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Tino Sehgal makes what he calls "constructed situations." He uses the raw materials of voice, language, and movement to build pieces of art. For "This Progress" (2010), he filled the rotunda of the Guggenheim with a corps of "interpreters"—children, teen-agers, baby boomers, octogenarians—who, according to a set of rules devised by Sehgal, engaged each visitor in a conversation, delivering him to progressively older interlocutors as he spiralled up the museum's ramp. The piece, which made intimates of strangers, was exhilarating. Visitors shared such confidences as "The smaller the diamond, the better the marriage" and "Mr. Hitler ruined my childhood." Some of them left in tears. (The critic Jerry Saltz pointed out that it was the only work of art he'd ever encountered that could cry back.) "This Progress" reflected Sehgal's desire to redefine art as the transformation of actions rather than of things. "What my work is about is, Can something that is not an inanimate object be considered valuable?" Sehgal said recently. He is, in a sense, an architect of interaction. His works are collaborations, new builds on human turf.
Before going further, I should acknowledge that there's a very good chance that Sehgal would quarrel with everything I've just said. Talking to him can be like trying to work out a proof. One day, he mentioned that he'd like to know more about novels, which he normally is "not that interested in." "Summer reading list?" I said, just trying to fill the beat. "No," he replied. "That's not what I meant." Interestingness is the categorical imperative of Sehgal's world. I sometimes pictured him as a Roman emperor, sitting in a box at the Colosseum and pronouncing a bloodied idea "interesting" (it lives!) or "not interesting" (it dies!). The word "thorough" is interesting to Sehgal, as is soccer and telling the truth; less so acting, cell phones, the discourse of reification, and talking about one's children too much.
Sehgal, who is thirty-six, lives in Berlin with the art historian Dorothea von Hantelmann and their two young sons. The family shuttles between von Hantelmann's apartment and a shared house that Sehgal has lived in for seventeen years. "I need a little bit of noise around," he said. "I don't like this kind of apartment shoebox feeling. It makes me nervous." His finickiness partly derives from his personality—deliberate, cerebral, goofy yet aloof—but it is also a consequence of the nature of his practice. Like many artists, he is sensitive about the way he is represented in the press; unlike many artists, he is heavily dependent upon the press to represent him. First of all, his art is ephemeral. Moreover, he forbids the creation of any of the by-products—photographs, videos, catalogues, wall text—that normally derive from a work. His pieces leave no physical residue. To see one, you have to either visit the museum or consult a tertiary report. In 2010, the Times ran an illicit iPhone photo of "The Kiss," in which a couple lay entwined on the floor of the Guggenheim, reënacting romantic postures from the works of such artists as Rodin and Koons. Sehgal accused the paper of being "ungentlemanly, very crass."
This elusiveness of Sehgal's work has raised suspicion in some quarters. Members of the art world wonder if they are the dupes of a marketing ploy, while members of the public worry that they are the butts of a complicated joke. At the Venice Biennale in 2005, when Sehgal showed "This Is So Contemporary," in which a group of guards chant, "Ooooh. This is so contemporary!," the Harvard art historian Benjamin H. D. Buchloh called bullshit. "Sehgal is the kind of artist who—had he encountered Duchamp's urinal in 1917—would have proposed to exhibit a kitchen sink the next year, fully convinced that he had become a radical artist overnight," he wrote. But Sehgal explains his insistence on making art without artifact convincingly, as a "cleaner" iteration of the efforts of such forebears as Yves Klein (who sold empty space for gold), Joseph Kosuth (who reproduced entries from a dictionary), and Robert Barry (who released krypton and xenon into the atmosphere, and once claimed to have transmitted a piece telepathically). He believes that mementos of his work would threaten its purity, which could weaken its effect. "There's something deeply optimistic in his work," Hans Ulrich Obrist, the co-director of the Serpentine Gallery, in London, and a close friend of Sehgal's, said recently. "It believes in change, in the production of reality, and that engagement produces consequences."
Although he is often mistaken for an ironist, Sehgal is an idealist, who has wedded the anti-materialist impulses of environmentalism to the immaterialist ones of conceptual art. He thinks there is too much stuff in the world. In keeping with his principles, he declines to travel by air. (When he visits America, he takes a boat.) This is akin, in the hyper-peripatetic art world, to a professional skier refusing to use a lift. "I think it's obvious why, in the twenty-first century," he said, when I asked him why he avoided planes. He is not against the market—rather, he wants to work within it, to explore the notion of whether it might be able to traffic in something other than material goods. How can we continue to make things, he is asking, once we've reached the limits of growth?
Sehgal is trained in political economy (Technical University of Berlin, University of Essen) and dance (Folkwang University of the Arts, in Essen), a biographical Googlewhack that has yielded a freakish career. "DANCING ECONOMIST SEHGAL EMPTIES GUGGENHEIM WITH WEIRD NEW SHOW," a 2010 Bloomberg headline read. His ambitions are more multinational than mom-and-pop. "He's the biggest ego I've ever seen," his longtime friend Jens Hoffmann, the director of the Wattis Institute for Contemporary Arts, in San Francisco, told me. "He doesn't want to be famous, he doesn't want to make money. I think Tino's real goal is to be known as someone who has changed the course of art, or maybe something beyond that."
Sehgal redeems his pretensions by exceeding his ambitions. He was the youngest artist ever to be granted a solo show in the Guggenheim's rotunda. Last week, "These Associations," his most complex piece to date, opened at Tate Modern, in London. At any given moment, the piece requires seventy interpreters—some civilians, some professional dancers—who will engage, over the next three months, each of the museum's estimated million visitors who take them up on the offer. Perhaps it is best thought of as interrogative art, a series of stylized dialogues that cut through the niceties of social interaction, prompting a concentrated exchange of thoughts. It is the thirteenth commission in the Unilever Series, which has allowed such artists as Olafur Eliasson and Ai Weiwei to realize some of their grandest schemes in the museum's Turbine Hall. "It is one of the most radical works we have ever showed at Tate," Chris Dercon, the museum's director, said.
Meanwhile, Sehgal is showing an oceanic new work called "This Variation" at Documenta (13), which runs until September 16th in Kassel, Germany. Bootlegs of the piece, which amounts to a sort of sensory fun house, have been popping up on YouTube. Sehgal seemed uncowed by the prospect of following, in the Turbine Hall, a blockbuster exhibition of Damien Hirst. When I asked him what he thought of that show, he mentioned a Hirst-designed cup-and-saucer set that was available in the Tate Modern gift shop. He said, "I was more interested in the mug."
The quality of Sehgal's pieces depends on vast amounts of invisible labor. A year before the Tate opening, Asad Raza, Sehgal's producer, had moved to London; Sehgal was commuting from Berlin. For months, Raza had prospected amid the film clubs and docent groups and faculty lounges of London, trying to find potential interpreters. "The hardest thing is getting a cross-section of society," Jessica Morgan, the curator of the Tate show, said. "The idea is that the piece has a sense of the city. It's supposed to have this texture, so that you don't feel, if you're in your fifties, 'Oh, this is just a bunch of hipsters mucking about in the Turbine Hall.' "
By early May, they had enlisted around fifty candidates who fulfilled the criterion of being "profound and measured"—"You want depth, but you don't want the person to become a spectacle," Sehgal explained. They were overwhelmingly well educated, and well off. (A truer picture of London might include some underachievers and convenience-store clerks.) One afternoon, a group of them convened in a gray, concrete room at Tate Modern for a rehearsal. People sat in rapt pairs at a series of white tables with low benches. It could have been a speed-dating mixer.
"O.K., you guys. Talkers stand up," Sehgal said, speaking over the din. He stood like a pregnant woman, back arched, with his hands on his haunches. At his command, the group members who had been designated to practice speaking switched partners. After several rounds, Sehgal summoned the group together. They had been working with four "prompts," which were meant to call forth anecdotes that they would deploy in the conversational part of the piece. The prompts required the talkers to discuss moments when they had experienced either a sense of arrival, a sense of belonging, a sense of satisfaction, or a sense of dissatisfaction with themselves.
" 'Satisfied,' that's probably the most difficult, yes?" Sehgal began.
A woman replied that she had found "dissatisfaction" problematic, because "you feel like you're lumbering someone with this issue you're struggling with."
"The more detailed it is, the better," Sehgal said.
Another woman chimed in. "Conversations with people you don't know are like a little present that you proffer," she said. " 'Dissatisfaction' is a gift I don't want to give."
Sehgal met the mutiny with patience. Rather than asserting his authority as the artist, he just kept making his argument.
"It's harder now than it will be when we're really doing it," he told the woman. "For instance, I know who you are, so there are social consequences."
Another interpreter wanted to know whether the stories had to be strictly true.
"There's no way I can control if you're going to put in something false, but it's kind of like this classic thing, that something empirical is always more interesting," Sehgal said.
Next, the group prepared to practice a module of the piece that would require them to sing in unison. "Do you remember it?" Sehgal said, as the interpreters began tuning up a strange, mechanical ditty. It went, "Even if the old, the old, rootedness, rootedness, is being lost." There was something mesmerizing about the chorus. It had the feel of ritual—a post-industrial psalm. Sehgal inquired, "Who are the more confident singers?"
A woman with bicycles on her blouse replied, "Not me, when it's Heidegger."
The rehearsal was surprisingly improvisational. Sehgal doesn't transcribe the texts, lyrics, and steps that make up his pieces, so it is up to him and his interpreters to remember how to do them. "I have this belief that if you have an idea, and you have to write it down to remember it, then it can't be a great idea," he said. As nitpicky as he can be, he is open to serendipity. He is aware that the mutations his work undergoes endow it with a sort of sedimentary thickness. "The loss of control is a psychological necessity for me, as an artist," Sehgal said. I asked Louise Höjer, who is managing the piece in Kassel, whether Sehgal's Socratic approach risked authorlessness. "That's the reason I'm here," she said. "When I install a work, I often talk about it in terms of a culture. We have to interpret the rules that Tino gives us and be human within them."
Because it draws from many disciplines, Sehgal's work is difficult to define. His term "constructed situations" comes from the French theorist Guy Debord's 1957 manifesto "Report on the Construction of Situations," which called for the artist to generate moments that would jolt the spectator out of passivity, rendering him the co-creator of a less mediocre life. Hans Ulrich Obrist, borrowing from the artists Gilbert & George, offered the term "living sculpture." When I spoke to Chris Dercon, he referred to Sehgal as a "question artist." He said, "Tino's asking very precise questions, and if you ask precise questions you get precise answers. That's the reason you cannot escape his art." Sehgal's work is a proposition, not a polemic. "The thing about Tino's work is the way it continues to echo afterward," Jessica Morgan said. "You kind of think to yourself, Should I have said thank you?" Sehgal's art demands engagement. Whatever it is, it is art during which you can't check your e-mail.
Sehgal is insistent that his work—even though it is as often heard and felt as it is seen—be categorized as visual art. It riles him when his pieces are referred to as performance; he argues that, unlike traditional theatre and dance, they are shown in a museum, throughout opening hours, and they rely upon the participation of the individual, rather than the passive attention of a crowd. "The concert, the church, the theatre don't really seem to me to be adequate to contemporary society," he said. "In the theatre, you do something one time for eight hundred people, but we might do something eight hundred times for one person."
With their regional accents and bad breath, Sehgal's pieces defy the vogue for monumentalism. "His work brings life back to more human proportion," Marian Goodman, his gallerist, told me. "This is a work by Tino Sehgal," the child who greets a visitor in "This Progress" begins. "May I ask you a question? What is progress?" Sehgal's art resides in the second person. You choose your own adventure.
Sehgal is also aware that the performing arts command less prestige than those which we consider visual art. His abandonment of the theatre has caused, according to the performance critic Claudia La Rocco, "some eye-rolling" in the world of contemporary dance and performance. "I think it's a little disingenuous, if you're relying often on trained dancers and choreographers, to distance yourself from that," La Rocco said. When I mentioned such criticisms to Sehgal, he affirmed without apology his strategic desire to benefit from the clout of the museum. "You send your children to the museum, and that's the official version of who we are, as a society," he said. "It has that power." He continued, "Lady Gaga, she's the most visible human being on the planet, but she wants to be an artist. She asked Klaus"—Klaus Biesenbach, the director of MOMA PS1—" 'Is this art, what I'm doing?' And he was like, 'No.' Putting my work in the museum, it's also a political move. Because of this high status of the object in our culture, something has to be a thing. Live efforts are almost marginal. I think dance, for example, is just as much a thing, and I want for it to have the same status. I don't want it to be the thing that comes in the evening and is, like, the happy music."
The group at the Tate proceeded into the Turbine Hall, where Sehgal instructed them to assemble against the far wall. Over the course of twenty-five minutes, they were to walk back and forth from one end of the room to the other, as an accelerating mass. "The Turbine Hall was a place for turning fossil fuel into electricity, a place that epitomizes industrialization," Sehgal said. "I'm hoping for the piece to be a kind of meditation on the changes this process has brought about in terms of interpersonal relations." Sehgal's mode of thought is relentlessly teleological. He is a fiend for tectonic shifts in human behavior, sweeping theories that explain the world in several-hundred-year chunks, Ages of. He gave the signal. For almost half an hour, the group moved through the hall, zombielike. Afterward, Sehgal recalled them to the wall, mocking the theatrical stiffness in their movement.
"Nobody ever said you had to be like a total eighties dancer from France or something," he said. He continued, "The ultimate ambition is to make our group grow. That is the piece."
In 1987, when Sehgal was eleven, he cancelled Christmas. "I wrote my parents a letter and said, I don't want to be a part of this Christmas thing," he recalled. "I rejected my presents. This whole kind of Christian colonizing of what was a collective, pagan ritual—I've mellowed out a bit, but I was enraged, somehow, by that."
Sehgal was born in London, where his father, Surin, a native of what is now Pakistan, worked for I.B.M. His mother, Therese, who is German, stayed home with Tino and his younger sister, Melanie. After a stint in Paris, the family moved to Düsseldorf, and then to Böblingen, a comfortable suburb of Stuttgart. In addition to having a large I.B.M. plant, Böblingen was home to Hewlett-Packard, Mercedes, and Philips. It was a landscape of concrete. Any threat from nature had been subdued. Sehgal found the scrubbed industriousness of his surroundings oppressive; his upbringing, he says, was "totally uncultural." He recalled, "My father came out of India, where he had a tough childhood in Partition." Having lost his material wealth, Sehgal says, his father applied himself to acquiring the trappings of a middle-class life. "I knew that just wasn't going to work, psychologically, as a life, or sustainably, as a society."
Like all adolescents nurturing a sense of injustice, Sehgal searched for a source of power. He became a skateboarder—Airwalks and baggy pants. The landscape began to morph. "I think a lot of Tino's stuff comes from skateboarders looking at railings and concrete, and thinking, How can I use that in a different way?" Asad Raza, Sehgal's producer, said. At sixteen, Sehgal spoke in favor of a public-transportation project at a city-council meeting in Stuttgart. "I remember seeing the minister of transportation dive and dodge," he told Arthur Lubow, of the Times Magazine. "All he could do was administer what the public opinion was, or else he would be voted out in the next election." Sehgal recalls this moment as an epiphany. He would register his rebuke through culture rather than politics.
Sehgal is fluent in any number of esoteric disciplines. Charlotte Higgins, a Guardian reporter who was sent to interview him on the eve of the Tate show, wrote that Sehgal, upon hearing that she had studied classics, held forth on the politics of prostration in Procopius. Still, what doesn't interest him doesn't interest him: "There are huge blank areas in his history of art," Jessica Morgan said. It is a wonder that Sehgal did not become a professor, like his sister, who teaches philosophy and literature in Frankfurt. "This idea of an embodied knowledge, versus writing things down, somehow to me seemed more of a challenge than maintaining this kind of critical distance," Sehgal explained, of his choice to pursue dance. When he was nineteen, he saw a performance by the experimental choreographer Xavier Le Roy. Soon afterward, he showed up on Le Roy's doorstep. I asked Le Roy what Sehgal was like as a dancer. "Wild and intelligent," he said.
Sehgal met Dorothea von Hantelmann when he was twenty-three, at a party after a dance performance. After thirteen years together, their life and work have become deeply enmeshed. When I asked von Hantelmann how they had influenced each other, she replied, "Oh, God." Sehgal said, "Especially when we first met, Dorothea was formative. As somebody who was not from a sophisticated cultural background—even just her books and stuff, it was all there. I profited from that a lot." Sehgal lives modestly, but the conditions that govern his domestic life are less rigid than those he imposes on his art. His boys have a Christmas. One day, I asked Sehgal what the last thing he bought was. "My work comes out of a deep psychological place, so it's not like I'm Object Man at home. Theoretically, I'm not against objects, but, personally, I'm not comfortable attaching myself to them—I don't seek them out. What you can say about my home is that it's not very ambitious. The last time we went into a department store—Dorothea wanted to have some curtains—that was already a year ago."
During his twenties, Sehgal steeped himself in the European avant-garde. For a time, he worked as a choreographer with Les Ballets C de la B, a dance company in Ghent. (A recent performance was inspired by a transvestite cabaret.) Eventually, in the early nineties, he began making pieces for himself. The first of these was "Twenty Minutes for the Twentieth Century," in which Sehgal, naked, danced a series of movements in twenty different styles, including those of Isadora Duncan and George Balanchine. Jens Hoffmann, the curator, suggested to Sehgal that he show the piece in museums, as it amounted to something like a "museum of dance." Hoffmann recalled, "We were probably twenty-three, at that point, and we were like, 'Yeah, let's just do it.' It worked because we knew it would work and there was absolutely no doubt in our minds."
Some observers were skeptical, because of the hype, and the audacity of Sehgal's maneuver. "It felt a little glib," Jessica Morgan recalled, of seeing Sehgal's "This Is So Contemporary" for the first time. But, as the work evolved, Sehgal made converts of his critics. Each piece solved the problems of the last. "The interesting thing with Tino's work is it's completely hermetic," Hoffmann said. "There's no way of finding any loopholes—it's completely thought through."
On the morning of June 22nd, I met Sehgal aboard the 7:01 A.M. Eurostar from London's St. Pancras Station to the Gare du Nord, in Paris. Tall and mussed, he had materialized just before the train pulled out. He was wearing a gray wool cardigan and a white T-shirt that sagged around the neck, giving it a little frill. His black jeans puddled around white sneakers that looked like they were cut from blocks of foam. I don't remember much of a hello.
ARTIST: It happens at a table—it's a work for a couple, and they've invited some friends over for dinner. The first course starts, and one of the partners stands up and leaves the table. Then, forty-five seconds later, the other person of the couple also leaves the table. . . . The hosts stay away four or five minutes, and then they come back and they sit down at each other's place. They eat the other's food. So then, if the guests ask what's up, they say, "This is a work by Tino Sehgal entitled 'Those Thoughts.' " The work is actually the thoughts, and the prejudices, of the guests. And I've never seen it, but I've heard about it.
REPORTER: You've never seen it?
ARTIST: Well, I've rehearsed it, in a restaurant in Venice, but I've never seen it.
REPORTER: Why don't you just orchestrate one?
ARTIST: It would seem a bit self-centered, somehow.
REPORTER: If I were to do it tonight, why would it not be a work by Tino Sehgal?
ARTIST: It probably would be, actually. But that's a more theoretical question. Because, for example, if you build a mirrored cube, which you could, why would it not be a work by Robert Morris?
Sehgal was travelling to Paris to sell some art. Nothing concrete would actually change hands. Instead, Sehgal and Vincent Worms, who had agreed to buy two pieces for his Kadist Art Foundation, would discuss the terms of sale. When a person buys one of Sehgal's works, that person acquires the right to have people enact it in the future. There would be no contract, no certificate of authenticity. To complete the transaction, a notary would orally validate the agreement, circumventing the paper trail.
Sehgal hadn't figured out how to get from the train station to the notary's office. Since all we had was the address, he assented to my suggestion that we take a cab. There was a wait, which made him antsy. He had some crumbs on his face, from a croissant he'd just eaten. That made me think to ask why, as someone who believes the world is overstuffed, he had decided to have children. Sehgal didn't seem to mind my rudeness. He said that von Hantelmann is seven years older than he, and that it was time. "I'm an artist, and I have a big ego, but I hope I can at least sometimes pull back a little bit—or, at least, I can think that thought," he said. Soon, though, the artist resurfaced. "I never stand in such a queue," he said. "That's not a 'me' thing to do."
We reached the notary's offices. Sehgal, Worms, and the notary took seats around a long wooden table. I was to serve as the witness. Sehgal began by describing the pieces. In "This Is About" (2003), a museum employee gives a tour of the collection to a group of visitors and then asks, "What do you think this is about?" In "kWh" (2002), which also takes place in a museum, someone turns off the electricity, and a group of employees, moving around in the darkness, sing how many kilowatt-hours of energy are being conserved. The latter struck me as a little obvious. Some of Sehgal's more interactive work runs the risk of playing too ingratiatingly to the crowd—a little too much pizzazz and his interpreters are Jellicle hoofers, pawing the family in the third row at the Winter Garden theatre. But, as playful as Sehgal's pieces are, they are pocked with danger zones and dark spots. Sehgal is refreshingly explicit, for an artist, about his political motivations, but his work is too mysterious to be relegated to the ghetto of "eco-art."
Next, the notary went over some stipulations regarding opening hours (the pieces had to go on as long as the venue showing them was open), installation (by Sehgal or a designated representative), photography (none), and resale (only by oral contract). At least, this is what I think he said, as Sehgal didn't allow me, or anyone else, to take notes. "One day, if we have a conflict with Vincent, we'll call you and say, 'You were there,' " he said.
Nearly a hundred thousand dollars was at stake, but owning a Sehgal piece is a notional concept. "Somehow it exists in my mind, in my body, and in the bodies of the people who know how to do it, and it also exists in their memories, and of those of the people who saw it," Sehgal has said of his work. The Guggenheim, for instance, bought one of four editions of "This Progress." I asked Sehgal where the others had gone. "They didn't sell," he said. "That often happens." In 2008, the Walker Art Center, in Minneapolis, bought a Sehgal piece called "This Objective of That Object" (2004). Yasmil Raymond, a former curator at the Walker, told the Times Magazine that it was the most contentious acquisition during her five years there. "It was the only time someone on the acquisitions committee voted against an acquisition," she said. "There was a small insurrection."
The sale continued in a pro-forma manner until the notary touched on the fifth point of the agreement, which covered the wages the guards would be paid. Sehgal was adamant that they be remunerated above their usual salaries. This wasn't a humanitarian intervention. Increased pay was necessary for "psychological reasons," he said, so that the guards would treat the project as real work. Eventually, Sehgal and Worms agreed on a bonus of twenty per cent. Sehgal said later, "I wanted to reiterate, for my sake, that they don't just tell the guards, 'Oh, you can do this in addition to your regular duties.' " Sehgal said that once, in Japan, some employees had not been properly trained, and "the work totally disintegrated." (The piece was "This Is New," in which they quoted headlines from the day's newspapers; they chickened out and just stopped talking.)
People agree to appear in Sehgal's works for various reasons. For some of them, especially those who are performers by trade, it's a decent job. (Tate Modern is paying the interpreters in "These Associations" a little more than the London Living Wage, which is about thirteen dollars an hour.) Others are too intrigued to say no, or they hope to glean something personally or professionally enlightening from the experience. One day during a break, two interpreters, Tim Wright and Matthew Engelke, were standing around, eating oranges.
"I work on the Internet and don't really talk to anyone, so that's largely what appeals to me," Wright, a digital writer, said. "There's some therapy going on."
"I see it as, like, my yoga," Engelke, who lectures at the London School of Economics, replied. "Also, as an anthropologist, I kind of want to do mini-experiments and target English people."
One of the thrilling things about Sehgal's work is that it can go rogue. In a time when the airplane-seat meet cute strains credulity, Sehgal's pieces are the rare public events that can yield unscripted possibilities. This makes them seem new, even in comparison with earlier performance art, whose creators tended to perform it themselves, insuring fidelity to their vision. Sehgal's pieces are like urban legends. They can change, become embellished, acquire patina. Imagine if paint could rearrange itself into smudges and whorls the painter hadn't considered. At the Guggenheim, the museum's ramp, stocked with several dozen of the tristate area's most interesting, articulate citizens, turned into something of a pickup spot. "Tino Sehgal performer. Pink yellow blue striped sweater," a notice on Craigslist, in the Missed Connections section, read. "I know this is really insane but I thought you were really cute."
An irony of Sehgal's collaborative approach is that he has created a sort of art factory—an enterprise that at times provides work for several hundred people and pays by the hour. Sehgal is the overseer, not the artisan, deriving his livelihood from the labors of others. "There's a sense in which you think, at first, Well, what does he do?" Alexander Nehamas, the Princeton philosopher, who was an interpreter in "This Progress," told me. "He tells people a few things, he leaves them to themselves, to improvise. But, at the same time, the instructions, the suggestions, the hints that he gives are not only very subtle but very particular." Faulting Sehgal for not physically making his art would be like blaming Steve Jobs for not assembling iPods. The sorts of encounters that occurred at the Guggenheim are his innovation. They wouldn't happen over a couple of beers.
In July, I travelled to Kassel to see "This Variation." My first reaction was one of intense physical panic. My heart pounded; instinctively, I held my arms in front of me, as though to fend off an attack. The room, which I had entered seconds earlier, was pitch-dark. "Bump," someone was saying, faster and faster. "Bump. Bump, bump, bump ba da." More voices joined in. My eyes started to adjust. Fifteen or so people were dancing manically, thrusting up and down like pistons to the beat of the chant. Near me, an interpreter beckoned a man with a backpack into the center of the room. People nudged and slalomed like bumper cars. At some point, a light flashed. The syllables cohered into melody, and sound enveloped the room. One part of the group sang, "Thug it out till we get it right, I like you just the way you are," while another kept the rhythmic undertone alive: "Bump, bump, bump." The song was Timbaland's "The Way I Are"—electronic music rendered, in a sort of reverse Auto-Tune, by purely human instruments. I stayed for hours. When the day was over, the interpreters formed an undulating conga line. Its tail whipped around to herd any stragglers toward the doorway. "Sha-wow-wow," people were singing. As I walked back into the light, I could feel someone's breath on my earlobe.
Two weeks before "These Associations" was set to open at Tate Modern, Sehgal held another series of rehearsals. The atmosphere was intense. In a corner of the Turbine Hall, he imparted last-minute tips to a group of interpreters on "rhetorical strategies"—how to approach strangers, tell them a personal story, and not bore them. (When a conversation goes awry, Sehgal refers to it as "getting lost.") "What's important on a basic level is that you don't segue in," Sehgal said. He was sitting cross-legged on the floor, revealing a large hole in the crotch of his pants. "Even though it may seem like an everyday situation, it's not. You're here in the main hall of one of the biggest museums in the country, and people have come here to experience something."
"O.K., can we come together?" Sehgal said, after his group had talked for a while. Fragments of lives had wafted through the hall: emigrating from Senegal, gambling, bus stops, the Great Wall of China. Others would speak of the satisfaction of having a mantra, and the sense of belonging elicited by being offered the cheeks of a roasted goat.
The aim of the exercise was not memorization but conversational dexterity. Sehgal didn't want the interpreters to sound like audio guides. "There's this theory of ethics that it comes from this encounter with the face of the other," Asad Raza explained. "You say something to this person that comes from them, rather than something you repeat and polish." The conceit is capacious, but Sehgal objected to one gambit—a woman's confession that she had wanted to be an actress. "The directness of it is good, but there's a slight problem with anything that veers into self-reflexiveness," he said. "The one thing you cannot talk about is visual art. There's a self-referential play which can produce some static."
Sehgal was worried that the people who were supposed to be talking had been too quick to cede the floor, out of politeness, to interlocutors who had not proved themselves deserving. "You just have to, like, quality-control what the visitors say," he said. "If they're saying something great and going for it on the same level you are, then that's fine, but if they move into chitchat you have to beware, because they are co-creating the work." A dull or recalcitrant visitor could ruin the piece. "The visitor has power—like in the Spinozan sense!" he said. "They are the same kind of entity as you. If they start talking about the next bar, it goes flat. If they start asking about the toilets, then you know your approach was either too strong or too weak."
"At the end of the day," he concluded, "even if they produce more banal moments than we do, they will still judge that as the banality of the work!"
On the morning of July 23rd, "These Associations" opened, without fanfare. Visitors walked in. There was nothing for them to read. They received no instructions. Depending on the moment at which they entered the Turbine Hall, they encountered silence, singing, running, humming, walking, or a chatty new friend. London was jubilating in a rare blast of sunshine, so the museum was not mobbed. A few tourists, tugging rolling bags behind them, seemed not to realize—even as a corps of seventy interpreters sprinted up the ramp—that anything was going on. But the incidental flourishes that animate a Sehgal piece had already begun transforming "These Associations" from an idea into a thing. A little girl sat on the chilly concrete floor with her sundress, pink and pleated, spread out like a parasol. The interpreters were sweaty, breathing hard. "The other, uh, day, uh, I lent some money to a friend," one, gasping for breath, said to a visitor. "I was, uhhhnhh, disappointed in myself."
Sehgal, who looked freshly scrubbed, was striding the floor, an incognito inspector in a gray sweater. For him, watching the piece evoked a strange mixture of pride and puzzlement. He was a pyromaniac, standing unnoticed on the margins of the fire he'd set. "I'm happy," he said. "You kind of forget your vision, and it comes back to you as this, this thing you encounter."
A pedestrian bridge bisects the width of the Turbine Hall. It was proving to be a popular place for onlookers to gather. Half a story above mortification or enlightenment, they gawked, and recorded the proceedings below with their phones and cameras. (Sehgal has acknowledged the impossibility, at this point, of preventing people from taking pictures.)
Just after noon, the crowd below began to move as a swarm. Like birds on the wind, the interpreters cut vectors across the museum's floor. Once in a while, as though the flock had hit a patch of turbulence, someone would veer off and coast on a different current. From the bridge, I watched a middle-aged man in a blue short-sleeved shirt and his companion, a sensible-looking woman with a leopard-print carry-all, trying to pick their way through the scrum. They bobbed and hesitated, progressed a few steps and pulled back. They were rickshaws, trying to cross the world's most bewildering intersection. Finally, they gave up. The man took the woman's hand, touched it to his shoulder, and led her in a waltz. ♦


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In an effort to provide a controlled environment for unbiased assessments of new technologies, EPRI PEAC, a division of the Electric Power Research Institute, recently opened the doors of its new Power Quality and Distributed Resources Test Center in Knoxville, Tenn. Dedication of the center was held on June 17 in conjunction with the dedication of two nearby energy technology facilities at the Department of Energy's Oak Ridge National Laboratory.
The design of the new facility with facilitate the testing of complete distributed generation, energy storage, and end-use systems, according to an EPRI press release.
"The evolution of a deregulated energy market has brought a surge of interest in distributed resources for use in power generation, energy storage, and power quality applications," says Hank Courtright, vice president of EPRI. "Before these technologies enter into service, they must be evaluated for the utility industry and for the electricity consumers who will be using this equipment in their homes and businesses."

subset: commoncrawl


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The 2010-11 academic year will be the first at Cal State Northridge for Julie Sandoval as Assistant Athletic Director of Compliance Services.
Sandoval will oversee all areas of NCAA compliance, including the monitoring of all recruiting activities and student-athlete eligibility. She will also organize and conduct various seminars educating all coaches and student-athletes of the newest policies and procedures drafted and implemented by the NCAA, prepare grant-in-aids, and National Letters of Intent.
Sandoval joins CSUN after spending the last five years with UC Santa Barbara in the same position.
Prior to her time at Santa Barbara, Sandoval spent ten years as the Associate Athletic Director/SWA at Cal State Dominguez Hills. In addition to her compliance-related responsibilities, Sandoval also served as head volleyball coach for two seasons and taught in the Physical Education Department.
Before being named associate athletic director at Dominguez Hills, Sandoval served an assistant women's volleyball coach at Santa Clara for 10 years, Cal Poly for one year, and Cal State Fullerton for three years before starting her career in athletic compliance at Dominguez Hills.
Sandoval holds both a Bachelor's degree in Physical Education from Long Beach State and Master's degree in Educational Administration from Santa Clara University.


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On my holidays away from Dublin i did it again. I was helping to build copy of my diyTilt project. Paweł Piątek wedding photographer from my town ask me for help to get the same results. Good news tilt is working - bad news his lens look better like mine :P
slowly, carefully, safety first...
always use protection
ready .. We did it! without losing health or the mind
Happy new user Paweł Piątek !


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Should Colleges Ask Applicants If They're Gay?
There is a debate in the academic community about whether or not schools should add a voluntary question about sexual orientation to their applications. They definitely should. After surviving high school, these gay students deserve a prize!
Most schools already have an optional question about race and ethnicity. Why not one that asks whether or not a student is gay? We all know that colleges accept students to try to get the most diversified population they can. They admit people based on what state they are from, what instrument they can play in the band, and which country their parents come from. Why not try to add a little bit of rainbow to the school colors?
If a student is willing to check the box that says "Yes, I am a big homo" then they are most likely already out. Good for them, but that is no easy feat. Sure, high school sucks for everyone, but it sucks even harder for gay kids. Even in the days of Gay Straight Alliances and greater acceptance, plenty of gay students are taunted, bullied, and marginalized. Some are thrown out of their houses or worse. Even if everyone at home and at school is cool with their orientation, their dating prospects are limited and they don't have many opportunities to socialize with other teens like them.
But that should all change at college, glorious, glorious college where homos abound and just about every hot, muscly frat boy wants to experiment at least once. These kids have earned this paradise!
According to an article from Inside Higher Ed both University of Pennsylvania and Dartmouth are now actively recruiting gay students by using the gay students they already have. Much the same way applicants hear from current students with the same interests as them (potential black students may hear from current black students, potential engineering majors are often contacted by current engineering majors), the ivies are now using queers on campus to convince other gays to pick their school over another.
Right now the schools are using some oblique jury-rigged gaydar (reading student essays, looking at extracurricular activities, asking what kind of shoes they wear) to target their potential gays, but why not come right out and ask them? If these kids survived being openly gay in high school, being asked if they are gay is the least of the indignities they will have faced. And if straight applicants blanch at the question, well, those don't seem like the type of people these schools want in the first place.
After being called a "faggot" for years and being pushed around by the high school bully (who is probably going to come out around his 24th birthday anyway), a little bit of love for these students could go a long way. All you baby gays: You better shut off Logo and do your homework and get a part time job. You have an in, but Yale is not going to be easy to get into and it's not going to pay for itself.


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Dan Morain
Dan Morain: Hypocrisy and Rep. McClintock's pension
Tom McClintock used the occasion of a 2005 hearing into state pensions to denounce government workers' rich retirement benefits, as was his wont back when he was in California's Senate.
Rick Battson, then a legislative staffer, recalls asking the conservative the obvious question during a break. Wasn't McClintock eligible for a legislative pension, given that he served in the Assembly in the 1980s, back when legislators could accrue pensions?
"He was blunt, nonchalant. He said, no, he wasn't taking it," Battson, since retired, told me the other day. At least, Battson thought, McClintock was being consistent, an admirable trait.
McClintock repeated the same claim during his first successful congressional campaign in 2008, telling reporters for The Bee and Los Angeles Times that he had sworn off a California state pension due him from his early tenure in the Legislature.
"I'm concluding 22 years in the state Legislature now. I have no pension. I turned that down when I began in 1982," McClintock told the L.A. Times in May 2008.
Rep. McClintock, a Republican who represents the Sierra even though he resides in Elk Grove, has cultivated a reputation for being tight with a dollar, for having been a tea partyer back before the tea party existed, and, most of all, for sticking to his stated principles.
So imagine my surprise when it turned out that in addition to being paid $174,000 a year by Uncle Sam, McClintock has been collecting a California Legislators' Retirement System pension since he arrived in Congress in 2009, courtesy of the taxpayers he says he tries so hard to protect.
Californians ended legislative pensions when they approved the term limits initiative in 1990. But McClintock, who has spent a career in politics opposing most government, first was elected to the Legislature in 1982.
By any standard, McClintock's pension is modest, a combined $820 a month or $9,845 this year, including $528 a month or $6,336 annually in a Legislators' Retirement System payment, said Amy Norris, a California Public Employees' Pension System spokeswoman. But that's $9,845 more than he led voters to believe he would be collecting back before he won his congressional seat in 2008.
The National Journal's dogged reporter Shane Goldmacher, writing about congressional members who collect state pensions, caught up with McClintock in Washington last month, and asked him why he didn't forgo the state pension, given his railing against bloated government spending.
McClintock, apparently more conservative than he is gallant, replied: "You'd have to take up that question with Mrs. McClintock."
I don't know how the McClintock household works. But after 32 years of marital bliss, I have an idea how Mrs. Morain would react if I blamed her for my handiwork that turned out badly; it would not be pretty.
McClintock's quip to Goldmacher didn't answer why he would have claimed he wouldn't collect the state pension during the 2008 campaign, only to start collecting it after he won the congressional seat.
"In November of 2008," McClintock spokeswoman Jennifer Cressy said in an email to me, "Mr. McClintock was approached by staff of the Legislators' Retirement System and informed that he still had the option to buy into the pension systems for his state service, which he did at that time. Until then, he had not participated in the pension systems and was not aware that he could still do so."
So in addition to blaming his wife for his decision to take the pension, the congressman is suggesting that the Legislators' Retirement System twisted his arm. Who knew that McClintock was so passive?
In the Legislature, McClintock regularly introduced bills to restrict state spending by, for example, seeking to eliminate automatic cost-of-living increases for welfare recipients. Pension recipient McClintock receives automatic cost-of-living raises.
When he was named to the House Budget Committee in 2010, he issued a press release emphasizing that he stuck to his principles during his years in the Legislature by introducing "hundreds of specific budget reforms, including tax, spending and borrowing limitations; contracting out of state services; pension, welfare and education reform and bureaucratic streamlining."
Under congressional rules, McClintock should have disclosed the amount of his pension on his annual financial disclosure forms. He neglected to do so for his first three years in Congress, and filed amendments in May 2012 correcting what he called inadvertent omissions.
That McClintock would have renounced his pension is not surprising, given his rhetoric. But he did more than renounce and then accept the pension. He failed to disclose the amount of the pension, and blamed others for his decision to take the pension.
No one should begrudge a working stiff his or her pension, especially a modest sum such as the $9,845 that McClintock collects. Hypocrisy is another matter.
Follow Dan Morain on Twitter @danielmorain. Back columns, www.sacbee.com/morain.
This version of Dan Morain's column was corrected to show the Rep. McClintock filed amendments to financial disclosure forms in May 2012 instead of May 2013.


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At the heart of sports history for almost a century, no other company has been as influential and intimately involved in shaping the games of tennis, golf, baseball and American football as Wilson. As the originator of breakthrough technologies, Wilson has produced legendary classics and earned world-wide legitimacy in each sport it participates in. Backed by generations of athletes, Wilson is the true American icon in the world of sports equipment
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Featured News - Current News - Archived News - News Categories
Beaver Island State Park is currently issuing permits that will allow snowmobilers to use the more than 12 miles of designated and signed snowmobile trails on state park property located on Grand Island. The trails will be open between the hours of 10 a.m. and 10 p.m. beginning on Dec. 15. Snowmobiling is not allowed within Beaver Island State Park.
There is no fee for the snowmobile use permit, but applicants must present a valid registration and proof of current insurance. A decal will be issued with the permit along with a copy of the rules and regulations and map showing the location of the designated trails and parking areas.
Major David Page of the New York State Park Police reminds all snowmobilers that the park lands are off limits until Dec. 15, and that there must be at least 3 inches of snow before the trails will be open.
Permits will be available at the Beaver Island State Park Office on weekdays between the hours of 8 a.m. and 4:15 p.m.
For additional information, call the Beaver Island State Park office at 716-773-3271.


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General Fiction
In Short Measures
In his three novellas, "In Small Measures," "Strong Conspirators," and "Sally Forth," Michael Ruhlman delves deeply into the nuanced complexity of romantic and sexual love—and the inevitable evolution of the heart over the span of years and decades.
Each novella asks questions about the nature of love in terms of loyalty and fidelity—what are one's obligations towards one's spouse, one's family, and one's heart? In the first novella, "In Small Measures," these questions are bound up in a writer's work and a long-ago love. In the second, "Strong Conspirators," an unforeseen, cataclysmic event calls for responses from a husband and wife that have never been rehearsed—because they have never been required nor even imagined. In "Sally Forth," a pair of old friends is forced to explore lost youth and lost love, relative to maturity, marriage, and the passage of time.
Profoundly thought-provoking and satisfying, these novellas are beautifully written with plot twists from beginning to end that will captivate the reader.
Books on Cooking
How To Sauté
The sauté station is the place all aspiring restaurant chefs want to be: the "hot seat," where the action happens. The same is true at home, where a good sauté unlocks the pleasures of dishes such as Veal Scaloppini, Sautéed Mushrooms, Chicken Schnitzel with Sage Spaetzle, Sautéed Duck Breast with Rhubarab Gastrique, and Flatiron Steak with Sautéed Shallots and Tarragon Butter.
In HOW TO SAUTE, Ruhlman gives you essential information and straightforward advice about the tools you need (and which ones you don't); tips on stocking your pantry for the greatest efficiency, flexibility, and flavor; and dozens of color photographs showcasing finished dishes and step-by-step cooking techniques.
How To Braise
The second in a new series of highly accessible and instructive single-subject books covering basic to advanced techniques that will make you a better cook.
Among the recipes featured in this second book in Ruhlmans's new "how-to" series are Moroccan Lamb Tagine, Classic Yankee Pot Roast, Mexican Pork and Posole Stew with Dried Chilis, Braised Fennel, and a Corned Beef and Cabbage Braise.
As with the other books in this line, practical information about essential tools and staple pantry items will be outlined,along with straight forward and clearly presented advice and dozens of color photographs showcasing both finished dishes and step-by-step cooking techniques.
How to Roast
Humankind has been roasting for millennia. The term originally referred to cooking over an open fire, usually on some kind of spit, and has evolved to describe cooking of meat or vegetables or even fruit in an oven, a "dry heat" (and usually high-heat) method of making things irresistibly appetizing.
"Of all our cooking terms," Ruhlman writes, "sautéed, grilled, poached, broiled-I believe roasted is the most evocative adjective we can attach to our food, conjuring as it does ideas of deep rich flavors and delicious browning."
RUHLMAN'S HOW TO ROAST combines practical advice – what tools you need, staple ingredients to have on hand, how to get the most out of your oven – with 20 original and mouthwatering recipes, chosen to showcase a wide range of roasting methods and results, from "The Icon" (roast chicken), to Monkfish Roasted with Tomatoes and Basil, to Roasted Peaches with Mint Crème Fraiche. Dozens of color photographs offer step-by-step illustration as well as finished-dish showpieces.
Egg: A Culinary Exploration of the World's Most Versatile Ingredient
For culinary visionary Michael Ruhlman, the question is not whether the chicken or the egg came first, it's how anything could beaccomplished in the kitchen without the magic of the common egg. He starts with perfect poached and scrambled eggs and builds up to brioche and Italian meringue. Along the way readers learn to make their own mayonnaise, pasta, custards, quiches, cakes, and other preparations that rely fundamentally on the hidden powers of the egg.
Ratio: The Simple Codes Behind the Craft of Everyday Cooking (Hardcover)
"Forget about teaspoons, ounces, cups and (shudder) fractions; it's all about the "parts." This is a refreshing, illuminating and perhaps even revolutionary look at the relations that make food work." —Alton Brown, in The Wall Street Journal
The Book of Schmaltz
The Book of Schmaltz explores the wonders of rendered chicken fat, used in traditional Jewish cooking, in both traditional dishes such as kreplach ("Jewish potstickers") and contemporary dishes, such as Parisienne gnocchi, sauteed in schmaltz and served with wilted spinach and poached egg. It's a thin book, more than 20 recipes and color photography of each dish, on a fat subject!
Michael Ruhlman and Brian Polcyn inspired a revival of artisanal sausage making and bacon curing with their surprise hit, Charcuterie. Now they delve deep into the Italian side of the craft with Salumi, a book that explores and simplifies the recipes and techniques of dry curing meats, with 100 recipes and illustrations of the art of ancient methods made modern and new. 100 illustrations; 16 pages of color photographs.
Books About Chefs and Professional Cooks
The Reach of a Chef: Professional Cooking in the Age of Celebrity
One of the great things chefs are doing is pointing the way toward the foods that matter, that are good for us—naturally raised animals, wild fish, freshly grown produce. That's a good thing. But chefs are also leaving their kitchens in big numbers, expanding their businesses beyond actually cooking and serving food. They smell the lucre and are looking for its source. Is this good or bad? The best have gotten to where they are by working their butts off for years and now they want some rewards. Nothing wrong with that. But what happens when you abandon the work that made you what you are, and what's the result for the rest of us?
Cookbook Collaborations
Cookbooks with Thomas Keller and the French Laundry Family
The French Laundry Cookbook
A monster of a celebrity-chef coffee table cookbook that defies everything one thinks of when we think of such objects. The French Laundry Cookbook's chief importance, though, in my mind is that it is an accurate documentary of one of the country's great restaurants, how it is run, the food it creates, and the kind of work and intelligence that a chef must bring to the pursuit of an American restaurant that ranks with the great three-star restaurants of Europe.
General Nonfiction
Grocery: The Buying and Selling of Food in America
In Grocery, bestselling author Michael Ruhlman offers incisive commentary on America's relationship with its food and investigates the overlooked source of so much of it—the grocery store.
In a culture obsessed with food—how it looks, what it tastes like, where it comes from, what is good for us—there are often more questions than answers. Ruhlman proposes that the best practices for consuming wisely could be hiding in plain sight—in the aisles of your local supermarket. Using the human story of the family-run Midwestern chain Heinen's as an anchor to this journalistic narrative, he dives into the mysterious world of supermarkets and the ways in which we produce, consume, and distribute food. Grocery examines how rapidly supermarkets—and our food and culture—have changed since the days of your friendly neighborhood grocer. But rather than waxing nostalgic for the age of mom-and-pop shops, Ruhlman seeks to understand how our food needs have shifted since the mid-twentieth century, and how these needs mirror our cultural ones.
A mix of reportage and rant, personal history and social commentary, Grocery is a landmark book from one of our most insightful food writers.
House: A Memoir
When my wife and I bought a century old house in a suburb of my beloved city, I knew I had to write about it. The experience of purchasing a home place, among the most common events in an adult's life, felt more cataclysmic than, well, buying a house ought to feel. Second to childbirth on the seismic charts of human emotion. Suspicious of any prolonged navel-gazing, I didn't intend a memoir. I began the story as a novel. I sent seventy-five pages to my agent who said, "I can't sell this as a novel, but I can as a memoir."


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Closed: Sat. & Sun.
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Here's the most heavy-duty durable round pipe available in 316 Alloy. This extra tough pipe consists of four interlocked layers, each is .018" thick.
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text: |James Cotter Field, which is located on the campus of Boston College High School, is currently serving as the temporary home for the UMass Boston soccer and lacrosse programs. In the summer of 2015, the track surrounding the artificial turf playing surface was completely renovated, making it one of the top track facilities in the state. Starting in the spring of 2016 the UMass Boston track and field program will also call James Cotter Field home, as it will serve as the Beacons primary practice facility.


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Tag Archives: prep college prep
The need for parents to help their teens in getting ready for college work – Part 3
By Dr. Bob September 17, 2014 Leave a comment
Part 3 of a 3-part series Part 1: The U.S. standing in relation to the rest of the world in terms of learning. Part 2: The big difference between what's expected in college and how unprepared high school students are to take on independent study. (It's a small part of why the large majority of college students […]


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Windows, Vista Home Premium
Version 6.0.6002 Service pack 2 Build 6002
X86 based
C:/Windows/System 32
Internet Explorer 9
I clicked ....
XAMPP Control Panel > Apache 'Start' > Admin button (for Apache on the XAMPP Control Panel........
Then it attempted to join... Local Host in IE9, but it failed =/ i got the error message as displayed in the image (link posted below)
This is all new to me. I'm competant with css/hmtl but php is all foreign to me atm. I need to learn XAMPP asap but have hit a brick wall. I followed as many different 'step by step' guides as i could find, but obviously still missed something? Any help to get this thing working would be great. Got a lot of code to write on here, but getting it up n running has left me bewildered =)
Print Screen Image of what i saw can be found at:
http://www.fileden.com/files/2009/3/26/ ... ue%202.jpg
I'm sorry this is a little vague, i'm still getting my head around it all =P any questions feel free to ask, i will do my best to find the answers. I'll check back when i wake up I'd just like to know why it's not working I have spent ages surfin back n forth downloading/redownloading/checking/reading/learning/experimenting etc. I've exhausted all lines of thought so far.
Well thank you very much and i hope forward to hearing from someone soon. Peace.


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A facility in Connecticut is currently seeking a locum tenens psychiatrist for adults in inpatient treatment. The ideal schedule will consist of Monday, Wednesday, and Friday shifts, with room for flexibility. No call or weekends are required. Candidates must be board certified. Notes are taken via EMR.
Dates Needed: ASAP - ongoing
Call Ratio/Schedule: None
Hours Per Day: 8
Provider Availability: Regular Time
Assignment Type: Inpatient
Assignment Duration: Locums
Facility Type: Hospital
Call Required: No
Board Certification Required: Yes
Patient Population: Adults
Government: No
Reference ID: ORD-058410-MD-CT
Job Posting ID: 984161
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Jeff and Sue Turner, residents of Princeton, BC, have been producing nature documentaries for 30 years, for broadcasters such as BBC and PBS.
Jeff and Sue speak with Gone Wild podcast host Larry Pynn about some of their greatest experiences around the globe, how they get those special images, and the ethics of filming wild animals.
Their latest venture, the four-part series, Wild Canada, debuts Thursday, March 13, on CBC.


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Subscribe To Will Smith Has No Interest In Men In Black 4 Updates
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There wouldn't be a Men In Black franchise without Will Smith. Yes, the charismatic A-list action hero made sweet music with the curmudgeonly Tommy Lee Jones, but the franchise needs both of them to succeed … or, Smith and Josh Brolin doing a spot-on impersonation of TLJ. Now, however, Brolin might have to do his best Smith, as the After Earth star tells Collider that he has no real interest at the moment in pursuing any more chapters in the sci-fi comedy franchise.
"I think three is enough for me," Smith said in the interview. "Three of anything is enough. We'll look at it, and consider it, but it feels like it might be time to let someone else do that."
Maybe his son, Jaden? The idea is floated to Smith, who remains noncommittal. That's sad news for Sony, which owns the rights to the MIB franchise and made quite a lot of money from the trilogy. BoxOfficeMojo has the series at $1.6 billion in worldwide ticket sales, with the most recent – the 2012 summer comedy MIB 3 -- taking in a whopping $624 million … the most of the entire franchise.
It should be noted that Smith gave these comments at an After Earth junket prior to the movie under-performing at the box office. Maybe the low number for Smith's collaboration with M. Night Shyamalan will change his mind? Because we all know that actors love running back to the safety net of a proven franchise when they experience a bomb. Smith might reconsider Men In Black 4 if his ego's badly bruised.


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• The Spencer County Public Library's child summer reading program is now over. The library had a big turnout and anyone who participated needs to pick up their prize package. The coupons in the prize package have an expiration date, so pick the prize packages up today.
• Adult summer reading has started. Library employees invite adults to join in the fun and win great prizes like a year subscription to The Spencer Magnet.
• In July the library is offering free yoga classes Mondays at 10 a.m. and Tuesday evenings at 6:30 p.m.
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We guarantee that the Drain Cleaning equipment and/ or fixtures we have installed in your home will perform as we have stated. If any equipment or fixture fails during normal use in the first year, we will either repair or replace the item at no charge to you.


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Comparing Radical Prostatectomy with Brachytherapy
Dear OncoLink "Ask The Experts,"
I have recently been diagnosed with prostate cancer. I have a T1C tumor, discovered during a biopsy. Malignancy is found only in the left lobe, where 30% of tissue sampled is malignant. Gleason score is 7. I am 59 years of age, and otherwise in good health. My urologist is recommending radical prostatectomy. My radiation oncologist believes I am a good candidate for brachytherapy, with 3 months of hormone treatment prior to and after the procedure. I am told that the incidence of impotence is considerably lower with Brachytherapy. QUESTION: Can you provide information about 5, 10 or 15-year rates of recurrence, comparing RP with Brachytherapy? If impotence rates are less important to me than pure survival, is RP the preferred treatment? Thank you for considering my question!
Richard Whittington, MD, Associate Professor of Radiation Oncology at the University of Pennsylvania School of Medicine, responds:
First off, the ten-year survival is the same, although the risk of recurrence is higher in men undergoing implant than it is in men treated with surgery. The difference is about 70% for seeds vs. 85% for surgery. The other issue is the risk of side effects. Age is a very important factor as the younger the patient the better they will tolerate the surgery and side effects. At the University of Pennsylvania we generally recommend surgery for men less then 60 years of age because the risk of impotence with surgery is 40-45% and is 50% with seeds. The risk of incontinence with the surgery is about 2% vs. the 3% risk of rectal ulcer with seeds. A physician doing fewer than 50 implants/yr or 100 radical prostatectomies/yr may not be busy enough to be adept at the procedure and their complication rates are not as well defined. The advantage of the surgery is that you can go back and radiate the prostate bed if the PSA goes up, but you don't get a second chance after implant.


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Sustainability Planning
Soil Injection Fertilization
Tree Pruning Video
Experience the Strobert Tree Care Difference
At Strobert, caring for trees is not just our job, it's our passion. We are well-established within the community, and offer several advantages over our competitors, including:
Tree Trimming
Philadelphia Pennsylvania residents rely on us to keep their trees trimmed and pruned. Tree pruning is essential for the health, beauty and longevity of your trees, but you must be sure it is done properly. If trimmed improperly, trees can sustain severe permanent damage that will cause them to die sooner. For this reason, it is important to have your tree pruning done by professional ISA certified arborists with the experience and expertise to get the job done right the first time.
Strobert delivers top quality tree trimming in Philadelphia PA, with friendly experts that know what it takes to ensure that your trees will remain healthy for the long term.
Tree Planting
At Strobert Tree Services, we are passionate about fostering a sustainable environment, and we highly encourage our clients to plant at least one new tree for each one that is removed. But tree planting alone is not enough. Like all new forms of life, a new tree needs to be nurtured as it grows to ensure it will live a long and healthy life.
Our arborists will make sure that when your new tree is planted, it is done with care toward fostering sustainable growth. We will fertilize the tree with nutrients that boost its immune system and help the tree stave off disease and insects. We can also continue caring for your newly planted trees so they will remain on the path to healthy long term treasures for your property.
To learn about our Tree Removal Service
Please Visit Tree Removal in Philadelphia PA
For your FREE no obligation estimate, call the experts at Strobert Tree Services today at 610-364-5116. You may also get in touch with us through the Web form on the right.
We appreciate your business and we look forward to serving you!


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Life is full of seasons, and we are constantly changing. Just as the pilgrims thanked God for bountiful seasons throughout their year, we should thank God for bountiful blessings throughout our lifetime.
When asked the meaning of Thanksgiving, there are many answers. Most folks enjoy Thanksgiving at Grandma's house eating a scrumptious meal of turkey and dressing. To others, Thanksgiving means watching football all afternoon and relaxing with friends. The Thanksgiving Day parade is always a highlight for children.
It's true the pilgrims gave thanks in 1621 with a tremendous feast, and a thankful heart for their bountiful harvest. Their governor proclaimed a three-day long period that year to be set aside for prayer and thanksgiving. It was a time shared by colonists and neighboring Indians.
It was not until 1939 that President Franklin D. Roosevelt set the date for Thanksgiving to the fourth Thursday of November. Each president issues a Thanksgiving Day proclamation.
I am thankful for a strong country which has celebrated many Thanksgiving days through wartime, peace, prosperity and struggles. Let us stand in 2008 as one heart and one voice as we gather with family and friends and give thanks to God for our blessings.
When my children were growing up, I encouraged them to call at least three people on Thanksgiving Day morning and tell them that they were thankful for them. As we remember our material blessings, let us not forget the blessings of strength and love we find in family and friends.
The year 1621 was not the actual beginning of Thanksgiving. Throughout the Bible we can find many accounts of thanksgiving. Noah gave thanks and praise for God keeping his family safe. Abraham gave thanks to God for sparing Jacob. Moses gave thanks for manna even among a group of complainers.
The governor declared thanksgiving time of 1621 to last three days. With so much more to be thankful for in 2008, let us not cease in thanksgiving after our meal at Grandma's, or after the parade and ball game.
Our thanksgiving should be a celebration of prayer lasting more than one day and one meal. In 1 Thessalonians 5:18, Paul instructs us to always be joyful and never stop praying and thanking God for everything.
Donna Avera is a Rincon resident. Her e-mail is firstname.lastname@example.com.


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How to set up your TB575 EC string trimmer
Length of Clip: 11:28
This is how you set up the TB575 EC gas string trimmer. Learn about out-of-the-box setup, starting instructions, operation and maintenance of this 4-cycle trimmer. Order replacement parts or download a copy of your machine's operator's manual here.
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Science Friday® is produced by the Science Friday Initiative, a 501(c)(3) nonprofit organization.
Science Friday® and SciFri® are registered service marks of Science Friday, Inc. Site design by Pentagram; engineering by Mediapolis.
|On his upcoming trip to Mount Everest, mountaineer Conrad Anker will team up with geologist Dave Lageson to remeasure the peak's exact altitude--a stat scientists still dispute. Physiologist Bryan Taylor will also be in Nepal to monitor how Anker's blood, brain and muscles respond to the thin Himalayan air.


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Vehicle tracking & fleet management
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Real-time tracking makes fleets secure. Our Alerts feature protects your vehicles from possible theft, thereby avoiding costly downtime and lengthy insurance claims. Automated alerts also eliminate unauthorized usage, side-jobs and moonlighting — ensuring that your fleet is always working for you, and only you.
A secure fleet is profitable fleet.
Fleet management improves operational efficiency. Our Maintenance feature notifies your mechanic when vehicles need an oil change, safety inspection, or any scheduled service. This guarantees service is performed on-time, with the result that maintenance costs are minimized. Our Dispatch feature makes it easy to locate and notify the closest driver to a job. This saves time and fuel. Our fleet management software flags inefficient vehicles — those with incidents of speeding, excessive idling or aggressive driving. This lets you identify and correct inefficient driving, thereby reducing fuel costs and wear-and-tear to company vehicles. Studies show that, for fuel alone, fleet management yields average cost savings of 15% per vehicle.
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Job description
The responsibilities of this position include but are not limited to:
- Providing personal care, housekeeping, and laundry services for seniors in a retirement residence setting;
- Provides services and interacts with guests and family members in a professional manner;
- Assists and attends to special needs of the residents as required;
- Provides food preparation, dining room service, busing and dishwashing services in accordance with established work routines;
- Maintains work and storage areas in a clean, safe and sanitary manner;
- Provides personal laundry services for residents in accordance with established work routines;
- Operates and cleans equipment, furniture and cleans and maintains all areas related to residents as per work routines;
- Provides medications according to the home's policies and procedures for medication administration.
The ideal candidate will possess:
- Previous experience in providing laundry, food or personal care;
- Successful completion of secondary school or equivalent;
- Preferred post secondary education in related care fields of PSW/HCA/ DSW certification;
- Must be able to read and communicate effectively and follow written and verbal instructions;
- Demonstrated empathy and understanding of the needs of seniors;
- Effective interpersonal relationship and conflict resolution skills.
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UK Price Comparison has products listed for Oculus price comparison offered by more than 30 online retailers.
You can get the best deals of Oculus products simply by searching for a product you are looking to buy in brand new, used or even refurbished condition.
Compare prices of Oculus products sold online by many retailers and save money on your next shopping.
Compare prices of Oculus products sold by following reputable online retailers in UK


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Fortified foods aren't exactly new. In 1941, the makers of Wonder Bread first started adding vitamins to their highly processed white bread. Post Golden Crisp cereal gets more than half its calories from sugar, but darned if it isn't fortified with 10 vitamins and minerals.
Even so, there's something a little jarring about the enriched Girl Scout cookies this year that were advertised as a "delicious new way to get your vitamins!" The U.S. Food and Drug Administration is looking into this and other snack foods that toss in any healthy-sounding thing they can think of and then market it like crazy so it sounds like a nutritious food.
This is the era in which, instead of eating calcium-rich foods, we eat calcium-enriched foods that make sure you know about that in big letters on the label. Or the ones with antioxidants or the omega 3 fatty acids. Particularly if it's the only claim to health fame they can make.
And it's one of several reasons to be suspicious of government attempts to engineer our eating habits through bans, taxes and other restrictions. There are the perennial proposals for soda taxes and the New York ban on selling sodas bigger than a certain size (which was tossed out in court). Food is complicated stuff. Apple juice is right up there with soda in sugar content and isn't a significant source of vitamins or minerals. So what parameters do we use to define junk food? Government restrictions on particular foods will lead many food producers to rejigger their formulas to escape new regulations.
If Coca-Cola packs its sodas with vitamins, can it then claim that this is a more healthful food than apple juice? (Dr Pepper Snapple Group already dabbled with that route by adding vitamin E to 7Up and proclaiming its antioxidant value on the label. It agreed to stop after a lawsuit alleging that the labels were misleading.)
The FDA could get into similarly problematic territory if it tries to go after cookies or chips. Cookies aren't a healthful food even with a dose of vitamins wedged into them, but the fortified Mango Crème Girl Scout cookies are actually far lower in sugar than Golden Crisp cereal.
Why would one get a pass because you pour it in a bowl in the morning while the other might be looked at askance because it's eaten as an after-school snack?
Yes to an earthquake alert system
Monica Ratliff, new teacher on board


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|New Mexico Bombay Rescue
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1,016 Bombay Cats have been adopted on Rescue Me!
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|PIease Read Before Adopting a Bombay in New Mexico
Bombay Cats can make good pets in New Mexico if they match your IifestyIe. The Bombay is a black, short-haired, Asian-type cat that resembles a Panther. Bombays are very intelligent, pleasant companions. Bombays get along well with children and other pets, and are sociable with visitors. Bombays love attention and affection, and can be easy to train.
Rescue Me! - HeIpingAnimaIs in Need.
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If you have experienced the loss of a beloved pet, or if you know someone who has... [POST A MEMORIAL HERE]
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Science Friday® is produced by the Science Friday Initiative, a 501(c)(3) nonprofit organization.
Science Friday® and SciFri® are registered service marks of Science Friday, Inc. Site design by Pentagram; engineering by Mediapolis.
|Google Plus isn't Google's first foray into social networking--Orkut and Buzz already exist, but neither caught on in the United States. Can Google Plus do better? Danny Sullivan, editor-in-chief of Search Engine Land, discusses how the new social network stacks up to Facebook and Twitter.


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Undergraduate Degrees, Majors and Concentrations
SPMG4410 - Public Relations In Sport
Summer 2019
This course offers the student the opportunity to explore the major areas of public relations in the sports industry. The student will examine the importance of preparing press releases, media guides and statistical reports, conducting public/community relations campaigns, as well as technical aspects in the production of print, broadcast material and social media. Software proficiency in word processing is required.
Prerequisites: COSK2230 or COSK2245 and 60 credits
3 Credits
Schedule Book for All Active and Available Future Terms, Course starting with SPMG4410
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We have a huge problem here. On the one hand, we have a group of photographers claiming they need a 12mp camera to produce a 20x30" print, and on the other hand a group who thinks 2mp might be sufficient for a 4ftx6ft (or perhaps even 6ftx9ft) projection. The two concepts are just too far apart to make sense.[a href=\"index.php?act=findpost&pid=71084\"][{POST_SNAPBACK}][/a]
Although I pay extreme attention to the quality of my prints, I just don't think that extreme resolution is very important when I project images using my projector. Sharing images with friends is more the goal here and nobody really cares about resolution besides photographers themselves. What others look at is subject, composition, colors,... all these things that are in fact most important to photography.[a href=\"index.php?act=findpost&pid=71234\"][{POST_SNAPBACK}][/a]
My recommendation is, wait until you can afford a 1920x1080p display at a minimum size of 42" diagonal before you attempt serious slide shows. In the meantime, use your existing TV or computer monitor with currently available stand-alone DVD recorders that can handle jpeg images.[a href=\"index.php?act=findpost&pid=71241\"][{POST_SNAPBACK}][/a]
Full HD TVs (1920 * 1080p) have become a lot cheaper but are still nowehere near afforable here in Tokyo. The best deal (and best image quality IMHO) is the Toshiba Z1000 37 inch at 230.000 Yen street price... I am almost tempted... [a href=\"index.php?act=findpost&pid=71253\"][{POST_SNAPBACK}][/a]
I just purchased the Optima H31 for movies and presentations and for a unit at $1000, I'm quite happy. You can spend BIG BUCKS on these pups. I'd rather have the money for the i1 Beamer for presentations.[a href=\"index.php?act=findpost&pid=71378\"][{POST_SNAPBACK}][/a]
Andrew,I just did a search on the i1 Beamer. It's difficult to buy if you're outside the US and Canada. I see references to it on a Google search within Australia, but no prices. If it's $1,000 in the US and can't be imported directly, it's gonna cost me more than your Optima H31 projector.
I'm doubtful whether I should pay that sort of money to calibrate a projector with a contrast ratio of only 600:1 (Hitachi SX5500).
Do you happen to know if the i1 Beamer can be used with a 64 bit system? I've just bought an Eye One Display 2 to calibrate my 64 bit system and wonder if I've screwed up again. Perhaps I could have bought the more expensive product and calibrated both my projector and monitor.
BTW, the Optima H31 has an impressive contrast ratio but is a bit low on the ANSI lumens. After calibration, instead of 850 lumens, is it not likely to be closer to 500 ANSI lumens?
We used to have no problem with this in the film days. Like many others I used to project my 35mm slides. While only good for a 12"x18" print, they still looked great at 4'x6' feet on a projection screen. [a href=\"index.php?act=findpost&pid=71476\"][{POST_SNAPBACK}][/a]
I don't see how the contrast ratio has anything to do with getting accurate color. [a href=\"index.php?act=findpost&pid=71472\"][{POST_SNAPBACK}][/a]
If you want professional presentations with high quality, there appears to be no competition at cheaper prices. Now who thinks their 1Ds MkII was expensive? [a href=\"index.php?act=findpost&pid=73374\"][{POST_SNAPBACK}][/a]
One last comment about resolution. The pixels on the projectors are like Foveon sensor sites - yes they are x3 or RGB pixels. If we, as a reasonable approximation, take a Bayer array to have half the resolution of a "true" RGB array, then these projectors are putting up 4.1 MP using the term MP as it is used in digital cameras. (Or 6.2 MP if a pixel is a dot of light )[a href=\"index.php?act=findpost&pid=80768\"][{POST_SNAPBACK}][/a]
Wishful thinking, Andy . As far as I know, all monitors are true RGB devices with an equal number of each red, green and blue elements. Once the Bayer type image has been demosaiced and interpolated, you've also got an equal number of R,G & B elements. It's just that they've been degraded in the process. Displaying the image on a true RGB device cannot undo the damage that has been done.The highest resolution projector that's going to be main stream, 1920x1080p, still only produces a 2 megapixel (or 6 megabyte) image. If such projectors were available and affordable 6 or 7 years ago, then owners of the 3mp Nikon D1 and Canon D30 might have been ecstatic. They would be sacrificing only a relatively small proportion of the image's resolution on projection.The increase in projector resolution is very much lagging behind the increase in digicam resolution for the obvious season they are used mostly for low resolution movies and TV broadcasts. Even HD Bluray movies are low resolution compared to the average digicam.[a href=\"index.php?act=findpost&pid=80956\"][{POST_SNAPBACK}][/a]


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Because everyone wants to have their own take on an awesome concept like that It's a kind of tribute.
Personally I liked all the alien, predator and even the alien vs predator movies. Even though avp2 sucked donkeyballs as a whole, the fact a predator was present and we got a glimps of the predator homeworld, architecture and culture was priceless!
I've sketched out a predator of my own I want to sculpt soon. I'll be keeping an eye on yours for reference whehe


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Internal Medicine – Professional Education
Penn State College of Medicine and Penn State Health Milton S. Hershey Medical Center are committed to establishing and maintaining high-quality Graduate Medical Education training programs.
Contact us
To learn more about educational programs in Internal Medicine, call
Our institution provides the diverse patient population, dedicated faculty, excellent clinical and basic science departments, and nationally recognized research programs required to create an environment optimal for learning and for the development of future leaders in the art and science of medicine.
We offer a variety of internal medicine residencies and fellowships, including Internal Medicine Residency, and General Internal Medicine Fellowship.
See all internal medicine residency and fellowship opportunities here.
Residencies and Fellowships
Find more information about all of our residency and fellowship programs.
Internal Medicine Residency
The Internal Medicine Residency at Penn State Health Milton S. Hershey Medical Center is a three-year, ACGME-accredited program that admits 20 residents per year.
Explore Internal Medicine Residency
General Internal Medicine Fellowship
The General Internal Medicine Fellowship at Penn State Health Milton S. Hershey Medical Center is a two-year, non-ACGME-accredited program that admits one fellow per year.
Medicine Clerkship
Penn State College of Medicine provides a wide range of medical student education programs in both the pre-clinical and clinical years of training.
Internal Medicine Continuing Education
A variety of internal medicine continuing education programs are held throughout the year. When available, registration links will appear below.


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Soup- Gluten Free Corn Chowder
Gracehill Bed and Breakfast
10-11 servings, 2½+ quarts
2 C water
2 C diced peeled potatoes
½ C sliced carrots
½ sliced celery
¼ C chopped onion
1 tsp salt
¼ tsp pepper
¼ C butter
¼ C all-purpose flour
or substitute 2Tbsp of corn starch for the flour for gluten free
2 C milk
3 C (12ounces) shredded cheddar cheese
2 cans (14-3/4 ounces each) cream style corn
1 can while kernel corn
I do this whole thing in a pot on the stove or you can follow the microwave directions below.
Place water in a 2-quart microwave-safe dish, cover and heat until boiling.
Add potatoes, carrots, celery, onion, salt and pepper. Cook, uncovered, on high for 8-10 minutes or until veggies are crisp tender; set aside (do not drain.)
Meanwhile, in a 3-quart dish, microwave butter on high for 50-60 seconds or until melted.
Stir in flour until smooth.
Gradually stir in milk. Cook, uncovered, on high for 6-7 minutes or until thickened, stirring every 2 minutes.
Add the cheese. Heat for 1 to 1-1/2 minutes or until the cheese is melted.
Stir in the corn and reserved veggies.
Cook on high for 2-3 minutes or until heated through. Yield 10-11 servings, 2-1/2+ quarts.
Recipe by
Gracehill Bed and Breakfast
at https://www.gracehillbandb.com/2012/06/soup-corn-chowder/


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From luxurious fabrics to rich wood tones, Salem Hemisphere is truly in a class of its own. Plus, you'll enjoy better gas mileage and a smoother ride with the wind resistant design of the Hemisphere.
* Not all buyers will qualify. Contact us for details.
Whether you pick it up, we bring it to you, or meet in the middle, taking delivery of your new RV couldn't be easier.
|Dry Hitch Weight
|645 lbs.
|Unloaded Vehicle Weight
|6273 lbs.
|Cargo Carrying Capacity
|3172 lbs.
|Exterior Length
|32' 7"
|Exterior Height
|11' 0"
|Exterior Width
|Fresh Water Capacity
|54 gal.
|Gray Water Capacity
|60 gal.
|Black Water Capacity
|30 gal.
|Awning Size
|16 ft


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Community Calendar
Friday, January 05, 2018, 09:30am - 10:30am
Hits : 90561
Practice the ancient ways of breathing and movement to strengthen and enhance your body and mind with Chi Gong, a dynamic form of tranquility in motion. Presented by Julia Forrester, who has been practicing Tai Chi Gong since 2004, sessions benefit all levels of skill and all ages, with special variations for disabilities. Julia started her own practice to improve her own health and wellness. Through Chi Gong, Julia has succeeded in recovering from debilitating illness and eliminating her need for medications. $15 per person. Registration required at www.myvillagegreen.org, Activities.
Location Village Green Community Center - Windermere & Blue Heron Rooms


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E - Commerce for future & Trends (ECFT) is a print and e-journal focused towards the rapid publication of fundamental research papers on all areas of E - Commerce for future & its trends.
This journal of E-commerce includes the current trends includes the use of the internet, smart phones and the confidence of the peoples in using their credit cards online is growing exponentially. Hence E-commerce is here to stay, and we have to adapt ourselves to become smarter online as buyers and sellers because all the basic principles of the real word business apply to E-commerce.
e-ISSN:- 2454-9347
Focus & Scope:
- Electronic Business
- Business Process Re-Engineering
- Electronic commerce policy and theory
- Supply Chain and Customer Relationship Management and Business Process
- EDI trading network
- Social commerce's
- Mobile commerce's
- inventory management systems
- automated data collection systems
- transaction's lifecycle
- Research limitations/implications
- Design of the Internet Retailing Questionnaire
- Data reduction through the Identification of factors
Invitation for Research & Review Articles for journal of E-commerce for future & trends
|Posted: 2013-10-16
|More Announcements...
Vol 6, No 2 (2019)
Open Access Subscription or Fee Access
Table of Contents
Research Articles
|Review of E-Commerce Information Extraction and Classification Technique for Recommendation
|Nilesh Jain, Dhanraj Verma


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Gibson Custom has introduced the Collector's Choice #10 Tom Scholz 1968 Les Paul. The Collector's Choice series is devoted to painstaking replication of choice original vintage Les Pauls. Gibson says that, as a result, these guitars bring players and collectors closer to owning a specific, existing vintage Les Paul than would likely happen in their lifetime. While many of these are guitars exist mainly in the confines of acclaimed collections, the latest in the series is a genuine part of rock history--its tone will already be known to most readers from the band Boston's hit songs of the late '70s. Here's the full details in Gibson's own words...
Collector's Choice™ #10 Tom Scholz 1968 Les Paul recreates this stripped-down and hotrodded '68 Goldtop just as it was used by Scholz, guitarist of the legendary rock band Boston, to create the band's greatest moments, notably on their debut album, Boston. As the first replica of an original vintage guitar outside of the '59-'60 burst, Gibson Custom couldn't have asked for a more compelling model.
Player mods
Gibson Custom studied every curve, output measurement, ding and scratch of the original guitar, with close cooperation from Tom Scholz himself. The final results are represented in a strictly limited run with a maximum production of 300 guitars. As an accomplished sound engineer, MIT graduate, inventor, and holder of dozens of electronic patents, Scholz--not surprisingly--modified the original guitar extensively. Prior to the recording of the first Boston album he stripped the gold finish down to the natural maple, and added a DiMarzio Super Distortion humbucking pickup in the bridge position, while retaining the guitar's original P-90 in the neck position. He also replaced the original Klusons™ with the Schaller™ M6 tuners that were popular at the time.
Period-correct details and Historic Specifications
Along with these accurately reproduced player modifications, the Collector's Choice™ #10 Tom Scholz 1968 Les Paul also features the 14-degree headstock pitch and cream binding that widens with the edge of the maple top in the cutaway, both period-correct details of the late-'60s Les Paul Standard. In addition, Collector's Choice™ #10 guitars also benefit from Gibson Custom's 20th Anniversary Historic Specifications, which bring the Custom Shop reproductions closer to the real thing than ever before. These specifications, introduced for 2013, include a single-layer rosewood fingerboard, hot hide glue neck joint, accurate fingerboard and body binding color, and historically accurate truss rod assembly.
Body and neck
In keeping with the original 1968 Les Paul, the Collector's Choice™ #10 Tom Scholz 1968 Les Paul has a body of solid, unchambered Grade-A mahogany with a two-piece top of selected plain maple, stripped of the Goldtop finish it would have originally worn. The top is now finished in Antique Natural while the back, neck and sides are walnut, all in hand-aged nitrocellulose lacquer. The one-piece mahogany neck is carved to the precise profile taken from Tom Scholz's original guitar, a full shape with plenty of "cheek."
Hardware and appointments
True to the original instrument, the Collector's Choice™ #10 Tom Scholz 1968 Les Paul carries an ABR-1 Tune-o-matic bridge and lightweight aluminum stopbar tailpiece, along with gold Top Hat knobs with silver inserts and a nylon 6/6 nut (cut on Gibson's PLEK for utmost accuracy). The guitar comes with no pickguard installed, but the mounting screw holes have been drilled, as on the original guitar.
For players and collectors seeking the look, feel, and tone of a legendary guitar played in the studio and on stage by a platinum-selling artist, the Collector's Choice™ #10 Tom Scholz 1968 Les Paul represents a rare opportunity. The guitar will be produced in no fewer than 25 and no more than 300 replicas, depending on the availability of suitable materials. Each will include a silkscreened brown Custom Shop hardshell case and owner's manual, a Custom Shop Collector's Choice #10 Certificate of Authenticity, and Gibson Custom's Limited Lifetime Warranty and 24/7/365 Customer Service.
Pricing and Availability:
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