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Top 10 Window Shopping Tips
Written by: Catalogs.com Editorial Staff
May 31, 2012
Filed Under Shop
Contributed by Info Guru Aurora LaJambre
It's essential to curb spending habits when the shopping list extends beyond our means, but that doesn't mean we can't browse, dream and plan for the future.
Window shopping is a blast, but it takes a good dose of restraint to keep the urge to splurge in check. Rather than dwelling on what you're not buying, use window shopping as an opportunity to appreciate good design & craftsmanship, and to inspire your own resourcefulness.
These top ten window shopping tips will help make your next stroll down Main Street more productive and fun.
10. Bring a date
The danger of window shopping is that it quickly turns into 'well, maybe I can just get this one thing.' The shopper's voice in your head can be very persuasive, and sometimes it takes a good friend to talk you down from a purchase. Bringing a date along can turn temptations into conversation starters, and keep you from falling in love with a product you don't need.
You may be surprised to learn how many coveted items you can actually make yourself. If you're window shopping for home accents, bring a small notebook along and jot down ideas for future crafts. Instead of looking at price tags, sketch the type of stitch used on a seam or photograph a unique color combination to try yourself.
8. Go off the beaten path
Window shopping at a favorite shop that you normally buy from where the sales people know your face can be torturous. When you're in window shopping mode, head to a unique home store you've never been to before. You won't know where things are or what to expect so the entire experience will be new and stimulating.
7. Resisting antiques
Antique shops are perfect for window shopping because they have such an eclectic selection and every item has a past, but beware. Items that seem like they're one of a kind can be challenging to put back on the shelf. Luckily, vintage inspired shops often carry the very same designs at a fraction of the price.
6. Do the time test
Impulse buys are instant triggers to buyer's remorse. Window shoppers who wear their hearts on their sleeve should give the time test a try. The next time you see something you love, whether it's a smart dress or an essential kitchen item that you suddenly need, step away. Needing and wanting are very different things. If the item is still on your mind two weeks later, maybe you do need it after all.
5. Call it research
Major life changes, like a new home, wedding or planning for a baby, can spark a number of new household needs. Pay attention to which stores have the best prices and upcoming sales, or go online to check out a whole range of baby toys and home goods available before buying the first things you like.
4. Pack a lunch
Shopping can leave you feeling drained, which is why so many of us end up at the food court to refuel on calories. Pack yourself a granola bar and bring a water bottle with you instead. The money you save at the snack bar can go toward the next item on your wish list.
3. Dress up
You've probably heard the advice to not go to the grocery store when you're hungry. The same applies to window shopping. Dress up more than you normally would and you'll feel super special, and a little less needy of shiny new things. Pulling out forgotten garments will help you appreciate how many great clothes you already have, and zero in on the one or two trendy accessories or clothing that could freshen up the whole wardrobe.
2. Sign up
Signing up to receive a store's catalog or newsletter often gives you exclusive access to the best deals and lets you know when new items arrive. Large stores typically make it easy for you to subscribe on their websites, while small boutiques often keep an email list sign up at the register. If you collect model airplanes, action figures or other niche items, catalogs and newsletters bring store windows right to your home.
1. Go online
Window shopping online is a practical option for busy people. You don't need gas to drive to the store and you can do it whenever you want. Today retail websites are often easier to navigate than crowded stores. Drop items you like into a shopping cart and bookmark the site or pin the items on Pinterest. When you're ready to treat yourself, items you love are already picked out and only a few clicks away.


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Uppababy Cruz is a sleek and stylish pushchair, combining style, practicality and functionality.
The lightweight and compact frame has a simple one step fold, that quickly folds down with or without the seat attached making it easy to store and transport. The compact pushchair doesn't comprise on comfort or the size of the seat, as the spacious fully padded seat, is reversible for forward or rearward facing, has a multiple position recline and adjustable canopy, accommodating for growing children.
Uppababy Cruz is travel system compatible and with the addition of the carrycot or infant car seats you can creating the perfect system for you.
Included accessories with your cruz travel system:
- Carrycot with raincover, insect net and storage bag
- Pushchair Seat with raincover, insect net and bumper bar
- Car Seat adaptors for Maxi-Cosi or Besafe.
- BeSafe Izi Go Black Cab
- from birth
- includes pushchair, carrycot and car seat
- lightweight compact design
- spacious reversible seat
- multiple position recline
- easy one step fold
- telescopic handle
- shock absorbing suspension
- adjustable sun canopy with SPF 50+
- big easy access shopping basket
Suitability: from birth
Product Weight 9.8kg
Product Dimensions: 100 x 56.5 x 94cm
Folded Dimensions: 56 x 30.5 x 94cm
We aim to dispatch all "available for immediate dispatch" orders placed by 12pm the same working day. Exceptions include made to order items for example some nursery furniture or direct ship items sent by the manufacturer directly to the customer. In these cases an approximate delivery schedule is shown next to the product.
Our standard delivery cost is £4.99 for orders under £49.99. Orders over £49.99 is free of charge. Exceptions apply please view our Delivery & Dispatch page for detals.
Any items "available for immediate dispatch" will have the choice of standard delivery (2-3 working days) or express delivery (1-2 working days) this can be selected during the checkout process.
Orders for delivery to Scottish Highlands, UK Islands & Northern Ireland. These schedules would exclude made to order and direct ship items. For more information please click here.
We offer a 14 day return policy allowing you to decide if the goods are as expected. During this time you may return the goods at your expense or request collection with our courier company at a cost of £18 per parcel. If the item has been used you will be unable to return the item under distance selling regulations.
Any damage in transit of shortages must be reported with 48 hours of receipt of the goods after this time claims will not be accepted.
For more detailed information please read our terms and conditions.
Nursery Furniture
Wood samples are available upon request.
For our furniture terms and conditions of sale please refer to our terms and conditions page under the section Nursery Furniture Return Conditions

subset: commoncrawl


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Friday, 20 March 2009
Jimmy's Lagoon
Image Left: Juvenile Cormorant
Wednesday 18th March
Jimmy's Lagoon
It seemed like I had spent the best part of the afternoon travelling backwards and forwards over the bay in Ella, our smallest boat. The island had largely emptied of guests and residents; the guests had gone to Iona for the day and the residents on a shopping trip to Oban. As ferryman I stayed behind and took advantage of a lull in passengers to visit Jimmy's lagoon. Spring had swept in with clear skies and a gentle breeze that began to die as the afternoon wore on. The small swell out in the sound was almost a welcome percussion after the flat waters inside the bay. The sun was already hovering out over the Atlantic just high enough above the haze to render fully the contrast between the white sands, turquoise waters and the dome of a blue sky.
The lagoon or lagoons sit amongst humpback monoliths of granite giving the effect of an oversized zen garden. The rocks open via sandy channels directly onto the sound of Iona allowing the passage of the swell. I lifted the outboard onto its shallow setting and navigated a course around any patches of weed that broke the surface. I struggled to gauge the depth of water, its clarity was no help neither was the featureless sandy bottom. Cutting the engine, I drifted for a while, the breeze pushing me gently in the direction of a sunbathing cormorant perched on a rock. I wondered how close the boat would drift before it took flight, the answer came as one of the fenders began to gently rub on the rock. The cormorant a juvenile, watched me fish around for the boathook before it disembarked with a half hearted flap and graceless dive. Up until I had begun to wield a boat hook, the cormorant had probably decided I was somehow part of the boat, maybe a more vital extension but a part all the same.
When I take the tractor across the sand to collect logs the wading birds and geese in the bay seldom pay any heed until I am on top of them. Creatures that would skitter at the distant site of lone human, can almost completely ignore four ton of moving tractor. As a species we have managed at least to imprint ourselves within the DNA of other species as a threat but as yet we have not added the tractor. Maybe it is not the form that animals respond to but the ego, when I drive I am part of the machine the steering wheel or outboard gives me feedback like limbs and my awareness extends to width and depth of my larger body; I am a giant clad in metal or timber. Does the cormorant look on me as a benign giant? When I hold the boat hook does the mirage slip? Maybe he sees the ghost in the machine; I am man, destroyer of worlds. I spotted some returning guests making their way over Jimmy's fields and headed back out into the sound and then turned towards the bay and the jetty.
Image Right: Kelp in shallows
Posted by Paul Adams at 06:51
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Know more about this business than we do? Cool! Please submit any corrections or missing details you may have.Help us make it right
Be the first OregonLive.com user to add photos or videos of Anderson Thomas A MD
This doctor is rarely available to talk with patients. She told me once that her patients are not very smart with their money, that they rely on social security, and that I should save my inheritance. When I confronted her about the lack of availability, she banned me from her entire practice, citing an Oregon law about being able to refuse service to anyone.
Anderson Thomas A MD can be found at Portland Rd 1515. The following is offered: Doctors & Clinics. The entry is present with us since Sep 9, 2010 and was last updated on Nov 14, 2013. In Newberg there are 28 other Doctors & Clinics. An overview can be found here.


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We're Moving!
August 26, 2014
The long weekend will be a busy one for Sintra, as we move our Edmonton offices across the river to our new location just off Whyte Ave. Our office will be closed Friday, and will re-open in our new space Tuesday!
Our new address is:
101, 9932 - 81 Avenue NW
Edmonton, AB T6E 1W6
Watch for details on a celebration in October!


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Alex meets his first cruise ship
Ready to meet two cruise ships today was Alex Robinson, who has just turned three years old. Out of bed early, he was down at Salisbury Wharf to welcome in the Noordam followed soon after by the Regatta.
The Noordam, registered in the Netherlands has a 82897 gross tonnage, is 286m long and has 1865 passengers and 819 crew members on board. It arrived after dawn from Auckland and leaves at 5pm for Napier.
The Regatta, registered in the Marshall Islands is 181m long, is carrying 824 passengers and has a gross tonnage of 30277. It arrived from Wellington this morning and leaves Tauranga for Auckland at 4.15pm.
Alex says he hasn't seen a cruise ship before, that today is his first day. He didn't think he would go home for breakfast after the Noordam and Regatta had arrived.
"I'm going to wait for another big cruise ship," says Alex. "If any more are coming in I can stay and watch."


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Tritan Crystal – Internationally patented – brilliant, dishwasher and break resistant.
Burgundy glasses are famed for their wide bowl & this one from the Ivento range is no different. Schott Zwiesel's version works wonderfully well for all types of Burgundies & other similar red wines.
Please Note: The diameter measurement signifies the widest point of the glass whether it be foot, bowl or rim primarily to aid with racking purposes.
Schott Zwiesel Glass Size Code: 8740/140
By submitting this form you agree that we will be able to use your submission, should we approve it, on our website. We reserve the right to cancel certain reviews.
|Suitable For:
|All Red Wines
|Specifically For:
|Set of 6
|Production Type:
|Machine Made
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This post may contain affiliate links. Read my disclosure policy here.
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Simone Betzler
Team SEA
Simone Betzler
Team SEA
Email marketing represents the online version of classic direct marketing: direct communication with the customer. The latest news or offers are promptly sent to particular target audiences or complete address books per email. This form of marketing represents an important component in the marketing mix, particularly for online shops, but also for service providers.
In contrast to traditional marketing, email marketing offers certain advantages: Information can be immediately sent to the customer. With an adequately sized allocation, a large number of customers can be reached cost effectively. Some target audiences can be categorised and addressed directly. Through the measurability of the resonance, campaigns can additionally be optimised, thereby increasing conversion.
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Top-Rated Attorney in Mississippi Gulf Coast
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no electricity, no fx, no editing, no layers.It's an interesting idea and certainly one thats been kicking around the HNW scene for a while, in one form or another. And so it's good to see people finally having a proper stab at it. You can stream the releases at the label's bandcamp page.
Here's the thing though; none of this really sounds like HNW, at all. No crunch, no crackle. No well-defined, abstract lines and angles of sound. It really just sounds like acoustic harsh noise or industrial and, in that sense, it's not really all that original sounding. Still, it's good enough for a listen. And I reckon there's always a chance someone might actually manage an acoustic piece of HNW at some stage, so I'll be keeping an eye on it.


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Saint Martin is a treasure of biodiversity, especially below the surface of the water. Looking out at the calm, blue sea, you would have no idea of the life teeming below.
We are lucky to be located on the French Side of the island, with fewer diving centers and more regulations concerning the environment and the nature reserve, the sites on the French side are tremendously prolific.
Our two house reefs (Turtle Reef and Creole Rock) are located in Grand Case Bay, just a 5-minute boat ride from the shop. Several of our other favorite French side locations are near the small island of Tintamarre (also a protected marine reserve), which is just around the north end of the island. These sites include The Tugboat, Chico. Circus, Basse Espagnole, Little K's Reef and Japanese Garden. The sites on the east side of Tintamarre are especially interesting because they lie on the meeting point of the giant Atlantic Ocean and the smaller Caribbean Sea.
We also have some great dive sites in the channel between St Martin and Anguilla where the nutrient rich water creates healthy reefs, strong corals and fish populations. These sites include Chris's Reef, Fish pot and New Reef and the amazing deep wreck, La Renee.
Many of our sites are within the French Nature Reserve (Reserve Naturelle de Saint Martin). You can check out their site here: http://reservenaturelle-saint-martin.com/en/
Please explore the descriptions of the different sites on the following pages and enjoy the photos.


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I have gained great knowledge from the site in my first year as a pool owner. The info has been priceless. I have a fiberglass pool and had not added Calcium Hardness to my pool as of yet. I decided to purchase some at Leslies the other day and am ready to put into the water. The reason was that the debate seems unclear on whether to add or not to a fiberglass pool. Not sure what to do. I am leaning on putting it in as a just in case measure. Guidance?
If I do put it in how is the best way to add to the pool water? Pantyhose like CYA? Skimmer? Over return? How long does it take to dissolve and show in tests? Is it safe to swim right after the addition of the CH?


text: Alright so, lately I've been interested on independent games. If you know any good ones and post them here, I'd be really glad. Free or not, as long as it is independent, it's fine [But it's better to add this information] So I'm going to post the first game. The independent video game company Videlectrix has made lots of games for Homestar Runner. You can pretty much play all their games from here. I would especially recommended Peasant's Quest And yeah, all games are Flash based and they're all free[but really good]


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Dinner for Their Royal Highnesses, menu, Tuesday, December 3, 1878
- Digital ID
- men000461
- Title
- Dinner for Their Royal Highnesses, menu, Tuesday, December 3, 1878
- Alternative Title
- mardi, 3. decembre 1878, dîner de L.L.A.A.R.R. (Leurs Altesses Royales)
- Restaurant or Site Name
- Additional Information
- Features unidentified red and gold crest with crown.
- Enclosures
- Date Original
- 1878-12-03
- Event Type
- Type of Restaurant or Site
- Restaurant/Site Location
- Type of Menu
- Type of Cuisine
- Original Language
- Collection Subject (FAST)
- Menus; Bill of fares; Menu design; Restaurant management -- Prices; Dinners and dining; Restaurants; Cooking; Food service; Eating; Social life and customs
- Format
- image/tiff
- Original Medium
- Paper
- DC Type
- Text
- IS Part Of
- http://digital.library.unlv.edu/u?/dig,0
- Publisher
- University of Nevada, Las Vegas University Libraries
- Rights
- This material may be protected by copyright. Personal, including educational and academic, use of this material is without restriction but acknowledgement of the University of Nevada, Las Vegas, University Libraries is requested whether the use is oral, web or in print. Commercial use of any portion of this material requires permission from the University Libraries. For further information please contact Digital Collections: http://digital.library.unlv.edu/contact
- Box Number
- 3
- Folder Number
- 82
- Digital Collection
- Menus The Art of Dining
- Original Collection
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As for how it would impact the squirrels, the alternative is my father shooting every last one of them "for stealing his nuts." (Not that they go to waste - he gives the squirrel carcasses to a neighbor who thinks they are delicious.) I personally would prefer to see the squirrels be put to work and not slaughtered, but I have a soft spot for squirrels.
Dianne Keast wrote:
I did not know that most of the nuts squirrels collect are actually misplaced, and not actually consumed, why is that?
I have never had squirrel to eat, is it good?
Squirrels love to store stuff for later, but they forget where. And they put stuff in some creative places. A neighbor feeds the peanuts. I have a nice peanut plant growing in a container that a squirrel planted. One time I left my car door open for an hour and came out to find a peanut resting on my steering wheel. Another time my car started producing the smell of roast peanuts when driving - squirrel had placed a nut on the engine block.
Yes, squirrels are good eating. I have had them roasted and smoked. As you can imagine, not a lot of meat on the bones.
They are highly trainable. I have trained them to climb on me. People have trained them for all sorts of stuff.
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However he crossed the line when he started chewing through my bird feeder. For years I had the feeder attached to a tree, and I would see the squirrel in the feeder occasionally, but not enough to be a nuisance. Recently I had an extra bird house that I needed to put somewhere so I put it in the same tree, about 10 feet higher than the feeder. Well the squirrel took this as an open invitation - he chewed the hole bigger in the bird house and moved in. He just had to climb 10 feet down for meals. I was not too happy about that and tolerated it for a while. However he then proceeded to chew through the bird feeder and that was enough. I repaired the bird feeder and put it on a smooth metal pole, and repaired the bird house and put it on another tree. The squirrel has behaved himself since then.
So for a squirrel house I would just make something like a bird house, maybe 12"x12"x12". But I don't know if they would use it for nut storage or for sleeping. A bit more research is required, I believe.
A rake and an air riffle, try not to use them both at the same time.
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Re: Using *Nuts* to Harvest *Squirrels*
fixed the thread title
Sometimes the answer is not to cross an old bridge, nor to burn it, but to build a better bridge.
I've not made exhaustive studies of this , but the squirrels I've noticed storing nuts actually go into to hollow, leave the nuts then come out. Assuming they would try to do the same with the pipe, if it is any length at all, how would they climb out, since the the plastic is smooth? If it isn't long, doesn't seem there would be enough room for nuts to make it worthwhile...
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Just thought you would be interested in that,
CA, Southern Sierras, alt. 4550 feet, zone 9ish. (still figuring it out), 3 mo. grow season. Regular wind to 20 mph. SANDY soil with scrub oak,pine,and juniper. 2 seasonal creeks.
Word of note the carpet was in a dry place whilst the rest of the area was rain soaked. I feel this made the difference in their choice to use the dry carpet. Just a Permie observation.
CA, Southern Sierras, alt. 4550 feet, zone 9ish. (still figuring it out), 3 mo. grow season. Regular wind to 20 mph. SANDY soil with scrub oak,pine,and juniper. 2 seasonal creeks.
yukkuri kame wrote:fixed the thread title
Working with squirrels....
Someone told me Bill Mckently of NY does this and would love to talk about it but I have not been able to reach him for comment. +'s for JIM
relevant ->Hardy Kiwi Kickstarter l YogaToday 2 week trial l Daring Drake Farm - NY
The farming village was above all a society of philosophers without a need for philosophy - Fukuoka
I might posit that squirrels tend to exist in such great quantities amongst humans because the ways in which we tend to modify our own living environment prove a boon for them. A lot of the natural predators they might have had have either been actively driven out of the area or merely robbed of their necessary habitat. Also, the abundance of their food supply may have been amplified by the choices we make in terms of which trees to plant around us.
We have very few squirrels in my particular area because we have lots of hawks and very few naturalized nut trees. I have been hesitant to plant a lot of oaks (although the swampy ones would flourish here) for fear of encouraging a squirrel population that would have few natural checks.
You do what you feel is right.
CA, Southern Sierras, alt. 4550 feet, zone 9ish. (still figuring it out), 3 mo. grow season. Regular wind to 20 mph. SANDY soil with scrub oak,pine,and juniper. 2 seasonal creeks.
I think it's relevant and worth discussing. What do you think is wrong with an increased squirrel population?
Matt Smith wrote:Can we back up a bit here and discuss squirrel populations in general?....I have been hesitant to plant a lot of oaks (although the swampy ones would flourish here) for fear of encouraging a squirrel population that would have few natural checks
relevant ->Hardy Kiwi Kickstarter l YogaToday 2 week trial l Daring Drake Farm - NY
The farming village was above all a society of philosophers without a need for philosophy - Fukuoka
all kidding aside though, hell why not make a potential pest become an on-farm employee?
Chicken composting systems, hugelkultur, rotational grazing, dry land veggies
My Available products thread . straight to my zazzle store . straight to my redbubble shop
Josh T-Hansen wrote:I think it's relevant and worth discussing. What do you think is wrong with an increased squirrel population?
Matt Smith wrote:Can we back up a bit here and discuss squirrel populations in general?....I have been hesitant to plant a lot of oaks (although the swampy ones would flourish here) for fear of encouraging a squirrel population that would have few natural checks
At least in my experience, squirrels have a habit of making an absolute mess of efforts to grow certain crops, especially tomatoes.
They don't like to eat them, but they think they might like the next one they try. The end result is every tomato off every vine on the ground, with one squirrel-sized bite out of each one. I wouldn't even mind if they took a few to legitimately eat, but that doesn't appear to be their M.O.
According to Lewis and Clark the indians burnt stands of forest to collect the nuts gathered by squirrels.
richard valley wrote:Squirrels are a terrable problem here. They eat everything, crapp in everything, bring fleas, ticks, lice and mites and are looked upon as rats to all except tourists.
When I read that, it feels like frustration and anger, with a great need for order, cleanliness, and peace. And I am reminded of the permaculture principle that everything is of use. Getting the squirrels to harvest nuts for us fits right in with that principle, which is what this particular thread is all about. And when you mention the tourists, I am reminded of the amazing Youtube videos out there of the squirrel acrobatics - which could certainly be done where you are to have the squirrels pay their way - tourists would definitely pay to see trained squirrels go through all kinds of amazing obstacles to get fed. Here is my favorite one so far:http://www.youtube.com/watch?v=RRPr1aC61Gg&feature=related
- 3
Building a 40 acre homestead in north Florida
Brian Shepherd wrote:I use a ample supply of rubber snakes on areas I want to keep the squirrels and birds away from. They work well on my fruit trees. I take the snakes off the tree when the fruit is gone so the birds will come back to eat the bugs. You may be able to control where the nuts are stored by putting some snakes where you do not want nuts.
Great tip on the fruit trees, Brian. Thanks! And a wonderful idea for encouraging the squirrels to stay away from one area, so they will feel more comfortable in the area we want them. Fun.
munching squirrel by frankenstoen, on Flickr
I think using nuts to harvest squirrels is as good an idea as using squirrels to harvest nuts.
Depends on what kind of protein you are hungry for.
This might be approached from a Zone perspective - use pipes, boxes, nail kegs, carpet, etc. in Zone Five - areas away from the homestead, to gather nuts that one would otherwise miss.
Shoot/harvest the nuisance squirrels in Zones closer to the house, where they cause damage.
In some areas, squirrels are known PLAGUE carriers. It would be wise to control the squirrel population in these regions.
PLAGUE WARNING! by frankenstoen, on Flickr
In this case it sounds like it was a woodpecker that collected the acorns. But it sure did a great job - 300+ pounds!
It seems like it would be easy to experiment with similar structures - basically a large box up high with a woodpecker-sized hole in it.
Building a big safe storage box for them. Maybe even provide it with active "security". think of heating, area overview through glass or even a chip closing door.
For training them to do what we want(putting lots of nuts in a single or multiple big places). Let them grow up in the secure environment while being around for example working LGD.
The LGD's will see that they are important too you in the beginning, since you provide them with starter food and security. Like you do with the LGD. Eventually they will see the work the squirrels do. And in the best permaculture world, would let them now if there is a far of three to be harvested(dogs could pull small storage bags for them). And they could let the dogs know from their vantage point if there is any mishap on the land the dogs cannot hear, see or smell.
Going to do some more research on this. Which I normally did before, today I just went through this topic from the search(guess permies got me hooked for info). Gave me some more ideas which I will post in a new topic regarding training squirrels. And the intertraining of species. My idea with animals is, as long as you be truth and faithfull to them, they will give you more(love) than any human person.
at very little cost you can build a simple tire home for squirrels.
Here is a link for simple wood box home and tire home.
Both would provide places to store nuts. I have also seen a PVC home that used a heavy rope over a branch.
I can not find the plans for this one but it was very simple the rope was large enough for the squirrel to climb.
The key was to take a wire brush on a drill and really rough up the PVC so the squirrel could get traction or to rough up and glue weed cloth over the PVC inside and top so squirrel could climb.
I liked the PVC since you could set it up with rope and lower it later. They could also be quickly turned into squirrel traps for moving squirrels around.
With the right amount of housing and feeders you could easily farm your squirrels. You get them to harvest nuts and you feed them cheap corn and other feeds.
People do not realize squirrels can forget where they put their food. So giving them places to store food and then harvesting yourself works so long as you set up winter feeding stations.
I have also heard of people doing this with mice and wild rice. They put nest box and branches throughout the wild rice. The mice harvest and people take the rice and sterilize it.
The mice get cheaper grains and legumes.
I have also heard this done with pine nuts and rodents. Again the pine nuts are taken and the rodents get cheaper feeds. The pine nuts have to be sterilized also.
Also wild hogs will also raid such caches.
In some areas squirrels have to keep everything above ground or they get raided and wiped out.
Bears and hogs do not replace what they take, they just take and move on.
That which doesn't kill us makes us stronger. I think a piece of pie wouldn't kill me. Tiny ad:
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Since 2007, there have been 11 tornadoes in the United States rated as 5s, the highest level in categorizing tornadoes. The 11 5-rated tornadoes before that year occurred between 1985 and 1999. What could have caused such a sharp increase in significant tornadoes?
A spike in instances of severe weather has been a common factor in the climate change debate, and the more frequent number of highest-level tornadoes has been an argument for evidence in favor of global warming. However, that claim may not be taking an important factor into account: changes to the classification system for tornadoes, which are often open to interpretation and leave room for inconstancies.
In 1971, Dr. T. Theodore Fujita created a scale for rating tornadoes based on the damage that winds caused. Called the Fujita Scale, this system ranks tornadoes on a scale of F-0 (weakest) to F-5 (strongest). For decades, this was the method used by the National Weather Service to rate tornadoes, but they point out that there are flaws with this system.
"Tornado wind speeds are still largely unknown, and the wind speeds on the original F-scale have never been scientifically tested and proven," according to the Storm Prediction Center's Roger Edwards. "Different winds may be needed to cause the same damage depending on how well-built a structure is, wind direction, wind duration, battering by flying debris, and a bunch of other factors. Also, the process of rating the damage itself is largely a judgment call--quite inconsistent and arbitrary."
Because of this, the NWS switched from the Fujita Scale to the Enhanced Fujita Scale in February 2007.
"The idea is that a 'one size fits all' approach just doesn't work in rating tornado damage, and a tornado scale needs to take into account the typical strengths and weaknesses of different types of construction," states Edwards.
The EF scale uses 28 damage classifications to rate the strength of a tornado. The newer system requires lower wind speeds to consider a tornado to be 5-rated. The minimum wind speed estimate needed to be an F-5 was 261 mph. The minimum estimated speed to be an EF5 is 200 mph. The May 2007 Greensburg, Kan., tornado was labeled an EF-5 with estimated winds of 205 mph. Had this tornado occurred a few month earlier, it would have only been an F-3. Adding to the confusion is that EF-classified tornadoes may still be written as a F-level storms.
AccuWeather's Adrienne Green explains the EF scale.
While a more consistant and measurable scale than the original, the Enhanced Fujita still uses wind estimates to determine the strength of a tornado based on surveying damage after a tornado has occurred.
"The problem with only using damage to assess a tornado's strength is that tornadoes that don't cause damage may be misclassified," said AccuWeather Senior Expert Meteorologist Bernie Rayno. "What happens when a tornado touches down in an open field? What if there is no structural damage to study?"
It is possible to use portable Doppler radar to classify the tornado's strength. In A Recommendation for an ENHANCED FUJITA SCALE (EF-Scale), the Wind Science and Engineering Center at Texas Tech University writes:
"The technology of portable Doppler radar should also be a part of the EF Scale process, either as a direct measurement, when available, or as a means of validating the wind speeds estimated by the experts."
This statement has been considered controversial in the weather community, however.
"It specifies 'portable' radar, and there aren't as many of those available," Rayno explained. "So not every tornado has radar that can go along with it."
Rayno is concerned that using this technology for some storms and not others creates too many discrepancies between storms.
"If you're going to use it, use it consistently," he said.
Mike Smith, Meteorologist and Sr. Vice President/Chief Innovation Executive of AccuWeather Enterprise Solutions, explained how these inconsistencies occur when radar is only sometimes used, citing the June 18 tornado that touched down near Denver International Airport as an example. Based on the lack of damage the tornado produced, it could have been rated as an F-0. However, according to Smith, this would have been misleading to future architectural projects for the area.
"Engineers and architects use the index data to design structures. If we omit radar measurements, critical structures could be mis-designed," he said. "Based on the METAR wind gust of 97 mph, the tornado should [have been] rated at least F-1, if we were to base the ratings on all reliable data. The instrument failed after that gust, implying the tornado may have been stronger."
"The way I read [the Doppler image], the red pixel inside the green is 150 mph. That would make it F-3. So, if this tornado had hit the terminal building, there would have been a lot of damage. If you use the image, the dark blue east-west line at the bottom is I-70. The airport property line is light gray," he said.
The National Weather Service gave the tornado a preliminary F-1 rating. Had they relied solely on surveys of damage and rated it an F-0, Smith believes that it would have been misleadingly low for future design projects.
"I favor using all reliable data in rating tornadoes," he said.
The Storm Prediction Center's Don Burgess explained the reason why only portable radar is being used when rating storms, stating that fixed radars aren't quite equipped to properly read tornado wind speeds.
"In general, to estimate wind speeds you need to be quite close," he said.
Burgess acknowledges that this can lead to discrepancies if only some storms are rated with radar being taken into consideration and said that there are meetings and discussions to try to find a solution to this problem.
"The first issue is that since portable radars don't collect data all the time and can only do it in open plains with no hills or trees, people are concerned that it could skew the database. It's a point that is being considered," he said.
He explained that the second issue is trying to figure out how to factor in this additional information.
"EF ratings are based on 3-second gusts at 10 meters high," he said. "Radar can pick up speeds quicker than that and higher than 10 meters."
The issue requires calculations and adjustments, but at this point, there is no standard policy for how this is done. It can typically take three months for a rating to be finalized once all data is put together. The El Reno, Okla., tornado from May 31 of this year is still waiting a finalized rating. There were high winds recorded in that tornado, which had multiple vortices. Considerations for how to include all of this information are still taking place.
Burgess believes that the best course of action may be to preserve damage ratings, but to add another column in the database to attribute additional information when it is available, be it from radar, anemometers or other measurements.
What the solution to these discrepancies will be remains to be seen at this time, but the concerns are being addressed.


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(Reuters) - New York state prosecutors on Friday charged radical Jamaican Muslim cleric Sheikh Abdullah el-Faisal with seeking to recruit people to join Islamic State.
El-Faisal, 53, was arrested the same day in Jamaica, and New York authorities will seek to have him extradited to face charges in Manhattan Supreme Court, according to a U.S. law enforcement source.
El-Faisal, born Trevor William Forrest in St. James, Jamaica, was previously convicted in the United Kingdom in 2003 of soliciting murder and imprisoned. He was deported to Jamaica in 2007 after being released.
Manhattan District Attorney Cyrus Vance said Friday that el-Faisal used lectures, a website and videos to incite followers to join Islamic State, which is designated a terrorist organization by U.S. authorities.
"A charismatic leader, the defendant's rhetoric has been cited by several convicted or suspected terrorists in New York, London, and beyond," Vance said in a statement.
Friday's indictment follows a year-long investigation by the New York Police Department's intelligence bureau and the Manhattan District Attorney's office's counter-terrorism program, according to the announcement from Vance's office.
Prosecutors said that beginning in December 2016, el-Faisal began communicating remotely from Jamaica with an undercover NYPD officer. He urged the officer to view Islamic State propaganda materials online, and offered to help him travel to the Middle East to fight for the organization, prosecutors said.
NYPD members ultimately did travel to the Middle East, and once they arrived, el-Faisal put them in touch with a contact in Raqqa, Syria, according to prosecutors.
El-Faisal is charged with soliciting or providing support for an act of terrorism. It was not immediately clear whether he had an attorney.
Reporting by Brendan Pierson in New York; Editing by James Dalgleish


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Saturday Night Live is typically pre-taped for west coasters, but The Hollywood Reporter shares that as a treat, SNL will be live for everyone all at once.
The statement comes form Robert Greenblatt, quoted on THR:
"SNL — enjoying its most popular season in two decades — is part of the national conversation, and we thought it would be a great idea to broadcast to the West and Mountain time zones live at the same time it's being seen in the East and Central time zones. That way, everyone is in on the joke at the same time. Kudos to Lorne Michaels, the producers and cast for making SNL one of the most relevant and anticipated shows in the zeitgeist."
Every episode will obviously have a different air time, which will be as follows:
11:30 p.m. Eastern
10:30 p.m. Central
9:30 p.m. Mountain
8:30 p.m. Pacific
Also, the four final hosts are going to be amazing. Jimmy Fallon (April 15), Chris Pine (May 6), Melissa McCarthy (May 13), and Dwayne Johnson (May 20).
Mark those calendars!
Amy Cooper is the type of journalist that when asked "What do you bring to the table," she replies "I am the table.


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WOW! What an amazing exhibition. Right from the start the visitor has an over powering sense of positivity – it's as if Hockney has brought all the colour of California that he loves back to old England and washed the grey away with it.
The tree is his central motif, running through the whole exhibition, and the landscape of his Yorkshire youth is the subject. The first rooms lay the background for Hockney's new paintings, showing how from his earliest works he was interested in landscape painting.
His photocollages – the term conjures up school art projects but these are slick use of modern technology - clearly show how he builds up and later portrays wide panoramic views. Later paintings, almost naïve in style, show the patterns of fields and hedges, ploughed surfaces, houses and lines of hedges and trees. In these all traditional perspective is skewed and the sky is reduced to form a thin strip quite unlike the proportion usually adhered to in a classical landscape painting.
However, in the next room Hockney reverts to a study of the style of the old masters – the paintings hung en masse in a block - and here the classic proportions hold sway. After studying these in oil he returns to watercolour – the effect quite different of course.
A room devoted to his interest in 'tunnels' shows masterly perspective and one devoted to 'woods' is truly architectural in feel. I loved his charcoal sketches displayed in these rooms because they show his ability as a real draughtsman and how he used these quick sketches to work from – giving rein to his imagination - on the final oil paintings in his studio.
Throughout, Hockney demonstates how he has divided his large panoramas into separate 'blocks' to build up the whole. Allied with this is his use of the camera. But this is not to be sniffed at – he is merely reflecting history. The old masters used such tricks as the camera obscura to perfect their perspective and divided their canvases up in much the same way as Hockney does. The difference is that Hockney leaves us the signs.
The hangings entitled 'Trees & Totems' is a culmination of all that has gone before. These are painted in such vibrant colour that they have quite an electrifying, exuberant effect. The show was packed, so many visitors that we were forced into closer proximity than normal and this produced it's own dynamic: a woman next to me turned and said – unable to contain herself, wanting to share her feelings – "It's so exciting, so life-affirming, isn't it?" I had to agree.
His painting, 'The Arrival of Spring', is vast and very graphic in traditional Hockney style. It was produced after many sketches on his ipad and, hung all around, these form the basis for the final work. What a marvellous use of modern technology and what a wonderful tool it is – the 'brushes' facility is not technology subsuming the artist but technology aiding him - able to sketch quickly using the tablet is a bonus in such changeable weather as ours.
In a couple of rooms near the end of the exhibition there is film to show how Hockney engineered the recording of the landscape – concentrating on the close-up of the grasses and the hedges and lanes, it made me think of Thomas Hardy's novels - and a collection of his sketchbooks gives a fascinating insight.
Throughout, Hockney is celebrating the English countryside - it is landscape with a capital L – and those well trod lanes and hedges, tree lined fields and pitted roads that we all know in our locality take on a new persona – a different character – when we use his vision. With this show, Hockney has introduced a fresh way of looking at them for many of us – these landscapes are not all boring brown and grey in winter, not all the same old green in summer.
Do see this exhibition for yourself: it is COLOUR, it is TREES, it is BRILLIANT!
Friday, 17 February 2012
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Friday, January 14, 2011
Soul Journaling
Sarah Whitmore just announce the blog button/group badge for the Soul Journaling group and she designed bsaed on my favorite prompt....
Soul Armor!
Think of strength and protection. Think about what you turn to when you are "under siege". What does your creative spirit NEED more of?
How do we keep all those critical voices from crippling us in our crusade?
I had difficulty thinking of things I needed to protect myself from....so my Armor is to help hold things in that I want to nurture and explore so I don't get sidetracked. Expressing Myself and Making it Personal instead of cookie cutter art are things I want to work on. Time is my only enemy...I have great support here at home and the groups I am in on the internet are excellent stimulation and inspiring!
To see my other pages of this journal....
Visit Sarah's site
or the Soul Journaling site itself...
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February 11, 2013 09:54 ET
CALGARY, ALBERTA--(Marketwire - Feb. 11, 2013) - Following the announcement of a two-year extension of the North Block's Exploration License last month, Caspian Energy Inc. (the "Company" or "CEK") (TSX:CEK) is delighted to report that on February 7, the Company has signed an Agreement with Asia Sixth Energy Resources Limited ("Asia Sixth") to apply outside consultant Mr. Roger Nutt's advice as to the best method of completing the wells within the prevailing rock strata.
Within this important Agreement, Asia Sixth has committed to undertake and to finance the re-completion of two wells initially. The necessary applications with regard to these two wells have already been lodged with a view to commencing operations in Well 316, specifically, by mid-April with the results expected to become apparent in early May. Well 316 has already been drilled and this re-completion program will involve making new perforations in five main target areas. The testing of each target area will be done in sequence and the application requests that 180 days be granted for the testing of all five target areas. Therefore, we anticipate that the full results of the testing in all target areas will be known between early May and September.
The Company has received a letter from the Toronto Stock Exchange (the "TSX"), which states that the "listing of CEK's shares on the main board of the TSX is under review with respect to meeting continued listing requirements". The Company has been granted 90 days in which to regain compliance with these listing requirements, pursuant to the TSX's remedial review process. It is the Company's opinion that if Mr. Nutt's views are confirmed, the effect on oil production and the Company's financial position will be dramatic and it will ease the task of addressing the concerns of the TSX.
The Company will also draw upon the second tranche, of the original Loan Agreement, which constitutes part of the agreed Foundation Agreement with Asia Sixth. As per this Loan Agreement, Asia Sixth has agreed to extend a total of USD 6,000,000 over three tranches; the third and final tranche being available at the end of this calendar year.
Chairman and Chief Executive William Ramsay commented: "While we are committed to addressing the concerns raised by the TSX, we remain equally confident that proving Roger Nutt's theory will be a seminal moment for the Company. The signed Agreement with Asia Sixth now makes the testing of these wells, in accordance with his theory, possible and will allow for those who have supported the Company to see this exploration through while still enjoying the benefits of a public listing".
Background information on Caspian Energy Inc.
Caspian Energy Inc. is an oil and gas exploration company operating in Kazakhstan where it has a number of targets in the highly prospective Aktobe Oblast of Western Kazakhstan.
Caspian Energy holds these assets by virtue of its 40% equity stake in Aral Petroleum Capital LLP. Aral Petroleum Capital LLP holds an exclusive license, which entitles it to explore and develop certain oil and gas properties known as a "North Block", and area of 1500 sq.km. As well as a 25-year Production contract for the East Zhagabulak field. The Company's license area lies immediately adjacent to the various producing fields, including the Alibekmola, Zhanazhol, and Kenkiyak fields.
This news release contains "forward-looking information" within the meaning of applicable Canadian securities legislation which we refer to herein, collectively, as "forward-looking information". Forward-looking information includes, but is not limited to, information with respect to our objectives, strategies, operations and financial results, competition as well as initiatives to grow revenue or reduce retention payments. Generally, forward-looking information can be identified by the use of forward-looking terminology such as "plans", "expects", or "does not expect", "is expected", "budget", "scheduled", "estimates", "forecasts", "intends", "anticipates", or "does not anticipate", or "believes" or variations of such words and phrases or state that certain actions, events or results "may", "could", "would", "might", or "will be taken", "occur", or "be achieved". Caspian's actual performance, developments and/or results may differ materially from any or all of the forward-looking statements, which include current expectations, estimates and projections, in all or in part attributable to general economic conditions, and other risks, uncertainties and circumstances partly or totally outside the control of Caspian, including oil prices, imprecision of reserve estimates, drilling risks, future production of gas and oil, rates of inflation, changes in future costs and expenses related to the activities involving the exploration, development, production and transportation of oil, hedging, financing availability and other risks related to financial activities, and environmental and geopolitical risks.
Further information which may cause results to differ materially from those projected in the forward-looking statements is contained in Caspian's filings with Canadian securities regulatory authorities and includes the ability of its new partner to meet its obligations under the foundation agreement to secure US$80 million in debt financing for Aral, and the limited remedies available to Caspian in the event of any such failure of that third party, the impact of general economic conditions, industry conditions, currency fluctuation and dependence upon regulatory approvals. All material assumptions used in making forward-looking information are based on management's knowledge of current business conditions and expectations of future business conditions and trends Although we believe the assumptions used to make such statements are reasonable at this time and have attempted to identify in our continuous disclosure documents important factors that could cause actual results to differ materially from those contained in forward-looking information, there may be other factors that cause results not to be as anticipated, estimated or intended. There can be no assurance that such information will prove to be accurate, as actual results and future events could differ materially from those anticipated in such information. Accordingly, readers should not place undue reliance on forward-looking information. We do not undertake to update any forward-looking information, except in accordance with applicable securities laws.
Caspian Energy Inc.William RamsayChairman and Chief Executive Officer+44 (0)773663-1378Caspian Energy Inc.Brian KorneyChief Financial Officer+1 403-513-3375Tavistock CommunicationsJos Simson and Conrad Harrington+44 (0)20 7920 3150
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Foot pain is the third most common medical complaint, with 80% of the U.S. population suffering from some kind of food ailment during their lifetime
Rhinebeck, NY (PRWEB) July 01, 2014
Standing for hours, walking on hard surfaces, wearing non-sensible shoes—that's a day in the life of a foot. Feet have a lot of demands made on them and are often taken for granted until they start to ache and develop problems.
The human foot is made up of 26 bones, 56 ligaments, and 38 muscles—which translates to roughly 25% of the bones and the muscles in our entire body. And every day, feet absorb about 1,000 lbs. of force. By the time a person reaches their 50th birthday, s/he will have walked more than 70,000 miles. No wonder foot pain is the third most common medical complaint, with 80% of the U.S. population suffering from some kind of food ailment during their lifetime.
Here are some tips that are good for the sole and will help stave off pain so we can stay foot loose and fancy free this summer
If the shoe fits…wear it! Treat your feet right by protecting them with proper, foot-friendly shoes. Unfortunately, some of the most popular summertime shoes are also the worst for feet. Here's a rundown of the ones you should walk away from.
The Worst Offender: Flip Flops Fashionable thongs made of colorful rubber, sometimes adorned with rhinestones or flower embellishments, flip flops remain one of the most staple shoes of summer. They're easy to slip on, easy to slip off, and—unfortunately—they also make feet more susceptible to pain and injuries.
Here are some reasons flip flops should not be worn, or at least not worn for any length of time. (They're fine for lounging by a pool or at the beach, but not out pounding the pavement.)
--Flip flops offer no arch support. In fact, continuous walking in flat-soled footwear may cause the calf muscle to stretch, resulting in the Achilles tendon getting strained. Also, wearing shoes without support on a regular basis can cause knee, hip and back problems.
--Because flip flops are thin and flimsy, feet hit the ground with more intensity/greater impact, which is more jarring to bones and joints.
--Flip flops and other backless shoes cause toes to "over grip" in order to keep them on your feet, which can throw your gait and balance off kilter, increasing the risk of tripping by as much as 70%.
--Flip flops can aggravate foot deformities such as bunions and hammertoes, and also contribute to such painful conditions as plantar fasciitis.
--The thin rubber thong between the toes causes friction, which can result in irritation, blisters and abrasions between the toes that may become susceptible to infection. Diabetics should be particularly wary of wearing flip flops if they have disease-related neuropathy because they won't be able to feel any irritation until there is a significant problem.
--Flip flops leave feet totally exposed, making them vulnerable to cuts and scrapes. In addition, their thin soles are easily punctured by shards of glass, nails, splinters, etc., opening the door to more injuries.
--Not only are flip flops typically not made in an environmentally conscious fashion, their rubber soles are porous, which makes them a breeding ground for funguses, bacteria, and other germs. This unhealthy environment can lead to athlete's foot, warts, and other conditions and infections.
THE BETTER CHOICE: When it comes to easy and breezy summer shoes, sandals would be a better choice. But if you insist on flip flops, be sure to invest in a good, well-constructed, quality pair that offers support. The best: those with an orthotic foot bed, which are now designed to look more fashion forward.
BALLET FLATS: Delicate little ballet flats always seem to be en vogue. They are cute, with a sole as flat as a pancake—which means that they present the same problems as flip flops in terms of lack of support.
SNEAKERS SANS SOCKS: The right sneaker or athletic shoe offers great support and comfort. But don't skip socks or you'll create an environment that's friendly to breeding bacteria.
RUBBER/PLASTIC "CLOGS": This style of shoe has become extremely popular for adults and children, but is not meant for long-term, real-world wear. Unless you have purchased a name-brand expensive pair, your feet may be in for all kinds of bacteria/fungus issues. And be forewarned, there have been news reports over the past several years that individuals wearing soft-soled clogs—especially children—are getting their toes caught in escalators, and suffering from significant injuries as a result.
--HIGH HEELS: Podiatrists say more than half of Americans regularly experience aching feet, and that that 80% of those who go for treatment are women. No doubt high heels have something to do with that. Compounding pain issues is the fact that women walk, on average, three miles farther than men each day. And, according to a survey by the American Podiatric Medical Association (APMA) 65% of women spend more than four hours a day on their feet.
High heels look fashionably fabulous—but are brutal for feet. Wearing them can lead to Plantar fasciitis, Achilles tendonitis, sprained and swollen ankles, forefoot pain, blisters, aching feet, hammertoes, corns and calluses, lower back pain, knee strain, as well as other painful conditions.
Despite the health hazards, women are not about to give up their heels. Here are some tips for reducing the physical dangers of wearing these towering shoes.
--Make sure the heels fit well. Studies show that 88% of American women wear shoes that are too small. As we age, feet expand, so it's helpful to have them measured periodically.
--For maximum comfort and best fit, try on shoes at the end of your day, as feet swell as you stand and walk around.
--Try on both pairs of shoes, as your feet may not be identical in size and the shoes may not be identical in size as well.
--Consider high heeled shoes with an "air bag" or very comfortable sole that protects your feet from rubbing and provides shock absorption. If the shoes you love do not have a padded sole, get a cushy insert.
--Spend less time perched on high heels. Limit your walking and standing when wearing high heels, and whenever possible give your feet a break during the day by switching to more comfy shoes, at least for a while.
-- Apply Topricin Foot Therapy Cream to feet before strutting out in heel to prevent the risk of pain and injury, and then again afterward to help relieve any burning, throbbing nerve pain in the feet. As an added plus, Topricin also soothes and moisturizes dry, cracked skin of the feet and eliminates "ashy heel."
Here are other ways to keep your feet happy and healthy.
--Swelling in the lower extremities may be a sign of poor protein assimilation. If you suffer from swollen feet and ankles, try switching from meat, poultry and fish to more bioavailable proteins like whey and legumes.
--Elevate your legs for 15 or 20 minutes to reduce swelling. This is especially important if you tend to cross your legs, which hinders circulation and causes blood to "pool" in your feet.
---Diabetics often suffer from swelling feet, and have a tendency to have more pressure inside their foot which is said to be the cause of initial skin breakdown and lesions. The best course of action for diabetics to take is to see their primary care physician/podiatrist on a regular basis and keep their blood sugar under control. Elevating feet and icing them are helpful, followed by applying Topricin after the cold therapy.
--Treat your feet to a massage. At the end of a long day, a good foot rub feels great and does wonders for your feet. Look for a foot roller that is specially designed to massage the soles of the feet, or roll your bare feet over a tennis ball or golf ball.
--Soak in relief. Treat your feet to a nice relaxing warm bath with Epsom salts, which will help relax your muscles, reduce pain, and sedate the nervous system as well as help drain toxins and reduce swelling. Another technique that's refreshing and stimulating is to fill one basin with cold water and another with hot. Start by placing your feet in cold water for five minutes, then switch to the hot, and repeat. What happens is this "hydro massage" alternately dilates then constricts the blood vessels in your feet, which boosts circulation.
--Work it out. Exercise can help relieve your feet's aches and pains. Here are a few suggestions:
--A simple exercise is to first point, then flex, your feet, which helps stretch out the small muscles on the bottom of the foot.
--Stand and raise both heels up so that you're on the balls of your feet, and hold for 10 seconds (repeat 10 times).
--Try scattering some pens and pencils on the floor, and pick them up with your toes, one at a time.
--Feet that have been cramped in shoes all day will benefit from this exercise in resistance: wrap a thick rubber band around all the toes (one foot at a time). Spread your toes open as far as you can, and hold for five seconds. (Repeat this stretch and release 10 times.)
--Sweaty feet are not only uncomfortable, but can lead to health issues because it makes feet more susceptible to infections. Most people do not hydrate sufficiently enough and their body temperatures will normally rise, depending upon their level of activity. Water also regulates your body's natural internal temperature—which equals less sweating. In addition to drinking plenty of water, try using talc-free powders and natural deodorants, such as "crystal" deodorant, on your feet. You may also want to take your shoes off periodically throughout the day so your feet can "air out."
--Maintain a balanced PH. Some simple, natural ways are to take the supplement acidophilus; immerse feet in hot water with a combination of Epsom salts and natural apple cider vinegar. (Vinegar corrects PH on skin, helps reduce itching, and neutralizes fungus; Epson salts help draw out toxins and neutralize fungus as well. In addition, Epson is very soothing for muscle aches and joint pain.)
--Apply Topricin Foot Therapy Cream evenings and mornings, and periodically during the day to maintain happy, healthy, pain-free feet. It targets ankles ankle and foot pain and contains fourteen natural medicines that support and assist the body by helping the subcutaneous skin layers of the feet to drain toxins and excess fluids from the tissues which increases blood flow and helps heal the damage that is causing the pain. In addition some the natural biomedicines in the formula have antifungal and antibacterial properties.
--See your doctor or podiatrist immediately if you have concerns about any foot issues.
For over 20 years, the Topricin project has assisted hundreds of thousands of people suffering with pain and those addicted to painkillers to achieve fully restored and robust healthy living. Unfortunately, millions of people continue to suffer in pain, with many experiencing the hazardous side effects of OTC chemical pain pills or negative effects of narcotic Rx painkillers—an epidemic that turns the lives of American families upside down and is undermining the very fabric of our country.
Because of the company's experience in addressing these challenges, it has launched its "Get Relief, Give Relief" initiative: for every purchase of Topricin, Topricin Foot Therapy, or Topricin for Children ordered directly from the company, it will donate a tube of Topricin to a credible pain clinic on the customer's behalf…Free.
The company invites the public to join its army of pain relief warriors determined to help those in need by ending suffering and painkiller addiction and restoring hope and the joy of living life to the fullest. To "Get Relief, Give Relief," order from http://www.topricin.com or call 1-800-LES-PAIN (537-7246). http://www.youtube.com/watch?v=82JWJxGxHZ0
20 years in business and a Certified B Corporation, Topical BioMedics is a research and development leader in topical patented natural biomedicines for pain relief. The company's flagship product, Topricin® Pain Relief and Healing Cream, was introduced in 1994 and is now a leading natural therapeutic brand. A combination biomedicine formula, Topricin has been awarded a patent for the treatment of pain associated with fibromyalgia and neuropathy, and was listed among the Top 100 Green Products of 2012 by Healthy Holistic Living.
The Topricin family of natural healing products also includes Topricin Foot Therapy Cream, specially formulated to treat painful foot and ankle issues and conditions, and Topricin for Children, which received the Parent Tested Parent Approved Seal of Approval (with 5% of sales donated to pediatric cancer foundations). Made in the U.S.A., all Topricin products are federally-regulated over-the-counter medicines with no known side effects, no parabens, petroleum, or other harsh chemicals, no grease, and no odor.
Topical BioMedics now offers TopTrack, a new app for on-the-go pain tracking and monitoring. TopTrack is available free of charge for iPad via the App Store, and will roll out on additional devices in the coming months. http://bit.ly/1rIQD89.
Topricin is available in independent pharmacies, natural food and co-op stores nationwide, including Whole Foods, Sprouts, Pharmaca, The Vitamin Shoppe, Fred Meyer, Wegmans, CVS (Foot Care Section), Walgreens (Diabetic Section), and other fine retailers, as well as directly from the company.
For more information visit http://www.topricin.com.
Topical BioMedics
Everyday Health


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ARH: Art History
ARH 105: Art, Art History and the Creative Process
An introduction to the creative process in art making and conceptual tools for understanding the visual arts. Students learn various methods of the creative process through demonstrations and hands-on projects in the studio, interwoven with lectures and discussions on related themes in art history and criticism. This course is offered as both ARH 105 and ARS 105.DEC: D
3 credits
ARH 201: Arts of Africa
An introduction to the arts of sub-Saharan Africa with an emphasis on the history of sculptural traditions, especially figurative sculpture and masquerade. These arts are examined within their social and cultural contexts in the service of politics, leadership and social integration, as objects of ritual and religious practice, and as evidence of aesthetic choices and achievements.DEC: D
3 credits
ARH 202: Arts of the Ancient World
An introduction to the history of art with a focus on the Ancient Mediterranean World from the Neolithic to the rise of Islam. Works of art from this region are studied within the context of contemporaneous developments elsewhere in the world, as individual monuments with intrinsic aesthetic appeal and as expressions of the needs, ideals, and aspirations of the particular society and historical context within which they were created. Not for credit in addition to ARH 101.DEC: D
3 credits
ARH 203: Arts of Asia
A general course on Far Eastern art covering India, China, and Japan from its beginnings to the present. Emphasis is on the major arts of painting and sculpture, with some reference to architecture.
Prerequisite: ARH 101 or 102 or 202 or 204DEC: J
3 credits
ARH 204: Arts in the Age of Exploration
An introduction to the history of art with a focus on the transition from Medieval times through the Renaissance and Baroque in Europe. Works of art are studied both as individual monuments with intrinsic aesthetic appeal and as expressions of the needs, ideals, and aspirations of the particular society within which they were created. Artists, patrons and artistic movements are understood within the context of the expanding horizons of the age of exploration and cross-cultural encounters. Not for credit in addition to ARH 102.DEC: D
3 credits
ARH 205: Introduction to Architecture
An introduction to the discipline of architecture through various interpretations of its technological and cultural functions. Focusing on the history of architecture's engagement with engineering, anthropology, sociology, and politics, this course explores changing conceptions of the nature and the task of architecture.DEC: G
3 credits
ARH 206: Modern Art
An introduction to the history of modern art, beginning with French Rococo and concluding with themes and concerns of a globally interconnected art world. Particular attention will be given to the rise of Modernism in Europe, the role of artists and artistic movements in social and political change, and the relationship of contemporary artistic practice to technology, social media and visual culture.DEC: D
3 credits
ARH 207: Technologies of Representation
An introduction to the dynamic relationship between technology and the ways we see and represent the world, and the historical, cultural, and theoretical issues raised by technologies of representation, including print; photography; film; sound and computational media. This course is offered as ARH 207 and DIA 207.DEC: D
3 credits
ARH 208: History of Photography
A historical survey of the technical, theoretical, and aesthetic development of black-and-white and color still photography and its close interrelationship with the evolution of modern art.DEC: G
3 credits
ARH 209: Arts of the United States
An introduction to the history of painting, sculpture, and architecture in the United States from the late colonial period to World War II. Particular emphasis will be given to understanding art's changing forms and meanings and its relationship to crucial themes and developments in American history: the impact of national expansion, for example, and of immigration, urbanization, and modernization more generally. The course will also focus on the varied images of American society created by artists of diverse class, racial, and ethnic backgrounds.DEC: K
3 credits
ARH 299: Gallery Management Workshop
Development of practical skills in the business and managerial problems of an art gallery. Assigned readings focus on arts administration, arts conservation, and connoisseurship. May be repeated twice.
Prerequisite: ARH 101 or 102 or 202 or 204
1 credit
ARH 300: Greek Art and Architecture
The study of ancient Greek art and architecture from the earliest beginnings in the geometric period through the archaic, classical, and Hellenistic periods.
Prerequisite: ARH 101 or ARH 202DEC: I
3 credits
ARH 301: Roman Art and Architecture
The study of ancient Roman art and architecture from the Republic through the Constantinian period in Italy and the greater Roman world.
Prerequisite: ARH 101 or ARH 202DEC: I
3 credits
ARH 302: Ancient Egyptian Art
Survey of art and architecture of ancient Egypt from the development of the first monumental art and architecture (c. 3000 B.C.) through the Early Christian era (c. 300 A.D.) focusing on culturally specific concepts of representation and aesthetics and the status and purposes of ancient Egyptian arts. The role of patronage, the uses of art and architecture in cult, in temples, and in tombs, and the relationship of art and politics are considered, along with the question of the place of Egyptian art within the development of world art and the concept of Egypt as the African origins of Western civilization.
Prerequisite: ARH 101 or ARH 202DEC: J
3 credits
ARH 305: Art and Culture of the Middle Ages
A broad examination of the art and architecture of the Middle Ages in the context of medieval history and culture. Topics include relationships to the imperial tradition, monasticism, and feudalism; the interaction and legacy of Roman, Celtic, and Germanic arts; the rise of urban culture and the creative competition between cities.
Prerequisite: ARH 101 or ARH 202DEC: I
3 credits
ARH 306: The Early Renaissance in Italy
Art in Italy in from the late 13th through the 15th centuries, with special emphasis on Florence and Siena, and such major figures as Masaccio, Donatello, Piero della Francesca, and Botticelli. This course offered as both ARH 306 and HUI 306.
Prerequisite: ARH 101 or ARH 204DEC: I
3 credits
ARH 307: The Age of Michelangelo in Central Italy
An exploration of the works of Michelangelo, Da Vinci and other major masters, including Raphael, Bramante and Pontormo, who inspired, were influenced by or rejected the work and ideals of Michelangelo.This course is offered as both ARH 307 and HUI 307.
Prerequisite: ARH 101 or ARH 204DEC: I
3 credits
ARH 308: Writing About Art
An advanced topics course with a focus on research, analytical skills and writing about art. Students analyze essays by different artists, scholars, and critics about a central topic before selecting and developing their own related topic to research. The final project is a research paper that begins with a thesis statement and outline, includes several drafts, oral presentations, peer review and a final product. Seminar format with visual lectures, discussions, and field trips to museums and galleries.
Prerequisite: enrollment in the ARH major/minor and permission of instructorSBC: WRTD
3 credits
ARH 310: Splendors of Renaissance Art in Venice
The special qualities of Venetian art, which blends Byzantine, Islamic, and Western traditions, are explored through the works of such major figures as Giovanni Bellini, Giorgione, Titian, Veronese, and Palladio. Course offered as both ARH 310 and HUI 310.
Prerequisite: ARH 101 and ARH 102; or ARH 204
Advisory prerequisite: ARH 307DEC: I
3 credits
ARH 314: Northern Baroque Art and Architecture, 1600-1700
A study structured around the comparison of the art and architecture of urban and court cultures in 17th century Flanders, Netherlands, France, and England. Topics include royal and court portraiture (Rubens, Van Dyck, Le Brun), individual and civic portraiture of the Dutch middle classes (Rembrandt, Hals), genre painting and the marketing of 'low life' imagery (Steen, Brouwer), the production of the domestic sphere in Dutch everyday life scenes (Vermeer, Metsu, Ter Borch), the rise of landscape (Poussin, Lorrain, Hobberma), as well as urban and court spectacle in Antwerp, London, and Versailles.
Prerequisite: ARH 102 or ARH 204DEC: I
3 credits
ARH 315: Art and Architecture of Spain and Colonial Latin America 1500-1700
This course surveys painting, sculpture, and architecture in Spain and colonial Latin America during the reign of the Habsburg dynasty. We will discuss the arrival of the Renaissance in Spain and the adoption of classical architecture and renaissance modes of painting by Charles V and Philip II, the painted distortions of El Greco, the Spanish tradition of hyper-realistic wooden sculpture, the paintings of Ribera, Zurbaran, Murillo, and Velazquez's work for Philip IV. We will also discuss mission architecture and decoration in early colonial Latin America and the hybrid form created by the fusion of Spanish and Amerindian culture, as well as manuscript and secular painting, finishing up our survey with a discussion of urban cathedrals and palaces in Mexico and Peru.
Prerequisite: ARH 102 or ARH 204DEC: G
3 credits
ARH 316: Baroque Art and Architecture in Italy, 1600-1700
Examines the visual culture of Counter-Reformation Italy, focusing in depth primarily on the painting, sculpture, and architecture of seventeenth century Rome. We will begin with the challenge to mannerism provided by the Carracci family academy in Bologna, and then discuss Annibale Carracci's subsequent move to Rome and his work for the Farnese family, the emergence of Caravaggio and the Roman market for genre scenes, public and private religious imagery, violence and eroticism in religious art in Naples, as well as architectural and decorative projects by the Papacy and the religious orders. Artists, architects, and sculptors discussed include such figures as Caravaggio, Carracci, Bernini, Borromini, Guido Reni, Artemisia Gentileschi, Salvator Rosa, Pietro da Cortona and Andrea Sacchi. The broad range of a general survey will be balanced with close critical readings of selected objects and artists.
Prerequisite: ARH 102 or ARH 204DEC: I
3 credits
ARH 317: Islamic Art
Art and architecture in the Islamic world from ca. 600 A.D. to the present, introducing the varied traditions of the arts of the Islamic world, from Spain and Morocco to the Indian subcontinent. Consideration of both religious and secular art and architecture in their historical and cultural contexts with emphasis on the development of Islamic forms of visual representation.
Prerequisites: U3 or U4 standing; one ARH courseDEC: J
3 credits
ARH 318: History of Chinese Painting
A study of Chinese painting from its beginnings to the present, in relation to art theories written by the artists themselves and their contemporaries.
Prerequisite: ARH 101 or 102 or 204
Advisory Prerequisite: CNS/SSI 249 or 250 or courses in Chinese philosophy or historyDEC: J
3 credits
ARH 319: Arts of China
A survey of Chinese art from the Neolithic period to modern-day China. Visual media such as bronze, jade, sculpture, ink painting and pottery as well as their cultural influence on philosophy, literature, religion and politics will be explored. The course will also examine the influence of India and Central Asian on Chinese art and, in turn, China's influence on Korean and Japanese art.
Prerequisite: One DEC D course and U3 or U4 standingDEC: J
3 credits
ARH 320: Art in the Age of Enlightenment
A survey of European art from about 1690 to 1790. Although lectures usually focus on a single artist at a time, the course as a whole stresses artistic attitudes as well as a progression of styles. An effort is made to study art in historical and cultural context, especially in the light of the new philosophies of rationalism, empiricism and individualism that developed and led to both industrial and political revolutions. The three schools covered are the Venetian, English, and French, from the late Baroque and the Rococo styles to the rise of landscape and early Romantic art. Major artists treated are Tiepolo, Canaletto, Watteau, Chardin, Boucher, Fragonard, Hogarth, Gainsborough, Greuze and David.
Prerequisite: ARH 102 or ARH 204DEC: I
3 credits
ARH 322: American Art Since 1947
A survey of painting and sculpture in New York, including abstract expressionism, hard edge painting, pop art, minimal art, earthworks, protest art, and postmodernism.
Prerequisite: ARH 102 or ARH 206
Advisory Prerequisite: ARH 342DEC: G
3 credits
ARH 324: Architecture and Design of the 19th and 20th Centuries
A survey of architecture and design from the end of the 18th century to the present. Subjects covered include the crystallization and evolution of Romantic classicism and Romantic naturalism, historicism, the arts and crafts movement, art nouveau, machine aesthetics, the beaux arts tradition, functionalism, the international style, art deco, and postmodernism.
Prerequisite: ARH 102 or ARH 204DEC: G
3 credits
ARH 325: Ancient Mesopotamian Art
Survey of the art and architecture of ancient Mesopotamia from the establishment of the first cities and the development of the first monumental architecture (c. 3300 B.C.) through the Hellenistic conquest. Focus on concepts of representation and aesthetics and their uses in politics, private rituals, and state cults.
Prerequisite: ARH 101 or ARH 202DEC: J
3 credits
ARH 326: Arts of Ancient Mesoamerica
A survey of the artistic and cultural achievements of the major civilizations of Central America prior to the European conquest. Emphasis is on architectural and sculptural art forms and the ritual, social, and political contexts within which they were created.
Prerequisite: U3 or U4 standingDEC: J
3 credits
ARH 328: Arts of West Africa
A study of the arts of West Africa from ancient to contemporary civilizations. Emphasis is primarily on the history of sculptural traditions, especially figurative sculpture and masquerade. These arts are examined in their political, social, and cultural contexts, as objects of ritual and religious practices, and as evidence of aesthetic choices and achievements.
Prerequisite: U3 or U4 standingDEC: J
3 credits
ARH 329: Arts of the African Diaspora
A study of the arts of the African Diaspora from the African continent to Brazil, Surinam, the Caribbean, and the United States. Emphasis is on the full range of art forms, including not only sculptural and performance traditions, but also textiles, basketry, and other crafts. Cultural continuities, spiritual belief, and significant changes in context, meaning, style, and technology are examined.This course is offered as both AFH 339 and ARH 329.
Prerequisite: U3 or U4 standingDEC: G
3 credits
ARH 330: Public Art and Urban Design in New York City
Explores the history of public arts and urban built environments in New York City, from the mid-nineteenth century to the present day. The city itself will be a key resource, and the course will involve site visits to a number of key monuments, institutions, and other locales. The focus of study will include statues, memorials, plaques, parks, and street furniture, and the people, institutions, and events that produced them. Drawing on perspectives from art history, American Studies, and urban and social history, the course will consider the impact of such developments as war, immigration and urbanization, political reconfigurations and commercial expansion, ethnic, racial, and interpersonal conflict, tourism, and terrorism.
Prerequisite: ARH 101, ARH 102, ARH 209, or CCS 101
Advisory Prerequisites: ARH 331, ARH 332DEC: G
3 credits
ARH 333: Arts for the Public
The history of efforts to develop forms of artistic work that engage broad audiences of citizens and consumers. Examination of a range of enterprises spanning the century, including monuments, murals, animated cartoons, propaganda, and the Web. Drawing on perspectives from art history, social history, and cultural studies, the course considers developments throughout the 20th century in the United States such as urbanization, political and business expansion, class and racial conflict, war, and technological innovation, in relation to art work.
Prerequisite: ARH 102 or ARH 209 or CCS 101DEC: K
3 credits
ARH 334: Performance Art I: The European Avant-Garde
This course explores the history and theory of avant-garde performance from its inception in the early 20th century through Surrealism. Questions addressed focus on the choices made by artists, and the forces within the culture that encourage the forms they use. Course projects include a performance that reconstructs an event from one of the periods studied and a term paper. This course is offered as both ARH 334 and THR 334.
Prerequisites: U3 or U4 standing; one ARH, ARS, MUS, or THR courseDEC: G
3 credits
ARH 336: The Computer and the Arts
An introduction to historical and theoretical issues in computational art. Following discussion of basic concepts in studying digital media, the course focuses on examining the history of computer technologies as they intersect with the arts and the theoretical, cultural and aesthetic ramifications of this intersection.
Prerequisite: ARH 207DEC: H
3 credits
ARH 337: Northern Renaissance Art
Painting and graphic art in the Netherlands and Germany in the 15th and 16th centuries are studied with special emphasis on the major figures of this period, from van Eyck and van der Weyden to Durer, Holbein, and Bruegel.
Prerequisite: ARH 101 or ARH 102 or ARH 204DEC: I
3 credits
ARH 344: Performance Art II: World War II to the Present
This course explores the history and theory of performance art from World War II to the present, using an international perspective to identify different forms and practices from Happenings to Body Art and the introduction of new technologies. Questions addressed focus on the choices made by artists, and the forces within the culture that encourage the forms they use. Course projects include developing a site specific performance and a term paper. This course is offered as both ARH 344 and THR 344.
Prerequisites: U3 or U4 standing; one ARH, ARS, MUS, or THR course
Advisory Prerequisite: ARH/THR 334DEC: G
3 credits
ARH 345: The Moving Image in 20th century Art
A survey of the use of cinematic technologies within modern and contemporary art practice, from the historical avant-guard to contemporary multiscreen video installation. Situates the history and theory of this work in relation to the evolution of modern art and media culture.
Prerequisites: ARH 102 or ARH 206 or ARH 208 or CCS 101
Advisory Prerequisites: ARH 342DEC: G
3 credits
ARH 346: Art and Politics in the Age of Revolution
A survey of European art from about 1790 to 1850, stressing artistic attitudes as well as a progression of styles. A special effort is made to view art in historical and cultural context. A principal theme is the development of the modern artistic ideology through ideals such as genius, originality, and the sublime, all of which emerge in the context of a series of political revolutions going from 1789 to 1848. Conflict between the aesthetic and the political, the personal and the public, the traditional and the modern will be explored. Major artists treated are: David, Goya, Fuessli, Blake, Runge, Friedrich, Constable, Ingres, Gericault, Delacroix, Turner, Courbet. Not for credit in addition to ARH 341.
Prerequisite: ARH 102 or ARH 206
Advisory Prerequisite: One or more 300-level ARH coursesDEC: I
3 credits
ARH 347: Avant-Garde Art: Realism, Impressionism, Post-Impressionism
An examination of the origins of the avant-garde in European painting and its revolutionary developments from Impressionism through Post Impressionism. The course explores the social, political, and cultural roots of the artists who overturned conservative traditions in favor of modern values and thus established the basis and direction for the art of our time. Conflicts between the aesthetic and the political, the personal and the public, the traditional and the modern will be explored. Social relationships, including those of class and gender, are also embedded in works claiming objective naturalism. Major artists treated are Manet, Degas, Monet, Renoir, Pissarro, Seurat, Van Gogh, Gauguin and Cezanne. Not for credit in addition to ARH 341.
Prerequisite: ARH 102 or ARH 206
Advisory Prerequisite: One or more 300-level ARH coursesDEC: I
3 credits
ARH 348: Contemporary Art
A survey of art from 1980 to the present. Topics include Site-Specificity, Biennial Cultures, Art Markets, Video Art, Performance, Institutional Critique, Art and Technology, Appropriation, Collectivity and Globalization.
Prerequisite: ARH 206 or ARH 207DEC: G
3 credits
ARH 391: Topics in Global Art
Topics may include titles such as The Art of India or The Experience of Contemporary Art. May be repeated as the topic changes. Designed for upper-division students, this course provides an in-depth study of a specific topic within humanities disciplines such as music, art, literature, religion, and philosophy. Students will be expected to demonstrate knowledge of the conventions and methods used in the humanities discipline(s) studied. May be repeated for credit as the topic changes.
Prerequisites: U3 or U4 standing; one ARH courseDEC: G
3 credits
ARH 400: Topics in Art History and Criticism
May be repeated as the topic changes.
Prerequisites: ARH 101 or 102; one other ARH course, varying with topic
3 credits
ARH 420: History and Methods of Art History
Seminar designed to engage students with the history and methods of art history. Through close readings of key texts and discussions, the course explores issues raised by aesthetics, iconography, formalism, the social history of art, as well as the impact of semiotics, feminism, psychoanalysis, and post-modernism on the discipline of art history.
Prerequisites: U3 or U4 standing; ARH 101 and 102
Advisory Prerequisite: One other ARH course
3 credits
ARH 475: Undergraduate Teaching Practicum I
Work with a faculty member as an assistant in one of the faculty member's regularly scheduled classes. The student is required to attend all the classes, do all the regularly assigned work, and meet with the faculty member at regularly scheduled times to discuss the intellectual and pedagogical matters relating to the course.
Prerequisites: Art history/criticism major; preferably U4 standing; sponsorship of an instructor; permission of departmentSBC: EXP+
3 credits, S/U grading
ARH 476: Undergraduate Teaching Practicum II
Work with a faculty member as an assistant in one of the faculty member's regularly scheduled classes. The student is required to attend all the classes, do all the regularly assigned work, and meet with the faculty member at regularly scheduled times to discuss the intellectual and pedagogical matters relating to the course. In ARH 476, students assume greater responsibility in such areas as leading discussions and analyzing results of tests that have already been graded. Students may not serve as teaching assistants in the same course twice.
Prerequisites: ARH 475; permission of instructor and director of undergraduate studiesSBC: EXP+
3 credits, S/U grading
ARH 485: Projects in Art History and Criticism in New York City
Independent work, under the supervision of a faculty member, investigating work or works from a particular style or period in New York City.
Prerequisites: ARH 101 and 102; two other ARH courses; permission of sponsor and department
0-6 credits
ARH 487: Independent Reading and Research in Art
May be repeated up to a maximum of 12 credits.
Prerequisite: At least four courses in art; sponsorship of a faculty member; permission of department
0-6 credits
ARH 488: Internship
Participation in the work of galleries, museums, arts agencies, and art historical societies. Students are required to submit written progress reports and a final report of their experiences to the faculty coordinator and the department. May be repeated up to a limit of 12 credits, but no more than six credits may count toward the major in art history/criticism and no more than three credits may count toward the major in studio art.
Prerequisite: Fifteen credits in the Art Department, of which at least six shall be in art history/criticism; upper-division standing with preference given to U4 students; permission of instructor and departmentSBC: EXP+
0-6 credits, S/U grading
ARH 490: Senior Seminar: Topics in Art History, Museum Studies, and Criticism
An advanced seminar for juniors and seniors that prepares students for continued study or work in the fields of art history, criticism, museum studies and other related areas. Topic will change each year depending on the topic chosen by the instructor.
Prerequisites: U3 or U4 standing; ARH 101 and 102; one additional ARH course
3 credits
ARH 495: Senior Honors Project in Art History and Criticism
A one-semester project for art history and criticism majors who are candidates for the degree with departmental honors.
Prerequisites: Permission of instructor and department
3 credits


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Ingrid Pankonin, private chef and proprietess of Miel, has shaped her cookery to be simple and elegant. Utilizing principles of sustainability, she crafts beautiful menus from seasonal and locally produced foods. She brings a wealth of experience to her fare, including artisan baking with brick ovens, restaurant cooking, and travel throughout Northern Italy where she farmed as well as cooked. A long-time resident of Northern California, she is well-acquainted with the diversity of the region's offerings and currently lives in Oakland. Ingrid Pankonin, private chef, is available to cook in San Francisco, the East Bay, Napa and Sonoma Counties or wherever your travels take you in the USA and abroad. Cakes and pastries for all occasions. Personal chef services. Ingrid Pankonin is also available for private lessons and cooking parties. Ingrid Pankonin 707 535 6215. Ingrid Pankonin is also available to accompany you on your music tour if you are a artist or band. Miel is a small cooking company based in oakland, creating vibrant mediterranean-inspired food. Menus are thoughtfully prepared using local, seasonal, and organic ingredients. Miel offers in-home catering for small events; cakes and pastries for all occasions. Miel is also available to create and maintain an organic kitchen garden at your home.