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November 28, 2011 · Print This Article
Guest Post by Jeriah Hildwine
Stephanie and I took the Metra to Hammond, Indiana, where Linda Dorman and Tom Torluemke picked us up at the station, and brought us back to their place. We ate pizza around their dining room table and then drank beer around a campfire in their backyard.  (Linda drank Coke, Tom O'Doul's.) Tom had built a perfect teepee fire, abashedly using compressed firestarters (which he called "cheatingâ€) to light the fire.
They took us to Sidecar Gallery to see "Water,†a show of work by Tom Burtonwood, Holly Holmes, and James Jankowiak. Tom Burtonwood created a wallpaper of a computer-generated alphabet consisting of isomorphic perspective renderings of three-dimensional blocks (like Tetris pieces), each rendered in a different, simple pattern of marks. It looked like a 1980s visualization of some kind of data set, but in fact represented an alphabet or code. Apparently it incorporated QR codes which stored a Uniform Resource Locator (URL) for a website that would decode the alphabet for you…but, lacking a smartphone, we didn't try it. Burtonwood also created some small wooden sculptures that mimicked the form of the wallpaper.
James Jankowiak also created a wallpaper of sorts, covering several walls of the gallery with parallel strips of brightly colored plastic tape. But his major works are small, square, incredibly precise paintings of minutely varying shades of color. The works in this exhibition consisted of concentric circles. In one, each circle was a slightly different shade of blue. In another, a green torus vibrates electrically against a red field. In a third, blues, browns, and whites alternate on a beige field. One's first thought is of course of sectioned Jawbreaker candies but a moment's thought links them more closely with Josef Albers' color studies.
Both Jankowiak's and Burtonwood's wallpapers served as backdrops for their own, and each other's, small paintings and sculptures, turning the exhibition into more of a collaboration than a group show. In the front room was one of Holly Holmes' recent wooden sculptures, in which thin strips of wooden lathe are bent into a complex, looping form, like a diagram of the flight of a bumblebee, or a crazy zero-gravity roller-coaster. I've seen a previous work of this type by Holmes, at Chicago Urban Arts Society, as part of Wood Worked, in which the material of the piece was left raw and unfinished. In Water, it was painted in blue and white. In each case the color and surface seemed an homage to the theme of the exhibition.
We had tickets for the 11:10pm South Shore Line Metra train home, but Sidecar was shutting down at 10pm, so instead of waiting around the train station in the cold for an hour after the show, Linda hooked us up with her friend Erik, who agreed to bring us back to Chicago. But, he said, we had to make what he assured us would be a brief stop at a friend's birthday party. That's how we ended up at Cisa Studio.
The birthday boy is this kid Flex, one of the guys who runs Cisa Studio in Hammond Indiana. I call him a kid because he's full of youthful energy, but in fact this is the eve of his 40th Birthday. The vibe is like a house party or maybe like the office Christmas party for a tattoo parlor.  Erik introduces us as we walk in the door, and everybody is so nice, welcoming us with warm handshakes and cold beer. The bathroom is immaculately clean, and the main space is stylishly decorated, with mood lighting and music befitting the occasion. We meet Flex, see some of his work (a portrait, in spraypaint on canvas, very realistically executed), and then he shows us the backyard.
This involves three layers: first, downstairs to an indoor, basement-like space where people gather to smoke around a big plywood table covered in drawings and graffiti writing.  A massive digital printer sits against one wall. Signs advertise various services: fine art paintings, signs, and airbrushed images for your motorcycle helmet, gas tank, leather jackets, and cars. There's a motorcycle helmet with an absolutely flawless airbrushed rendering of the comic book character Venom on it: more of Flex's work.
From there we moved into the garage, where a classic car sat, grind marks showing bare metal through the primer: a work in progress, speaking of infinite potential. In the back corner, a motorcycle sported a Minigun-type cluster of barrels emerging from its exhaust pipes. I don't know, but I imagine that they spin and belch fire when the motorcycle is running. I sat there, spinning the barrels by hand, entranced.
The backyard itself hosted a bench that had been airbrushed by some of Flex's friends as part of a public art commission.  I looked around, and admired the facilities: an absolutely gorgeous, spacious workspace. What's more, Flex told me, their rent is less than what Steph and I pay for our bedroom-and-a-half apartment in Ravenswood! "This is why Indiana is the shit,†Flex explained. It's hard to argue with that.
We smoked cigarettes, talked to the Cisa crew, and drank more beer. Then we were gathered, slowly and chaotically, into a rough herd, with the purpose of ambling down the alley to the studio's exhibition space, a separate building a block down, to see Arte Muerte 2011, the 4th annual occurrence of this "Day Of The Dead†themed exhibition. On the way I met the crew's photographer, the most heavily-tattooed guy there, long-haired, with a rock-and-roll aesthetic that goes some way towards explaining his nickname, "Tommy Lee.â€Â To look at him you'd expect him to be biting the head off a bat or something, and turns out to be an incredibly sweet and super righteous dude.
Arte Muerte consisted of Day of the Dead altars and two-dimensional wall art, all encompassing themes of death, family, ancestry, tradition, ritual, and a Latino or Mexican cultural heritage. The aesthetic of the work ranged from psychedelic and graffiti to Aztec and Maya glyphic writing, Catholic saints, and plenty of skulls. What struck me most immediately about the show was that not a single thing in it felt ironic, exploitative, or appropriated: there weren't sculptures of altars, they weren't about altars, they were genuine and sincere embodiments of this tradition.
After checking out the exhibition we made our way back to the studios where some of the guys were breakdancing, and we all did tequila shots in celebration of Flex's birthday. The Cisa studio crew talked to be about growing up together, and about how they hung out with Keith Haring when he was in Chicago. They showed me a picture of them all, years ago, hanging out with Haring. Erik mentioned working at Genesis Art Supply back in the day, and I asked him if he'd known Wesley Willis. They guys all started telling stories about hanging out with him back in the day, of setting him up in the store to sit there and draw. One of the guys proudly told me that Wesley had given him a drawing, which he still had. Another had Willis' old Casio keyboard from when he was growing up.
Many hours, many stories, and many beers later, we were all feeling pretty ready to head out. Another couple was catching a ride with us as well. Erik DeBat, our ride, had made sure to moderate his consumption and was quite sober and fit to drive. The rest of us were all pretty sauced, but I was still pretty lucid, and due to my long-leggedness our fellow passengers had afforded me the front seat, so I had much opportunity for conversation with Erik. We talked about his work, and he gave me a copy of the catalog from a recent exhibition he'd had: Risk & Reward, at The Renaissance Blackstone Hotel, in August of 2011. I open it up, and I see this painting of The Hulk, and something looks familiar about it. The catalog essay is by Tony Fitzpatrick and it all falls into place: I've seen Erik's work, and probably Erik himself, at Tony Fitzpatrick's place. He gave me a card for an upcoming exhibition (Recursion, at 2612 Space) featuring Erik's work as well as James Jankowiak, Mario Gonzalez Jr., Victor Lopez, and William Weyna. I wasn't able to make it to that one, but he also told me that he's got a show coming up at Firecat Projects, in May 2012. I generally make it to all of the openings at Firecat, but I'm looking forward to this one in particular.
Jeriah Hildwine is an artist, educator, and art writer for ArtPulse, Art Talk Chicago and Chicago Art Magazine. Jeriah lives and works in Chicago, with his wife Stephanie Burke.
Guest Post by Pamela Fraser
Two shows up simultaneously this month in New York seemed ripe for comparison, both having text at the heart of theatrical approaches to exhibition making. Great titles to both exhibitions, Matthew Brannon's Gentlemen's Relish and Michael Krebber's  C-A-N-V-A-S, Uhutrust, Jerry Magoo and guardian.co.uk Painting.
Matthew Brannon, installation shots, Casey Kaplan Gallery, Gentlemen's Relish, 2011
Brannon's show is a gallery-as-stage. Unlike the work of Karen Kilimnik, whose period-sets buttress the paintings that are always clearly the main event, Brannon's set doesn't read as way to situate or enhance objects, but as the work itself. The paintings and sculptural objects are props and backdrops in a scenario, playing subordinate to a whole, with the text perhaps, playing the leading role. The paintings are not approached as individual arenas of activity, but are more akin to decorative screens. As paintings, the gray-scale floral print patterns seem intentionally mild, so it's not painting as object that sparks excitement here, but the refusal to be paintings in the customary sense.
The text in Brannon's letterpress prints, drawings, and sculptures place the viewer inside of a plot involving a sexual frustration and deviancy. Bits of text can make one gasp (made me gasp) with their raw vulnerability, which is heightened by being packaged-not just within the pretenses of the well-mannered Noir-ish and WASPy worlds conjured, but by popping out of constraints in unexpected ways, amidst self-conscious play with forms of signification. The third-person narrative allows a psychological and emotional content to co-mingle with the pleasure and wit of the high-style artifice.
Krebber's show, a few blocks north, is comprised up of tight rows of many uniformly sized canvasses on which the artist sketchily copied art blog pages from specific sources. The press release informs that he sees this activity as the following: "By parasitizing the negative socio-pedagogical influence networked painting, Krebber agency to hasten collapse.†Hard to tell if this is an awkward translation, art-speak, or poetic form, but it does let us know that the paintings intend to be parasitic, dependent creatures related to Brannon's parts-of-a-whole; a curious and provocative approach.
selections from Michael Krebber, C-A-N-V-A-S, Uhutrust, Jerry Magoo and guardian.co.uk Painting, Greene Naftali, 2011
While the particular art-blog source material is made quite clear, Krebber's signature light touch in this case renders things vague. I'm a fan of his sleight-of-hand approach to painting, and his self-described 'empty appropriation' strategy, but I began to wish the artist had been as trenchant and trashy as some of what he reproduced here. The artist as neutral copyist worked to great power and effect in Richter's 18th October 1977, but with the art-world content, things feel a bit parochial and insider-y. Even after institutional critique, the subject of art world machinations and dialogues may be ripe for scrutinizing, but viewing these paintings apes the passivity of trolling the internet.
Dead (Tote), 1988, oil on canvas, 62×73 cm
Perhaps this is the point. Viewers leave the exhibition with the same diffused series of under-developed thoughts that we usually get from these sorts of dialogues. Krebber's show is alternatively as engaging, and un-engaging, as blog posts are (acknowledging that this is a blog post). Alternatively, Brannon's show is an immersive set-up that places the viewer inside of the production. In it, aridity and restraint work toward the making of an elegant, gripping thriller where everything is over-stylized, where plaintive characters are completely over the top. Yet one leaves the show with a convincing and forceful sense of haunting peculiarity.
Matthew Brannon
Gentlemen's Relish
Casey Kaplan Gallery
525 W21 St
Thru December 17th
Michael Krebber
C-A-N-V-A-S, Uhutrust, Jerry Magoo and guardian.co.uk Painting
Greene Naftali
508 W26 St, 8 fl
Thru November 19
Pamela Fraser is an artist represented by Casey Kaplan in New York and Galerie Schmidt Maczollek in Cologne, Germany. She lives in Charlotte, Vermont.
Cleopatra's in Brooklyn and Berlin
November 8, 2011 · Print This Article
Note: this is the last in a series of three posts guest-blogged by artist Rachel Mason centering on fellow artists, makers and exhibitors in NYC.
A few years ago I came across Cleopatra's (or the idea of it anyway) because of a project that Lisa Cooley was organizing with the artist Frank Haines. (An incredible artist)  She talked to me about doing a performance, which I thought would have been a lot of fun, but for one reason or other it didn't end up happening and I ended up thinking that Cleopatra's was a rock club or maybe a theater. I had no idea it was a gallery.
I started hearing more and more about this gallery space run by several women in Greenpoint, Brooklyn. When I finally ventured over to 110 Meserole Avenue, I experienced the reality of Cleopatra's. It's about 15 x 35 square feet and in addition to having a space in Greenpoint, earlier this year they expanded to a space in Berlin. There's something about Cleopatra's that I found instinctively exciting. I haven't met Erin yet, as she lives in Berlin and runs the space there, but if she's anything like the two Bridgets (Finn and Donahue) and Kate McNamara, who are the original women of Cleo's, then I have complete confidence in what she must be doing too.
First off, the fact that they can do all this using a collective approach is a feat. My experience with collaborations is limited to playing in bands. Its a miracle when it functions and flourishes. Theirs is a story of early commitment–apparently they took on a 10 year lease never having met in person! Kate and Erin met at the lease-signing!
Even though all three women come out of the art world, and still are very much employed by it, their own approach really seems to me to be to try out a variety of ideas with regard to what it means to create an exhibit, as revealed by their recently closed exhibition by Montserrat Albores,  Lynne Cook: Three Shows, which, as they state on their website, "aims to unravel the curatorial practice of Lynne Cooke."
At first I didn't understand what I was looking at when I went to the gallery, but then Bridget Finn opened up a black folder with pages and pages of emails and handwritten notes, markings on slide sheets, invoices, catalog essays, personal letters. These are the inner-workings of a museum curator's world. This is how huge retrospective shows happen. The project, organized by curator Montserrat Albores, presents the archive of materials that Lynne Cooke amassed in presenting "Three Shows†from the years 1993, 1999, and 2007.
There was a moment when I thought that the most fascinating thing about the gallery was how many projects seemed to negate the gallery, like Tyler Coburn's show, which after three years of existing in several other forms finally became a gallery show. Published as a short story and then made into a radio episode, and then finally, and lastly, landing as a gallery show.
But then I realized with this show, that you can't just look at anything online really- the gallery has hard copies there for you to peruse, like an old-fashioned library. There isn't any way to document it and put it online, even though its information ultimately came through the internet (like emails and airplane ticket records). You have to go to the gallery to see printouts if you want to see how much On Kawara's artist fee is, or the original artist's proposal to the museum director. How do these things happen? What gets the ball rolling? (Chantal Ackerman's proposal was over 10 pages long!).
Alberes's show is about a show, which is about a show, which will travel and become another show- and maybe a catalog, a book, or who knows. Its layers of meta- make perfect sense for a space like Cleopatra's and I'm excited to see how they continue to play with the idea of being a gallery.
This summer I had the chance to work with them- which is what led me to write this piece. The two events they invited me to participate in were FLOAT, a curated show of performances at Socrates Sculpture Park and Eye In The Sky at the Re-Institute upstate in Millerton, NY.
Most people that perform have to check and cross check about 4 times all of the tedious technical details and the smallest thing can completely derail a show…and I was a little nervous heading out to the Re-Institute that there could be problems at this huge outdoor barn with multiple on-going performances happening all at once, but when they said "the PA is going to function and it will work and there will be someone there when you get there", they meant it. They made these things happen. Even if that meant one Bridget (Finn or Donahue) hoisted an extension chord over a barn door while another directed 50 people over to a campground and somehow all the pieces come together including a gigantic yurt, by Chris Verene, Â who is presenting it again at Postmasters Gallery in NY.
I just want to express an appreciation of what I've seen as incredible and genuine teamwork… and how rare that is… and I feel like the artists and art which get created within Cleopatra's reflects this thrilling spirit of excitement and comeraderie.
I think its why the gallery is a success and will continue to be one, and has been an incredible launchpad for artists and artists love them. I also think that they are redefining what a gallery is. And I think it is the future.
Bradford Nordeen and Dirty Looks
November 4, 2011 · Print This Article
Note: this is the second in a series of three posts guest-blogged by artist Rachel Mason centering on fellow artists, makers and exhibitors in NYC.
I ran into Mary Boom! at one of Louis V.E.S.P.'s Live TV Tapings in New York. Little did I know that Mary, or Bradford Nordeen, was about to be someone I would see a lot more of in the coming year- endlessly curating and creating events through Dirty Looks, his monthly platform for queer experimental film and video. Many of which I couldn't attend, because… there were simply too many! He is an obsessive devotee of cinema made by gay, lesbian and trans artists- and he works tirelessly, to exhibit titles by those practitioners that he finds essential, to gaining a greater understanding of the queer canon – at least that's how I see it – and we are the wealthier for it. I am so delighted to have seen some of the film and video work that I might have never seen otherwise, had it not been for Bradford knocking on doors, picking up reels and loading projectors, hosting rooftop screenings of Marie Menken, the Kuchar brothers, Joseph Cornell and Matthias Müller, and having galleries like Participant and PPOW Gallery get on board and offer their spaces as forums for this amazing and under-screened work.
I wanted to ask Bradford how he came to celebrate this work, do what he does and share more insights into Dirty Looks.
Rachel Mason: How did the idea for Dirty Looks come about ?
Bradford Nordeen: Dirty Looks was born out of my academic research. I had been writing at great length on the filmmaker Luther Price and, at first, I recreated his installation, Meat, 1990, at the Brooklyn alternative space, Louis V E.S.P. in order to gauge audience responses. Then I got my hands on another one of Price's films, all of which are difficult to find, A, 1995, and incorporated that into a West Coast program that toured Los Angeles and San Francisco. I was invited by Robert Smith – almost immediately when the screenings hit Facebook – to present the program at the gallery that had just transitioned from Envoy Enterprises to NP Contemporary Art Center, and in talking with Robert to prepare for that screening, I guess we sort of realized that there was no regular, New York city programming to focus exclusively on queer experimental film – a film form that I think epitomizes queer subjectivity directly, as a structural counterpoint to more dominant methods narrative filmmaking. So I said, "then I'll do it!†But everything really came together when I started working with Lia Gangitano at Participant Inc, who hosted Dirty Looks first and has been instrumental in every step of the process
RM: What did you envision it to be and how has it been manifested- or changed from that vision?
BN: From the start, Dirty Looks has always been conceived in very organic terms. I wanted the series to develop its own model and not force my ideas on it too greatly. It's about the audience engaging with the work. Initially that meant folks laughing and having uncanny flashbacks for our first program, where we pitted the early short films of Curtis Harrington (Fragment of Seeking, On the Edge) alongside one of his Dynasty episodes. Dirty Looks' mission, from the get-go, was to position historical artists or texts alongside more contemporary output, to showcase a lineage of queer aesthetic or narrative experience. And people REALLY embraced that – I think there's a lot of really passionate people in New York right now who are trying to excavate these legacies – from the organizers and enthusiasts of the Queer/Art/Film program at IFC to the Que(e)ry Librarian Dance Parties. Like them, I've really taken to working with the artists and co-hosts in a very collaborative capacity. Co-organizing events with TRANSLADY FANZINE, Little Joe Magazine, [ 2nd floor projects ], SF and Queer Text reading series at Dixon Place, we're all engaged in queer education and these creative legacies and we bring our own experience to the table, which is really thrilling – and audiences pick up on that too. It's really so rewarding.
RM: What are a few memorable Dirty Looks Moments!?
BN: So far it's been a really great year. Our first ever screening (this January) took place in the thick of a blizzard, and still, we ran out of chairs. When we were at Participant, during f. p. boué's show, Infinite Instant, he had constructed this tiered pyramid that you could climb on and 20 or so folks used it for seating, first for the very architectural lesbian pirate epic, Madame X, and then for our mash-up program of Michael Robinson and Jack Smith. For the latter screening, an seemingly horrible circumstance turned wonderful when the soundtrack for the film turned up missing – which is how Jack really intended these works, to be layered with a live mix of records that he would basically DJ in the back of the room. Of course, Jack is not with us anymore, so I frantically contacted Jerry Tartaglia who restored the films in the 90s for some musical suggestions and the result was shocking and uncanny. Whole sound cues carried through from this random sound assemblage – I really felt like Jack was in the room. More recently, we successfully launched a Kickstarter campaign in which nearly 100 supporters helped us raise funds to continue the series. On the heels of that success, we hosted a terrific screening – our biggest yet – on the rooftop at Silvershed, showing films by the Kuchar brothers. Though it had been on the schedule for sometime, I got a call from the brothers' SF gallerist (with whom we were collaborating on the event publication) and she informed me that the screening was scheduled for their 69th birthday! So, as befits their sensibility, we got ice cream cake and friend and filmmaker, Marie Losier, phoned them up so the entire rooftop could wish them a happy birthday. That was magical, especially since George passed away the following week.
RM: Tell us about Mary Boom….
BN: Mary Boom!, actually. Mary was a character that I developed as a joke for Scott Kiernan and Ethan Miller's Manhattan Neighborhood Network variety show E.S.P. TV. Scott needed a host and I came back at him – in what I thought would be a joke. I said, "well, I'll do it, if I can host it as Robin Byrd.†Byrd is this New York icon, probably on par with Los Angeles' Angelyne. She's been hosting this cable access sex show since the early 80s. Well, in truth, they're still running the same programs shot from like 83 -87, or something, so it's this strange time capsule you stumble upon when you're flipping through channels, where this druggy sex maven is interviewing dated porn stars and fondling them. My lark had the justification of being "medium-specific,†since this was cable access being shot on VHS, and I felt that she was a snarky metaphor for the contemporary art market. So, of course, Scott's response was, "COOL!†I called her Mary Boom!, a play on Mary Boone with a little bit of Joseph Losey's trashy Tennessee Williams adaptation Boom!, starring Elizabeth Taylor, thrown in for good measure. So she's kind of this messy, horrible power gallerist who takes stabs at dated art terms like "Identity Politics†without really bothering to understand them. And people really love her. She's got FANS. Though Ms. Boom!'s kind of hit hard times now. She used to have a big Soho gallery and one of her recurring jokes addresses her "downgrade†to the Lower East Side. There's talk – with Mary's assistant, Coco – of doing a spin-off show that's more structurally based on Byrd's interview format, called ArtBoom!
RM: What do you think are some of the differences between more contemporary queer work and that of older generations – working in film.. and maybe we should be specific about eras here.. film, video, and now digital video…
BN: Well, I would say, first and foremost, the gallery factors SO much more into contemporary film/video/DV than it has in the past. It's always been there, of course, but I think there's currently a greater opportunity for moving image work to get out there, to get seen, to even make a couple dollars off of this format – and here I'm speaking to the avant-garde or experimental film, not feature-length Queer cinema á la Gregg Araki, Todd Haynes, Rose Troche, etc. – which, in the past was not as readily the case. Also, academia and the internet have left really indelible imprints on contemporary queer output, and that, I think, is important to acknowledge. I mean, Ryan Trecartin is a youtube artist. I can't see someone like Michael Robinson making his films without the kaleidoscopic format of internet, either, however nostalgically his works hark back to recently-outmoded media formats like video and, let's face it, film. Someone like Ming Wong or even Conrad Ventur – whose work we exhibited in the Female Trouble program – takes a very academic approach to documentation and historiography – Ventur is presently refilming the surviving subjects of Andy Warhol's screen tests, and Wong re-enacts classically melodramatic or "feminine†film scenes with racial hitches to these otherwise white sources. Both of these artists work in crisp video, so that medium tends to aesthetically pique their critiques. I think that many of the adept "older generations†are nimble and are, if not adjusting to the times, altogether, allowing their historical perspectives to inform their current work. Someone like Luther Price is never going to pick up a RED camera and start editing in Final Cut, but Luther is mining archival 16mm footage, re-editing it as he always has, but also immolating it in even more profound ways: burying it, marring it, handpainting it, so this already nostalgic format becomes fecund in its ability to evoke a distant or psychic past. That said, George Kuchar picked up a video camera when he was 45 and changed the game as far as video art was concerned – long after his early film works. Recently, he was excited to start working with digital 3D cameras, so it's a really case-by-case basis!
Rachel Mason's work has been shown at the Detroit Museum of Contemporary Art; the School of the Art Institute of Chicago; the Henry Art Gallery in Seattle; the James Gallery at CUNY; the University Art Museum in Buffalo; the Sculpture Center in New York; Andrew Rafacz Gallery; Marginal Utility Gallery; The Hessel Museum of Art at CCS Bard and at Occidental College. She has performed at venues that include the Kunsthalle Zurich; the Museum of Contemporary Art Detroit; The New Museum; Park Avenue Armory; Club Tonic; Art in General; La Mama; Galapagos; Dixon Place; and Empac Center for Performance in Troy. She has written and recorded hundreds of original songs and performs large scale experimental plays involving dancers, musicians and other artists with her band and theater troupe Little Band of Sailors. Rachel has been featured in publications that include the New York Times; the Village Voice; the Los Angeles Times; Flash Art; Art in America; Art News; and Artforum.
I live in Humboldt Park and as of lately I am way into observing, assessing, and mentally noting changes in the trees. The seasons have me thinking about cycles– nostalgia is creeping in. As the lush green turns to yellow, and the yellow to red, my mind wanders back to Rob Carter's stop motion video and installation of the Nest. Rob's solo exhibition Culte was recently on view at EBERSMOORE (relocating to 350 N Ogden, Suite 100,  January 6, 2012) earlier this fall.  I was mesmerized by Rob's show so much, I saw it twice (see why below). He was gracious enough to give me some of his time to talk plants, architecture, and crowds among other things.
Heidi Norton: Architecture seems to be an important focus within your practice. Within "Culte," you create an architectural hybrid of the tennis stadium in Queens, Flushing Meadows, the site of the US open and the facade of a Gothic cathedral. Talk about the significance of the actual space – the interior architectural and exterior architecture – that these pieces reference. Why this particular stadium? Does the ground around the stadium play a role? Does it have a historical reference? Why Gothic architecture?
Rob Carter: Frequently my work begins with an architectural juxtaposition and this video has several. The stadium seating is indeed composed of a series of shots I took from each quadrant of the Arthur Ashe Stadium in Flushing, Queens. However there is little significance to that fact as I have made the playing surface, and therefore the game, very ambiguous: it is an elongated octagon of perfectly mown grass or perhaps Astroturf. The idea is that this is a fairly universal stadium for a universal unspecified sport – the video's audio track uses the sounds of chanting fans from all over the world representing the theatre and community of sport. Likewise, the outside architecture is made up of Gothic architecture from a variety of European cathedrals, though most are from England and France. All the elements are photographic prints that have been resized to fit on one architectural model structure – they form a building that is fractured (sometimes the outside is made of interior images) and complete – almost believable. To some extent it represents the mega-churches that have formed a significant part of the development of Christianity in North America. These buildings and their 'organizations' naturally draw interesting comparisons with the entertainment, fervor, and ritual of sports stadium events. I have been interested in these overlapping cultural themes for several years – how the need for sport and religion divide and unite our cities, both architecturally and as a communal experience.
I chose to unify the exterior of my stadium with one style of architecture. Gothic architecture is not specifically religious architecture, but it has become most closely associated with Christianity through the Gothic cathedral masterpieces of the 12th–15th century. I have a longstanding relationship with these types of buildings – family summer holidays always included multiple visits to cathedrals and churches all over the UK and Northern France, so I have a strong personal connection with it and despite all those church visits I also still love it. Plants and the natural world have many associations with Gothic architecture and carving which makes a coherent juxtaposition with the plants that surround this particular building in my video. Simplistically the representation of nature in Gothic architecture, as it evolves over the centuries, shows the natural world in all its detail formed in solid stone, as well as an emerging order and purity that attempts to stand above the baseness of nature. Though the style evolves into the more rectilinear forms of the Perpendicular style, the association with nature, with plants, flowers, trees and foliage is always imbedded and celebrated within the buildings. The ground around the stadium did have other incarnations but I felt it worked best as a void or barren earth that isolated the building from the reality of urbanism (no roads or car parks), but that also tied the architecture to the ground. After all soil is essentially broken up particles of stone.
Heidi Norton: In graduate school, I made a piece about spectatorship and crowd power. I was very interested in the idea of absorption and the spectacle–the crowds and the event and/or the thing being consumed. I investigated groups of people of varying sizes within sporting events, church congregations, cheer leading competitions, etc. Please talk about the parallels between this type of absorption and the plants growth mediated through the camera and stop motion. Are these people chanting "mantras" or life to the plants?
Rob Carter: The plants are literally absorbing and consuming in order to survive and grow (the audio track also suggests this), so I am interested in this parallel with spectatorship. The subconscious need to belong – to engage, worship or be entertained en masse is a fascinating  and important part of our societies. Your Graduate School piece sounds like an interesting project – I am most interested in ideas of the power of the crowd especially in connection with architecture and urban planning. To me the seedlings in "Culte†might refer more to the homogeneity that the crowd creates – how we lose our individual identity in the mass of a stadium crowd, and how despite their uniqueness the seedlings never have individual identity in our eyes. They are simply 'programmed' to absorb, nourish themselves and grow. In the circumstances of sport or religion the experience of singing, chanting or just shouting becomes an empowering experience but also one that, like plant growth, relies on order and timing. The voices are chanting many things in different languages, for varying sports and religions, but the auditory sensation is supposed to be something like a series of mantras – one that suggests physical and spiritual transformation – perhaps asking for the plants to burgeon.
Heidi Norton: Why zucchini? Was it important that the plant be a producer of something edible?
Rob Carter: There are a variety of species used, but the soil was predominantly sown with zucchini and pumpkin seeds. When I embarked on this 8-month process I was unsure what I was going to get but the idea was that the vegetables should simply symbolize two architectural motifs – the column and the dome. In my wildest dreams I hoped that a pumpkin might emerge and put a dome on my stadium and probably crush it (the seedlings growing through "The Nest†are mostly pumpkins for this some association). Given the very restricted growing area it was not surprising that this did not happen and as it turns out the zucchinis totally overwhelmed the pumpkin seedlings – so I created a kind of vegetable survival of the fittest arena. It was, as you suggest, important to have something edible produced because the video is partly about sustenance and human needs – about our desire to connect with others and to be 'nourished' spiritually. It also attempts to make reference to the religion of food as I see it today – the evolvement of food 'movements' (Locavorism, Organic, Slow Food etc) and their influence on the way we live and the fanaticism that often goes along with them. For some, it has become a quasi-religious basis for the way they live their lives, affecting the choices for daily life in ever more complex and sometimes contradictory ways.
Heidi Norton: "The Nest" was also on display at EbersMoore. My perception and understanding of the space was completely displaced when I saw the scale of the actual plants and model. I enjoyed this experience very much. Discuss the importance of exhibiting "the nest" and the significance of the camera's point-of-view.
Rob Carter:In the course of making "Culte†I transformed my studio into some kind of bio-lab. It quickly became apparent that the apparatus of constructing the work was interesting and did something quite different from the video. This in itself has led me to a new work which will open in New York next year that will have all the apparatus of such a production in the gallery space including a larger scale seed-bed with plants growing and being photographed throughout the course of the exhibit. "The Nest†is something of a mini pre-curser to this. It is a remnant of the process of making the video – a relic of all those hours of growth; it also relocates the scale of the video for the viewer. What especially interested me in the remains of my studio garden was the way the plants had fused with this miniature piece of architecture – they now form a tangled web of plant matter that is both sinister and protective of the little paper sculpture. The new growth in "The Nest†represents both the beginning and end of the evolution described by the video. New pumpkin seedlings replace the evergreen playing surface and they are set-up to grow throughout the course of the exhibit. Here the seedlings grow in real time, but if you were to revisit the show the sculpture would have evolved and the architecture would be a little further obscured than on a previous visit. The sculpture asks the viewer to consider the camera's point-of-view, and interpret how they have perceived the video. Having been seduced by the movement and sound, it should be something of a mental leap to then look at this pile of dead leaves, observe what is in it and consider the frustrating difference in the sense of time it suggests. The seedlings may feel even more static than they might otherwise – as 'dead' in time at the yellowed leaves that surround them.
Heidi Norton: Does nostalgia play a role in these works?  Is the idea of youth, memory, and lived experience of relevance? The longing for life? The POV of the camera, the stop motion, talk about all of the things in relation to the work.
Rob Carter: I don't think I had considered it as nostalgic. That said, there are many personal ways it connects to me and my 'lived experience'. Stop motion and time-lapse photography has the ability to make the mundane uncanny and often wondrous. Many experience this (first) as children so the adult experience of viewing work using such techniques can be mediated by such memories. My videos tend to use stop motion/time-lapse in a fairly 'pure' form – "Culte†uses the techniques of the nature program, but shows more than the highlights – we never see the flower open, but we see everything else.
Culte [installation version] from Rob Carter on Vimeo.
Heidi Norton: Was the nest a self-sustaining system? Why was it important to add an irrigation feature? How does the space and idea of the stadium change when the plant dies? For me, in the beginning the exterior appeared overgrown and at the end it was barren.
Rob Carter: I don't think that the lushness is unattainable but it is fleeting. "The Nest†has a very basic irrigation system that required a simple collaboration between artist and gallery – they had to keep my sculpture alive for the course of the show. The surrounding dead plants reinforce how temporary and futile this is; the new seedlings are exposed as an effect and a symbol of potential without the possibility of reward. They themselves represent the true narrative – the story that none of us can escape from.  However, I tend to look at this work in terms of cycles of life… cycles and overlappings of culture, community and tradition too.
Heidi Norton received her MFA from the School of the Art Institute of Chicago in 2002. She lives and works in Chicago. Norton has presented solo exhibitions in Chicago and San Francisco. Group exhibitions include How Do I Look at Monique Meloche Gallery, The World as Text at the Center for Book and Paper Arts, Snapshot at Contemporary Art Museum in Baltimore, and the Knitting Factory in New York. Norton was published in My Green City (Gestalten) in 2011 and her spring show Not to See the Sun, at EbersMoore was reviewed in Frieze, September 2011. Currently she is collaborating with writer Claudine Ise in a seasonal column for Bad At Sports called Mantras for Plants. Norton is represented by EBERSMOORE gallery in Chicago. She is faculty in the photography department at the School of the Art Institute of Chicago.


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In a message dated 1/24/05 1:14:34 PM, email@example.com writes:
<< So, do you mean the ones you suggest don't need to be planted as deeply as
C. henryi? >>
Kitty, all should be planted deeply this provides regrowth in the event the
plant is damaged.
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This Lent, take a 40-day devotional journey with Dietrich Bonhoeffer. Click here to sign up.
2:8 shepherds out in the field. Animals to be used for the temple sacrifices were kept in the open, even in winter. The presence of shepherds outdoors does not prove that Jesus was born in a warm time of year. Shepherds were a despised class because their work prevented them from keeping the ceremonial law, and as they moved about the country it was common for them to be regarded as thieves. They were considered unreliable and were not allowed to give evidence in the courts.
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Oat Bran Pancakes
|Bran cereal
|1 Cup (16 tbs), uncooked (Quaker, Hot)
|All purpose flour
|1⁄2 Cup (8 tbs)
|2 Teaspoon
|Baking powder
|2 Teaspoon
|Skim milk
|1 Cup (16 tbs)
|Vegetable oil
|1 Tablespoon
|Egg white
|1 , slightly beaten
Heat griddle over medium-high heat (375°F electric griddle); lightly spray with vegetable oil cooking spray or oil lightly.
Combine oat bran, flour, sugar and baking powder.
Add combined milk, oil and egg white; mix well.
Pour scant 1/4 cup batter for each pancake onto prepared griddle.
Turn pancakes when tops are covered with bubbles and edges look cooked.
Turn only once.
Serve with whipped cream or low fat yogurt and fresh fruit, if desired.
Recipe Summary
Rate It
Nutrition Rank
Nutrition Facts
Serving size
Calories 87 Calories from Fat 19
% Daily Value*
Total Fat 2 g3.3%
Saturated Fat 0.29 g1.4%
Trans Fat 0 g
Cholesterol 0.58 mg0.19%
Sodium 174.7 mg7.3%
Total Carbohydrates 15 g5%
Dietary Fiber 1.5 g5.8%
Sugars 4 g
Protein 3 g5.9%
Vitamin A 3.8% Vitamin C 0.48%
Calcium 12.9% Iron 13.9%
*Based on a 2000 Calorie diet


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create jar problem: jarFile.jar: no such file or directory
Leandro Coutinho
Ranch Hand
Posts: 423
posted 6 years ago
Paul Clapham
Posts: 21884
posted 6 years ago
Have you seen this?
In your case, you want to create a new archive. So the option for that is "-c". You don't have "-c", you have "c".
Usage: jar {ctxui}[vfm0Me] [jar-file] [manifest-file] [entry-point] [-C dir] files ...
-c create new archive
-t list table of contents for archive
-x extract named (or all) files from archive
-u update existing archive
-v generate verbose output on standard output
-f specify archive file name
-m include manifest information from specified manifest file
-e specify application entry point for stand-alone application bundled into an executable jar file
-0 store only; use no ZIP compression
-M do not create a manifest file for the entries
-i generate index information for the specified jar files
-C change to the specified directory and include the following file
In your case, you want to create a new archive. So the option for that is "-c". You don't have "-c", you have "c".
Leandro Coutinho
Ranch Hand
Posts: 423


text: Team Dog strikes yet another victory. Rebecca "Burt" Rose11/03/13 4:41pmFiled to: CatsDogsMelissa Joan HartSabrina the Teenage WitchSalem the Cat192EditPromoteShare to KinjaToggle Conversation toolsGo to permalinkTeam Dog strikes yet another victory. And the battle rages on, while combatants on both sides tend to their wounded, review their strategy and eye the horizon, ever mindful that their day is coming. Soon. Soon. Reply19 repliesLeave a reply


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I Jay Aarons, accountant, listed under "Accountants" category, is located at 4214 Medical Pkwy Austin TX, 78756 and can be reached by 5124512800 phone number. I Jay Aarons has currently 0 reviews.This business profile is not yet claimed, and if you are the owner, claim your business profile for free. If you are not the owner you can invite this business to join by email or by phone.Browse all Accountants in Austin TX. Discover census data for Austin, TX.
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Category Archives for "Yurts"
We have lived in a yurt two years now. I heard last night that the mind is a 'discounting muscle' – it's a survival technique; we minimalise big, important things over time in order to cope. For example, when humankind used to live a treacherous hunter-gather life, if we spent our whole time being blown […]Continue reading
Guest Post by Josh Barry The technology for outdoor living has come a long way since nomadic Mongolians first created Gers, commonly referred to today as Yurts. In fact, the first instance of Yurts in recorded history dates back to hundreds of years before the birth of Jesus! Yurts were the perfect way for nomadic […]Continue reading
We moved to northern Minnesota from Denver when we retired. Erik had taught with Outward Bound up here for many years; I'd grown up in a mining town in Colorado; and this was affordable. So here we were. While there's a lot more water up here than there is in Colorado, there are not nearly […]Continue reading


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MESA, Ariz. -- The Chicago Cubs' prospects for a solid pitching rotation were enhanced on Monday when Matt Garza threw a bullpen session for the first time since the end of July and had no complications.
Cubs general manager Jed Hoyer and pitching coach Chris Bosio watched Garza throw 30 pain-free pitches at the team's minor league complex.
"Matty looks like he is in great shape," Bosio said. "It looks like he worked hard in the offseason. His legs are in great shape and I believe he is ahead of where he was last year when he reported."
Garza had his 2012 season cut short after experiencing pain in his right triceps. That injury eventually led to a stress reaction in his elbow that ended his season in July after 103.2 innings pitched. Garza, who was on the trading block before his elbow strain, compiled a 5-7 record with a respectable if not spectacular 3.91 ERA.
The 29-year-old right-hander is going into his free-agent year after the 2013 season, in which he will earn $10.25 million.
"He has been on his program all winter and has not had any hiccups at all," Bosio said. "The ball was coming out of his hand great today. He should be pretty happy and it was good to see him pitch with no concerns at this point."
Garza threw mostly fastballs in Monday's session. Before taking the mound, the pitcher played long toss for 20 minutes and joked with other players in camp. Bosio hit Garza some ground balls to end his workout for the day.
"He is on a program we put him on and at this point he is ahead of schedule," Bosio said. "The communication I have had with our trainers indicate they are very happy where Matt is at in his program. As for me, I do not have any concerns at all for him. He has always been very honest about how he feels with us."
The plan, according to Bosio, will have Garza throwing every other day at the beginning of camp . After two or three bullpens the starting pitchers throw live batting practice every fourth day with a side session in between. Garza and the rest of the Cubs' rotation pitchers will then pitch every five days when the Cactus League season begins Feb. 23.


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Trust a Classics scholar to grasp the second part of the Olympic motto: Citius, Altius, Fortius. Boris Johnson demonstrated the height of his political ambition yesterday by climbing the 10m diving platform in the 17,500-capacity Aquatics Centre.
Suited and booted, the London Mayor did not dive off, but upstaged the Prime Minister on a day of events at the Olympic Park to mark 200 days to the start of the Games.
David Cameron had said to the diver Tom Daley, a gold medal prospect this summer, that "you've got to use quite a bit of nerve to jump off there".


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Convert ASP to PHP- WordPress
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I'm currently redesigning my website and have a fully coded WordPress Template (see attachment). However, my site is written in ASP and I need someone to convert ASP code to PHP and to integrate the new PHP code into my new WordPress Template. My site is all ASP and we want to convert it to PHP including converting the ACCESS DB to MYSQL database.
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Packers drafting, developing players like no one else
Green Bay — John Schneider worked for six seasons as the top personnel aide to Green Bay Packers general manager Ted Thompson. In that time, Schneider certainly learned the value of the NFL draft.
But when Schneider got his chance to run the Seattle Seahawks in 2010, he also took a broader approach to his job.
In the time since, Schneider has traded for running back Marshawn Lynch, defensive end Chris Clemons and wideout Percy Harvin. Schneider signed notable free agents such as defensive end Cliff Avril and cornerback Brandon Browner. And he's drafted extremely well, hitting home runs with players such as Russell Wilson, Earl Thomas and Russell Okung.
Seattle was 5-11 the season before Schneider assumed his general manager duties. Now, it has the NFC's best record.
John Dorsey served for two decades in Green Bay's scouting department. Then in January, he took the general manager job in Kansas City.
Dorsey inherited a team that went 2-14 last season, then brought back just 23 players. He immediately traded for quarterback Alex Smith, dabbled in free agency and appears to have hit it big with offensive tackle Eric Fisher — the top pick in last April's draft.
The Chiefs are 9-3 and might win a playoff game for the first time since 1993.
Meanwhile, in Green Bay, the philosophy never changes.
Draft and develop. Draft and develop. Then draft and develop some more.
As of early November, Green Bay had a remarkable 50 players on its roster that had never played for another organization. At the time, Baltimore and Dallas were next with 41, while Atlanta and Miami had 40.
Overall, the NFL average is 34.6.
Thompson refused comment for this story. But for the most part, his players enjoy the approach taken by their boss.
"It is unique, and I think it's great," third-year tight end Ryan Taylor said. "One, I think it tells you they really value their guys and they invest in their guys and they're loyal to their guys.
"You've got a team that's willing to invest in you, develop you and not throw you away at the first chance they get. That's really telling about this organization."
Safety M.D. Jennings agreed: "It's rather unique, but it just shows how much those guys trust their ability to bring in young players and develop them themselves.
"There's probably some pros and cons to it. But I can see how a lot of guys could be stuck in their old ways coming from somewhere else. This way, you can take some young guys and mold them the way you want them to be."
Cornerback Tramon Williams and center Evan Dietrich-Smith are two players that have been elsewhere. Williams began his career in Houston, but he was waived in the summer of 2006. Dietrich-Smith began his career with the Packers, spent a month with Seattle in 2010 and then returned to Green Bay late that same season.
Both players have seen how other teams construct their rosters, and insist they would take Green Bay's approach.
"Some of the guys that come through here, I tell them, 'You better make the most out of this opportunity right here,'" Williams said. "When I talk with guys that have been with other teams, we all say the same thing. This place is one of a kind.
"Not all organizations are run well like this one. Not all places show you the respect like these guys do. So I always tell people to make the most of the opportunity."
Dietrich-Smith concurred.
"They have a certain philosophy around here where they like to develop from within," Dietrich-Smith said. "It's not a plug-and-fix situation. They target the guys they want and then they build. That's something that some organizations can afford to do, and that's always been the philosophy since I've been here.
"That gives guys like me, and all the other undrafted guys, a shot. It's time to go out there and show you can play. Some organizations might not cut you that slack. Here, they give you an opportunity, and it's your job to take advantage of it."
Thompson has taken his share of criticism for building almost exclusively through the draft.
In three of the last four seasons, Thompson hasn't signed an unrestricted free agent. And the last significant player Thompson acquired via trade was running back Ryan Grant in 2007.
This season the Packers have been decimated by injury, and the bottom of Thompson's roster was thin.
But Green Bay won Super Bowl XLV using Thompson's draft-and-develop approach. The Packers have been to the playoffs four straight years. And before Aaron Rodgers suffered a broken collarbone on Nov. 4, Green Bay was 52-19 since the start of the 2009 season (.732).
"They keep a certain kind of player around here," Dietrich-Smith said. "Good locker room guys, good for the team, people that do stuff in the community and obviously guys that perform. I think that's big."
With the off-season fast approaching, one fascinating development will be if Thompson sticks to his philosophy.
Green Bay has a large contingent of soon-to-be free agents, and several other holes that need immediate attention. In all likelihood, the draft won't solve everything that ails these Packers.
Still, don't look for Thompson to deviate too far from the script he's used for nearly a decade now.
"I think his approach works great," said nose tackle Ryan Pickett, who began his career with the St. Louis Rams. "Having so many guys who have never played anywhere else is certainly different. But all I know is it's worked for him...and for us."
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Your Plumbing Apprenticeship is a trade and career that:
Once your apprenticeship is complete, you can choose the industry sector you want to work in:
As a graduate apprentice you qualify for the Interprovincial Red Seal, so your trade qualifications are recognized throughout Canada. Also as a graduating fourth year student from BCIT, you are eligible to receive a Diploma in Trades Training, something no other training institution in the province can offer.
For more information view our career video and check out our Part-time studies page.
Our Mission Statement: To uphold high educational standards through applied technology and practical skills within an ever-changing industry.
There are two ways of beginning your plumbing apprenticeship:
For more information on our Piping Foundation program contact Admission & Registration.
If you are registered with the Industry Training Authority, you can apply now to BCIT's Apprenticeship Studies program. Read more about BCIT's apprenticeship programs or view the Plumbing Apprentice training schedule for the next available training date.
Each year in the program is a building block to the next. Here is what you can expect in each of the four years of your apprenticeship.
Theory consists of:
In the practical portion of first year, you will perform:
NOTE: In addition to supplying your own personal protective equipment you will also need a number of books and classroom supplies.
Theory consists of:
In the practical portion of second year:
Theory consists of:
The practical components of third year include:
Theory consists of:
The practical portion of fourth year includes:
Do you have credits from another BC/Yukon post-secondary school? Do you want to know if they transfer to courses here at BCIT? Check out BCIT's Transfer Equivalency Database to find out.
In BCIT's Plumbing Apprenticeship program you'll learn a variety of trade-specific topics, enabling you to install, maintain and repair piping systems that carry a wide variety of fluids used in residential, commercial and industrial settings according to the BC Plumbing Code.
Training is instructor driven. Lectures, labs and tutorials are the primary course delivery methods.
Classroom activities take place in an atmosphere promoting class participation. In groups of up to 16 students, you'll use interactive software programs developed by your instructors to enhance your training experience. You'll complete practical projects in building NE-6 or one of the department's numerous labs.
As a leader in trades training in the province, BCIT offers a variety of institute-driven support services that are at your disposal. For example:
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Berkshire Hathaway HomeServices Verani Realty
(888) 723-0306
Listing Provided Courtesy Of: Sugarbush Ski Country Real Estate - Donna Cusson
Last Updated: 2/26/2017 10:21 PM
Description for Lot 5 Ridge View Road Warren, VT 05674
Sweeping mountain views in all directions. Build your private dream home and enjoy the serenity that this exclusive parcel offers. Septic plan and permits in place. Owner/Broker
Listing Information
School Information
Room Information
Exterior / Lot Features
Mountain, View
Mountain, Golf Course, Close To Shops, Rural, Farm, Private Roads, Sloped
Financial Considerations
Inside AccessTM
Current market conditions for Lot 5 Ridge View Road
Active Market Trends
Source:MLS DATA
Median list price$199,900
Days on market346
Properties for sale129
Sold Market Trends
Source:MLS DATA
Median sold price$225,750
Sales to list price9,129.0%
Properties sold32
Median sq ft price$133
Arrows indicate 90 day trend
Listing Price History for Lot 5 Ridge View Road
Warren Real Estate
Warren is located in Vermont. Warren, Vermont 05674 has a population of 1,494.
The median household income in Warren, Vermont 05674 is $61,324. The median household income for the surrounding county is $57,276 compared to the national median of $53,046. The median age of people living in Warren 05674 is 43.8 years.
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Steak Pizzaiola
|1 Large, chopped
|2 Clove (10 gm), minced
|Olive oil/Vegetable oil
|3 Tablespoon
|Canned italian tomatoes
|17 Ounce (1 Can)
|1 Teaspoon
|Seasoned pepper
|1⁄4 Teaspoon
|1 Dash
|Bone in chuck steak
|Instant unseasoned meat tenderizer
|1 Teaspoon
1. Saute onion and garlic in oil until soft in large saucepan. Stir in tomatoes, salt, pepper and sugar. Simmer sauce, uncovered, 10 minutes; reserve.
2. While sauce simmers, trim any excess fat from steak and score remaining fat edge every inch. Then moisten steak and sprinkle it with tenderizer, as label directs.
3. Heat a large skillet. Panbroil the steak in skillet, turning it once, 5 minutes on each side, or until the steak is done as you like it.
4. Place steak on a cutting board; carve into thin slices. Return to skillet. Stir in the reserved tomato sauce; simmer 3 minutes to blend flavors.
Recipe Summary
Rate It
Nutrition Rank
Nutrition Facts
Serving size: Complete recipe
Calories 953 Calories from Fat 572
% Daily Value*
Total Fat 65 g99.5%
Saturated Fat 13.5 g67.6%
Trans Fat 0 g
Cholesterol 74.7 mg24.9%
Sodium 3507.3 mg146.1%
Total Carbohydrates 70 g23.3%
Dietary Fiber 14.7 g58.9%
Sugars 13.7 g
Protein 30 g59.9%
Vitamin A 67.5% Vitamin C 117.6%
Calcium 25.5% Iron 46.4%
*Based on a 2000 Calorie diet


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Is this the new Kenzo X Amistad collab?
post #65416 of 109053
10/13/12 at 4:10pm
- Posts: 3,210
- Joined: 9/2011
- Location: south of the border, west of the sun
- Select All Posts By This User
I would be interested in knowing as well. I'm guessing people involved with the arts that budget a bit more towards clothes than the average person.


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|Message view
|« Date » · « Thread »
|« Date » · « Thread »
|"Michael Busch (JIRA)" <j...@apache.org>
|[jira] Commented: (LUCENE-1473) Implement standard Serialization across Lucene versions
|Sat, 06 Dec 2008 20:41:44 GMT
[ https://issues.apache.org/jira/browse/LUCENE-1473?page=com.atlassian.jira.plugin.system.issuetabpanels:comment-tabpanel&focusedCommentId=12654147#action_12654147 ] Michael Busch commented on LUCENE-1473: --------------------------------------- {quote} Your first example is missing the read/writeExternal methods. {quote} Oups, I forgot to copy&paste it. It's in the attached patch file though. {quote} I think the proposed approach is rather heavy-weight {quote} Really? In case we go the Externalizable way anyway, then I think this approach doesn't add too much overhead. You only need to add init() and move the deserialization code from readExternal() to the reader's readExternal. It's really not too much more code. And, the code changes are straightforward when the class changes. No need to worry about how to initialize newly added variables if an old version is read for example. What I think will be the most work is documenting and explaining this. But this would be an expert API, so probably people who really need to use it are most likely looking into the sources anyway. But for the record: I'm totally fine with using Serializable and just adding the serialVersionUID. Just if we use Externalizable, we might want to consider something like this to avoid new backwards- compatibility requirements. > Implement standard Serialization across Lucene versions > ------------------------------------------------------- > > Key: LUCENE-1473 > URL: https://issues.apache.org/jira/browse/LUCENE-1473 > Project: Lucene - Java > Issue Type: Bug > Components: Search > Affects Versions: 2.4 > Reporter: Jason Rutherglen > Priority: Minor > Attachments: custom-externalizable-reader.patch, LUCENE-1473.patch, LUCENE-1473.patch, LUCENE-1473.patch, LUCENE-1473.patch > > Original Estimate: 8h > Remaining Estimate: 8h > > To maintain serialization compatibility between Lucene versions, serialVersionUID needs to be added to classes that implement java.io.Serializable. java.io.Externalizable may be implemented in classes for faster performance. -- This message is automatically generated by JIRA. - You can reply to this email to add a comment to the issue online. --------------------------------------------------------------------- To unsubscribe, e-mail: firstname.lastname@example.com For additional commands, e-mail: firstname.lastname@example.com
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35 Thomas Court Thomas St Dublin
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By (author) Richard Bradford
Format: Paperback
Checking availability...
Stylistics by Richard Bradford
Book DescriptionRichard Bradford provides a definitive introductory guide to modern critical ideas on literary style and stylistics. It will provide students with a basic grasp of stylistics and literary analysis. This comprehensive and accessible guidebook for undergraduates examines: * the terminology of literary form * how literary style has evolved since the sixteenth century * the role of stylistics in twentieth century criticism * the discipline of stylistics from classical rhetoric to post-structuralism * the relationship between literary style and its historical context * style and gender * examples of poems, plays and novels from Shakespeare to the present day.
Buy Stylistics book by Richard Bradford from Australia's Online Bookstore, Boomerang Books.
Book DetailsISBN: 9780415097697
(198mm x 129mm x 13mm)
Pages: 240
Imprint: Routledge
Publisher: Taylor & Francis Ltd
Publish Date: 27-Feb-1997
Country of Publication: United Kingdom
Other Editions...
Books By Author Richard Bradford
Importance of Elsewhere, Paperback (February 2017)
The Importance of Elsewhere gathers the best of Philip Larkin's photographic work, to form a fascinating visual biography.
Is Shakespeare Any Good?, Paperback (October 2015)
Is Shakespeare any Good? reveals why certain literary works and authors are treated as superior to others, and questions the literary establishment s criteria for creating an imperium of great writers.
Crime Fiction: A Very Short Introduction, Paperback (May 2015)
Since the mid-19th century crime fiction has been one of the most popular sub-genres of the novel. In this Very Short Introduction, Richard Bradford explores its origins and the features that define its varied style. He considers its role in popular culture around the world and considers why its classification as 'literature' is still ambiguous.
Literary Rivals, Hardback (August 2014)» View all books by Richard Bradford
Richard Bradford's highly entertaining book looks at some of the closest and most complex friendships in literary history and examines the fallout on relationships and on literature itself.
» Have you read this book? We'd like to know what you think about it - write a review about Stylistics book by Richard Bradford and you'll earn 50c in Boomerang Bucks loyalty dollars (you must be a member - it's free to sign up!)
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Hey you !
If you find these sounds useful or inspiring please consider becoming my patron, it helps with the server costs and you'll get a bunch of free stuff.
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Free Chorus (158mb)
Here's a lovely water triangle to ease your stressful lifestyle.
One of the best waveforms on the Roland MC-307 is this looped sample of running water, I superimposed it against a triangle from the system 100 here. I might do a whole library like this, natural recordings against analog waveforms..
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Huashan Huiyan Hotel
No prices found through our partners. Please contact the business directly or check some of our recommended alternatives.
- Suites
- Continental Breakfast
- Room service
- Restaurant
- Free High-Speed Internet
- Swimming pool
Photos of Huashan Huiyan Hotel
Travelers also recommend:
- Swimming pool
- Restaurant
- Fitness/Health center
- Bar/lounge
- Free High-Speed Internet
- Free parking
- Suites
- Continental Breakfast
- Room service
TripAdvisor Reviews Hua Shan Hotel Huangshan
Travel Blogs from Huangshan
A walk in the Yellow Mountains
... tree Sisi wanted to cut and I wanted to keep. Alas, Eolus, god of the wind, was in Sisi's favor and blew the tree over last year. Only one pine tree left to turn our garden into a Kurort during the summer. Another striking feature of this mountain is the incredible amount of steep stairs. The mountain tops have tops around 1860 meters. I don't know at what elevation the entrance is, but I presume around 1000 or so. The tops have hotels and restaurants, ...
Yellow Mountain
A day of travel. Our goal is the Yellow Mountains. In our orchestra, we sometimes play music by that name, but frankly, I have no idea if it is inspired by these mysterious fog shrouded mountains or not. If I feel the music rise within me when we actually climb them, I will be able to tell. These mountains are famous for their many peaks, and the gnarled and twisted pine trees, that grow on the most inaccessible outcrops, ...
Huangshan Hot Springs
... healing benefits of all the different infusions. The favourite though was the hot beaded spring where we all lay for ages. It was a great temperature and we could try and bury ourselves in the beads like sand. We did all find beads everywhere later though! It was just phenomenal and I think if we didn't have to leave we could've stayed there a whole lot longer. But we did have to leave, we had to run for the last bus ...
Mount Huangshan
... person for a twin! We showered and some of us sat to watch the final Edinburgh Uni boat compete at Henley Royal Regatta. They raced very well but unfortunately lost to a strong team. We all decided that we did not want to go back outside to find somewhere for dinner so opted to eat in one of the hotel's restaurants which was very nice. Unfortunately they were short on a few of their options and so I ended up having to eat chips and omelette! Except that they forgot to bring ...
Climbing Everest... Almost... Yellow Mountain!
... stairs all the way up. This Florida boy said, "of course!" It was a brand new world for me... I have never seen stairs on a mountain before. these were all stone and carved into the mountain. The hike would probably take days without them. Within the first 10 minutes we found ourselves on a flat platform breathing VERY heavily, bent over and grabbing for our water bottles. 10 minutes.... 10 minutes and barely .25 km into our 6 km hike.... UGH....


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XL Events Supplies LED for 'Les Mis' Film Premiere
in Projection Connection News
LONDON - XL Events, working with Premier PR, specified and supplied Pixled FX-11 LED for the world premiere of the film adaptation of Les Miserables. The event was held outdoors at Leicester Square, requiring a weather proof product, which XL Events supplied with Pixled's FX-11 tiles.
More details from XL Events (http://www.xlvideo.tv):
LONDON - XL Events, working with Premier PR, specified and supplied Pixled FX-11 LED for the world premiere of the film adaptation of Les Miserables.
Following XL's work on the Total Recall premiere earlier this year, Premier PR once again called upon XL Events' technical expertise to provide a suitable outdoor LED solution for the event in London's Leicester Square.
In addition to the requirement for a 'weather-proof' product, the event needed LED which allowed access through the LED tiles for rigging of the lightbox letters forming the glowing Les Miserables logo.
XL Events supplied 60 tiles of Pixled's lightweight FX-11 to fill the rear upright of the stage where the stars were interviewed before the film screening.
The FX-11's easy maintenance allowed removal of the rear shutters and allowed the letters to be attached through the tile.
Mark Rooney, project manager for XL Events comments, "It was great to work with Premier PR again, and we enjoy the challenge of finding the right video product to enable them to realize their creative idea for this high-profile red carpet event."


text: Stopped by around 10 a.m. for brunch. Be prepared to wait. There aren't many tables and it is first come, first serve so there is no need to put your name in. The staff do a great job quickly cleaning tables for the next guests. I started chatting with two ladies in line behind me and we decided to all... 更多


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Date 12 - 14 Apr 2014
Venue: The water stage in front of Suphan Buri Bus Terminal, Amphoe Mueng Suphan Buri
The Songkran celebration in Supan Buri is not only one of the biggest Songkran festivals, but also has all the elements of Thailand's Central Plains tradition. The purpose of the festival is quite clear: which is for all to have fun!
Activities: Watch the inter-communal Songkran parade competition with local distinctiveness from 10 different districts. And see a golden 'Luangpho To' and Supan Buri's divine religious parade. Culturally, this is a chance to watch the 'Miss Songkran' competition and enjoy concerts from famous Thai artists, while you absorb conventional art and culture with award-winning performances from local students.


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It is used in the formation of 3-ethylsalicylic acid from 3-Ethyltoluene by Pseudomonas ovalis.
D A Kunz, et al. Catabolism of pseudocumene and 3-ethyltoluene by Pseudomonas putida (arvilla) mt-2: evidence for new functions of the TOL (pWWO) plasmid.J. Bacteriol.,1981,146(1), 179-191.
Consuelo Pizarro, et al. Binary Diffusion Coefficients of 2-Ethyltoluene, 3-Ethyltoluene, and 4-Ethyltoluene in Supercritical Carbon Dioxide.J. Chem. Eng. Data.,2009,54(5), 1467-1471.
Gefahrenhinweise (EU): H226
Flammable liquid and vapour.
Sicherheitshinweise: P210-P280-P240-P241-P233-P242-P243-P303+P361+P353-P403+P235-P501a
Keep away from heat/sparks/open flames/hot surfaces. - No smoking. Wear protective gloves/protective clothing/eye protection/face protection. Ground/bond container and receiving equipment. Use explosion-proof electrical/ventilating/lighting/ equipment. Keep container tightly closed. Use only non-sparking tools. Take precautionary measures against static discharge. IF ON SKIN (or hair): Remove/Take off immediately all contaminated clothing. Rinse skin with water/shower. Store in a well-ventilated place. Keep cool. Dispose of contents/container in accordance with local/regional/national/international regulations.


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Build-A-Bear is on the hunt for a new e-commerce platform
CEO Sharon Price John says Build-A-Bear's old e-commerce system is a big reason for disappointing online sales in December.
Build-A-Bear is on the hunt for a new e-commerce platform
CEO Sharon Price John says Build-A-Bear's old e-commerce system is a big reason for disappointing online sales in December.
What is Wal-Mart's e-commerce strategy?
Wal-Mart's acquisition of Moosejaw is the latest in a series of recent moves that illustrate the retail giant's lack of a coherent e-commerce strategy, ...
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Sponsored by 2013 Social Media 300
Mobile commerce is gradually trickling down to even the smallest of e-retailers.
For specialty basket retailer BasketLady.com, creating a mobile presence wasn't exactly a top priority. The Basket Lady's customers, mainly non-tech savvy females between 30 and 50 years old, weren't asking for a mobile-optimized site, says Kelli Katch, vice president of business development.
However, when Katch's e-commerce platform provider, CoreCommerce, part of Sum Effect Software Inc., offered to help her create an m-commerce site for free and with little to no work on her end, she figured, why not?
The Basket Lady went live with a mobile site in March. To date, mobile sales at the retailer, which carries about 300 SKUs, are minimal—around $3,000. But that's $3,000 Katch gladly welcomes.
The Basket Lady is a prime example of a new trend in m-commerce. As the channel grows, mobile commerce is gradually trickling down to even the smallest of e-retailers. First to mobile were the big guns such as Amazon.com Inc. and eBay Inc., each of which today are doing more than $1 billion annually in mobile sales and boast dedicated mobile executives. Next came an onslaught of mid-sized retailers that believed mobile was worth an investment and sought out mobile vendors such as Digby or Usablenet Inc. to build a mobile presence for them. Now, retailers like The Basket Lady, which launched in the early 1990's selling at country markets, are creating a mobile presence because their e-commerce platform providers are making it easy to do.
"It was offered as part of their package, and so I said, 'OK, make my site mobile compatible'," Katch says.
CoreCommerce unveiled its mobile offering in March as part of CoreCommerce 7.7, an updated version of its e-commerce platform. The CoreCommerce software automatically detects if a mobile device is accessing a retailer's online store and then adjusts and optimizes the display for the smaller screens of the mobile devices. Merchants can continue to use their existing payment processors for the mobile-optimized site.
CoreCommerce is one of several e-commerce platform providers catering to smaller retailers that now offer mobile. Others include BigCommerce, Shopatron and Yahoo Stores, which partners with m-commerce technology provider Unbound Commerce to offer mobile.
In the future, Katch says she'd like to optimize mobile navigation and finesse the look and feel of the site. For now, however, she's content with a few extra grand in her company's back pocket.
Not only does Macy's attract more online traffic, more of that traffic comes from mobile ...
Posted 02/16/17
Campaigns optimized for smartphones will capture more last-minute sales and keep in mind that shoppers ...
Posted 02/08/17
The Supreme Court is surely going to find this question right back on their doorstep next year."