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|Board of Directors
FAI is governed by a volunteer Board of Directors representing leadership in the folk music industry. The Board is elected by the voting members of the organization each fall, and an Annual General Meeting of members is held during the February conference.
Click here for a list of Folk Alliance International Board Alumni.
FAI Board Members
Manager, Market Monkeys
Prior to her music career, Conceison was an advertising executive specializing in digital media and analytics. She led teams at agencies in Boston, Chicago and San Francisco, working with major brands including AT&T, Bank of America, General Motors and Adidas.
Conceison is also a professor of Marketing at Northeastern University and Simmons School of Management. She holds a MBA from Simmons and a BA in English & Philosophy from Tufts University.
Program Director, Sirius XM Radio
Mary Sue Twohy is Program Director for multiple channels on SiriusXM including The Village, and The Folk Channel. She has interviewed Art Garfunkel, Mary Chapin Carpenter, Pete Seeger, Emmylou Harris, Judy Collins, Emma's Revolution, and Ellis Paul, to name a few in her tenure. Before becoming a broadcaster, Mary Sue ran a boutique public relations firm and also toured regionally for a decade in support of three albums, two on Azalea City Recordings. Mary Sue resides in Maryland with her fiancée and dachshund.
President, Acoustic Alley
Donald Davidoff has been Folk Alliance International's Treasurer since 2009 and his involvement in folk music is diverse: from founding Fan Club Cruises and presenting hundreds of concerts through that program to running Acoustic Alley, his own occasional music series in Golden, Colorado, and managing the Nadas (Des Moines, Iowa) and Rebecca Folsom (Boulder, Colorado). He also served as Chairman of the Board for Swallow Hill Music Association for three years and still serves on that Board. Away from music, Donald is the founder of D2 Demand Solutions, Inc.
LISA SCHWARTZ, SECRETARY (TERM END: 2019)Festival & Artistic Director, Philadelphia Folk Festival
Lisa Schwartz served as President of the Philadelphia Folksong Society from 2007 until 2015. Under her direction, the PFS became a more vibrant and inclusive organization, with increasing membership and event attendance, and a broadening scope of music. Her dedication to fiscal responsibility led to improved financial stability for the organization and greater recognition from sponsors and grantors.
For the past nine years, Lisa has been the Marketing and Press Relations chairperson for the Philadelphia Folk Festival and has just been named as interim Festival Director, leading a team of three seasoned individuals to produce the 54th Annual event this August.
Away from music, Lisa's professional life includes being a senior sales and marketing specialist with more than 30 years of experience providing marketing, project management, and consulting services in the new home construction, education, arts marketing, manufacturing, and retail arenas.
Sharing a love of all music genres, Lisa has also been a member of the Savoy Opera Company, performing on stage at the famed Academy of Music in Philadelphia.
Managing Director, Club Passim
Matt Smith is the Managing Director of Passim, a non-profit arts organization in Cambridge, MA, and has been working there since 1995. He has also worked for Young/Hunter Management and was one of the founders of FolkWeb, an online CD realtor in the mid-late 90s. Matt has been on panels, juries and committees at the Falcon Ridge Folk Festival, Folk Alliance International, and the Northeast Regional Folk Alliance. He has worked as a tour manager, sound engineer, and stage manager/MC for various tours and festivals.
Executive Director, Levitt Pavilion - LA & Pasadena
Renee Bodie, the Executive Director of Levitt Pavilion Greater Los Angeles & Pasadena, is a seasoned arts professional with over 16 years of nonprofit arts management experience regionally, nationally and internationally, specifically in the music industry with a range of successes in production and arts programming. Renee has served on the Board of Folk Alliance International for six years, and as President of the Board for two of those years. Renee was the Vice-President and Conference Coordinator for FAR-West prior to joining the Folk Alliance International Board. Renee brings over 25 years of prior business management experience to FAI, and as President of Bodie House Music Inc., has produced numerous concerts, festivals, and music conferences over the years.
lOU DEMARCO (TERM END: 2018)
Founder, Momentary Love Management
When Beaver Nelson talked him into hosting a house concert in 2002, lou DeMarco had no idea he was taking the first step down a road that would lead him to a seat on the FAI Board of Directors. But that one show (which featured Beaver with Steve Poltz, Adam Carroll, and Scrappy Jud Newcomb) turned into a long running house concert series that lou and his wife, Loraine Fusco, still produce in their New Jersey home. In 2005, lou opened Momentary Love Management and also began a brief stint as the booking agent for the late, great, Stephen Bruton. During that time, lou befriended numerous artists in need of support and a helping hand, leading him to turn Momentary Love Management into a full time career after retiring from corporate life in 2014. MLM's current roster includes: Beaver Nelson, Wild Ponies, Carrie Ann Carroll, Hilary Scott, Nellie Clay, The Roamies, and Rob Robinson. Momentary Love Management also supports the award winning Dad's Hat Pennsylvania Rye Whiskey, recently named Whisky Advocate's "Craft Whiskey of the Year for 2015".
Owner, Ralph Jaccodine Management / Berklee College of Music
Ralph Jaccodine began in music performing and promoting concerts in Allentown, Pa., and then at the University of Notre Dame. He's promoted acts such as Bruce Springsteen, Kiss, Rush and numerous other acts. In 1994, he joined songwriter Ellis Paul in starting Black Wolf Records, an indie record label. RJ Management began with Ellis and expanded to Martin Sexton, The Push Stars and a host of others. Ralph has been managing artists for 20 years and is also an Assistant Professor Music Business/Management Department Berklee College of Music, Boston, Ma.
Ralph founded the professional organization The Boston Managers Group, he's on the board of directors of the International Folk Alliance, and the ledgendary Harvard Square venue Passim.
He often speaks at industry events such as: The Folk Alliance, Americana Music Festival, SXSW, CMJ. He is a guest speaker at: The Berklee College of Music, Northeastern University, Harvard University, Emerson College, Bay State College and The Passim School of Music.
Executive & Creative Director, The Loud Poet Society
This is Joan's second term on the FAI Board. Her first two years were spent on the Executive Committee as Board Secretary – a job some would say was perfect for an award winning journalist. But she prefers to be described as a "professional listener." "I learn something new from every conversation I have with a member, whether on the phone, in person or by email---but I also learn a lot just hanging back, people watching, and listening to elevator chatter during the conference."
Joan spent more than 20 years as a program presenter, producer and music correspondent at the Voice of America in Washington, DC, engaging more than a thousand guests in conversations about music, their lives and the world around us. Look for her as a "talking head" in two music documentaries: Jon Dee Graham: Swept Away and the upcoming film The Nighthawks: That Band On The Blue Highway. Joan's also an experienced blogger, speechwriter, media coach, and is great at breaking down complex topics into a more manageable style ---and she's doing all those things in her new job as a Communications Specialist at GSA. When Joan isn't working, she loves to travel---anywhere and everywhere—and is great at helping you optimize the use of frequent flier miles.
Joan is an alumna of Leadership Music, served 2 terms on the Board of the Americana Music Association, and spent several years on the planning committee of the International Bluegrass Music Association's Leadership Bluegrass. You're likely to see her on panels at Folk Alliance, AMA, IBMA and other music and media conferences. Joan is a graduate of Northwestern University (MS-Journalism) and received her BS (Broadcast Journalism) from Boston University.
Communications and Public Relations Strategist /
Michael Kornfeld is an award-winning communications and public relations strategist who counts a number of independent recording artists among his clients. As past president of both the New York chapter of the International Association of Business Communicators (IABC) and the Public Relations Professionals of Long Island, Mike is also a frequent speaker on PR and communications topics at music conferences. Through his online publication, AcousticMusicScene.com, Mike has provided news and commentary for the folk, roots, and singer-songwriter communities since 2007. A former contributing writer for The New York Times, he served on the boards of both the LI and NYC chapters of the Society of Professional Journalists and remains active in media circles.
Besides serving on the Folk Alliance International board, Mike is a board member and past vice president of the Northeast Regional Folk Alliance (NERFA) and serves as president of the Folk Music Society of Huntington, a presenting organization on Long Island. He has co-coordinated NERFA One-Day Mini-Conferences, organizes the annual Huntington Folk Festival, and forged a locally-heralded arts partnership between FMSH and LI's Cinema Arts Centre.
Michael Kornfeld is a Phi Beta Kappa graduate of Stony Brook University and a recipient of its Distinguished Community Service Award. Photo Credit: Razzi Entertainment
Executive Director, Woody Guthrie Center
Deana serves on the board of The Oklahoma Center for Poets and Writers, the executive committee of the Tulsa Film, Music, Arts & Culture board, and the advisory board for the Woody Guthrie Journal. McCloud was a National Board Certified teacher for 14 years. For 17 years, she was a member of the Woody Guthrie Coalition, booking and producing concerts and programs for the Woody Guthrie Folk Festival. She now serves on the festival's advisory board.
Owner, Tim McFadden Management
Since 2004, Tim has operated Tim McFadden Management, an artist management and consulting company based in Nashville. He has managed the careers of artists including: Sam Bush, Blue Highway, Robinella, Matt King, Gabriel Kelley, consults labels, artists, publishers and also offers career consulting for artists.
Previously VP of rpm management (Tim McGraw), Tim worked at/or started several record labels (RCA, BNA and Giant) and worked in radio before that.
Tim is also a guitar player and producer, and has been active owning and running music publishing companies.
In addition to his work with FAI, Tim serves on the board of Nashville's W O Smith Music School (and is a volunteer guitar teacher, too), recently left the board of the Americana Music Association after two terms, and spent 7 years on the board of Leadership Music. You'll often see him participating in clinics and on panels at Folk Alliance, AMA, IBMA, and the Country Radio Seminar.
Career singer, songwriter, recording & touring artist, voice actor, spanning 30+ years. Raised in the Southern California border town of Calexico, CA, relocated to Los Angeles to attend UCLA and stayed. Co-writer of numerous chart records, including Pat Benatar's "We Belong" and songs for the Bangles, The Triplets, Dave Edmunds, The Temptations, Dionne Warwick and the Dutch superstar Marco Borsato.
Recorded 12 albums and toured 23 years with Eric Lowen as Lowen & Navarro, until Lowen's retirement in 2009 due to ALS and ultimate passing in 2012, now touring and recording solo. Singer and voice actor in films and television, including a starring role in The Book of Life, The Lorax, Rio, Happy Feet 1 & 2, Ice Age 2 & 3, Family Guy and American Dad, commercials for Coke, McDonald's, Toyota, Nissan and hundreds of others, and albums by Neil Young, Andrea Bocelli, Jose Feliciano and many of our Folk Alliance colleagues.
FAI member since 1998, board member since 2006, board president 2007-2011, and presently a member of the boards of SAG-AFTRA, the Levitt Pavilions in Los Angeles & Pasadena CA, the California Songwriters Association, and an Advisory Trustee to the ALS Association's Golden West Chapter.
Dan is the father of a bright and charming 18-year-old son, Joseph, and a known abuser of acoustic guitars.
Executive Director, The Bluegrass Situation
Amy Reitnouer is the co-founder and executive director of The Bluegrass Situation, an online hub for roots music and culture, and producer of one-of-a-kind jams, stages, and festivals throughout the country, including the annual LA Bluegrass Situation festival.
After launching her first blog BLUEGRASSLA (whilst simultaneously working full time at the Academy of Motion Pictures), Amy was contacted by actor Ed Helms (The Office, The Hangover), who had started his own Southern California bluegrass project, The LA Bluegrass Situation festival at Largo, a year earlier. Together, they merged their brands to start The Bluegrass Situation in April 2012.
Now hosting shows throughout the country – including stages at Bonnaroo, Newport Folk Fest, MerleFest, Americana Music Fest, and IBMA – and growing their website to include a broader range of musical coverage, inclusion of lifestyle pieces, and finely produced video series. BGS has positioned itself within the roots musical community, with Helms still maintaining an active creative role and Reitnouer as Executive Director. Aside from overall brand management, she is responsible for artist and industry relations, media production, event and festival producing, and mediating strategic partnerships.
Artist, Matt the Electrician
Matt the Electrician is a quirky, sincere folk/pop singer songwriter based in Austin, TX. He has self-released 8 studio albums, and 2 live CDs since 1998. With his newest project, Matt gets by with a little help from his friends. Throughout 2015 and 2016, he's focusing on a string of 7-inch vinyl singles. Matt regularly tours all over the world, playing theaters, festivals, clubs and house concerts, and is a fixture in clubs of his hometown, Austin, TX.
Executive Director, Folk Music Ontario
Alka Sharma is the Executive Director of Folk Music Ontario, previously the Ontario Council of Folk Festivals (OCFF), based in Canada's national capital, Ottawa. In this role she oversees the operations, staffing and programming of Canada's largest folk music industry event. Prior to this role she worked as the Interim Executive Director at the Toronto Reel Asian International Film Festival coordinating the country's largest multicultural cinema event. Preceding that she served as the Senior Manager of Operations with the prestigious Toronto International Film Festival. She completed her Bachelor of Arts degree at Carleton University specializing in History and Political Science.
Executive Director, Old Settler's Music Festival
Jean Spivey is Executive Director of Old Settler's Music Festival, a four day, four stage roots music festival located just outside Austin, Texas. Showcasing 30 artists, the event draws 18,000 people over the weekend. As the sole staff member, she directs most aspects including talent-buying, finance, marketing, sponsorships, artist relations, and volunteer oversight and coordination. After taking the helm in 2006, she erased an accumulated deficit of $56,000, more than doubled ticket sales, and grew a healthy working capital reserve.
Prior to becoming executive director, she worked as an arts management (strategic planning and executive search) and marketing consultant with clients across the United States including Alliance Theatre (Atlanta), Papermill Playhouse (New Jersey), Guadalupe Cultural Arts Center (San Antonio), Arizona Theatre Company, and others. During that time, she also did tour press for Eric Johnson and the Gourds as well as publicity campaigns for independent artists including Catherine Berry, Kerry Polk, Seth Walker, and the Rainravens.
In 2007, she led a music festival workshop at the SPOT Festival in Aarhus, Denmark and has participated in or led panels at the International Bluegrass Music Association Conference, Austin Songwriters Group, Folk Alliance International, the International Music Festival Conference, League of Resident Theatres, Association of Performing Arts Presenters, and the American Symphony Orchestra League.
Ms. Spivey currently teaches "Concert Promotion & Venue Management" at Austin Community College and has been an adjunct professor at St. Edwards University, University of Hartford, and Yale School of Drama. She earned a Master Business Administration from the University of Hartford and a Bachelor of Science in Journalism from the University of Maryland.
Executive Director, Minnesota Music Coalition
Since 2013, Ellen Stanley has been the Executive Director of the Minnesota Music Coalition (MMC). The only nonprofit devoted solely to supporting Minnesota's independent musicians, the MMC is a network of industry professionals, businesses and nonprofits, providing artists with the skills, resources and opportunities to have sustaining careers in music.
Before heading up the MMC, Ellen was the Director of Publicity & Promotions at Grammy-winning indie label Red House Records, where she developed an international reputation as one of the top music publicists in the country and was voted one of the "Best in the Industry" by Americana DJ's five years running. She has an extensive background in the music business and has also worked as a fundraiser, festival organizer, radio promoter, booking agent, music writer and A&R rep. For the last twelve years, she has produced and hosted Womenfolk, a weekly music show on KFAI Radio. Ellen also performs her own music under the name Mother Banjo and teaches at McNally Smith College of Music.
President, O'Neill Marketing & Event Management / Executive Director, Kansas City Irish Fest
Keli is the creator and orchestrator of many of Kansas City's most successful civic, corporate and entertainment events. Keli has a true and deep understanding of the city and a lifetime of experience working around – and managing – special events and attractions. She serves as the founding Executive Director of the Kansas City Irish Fest. She is co-founder and Producer of the Jiggle Jam Family Music Fest and producer and promoter of the new Boulevardia (craft beer & music festival) and KC Riverfest (City's largest Independence day celebration). Other projects include VIP coordination for Amway Global Presents the Tina Turner Tour, planning and management for the opening of the National WWI Museum, opening events for the Kauffman Center for the Performing Arts, and director of Kansas City's City-Wide Events committee for the 2012 MLB All Star Game. Keli is on the board of VisitKC (Convention & Visitors Association) and Gordon Parks Charter elementary. Keli holds a degree in Public Relations from Marquette and is married with three children.
President & GM, The Bluebird Cafe /
Erika Wollam Nichols is President and GM of The Bluebird Café overseeing all aspects of the venue's on-site and off-site operations along with marketing, sponsorship and brand development of The Bluebird Café name. She is also co-director of the Tin Pan South Songwriters festival and handles the performance program for the Nashville Songwriters Hall of Fame Induction Ceremony.
Prior to The Bluebird, she was Director of Development for the Nashville Songwriters Association International (NSAI) where she oversaw the organization's fundraising, marketing and community relations efforts for three years (2005-2008)
Past experience includes Vice-President of Marketing & Community Outreach at The Country Music Hall of Fame and Museum, (2000-2003) Associate Producer of the weekly Nashville Public Radio series, "The Songwriter Sessions" (1999-2004) and former Program Director for the Summer Lights Festival (1991-1996). An alumnus of Leadership Music, she served on the Board of Directors for the organization from 2007-2010 and currently serves on the Board of the ACLU of Tennessee and Folk Alliance International.
Erika received her BA in philosophy from Belmont University and an MFA from Vermont College of Fine Arts. She is also an adjunct instructor at Watkins College of Art, Design & Film in Nashville.
2/7/2017Awards Announcement
1/25/2017Music Camp
1/25/2017Green Folk
1/17/2017FAI E-News January 2017


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It'll probably just make it slower. (which is the impact it has in stuff like Company of Heroes)
Couple battle videos. Lot of Conq attacks have different animations for the 40-59 variations, it turns out (like Batter Aside, and Dancing Steel).
Click here to watch Age-of-Conan-Field-of-Dead-epic-surrounded [Not really Epic, somehow snuck into the file name]
I was running back through Field of Dead and ended up in the middle of a couple of "kited" groups. Even with a 6-7 lev difference it can still get a little challenging if you get carried away...
Click here to watch Age-of-Conan-Cannibal-Battle

subset: commoncrawl


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Penon Blanco Lookout
4705 Penon Blanco Rd, Coulterville, CA 95311
#1 of 3 hotels in Coulterville
TripAdvisor Traveler Rating
Based on 80 reviews
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Penon Blanco Lookout
We've found that other people looking for this hotel also know it by these names:
- Penon Blanco Lookout Hotel Coulterville
Address: 4705 Penon Blanco Rd, Coulterville, CA 95311
Amenities at Penon Blanco Lookout
- Free Parking
Sponsored Listings
Coulterville Travel Forum
Need advice about Coulterville, California? Visit the Travel Forum for Coulterville and ask our Answer Gurus.


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Find. Book. Pitchup.
- We make it a doddle to book campsites, glamping sites and caravan parks throughout the UK, Europe and the Americas.
- Trusted by over 1m holidaymakers from 99 countries.
- Choose and book in minutes, with instant confirmation and no booking fees.
2 bookable sites within 40 miles of Bargoed
Black Mountain View Caravan Park
Hay-on-Wye, Powys, Wales Show on mapLast booked
|3 bedroom static caravan (2 adults and 4 children)
|6 x
|From £195/€230.25/A$316.87/US$243.02/CA$318.26/CHF244.79/kr2,205.88/kr1,710.53/kr2,037.62/kr26,351/$3,793.77/$162,500/PEN792.36/NZ$337.84/R3,165.58/zł990.35/R$756.69/Kč6,230.03/RSD28,676 per 3 nights
Cheddar, Somerset, England Show on mapLast booked
|Gypsy caravan
|2 x
|From £42/€49.59/A$68.25/US$52.34/CA$68.55/CHF52.72/kr475.11/kr368.42/kr438.87/kr5,676/$817.12/$35,000/PEN170.66/NZ$72.77/R681.82/zł213.31/R$162.98/Kč1,341.85/RSD6,176 per night
|2 bedroom static caravan
|4 x
|From £320/€377.85/A$519.99/US$398.80/CA$522.28/CHF401.71/kr3,619.91/kr2,807.02/kr3,343.78/kr43,243/$6,225.68/$266,667/PEN1,300.28/NZ$554.40/R5,194.81/zł1,625.19/R$1,241.75/Kč10,223.64/RSD47,059 per 7 nights
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To address Asian urban infrastructure development and financing needs, better systems of inter-governmental fiscal relations are needed together with improved instruments for local governments access to capital markets, as appropriate to the level of development of the capital market and the macro-economic context, and through better systems of mobilizing long term financing for infrastructure. This is a key theme of the Urban Operational Plan. The proposed TA will directly address this issue by developing assessment techniques to define what is appropriate at national and city levels and bring practitioners and innovators of infrastructure finance together with ADB's clients to discuss practical ways to bridge the infrastructure financing gap.
Latest Project Documents
Project Data Sheets (PDS) contain summary information on the project or program. Because the PDS is a work in progress, some information may not be included in its initial version but will be added as it becomes available. Information about proposed projects is tentative and indicative.
The Public Communications Policy (PCP) recognizes that transparency and accountability are essential to development effectiveness. It establishes the disclosure requirements for documents and information ADB produces or requires to be produced.
The Accountability Mechanism provides a forum where people adversely affected by ADB-assisted projects can voice and seek solutions to their problems and report alleged noncompliance of ADB's operational policies and procedures.
In preparing any country program or strategy, financing any project, or by making any designation of, or reference to, a particular territory or geographic area in this document, the Asian Development Bank does not intend to make any judgments as to the legal or other status of any territory or area.


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By Paul Sjolund
SSA choir (keyboard accompaniment) - Difficulty: Medium (Jr. High/High School) or Easy (Adult)
Spiritual. Arranged by Paul Sjolund. Paul Sjolund Series. Main Key: C Major. Folk, Sacred. Octavo. 8 pages. Duration 3 minutes 48 seconds. Published by Hinshaw Music Inc. (HI.HMC943).
Item Number: HI.HMC943
Key: C major. Text: Revisions and Added Lyrics By Paul Sjolund.


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shadaze story ch.3
rouge- blaze you ok
blaze- yea im fine
sally- thank god
jonathan- good to now blaze
bunny- i was worried sugah
blaze- i am fine
amy- blaze!!!! *hugs blaze* i was soooooo worried
* lets skip to lunch*
blaze was i line getting her food and walked to her table
sonic- hi blaze how you doing today
blaze- i am good and you
shadow- hi guys guys how you doing i amfinedoing just fine
rouge- i'm also fine how about you guys
sally- i am good
amy- fine
cream- i am good
tails- good also
blaze- thats good to hear you guys
sally- hehe yeah i know
bunny- hi guys
then a bunch of kids came and stood in front of the S.A class's table
???- hey you guys
sonic- what
???- why dont you give the S.A class to us and you leave the S.A class forever
blaze- NO!!!! * walks toward the person* we wont give you the S.A NEVER!!!!
???- *smirks* have it your way
silver- * stand up and also walks toward him and puches him in the face* no we won't give you theS.A you hear me *walks away*
blaze- silver *walk with hime and leaves*
what will happen next found out in part 4
© Copyright 2017 coolandsweet. All rights reserved.
Status: Finished
Genre: Romance
Script / Humor
Short Story / Humor
Script / Romance
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BMW is a consistent favorite modern car in the last few decades. Learn about the tradition of luxury and performance in models such as the M5, M3, Z1 and more.
The 1987-1989 BMW M5 are few in number and although the M5's replacement may be more collectible in the future the 1987-1989 BMW M5 is deemed valuable now. Learn more about this sporty car.
The 1988-1995 BMW 750iL is highly desirable new and will likely be a collectible in the future. Learn more about the 1988-1995 BMW 750iL. See more »
The 1987-1989 BMW M5 are few in number, adding to the car's mystique and value now. Learn more about this sporty car at HowStuffWorks. See more »
Although its collectibility is questionable now, the 1987-1990 BMW M3 may be more valuable. Learn more about the 1987-1990 BMW M3. See more »
The 1987-1990 BMW Z1 was produced only for a European market. Not certified for American sale, it is certainly a collectible. Learn more about this BMW. See more »


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Hollywood Studios – Shows, attractions and tours offering behind-the-scenes glimpses of Hollywood-style action.
Hollywood Blvd
Echo Lake Area
- 50′s Prime Time Cafe/ Tune In Lounge
- Dinosaur Gertie's Ice Cream of Extinction
- Hollywood and Vine
- Min and Bill's Dockside Diner
- Peevy's Polar Pipeline
- ABC Commissary
- Backlot Express
- Mama Melrose's Ristorante Italiano
- Sci-Fi Dine-In Theater
- Toy Story Pizza Planet
Mickey Avenue
- Studio Catering Co.
Sunset Blvd
- Anaheim Produce
- Catalina Eddie's
- Hollywood Scoops
- Rosie's All American Cafe
- Fairfax Fare
- Toluca Legs Turkey Co
- KRNR The Rock Station
Pixar Place
- Hey Howdy Hey Takeaway
To view all of our Walt Disney World Restaurant pages be sure to use the navigation at the top of the page.
Melissa has created Chip & Company's 'Guide to Walt Disney World: Restaurant & Snack Options' posts as well as chronicling her Disney baking (and cooking) exploits In the Kitchen. She also writes original articles about her experiences visiting Walt Disney World and finding Disney magic in her home state of New York. Melissa is a World History teacher and you can find her on tumblr. Oh & you should probably know she believes in fairytales.
Thank you for visiting Chip and Co. Be sure to sign up for our Daily Newsletter where we deliver the best in Disney News & Planning Tips to your inbox! You can find us all over the internet at Twitter, Facebook, Instagram, Pinterest, and even our Tee Public Store!
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|Message view
|« Date » · « Thread »
|« Date » · « Thread »
|Peter Donald <pe...@apache.org>
|Re: IntrospectionHelper request
|Sat, 05 Jan 2002 01:18:34 GMT
On Sat, 5 Jan 2002 11:56, Erik Hatcher wrote: > While inquiring about some issues I was having with my attempts to get > XDoclet custom templates working (very cool, by the way!), I got this > request for Ant: > > "Please make IntrospectionHelper an interface with a default/derivable > impl. I want to extend it and add a new kind of introspection, but > everything seems to be concrete and utility class. Specifically I want > to create my own AttributeSetter and instead of invoking a setter method > in the target task/element, set a config param value in a hashtable > field of the target element, or in other words I want to add a more > dynamic approach so the user can add config params without having to > create a DocletTask-derived class and getter/setter there." > > I don't quite have the bandwidth or intimate know-how of > IntrospectionHelper yet to give a good response. Thoughts?? It is not an easy thing to do in Ant1.x - especially not without massive amounts of work. Even then I am not sure it would be desirable to implement this without deciding the viability of doing it in Ant2 first -- Cheers, Pete --------------------------------------------------- "Wise men don't need advice. Fools don't take it." -Benjamin Franklin --------------------------------------------------- -- To unsubscribe, e-mail: <mailto:firstname.lastname@example.com> For additional commands, e-mail: <mailto:email@example.com>
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Mausumi from Katra, India recommends this hotel Posted: Room Quality: 3/5 Service Quality: 3/5 Dining Quality: 3/5 Cleanliness: 3/5
Source Code DIN
Sun, 05 Mar – Mon, 06 Mar (1 Night) | 1 Room | 1 Guest
Source Code DIN
This Hotel is perfect for Yatri, who is taking Helicopter to reach Vaishno Devi Temple.For others Taxi service is also available for Banganga. It is very Near to Katra Heli pad. Food is also good.
This is my 4th consecutive stay in this hotel and will not certainly be the last too.Good clean room , though not equipped with lcd screen.As it was more of a religious trip rather than a pleasure trip so lcd doesn't matter that much.room service is excellent and within few minutes your order will be delivered, I personally like there kashmiri khawaha.person at the reception is there shining point, with utmost humbleness and swetness in there voice always eager to serve you in your need.they even arranged indica from katra to jammu airport with minimal amount of 500.there pickup and drop service to banganga and market was is icing on cake, also they will not refuse to drop at ur desired location in katra any number of time and it compensate for hotel varun 400 meter distance from main hub/market.sufficient space for parking and no hiccup chekin at any time.i checkin at around 6pm on dec 26th without any fuss and room were waiting for its visitors.overall a place to be whenever you are in katra for mata darshan.
This is a nice hotel. The rooms are large and comfortable. The furniture is well laminated. The air conditions were working properly. The cleaning was also done well. But the service was not good. We were supposed to get the complimentary breakfast but di d not get it. The location of the hotel is near to the station so it reduced our travelling expenses. The ambience of the hotel is very good.d not get it. The location of the hotel is near to the station so it reduced our travelling expenses. The ambience of the hotel is very good.
Experience was very good with the hotel. Good clean rooms. Staff friendly and their service was also good. We had our breakfast and lunch in the hotel and the food served was very nice.
(based on 77 reviews)
by shashibhargava on July 30, 2016
Have stayed here always whenever i visit mata ka darbar. Staff and managers are extremely helpful and always make you feel at home. They take care of every small thing whihc you ask for ..right from piclkign up at airport , drop at helipad or even picking up at late night while retruning from darbar they are always there. Excellent client relationship
by Dheeraj V on July 5, 2016
I had a journey on 2nd July to 3rd July 2016. Highlights - Room - It was a Decent room and at a reasonable price. Price - Not too high prices. Food - Good. Service - Good Lowlights - The Basic facility of having a free of cost iron could have been provided rather than charging for laundry. Summary - Overall value for money and Budgeted Hotel.
by ravzu on July 3, 2016
It is located near to helipad and well maintained. Friendly staff with superb service. Front office staff is friendly. Always smiling and helpful. Great Hotel. Pocket friendly also. They also helped me with transport and ticketing.
by Prashant P on June 13, 2016
The hotel is good to stay at with good service except that of restraunt. The restraunt is bit slow in service when u order something at room. Food is good apart frm it but not upto mark. We stayed in deluxe rooms and rooms were comfy and good.
by yogeshramdeo69 on April 17, 2016
i was at this hotel for two nights in month of april on 14 nand 15 april location wise hotel is perfect,spacious rooms,clean,big bathrooms,decent lobby,staff was very cooperative,specially manager mr pandit sanjay, food was perfect in taste,also prices were average,overall nice to stay at this hotel
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Full profile →'">
The author is a Forbes contributor. The opinions expressed are those of the writer.
Continued from page 1
#5 Connect with audience concerns. This is a convergence of all the previous points. Why even give a speech unless it explicitly addresses your audience's concerns?
Notice the word "explicitly." No one should be left wondering if you really "get it" when it comes to their concerns. To remove all doubt, you might say something like "I know the upcoming merger will present some operational challenges for you. So I'll tell you about five specific things we're doing to help make the transition smooth." To the extent possible, put yourself in the audience's position. What questions do they likely have? Even if those questions are unasked (maybe because people are reluctant to speak up?), you should provide plausible answers.
#6 Recap the high points. The advice to "Tell them what you're going to tell them, then tell them, then tell them what you've told them" may be a cliché, but it has a lot of value.
You may be unable to wrap up in only 140 characters, but you should at least provide a compact summary of your main points. Yes, you want people to enjoy your speech during real time. But you should also strive to make it memorable. Why? So your listeners can apply the principles you profess, embrace the practices you teach, and follow the advice you offer. A tight summary can help pave the way.
#7 Call to action. Even a funeral talk can include a call to action: "Let's resolve to honor Fred's memory by continuing the work to which he was so devoted."
I hold the view that public discourse should help people desire to do better and to be better. That implies a call to action. Don't leave your audience guessing what you want them to do. Your entire message should be designed to "make a case" for the action you champion.
It's been said that 99% of the population is afraid of public speaking, and that most people in the remaining 1% have nothing interesting to say. You can stand out from the crowd if you adopt these seven steps.
Remember: most of your success as a speaker is determined before you step to the microphone.
Rodger Dean Duncan is the bestselling author of CHANGE-friendly LEADERSHIP: How to Transform Good Intentions into Great Performance. Follow him on Twitter @DoctorDuncan


text: The In The Beginning There Was Order wiki last edited by jeffreyv2512 on 06/19/14 12:00AM View full history A new era dawns for Dr. Fate as a new creative team takes over the reins...and a new face assumes the mantle of the world's most powerful sorcerer. Kent and Inza Nelson have returned to Earth, ready to fulfill their destinies together as the new Dr. Fate...but they soon discover that only one of them can take on the job. And that one is Inza. Can Inza Nelson handle the magic alone, especially when her first challenge is from the Lords of Order themselves? And how will Kent Nelson - the original Dr. Fate - deal with life as an ordinary man, in the shadow of his wife? This new chapter in the rich history of Dr. Fate also introduces the new creative team of writer William Messner-Loebs, penciller Vince Giarrano and inker Peter Gross.


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Mobile App
- Status Closed
- Budget $250 - $750 USD
- Total Bids 19
Project Description
Looking to find a developer to create a static (informational) mobile app with features such as maps of a venue (which we will provide), a database of vendors, schedule, etc. The features will be this:
Map Section:
Map of Hotel if applicable
Map of conference area floors
Map of city
Browse Section:
List of Exhibitors or Speaker
List can be organized by:
By name
By Category
By Date
Flag them if they are your favorite
Need to be able to add them to your schedule calendar.
This can be your new contacts which you can import to your regular contacts
Can be pre-populated with speakers if there are speakers.
Schedule (Build Your Own):
A pre-populated schedule will appear
You can add to your personalized schedule
An alarm will remind you (if possible)
I can give an example also.
Thank you kindly and am looking for long term work relationship.Get free quotes for a project like this
Skills Required
Looking to make some money?
- Set your budget and the timeframe
- Outline your proposal
- Get paid for your work
Hire Freelancers who also bid on this project
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- Forbes
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- Times Online


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- New statistics by Endsleigh appearance Doncaster as the amount one abode in the UK for accidents in the home.
People in Doncaster should be accurate if plastering their walls or putting up their new collapsed awning TV. According to new statistics out today by home allowance able Endsleigh, Doncaster is home to the clumsiest humans in the UK. Those active in York were at the added end of the scale, getting called the a lot of assurance acquainted at home.
The after-effects aswell showed that six out of the top ten a lot of blow decumbent towns and cities are in the South of England, with four of these getting amid in the South East. The top three a lot of and atomic blow decumbent towns and cities in the UK are:
Most blow prone: 1. Doncaster 2. Gloucester 3. Burnley
Least blow prone: 1. York 2. Cambridge 3. Swindon
The new abstracts were appear in Endsleigh's 'Home Accidents Report 2010′, which shows the top ten a lot of and atomic blow decumbent towns and cities for adventitious accident in the home. The after-effects were calm by analysing domiciliary claims over the endure four years from tens of bags of Endsleigh policyholders beyond the UK.
Endsleigh analyses the allotment of claims in altered UK towns and cities adjoin the amount of Endsleigh policyholders, baronial them based on the allusive accident of adventitious damage, rather than on the absolute amount of claims there accept been.
Stuart Wartalski, Endsleigh Spokesperson said,
"Accidents at home are not uncommon, but householders are decidedly accessible to mishaps during coffer holidays if abounding of us accede application the continued weekend as an befalling to accomplish long-awaited changes including bounce cleans and home improvements. This is why at Endsleigh we are giving abroad chargeless home emergency awning to anyone who purchases collective capacity and barrio allowance absolute with us throughout April.
It is important for humans to ensure they accept able cover. The appraisement of domiciliary allowance is taken on a case-by-case basis, demography into annual a amount of factors such as postcode, amount of goods, likelihood of annexation or damage; it accordingly varies aural altered cities."
Many accidents could be abhorred by spending added time on planning and ensuring that the all-important precautions are taken. Endsleigh's top tips for abbreviation the accident of adventitious accident in the home are:
- Plan abundant time to do the job able-bodied – hasty things can not alone beggarly that the job will not be done properly, but it can aswell advance to accidents
- Never accomplish do with accessories – you charge to use adapted accoutrement for the tasks and consistently apprehend the instructions first
- Before animadversion into a wall, or even beating a attach in, analysis that there are no baptize pipes or electrical base in the actual area
- If painting or decorating a room, accomplish abiding that you anticipate about added than just the walls – acrylic can get spilt or splashed, so get dust bedding to awning your carpets or flooring
- Know your limitations and plan able-bodied beforehand. If you are borderline whether you can do it or not, argue a professional
Endsleigh's behavior are accessible online via www.endsleigh.co.uk and by blast on 0800 028 3571.
Further Information


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AMD has finally introduced the high end its high end AMD Radeon HD 6900 graphics cards family which boasts an enhanced second-generation, Microsoft DirectX 11-capable architecture to provide remarkable performance.
The high end family takes advantage of AMD PowerTune power management technology that dynamically adjusts power draw on the fly, AMD Eyefinity multi-display technology and AMD HD3D technology for stereoscopic 3D entertainment.
"AMD Radeon™ HD 6900 series graphics feature AMD's second-generation, DirectX® 11-capable architecture, new image quality improvements and up to 2GB of graphics frame buffer, making it a great choice for gamers and enthusiasts," said Matt Skynner, corporate vice president and general manager, GPU Division, AMD. "Delivering DirectX® 11 performance with intelligent tessellation, image quality improvements with new anti-aliasing modes and AMD PowerTune technology, we believe AMD Radeon™ HD 6900 series graphics cards will make excellent gifts this holiday season."
Graphics cards in the AMD Radeon™ HD 6900 series are available immediately from retailers worldwide, with select models starting at $299 US SEP.
Add new comment
Ok next stop Tronville
Ok next stop Tronville
good price
good price
Not Bad
Well with the reviews I've read these cards for the price are nice. The 580 is hands down the best single GPU card. The 6970 which is the new 5870, goes back an forth with the 570 which is the 480 replacement, Yes NV messed with there numbers also. Just going off of how AMD does there drivers and remember the reviews are being done with beta drivers, these cards will see a 10-15% performance boost with good drivers, still wont compare with the 580, but the 6970 will be better than the 570 in most everything, and don't get me wrong the 570 is a great card for price also. So both company's are stepping up which is nice to see.


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the screen on my phone just broke. piece of crap. wtf? like watching fuzzy analog tv in the 70's, where you have to adjust the antenna.
sorry maelle (my friend who works for the product development team at nokia), but this phone is a piece of merde, and it's always been shit, and now it's just gone kaput! useless. i've had it for all of 8 months. give me a break.
so, now you know why my phone isn't working. will not buy an iphone just yet. later. what now, what now?
DAMAN3049 added this photo to his favorites. (94 months ago)
uh oh kaput!
i almost got that phone when got my last one but i chose a motorola which im sure im gonna smash soon soon. i tend to break them easily...
The iPhone doesn't exist. It's make-believe, like elves, gremlins, and eskimos.


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Full profile →'">
The author is a Forbes contributor. The opinions expressed are those of the writer.
Most seasoned bond investors are used to staying on top of their callable bonds so there are no surprises.
Now, with Chairman Bernanke's open-end, zero percent interest rate policy, we are experiencing bond issuers of all credit quality tendering and/or calling their bonds.
It makes sense for them to get rid of their higher coupon bonds, refinance at even lower rates, and extend their maturity distributions as far out as possible.
But what is good for the bond issuer isn't necessarily good for the bond investor.
Deciding whether a tender offer makes sense for you has several moving parts other than your lips saying, "yes" or "no."
First, ask the questions:
- Is the tender price now being offered on the market?
- Is that price close to where bonds are presently trading?
- Or is the offer over the current market price?
- Is the incentive fee (we call it "vig") enough to entice you to give up the income stream you desperately need? Or is there no incentive fee being offered?
Then you must consider the amount of the outstanding issue. If you don't tender and a vast majority of other investors do tender, what type of liquidity will there be?
Will you be able to get a bid for your bonds if there's only a few million left outstanding? If you didn't tender and don't receive the "vig," will you be sorry if the bonds quickly get called afterwards under a "Make Whole Provision" (if they have one) or at the next call date? Is your head spinning yet?
Clearly, luck and guesswork comes into play. If you decided not to tender and sometime in the future decide to sell—whom are you going to sell to if there are hardly any bonds left? And, your brokerage firm will most certainly give you an awful bid because they don't want to be stuck with an illiquid bond unless they are handsomely compensated.
Special Offer: Click here to see Marilyn Cohen's high-octane, high-yielding new buys, including a voice, data, Internet services play and a construction management company … in Bond Smart Investor.
Using the recent Tesoro bond tender offers, let's examine which way your vote makes the most sense. Tesoro is tendering for two issues. The first is the 6.50% due June 1, 2017 (CUSIP: 881609AT8). They are offering to repurchase bonds at 100.50 with an early tender fee of $30 per $1,000 principal amount—the total tender price, including the vig then is 103.50.
The issue was originally $500 million; bonds were previously called and now have $473,215,000 outstanding. The next call date is October 22, 2012 @ 103.25. Bonds presently trade in small size between 103.25 and 103.60. This one is easy: Tender the bonds immediately, pick up the extra .25 because they will get called anyway in short order at the next call date.
The next decision isn't as obvious. Tesoro 6.625% due November 1, 2015 callable October 22, 2012 (CUSIP: 881609AS0) is tendering this $450 million issue at 98.75 with a $30 per $1,000 tender fee. On Friday, September 21 bonds traded between 101 and 102.


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Improve the performance of your site by serving your feeds as static (XML) files.
It's all about web server performance. It is much more efficient for a web server to serve a static XML file than to dynamically re-create the feed in PHP/MySQL upon each request. Since a blog feed doesn't change as often as it is downloaded, it makes sense to serve this information as a static file.
Combine this plugin with a web server configured with compression (mod_deflate in Apache) and a PHP Accelerator (such as APC), and you have yourself a real WordPress serving powerhouse!
It may work, but I wouldn't guarantee it. If you're using this plugin with another caching plugin without problems, let me know and I'll start a list of Static Feed compatible Caching plugins.
Most likely no since the caching plugin may be doing something similar.
Not yet, sorry.
Yes! This is what version 1.0 of this plugin was originally written for. Simply configure this plugin to write to the appropriate xml file on your server and you're all set.
Web server Compression is when the web server compresses the data before returning it to the client (web browser). Compression will shrink XML to more than half its normal size, resulting in less bandwidth and a faster downloading experience for the end user.
You can test your site and feeds for compression by using the What's My IP HTTP Compression test.
Note: This plugin does not add HTTP Compression to your web server. HTTP Compression is a feature your web hosting providor or administrator would configure.
Requires: 2.9.0 or higher
Compatible up to: 2.9.2
Last Updated: 7 years ago
Active Installs: 300+
Got something to say? Need help?


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This Lent, take a 40-day devotional journey with Dietrich Bonhoeffer. Click here to sign up.
11:31 The form of this proverb, using intensification ("how much more") is typical of wisdom (15:11; 17:7; 19:7, 10; 21:27).
the righteous is repaid. Not even the righteous escape the scrutiny of judgment. The Septuagint (Greek Old Testament) translation reads, "If the righteous one is scarcely saved" (as quoted in 1 Pet. 4:18).
on earth. Or, "in the land" (2:20–22 note).
how much more the wicked. If the sins of the righteous are judged, obviously those of the ungodly are judged as well. The principle of human responsibility is clear: even the righteous must accept responsibility for their folly.
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Created attachment 617571 [details] [diff] [review]
Patch for bug
This patch fixes issues with the doorhanger anchor not being in the center of the icon as well as centers the doorhanger anchor on the icon when in the HTTPS-EV case.
*** Bug 748049 has been marked as a duplicate of this bug. ***


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Gilbody, S M orcid.org/0000-0002-8236-6983, House, A O and Sheldon, T (2002) Routine administration of Health Related Quality of Life (HRQoL) and needs assessment instruments to improve psychological outcome: a systematic review. Psychological Medicine. pp. 1345-1356. ISSN 0033-2917
Background. Routine administration of Health Related Quality of Life (HRQoL) and needs assessment instruments has been advocated as part of clinical care to aid the recognition of psychosocial problems, to inform clinical decision making, to monitor therapeutic response and to facilitate patient-doctor communication. However, their adoption is not without cost and the benefit of their use is unclear. Method. A systematic review was conducted. We sought experimental studies that examined the addition of routinely administered measures of HRQoL to care in both psychiatric and non-psychiatric settings. We searched the following databases: MEDLINE, EMBASE, CINAHL, PsycLIT and Cochrane Controlled Trials Register (to 2000). Data were extracted independently and a narrative synthesis of results was presented. Results. Nine randomized and quasi-randomized studies conducted in non-psychiatric settings were found. All the instruments used included an assessment of mental well-being, with specific questions relating to depression and anxiety. The routine feedback of these instruments had little impact on the recognition of mental disorders or on longer term psychosocial functioning. While clinicians welcomed the information these instruments imparted, their results were rarely incorporated into routine clinical decision making. No studies were found that examined the value of routine assessment and feedback of HRQoL or patient needs in specialist psychiatric care settings. Conclusions. Routine HRQoL measurement is a costly exercise and there is no robust evidence to suggest that it is of benefit in improving psychosocial outcomes of patients managed in non-psychiatric settings. Major policy initiatives to increase the routine collection and use of outcome measures in psychiatric settings are unevaluated.
|Copyright, Publisher and Additional Information:
|© 2000 Cambridge University Press
|The University of York
|Academic Units:
|The University of York > Hull York Medical School (York)
|Depositing User:
|Repository Assistant
|Date Deposited:
|25 May 2006
|Last Modified:
|06 Feb 2017 11:43
|Published Version:


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Is Photography Over Finally Over?
Not quite. Joshua Chuang sends some final notes on last week's symposium. Other posts and more information on "Is Photography Over?" can be found here.
In addressing the role of museums and curators as narrative-makers, Corey Keller noted that she and her colleagues try their best to "complicate" what might otherwise be an overly tidy story of photography's history. This sense of necessary untidiness, alluded to by my fellow reporters, also characterized the symposium's discourse in ways that alternately helped to identify critical issues and undermine the coherence of a given dialogue. Nevertheless, as Dominic Willsdon observed in concluding the event, there were "these moments, these flashes, when suddenly something quite urgent and important [would appear]," only to dip beneath the surface again.
A great deal of this urgency came from the audience, whose astute comments and pointed questions stirred the panelists to react. To keep them from receding into the rear-view mirror too soon, following are what for me were some of Friday's most memorable moments:
— A woman from the audience who noted that with all the anxieties over aspects of photography being lost, the reason we remember and value images is the individual behind the camera, not the camera itself: "Of course there are going to be losses—there are losses in the world of words too. We don't have too many people writing plays in iambic pentameter anymore. But that's not too much of a loss. The loss is that we don't have Shakespeare."
— George Baker's passionate insistence that something vital has indeed been lost in photography's transition from analog to digital. (This brought to my mind a gripping exploration of the larger cultural and social ramifications of our increasing dependence on digital technologies by PBS's Frontline called "Digital Nation," which can be seen here: http://www.pbs.org/wgbh/pages/frontline/digitalnation/)
— Geoff Dyer's wonderfully elliptical, Dyeresque tale about Lee Friedlander wandering a bleak, unphotogenic world in search of the last remaining rolls of film, told in response to a question about whether photography's traditional place, à la Walker Evans, as the most literary of the visual arts was still valid in the digital age. Those who weren't present will have to wait for the release of symposium's video or the forthcoming book for better context than that which I'm able to provide here, but the moral of the story was that there will always be someone that comes along who is capable of rehabilitating a tradition that might seem completely exhausted. To which Charlotte Cotton responded, yes, one can still make interesting photographs within an older tradition or with historical materials, but it means something quite different to do it now. When a 26-year-old photographer, for instance, is stashing away 4×5" sheet film in 2010, what does it say about his practice?
— An actual 26-year-old photographer and self-described former artist from the audience who worried that his work was being "policed out," falling through the cracks between the established categories of "artist-using-photography" and "photojournalist." This seemed to resonate with a discussion later on of a recent statement by the photographer Paul Graham, whose work could be considered an answer to whether the literary tradition in photography as embodied by the work of Walker Evans can still have relevance:
"…what of those who work today with equal commitment and sincerity, using straight photography in the cacophonous present? I will not name names here, but for these serious photographers the fog of time still obfuscates their efforts, and the blindness j'accuse some of the art world of suffering from, narrows their options. It means their work will almost never be considered for Documenta, or placed alongside other artists in a Biennale, or found for sale in major contemporary art galleries and art fairs. This does not just deprive the public of the work, and the work of its place, it denies these artists the self-confidence that enables them to grow, to feel appreciation and affirmation, not to mention some modest financial reward allowing them to continue to work. It is also, most importantly, seeing the world of visual art in narrow terms."
(Graham's full text can be found here: http://www.paulgrahamarchive.com/writings_by.html)
— "The art of descriptive photography"—a new phrase coined by Peter Galassi to describe what we formerly (and problematically) understood as "straight" or "documentary" photography.
Struck Dumb by BRUCE CONNER: A Reminiscence
Seeing Apsara DiQuinzio's recent incredible post on Bruce Conner's LOOKING GLASS (and other works) partially inspired the following recollections:
I first encountered BRUCE CONNER on a visit to the 90's Dogpatch incarnation of Canyon Cinema. I was tagging along with my good friend, filmmaker Timoleon Wilkins, who had many legitimate reasons to be there, all of which provided me cover for the purposes of scoping out the facilities of this legendary distributor of truly independent cinema. Following Tim into the darkened chamber, I was forced to halt suddenly when a strange, yet friendly-seeming, wizened fellow approached Tim bearing a jar packed with a mysterious, dark substance. After a minute of conversation between my friend and this likely wizard, during which Tim kept referring to him as "Bruce", it began to dawn on me (BRUCE?!!) — yes, this must be BRUCE CONNER. The proffered jar was a container of sugar-free jam someone had given him as a present; he'd brought it by Canyon as a likely site of targets for re-gifting. I don't remember if he had any takers, but in years to come, after boning up further on BRUCE, I'd come to associate the slightly fevered, yet benign and generous glint in BRUCE's eye with his presentation to Marcel Duchamp of his soon-to-be-famous TRAVELING BOX. Fool that I am, I hadn't the receptivity, and restrained, but quietly avid curiosity the sometimes Rose Sélavy is said to have displayed in seizing hold of the strange and marvelous BOX. Having no chess-player's eye for the historical big picture, I, not for the first time, sidestepped opportunity, and failed to accept the gift. To this day, I regret at not being able to point up to a corner in my pantry, and say "Yes, there rests SUGAR FREE JAM JAR", and watch as this info sinks into the consciousness of awe-struck guests… A few more anxious minutes passed, and BRUCE slipped away into the afternoon…
Truth be told, finding myself in the presence of BRUCE CONNER, I was totally dumbstruck. I'd first seen his films in Austin, Tx. many years before, starting with MONGOLOID and AMERICA IS WAITING. These films were clearly made by a sensibility of scathing, all-consuming vision, not to mention maniacal determination. Was BRUCE CONNER the South Pole's Santa, attended by a sneering army of manic, post-punk elves? All I could find out about BRUCE at this point was that he was a man in his 50's living in my native San Francisco who suffered from a liver condition liable to cause his death at any moment. The years passed on, I saw more BRUCE CONNERs, and was left dumbstruck every time. This man who lived with mortal disease was clearly IMmortal, beyond the laws of petty, average men. His films and other works were made by someone who could see through walls, into secret, previously undisclosed realms. Conner's cosmic x-ray vision penetrated into the depths of the sea, and into the hearts of mystery-laden sirens. It was unknown to me whether his major limbs were capable of superhuman acts, but his hands joined bits of film, paper, stockings, doll parts, wood, etc, etc, etc, like a mad swami who'd discovered cosmic consciousness in the yoking together of physical fragments, by which material and ephemeral universes would become ONE. No wonder finally encountering him left me dumbstruck…
Stepping on Brecht's toes…
I was an unabashed fan of The Wire, one of the very greatest shows ever on tv. I've read all of Richard Price's books, who was a chief writer for the series. I've looked forward to the debut of Treme, (accent on the last syllable, like flambé), the new HBO series put together by most of the folks who did The Wire. So far it's been okay, with some great visuals, great acting, some good writing. It's about the impact of Katrina on New Orleans. But I've had an itch that's something is amiss and this afternoon, after standing on a street corner in the cold for half an hour, I think I figured out what it is.
Remember how everyone joked that Avatar was Dances With Wolves in space? Well I think Treme is Avatar in the ghetto. All the cops in Louisiana as portrayed in Treme are venal, predatory and racist, just like the corporate looters in Avatar. The corporate interests in Avatar want to pave over paradise for some McGuffin chemical or other; in Treme it's the real estate interests that want to tear down the black neighborhoods in the interests of gentrification. The scientist played by Sigourney Weaver in Avatar has her equivalent in Melissa Leo's lawyer: both characters are professionals who "get it," and struggle to maintain some kind of ethical stance while being part of "the system."
The Moment Before Photography Is Over
Additional images of Eyjafjallajokull are available on the Boston Globe Big Picture webpage. More photographs by Olivier Vadeginste can be viewed on his blog.
Five Questions: Allison Smith
Five questions to SFMOMA artists, staff, or guests. Local visual artist and educator Allison Smith is the creator of the SMITHS project. Her Arts and Skills Service program continues through the spring with talks, conversations, workshops and activities. Join Allison this Thursday evening for SMITHS: Arts & Skills Service: On Shell-Shock, or Ammunition and Ornament.
Do you collect anything?
Yes I do. I have a collection of Trench Art which is art made by soldiers during WWI. It's a collection of decorated artillery shells that were expended bombs that soldiers collected secretly and illegally on the battlefields during WWI and hid them in their trenches and made them into art. I don't collect a lot of things but that's one thing that I collect.
If you could steal any artwork in the world to have up in your home, what would it be?
What do I want to live with? I think right now the art object I most covet in the world would be a jacket by a woman named Agnes Richter who was a German woman who was institutionalized. She took her hospital uniform and she tailored it and embroidered her life story onto it, to the point that you can't even read it anymore. The text is obscured by so many layers of writing because women were not allowed to have pen and paper but they were allowed to sew. She sewed her story on the interior and exterior of this jacket. I've never seen it in person, but it's one of the most beautiful and compelling objects I can think of.
I would have a problem stealing it but I would really want to touch it. I almost want to wear it, but I don't think I could fit into it, it's probably really petite. I would really like to be in the presence of it and if I could look at it each day in person it would change my life.
What do you listen to while you work?
Often I just like it to be really quiet. My favorite thing to listen to while working is the MoMA audio archive. There are amazing MP3 files that you can download, to listen to different artists talk about their work. You can actually go to the archive and hear Duchamp talk about ready-mades. A really good idea of radio in the studio would be to listen to an archive like that. That's probably my favorite listening experience that I've discovered in the last few years.
Sometimes I listen to lectures; sometimes I listen to books on tape. I have listened to everything that Mark Twain ever wrote via downloading. Sometimes I listen to This American Life or NPR.
What's your favorite tool?
Oh! There are so many great tools. I love so many tools. One of my favorite tools is a rotary cutter. It's one of the best tools ever. That's the first one that comes to mind, but I love any kind of specialty tool, especially if it relates to textiles. Sometimes I am attracted to the tool thinking I'm going to use it to do something and I never learn how to use it but I just love having the tool. Or, I realize I'm in a place that I can get that tool that you can't get anywhere else, and that's very seductive.
What should I ask you?
What's my favorite dessert? The problem is I could talk for two hours about desserts. My friends call me a dessert queen because I really love desserts. My favorite desserts involve caramel and salty nuts. It could be caramel with sea salt, that's really good, or PayDay candy bars, but I really like the crunch and the chew together. I really love baklava and I love ice creams with caramel and nuts, like butter brickle or pralines and cream.
American Cinema
In a Fairfield Porter frame of mind I hopped a bus over to the edge of the Tenderloin, where an energetic new gallery, Ever Gold, has taken root at 441 O'Farrell Street. Two young white male artists have worked up a show called American Cinema.
The invite was cute, with Bob Dylan as "Alias" in that Peckinpah film facing down Al Pacino as Serpico. Dylan stands to the left representing the West, old and new, and Pacino on the right, as though to hold down the NYC territory. Ryan Coffey lives and works in San Francisco, while Jason Grabowski hails from Brooklyn. He tells me he brought all his work in a package on the plane, even his collection of what other galleries might call "artist's frames." (more…)
Is Photography Over? Friday afternoon session reports
This week SFMOMA hosted a major symposium on the current state of the field of photography, with two intensive panel discussions Thursday evening and Friday afternoon. Yesterday's reports are here. The initial texts from the symposium participants are here. Other blog posts addressing the question "Is Photography Over?" can be found here.
Sarah Miller and Brendan Fay
If the first session of "Is Photography Over?" was structured to highlight differences among panelists and between panels, the wide-open format of the second session served a different function. In three hours of free-wheeling and wide-ranging conversation—passionate, energetic, but also punctuated by dropped questions and dead ends—what became most apparent, and most interesting, were the gaps and asynchronies between the panelists and their audience. We sensed general agreement on all sides that broad shifts in contemporary culture provide the occasion for reconsidering museum practices—the need for museums to function as "sites for conversation" and not merely as repositories for objects, as Charlotte Cotton and Doug Nickel agreed. The twist, perhaps, was that new imaging practices and forms of distribution were hardly the only topics of conversation.
In their closed-door session on Friday morning, we learned, the panelists had settled on four issues of major concern for their ongoing discussion (all oriented toward photography's present and future, for those looking for a final verdict). Dominic Willsdon suggested three of these as the topics for public discussion: the transition to digital technologies and distribution; the mutating belief systems and modes of perception we bring (or will bring) to photographic images as digital technologies become ubiquitous; and the lingering sense that "photographers" and "artists using photography" remain two distinct camps, generationally and conceptually. Willsdon then acknowledged the group's fourth key topic, the role and politics of "institutions" vis-à-vis photography, but also shared the group's concern that such "shop talk" was inappropriate for a general audience.
It was fascinating, as a result, to watch the audience continually force that issue back into view. Institutional practices and policies were part of what this audience came to discuss, and in concrete terms: in relation to economics and the market, or the physical experience of objects within the future of the museum. There was a general sense that this fourth topic, the question of institutional choices, bears directly on how we understand the shifting connections among the other three. If the general idea of "sites of conversation" has become a key model, here's a working hypothesis for the next experiment: the particular site matters.
Institutional issues sparked some intriguing and productive musing on museums' future roles. Will digital photography force a sea change in the "experience of objects" to which museums have long been dedicated? Conversely, will the haptic and social qualities of digital imaging force a change in our notion of photography as the optical art par excellence? How will displays that seek to present a "history of photography" (like MoMA's galleries) be inflected by the medium's extraordinary diversification? Will museums—and all the rest of us—learn to explore an "aesthetics of uncertainty" in and for photography, contra the literalism and certitude we've long associated with the medium?
But institutional topics also served as vehicles for frustration about the transitions taking place. A number of inquiries and complaints concerned the relationships between art market economics and the imperatives of contemporary museum collecting and display: what combination of forces drives a market for huge, spectacular, expensive photographs that seem to repudiate photography's (putative) earlier function as historical witness? Another significant thread of audience comments revealed resentment about the ever-growing critical apparatus that seeks to situate photography within contemporary art: an apparatus, it was alleged, that "artists-using-photography" respond to and benefit from in producing arcane or self-indulgent conceptual work, and from which traditional "photographers" who document the "what the world looks like" are now marginalized. For their part, the panelists were provoked more than once into unified repudiation of laments for photography's ethical and credible past, pointing out that such convictions about the medium and its functions had always relied more on myth than reality.
Looking forward, the clear flashpoints and missed opportunities within the conversation are probably of equal significance. George Baker, for example, continued to ask us to linger on some crucial questions: What will we miss when chemical photography has no purchase on our culture anymore? What life experiences did it intersect with? Can nostalgia be a critical vehicle for grasping what photography has been, culturally and artistically? The confrontation between these questions and the attachments, investments and beliefs voiced by the audience was tantalizing, promising. But in this multivocal format—quite effective in other respects—we could only catch a glimpse of other potential conversations to follow.
This is all to the good. This experiment in public/private discussion provided a useful and provocative complement to other recent cross-sections through the objects, practices and disciplines surrounding "photography." It's an admirable beginning, full of lessons for future attempts, and it confirmed that the questions under discussion were the right ones. Above all, thanks are due to those at the museum for their foresight, organization, and effort, and to the participants for their generosity—and endurance. And since a print-on-demand publication is expected to follow, we can't even say that "Is Photography Over?" is truly over.
Joshua Chuang
After two hours of closed-door discussions Friday morning, the symposium's thirteen participants—looking slightly enervated perhaps from the rigor of their deliberations—filed onto the stage of the Wattis Theater and sat in a single row.
SFMOMA's Dominic Willsdon, one of the moderators, began the afternoon's plenary session by summarizing the primary motifs that seemed to keep coming up in that morning's debate. This was followed by over two hours of an open forum that included incisive comments and questions and from audience members.
Like the increasingly complex and expanding definition of photography—upon which the panelists were not ultimately able to agree—the public forum was so intriguing and wide-ranging and that for now I will only be able to provide a small window into the Friday's proceedings. (Please check back for additional posts in the days to come.)
One of the motifs that came into play, that surprisingly was not as prevalent in the short position papers the panelists submitted in advance of the event, was the rise of digital technology in photographic practice.
Peter Galassi noted that while the prevalence of chemical photography is on its way out, what hasn't changed is the fact that a photograph is still made by fixing an image from inside the camera. The rise of digital photography, he argued, ensures photography's future.
Philip-Lorca diCorcia, however, proposed that digital processes have in fact had a profound effect on contemporary practice. Many photographers, who are increasingly having labs produce their prints, end up spending more time correcting the files that digital photography gives them. Walead Beshty agreed, lamenting the fact that as photographers interact less and less with the physical materials of photography, they are depriving themselves of discovering what those materials might be capable of beyond verisimilitude to, or an enhancement of, analogue photography. How long will it take, he wondered, for artists to develop and explore the unique attributes of digital materials and tools so that digital photographs (which an audience member later predicted would no longer be qualified as "digital" in a few decades' time) will have a look of its own, distinct from the way photographs have looked until now?
In the end, the two-day symposium made possible a rare and generous exchange between a group of articulate and distinguished panelists that is not likely to be assembled again anytime soon. Even if the only consensus reached was the fact that photography is changing, and will continue to change, the debate over the role of institutions, the challenges facing photographers, and what exactly has been lost revealed in fairly clear outline the major issues facing institutions, photographers, and our perception of the photographs they make.
Sarah Miller is the 2010-2013 Terra Postdoctoral Scholar in American Art at the University of Chicago. She is writing a book about the multiple and diverse inventions of the concept "documentary" in American modernist photography.
Brendan Fay is an Andrew W. Mellon Postdoctoral Fellow in the Humanities in the Department of Art and Art History at Stanford University, currently working on a book on photography and abstraction c.1950.
Joshua Chuang is the Assistant Curator of Photographs at the Yale University Art Gallery. Most recently, he organized the exhibition First Doubt: Optical Confusion in Modern Photography and has edited monographs on the work of Judith Joy Ross and Mark Ruwedel. He is currently at work on a traveling retrospective exhibition and related series of publications devoted to the work of Robert Adams.
Thanks to all for attending, reading, listening, participating. As Brendan & Sarah noted above, a print-on-demand publication is indeed forthcoming.
Is Photography Over? Day One Report, Addendum
Joshua Chuang sends this brief addendum to this morning's report.
Apropos of the symposium's first day, here is an excerpt from an afterword that John Szarkowski penned for a 1998 reprint of Lee Friedlander's classic first book, Self-Portrait. Friedlander, by the way, was also in the audience last night.
"I once happened to attend a conference, designed to wring from photography its deepest secrets, and later to publish them in five (I think) languages, not including, of course, the language of photography, which is too difficult, ambivalent, ambiguous, or mysterious to be broken to pull in harness with languages that have dictionaries and grammars. In spite of the apparent hopelessness of the problem, the conference was attended by critics, aestheticians, other philosophers, social scientists of various specialties, prophets, and politicians, most of whom seemed dedicated to the proposition that the group might, if it put its common shoulder to the wheel, determine what photography ultimately meant, so that the question could by Sunday morning be declared dead, and never again waste the time of the panelists.
The program might have proceeded smoothly toward its goal if Friedlander had not been invited, but he was. He was also, if my memory serves me correctly, the first speaker on the program. I use the word speaker in the nominal sense, for he began by saying that he had nothing to say about his pictures, but had brought three Carousel trays of slides – three hundred and sixty pictures – to show, and would be happy to try to answer any questions that the audience might have. The pictures were carefully and intelligently chosen, and arranged chronologically, and the slides were beautifully made, so that it would have been possible to lean back and take pleasure in the view that an important twentieth-century artist had formed to describe the evolution of his own career. But this would have been rewarding only to those who believe that pictures have a life, and a life history, of their own. To those (perhaps half of those assembled) who believed that it was the function of pictures to provide ancillary proof to truths that might be formulated by wise blind men, it was deeply distressing to be asked to sit and watch pictures without dialogue or sub-titles for ten minutes, then fifteen minutes, without having been given a text that one could agree with, or disagree with, or agree with in part, with wise, witty, delightful exceptions, citing St. Augustine or Groucho Marx or Walter Benjamin or Jacques Derrida or others who, however innocent of any complicity with or even knowledge of the sins or the provisional triumphs of photography, were called upon to bear witness to its ultimate possibilities. Friedlander (perhaps innocently, or perhaps with some higher Metternichian sophistication) had momentarily foiled the philosophers and the politicians and the social scientists by giving them nothing but pictures, which was not quite the grist their mills needed.
After twenty minutes or so of this embarrassing mismatch, a public-spirited auditor in the back of the room decided to sacrifice himself by asking what was obviously a ludicrously irrelevant question, but that might serve to get the intellectual ball rolling. He asked: "Where did you make that one, Herr Friedlander?" Friedlander, obviously pleased to be asked a question that he could answer without compromising his own standards of precision and concision, promptly responded that the picture in question had been made in Toledo. Friedlander was in fact so pleased with the question (which did not concern his life in bed, or his political commitments, or his insights into the ultimate secrets of life), that he announced to the audience that he would be happy to identify the place at which each of the remaining quarter-thousand pictures were made, and he proceeded to do so: "Memphis … New City … Phoenix … Cambridge … Jackson Hole … Syracuse … etc." As Friedlander continued his recitation of place names a considerable part of his audience seemed to sink into a progressively deeper confusion, perhaps in some cases due to the perception that so many great ancient cities seemed to have sunk so low. Finally another voice, polite but firm, asked whether it was really relevant that he had made this particular picture in Chattanooga. Friedlander considered the question for a moment and, with a respectful seriousness of manner that I have no reason to believe feigned, said yes, he thought it was relevant that the picture had been made in Chattanooga, because if he (Friedlander) had not been in that city he would not have been able to make that picture."
[Many thanks to the Matthew Yeager of the Fraenkel Gallery for sharing with me his enthusiastic rediscovery of this text.]
Is Photography Over? Thursday Evening Event Reports
This week SFMOMA is hosting a major symposium on the current state of the field of photography, with events last night and this afternoon. Today's reports on last evening's discussion are from Joshua Chuang, Assistant Curator of Photographs at the Yale University Art Museum, and Sarah Miller & Brendan Fay, both postdoctoral fellows, at the University of Chicago and Stanford University, respectively. They'll follow up tomorrow with more on this afternoon's discussion. The initial texts from the symposium participants are here. Other blog posts addressing the question "Is Photography Over?" can be found here.
Joshua Chuang
Is photography over? Ever since SFMOMA announced that it would be assembling some of the field's most prominent historians, critics, curators, and practitioners to answer this provocative question, there has been much speculation as to what the question itself was really asking. Given the energy coursing throughout the Phyllis Wattis Theatre (which, along with two overflow rooms within the museum, was filled to capacity), it was clear however—even if the scope of the question was not—that there were more than a few people who felt that something was at stake.
In an effort to keep the initial discussions focused, the symposium's organizers astutely decided to divide the thirteen participants into two successive panels jointly moderated by SFMOMA curators Dominic Willsdon and Erin O'Toole. The first consisted of critic Vince Aletti, art historians Douglas Nickel, Joel Snyder, and Blake Stimson, curators Peter Galassi and Corey Keller, and photographer Philip-Lorca diCorcia, and the second featured art historian George Baker, artists Walead Beshty and Trevor Paglen, curators Jennifer Blessing and Charlotte Cotton, and the writer Geoff Dyer.
Acknowledging the deliberate provocation of the symposium's title Corey Keller, who conceived of the event, kicked off the proceedings by issuing a hope that issues of semantics (what is meant, exactly, by the terms "photography" and "over"?) might be sufficiently ironed out so that other substantive questions might be addressed. If there is something over in photography, Keller asked, what is it? And if that aspect of photography has truly passed, does it really matter?
As a curator working with a university museum that is situated, both functionally and physically, at the intersection of a school of art and a department of art history, I came to the event with a particular interest in the outcome of the exchange. Yale's undergraduate photography classes have been perennially oversubscribed for years, yet the central question on minds of the school's MFA photography students seems to be: how do I make my work feel new after everything has already been done? Is a love of the medium and its capabilities enough to perpetuate photography's relevance?
Yes, according to diCorcia, Aletti, and Galassi. If photographs being made today continue to offer cultural and emotional meaning, even with a more sweeping public knowledge of how easily photographic content can be manipulated, does it make a difference how they were made? It does for Snyder, Nickel and Stimson, who by and large felt that there has indeed been something lost—a particular sensibility, depth of investment, a certain satisfaction to be derived from photographic images being made and disseminated today in the context of art galleries and museums.
Seeing so many curatorial colleagues from other institutions in the audience brought to mind the inescapable fact that this discussion was taking place within the context of an art museum, a point that was discussed at length by the second panel. Was all the anxiety about something coming to an end actually emanating from institutions themselves rather than the creators of these things we call photographs? Are institutions with segregated photography departments truly able to provide their audiences with a context that is robust enough to present the increasingly varied ways in which artists are using photography in their respective practices? (This question, incidentally, was one that was also posed earlier this year in a closed-door session by the Museum of Modern Art's photography department.)
Given the passionate and at times heated exchanges of the symposium's first day, I'm eager to hear what gets agreed upon—if anything—during this morning's deliberations.
Sarah Miller and Brendan Fay
"What is at stake today in seeing something as a photograph? What is the value of continuing to speak of photography as a specific practice or discipline?" This symposium was convened under the sign of a single, overarching question—inflammatory yet utterly benign; can we call it pustular?—but it's these secondary questions that have assumed primary importance. Do these questions really constitute a single line of inquiry? Does the answer to any one necessarily entail a particular stance on the others?
Corey Keller described the symposium's title as a "blunt instrument," and it's been an effective tool for drawing investments and assumptions out into the field of play. The position papers paid blissfully scant attention to questions to digital technology and truth, instead zeroing in on art photography in art museums as the key topic—and institutional structures, framing contexts, and constituencies as the key issues—when these kinds of questions are advanced by this kind of institution.
Two other anticipatory questions arose from the setup and published responses, although the initial round of discussion intensified rather than resolved them. First, what's the supposed urgency of this exact moment? Why is the question for 2010 one of photography's existence or continuation, as opposed to its theory or its meaning or the state of research (as asked elsewhere across the last decade)? Second, what's history's place in the discussion? When we debate "photograph" and "photography" as labels for either artistic production or social practice in the present moment, do we take it for granted that we're also rewriting historical categories?
Does photography deserve our nostalgia? The panelists were nearly as divided on nostalgia—is it a negative attitude or a positive one?—as they were on photography, making the question multi-dimensional. Both panels found themselves circling the question of a meaningful history, in particular a connective history. Is there a narrative that can hold the history of photography together with its present—or are we better off without one?
Some were adamant that photography is fundamentally continuous, while its materials and technologies continue to evolve, while others felt that the question itself ("Is Photography Over?") might be the meaning of photography now. Douglas Nickel and George Baker both asked, in different ways, what is useful about the sense of crisis, the question of obsolescence, the worry over ontology. Can we ask what is desirable and interesting to us about a given technology, or historical construct, or attitude, at a given moment? As Geoff Dyer wondered, why isn't photography more elegy-prone? Some scorned nostalgia; others sought to reclaim it. Mostly they debated: if we're nostalgic, for better or worse, what are we nostalgic for? What's lost in photography, and what continues in new guises? For what do we need the past, or a sense of tradition?
A number of participants on the (more contentious) first panel sought alternate modes of continuity: Vince Aletti feels photography is vital as ever as a way of engaging the world, though its techniques and materials evolve; Peter Galassi argued that photography is getting along just fine, although we ought to realize that photography and talking about photography are two different things. Talking, he said, won't resolve any of the present questions about making, but we still see evidence of photographers' mining the medium's tradition and vocabulary in their work. (For Keller, a bit more evidence, at least when it comes to print quality, would go a long way; for Philip-Lorca diCorcia, nostalgia for technique as such can only function negatively.) For Joel Snyder, on the other hand, these notions of continuity in photography—defining photography as continuity—amount to an intellectual disservice, masking profound disparities among historical and contemporary sensibilities, concerns, modes of production and display, and demands placed upon image-makers by audiences and institutions. Blake Stimson suggested we put aside one tactic—defining photography according to its unique technology-delimited aesthetics—and look back to an equally foundational tradition of its sociality in order to make sense of its current potential both quotidian and critical. All were willing to accept photography as a coherent abstraction, much more so than on the second panel.
The second panel, by contrast, was quite comfortable with photography's dispersal into a broader category of "imaging practices." Charlotte Cotton was most direct about the potential consequences, linking widespread cultural shifts—in who's making images and how they're disseminated—to the need to rethink older models of institutional authority. And the panel culminated in questions about how our existing infrastructure, both institutional and intellectual, might illuminate what's happening now. In other words, it's not just lens optics or stillness or 'the photographic' that's at stake here. The big questions have as much to do with museums, perhaps modern museums specifically. They're questions about balancing stewardship and historical interpretation with new acquisitions and real-time cultural interventions, about material history in the live feed. We spectators won't know the 'official' questions addressed in today's closed-door morning sessions until the public afternoon gathering, but the basic challenges seem clear.
Negative blues (for "Is Photography Over?")
[w/ thanks to Rebecca Stoddard]
Symposium tonight. Details. Other posts. Day-after event reports here tomorrow & Saturday.