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Artists Space
Shocking but true: Artists Space, essential model for a generation of feisty, funky, youth-driven nonprofits, is nearly half a century old. More surprising still, initially it depended entirely on government support, at a time when both the governor of New York (Nelson Rockefeller) and the US president (Richard Nixon, newly re-elected) were Republicans. Promising to make up for a dearth of opportunity for young artists, Artists Space's founders rounded some up and offered them the chance to call the shots, all on the state's dime.
I'm tempted to stop writing right here.
The further history of Artists Space, though, is plenty instructive, particularly now, when democracies are in free fall, economies are gutted and the domestic public sector—angry and frightened citizens, feckless politicians—is unlikely to see art as an essential investment. Founded in 1972, Artists Space was conceived inside the New York State Council on the Arts (NYSCA), a Rockefeller initiative of 1960, as an organization that would serve the needs of emerging artists. Trudie Grace, director of NYSCA's Visual Arts Projects program, and the late art historian Irving Sandler, a panelist there (he also had ties to the National Endowment for the Arts) brought together a number of local artists—they included Jeff Way, Richard Nonas, Jene Highstein, and George Segal—to determine its priorities. Unsurprisingly, exhibition opportunities were emphasized; also recommended were a slide registry of work by artists without gallery representation, and emergency grants for artists' materials costs (at first, grants were capped at $300). Grace became Artists Space's first director, Sandler its first Board president. Of its initial home, at the corner of Wooster and Houston Streets above the fledgling Paula Cooper gallery, Sandler's wife Lucy remembered in a recent phone interview "Trudie and Irv sweeping the floor at the first space, the boards full of splinters. It was an artworld that's unrecognizable today."
The organization's name declared its mission: exhibitions, initially three solos at a time, were all to be selected by established artists, with well-known figures choosing those less widely recognized, and unaffiliated with a gallery. Mostly named by Irving Sandler, the first artists invited to appoint solo shows at Artists Space included Vito Acconci, Romare Bearden, Chuck Close, Donald Judd, Sol LeWitt, Dorothea Rockburne, and Richard Serra. For following seasons, a letter was sent to more than 600 artists, asking each to propose 10 selectors and 420 responses came back.1 Lucy Sandler reflects that those 600-odd artists were the entire artworld; as younger artists are always being told, it was a very small place. Selectors were urged to consult the Unaffiliated Artists File, and everyone with slides included was invited to meet and choose among themselves for a group show. Suggesting a now unimaginable scene, 130 did so. Slide shows from the file were held for dealers, critics, and curators. Edit DeAk, legendary cultural bellwether, became Artists Space's first employee. Co-editor with Walter Robinson of the plucky magazine Art-Rite, she was a liaison with cutting-edge artists, and made it her business to talk with the many who came in to apply to the Independent Exhibitions Program or the Emergency Materials Fund, or to update their slide file. Informality was a touchstone. But of course, all this vaunted intimacy also suggests a certain clubbiness. In fact, a lot of people were left on the wrong side of the ostensibly unguarded doors, which would cause problems soon enough. But the good intentions of the founders were rock-solid.
Pioneer though it was, Artists Space doesn't hold pride of place among early alternative art spaces. Jeffrey Lew's 112 Greene Street, in SoHo, opened to fellow artists in 1970, and survives as White Columns. Alanna Heiss founded The Institute for Art and Urban Resources in 1971. Having made use of several vacant venues, she opened its first trademark gallery, The Clocktower in Tribeca, in 1973, and staged its first installations at PS1 in Queens (now PS1 MoMA) in 1976. But Artists Space was both more financially secure than 112 Greene Street and more democratic than the Clocktower and PS1, where Heiss made the decisions. Artists Space's initial budget, $50,000, came from NYSCA, and for a few years it was viewed, with some wariness, as an arm of the Council. Sandler recognized conflicts from the start. The first, he said, was that while the organization's purpose was to establish unaffiliated artists' stature, achieving visibility while showing only the little known was a challenge. Twenty five years after the organization's founding, he admitted, "It remains a problem." Secondly, the promise of providing an alternative support mechanism to the existing gallery system was never achieved. "This is because collectors…won't buy in an alternative space. They must have a dealer stand behind the work,"2 he said. Some artists agreed. Barbara Kruger, whose paintings appeared at Artists Space in 1974, said later, "I don't know what an alternative space is and I don't know what a noncommercial space is. I never knew anyone, my colleagues or myself, who ever resisted commerce."3
Nonetheless, an abundance of pathbreaking—and strikingly noncommercial—shows and performances occurred in the first three years, when artists were making the selections. The auspicious and wide-ranging choices included performances by Laurie Anderson and Adrian Piper, a spare installation by Mel Kendrick and a physically minimal but robustly narrative one by Charles Simonds. Then momentum flagged. By the time Helene Winer became the director in 1975, she felt that the policy of artists choosing artists had run its course, yielding a program that was "misguided and uninspired," as she recalled in a phone interview this spring. Too often, artists simply nominated their studio assistants. DeAk had put together a lively performance program, and might have taken on the leadership role, Winer said, but "the board thought she was too radical to be director."4 While she has denied making all the curatorial decisions, Winer had earlier admitted, "I had no confusion about what needed to be shown or what didn't require an alternative outlet."5
Among the artists featured during Winer's five-year term was Scott Burton, then doing performance work, and a show of graffiti art, for which Peter Schjeldahl wrote the catalogue essay. Literary-minded installationist Barbara Bloom and video artist Dara Birnbaum were given solo shows; Winer achieved a remarkably strong record of representing women artists. She also oversaw the relocation to 105 Hudson. The downtown club scene—particularly the nearby Mudd Club—was jumping, and there was considerable interaction between visual artists, musicians, and poets, reflected in Artists Space's program. But two shows that took place during Winer's tenure overshadow everything else that happened on her watch.
The first is firmly linked with Cindy Sherman, who had succeeded DeAk as Program Assistant in 1977, and had birthed a new legend by occasionally arriving at work dressed in a campily starchy persona, for instance as a secretary, or a nurse. But Sherman (whose work had been included in an earlier group exhibition at Artists Space) wasn't included when a group of artists with whom she was associated—Troy Brauntuch, Jack Goldstein, Robert Longo, Sherrie Levine, and Philip Smith—appeared in the 1977 exhibition Pictures. Curated by Douglas Crimp, it named an era. In the show's catalogue essay,6 Crimp laid out a kind of manifesto for theory-driven art of the 1980s. "We only experience reality through the pictures we make of it," he wrote. "Pictures in newspapers and magazines, on television and in the cinema" make real life seem "more and more trivial." In fact, "While it once seemed that pictures had the function of interpreting reality, it now seems that they have usurped it." Many of the pictures in question were fairly dark, but were "neutralized by the distance that representation necessarily imposes," just as in dreams, where sometimes it is "the mostly overtly horrible that makes us feel oddly at ease." Freud was cited, along with Surrealism and Pop. The essay nonetheless concluded that this new work was "largely free of references to the conventions of modernist art."7 Twenty years later, Crimp was at pains to distance himself from the show and its legacy. "I took my lead from Helene, who gave me a list of artists she thought were interesting to visit…I didn't have my finger on the pulse because I hadn't seen enough art by younger people." He dismissed as "completely and historically wrong" the idea that he had launched the careers of those artists, or of a movement, saying, "after all, it was only one tendency of the '80s and not necessarily the most central one."8 But the enduring importance of the exhibition is evident, for instance, in a 2009 exhibition at the Metropolitan Museum revisiting what it called The Pictures Generation.
If Pictures brought acclaim, a solo exhibition two years later, of charcoal drawings by the young white artist Donald Newman brought nothing but trouble. Titling the show Nigger Drawings, Newman lit a blaze that still smolders.9 Although the title didn't draw attention until the final days of the exhibition, outrage, when it appeared, grew quickly. Janet Henry, Lowery Sims, Howardena Pindell, Lucy Lippard, Benny Andrews, Linda Goode Bryant, and others sent letters of protest to funding sources and the press; after the show closed, a demonstration took place at Artists Space.
The artist (whose abstract drawings few had actually seen) did himself no favors by claiming he was "comparing an artist to a nigger because it was about devalued labor in society without compensation or respect or regard," nor by likening himself, rather shamelessly, to D.H. Lawrence and William Burroughs.10 But offensive though it now undeniably seems, Newman's defense wasn't all that different from more considered arguments made by the many who supported him. "These words don't have quite the power they used to—and that seems like a healthy thing,"11 Winer said at the time. She noted the incendiary term's currency—Patti Smith had recently made buttons for a concert reading 'Rock 'n Roll Nigger' and Vito Acconci had thrown the word around in a performance. Critic Aruna D'Souza reports in a recent book that other support came from Fashion Moda, an arts organization in the South Bronx which she describes as a "POC-focused" (in fact, most of the artists who showed work there were white, as was its founder); its directors, D'Souza says, called opposition to the N-word a "prehistoric position and a waste of valuable energy that could be used dealing with the real issues that face minority artists."12 Also weighing in, Crimp wrote, in a letter to NYSCA, "the lesson of an entire century of aesthetic endeavor [is that] both language and imagery function at a level of ambiguity that must suspend the imputation of an absolute and specific meaning to any word, any picture… I would like to ask the protestors in this case to explain in what way Newman's drawings might…be construed as racist."13 If that now sounds inconceivably smug, the endorsements that came from Rosalind Krauss, Craig Owens, Roberta Smith, and Laurie Anderson mainly differed only in tone. All felt that a great deal was at stake—not only for freedom of expression, but also for the viability of a cherished and vulnerable institution. As D'Souza writes, "Almost every one of the letters of support…pointed to the clear, unique, and even essential value that Artists Space provided in the New York art scene."14
In the controversy's immediate aftermath, Artists Space held a meeting with protestors, issued a statement of apology, and pledged to increase diversity in its programming. Looking back, Winer wrote in a recent email, "Our immediate concern was not making amends for allowing the use of the title, but to redress the underlying, obvious failure to recognize that whatever was the cause of such limited Black participation in our milieu, it was not going to self-correct in some natural way that we might have assumed."15 Like others, Ragland Watkins, then Associate Director for Exhibitions, staunchly affirms Winer's commitment to diversity, before the show as well as after. But, as he said in a recent phone conversation, "People live in their unconscious. And as we're finding out these days, we're not very knowledgeable about each other's lives."
The concrete measures taken at the time included partnering with minority-run art spaces and hiring a consultant, Tony Whitfield, to help ensure diversity. An African-American artist and curator, Whitfield was acquainted with Newman through the downtown art scene (as was Jean-Michel Basquiat, who was led to Artists Space's materials program by Newman16), and he had declined to sign a letter condemning the organization. In a recent phone conversation, Whitfield said the choice made him a pariah in the community. The consultancy was no better. His remit was enlisting artists of color by reaching out to arts organizations in the other boroughs, an effort he called "a total failure—no person of color wanted to have anything to do with Artists Space" at the time. Whitfield remembers the experience lingered as an "albatross."
The shadow cast on Artists Space was lasting, too. Jeff Chang argues that the protesters' struggle was simply "about misrepresentation and lack of representation,"17 but other lessons are clouded by time. Apart from the simple fact that Newman's title was condoned, which elicits as much wonder as fury from recent commentators, the most striking anachronism of the episode is the focus of attention, among defenders and detractors alike, on NYSCA. Winer felt blindsided that the protestors—several of them personal friends—went first to her funding sources rather than her. Her supporters wrote to NYSCA too. In other words, the fight was played out over government funding. And that made it a public matter, engaging people otherwise unconnected to what was after all a small, local art scene.
Winer says the controversy didn't force her departure. She mentions that the board had asked her to do more fundraising, which she didn't relish. In fact, she freely confesses now, she'd stopped having Board meetings. Mostly, it seems, she didn't see the point of laboring in a nonprofit when there were so few commercial opportunities for young artists. A quickly growing roster of galleries had arrived in SoHo, including Leo Castelli, where Janelle Reiring, an old friend of Winer's, was director. Together they launched the Metro Pictures gallery in SoHo in 1980, representing, among others, Cindy Sherman, Richard Prince, Walter Robinson, and Laurie Simmons, as well as Pictures participants Jack Goldstein, Sherrie Levine, and Robert Longo.
When Linda Shearer took over the directorship, in 1980, young artists were already flocking gratefully to the newly receptive downtown galleries. Amid a rising economy, Artists Space's staff expanded. Valerie Smith was hired in 1981 as Artists Space's first curator; she worked with Ragland Watkins and Susan Wyatt, then Associate Director for Services (Wyatt had been at Artists Space since its founding, initially as an intern). And the organization moved again, to West Broadway. Looking to broaden the program and ensure greater representation of artists of color, they reached out to professionals around the country. In 1985, Wyatt was named director, and oversaw outreach to artists from across Europe and beyond, including some from Eastern Europe who had not previously left their home countries. Looking back in a recent phone conversation, Smith was particularly pleased with We the People, 1987, an exhibition of Native American artists which included—along with Edgar Heap of Birds and Jimmie Durham, both admired in the art world—Marsha Gómez, well known only in her community, for her traditional terra cotta figures.
But the breadth of programming didn't prevent political trouble arising again, this time from the right. Led in the Senate by Jesse Helms, conservatives had attacked the NEA, prohibiting, in 1989, grants to work deemed "homoerotic" or obscene. Exhibitions of photographs by Robert Mapplethorpe and Andres Serrano ran afoul of what was soon called a culture war. At Artists Space, Nan Goldin was organizing, with federal support, Witnesses: Against Our Vanishing (1989-90), a tribute to artists living with or felled by AIDS. David Wojnarowicz authored the catalogue's lead essay, famously writing, in all caps, "WHEN I WAS TOLD THAT I'D CONTRACTED THIS VIRUS IT DIDN'T TAKE ME LONG TO REALIZE I'D CONTRACTED A DISEASED SOCIETY AS WELL." Watching the evolution of increasingly elaborate rituals of private mourning, he advocated public rage instead. "I imagine what it would be like," he wrote, "if friends of those who died from AIDS would take their corpses to D.C. and then "blast through the gates of the white house and come to a screeching halt before the entrance and then dump their lifeless forms on the front steps."18 The image is uncannily timely.
Fearing the text would be found libelous (Wojnarowicz called New York's Cardinal O'Connor a Nazi and fantasized about setting Helms on fire, among other things), Wyatt, on the advice of the board and its lawyer, preemptively ran it by the NEA, and offered to replace the portion of its funding covering the catalogue with income from other sources.19 Instead, the NEA withdrew the entire grant; the board unanimously refused to relinquish it. The standoff became front page news at the New York Times, and was also covered in the Boston Globe and the Philadelphia Inquirer. Leonard Bernstein declined a National Medal of Arts in defense of Artists Space. That too became a front-page Times story. Actor Alec Baldwin got the Creative Coalition to speak out, and author Larry McMurtry, then president of PEN, wrote an op-ed piece for the Washington Post. Wyatt was especially gratified that representatives of other disciplines and more mainstream organizations found common cause with Artists Space.20 Even Cardinal O'Connor said he didn't think the grant should be withdrawn. And indeed, it was eventually reinstated. This magnitude of response, in addressing the withdrawal of public funding from a small nonprofit art organization, is harder to imagine now than the humble conditions of its birth 17 years earlier.
And, as with the Pictures exhibition, the legacy of Witnesses has lingered, too. In fact, in many ways it marked a breaking point. NEA reauthorization hearings were underway at the time of the Witnesses show, and Wyatt advocated for it actively. She believed that by working hard, and successfully, to gain access to powerful figures at the Endowment and in the federal government—by wearing pearls rather than black leather, as she put it in a recent conversation, and acknowledging that her parents were lifelong Republicans—she could change minds. In the event, it was the last major Artists Space controversy in which government support was pivotal. NEA support had been a small, but important, part of the organization's budget. As with grants to individual artists, it carried with it the crucial endorsement of the agency's peer-panel reviews, an irreplaceable system. A period of flux for Artists Space followed. Longtime board member Carolyn Alexander told Claudia Gould, named director in 1994, that before her appointment, "the Board seriously considered whether Artists Space should vote itself out of existence."21 By 1989, the budget had reached nearly a million dollars; in the lean years that followed, it was slashed by nearly half.
Several leadership teams later, Stefan Kalmár was made director, in 2009, and held the post for seven years.22 "I arrived at a very particular time," Kalmár recalled in June, via Zoom, "when it had gotten stuck, conceptually." Describing the compartmentalization of the space into "little boxes," he said, "It tried to be like a doll version of a museum." His first priority was to open things up, physically and programmatically. "Before I started there was more frequency, less depth," he says. "Lots of little things shifted from the studio to Artists Space." What was needed was "the heavy lifting of working with, say, six artists a year, and giving them a proper budget, developing their project, their practice."23
By all accounts, Kalmár's appointment was another turning point. Emphasizing brainy, market skewering art (which often enough became highly collectible) by such emerging figures as Danh Vo, the Bernadette Corporation, Hito Steyerl, and Cameron Rowland, he raised the organization's visibility. He helped bring together a group called Common Practice, which in addition to Artists Space included White Columns, The Kitchen, Triple Canopy, Light Industry, Participant Inc., and Printed Matter. During his tenure, Artists Space was the first organization in the US to be certified by Working Artists and the Greater Economy (W.A.G.E.), which raises awareness of artists' economic plight. Unapologetic about focusing on creators rather than audience, Kalmár asserted, in a 2014 interview, that one thing Common Practice member organizations agreed on was "not pandering to populism."24 To me, he confirmed, "We're not for everybody. We're really not."
Of course, anti-populist or not, nonprofits can't support themselves by selling art, and like so many directors, Kalmár was faced with financial challenges, in his case the post-2008 financial crisis. He says he found it liberating in some ways, explaining that with a limited budget, "You can only do things that matter most." Asked about the lack of government support, he observed that tax exemption is government funding,25 about which he is ambivalent. Unquestionably, though, the paucity of outright public grants has increasingly aggravated relations among commercial and nonprofit art institutions. Kalmár calls out the compromises made by big museums, suggesting that their curatorial and upper management staff have become a "concierge" service to the donor class. Adding a touch of sarcasm, Winer notes, "There used to be an ethical separation between galleries, museums, nonprofits of all sorts. Now, museums are blessing our [galleries'] artists with exhibition opportunities they want us to finance." And inevitably, Kalmár's additions to the Artists Space board were tied to the market. They include gallerist Lawrence Luhring (since departed; Barbara Gladstone has recently joined); Allan Schwartzman, of Sotheby's; and Amanda Sharp, the Frieze co-founder (he also brought on artists Rirkrit Tiravanija and Rachel Harrison). Like any board, it sometimes proved troublesome. "When it came to Occupy Artists Space [in 2011]," Kalmár recalls, there were some on the board who "advocated quickly for getting the police in. That was the only time I threatened to resign. Can you imagine the police evicting a mixture of artists and Occupy Wall Street protestors?" Wondering aloud whether "you can you bite the hand that feeds you," he replies, "You can nibble on it a bit, that's good."
As to the question of how he would respond to the current surge of commitment to racial equity, Kalmár answers, "Make sure you have a board that is adequate to the demographics of your city. By that I mean not only cultural background but also class background." He argues, bracingly, that "some form of quota" is necessary, as is having "people that audit you on it, externally, to encourage you to improve." Too many people, he says, still talk about the need to diversify audiences—to bring more people to art. "It's so patronizing. You don't have to bring them to anything. You need to accept that other communities, other social configurations have their own forms of cultural expression that are as valuable and sometimes more democratic. Then you can make a choice about how you want to relate that as an institution."
Kalmár initiated the relocation of the organization to its present space at 11 Cortlandt Alley, which was realized by his successor, the present director, Jay Sanders, appointed in 2017. When reached by phone in late May, Sanders reported that under the COVID-19 quarantine he hasn't had to furlough staff, and is deep in addressing both immediate fiscal realities and the next six months of planning. "There's a strong sense that the worst is yet to come," he said. "I've never spent more time thinking about the fundamentals and what an artists' space is than now." Having arrived with a background in performance (he had been curator of performance at the Whitney Museum, and had worked at White Columns, Anthology Film Archives, and elsewhere before that), Sanders emphasizes that component of the program. While exhibitions will be relatively easy to open, he says, "such an important part of what we do is social gathering. That's going to require more." He's been collaborating with the Segue Foundation in presenting a poetry series; going forward, he thinks, virtual broadcasts may take precedence over live gatherings.
But Sanders is fully committed to the organization's support for work in all disciplines—hybridity is a key term—and to encouraging experimentation. Commissioning work is the "hallmark of Artists Space," he believes, so "artists tend, on invitation, to make work for the context." Just as important to him is the organization's openness. The artists are in control of most of the "touch points," he explains, noting, "even now"—in the new premises, a sleekly renovated cast-iron building in Tribeca—"we don't have a fixed office. We retrofit and reconfigure the space for each show." Artists are largely in control of those decisions, to which Sanders is highly attuned. "When you walk in the door, do you want to be engaged with a staff member, or do you want to just see work? Is there a press release? All the dissemination points around the work are part of the work if the artists want it to be." He is gratified by how many do. "How things circulate on the internet is not ancillary," he adds, "it's part of the work." Noting his emphasis on artists' prerogatives, which arguably align with Kalmár's anti-populism, I asked if he worried about being called an elitist. "We think about that a lot," he said. "It's a place for artists and art workers and those who are invested in ideas in the art world. We don't have an advertising budget, but we do a lot on social media. We do try to make the work accessible, but we don't try to programmatize that—we let the artist go all the way with it. I hope that's not elitist, that there's some generosity there. If there's a destabilizing element in the work, I hope it's fruitful and not elitist."
It seems no exaggeration to say all of this is now at risk. "It's so clear how fragile the cultural sector is," Sanders says. "Especially in the US. We're so grateful for things like the New York Community Trust. And for the CARES Act." But because of the virus-induced shutdown, "Everyone's gala was canceled. Yearly giving by supporters is challenged, for everybody." He went on to note, "arts organizations in general live with a lot of dissonance; tackle a lot of contradiction. You're creating work that at times has extreme value, that is bought and sold, and circulates in all these other systems. But at Artists Space we try hard to make sure that's not the dominant thing. We try to be aware of and fight that nihilism, of art kind of becoming a luxury good. We hold those contradictions really close." He concluded, "the collegiality and dexterity that the institution has seems to be its real continuity. And porousness. That's its real legacy."
Fighting nihilism, supporting artists, and being open to their evolving interests: These are indeed crucial and enduring values, present from the start. And some things have improved since Artists Space's founding. It is no longer tenable for a handful of friends and colleagues, almost exclusively white New Yorkers, to suggest they have the necessary access and knowledge base to fulfill such an organization's mission. And while government funding is well worth fighting for, over-reliance on it was clearly a problem.
On the other hand, being answerable only to supporters in the private sector brings problems that are perhaps less tractable, because less transparent. Was giving up on public support for culture a symptom of growing social division in this country, or a cause? Can we be nostalgic for a time when progressive new art—that is, postwar Abstract Expressionism—was used as a political tool for consolidating American cultural hegemony? It's hard to say yes, but then it's hard not to yearn for public reckonings based in the assumption that contemporary art belongs to everyone and needs to be on the civic agenda, and budget. Given the straits we're now in, these may be questions for another day—or, as I see it, more urgent than ever.
At the end of my discussion with Sanders, I asked if he's planning a blowout celebration for Artists Space's 50th anniversary."I honestly don't know," he answered. "I want to say no. If we're really doing our job we should just be plowing ahead and doing our work. Not being self-conscious about these legacy things." He paused, then added, "But, it's also an important date." Agreed.
- Among the new selectors were Louise Bourgeois, Christo, Mel Edwards, and Brice Marden.
- "Trudie Grace and Irving Sandler," interviewed by Joan Rosenbaum, 1997, in Claudia Gould and Valerie Smith, eds., 5000 Artists Return to Artists Space: 25 Years (New York: Artists Space, 1998), 24, 26.
- "Barbara Kruger," interviewed by the author, 1991, in 5000 Artists, 28. But as Trudie Grace explained, they would put visitors (and potential collectors) in touch with artists if they showed an interest, as did some other nonprofits. Exit Art, for instance, made a policy of welcoming such income.
- Following DeAk's departure, she became a founding board member at Printed Matter. See Megan N. Liberty, "Printed Matter," Brooklyn Rail, March 2020.
- "Helene Winer," interviewed by Matt Mullican, Cindy Sherman, and Valerie Smith, 1998, 5000 Artists, 57.
- Crimp revised the essay for October magazine in spring 1979, adding Cindy Sherman and omitting Philip Smith.
- Douglas Crimp, Pictures (New York: Artists Space, 1977), reprint accessed May 2020 at https://monoskop.org/images/7/72/Crimp_Douglas_1977_2005_Pictures.pdf
- "Douglas Crimp," interviewed by Claudia Gould, 1997, in 5000 Artists, 89.
- It is the subject of extended discussions in recent books by Jeff Chang (Who We Be: The Colorization of America [New York: St. Martin's Press], 2014) and Aruna D'Souza (Whitewalling: Art, Race & Protest in 3 Acts [New York: Badlands Unlimited], 2018), and in the catalogue to the Brooklyn Museum's 2017 exhibition We Wanted a Revolution, 1965–85. For discussion of the word, see also Randall Kennedy's Nigger: The Strange Career of a Troublesome Word (New York: Vintage, 2008).
- Newman's moment of fame did indeed attract a moment of professional success. Charles Saatchi, then an enormously influential collector, bought three of the Nigger Drawings. And Newman was taken up in quick succession by the Mary Boone and Annina Nosei galleries, before departing from the art world.
- Aruna D'Souza, 77. Quoted in a Village Voice article by Richard Goldstein ("The Romance of Racism," April 2, 1979), in Aruna D'Souza, 77
- In D'Souza, 83
- In D'Souza, 85
- In D'Souza, 95.
- Email correspondence with the author, June 26, 2020.
- Both Watkins and Susan Wyatt, then Associate Director for Services, remember this connection.
- Chang, 91.
- David Wojnarowicz, "Postcards from America: X-Rays from Hell," in Witnesses: Against Our Vanishing (New York: Artists Space, 1989–90), accessed in May 2020 at https://blogs.brown.edu/hiaa-1810-s01-fall-2017/files/2017/08/Goldin.pdf
- The NEA grant was in the amount of $10,000, for an exhibition whose total budget was roughly $30,000. The catalogue budget was $7,000.
- Susan Wyatt, "Setting the Record Straight: Diary of a Controversy," in Louis Crosier, The Cultural Battlefield: Art, Censorship & Public Funding (Gilsum, NH: Avocus Publishing), 1995, 94-97.
- "Carolyn Alexander," interviewed by Claudia Gould, 1997, in 5000 Artists, 313.
- Conversation by Zoom with the author, June 9, 2020. Since leaving Artists Space, Kalmár has been director of the ICA in London; he is presently on COVID-19 furlough.
- Under Kalmár, artists were paid $3,500 per solo exhibition and $900 for participation in a group show, plus travel, production costs and per diems.
- "Other People and their ideas No. 17: Stefan Kalmár," interviewed by Tom Eccles, ArtReview, November 2014, reprinted September 2015, accessed in June 2020 at https://artreview.com/november-2014-other-people-stefan-kalmar/
- By contrast the British government does support the ICA, but taxes all its income; the outcome, Kalmár says, is nearly a wash. In any case, he is leery of the current European model which, he said in ArtReview, "employs 'performance indicators' that are reminiscent of how, say, Google measures effectiveness."


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This week was certainly hectic in the world of video gaming. With the E3 on our doorsteps, many companies revealed new things to keep us occupied, while the really important news, at least we hope, will make itself known during the annual show. So what did happen this week?
First of all, the camera for the Nintendo DS has been revealed. The device will be inserted into the handheld's GBA slot. For the sake of convenience, the device will be mounted, and the first title to be confirmed for the new device is a game called Face Training. Essentailly, the game, such as it is, will illustrate various silly faces on the screen, which the player will then try to mimic in real life. Let's just hope that in future games, the camera will be used in more intelligent applications.
Moving on, it appears that force feedback technology may finally be making its way to the PlayStation 3. With the fiasco between Immersion and Sony settled, talks have started about re-integrating the essential technology into the PS3 through a feature called A

subset: commoncrawl


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Can we trust Zuckerberg's change of heart?
For once, most of the whole world can agree on something, and that is their dislike of Facebook. Various governmental bodies are investigating the company, advertisers are leaving the platform, and many of its users feel deceived and betrayed.
What Facebook has planned
In response, Mark Zuckerberg has presented his plan for a privacy-focused social network. However, it's hard to tell what this vision entails: it is unfocused at best and misleading at worst.
Zuckerberg claims he will build "a simpler platform that's focused on privacy first." However, he fails to clarify whether he plans on building a new product or to upgrade and reinforce the current foursome (Facebook, Messenger, Instagram, WhatsApp).
It's more likely that he's talking about new features for the four major products at his disposal. Zuckerberg intends to turn the "town square" of Facebook and Instagram into a more private "living room" space.
"Over the last 15 years, Facebook and Instagram have helped people connect with friends, communities, and interests in the digital equivalent of a town square. But people increasingly also want to connect privately in the digital equivalent of the living room."
Zuckerberg presents this as a revelation. It is not.
For years now, the world has been clamoring for privacy, their shouts falling on Mark's deaf ears. But that's why Messenger and WhatsApp were so successful – they implicitly promised a private conversation. However, only WhatsApp delivered it to some degree with end-to-end encryption, while Messenger scanned users' messages, read their private chats, and may have leaked millions of private messages in breaches.
The problem is not the lack of a "digital equivalent of the living room". The problem is that these ostensibly private tools are flawed, insecure, and at times outright malicious.
No one asked for a new vision. Users simply asked to fix what's broken.
Here's what Zuckerberg has promised:
- Private interaction: a more secure Messenger and WhatsApp
- Encryption and safety: end-to-end encryption for all private communications
- Reducing permanence: making social platforms that delete content after it's shared
- Interoperability: a deeper integration of services owned by Facebook
- Not storing your data in countries ruled by authoritarian regimes: something that should have been implemented years ago
Let's break it down.
Encryption – a promise that's easy to withdraw
Mr. Zuckerberg talks about end-to-end encryption a lot. He states that it helps dissidents stay free or even alive. He also says it protects people from governments that make unlawful demands for user data.
Although he praised end-to-end encryption, he also said: "There are real safety concerns to address before we can implement end-to-end encryption across all of our messaging services."
Finally, he indicates that his team will discuss the potential for implementing encryption "through 2019 and beyond…"
In other words, this is a promise that can be easily walked backed. A few years down the line, Zuckerberg could regretfully inform us that end-to-end encryption on all private communications is simply not feasible because of all the security concerns it raises. If he does implement it, it could be a watered-down version that still allows Facebook to collect private data.
Making Facebook impermanent
"People should be comfortable being themselves, and should not have to worry about what they share coming back to hurt them later," Zuckerberg writes. "So we won't keep messages or stories around for longer than necessary to deliver the service or longer than people want them."
Facebook is not doing this for privacy's sake – they are doing it to make us spend more time on Facebook. Temporary content, as was demonstrated by Instagram stories, works wonders to increase user engagement and time spent on the platform.
Finally, Zuckerberg hasn't promised to stop forming user profiles, just to make your private messages, posts, and photos impermanent. They don't actually need to store those messages to profile you and analyze your private life – they only need to analyze your messages before deleting them. This is a step in the right direction, but they aren't changing much.
A more centralized and powerful Facebook
"We plan to start by making it possible for you to send messages to your contacts using any of our services, and then to extend that interoperability to SMS too."
Zuckerberg says this will make it easier to encrypt your communications. That's another cover-up.
Integration does not necessarily lead to more privacy. It just means that your communications will be routed through a single channel instead of four or five different ones. That could lead to less privacy and security, especially if Facebook walks back on its end-to-end encryption promise.
In that case, integrated messaging actually makes it easier for Facebook to control and monitor your communications (and to unintentionally leak all of them to the public). And if Facebook is known for anything, it's user data leaks.
Facebook wants to have more control over what you do. It wants more involvement, not less. Here's another example:
"Or you simply post a story from your day across both Facebook and Instagram and can get all the replies from your friends in one place."
That's good for Facebook, NOT for your privacy.
The takeaway
Despite the length of Zuckerberg's statement, he still failed to address the key issue facing his company: Facebook's business model is built on harvesting as much of your data as possible.
Until that changes, every other change will be cosmetic.
It's easy to be cynical about Facebook, but at one point Mr. Zuckerberg claims:
"We've worked hard to build privacy into all our products."
Did you
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I came to the end of my journey
And traveled my last thrilling mile,
Just forget that I ever frowned
And remember only my smile.
Forget unkind words I had spoken;
Remember some good I had done.
Forget that I stumbled and blundered
And remember the times that I won.
Please do not grieve for my passing;
I'd not have you sad for a day.
In April just gather some flowers
and come to the place where I laid.
Come in the shade of the evening
When the sun paints the sky in the West.
Stand a few moments beside me
And remember only my best.
~ In Honor of Rhiannon


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While you do not need a prescription or referral from your doctor to begin therapy with a Psychologist/Therapist, you may need one to obtain reimbursement from your health insurance policy. Most insurance plans do not require a referral from your doctor but some do. It is always best to check your extended health benefits plan first. If you cannot find the information you are looking for, contact your human resources department or your plan.
Yes but it depends on who your insurance provider is. Fresh Hope Counselling is now able to direct bill with Alberta Blue Cross, Green Shield Canada, Great West Life, Wawanesa, Cooperators and Chamber of Commerce plans. If you have other extended health benefits, you will have to pay for your therapy session in full and submit the receipt to your insurance company for reimbursement.
Unfortunately, Alberta Health Care does not cover sessions at this point in time.
Most, if not all, health insurance companies allow you to choose which Psychologist you receive services from. Some may have limitations on how much the Psychologist can charge (or the maximum the insurance company will reimburse) but allow you the freedom in choosing the best Psychologist for you. As policies can change at any time it is always best to contact your insurance company first.
Although most clinics charge for a '50 minute' hour, at Fresh Hope Counselling we still believe that an hour is an hour and try to make counselling sessions as close to 60 minutes as possible. For the initial session, if it is at all possible, we highly recommend that you come for a 90 minute session (prorated accordingly) to enable a more thorough intake and initial assessment.
Even with all the experience we have, it is impossible to be sure how many sessions it will take for someone to get better or deal with their presenting problem/issues. One thing we do know is if the client is motivated and takes an active role in the healing process, it likely will take less time for therapy.
Yes! All fees incurred from a consultation or therapy session with a psychologist or therapist are a legitimate medical expense that can be deducted from your taxable income. You can claim the actual cost of your therapy session less any amount paid by insurance/benefit plans.
If you've never been for counselling don't worry! Counselling is a great way to improve your quality of life, learn skills and heal or find freedom from life's many struggles. After contacting Fresh Hope Counselling, Marla, our Administrative Assistant, or Glenn, our Office Administrator, will send out the intake forms and a client/therapist contract for you to sign (it outlines the legal dynamics including what you can expect from the counselling, confidentiality, fees, and our cancellation policy). If you can fill out the forms and return them to the office prior to your appointment it will allow the Counsellor to read through your forms prior to the session.
In order to get the most from your session, a good way to prepare yourself is simply to come with an intention to be open, honest and willing. The Counsellor will do her best to make you feel at ease and help you share what the presenting problems are that you want to work on. The greatest predictor of success in therapy is the connection between Therapist and Client.


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A dentist in Iowa did not unlawfully discriminate against an employee based on her gender by firing her at his wife's urging because of his attraction to her. The Iowa Supreme Court found in Nelson v. James H. Knight DDS, P.C., No. 11-1857 (Iowa, Dec. 21, 2012), that the principal motivation for the firing was concern over the employer's marriage, and that this did not violate the employee's rights under the state's anti-discrimination statute. The court made its ruling in the employer's favor despite compelling arguments from the plaintiff regarding sexual harassment law, and despite the court's own conclusion that the plaintiff had done nothing wrong that might have justified termination.
The plaintiff, Melissa Nelson, worked for Dr. James Knight's dental practice as a dental assistant for over ten years. She began working there in 1999, as a twenty year-old recent college graduate. By 2009, Nelson was married with children, and she reportedly looked at Knight as a "friend and father figure." Slip op. at 3. Knight began to tell Nelson during the last eighteen months of her employment with his practice that he considered her work attire inappropriate. About six months before she was terminated, Nelson and Knight began to correspond by text message, and some of his messages could be characterized as sexually explicit. She said that she never felt uncomfortable as a result of any of his text messages.
In late 2009, Knight's wife, who was also an employee of the dental practice, learned of his text correspondence with Nelson. She expressed her concern that this threatened their marriage, and Knight decided to terminate Nelson's employment after consulting with the family's pastor. He informed Nelson of his decision on January 4, 2010, with another pastor present in the office. Knight reportedly told her she had done nothing wrong and was his best dental assistant. Knight had always employed female dental assistants, and he hired a woman to replace Nelson.
Nelson sued Knight for gender discrimination in violation of the Iowa Civil Rights Act, arguing that he would not have fired her but for her gender. The trial court granted summary judgment for Knight, finding that her gender did not motivate the firing, but rather Knight's concerns over his marriage. Nelson appealed to the Iowa Supreme Court, which affirmed the ruling.
The court noted that Nelson made several arguments meriting serious consideration, but it ultimately concluded that Knight's actions, while certainly unfair to Nelson, were not unlawful. Nelson argued that a firing to avoid sexual harassment, which she argued was Knight's true purpose, was unlawful in the same way as actual sexual harassment. The court disagreed with this argument, holding that the main purpose of prohibitions on sexual harassment, the prevention of hostile work environments, did not exist in this case.
The court instead concluded that "sexual favoritism" was the central issue of this case, applying Tenge v. Phillips Modern Ag Co., 446 F.3d 903 (8th Cir. 2006). The court in Tenge held that it did not violate Title VII of the Civil Rights Act to favor one employee over others of the opposite sex based on "a consensual relationship with the boss." Id. at 908. A similar relationship existed between Nelson and Knight, the court found, and this was the central reason for the firing decision.
The lawyers at Phillips & Associates represent victims of workplace sexual harassment and discrimination in New York City and surrounding areas, fighting to protect their rights at the municipal, state, and federal levels. To schedule a free and confidential consultation, contact us today online or at (212) 248-7431.
More Blog Posts:
Workplace Sexual Harassment and the Holidays – 4 Tips to Remember, New York Employment Attorney Blog, December 6, 2012
Sexual Harassment Lawsuit Shakes Up the Tech Industry, New York Employment Attorney Blog, August 9, 2012
New York Man Alleges Pro-Gay Discrimination in Lawsuit Against Former Employer, New York Employment Attorney Blog, June 14, 2012


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iStoragePro-Pocket II Drive/RAID 2 Bay 2.5 inch Portable USB/FireWire 800/eSATA
The iStoragePro Pocket II RAID drive is the perfect storage solution for traveling business people and creative professionals. The lightweight design is ultra-portable and stylish, created with today`s lifestyle in mind. You can take your projects on the road, in the air or anywhere else your busy schedule requires. This iStoragePro drive is bus powered, or choose to use the included AC Adapter. It is easy, portable and ready for action at a moment`s notice. This is one of the coolest and sleekest creative media storage solutions of the 21st century. The higher speed of the built in ports easily handles advanced Video formats using Simple-track Audio with Protocols and multi-stream video formats include DV, HDV, DVCPRO HD, ProRes 422 and compressed HD connection to your computer via eSATA/USB 2.0/FireWire 800, yet it fast enough to supports multi Capture and playback mode. Speeds exceed 60MB/Sec.
The iStoragePro Pocket II RAID is set to RAID 1 Mirroring by default for data integrity. For higher performance needs, RAID 0 Strip and RAID 0 Span modes can be employed by changing the easily accessed dip switches on the back of the unit.Follow @synchrotech_inc
|Part Number and Description
|Add to Cart
|ISPCD-iT2PKT54640 iStoragePro-Pocket II Drive/RAID 320GB 5400RPM 2 Bay 2.5 inch Portable USB/FireWire 800/eSATA
|ISPCD-iT2PKT5401T iStoragePro-Pocket II Drive/RAID 1TB 5400RPM 2 Bay 2.5 inch Portable USB/FireWire 800/eSATA
|7200 RPM Mechanisms for Higher Performance
|ISPCD-iT2PKT72500 iStoragePro-Pocket II Drive/RAID 500GB 7200RPM 2 Bay 2.5 inch Portable USB/FireWire 800/eSATA
|ISPCD-iT2PKT72640 iStoragePro-Pocket II Drive/RAID 640GB 7200RPM 2 Bay 2.5 inch Portable USB/FireWire 800/eSATA
|Optional Accessories
|More FireWire Cables View our entire selection of FireWire Cables
Features and Specifications
- Features
- RAID 0 or 1 data protected drive
- Multi-interface: USB, FireWire and eSATA
- Supports 2.5 inch SATA II drives @ 5400 rpm, 7200 rpm or SSD
- Heat sink and cooling fan to ensure data integrity and reliability
- Bus Powered by FireWire or USB 2.0 or power via Universal AC power adapter
- MAC OS X, Windows Vista / XP (Windows XP limited to 2 TB)
- Unique Design: Aluminum finished enclosure
- Available in large capacities
- Warranty Information
- Standard 3 Year Factory Limited Warranty
- Bus Interface
- One (1) eSATA Port
- Two (2) FireWire 800 9-Pin Ports (FireWire 400 via included cable)
- One (1) USB 2.0 Downstream (Mini-B) Port
- System Requirements
- Mac OS X
- Windows 7/Vista/XP (Windows XP limited to 2 TB)
- Unsupported, but known to work with various open source systems including Open/Net/Free/BSD and GNU/Linux.
- Video Capture and Playback Supported
- DVCPRO HD, HDV, DV and ProRes 422
- Drive Mechanism Performance
- Features two (2) X 2.5 inch drives each with SATA 3Gb/s: 3Gb/s (max theoretical)
- Rotational Speed: 5,400 RPM (nominal) on indicated models
- Rotational Speed: 7,200 RPM (nominal) on indicated models
- Physical Dimensions
- Dimensions: 19.8 x 19.0 x 12.9cm, 7.8 X 7.5 X 5.1" (LWD)
- Weight: 1.36kg Approximate (3 lbs Approximate)
- Power Supply
- Bus Powered available in some configurations
- AC Adapter
- Package Includes
- 1 X Pocket II 2.5 inch Drive
- 1 X Travel Carrying Pouch
- 1 X User Guide
- 1 X Product Guide CD
- 1 X USB 2.0 + 5V Cable
- 1 X eSATA to eSATA Cable
- 1 X FireWire 800 Cable
- XP SP2 FireWire Performance Fix
- Performance of 1394 devices may decrease after you install Windows XP Service Pack 2
- Microsoft document and download for fixing possible performance decreases after SP2 installs
- Bridging FireWire 400 to FireWire 800
- FAQ and product solutions for connecting between FireWire 800 and FireWire 400. Addresses 9, 6, and 4-pin scenarios.
- The advertised memory capacity of this device represents unformatted capacity. Please note that once formatted and due to variations in sector block limitations, the functional storage space will be lower than the advertised capacity.


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Be Home Every Night®
Please call us toll-free at 1-888-558-7120. To Schedule a Tour fill out the contact form at the bottom of this page.
Please contact us if:
- Want to hire a driver
- Have questions about our classes, fees, financial aid options, requirements, etc.
- Would like to schedule a campus tour
- Are ready to enroll in one of our CDL training classes
We respond to all voice messages and emails within 24 hours during the week. Guaranteed.
Our Locations
Click on the appropriate links below for more information, to view a map, or get directions to one of our three conveniently located Washington-state campuses.
Port Orchard, WA
1386 SE Lund Ave., #3
Port Orchard, WA 98366
Auburn, WA
2141 West Valley Hwy N, Bldg A
Auburn, WA 98001
Lakewood, WA
11000 34th Ave. South
Lakewood, WA 98499
Lacy, WA
6800 Martin Way E
Olympia, WA 98516
Twin Falls, ID
129 Eastland Drive
Twin Falls, ID 83301
Office Hours:
Our offices are open weekdays (Monday-Friday) from 8:00 am to 5:00 pm.
If you'd like to schedule an after-hours appointments please call us toll-free at 1-888-558-7120. We'll do our best to accommodate your request.


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The Denver Broncos travel this weekend to face the lowly Minnesota Vikings, but locals might not be able to watch in television if the team can't sell the 3,000 tickets remaining, according to the Greenfield Reporter. If that doesn't happen the game will be blacked out locally and the team would end a sellout streak of 141 games, which dates back to 1998.↵
But as the Reporter points out, the Broncos have quarterback Tim Tebow, whose fans are legion, and wide receiver Eric Decker, who played college football for the Minnesota Gophers. Time to start marketing toward fans the Tebow Time experience, which, as we saw on previous Sundays, often involves Eric Decker coming up with the game-winning touchdown or the drive-saving catch.↵
Yeah, the Vikings don't have much going for them this season and marketing the opponent, especially the mighty Tebow, would certainly be one way to continue the team's sellout streak.


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You've probably heard of a King Charles Spaniel and a Cavalier King Charles Spaniel.
However, you may not be aware these two dogs are not the same breed. They're are some subtle differences.
While they're descendants from the same dogs, breeding practices have led to differences over the past century or so.
The King Charles Spaniel also goes by the name the English toy spaniel.
The influx of Asian dogs into Great Britain in the 18th and 19th century led to interbreeding.
The King Charles Spaniel's muzzle and face slowly changed from their traditional appearance in the 17th century.
In this article, helloBARK! will take a close look at the difference between King Charles Spaniel and the Cavalier King Charles Spaniel.
The history of King Charles Spaniel
The origins of the King Charles Spaniel (the English Toy Spaniel) can be traced back to Asia, with these dogs sharing similarities with breeds like the Pekingese and Japanese Chin.
If we're tracking back the history of the King Charles Spaniel in Great Britain, we have to go back to the 15th century when the descendants of these dogs first arrived in UK.
They were thought to have been brought to Scotland from France in the 15th century. Indeed, there's a painting of Queen Mary I (aka Bloody Mary) and King Phillip.
Mary, Queen of Scots was also a fan of these English Toy Spaniels but it was Charles I and his son Charles II who really put the breed on the map in the 17th century.
King Charles II was rarely seen without a couple of members of this breed by his side. Indeed, they had access all areas in his Palace even during state events.
Such was his affection and love for the breed that they now carry his name: the King Charles Spaniel.
When Charles II died in 1685, these dogs remained popular until King Willian III and Queen Mary II came to power and introduced the Japanese breed Pug to UK.
The arrival of the pug and other Japanese breeds led to interbreeding and some big changes to the King Charles Spaniel. They started to display the features of these Asian breeds.
During the 18th century, the Duke of Marlborough John Churchill became associated with the chestnut and white King Charles Spaniel. Churchill earned recognition for his famous win at the Battle of Blenheim, which inspired the name of his residence, Blenheim Palace.
As a result, the chestnut and white English Toy Spaniel are often called Blenheim King Charles Spaniel.
In 1903, the intervention of King Edward IV was required when the Kennel Club attempted to amalgamate the King James (black and tan), Prince Charles (tricolour), Blenheim and Ruby spaniels into a single breed called the Toy Spaniel. The monarch insisted the breed retain the name King Charles Spaniel.
These dogs had developed a large domed head with a snub-nosed muzzle. However, an American called Rosswell Eldridge was keen to see a return to the old style English Toy Spaniel and offered a cash reward for breeders in 1926.
It led to a distinction being made between the King Charles Spaniel (English Toy Spaniel) and the Cavalier King Charles Spaniel (Eldrige's desired style).
The Cavalier was recognised by the Kennel Club in 1945 before the American Kennel Club granted the breed status in 1995.
Physical differences between King Charles Spaniel and Cavalier
The Kennel Club and American Kennel Club both provide guidelines called breed standards that outline what physical traits each breed should have.
The King Charles Spaniel is viewed as a square dog, while the Cavalier King Charles Spaniel is viewed as a more well-rounded dog.
Let's take a closer look at how the Kennel Club defines key features differently for both breeds.
General appearance
The English Toy Spaniel: "is a compact, cobby and essentially square to dog possessed of a short-nosed, domed head, a merry and affectionate demeanor and a silky, flowing coat."
Cavalier King Charles Spaniel: "is an active, graceful, well-balanced toy spaniel, very gay and free in action; fearless and sporting in character, yet at the same time gentle and affectionate."
Size, Proportion, Substance
The English Toy Spaniel: – The most desirable weight of an adult is eight to fourteen pounds. General symmetry and substance are more important than the actual weight; however, all other things being equal, the smaller sized dog is to be preferred. Proportion – Compact and essentially square in shape, built on cobby lines. Substance – Sturdy of frame, solidly constructed.
Cavalier King Charles Spaniel: Size – Height 12 to 13 inches at the withers; weight proportionate to height, between 13 and 18 pounds. A small, well balanced dog within these weights is desirable, but these are ideal heights and weights and slight variations are permissible. Proportion – The body approaches squareness, yet if measured from point of shoulder to point of buttock, is slightly longer than the height at the withers. The height from the withers to the elbow is approximately equal to the height from the elbow to the ground. Substance – Bone moderate in proportion to size
The English Toy Spaniel: large in comparison to size, with a plush, chubby look, albeit with a degree of refinement which prevents it from being coarse.
Cavalier King Charles Spaniel: Proportionate to size of dog, appearing neither too large nor too small for the body.
The English Toy Spaniel: High and well domed; from the side,
curves as far out over the eyes as possible. Deep and well-defined.
Cavalier King Charles Spaniel: Slightly rounded, but without dome or peak; it should appear flat because of the high placement of the ears. Stop is moderate, neither filled nor deep.
The English Toy Spaniel: Very short, with the nose well laid back and with well developed cushioning under the eyes. Jaw – Square, broad, and deep, and well turned up, with lips properly meeting to give a finished appearance. Nose – Large and jet black in color, with large, wide open nostrils.
Cavalier King Charles Spaniel: Full muzzle slightly tapered. Length from base of stop to tip of nose about 1½ inches. Face well filled below eyes. Any tendency towards snipiness undesirable. Nose pigment uniformly black without flesh marks and nostrils well developed. Lips well developed but not pendulous giving a clean finish.
Similarities between King Charles Spaniel and Cavalier
Both the King Charles Spaniel and the Cavalier King Charles Spaniel share some similarities.
They both have the same coat colours: The Blenheim (red and white) Prince Charles (tricolour), King Charles (black and tan) and ruby (red).
While the colours may be the same (although called different names on occasion), their coats are different. The King Charles Spaniel has a heavy coat, while the Cavalier King Charles Spaniel has a coat of moderate length.
Their temperament is also quite similar. Both the English Toy Spaniel and Cavalier should be affectionate and loving dogs. They're eager to please their owners, making them pleasant dogs.


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Hydraulic Terms KLM speaks to hydraulic phrases KLM and hydraulic glossary KLM are words and phrases in common use in the hydraulic industry.
Kinetic Energy Energy in the kinetic state is moving and it is an indication of the amount of work done or the amount of work an object can do.
Law of Conservation of Energy This principle says that energy can neither be created nor destroyed although it may change from one form to another.
Liquid Molecules As in all liquids petroleum Base hydraulic fluid is made up of molecules which are attracted to one another.
Load Lock Valve This is a two pilot operated check valves in one valve body.
Lubrication Lubrication is a process used to reduce friction between moving surfaces which are in contact. It is very important of hydraulic fluid as friction will cause systems components to wear excessively and excessive heat to be generated.
Lubricity Lubricity refers to a liquid's ability to form a durable fluid film between contacting surfaces This ability is related to a fluid's natural film thickness and a fluid's tendency to adhere to a surface. Petroleum oil has good lubricity.
Lunge Control This is the proper operation of a pressure compensated of temperature pressure flow control valve. It depends on the compensator spool partially restricting flow to the orifice and the transferring of excess pressure into heat.
Makeup Check Valves In a bidirectional motor circuit, supply liquid to the motor inlet during braking is usually done with low pressure check valves positioned in each line.
Mechanical Motions Cylinders convert hydraulic working energy into straight line, linear or mechanical motion. Depending on the way in which they are attached to mechanical linkages, cylinders provide many different mechanical motions.
Meter In Circuit This circuit is used to control the speed of an actuator which works against a positive load. In other words, while the orifice is metering fluid to an actuator, the workload pressure is continuously a positive value. An example of a constant load would be any load that is vertically lifted.
Meter Out Circuit
In some cases, the work load changes direction or the work load
pressure suddenly changes from full to zero pressure, such as a drill
breaking through stock. This causes the cylinder to run away. A flow control
valve placed at the outlet port of an actuator controls the rate of flow exiting
the actuator. This is a meter out circuit anf gives positive speed control to
actuators used in drilling, sawing boring and dumping.
Motor A device which converts low pressure fluid power into higher pressure fluid power.
Hydraulic Terms KLM
Motor Cavitation A motor will cavitate the same as a pump if a sufficient supply of fluid is not received at its inlet port while turning.
Motor Drains Motors used in industrial hydraulic systems are almost exclusively designed to be bidirectional. Even motors which operate in a system in only one direction are probably bidirectional motors in design. To protect its shaft seal, vane, gear and piston bidirectional motors are generally drained.
Non Jump Control This is a type of lunge control.
Needle Valve The fluid going through a needle valve must turn 90 degrees and pass through an opening which is the seat for a rod with a cone shaped tip. The size of the opening is changed by the positioning of the cone in relation to its seat. The orifice size can be changed very gradually because of fine threads on the valve stem and the shape of the cone. A needle valve is the most frequently used variable orifice in an industrial hydraulic system.
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Hard copy and E book for sale. Introduction to Building Mechanical Systems. Click here.
Hard copy and E book for sale. What's Killing You and What You Can Do About It. A humourous look at ageing and disease. Click here.


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Wednesday, January 2, 2013
Inspiring Quote: This Blog's Beginning
I wanted to begin this blog with a quote that expresses the magnitude of what we are embarking upon as mothers. Of course, this is not to shortchange the importance of fathers, relatives, and other caregivers. But there is a unique gift in the ability to birth a child and shape the growth of that life in the world. We are creators, and in the humility of that great gift and task, we can seek guidance from and attempt to glorify our Creator.
If you are a stay at mother, which I am, you may not always feel affirmed in your choice in the world's eyes. In the working world I found my days rich with feedback, stimulating conversation and gratification for a job well done. One first time mom told me that she was so busy but felt she had nothing to show for it, so she started to catalogue the number of diaper changes and bottle washings she did in a day to try to garner that same sense of accomplishment.
But the choice to give to our children, especially in staying at home, is valuable. In his book What is Wrong With The World, G.K Chesterton asks, "How can it be a large career to tell other people's children about the rule of three, and a small career to tell one's own children about the universe? How can it be broad to be the same thing to everyone, and narrow to be everything to someone? No. A woman's function is laborious, but because it is gigantic, not because it is minute..."
Our task is ripe with meaning - and possibility. Approaching motherhood as a vocation means that you recognize the gravity of your blessing and responsibility as a mom. I want to leave no stone uncovered. Socrates once said, "An unexamined life is not worth living." I want to theologically examine my role in search of truth, in search of hope, and in search of fulfillment as I wade in the beauty and ambiguity of these sacred waters.
Prayer: Dear God, Thank you for making me a mother. Thank you for the gift of children and the opportunity to care for them and shape them. Please accept my efforts as an offering to you, and grow me in your wisdom. In Jesus' name, Amen.
For more reading, I found this blog entry to be interesting:
6 comments:
- AnonymousJanuary 4, 2013 at 8:44 PM
Great job, Noelle. Glad to see you are pursuing your dream of connecting with other moms on their spiritual journey.ReplyDelete
- AnonymousJanuary 5, 2013 at 12:12 PM
Nice entry, Noelle!ReplyDelete
This is great Noelle! Looking forward to reading future entries.ReplyDelete
What a beautiful first devotion, Noelle. I shall enjoy taking a few minutes out of my weekly hectic schedule and devote this time to myself!! You are such a beautiful spirit in this universe!ReplyDelete
What a wonderful way to connect with other moms who are searching for this type of connection and affirmation! I look forward to following your posts and will pass it on to other moms who might benefit from your wisdom. Heather xoReplyDelete
Noelle, I am certain you will inspire others, as you have me since you were born. I congratulate you on this endeavor, knowing it will enrich many.ReplyDelete
Your Mother


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All About An Ri Ra
Kiwanian Guest Speaker Kathy Tutty explains An Ri Ra, another festival conducted in Butte.
If you were logged-in, you'd have the option of submitting a picture for review and inclusion on the Silver Bow Kiwanis site. If you have an account, you can login, or, if you don't have one, you can apply for an account.


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- Stuck at Home
- Location: Over the Rainbow
- Join Date: 11/16/2015
- Posts: 489
- Location: Over the rainbow
- Member Details
After posting this session, I am seeing that not a single photo uploaded since the start of Season 3 is loading; please let me know if this is the case on your end as well. It seems that my image hosting site, postimage.org, has malfunctioned (I only started using it in Season 3) and none of the image paths work any longer. As this looks to be the case, a severe disappointment might I add, re-embedding the images to every session will take a significant amount of work and time I don't have right now.
Please be patient with me as I recover the thousands of photos that comprise these sessions, and for now enjoy Session 223.
LP series? Not my style! Video series? Closer, but not quite. Survival journal, maybe? That's better. Now published is the Season 3 FINALE of the Legends of Quintropolis Journal (<< click to view)!! World download and more can be found there.


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Grill Dog Presents
In 2003 I approached the San Diego Community Television station with a new idea for a cooking show. Having researched the Food Network and other cooking shows that were popular, I designed a show that would totally revolutionize cooking shows. The folks at Cox in San Diego so loved the idea they insisted that I immediately start to produce the show. Within a year my show became one of the most distributed shows on Community Television in the world. Today, years later, the show continues to be distributed and streamed on the internet in 1000's of communities world wide.
My concept, "Food, Fun and Friends," allows me the diversity to perform in any venue. It doesn't matter if it's a local pub, a 90ft charter boat or even a motorcycle shop, I can design a show that is always a recipe for success. Also, I have had various sponsors that have endorsed my shows like Hefenweiser and Fat Tire Beers.
As a result of my live performances, businesses flourish. My shows always draw a crowd, and since they air all over the world, businesses get the recognition associated with Grill Dog! Therefore, don't think any venue is out of reach. Grill Dog can design a show around your product or service that will catch everyone's eye. If you would like more information, please fill out the form and submit it. Our professional staff works with you and your budget to design an event that will produce the perfect performance to showcase your product and/or business.


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Learning to Think, or Not
So–John thinks it's impossible to teach anybody to think, and Lymaree thinks it can be done, but I was really asking for a lot lesst–I want to teach people to read.
You can, in fact, teach some levels of analysis–literary and logical–even to students with very little in the way of intellectual talent, but what I want is to teach them how to figure out if the author of the op-ed is in favor of abortion or against it, and whether the article on autism and vaccinations says that vaccinations cause autism or not.
The simple truth of the matter is that even reading simple informative work like this is a matter of decoding not only the individual words, but the form they're structured in and the allusions they make.
And every writer makes allusions. It's not possible to write much of anything without offhand references to something or the other, usually things the writer thinks all her readers will automaticaly understand. If we couldn't do that, we would have a hard time expressing much of anything in a short form.
Noah and the ark. A stitch in time saves nine. One if by land, two if by sea–almost everything we read is full of references of this kind, and if they mean nothing to you, the chances are good that you're not going to understand what's in front of you.
What's more, if you don't know how to recognize satire, if you don't know what a hypothetical is, if you can't tell the difference between a presented point of view and the narrative voice–you're not going to be able to understand much, either.
All these things can be taught, and they're not just nice to know, they're need to know. Most people will have, in daily life, far more use for this information than they will for any but the most rudimentary forms of algebra, if that.
I could make a similar case for basic history.
As things go now, we teach virtually nobody any of these things. Our top ten percent, coming to the process naturally, gets practice, the rest get nothing but one more round of socially concerned young adult novels.
As for psychology and the various witch hunts and moral panics we're prone to–I agree we're prone to them, which is why I think we need to be very careful about who we empower to enforce them.
At the moment, in the United States, we have sent out a vast army of "mandatory reporters" armed with think training in anything, little experience with real life, and endless "checklists" purporting to help even the uninitiated identify children and adults with "mental health issues."
If you've never seen such a checklist, you could try this one:
or, almost better yet, this one:
The first is a checklist for ADHD, and includes such things as disliking homework and interrupting when people are talking. The second is for childhood onset schizophrenia, and although it's better–hallucinations!–it includes things like "poor attention span" and "inappropriate expression of emotions." Practically every kid has a poor attention span for stuff he doesn't like, and "inappropriate" is in the eye of the beholder, even when the mismatch between environment and expression is very large.
I wonder what a kid from a large, largely immigrant Italian family like Bill's would do when, thrust into a buttoned-down WASP school environment, he gets upset–do you think he'd act "appropriately" as the school would define it, or in the way he sees every day at home?
The symptom I like best from the second list, though is, "talking to yourself." You'd better lock me up. I do it all the time, and have, ever since I was a child. I talk out loud, with emotion, and with hand gestures. I rehearse arguments I'm about to have with people, I rehearse class presentations, I rehearse stuff I'm about to write, and sometimes I just fantasize, yes, even at my age.
Of course, the difference between me and a schixophrenic talking to himself is that, if you stop me mid-talk, I'm usually a little embarrassed, but I'm not disoriented, I can tell you what I was doing and I can go right in to a sensible conversation about it or something else.
But–it's all well and good to say that "professionals" will be able to tell the difference between cultural dislocations and "real" mental illness, but in clincial psychologists are notoriously bad at this, and the people we have empowered to spot such "disorders" in our children aren't even clinical psychologists. They're teachers, nurses and social workers, often provincial as hell in terms of their acquaintance with the behavior of cultural groups other than their own, who not only rely on the checklists to tell them when something is wrong, but who are often primed to find "disorders" whether they're there or not.
After all, if T.S. Eliot was right, and all the evil in the world is caused by people trying to be important, then the school nurse who wishes she was doctor or the teacher who finds her classroom life boring and meaningless are primed to get their personal significance from the heroic effort to identify and save children with "disorders." If parents complain, or people who know the child in other contests protest–well, that's all just denial, and the child needs to be saved from the other people in his life as well as from his disorder.
If a kid is accused of stealing, or running away, or anything else that can be called a crime, he's got fewer rights than adults, but he's got rights–to confront his accusers, to present evidence in his behalf, to go before a judge and in some cases to go before a jury.
A kid accused of having a "disorder" has no rights. The "diagnosis" can be pasted on him at any time and he can be forced to take drugs, spend time in a "secure" mental health facility, or simply to carry the label for the rest of his life on a record that will follow him to every school, college and job he wants. Never mind making it untrue of him that "anyone" can grow up to be President.
And any attempt at self defense becomes yet another set of symptoms. A child who claims to have been sexually abused is showing a symptom of sexual abuse–but a child who claims not to have been sexually abused is also showing a symptom of sexual abuse. It's a box that, once entered, cannot be escaped.
We complain, on this blog and elsewhere, of the stubborness of belief in the face of contrary evidence–the checklists are the biggest and most powerful examples of that that we have in our society today. Once one of these people decides tha the kid has a "disorder," there's no way to disprove it, or protest it, or defend against it. The kid's very impulse to reject the diagnosis becomes yet another proof that the diagnosis is true.
Moral panics will come and go, but this is more than the operation of a moral panic. It's an institutionalized form of injustice that harms hundreds of children and families every year, and that is going to become increasingly dysfunctional as the society around us becomes more culturally diverse.
If psychology is science, then it ought to be able to provide evidence of its efficacy at the same level as any other kind of medicine.
If it's not science–and I don't thin kit is–then it should not be allowed to wield this kind of power over children.
Or anybody.
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The New Jersey Organizing Project turns five years old October 29th. Together we built a powerful organization and changed the course for our communities. Thank you for being part of the journey.
To honor our last five years, invest in our next five. Click here to contribute.
We set out to raise $10,000 in 10 days – from October 23rd to November 1st.
We passed our goal! And it's not too late to contribute now.
Please consider making a one time contribution today or becoming a sustaining member. You can contribute here, or send us a check at: P.O. Box 1069, Manahawkin, NJ 08050
Thank you for all you have done and will do to stand up and speak out for what's right.


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"I knew my dad was going to pass away....I didn't know he was going to be dead." In that poignant sentence, Abby describes to a friend the shock of having her father die of kidney cancer. And in spite of its logical contradiction, we glimpse the mind of a child suffering loss.
Told over a three-year period, Sign Language covers how Abby deals with the death of her father when she is thirteen, and carries the story through coming to terms at fifteen with that death. It's a harrowing tale, told frankly and realistically, by an author drawing on her own childhood. As such, it has the perverse appeal of a confession, with a decent pay-off at the end as Abby gradually works her way to acceptance.
The bare realism of the story could certainly teach Phyllis Naylor a few lessons about depicting children growing up. Following Abby on a month-by-month basis from twelve to fifteen allows us to watch her not only deal with her grief, but also mature in many other ways. There's a tremendous effort spent on continuity and evolving emotions and I felt like I really understood her by the end.
Unfortunately, the same cannot be said for the supporting characters. We learn very little about them and they mostly exist for Abby to interact with when it is convenient. It's obvious that Abby isn't a very good friend, but neglecting her loyal friends Liese and Spence as thoroughly as Ackley does seems criminal. And the decision to write the story in a passive third-person voice is off-putting. It feels more like a documentary about grieving: informative but clinical.
Friday, March 02, 2012
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If you are a woman in the workforce, chances are that you or someone you've worked with has been or will be a victim of sexual harassment. According to a 2016 study by the Equal Employment Opportunity Commission (EEOC), one in four women will experience sexual harassment in the workplace.
More alarmingly, 75% percent of these victims never file a complaint with their companies. With so many women experiencing sexual harassment on the job, it begs the question: "Why don't more women come forward?" The answer isn't simple, but here are some of the most common reasons women are hesitant to report sexual harassment in the workplace:
1. Lack of faith in HR
A company's Human Resources department doesn't work for the employees; its role is to reduce liability for management and the company. If the abuser is a high-level employee, HR may even report directly to the abuser, increasing the likelihood that the victim will feel unsafe reporting the incident.
2. Fear of jeopardizing their career
Many women worry that reporting incidents to HR could put them at risk for retaliation, such as losing their jobs and sources of income. Others believe that making complaints could prevent them from achieving their career goals, especially when their harassers hold higher positions within the company.
3. The problem is ingrained in company culture
When the owners or managers of a company regularly exhibit inappropriate behavior themselves, victims often assume – or are told – that this behavior is normal. In these environments, many employees feel that reporting inappropriate behavior will be futile and will not lead to any meaningful change.
Unfortunately, just because an employee reports sexual harassment, that does not guarantee that the abuser will face consequences. HR often tells women who speak up that they are overreacting, or they do nothing to remedy the situation. According to one report, 80% of employees who filed a sexual harassment claim said that their situations did not change, while 16% said that reporting the issue to a supervisor made things worse.
No one should have to endure sexual harassment due to fear of negative consequences. If you are experiencing sexual harassment in the workplace, you should speak with an employment attorney about your rights.


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Pouches And Laminates
Ideal concept of packaging includes not only attractive print quality and bright colors but also these packets should be durable and with high barrier quality to keep them moisture protected and air proof.
We are offering fine quality Packaging Pouches that comes with air tight sealing and tamper resistance. It has comfortable peeling and come with fine printing option. These are developed from finest raw material and has metalized layer from inside( optional ). The packaging comes in several shapes, sizes and color as per the requirements of our clients.
A. M. MULTI PACKAGING PVT. LTD. All Rights Reserved.(Terms of Use)
Developed and Managed by Infocom Network Private Limited.


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Crocheted Knit Cap Monster Hat for Kids & Adults
These soft, stretchy, hand-made monster hats with their unique, crocheted eyes, ears and horns make all other hats seem ordinary by compare. Give this monster hat something to chomp on—your noggin!
- 2 sizes available
- Small typically fits ages 1 - 5
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Others Also Loved These


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The man sold a hacked Sobble for £30
A 23-year-old man who was charged with hacking and selling save data from Pokémon Sword and Shield has been arrested in Japan.
The man, who had hacked and altered save data for Pokémon Sword and Shield was recently found out, according to a report in the newspaper Asahi translated by user 'Serebii 'on Resetera.
The man sold a Sobble, which he had modified the details of with a PC, to a 36-year-old man in Kyoto for £30.
It is believed that the man has earned around £7950 performing this service for people since November 2020.
Altering game files and trading them has been considered a punishable offence since a 2019 change to Japan's Unfair Competition Prevention Act added three rulings that covered the distribution of save data editors, the selling of product keys without the maker's knowledge, and the sale of services that offer hacking of game data and consoles.
The Pokémon Company has recently announced that stricter measures will be put in place to combat players who cheat in Sword and Shield.
Players who are caught playing with hacked Pokémon will be banned from online play, and will not be able to access trading functions on Pokémon Home.
The company has also said that cheaters may even have all access to the Pokémon Home app revoked.
In a statement, the Pokémon Company said: "We will continue to regularly watch for and address improper or disruptive behavior in order to help our users enjoy a worry-free experience."


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What: A Dancing Meet and Greet for all of South Bayview
When: Monday October 4th, 7:00pm
Where: Ballroom On Bayview Dance Studio
1578 Bayview Avenue, Unit 3
What you will enjoy: Delicious refreshments
Dance Presentations
Various Dance Lessons & Line Dancing
Opportunity to meet other fellow neighbors
& make contacts
RSVP: firstname.lastname@example.com
416. 486. 6174
We hope to see you there!


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A native of Trinidad, Maharaj began his journey at the paper as a summer intern in 1989 and worked as a reporter in Orange County.
New York: A prominent journalist of Indian- descent has been fired as the editor of the Los Angeles Times after serving 28 years at the news organisation, as part of a significant shake-up of the American daily's top management.
Davan Maharaj, who served as both editor and publisher since 2016, was terminated along with other senior editors of the daily.
"Maharaj was terminated along with a handful of other senior editors, including Managing Editor Marc Duvoisin, Deputy Managing Editor for Digital Megan Garvey and Assistant Managing Editor of Investigations Matt Doig," a report in the LA Times said.
A native of Trinidad, Maharaj began his journey at the paper as a summer intern in 1989 and worked as a reporter in Orange County, Los Angeles and East Africa. He had later served as assistant foreign editor, business editor and managing editor.
A six-part series 'Living on Pennies' done by Maharaj in collaboration with photographer Francine Orr, won the 2005 Ernie Pyle Award for Human Interest Writing and prompted readers to donate tens of thousands of dollars to support aid agencies in Africa.
While Maharaj was editor, The Times won three Pulitizer Prizes, including for breaking news reporting of the 2015 terrorist attack in San Bernardino.
"During the last 28 years, it has been an honour working with the best journalists in a great American newsroom," Maharaj said in an email, quoted in the LA Times report.
"They are indomitable, and I wish them well in their continued fight to serve our community. I'm proud of the work we've done," he added.
Ross Levinsohn, a veteran media executive who worked at Fox and had served as interim chief of Yahoo, was named publisher and chief executive of the 135-year-old LA Times.
Jim Kirk, who was publisher and editor of the Chicago Sun-Times until last week, was named interim editor.
The move was announced by Justin C Dearborn, chief executive of Tronc, the parent company of The Times and eight other daily newspapers as part the organisation s plans to invest more resources towards ushering it into the digital age.
The report added that the shake-up came just one month after an investigative report was published in The Times that revealed that the former dean of the University of Southern California Keck School of Medicine had partied with a prostitute and drug dealers, including on campus.
Some reporters who had worked on the project approached senior corporate management to express concern that Maharaj and Duvoisin had delayed the story for fear of upsetting USC, which hosts the newspaper's annual Festival of Books.
Maharaj and Duvoisin had defended the handling of the story, noting that sensitive and complicated articles take months to report, edit and legally review, the report added.


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Many other people have had similar concerns, too. In fact, information about Orthopaedics (Bone) Clinics services have been asked over 262,251 times in our community here at Erufu Care.
So being part of this online healthcare community here, we always work to find and compile information on orthopaedics clinics services in Malacca based on surveys, recommendations, and treatment experience feedback from patients in our community, like you.
Some of the popularly asked questions are:
Orthopaedic (orthopedic) surgery is a surgical specialty dedicated to the prevention, diagnosis, and, management of musculoskeletal diseases, disorders, and injuries (i.e. medical conditions of the spine, hands, feet, knee, hip, shoulder, and elbow).
With so many orthopaedics clinics around in Malacca, how do you make the right choice?
As an online community medical support network here at Erufu Care, we have compiled the best orthopaedics clinics providing treatments in Malacca for you, along with genuine reviews and ratings from verified patients who have gone to the clinic - who knows better than those who have experienced it first-hand?
In the list of 1 Malacca orthopaedics clinics below, you can find:
We compiled Malacca clinics and doctors that are licensed by the ministry of health Malaysia and verified by Erufu Care Team.
Melaka (or Malacca) is a state at the West coast of Malaysia, and is also known as a Heritage city in the country.
There's an international airport in Melaka (Malacca International Airport, MKZ), and with the increasing number of healthcare services in the state, more and more people are visiting Melaka for quality medical treatments.
Getting around the city can be easilly done with buses, taxis, ride-hailing services (Grab), and by driving.
The main language spoken in Melaka is the Malaysian national language, but many in the state can also ably communicate in English and Mandarin.
Just click into any clinics to view treatment options and price guides, read reviews from patients, see photos, or even send a message to the clinic. The clinics below are sorted in no particular order.
Your estimated location: - from your internet address Use precise location
If your are a Doctor, a Dentist, or other Medical/Healthcare Provider and is interested in creating a profile and listing your clinic/services on Erufu Care, we are happy to help! Please fill in your details here: Join Our Healthcare Community Network and we will get back to you shortly.
We believe effective communication between patients and their healthcare practitioners is essential to deliver quality healthcare and pleasant clinical experiences. Read how we collect and verify reviews on our Review Policy.


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The NRB posts proposed Administrative Orders (AOs), Assurances of Discontinuance (AODs), and Civil Citations to this website for 30 days for public comment. Any person may submit comments during that period by clicking the "Submit Comment" link beneath each proposed enforcement action. All comments will be reviewed and posted on the Enforcement Actions Public Comments page. All comments that were received in a timely manner will be filed with the Superior Court, Environmental Division with the final enforcement action.
An aggrieved person who commented during the comment period can file a motion for permissive intervention with the Superior Court, Environmental Division within 14 days of the filing date in accordance with 10 V.S.A. §8020.
Proposed Administrative Orders
- none at this time
Proposed Assurances of Discontinuance
- Natural Resources Board v. CWI Manchester Hotel, LLC
- Public comment period September 25, 2023 - October 25, 2023
- Submit comments
Proposed Citations
- Somers Point LLC., Proposed Civil Citation 2023_58
- Public comment period September 26, 2023 - October 26, 2023
- Submit comments


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Architects: Tato Architects: Tato Architects/Yo Shimada
- Area: 69 m²
- Year: 2015
Photographs:Shinkenchiku Sha
- Structural Design: Takashi Manda
- Structure Team: Takashi Manda, Taijiro Kato
- Construction Team: Kyoko Sakai
- Total Cost: 23,500,000 (Excluding design fee)
- Site Area: 139.36 ㎡
- Total Floor Area: 117.37 ㎡ (84.22% of max 200% of floor area ratio permission)
- Design: Tato Architects/Yo Shimada
- Design Team: Yo Shimada, Takeshi Oka, Takeo Watanabe
- City: Kōbe
- Country: Japan
Text description provided by the architects. A House with a Courtyard
Many people, including Kazuo Shinohara and architects of my generation, have made houses that contain gardens, but to me the most impressive example was an acquaintance's studio-cum-residence that I visited when I was in university. The floor of the house had simply been tamped down without using any hardening chemicals or special techniques. As grass grew up around the table legs, you could sprinkle your leftover tea on the ground. The design made it difficult to decide where the garden ended and the interior began. Since that experience, I have often thought about that I would like to create a relaxed space in which interior and exterior intermingle.
The client in this project, House in Tsukimiyama, was hoping for a lifestyle in which a main building, containing the living room and other rooms, would be linked to an annex-style bathroom by a tarp-covered courtyard. However, as it was necessary for the door to function as a fire exit, there were legal limitations regarding the size and type of glass that could be used. The question was whether the garden and the annex, connected via the door, would then seem unified. To deal with this situation, I took the bold move of incorporating the garden into the house and making a courtyard. Between the courtyard and the living room, we used a door with single-pane of glass and light wooden fittings, and in the bathroom annex, we used a curtain to partition it off as a section of the courtyard.
The aluminum-sash door in the courtyard can be opened at any time to let fresh air in from the outside. Creating a constant link to the outside air made it possible to avoid a stuffy hothouse-type atmosphere despite the huge top light. A pressure ventilator is installed above the courtyard, allowing it to be quickly ventilated.
By distributing the rectangular planes on the L-shaped site, we positioned the living space between the outer courtyard, which has the character of an inner courtyard surrounded by neighboring buildings, and the Inner garden. The idea of creating an inner garden that could be inside or outside depending on the furniture, is an extension of the verandah I made for House in Itami, which has a similar character.
The Tsukimiyama project made it clear how much potential there is for urban gardens. The external environment in an urban area often lacks shade and proper ventilation, and because it is also prone to be a habitat for mosquitoes and other pests, it is difficult to spend a comfortable time in the garden. But by using a screen to filter out the insects, the courtyard becomes a comfortable place. Moreover, the fact that a courtyard is to a certain extent open to the environment without impairing privacy, makes it an important interface between the inside and outside in an urban house, which tends to be rather closed. The courtyard also functions as an important intermediate space, both in terms of the indoor climate and communication.


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Luxury Homes Collection Magazine – Spring 2018
Our Luxury Homes Collection Magazine has reached its sixth year of production and continues to showcase fantastic properties from across our regions in British Columbia. We are proud to present this Spring 2018 edition featuring a diverse range of specialized homes, luxury living and custom details, there is something for everyone.
It's been interesting to observe all the changes in ever-evolving BC real estate industry and how the market was able to adjust to the numerous shifts. These changes will likely continue to happen in 2018 as well with the new government policies, advancement of the industry standards and the economy itself. Only time will tell the impact of the new property tax rate on the real estate luxury market and the industry on the whole.
Read the inside cover message from our CEO Lynn Hsu and her insights on the market trends and how Macdonald Real Estate Group showcased outstanding growth and an incredible number of sales over the years. We are inspired for another great year of new achievements and success for our clients, realtors, staff and management teams.
Our Cover Story is a custom designed modern dream home in Vancouver Point Grey. This contemporary home is a collective effort of designers and landscapers featuring open-space concept, simple yet elegant details and quality of materials. Among the modern amenities are; covered and outdoor patios, infinity pool, entertainment room and gym, private yards and in-home hi-tech systems. Conveniently located in a close proximity to renowned private schools, UBC and golf course.
CLICK HERE to view the digital edition on your computer or tablet