's poor and rich.
It is a pity that when the UK's 'art stars' do find time to get up and have a voice about the state of the arts they tend to support the institutions and art markets that have given them their place (and standard of living) rather than expressing any support for those things that provide ladders and structures for the 'critical mass' of artists – from which quality in the arts emerges. It's almost as if these well-known artists acquired their status by good luck and (of course) by making great work. They didn't actually need to do any of this 'portfolio working' themselves or bother themselves with the 'grimy' business of making a living however they could.
Who wants artists?
a-n's The changing face of artists' employment (2011) that analyses openly offered work to artists in the calendar year of 2010 compares the main employer categories in 2009 and 2010.
2009 2010
HE/FE sector 23% 33%
Arts organisations 11% 13%
Local authorities 6% 10%
Trusts 2% 3%
Healthcare 2% 0%:
Note how important the HE sector has continued to be in employment terms. In the Gulbenkian study in 1977 "second careers including teaching provided the main source of subsidy for the practice of art". And arts organisations nowadays – just as they did in that past period – play a much more minor role in financially providing for artists' livelihoods and career development.
In 11 Course leaders, 20 questions (2011) Mo Throp is quoted as telling students and parents that: "1% making a living from being a fine artist." So with the increase in student fees and greater role of parents in the decisions about their offspring's education choices result in fewer students going on art (and fine art) courses? Could the current proposition that there are 'too many artists' be superseded in the future by 'not enough artists' (to make a vibrant critical mass)? Note too that this year, UK art colleges saw a 27% drop in applications.
I have discovered in the course of researching this paper that only 10-20 playwrights are making a living from their work nowadays and commissions for contemporary composers are far and few between. Some of those in the high echelons of the visual arts world have voiced approval for the creation of a 'Top 20' artists listing as this would clarify the art market and make it all much easier to deal with.
So are artists ever destined to be at the centre of culture (or is there only room for a chosen few)?
Being an artist
The more of a portfolio worker you are, the less you earn concludes Creative Graduates – Creative Futures (2008): "48% of graduates in work were engaged in multiple activities or portfolio working…. combining paid employment with self-employment… 30% combined two activities, 13% had three, and 5% combined four different types of work. This pattern does not change significantly over time, even when graduates are four, five or six years into their careers."
Hayley Harrison said in her blog "I've always felt shame knowing I will always make art regardless of how much £s I do/don't make. It's refreshing to hear others admit that too. It's especially difficult to explain to someone [outside the arts]. I feel, they feel I am an idiot. What? You will work for nothing?"
The question I would raise here is whether this situation – this evidence – is very much different from any other 'profession' nowadays? Those similar changes in income levels (and status) seem to be occurring in accountancy, journalism, IT, elsewhere in the humanities in general. Is this a condition of 21st Century life.
Note that back in 1997, researchers for Artists career paths found that "Money is not the driving force behind making work. What is most important to artists is making work that they are personally happy with. This suggests that artists experience non-pecuniary or psychic income from continuing their practice.
I was listening in recently to a Twitter debate on #artinacoldclimate in which one speaker asserted that "businesses were now learning from art". But surely it isn't just artists who have the ability to be creative, innovative, risky and experimental? People who are trained as artists can segue into other professions and environments – some of the 'too many' usefully take their art thinking and apply it to business, management, social change in other ways. It may be then that such options for artists are not well enough charted (although surely the greater requirement to show employability and enterprise within art and design courses will remedy this omission?
In my mind, the issue for the future is not whether there are too many artists but whether sufficient levels of investment – from a wide range of sources and perspectives – can be found to support the 'blue skies', the things they do that raise the game and expectations of practitioners, that put fashion and instant gratification into perspective. I believe that it is the publicly-funded arts institutions that will fail to navigate the 21st Century whilst the 'too many artists' will secure our ability to do so.
© Susan Jones 2011. This paper commissioned by Market Project has been extended and adapted for online publication. Susan Jones is Director of a-n The Artists Information Company (www.a-n.co.uk) whose mission is to stimulate and support artists and affirm their value in society.
The economics of artists' labour markets, Ruth Towse, Arts Council of England, 1996
Gulbenkian Enquiry into the Economic Status of Visual Artists, Andrew Brighton and Nicholas Pearson (unpublished) 1977
Employment in the arts and cultural industries: an analysis of the 1991 Census, Jane O'Brien and Andy Feist, Arts Council of Great Britain 1995
Feasibility Study for the National Visual Arts Information Project, Susan Jones, 1988
The British Art Market, Arts Economics, 2009 www.lapada.org/public/The_British_art_Market.pdf
Inquiry into the market for art, Culture Media and Sport Select Committee 2006
Taste buds: how to cultivate the art market, Morris Hargreaves, 2004 www.takingpartinthearts.com/content.php?content=1034
The changing face of artists' employment, Susan Jones, a-n The Artists Information Company, 2011
Achieving Great Art for Everyone, Arts Council England, 2010
The Visual Arts Survey, Susan Jones, London Institute, 1990
Artists' fees and payments in the UK, draft report, Phyllida Shaw & Keith Allen, National Artists Association, 1996
The Big Artists Survey, AIR and a-n, 2011 www.a-n.co.uk/big_artists_survey
Running a one-person business, Whitmyer, Rasberry and Phillips, Ten Speed Press, 1989
11 Course leaders, 20 questions, Q Arts London, 2011
Do you really expect to get paid? An economic study of professional artists in Australia, David Throsby, Australia Arts Council, 2009
A fair share – direct funding to individual artists from UK arts councils, Dany Louise, a-n The Artists Information Company 2011 www.a-n.co.uk/a_fair_share
Muses and marketsexplorations in the economics of the arts Frey and Pommerehne, Blackwell, 1989
The business of being an artist, Janet Summerton, Eric Moody, City University, 1996
Conrad Atkinson, a-n Magazine December 2002
The State and the Visual Arts, Nicholas Pearson, 1981
Creative Graduates – Creative Futures, 2008
Artists' rates of pay 1989-2004, Susan Jones, Paul Glinkowski www.a-n.co.uk
Something's happening, Hayley Harrison's blog on www.a-n.co.uk/artists_talking October 2011
Artists Career Paths, Arts Council of England, 1997
Thanks also to Ros Rigby, Programme Director, The Sage Gateshead and Director of New Writing North Claire Malcolm, for their insights and evidence for this paper.


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The SPIRITS of St. Petersburg is based in St. Petersburg, Florida. The founder and several members started doing paranormal investigations in the late 1990s. The team, itself, was officially formed and named in 2000. Senior investigators have logged well over 400 investigations since the formation of the team. We currently hold LLC status and a federal service [trade] mark.
The SPIRITS' website has over 150 pages of information which ranges from history, public and private investigation, cemetery crawls, ghost tour reviews, movie/book and popular ghost-themed entertainment reviews, practical information, commentary and more. Our goal is to promote education and understanding of the paranormal and supernatural worlds.
The team believes that the subjectivity of the human experience, the objectivity of equipment, and the recorded history of research triangulate to determine the truth of activity at a location. We believe in ethical investigation practices, and do not encourage nor practice invoking, evoking, or provoking anything, living or otherwise. Respect to all is paramount. We believe in methodology as the basis for investigation. We utilize a controlled contact person, the only one to know the history of a location prior to an investigation. The remainder of the team arrives on site without any prior information. To ensure a more neutral stance, the team has a public call for non-haunted locations as well as haunted locations, and a procedural process in place.
In keeping as controlled an environment as possible, procedure follows this standard: Investigations consist of a walk-through in which we identify hot spot areas, discussion as to how we wish to proceed in investigating these areas, and the formulation of focus groups. At the end of the investigation we share our findings with the homeowner, answer questions, perform in-depth research on history of the location, and prepare for any necessary rechecks. We keep the homeowner informed of our progress, as they have the final say as to what information may be released via the website, and we also follow up with a standard recheck to determine the status of the site investigated.
To learn more, please see: www.spiritsofstpetersburg.com


text:
Making my rounds around the internet, I came across a piece on LeBron James on ESPN's Heat Index.
The tone of the piece is simple: LeBron isn't really a choker… people just so want him to fail, that they magnify his failures and create a narrative that paints him negatively.
Ok, fair enough. I don't happen to believe it, but the writer, Ethan Sherwood Strauss, is certainly entitled to his opinion. And then… curiously… he drops this. The emphasis is mine:
A title victory protects an athlete. Don't have a ring? Likability is the next best defense. If fans identify with a star, they're less inclined to impugn him. Steve Nash has eluded the cruel "choker" tag, despite many playoff exits. My assumption is that sportswriters and fans are more likely to empathize with someone who looks like them. It helps that Nash plays a beautiful game and exudes charisma. So, it makes sense that much of the media narrative surrounding him revolves around how the Suns have failed him – not the other way around.
LeBron James does not look like most media members, or a majority of the fans. He irritated significant numbers with the tone-deaf Decision and what many felt was a power play. The angry masses were further enraged by the local celebration of Miami's free-agent haul. Should LeBron fail, should his team fail, mockery will write history.
"Fans are more likely to empathize with someone who looks like them."
That sounds a lot like the argument we've heard before that the NBA needs more white players so fans can root for someone who looks like them. It's just as ridiculous.
This is a very thinly veiled attempt at painting the media and fans as racist… or at least say that race plays a part in why we hate LeBron James. To imply that Steve Nash gets a pass because he's white and LeBron doesn't because he's black is ridiculous. It's a tired and, honestly, disgusting argument. It has no place on the internet or in blogs… much less on ESPN's site.
And there's no denying that's what is being implied. But again, I'll remind Mr. Strauss that LeBron had plenty of good will in Cleveland. When LeBron's favorability rating came crashing to earth… it was his own doing with "The Decision" and other PR blunders since this past summer. He had plenty of white people loving him before. It's why his favorability rating was high in the first place.
I just can't believe this kind of stuff keeps getting written.


text:
16 U.S.C. 791a-825r, 2601-2645; 31 U.S.C. 9701; 42 U.S.C. 7101-7352.
(See §§ 9.1 through 9.10 of this chapter.)
(1)_________, licensee under the license for Project No. ___, issued by the Commission on _________ (Month, day, year) and
(2) _________, (hereinafter referred to as the Transferee).
(3) Hereby jointly and severally apply for the written approval by the Federal Energy Regulatory Commission of the transfer of the aforesaid license from the transferor to the transferee and request that the instrument of such approval by the Commission be made effective as of the date of conveyance of the project properties; and in support thereof show the Commission as follows:
(4) The said transferee is:
(5) The transferee submits as [partial] evidence of its compliance with all applicable State laws as required by section 9(b) of the Federal Power Act _________ submitted herewith as exhibits B-1, B-2, etc., and proposes to complete its showing of such compliance by submitting ______
(6) The transferee will submit certified copies of all instruments of conveyance whereby title to the project properties is conveyed to it, upon the completion of such conveyance, if and when the Commission shall have given its approval to the proposed transfer;
(7) If and when the Commission shall have given its approval to the proposed transfer, and upon completion of conveyance of the project properties to the transferee, the transferor will deliver to the transferee and the transferee will accept and permanently retain all license instruments and all maps, plans, specifications, contracts, reports of engineers, accounts, books, records, and all other papers and documents relating to the original project and to all additions thereto and betterments thereof;
(8) The transferor certifies that it has fully complied with the terms and conditions of its license, as amended, and that it has fully satisfied and discharged all of its liabilities and obligations thereunder to the date hereof, and obligates itself to pay all annual charges accrued under the license to the date of transfer;
(9) Contingent upon the final written approval by the Commission of the transfer of the license, the transferee accepts all the terms and conditions of the said license [as amended] and the act, and agrees to be bound thereby to the same extent as though it were the original licensee thereunder;
(10) The name, title, and post-office address of the person or persons to whom correspondence in regard to this application shall be addressed are as follows:
In witness whereof the transferor has caused its name to be hereunto signed by ____________ (Name), its ____________ (Title—chief executive officer), and its corporate seal to be hereunto affixed by ____________ (Name), its ____________ (Title—custodian of seal), thereunto duly authorized, this _____ day of ________, 19__; and the transferee has caused its name to be hereunto signed by _________ (Name), its _________ (Title—chief executive officer), and its corporate seal to be hereunto affixed by _________ (Name), its _________ (Title—custodian of seal), thereunto duly authorized this _____ day of ________, 19__.
State of
____________ being duly sworn deposes and says: That he is the
Subscribed and sworn to before me, a notary public of the State of _______ this _______ day of _______, 19__.
State of
__________, __________ and __________, being duly sworn, each for himself, deposes and says that he is a citizen of the United States of America.
Subscribed and sworn to before me, a notary public of the State of _______ this _______ day of _______, 19__.
(See section 46.4 of this chapter.)
1. Prepare this report in conformity with the requirements prescribed in 18 CFR 46.4.
2. Leave blank any columns that are not applicable.
(See § 34.10 of this chapter.)
(Submit an original and four copies.)
No later than 30 days after the sale or placement of long-term debt or equity securities or the entry into guarantees or assumptions of liabilities (collectively referred to as "placement") pursuant to authority granted under Part 34 of this chapter, the applicant must file a summary of each proposal or proposals received for the placement. The proposal or proposals accepted must be indicated. The information to be filed must include:
(a) Par or stated value of securities;
(b) Number of units (shares of stock, number of bonds) issued;
(c) Total dollar value of the issue;
(d) Life of the securities, including maximum life and average life of sinking fund issue;
(e) Dividend or interest rate;
(f) Call provisions;
(g) Sinking fund provisions;
(h) Offering price;
(i) Discount or premium;
(j) Commission or underwriter's spread;
(k) Net proceeds to company for each unit of security and for the total issue;
(l) Net cost to the company for securities with a stated interest or dividend rate.
(See §§ 35.1 through 35.21 of this chapter.)
(See §§ 35.1 through 35.21 of this chapter.)
This is to certify that_________
Dated _________ 19__.
(See §§ 35.1 through 35.21 of this chapter.)
Notice is hereby given that effective the __ day of______ 19__, Rate Schedule F.E.R.C. No. ___, effective date ______ and filed with the Federal Energy Regulatory Commission by________________
(Name of public utility filing rate schedule) is to be cancelled.
Notice of the proposed cancellation has been served upon the following:
Dated ______________, 19__.
(See § 11.24 of this chapter.) Application by State and municipal licensees for exemption from payment of annual charges must be prepared on this form. The form specifies that in filing application for exemption, the following data and schedules shall be submitted:
1. Name and address of correspondent;
2. Basis for claimed exemption;
3. Generating plants owned or operated by licensee;
4. Transmission lines and distribution lines;
5. KWH of power generated, purchased and interchanged;
6. Power sold or otherwise disposed of (kwh);
7. Power interchange (in detail);
8. Statement of unusual conditions attending the disposition of electric power;
9. Book cost of electric property;
10. Operating revenues;
11. Operating expenses and other deductions from revenues;
12. Affidavit.
(See § 292.207 of this chapter.)
(To be completed for the purpose of demonstrating up-to-date conformance with the qualification criteria of Section 292.203(a)(1) or Section 292.203(b), based on actual or planned operating experience)
1a. Full name:
Docket Number assigned to the immediately preceding submittal filed with the Commission in connection with the instant facility, if any: QF___-___-___.
Purpose of instant filing (self-certification or self-recertification (Section 292.207(a)(1)), or application for Commission certification or recertification (Sections 292.207 (b) and (d)(2))):
1b. Full address of applicant:
1c. Indicate the owner(s) of the facility (including the percentage of ownership held by any electric utility or electric utility holding company, or by any persons owned by either) and the operator of the facility. Note that any combination of direct and/or indirect electric utility or electric utility holding company ownership cannot exceed 50 percent of the total ownership (Sections 292.206 and 292.202(n)). For non-electric utility owners, identify the upstream owners, including owners holding 10 percent or more of the equity interest of such non-electric utility owners. Additionally, state whether or not any of the non-electric utility owners or their upstream owners are engaged in the generation or sale of electric power, or have any ownership or operating interest in any electric facilities other than qualifying facilities. In order to facilitate review of the application, the applicant may also provide an ownership chart identifying the upstream ownership of the facility. Such chart should indicate ownership percentages where appropriate.
1d. Signature of authorized individual evidencing accuracy and authenticity of information provided by applicant:
2. Person to whom communications regarding the filed information may be addressed:
3a. Location of facility to be certified:
3b. Indicate the electric utilities that are contemplated to transact with the qualifying facility (if known) and describe the services those electric utilities are expected to provide: utilities interconnecting with the facility and/or providing wheeling service (Section 292.303(c) and (d)): utilities purchasing the useful electric power output (Sections 292.101(b)(2), 292.202(g) and 292.303(a)): utilities providing supplementary power, backup power, maintenance power, and/or interruptible power service (Sections 292.101(b) (3) and (8), 292.303(b) and 292.305(b)):
4a. Describe the principal components of the facility including boilers, prime movers and electric generators, and explain their operation. Include transmission lines, transformers and switchyard equipment, if included as part of the facility.
4b. Indicate the maximum gross and maximum net electric power production capacity of the facility at the point(s) of delivery and show the derivation.
4c. Indicate the actual or expected installation and operation dates of the facility, or the actual or expected date of completion of the reported modification to the facility:
4d. Describe the primary energy input (
5. Provide the average annual hourly energy input in terms of Btu for the following fossil fuel energy inputs, and provide the related percentage of the total average annual hourly energy input to the facility (Section 292.202(j)). For any oil or natural gas fuel, use lower heating value (Section 292.202(m)):
6. Discuss any particular characteristic of the facility which the cogenerator or small power producer believes might bear on its qualifying status.
7. Describe how fossil fuel use will not exceed 25 percent of the total annual energy input limit (Sections 292.202(j) and 292.204(b)). Also, describe how the use of fossil fuel will be limited to the following purposes to conform to Federal Power Act Section 3(17)(B): Ignition, start-up, testing, flame stabilization, control use, and minimal amounts of fuel required to alleviate or prevent unanticipated equipment outages and emergencies directly affecting the public.
8. If the facility reported herein is not an eligible solar, wind, waste or geothermal facility, and if any other non-eligible facility located within one mile of the instant facility is owned by any of the entities (or their affiliates) reported in Part A at item 1c. above and uses the same primary energy input, provide the following information about the other facility for the purpose of demonstrating that the total of the power production capacities of these facilities does not exceed 80 MW (Section 292.204(a)):
An eligible solar, wind, waste or geothermal facility, as defined in Section 3(17)(E) of the Federal Power Act, is a small power production facility that produces electric energy solely by the use, as a primary energy input, of solar, wind, waste or geothermal resources, for which either an application for Commission certification of qualifying status (Section 292.207(b)) or a notice of self-certification of qualifying status (Section 292.207(a)) was submitted to the Commission not later than December 31, 1994, and for which construction of such facility commences not later than December 31, 1999, or if not, reasonable diligence is exercised toward the completion of such facility, taking into account all factors relevant to construction of the facility.
9. Describe the cogeneration system (Sections 292.202(c) and 292.203(b)), and state whether the facility is a topping-cycle (Section 292.202(d)) or bottoming-cycle (Section 292.202(e)) cogeneration facility.
10. To demonstrate the sequentiality of the cogeneration process (Section 292.202(s)) and to support compliance with other requirements such as the operating and efficiency standards (item 11 below), provide a mass and heat balance (cycle) diagram depicting average annual hourly operating conditions. Also, provide:
Using lower heating value (Section 292.202(m)), all fuel flow inputs in Btu/hr., separately indicating fossil fuel inputs for any supplementary firing in Btu/hr. (Section 292.202(f)):
Average net electric output (kW or MW) (Section 292.202(g));
Average net mechanical output in horsepower (Section 292.202(g));
Number of hours of operation used to determine the average annual hourly facility inputs and outputs; and
Working fluid (
11. Compute the operating value (applicable to a topping-cycle facility under Section 292.205(a)(1)) and the efficiency value (Sections 292.205(a)(2) and Section 292.205(b)), based on the information provided in and corresponding to item 10, as follows:
Efficiency standard applicable to natural gas and oil fuel used in a topping-cycle facility:
Efficiency standard applicable to natural gas and oil fuel used for supplementary firing component of a bottoming-cycle facility:
12. Identify the entity (
13. In connection with the requirement that the thermal energy output be useful (Section 292.202(h)):
For process uses by commercial or industrial host(s), describe each process (or group of similar processes using the same quality of steam) and provide the average annual hourly thermal energy made available to the process, less process return. For a complex system, where the primary steam header at the host-side is divided into various sub-uses, each having different pressure and temperature characteristics, describe the processes associated with each sub-use and provide the average annual hourly thermal energy delivered to each sub-use, less process return from such sub-use. Provide a diagram showing the main steam header and the sub-uses with other relevant information such as the average header pressure (psia), the temperature (deg.F), the enthalpy (Btu/lb.), and the flow (lb./hr.), both in and out of each sub-use. For space and water heating, describe the type of heating involved (
14. Provide a description of the commercial or industrial process or other thermal application to which the energy input to the system is first applied and from which the reject heat is then used for electric power production.
15 U.S.C. 79; 16 U.S.C. 791a-828c, 2601-2645; 31 U.S.C. 9701; 42 U.S.C. 7101-7352.
The form of the report, Licensed Hydropower Development Recreation Report, designated as FERC Form No. 80, for use by licensees in reporting information with respect to existing and potential recreational use at developments within projects under major and minor license, is approved and prescribed for use as provided in § 8.11 of this chapter.
If a licensee of a hydropower project is required by its license to file with the Commission an annual report of conveyances of easements or rights-of-way across, or leases of, project lands, the report must be filed only if such a conveyance or lease of project lands has occurred in the previous year.
(2) Any electric utility, or group of electric utilities that constitutes a planning area and that has a peak load greater than 200 megawatts (MW) based on net energy for load for the reporting year, must complete applicable schedules in FERC Form No. 714.
At 58 FR 52436, Oct. 8, 1993, § 141.51 was revised. The revised text contains information collection provisions which will not become effective until approved by the Office of Management and Budget.
Any public utility or licensee becoming subject to the jurisdiction of the Commission shall file, insofar as applicable, the following statements properly sworn to by the officer in responsible charge of their compilation:
Statement A showing in outline the origin and development of the company including particularly a description (giving names of parties and dates) of each consolidation and merger to which the company, or a predecessor, was a party and each acquisition of an electric operating unit or system.
Statement B showing for each acquisition by the reporting company or any of its predecessors of an electric operating unit or system, the original cost, estimated, if not known, the cost of such company and the amount entered in the books in respect thereto as of the date of acquisition. If the depreciation, retirement, or amortization reserve was adjusted as of the date of acquisition and in connection therewith, a full disclosure of the pertinent facts should be made. The difference between the original cost and the amount entered in respect thereto of each acquisition of an electric operating unit or system, as of the date of acquisition, should be clearly stated, and a summary of all transactions affecting such difference through the end of the calendar year prior to the year in which the filing is made, and the resultant amount at the latter date, should be set forth. The amount to be included in account 114, Electric Plant Acquisition Adjustments, shall be subdivided so as to show the amounts applicable to (1) electric plant in service, (2) electric plant leased to others, and (3) electric plant held for future use. Whenever practical, such amount shall be classified according to nature, i.e., going value, structural value, etc.
Where estimates are used in arriving at original cost or the amount to be included in account 114, a full disclosure of the method and underlying facts should be given. The method of determining the original cost of the electric plant acquired as operating units or systems should be described in sufficient detail to permit a clear understanding of the nature of the investigations which were made for that purpose.
Statement C showing any amounts arrived at by appraisals in the electric plant accounts (and not eliminated) in lieu of cost to the reporting company. This statement should give the full journal entry at the time the appraisal was originally recorded and if the entry had the effect of appreciating or writing up the electric plant account, the amount of the appreciation of writeup should be traced, by proper description and explanation of changes, from the date recorded through the end of the calendar year prior to the year in which the filing is made.
Statement D showing electric plant as classified in the books of account immediately prior to reclassification in accordance with the Uniform System of Accounts, including, under a descriptive heading, any unclassified amounts applicable jointly to the electric department and other departments of the utility.
Statement E showing summary of adjustments necessary to state accounts 101, 103-107, 114, and 116, as prescribed in the Uniform System of Accounts.
Statement F showing electric plant classified according to the accounts prescribed in the Uniform System of Accounts, and showing also the amount includible in account 116, Other Electric Plant Adjustments.
Statement G giving a comparative balance sheet showing the accounts and amounts appearing in the books before the adjusting entries have been made and after such entries shall have been made.
Statement H giving a suggested plan for depreciating, amortizing, or otherwise disposing in whole or in part of the amounts includible in account 114, Electric Plant Acquisition Adjustments, and account 116, Other Electric Plant Adjustments.
Statement I giving the following statistical information relative to electric plant.
Description of principal structures and improvements.
Number and type of transportation vehicles and appurtenant equipment.
Description of store, shop, and laboratory equipment.
Description of communication equipment.
Description of miscellaneous equipment.
At 58 FR 52436, Oct. 8, 1993, § 141.300 was added. The new section contains information collection provisions


text:
Miley Cyrus is now busy promoting her return to music abroad! Here's the 'We Can't Stop' singer dropping by the KISS FM studio in London. She's looking relaxed as she heads inside.
What do you think of Miley's new single 'We Can't Stop'? It's catchy. I'm surprised to see her release a new album: a few years ago, it seemed like Miley was focused on her acting career. It's great she has options!
Photos by FameFlynetUK/FAMEFLYNET


text:
It's here! Olive Us has officially launched. Tiger in a Jar — the amazing video crew who put this together — has been working round the clock to finish up the edits. And I'm crazy excited about how it turned out! I hope you are too. : ) I can't wait to hear what you think of it.
Things you can do to join in the fun:
- Watch our pilot episode. It's called Garden Day. It was made with love!
- Check out the new Olive Us website. You can find out more about the show there, including FAQs and bios of the kids. There's even a video of Ben Blair talking about the aims of the series.
- Subscribe to Olive Us! We'll be sharing new videos every week and we don't want you to miss out.
- Tell your friends. We'd love help getting the word out about Olive Us. If you like what you see, feel free to share the videos on Facebook or your own blog or wherever you like to share things.
We hope you enjoy the first episode. A huge thanks to Pottery Barn Kids for being the sponsor — they've been so fun to work with, and their faith in the idea made the series a possibility.
P.S. — Oscar made up the song at the end on the video. Hah!
I've been getting lots of questions about props and wardrobe, so click here for a source list.
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