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Added to shopping list. Go to shopping list.
Ingredients37 m servings 354
Original recipe yields 6 servings
- Adjust
- Metric
Directions{{model.addEditText}} Print
- Preheat oven to 475 degrees F (245 degrees C).
- Insert lemon and lemon thyme into the cavity of the fish.
- Mix salt and egg whites together in a large bowl.
- Spread 1/2 the salt mixture on a large baking sheet. Lay fish on top. Pour remaining salt mixture on top. Pack down tightly so fish is sealed in salt.
- Reduce oven temperature to 400 degrees F (200 degrees C). Bake fish in the preheated oven until an instant-read thermometer inserted through the salt and into the fish reads 120 degrees F (49 degrees C), 15 to 20 minutes.
- Cool fish for 2 minutes. Crack the salt coffin with a wooden spoon. Peel away the salt and discard. Transfer fish to a serving dish using 2 spatulas.
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- Cook's Notes:
- Substitute thyme for the lemon thyme if desired.
- Use trout or salmon instead of striped bass if preferred.
- The general rule is to cook the fish 10 minutes for every inch of thickness the fish is at its thickest point.
- Editor's Note:
- Nutrition data for this recipe includes the full amount of salt. Since the salt coffin is discarded, the actual amount of salt consumed will vary.
Nutrition Facts
Per Serving: 354 calories; 11.2 2.1 58.6 205 121298 Full nutrition

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James Jacobs discusses how strengthening the relationship between guided pathways reforms and career-technical education can improve both, as colleges refocus their programs on skills that are valued in the current job market.
This is the seventh in a series of short essays by former CCRC staff members who share thoughts about their time working at the Center. These essays will be posted on our website throughout CCRC's 20th anniversary year.
James Jacobs, the president of Macomb Community College in Warren, Michigan, and a board member of CCRC, has been recognized by the Association of Community College Trustees (ACCT) with the 2016 Chief Executive Officer Award for the Central Region.
CCRC board member and former CCRC Associate Director Jim Jacobs was recently named winner of the 2013 Mariam C. Noland Award for Nonprofit Leadership.
The inauguration of James Jacobs as Macomb Community College's fifth president took place on March 30, 2009.
Community College Research Center, Teachers College, Columbia UniversityBox 174 | 525 West 120th Street, New York, NY 10027
212.678.3091 firstname.lastname@example.com
2019. All rights reserved.


text:
Help speed up the Ag Park construction timeline!
By Adam Saunders, Campaign Director
The Agriculture Park is prepped to make some MAJOR progress in the 2018 construction season! Last week we received bids for phase one of the Agriculture Park. Our project team is currently in the process of selecting the winning bidder. Eight contractors submitted bids and one bid in particular stands out, it is from a qualified local group and has the lowest price with a reasonable timeline.
The contractors provided us with prices for a large "base" project scope and three smaller, optional add-ons, or "alternates", that could be added to the scope of work this season. The base includes all sitework, grading, utilities, stormwater, concrete for the MU Health Care Pavilion, the middle portion of the Pavilion, restrooms, and plaza. The three alternates are: sidewalls for the winter CFM market, CCUA's barn/greenhouse, and additional customer/ARC parking.
We are within striking distance of securing the base bid and two of the three alternates, but NEED your help to close the small funding gap. We need to secure approximately $300,000 in new pledges and donations before April 26th in order to maximize the construction that will occur in 2018. Since we identified this funding goal last week, we have secured $52,100 in new pledges and donations; over 1/6th of the way there! We'll do our best to share the progress toward this goal, but need your donations and pledges to help us close this short term gap.
Please consider making a pledge or donation to help ensure that the maximum amount of work on the Ag Park can be completed this year. You can make a pledge online at www.BuildThisTown.org/make-a-pledge Also feel free to contact campaign director Adam Saunders at 573-356-9392 or email@example.com to talk further about the project and naming recognition opportunities at the Agriculture Park.
Thank you for your consideration,


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When the Air Jordan 2 released back in 1986, sneaker culture still very much in its infancy stage, purchasing them was largely a simple task: find out which store was getting the pair you wanted, then figure out a way to get to said store. The Air Jordan 2 Decon release tomorrow odes to that era via a release separated by region.
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Jumpman: Toronto


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To George Washington from Joseph Jones, 20 June 1781
Phila: 20th June 1781
Dear Sr
I have your favour of the 7th instant which gives me intire satisfaction of the propriety of your remaining with the Northern Army and that it was out of your Power from the small Army under your Command to afford any present succour to the Southern States. The same sentiment I find was entertained by Governor Jefferson to whom I presume you have written on the Subject but from the contents of a Letter I have just received (or rather the Delegates of Virga.) from R.H. Lee inclosing one has to be forwarded to you I expect you will be further solicited on that head and as it may not be practicable for you speedily to give that Gentleman an answer by safe conveyance from the present situation of the Country I shall as soon as an oppertunity offers write to him upon the Subject. From all accounts we receive our greatest disadvantage lies in the great superiority of the Enemies Force wch being increased since their advancing into the Country from the number of fine Horses that have fallen into their hands to 7 or 800 to range about the Country as to dismay the people not a little and keep them in continued alarm for the safety of their Families. the superiority of the Infantry I believe consists more in the distinction between regulars and Militia then in numbers. This disadvantage in the Cavalry cannot be surmounted by the State for want of equipment of which they are very destitute. [–need] If they had them the Powers given by the Assembly to the Marquis & to seize what Horses may be necessary would soon put him in Condition to check their ravages, but at present and untill these equipments can be furnished the Country must be greatly exposed. Cannot you therefore spare Sheldons Horse for this Service and also Vanheers Corps. Every assistence in Cavalry is essential and these may I presume be soon with the Marquis. If you think the last mentd Horse to be trusted on the Service you will recollect that a post of them are now at Head Quarters or at least I am so informed. The French Cavalry I take for granted from what you say must remain with you otherwise these being well mounted and equiped wod be of more service than any other assistence you could immediately afford. I wish you to consider this matter of the Cavalry and give such orders as you shall find convenient. I have a Letter by Express from Col. Harrison dated the 8th at Staunton to wch place the Assembly adjourned after their dispersion and escape from Charlottesville. He writes "Before this reaches you I dare say you will have heard how narrowly the whole Assembly escaped being made Prisoners by Tarleton at Charlottsville, they had not left the Town an hour before he entered at the Head of 450 Horse and mounted Infantry—Some Stores are fallen into their hands with three Delegates and several other Gentlemen amongst them are Mr Lyons, Mr Kinlock, Robt & Wm Nelson. They are all paroled except Kinlock and him they carried off. had it not been for the extraordinary exertions and kindness of a young Gentlemen who discovered their intentions and got round them in the night, not one Man of those in Town would have escaped, as it was, so incredulous were some of us that it was with much difficulty they could be prevailed on to adjourn."
"We are in a most distressed condition from the Sea to the Mountains, so many fine Horses have fallen into the hands of the Enemy that they roam at large over all the Country and the Marquis is by no means able to check their progress. he has power given him by the Assembly to impress Horses wherever he can find them but he has not necessaries to mount the Men when he gets them—this being the Case we know not what course to take to preserve the Country from their ravages, we want Arms greatly for Infantry, but when we have them it is difficult to find men to use them, all owing to the danger their Families are in from the Horse. we have 600 fine Men under Baron Stuben wch he will not carry into action, what are his Reasons I know not but I can assure you his Conduct gives universal disgust and injures the Service much, the People complaining and with reason that they are draged from their Families at a time when they are most wanted to make bread for them, whilst the Soldiers they have hired at a very great expence lay Idle, in what my dr Sr his Conduct does great mischief and will do more if he is not recalled, and I think it behoves you to bring it about. I assure you it is the wish and desire of every Men that this event shod take Place: I believe him a good officer on the Parade but the worst in every other respect in the American Army. I like the Marquis much and so does every Body in the Country but is he not too young for such a command as he has, and of such great consequence to the American Cause and their great Country. would not St Clair think you from his experience by usefull here."
"We have now no Executive in the State for want of a Senate the Govr will act no more, and the remainder of the Council will not get together. I hope we shall set these matters right next week."
A Copy of a Letter from the Marqs of the 3d inst. to Genl Greene intimates that he was ignorant till lately that Genl Greene had ordered these levies to act in Virga but it does not appear he had orders from Genl Greene upon the Subject as he complains in the Letter that he had not heard from him for some time. perhaps your interpretation may be necessary upon this business to prevent me misunderstandg. How for Col. H's opinion abt the Baron requires your interference You will judge. I had heard some complimts of that Gentn before I left the State but attributed them to his being long in the Milatary line, unacquainted with the civil institutions and disgusted that his regulations were not immediately complied with, rather than any other quality. however if he has disgusted the people prudence requires he shod not be detached, but subject to the controul of some experienced officer or recalled. These matters you will direct as you shall see best for the Service. Could not Genl Greene be well spared from the South to take the command in Virga. The great scene of action is there, and as you cannot be present his Abilities and experience may be very usefull. excuse the haste of this Letter wch I have been obliged to write in Congress and believe me with perfect esteem D. Sr Yr aff. Friend & Servt
Jos: Jones
DLC: Papers of George Washington.


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Attack of the Blob
Composed on the occasion of the 50th anniversary of the American glass movement, which began in Toledo in 1962, a version of this text was presented as a lecture at the Glass Art Society Conference in 2012. A published version followed in the GAS Journal.
They don't look like much. Modest in size and approximate in form, they tend to sit ungracefully on a flat surface, slumping to one side. And they don't get any prettier when you pick them up. Sometimes unexpectedly heavy, because of their thick walls, they are transparent and colorless, apart from a greenish tinge reminiscent of old laboratory equipment. And then there are the wet-looking puddles and drips that cling to their surface, like stray lily pads. All in all, these objects reveal their nature very accurately. They were made by people who just barely knew what they were doing.
I am speaking, of course, of the earliest examples of hand-blown studio glass. At the famous Toledo workshop in 1962, the materials, tools, and furnaces requisite to work with hot glass finally became available to small teams of makers. During that landmark event, generation of craft artists embraced the possibilities hot glass. But at the time, and for several years thereafter, all they could do was make – there's no other word for it – blobs. Occasionally these had a nominal function, that of a vase or a cup. But really usefulness was beside the point. These were objects entered as evidence. They proved that studio glass was possible. The question they implicitly posed was: what form might that new field take? In their uncontrolled, relatively simple forms, these glass objects did little to answer that question. But at least they made it clear that it was a question worth asking.
Typically, the early blobs of the studio movement have been valued principally as relics, remnants of a moment of emergence. Their formal traits are rarely noted, except as signs of a struggle with technique. In this essay, however, I will argue that much more can be said about them. Indeed, I believe these to be the most radical, exciting objects ever made by studio glassblowers. And I am not alone in feeling that way. After decades of increasing technical achievement, many contemporary artists working in glass are reviving what might be called a 'blob aesthetic'. They are turning away from sophistication and spectacle, and embracing the power of the informal, the inexact. In the work of these artists, many of them just starting out in their careers, visual pleasure and technical sophistication are being exchanged for base materialism. Exactly fifty years after the inaugural hot shop experience in Toledo, the glass field seems to be coming full circle. The question is: why?
When Technique Came Cheap
In one sense, it is easy to understand the excitement of the earliest studio glass forms, even as one dismisses them as historical curiosities. Viewed retrospectively through the later achievements of the studio glass movement, they are almost humorously naïve. In the 1970s and '80s the field flourished artistically and commercially. As is well known, to a large extent this was due to the help that American makers received from skilled artisans from abroad, especially Italy and Scandinavia. Objects from before that time have the attraction, you could say, of a child's drawings, which are charming and often beautiful, but innocent of the advantages of technique.
This attitude toward the early blobs as interesting but immature objects – which I take to be the common one – misses one big thing. They are not exciting only because of when they were made; they are exciting as forms in their own right. This is because they stage in such an immediate way the contest between materiality and skill. It's a familiar point about craft, but one worth remembering: over-refinementcan deaden an object. When skill triumphs utterly over the resistance imparted by material, one can only admire the results, not feel the process that led to them. How different is an object like Harvey Littleton's Implosion/Explosion. [Fig 1] On the face of it, the work is a disastrous failure, literally 'blown out' on one side and darkened around the resulting void from overheating. It is the diagram of a mistake. But it is also a vital form, rich in the memory of the kinetic and chemical energy that brought it about. (1) Though made in 1964, well after the heyday of Abstract Expressionism, it has the bomb-bursting quality of that type of painting, or for that matter of the vigorous ceramics of Peter Voulkos and his West Coast colleagues.
Littleton's work is instructive, and would continue to be so over succeeding decades. Having labored so hard to formulate glass that could be worked, he seems to have always granted the glass itself more than a fair share in the final result. Even as he became more and more skillful, and increasingly interested in the science of optical effects, he remained entranced by the basic 'will to form' of the material. The most common compositional device in Littleton's work remained the barely controlled slump. His early blobs often seem to still be molten, still in the act of being made. That total immediacy disappears by the 1970s, but his forms still droop and curve – they are the frozen gestures of hot forming. He sometimes exaggerated this, mounting softened sheets of plate glass on a metal spike in Do Not Spindle or laying glass ingots one atop the other in Pileup, heating each so that it nestles against the others in a familial embrace. His celebrated Crown works are perhaps the most explicit in staging a dialectical opposition between the cold brilliance and hot movement. [Fig 2] Made of multiply cased optical glass, they are dazzling and could be rather remote, pure demonstration pieces. But by lopping off the end of each form and positioning it at the foot of the sculpture – as if it had plopped to the ground like ripe fruit – and by using arched forms that suggest the muscle memory of their own making, he reminds us that what he is working is indeed raw matter.
Perhaps it was this respect for the expressive potential latent in the recalcitrant glass that led Littleton to famously say that "technique is cheap." Certainly, those who were most profoundly influenced by his example were just as likely to explore the informal language of the blob as they were to try to achieve perfection. Among American makers, Marvin Lipofsky is doubtless the closest in spirit to Littleton's approach. His series California Loops, of the late 1960s, captured the breathless excitement he must have felt when discovering the new process of blowing. [Fig 3] By covering his irregular teardrop and serpent shapes with unexpected surfaces –rayon flocking or metallic luster – he nodded toward the contemporaneous Funk movement in ceramics and sculpture (these were West Coast works and proud of it). But he also began to stage a Littleton-esque duality between movement and manipulation, chaos and control. That would stay in his work in future years, as he settled into a style of searchingly open forms, shot through with color and flaring at the edges like creatures from the deep sea. These are masterly but they are still blobs, spiritually anchored to the moment when Lipofsky first started blowing in the mid-60s under Littleton at the University of Wisconsin-Madison.
Even more assertive in his explorations of the uncontrolled is Erwin Eisch, the German artist who developed a close relationship with Littleton. After making a few works typical of the era in the USA, Eisch quickly moved to a body of work that bears close comparison to Lipofsky's California Loops. Though these objects are more explicit in their bodily allusions, often sporting phallic protrusions, they have exactly the same binary logic of fast, blobby forms and delicate surfaces (in this case, iridescence). His career perhaps culminated in a series of everyday forms rendered in gold luster glass, such as Telefon, which seems ideally perched between the reference points of a Claes Oldenberg sculpture, a courtly objet de luxe, and a balloon animal. [Fig 4] A few years earlier Eisch had made a series of portrait heads showing Littleton, two of which had him spouting contradictory speech balloons: "technique is cheap", "technique is dear." Of course both statements are true, from a certain perspective. By holding on to the open-endedness of the blob Eisch, like Littleton and Lipofsky in the USA, managed to keep his work exciting over the span of several decades.
Four Horizons
Thus far, I perhaps have made it seem like the glass blob is an introverted sort of an object, arising from and concerned with only the new possibilities of studio glass blowing. Actually, that is the opposite of the case. It is rather the refinement of the medium that seems to me narrow-minded. The story told in Tina Oldknow's wonderful history of the Pilchuck glass school is emblematic in this regard. (2) In its early years, the place was something of a hippie commune, and a hotbed for cultural and artistic (as well as technical) experiment. As one might expect, there were plenty of blobs being made. Some of these were functional, and were sold on trestle tables in the manner of a country craft fair. But as the school developed, largely under the leadership of Dale Chihuly, its dedication to wild improvisation waned.Highly skilled teachers from Europe, and later the attentions of wealthy collectors, instead made Pilchuck into a finely tuned engine for the field. The experiment continued, but it was now much more controlled.
In Chihuly's own work, one can almost feel the blob being absorbed and finally exorcised through the application of greater and greater skill. At first, he worked in a way closely comparable to Lipofsky and Eisch, adding neon to his informal objects to enliven them. In his cylindrical works of the mid-1970s, the randomness of molten glass is still present, but in the form of drawings rather than sculptural form. In the 1980s, with his amazing sea forms, he again worked in parallel to Lipofsky but in a way that sought to transcend the material limits of the glass, rather than emphasize them. In the years since, his constant search for larger and larger scale, further and further reaches of technique, and grander and grander spectacle has left the raw immediacy of his own early blobs far behind.
The same could be said for so many of Chihuly's contemporaries. Whether it is the serene castings of Howard Ben Tre, the florid lampwork of Ginny Ruffner, or the elegantly elongated blown forms of Dante Marioni (which are designed around the principle of maximum difficulty), nearly all the great masters of studio glass from the 1980s and 1990s sought to perfect certain signature techniques. They are not a restless bunch. Certainly, the market was part of this story. Once there was a waiting list for the next version of a well-known body of work, it was always going to be tempting for artists to proceed through incremental developments– all the more so as prices escalated precipitously. But without taking anything away from this generation's technical and aesthetic achievements, which have indeed brought pleasure to a broad public, it is clear in retrospect that these developments tended to isolate studio glass in a world of its own. The early blobs were like Rorschach blots. For one viewer, they might look like contemporary art of the 1960s and 1970s – the intense abstract paintings of the Belgian artist Wols or Jean Dubuffet, or the sculptures of Lucio Fontana, or the pours and castings of Feminist artist Lynda Benglis. For yet another, they might seem like parodies or attacks on commercial glass coming out of Europe. But the point is that they were open to these multiple interpretations, while also being absolutely direct expressions of their own making. They were multivalent, not only in terms of the future possibilities they suggested, but the intentions that informed them in the first place.
So while the horizon with mature studio glass is clearly the prioritized one in existing histories of the early blobs, it is not necessarily the most important. The aforementioned resonances with contemporary art are equally significant. I hasten to add that these early glass forms should not be validated only because they look like contemporaneous sculpture. That is a terrible mistake of past craft criticism, and not one I want to repeat here. The point of the comparison is, rather, that the expressive power of the uncontrolled gesture was felt widely in the 1960s. It was a period concern. Because of this, the comparison goes both ways. Noticing the parallel between glassmakers like Littleton and Eisch and sculptors like Fontana and Benglis might help us to remember that all of them were equally invested in materials and process, and discourage us from artificially designating some of them as craftspeople and others as artists. All of them were both these things. They simply inhabited different discursive environments. (3)
It's also worth noting a third horizon of the blobs of the 1960s, and that is the glass of past centuries. It's easy to assume that the Venetian-influenced works of the 1970s and later – millefiori and so forth – are the studio glass objects that draw from the medium's history. But look again at Eisch's early cup, which is decorated with several large "prunts." These applied blobs are a direct reference back to German glass of the medieval and later periods, some of which shares the rudimentary facture and even the greenish tinge of the early studio work. [Fig 5] There are many other such precedents – iridescent fragments of antique glass, the lilypad bowls and 'friggers' (playful end-of-the-day works) of the nineteenth century, the proto-surrealist forms of Art Nouveau glassmakers. Though they are remote in date and often in culture, all of these objects are equally evocative of the fundamental contest between material and skill that defines glass making. It is no surprise that studio artists in the 1960s and since have been drawn to them.
A fourth and final comparison heads in the other direction – not back into history, but ahead to the future. Back in the 1990s, had you asked anyone in an architecture school what the most fashionable term in their field was, they would doubtless have said "the blob." Just as the new possibilities of hot blowing had changed the glass field several decades before, new digital rendering and production technologies were making it possible for the first time to realize buildings that were thoroughly irregular in form. The resulting "blobitecture" was first theorized by Greg Lynn, who was fascinated by its non-hierarchical, potentially infinitely malleable and permeable nature. (4) But the masters of the new idiom would be Frank Gehry, Zaha Hadid, and the somewhat lesser known Hernan Diaz Alonso, whose Los Angeles-based firm Xefirotarch often produces transparent models that could be mistaken for studio glass forms. The juxtaposition of early studio glass with the most up-to-date, technically savvy architecture is again not intended simply to validate an episode in craft history. It is rather to note a pattern: when technical possibilities expand rapidly, the very first explorations may tend to the wildly erratic. That is what seems valuable about them. New rules will eventually settle in, but whether you were in a hot shop in 1962 or a computer-enhanced modelmaking atelier in 2002, you would have been equally aware that the blob marked the inception of an unprecedented freedom.
The Sequel
Given the backdrop laid out above, it is perhaps no surprise that the hottest trend in recent glass has been the blob. Impatient with the glossy achievements of previous generations, emerging glass artists are purposefully 'deskilling' themselves, making work in an extremely direct and expressive fashion. In doing so they find common cause with many other artists at the moment who cultivate an amateur or even 'outsider' mentality. This is a group of makers who are liberated by the digital realm, which so far has done little to change glass blowing as a craft, but does provide seemingly endless knowledge to anyone, anytime. Getting back to basics is important for makers at this vertiginous moment. Equally, the idea of being confined to a single medium and its concerns – which is to say, defined within a medium-based field – seems less and less worthwhile.
Clearly this attitude has its downsides. As I have argued elsewhere, it is frightening to observe the speed with which the studio craft institutions built between 1945 and 2000 are being dismantled. (5) Most alarming, probably, is the closure of craft-based departments, notably those dedicated to ceramics and glass, whose kiln and furnace demands render them comparatively expensive. One can imagine a near future in which not only the studio glass field as such, but also the opportunity to study glass at an advanced art school, are mostly in the past. That is definitely a problem to reckon with. On the other hand, we should welcome the individualistic bodies of work that are arising as a result of the "post-disciplinary" climate. Studio glass has always had its rebels. Eisch, Jack Wax, the B Team – all of these figures have strained at the leash of the field. But they have still remained within it, teaching inuniversity glass programs and defining their work in conscious opposition to that of others operating in the medium. Younger makers simply don't do this.
Let's take the example of the Royal College of Art, in London. Over the past decade the RCA has produced a handful of really compelling makers in glass, and with one notable exception (Heike Brachlow, who conducts groundbreaking research into colored and optical glass) all of them have been blob-makers of one kind or another. There is Pernille Braun, from Denmark, who creates gorgeous and emotive work by kiln-melting agglomerations of wire and glass beads, so that they hang down in long drapes and drips. [Fig 6] There is Gaea Todd, who constructs elaborate wall compositions of lampworked clear glass, which function as circulatory systems for slowly moving fluids such as molasses. In her works the contents are doubly mimetic, both of the body and of the fluid glass material itself. Korean-born artist Min Jeong Song, like Harvey Littleton, is interested in balancing new techniques with approximate making, as in her series of printed glass forms – as the material slides into amoeboid form the patterns she has imparted the surface follow suit. Then there is Louis Thompson, who also combines glass with liquid, but in this case uses simple water. He blows at large scale, so that his forms wobble uncontrollably –a gargantuan version of what happened at Toledo five decades earlier. The combination of water and clear glass creates an effect that recalls the visual splendor of Chihuly, but wallows in materiality rather than trying to transcend it.
It's not that the RCA is in any way unusual. Look around the glass field internationally, and you'll see many other artists working in this way, some to fascinating effect. Japan's two most exciting glass makers at the moment are probably Kazuo Kadonaga, who extrudes his glass into heaving unpredictable piles, and Ritsue Mishima, whose gestural forms are rendered exclusively in clear glass. Young Swedish maker Simon Klenell takes a Duchampian approach, first making a cut-glass object and then treating it as a readymade, sometimes simply melting it, sometimes stacking it up into a bricolaged tower. [Fig 7] Stine Bidstrup, also Danish, has done a series of installations entitled Sites and Sights in which banal locations – such as a New Jersey suburb – are punctuated with clear glass blobs. Bidstrup's photos of these tactical installations show how resituating the material's opticality can function to Surrealist effect, in a way that does recall the early scenes of a monster B-movie but also conveys a quietly critical, political implication.
I could go on with these examples, but perhaps it's best to conclude with one final artist who emblematizes the return to the blob with unusual force. Beth Lipman is as celebrated and as skilled a glass artist as the USA has produced in recent years. Her extravagant sculptures, based loosely on historical still life paintings, have typically been executed in clear glass and sometimes have contained the suggestion of the material running away with itself, sliding off a table or across a floor. Recently she made a piece entitled Bride that extended this interest in willful materiality. [Fig 8] It is made not in glass, but rather in glue, which has been applied
using a caulk gun to a small collection of personal mementos. Though originally spherical and transparent the object soon began collapsing under its own weight, the unsolidified glue slowly flowing downwards and turning opaque. This slow-motion process sculpture is clearly related to Lipman's ongoing concerns – it places an everyday still life into a highly theatrical context. But in The Bride, the enveloping blob comes to seem like the tomb of memory, hiding precious objects gradually from view.
Lipman's work serves as a final reminder of the potential of blob form, and of the power of deskilling. It was made for the exhibition The Tool at Hand, originally shown at the Milwaukee Art Museum, for which curator Ethan Lasser invited a range of artists to create a work using only one tool. This tight prescription emboldened Lipman to abandon her usual equipment, material, and – importantly – skill set. It no doubt took courage for her to relinquish the mastery that has lent her work such gravitas, and instead make something quickly and intuitively, like an art student let into the shop on the first day. In doing so, Lipman was again rekindling the rush of pure possibilities that Littleton and company felt in Toledo so long ago. For that earlier generation, the blob marked the imminent unfolding of a new community. For Lipman, and makers across the world today, it seems the right form – or rather, anti-form – for an opposite moment. The focused research and evident success of studio glass must be respected, but the logic of a unified discipline feels inadequate to our own uncertain future. No doubt the aesthetics of the blob will soon give way to other concerns, as they did last time round. But for now, a sense of new possibilities just might be enough.
- Vital forms
- Pilchuck
- The history I briefly sketch here can be compared to that of fiber art, told at greater length by Elissa Auther in String Felt Thread , or to ceramics, which I discuss in Thinking Through Craft (London: Berg/V&A Publishing, 2007), ch. 1.
- Greg Lynn
- See Adamson, "Gatherings: Creating the Studio Craft Movement"


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Darjeeling - 4 oz$11.40
Single estate, FTGFOP 2nd flush. Darjeeling tea is often called the "Champagne of Tea: Unique characteristics and delicate aroma. 2nd flush Darjeelings are picked during May and June.
They have a rounder, fruitier, more mature, less astringent flavor than the earlier teas.
An all-day tea, drink without milk.
Tasting Notes (45 KB)
Brewing Instructions (46 KB)
Ice tea and Tea on the Rocks and more – Coming Soon!
Vermarjé Gift Certificates$100.00


text:
SOUTHBOROUGH — Robyn Stewart, who lives in Southborough with her husband and two daughters, is a breast cancer survivor.
Stewart was a Pace Setter at the American Cancer Society Making Strides Against Breast Cancer Walk in Boston on Sept. 30, having raised more than $3,000 for the cause.
Stewart's team was the Striding Pink Warriors.
Stewart discovered she had Cowden syndrome in 2007, making her more susceptible to some forms of cancer. At the time, she also learned that she had Stage 0 breast cancer that was treated with three surgeries and radiation. In 2015, her cancer returned — this time on the other side — and she was diagnosed with Stage II breast cancer. Her treatment included a double mastectomy, attempted reconstruction surgery, radiation and chemotherapy, which included multiple ER visits, emergency surgery and extended hospital stays.


text:
Mounting a Floating White Corner Shelf
White corner shelf – A floating shelf corner wraps around a corner to give you shelf storage, running from one wall, around the corner and on another wall. Floating shelf corner installation requires precise cutting, because all the fittings and supports that hold up the shelf remains hidden behind the shelf. When installing a floating shelf corner, you have a design to complement any decor and give you a stylish alternative to store your belongings.
Take a wooden board and cut strips that will be front and sides of the floating white shelf corner. Each front piece will run the same length as the 2-by-4, and will be four inches high. Each side piece will be four inches high and equal in length to the depth of the shelf. For example, if your shelf is 6 inches deep, your side pieces to be 4 inches high and 6 inches wide. Measure the length of your upper and lower pieces that will run the length of your 2 by 4. Cut the top and bottom pieces to the appropriate length. Because it is a white corner shelf, you have two top pieces and bottom two pieces for each shelf.
12 Photos Gallery of: Mounting a Floating White Corner Shelf
Assemble and install the Shelf, Secure lower pieces to the 2-by-4, which has already been mounted on the wall. Attach the piece on the board by drilling through your tree and into the board mounted on the wall. Continue your floating white corner shelf installation by mounting the top pieces in the same way. Slide your hand piece in their proper location and secure them by nailing through the top and bottom pieces and in your front and side pieces. Use wood putty to fill any nail holes or to cover any gaps in the tree.


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ACAA2 is a functional BNIP3 binding partner and provide a possible linkage between fatty acid metabolism and apoptosis of cells.
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, mitochondrial acetyl-Coenzyme A acyltransferase 2
, acetyl-coenzyme A acyltransferase 2
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Video Transcript
Redefining floor finishing, with exceptional workability, durability, and safety. Norton and Vermont Natural Coatings have come together to offer a full line of PolyWhey Professional Wood Floor Finishes that are safe, durable, and easy to apply.
Revolutionary PolyWhey Professional Wood Floor Finishes use the power of natural whey protein to deliver a full line of unique single component finishes that offer time savings and less waste when re‑coating new wood floors.
Follow along with our easy steps for application on a new hardwood floor, and then experience the power of PolyWhey for yourself.
Start by using Norton abrasive products to sand and prepare floor using NWFA industry standards. Vacuum, and wipe surface clean prior to coating. For new floors, it is recommended to apply three coats ‑‑ one coat of PolyWhey 3000 Sealer and two coats of PolyWhey 2500 or 3500 finish. More coats can be applied for high‑traffic or commercial spaces.
PolyWhey finish can be used over most professional wood floor stains. PolyWhey 3000 Sealer should be used as a first coat over stain before application of 2500 or 3500. Follow manufacturer's recommendations for dry times, and test an area for compatibility before beginning job.
Be sure to close all windows and doors, and turn off HVAC system prior to coating to ensure finish flows and levels properly. Rock containers several times and stir finish to ensure any settling is thoroughly mixed.
Use a dampened T‑bar, 1/4 inch or 3/8 inch napped roller sleeve, or painter's pad to apply sealer, and pull the sealer with the grain of the wood.
Maintain a wet edge at all times. Be sure to feather out all turns. Avoid moving too quickly, and maintain steady medium pressure to avoid applicator drips.
Apply PolyWhey 3000 Sealer at the recommended coverage rate of 500 to 600 square feet per gallon, spreading evenly across the floor. Up to two coats of sealer can be applied if desired. Allow each coat of sealer to dry one and a half to two hours.
For best results, abrade after each sealer application with a yellow Norton SandDollar or 220 grit Norton PSA sheets on a maroon pad. Then vacuum and wipe surface clean prior to coating.
Apply first coat of PolyWhey Floor Finish at the recommended coverage rate of 600 to 700 square feet per gallon, spreading evenly across the floor. Two coats are recommended, but additional coats may be applied in high‑traffic or commercial spaces.
Allow the first coat to dry one and a half to two hours. For best results, abrade after each coat of finish with a yellow Norton SandDollar or 220 grit Norton PSA sheets on a maroon pad.
Apply the second coat of finish. Allow the second coat to dry one and a half to two hours. Allow one week for full product cure.
Furniture may be replaced after 72 hours, using floor protectors. Use only a dry mop for cleaning during the first week. After that, use Norton Vermont Natural Coatings Daily Floor Cleaner as needed, along with vacuuming to keep your floors looking new.


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Delightful word of the year frame to help you focus
Get creative and have fun!
Kristi Nazzaro
Every December I choose a word to focus on for the upcoming new year. I have participated in Ali Edward's One Little Word workshop for the last several years. Throughout the year I make my word visible in a variety of creative ways.
This year I chose the word "pace". I want to work towards my personal and professional goals at a steady pace. I am looking for slow and steady as opposed to rush, rush, rush.
I knew that for my first Design Team Project for 2018 I wanted to incorporate my word. I thought a frame would be a wonderful way to keep my word present in my every day.
I pick up frames from Marshall's and Kohl's throughout the year and keep them in my stash for future projects. You never know when inspiration will hit and I always want to be prepared. The funkier the color....the better.
I couldn't wait to get my hands on the brand, new INKed Rubber Stamp Set. The Art Pops™ Collection cards are already beautiful by themselves but adding some stencils and marks gives the piece my own personal touch.
"You never know when inspiration will hit and I always want to be prepared" - tweet that
After just a few small additions to the Art Pops™ Card I was able to add my word on a scrap piece of fabric and stitch it all together. I love how the stitching gives the piece a bit of my personality. I can't stitch a straight line to save my life. I love the wonkiness of the lines. They truly show the curves of my own personal journey.
This was such an easy project that will brighten my days and keep me on track to the goals I have set for myself for the year.
Going Deeper...
What's your top tip for dealing with blank page paralysis?
When I am feeling especially uncreative or just not able to get anything going art wise - I put on some music and select only a few bottles of paint, maybe one or two small stencils and some collage papers. I find that with less products I'm able to start small and not be overwhelmed. Sometimes I can't get started when I have so many products at my fingertips. Less is more for me when I am staring at a blank page. Some good music and a couple of supplies will usually start a nice flow of creativity.
What do you do with your art once you've finished it?
I give a fair amount of my art pieces away to friends and family. I sell some pieces periodically in my Etsy shop. And then there are plenty of pieces that I hoard here at my house. I make lots and lots of altered art tags so they are usually placed in my art journals.


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Release Date: May 20, 2008 (Walt Disney Video)
Number of Discs: 4
Number of Episodes: 24
Running Time: approx. 612 minutes
Total Run Time of Special Features: approx. 72 minutes
Special Features:
*Feature: Muppets on Puppets
*Feature: A Company of Players
*Muppets Commercials
And now, a show that needs no introduction, but hereĺs one anyway...
Wocka! Wocka! Wocka! Grab a seat and spend some time with characters that have kept the world laughing for decades.
Join the hardest working muppets in showbiz -- Kermit, Miss Piggy, Fozzie Bear, and the rest in The Muppet Showĺs
fall-down funny third season. Itĺs jam-packed with some of television prime-timeĺs most memorable moments.
Experience all 24 episodes from Season Three -- digitally remastered and restored in this special 4-disc DVD set.
With bonus features and laughs aplenty, this DVD is unbeatable entertainment.
Episode List / Guest Stars:
Due to the nature of The Muppet Show (a variety show), this section is, like previous seasons, structured differently. This will serve as more of an episode list, which will in turn encompass the list of guest stars. Each and every episode is VERY entertaining -- but for different reasons. If youĺll notice, when there are comedians on the show, the show takes on a more sketch-based tone. What also surprised me were some of the folks they brought in as guests: One week itĺs Edith Bunker (Jean Stapleton), the next itĺs Alice Cooper. This show had an EXTREMELY diverse range of guests over the years. When thereĺs a musician guesting, the show is more musical. There WILL be names that *you* donĺt recognize. This is perfectly alright -- just look them up on Wikipedia. Thatĺs what I do!
1) Kris Kristofferson, Rita Coolidge
2) Leo Sayer
3) Roy Clark
4) Gilda Radner
5) Pearl Bailey
6) Jean Stapleton
7) Alice Cooper
8) Loretta Lynn
9) Liberace
10) Marisa Berenson
11) Raquel Welch
12) James Coco
13) Helen Reddy
14) Harry Belafonte
15) Lesley Ann Warren
16) Danny Kaye
17) Spike Milligan
18) Leslie Uggams
19) Elke Sommer
20) Sylvester Stallone
21) Roger Miller
22) Roy Rogers & Dale Evans
23) Lynn Redgrave
24) Cheryl Ladd
Hopefully youĺre used to this by now: Two versions of the packaging exist -- one with a fuzzy cover that approximates the feel of the muppet depicted on the cover, and one thatĺs just straightforward art on a box. My copy is the fuzzy one...or should I say the Fozzie one? Everyoneĺs favorite horrible-joke-telling bear is on the cover this time. Iĺll be perfectly honest here -- it may be something relating to how the package was delivered to me, but the furry texture on the front cover of my copy had a rather unpleasant smell when I first opened it, and the smell only subsided after a couple of days. This is a minor concern, but I feel I should note it nonetheless.
Front cover of the digipak features the various muppets sitting in theater-style seats rather happy. The rear cover of the Digipak features a yellowish-brown curtain with a microphone in front of it, along with a stool thatĺs empty save for Fozzie Bearĺs hat sitting on it. If you paid close attention to the front of the Digipak: Fozzie, who can be seen front and center, is missing...his hat. This is a nice little touch.
Each disc features a muppet on the right, with curtains on the left and a green strip in the lower third of the disc. Animal is on disc 1, Fozzie is on disc 2, Kermit is on disc 3, and Miss Piggy is on disc 4. Episode breakdown per disc can be found in the runtimes section.
Menu Design and Navigation:
Iĺll be perfectly honest, the menus here seem a bit less...involved...than they were on past sets. There is still the usual good two minutes worth of dialogue from the characters on the main menu, but on the whole the menus feel a bit more generic this time around. Theyĺre still nice, just not AS nice as at first. Menu opens with Fozzie telling a joke, which then transitions into the main menu. Dialogue from the character(s) lasts a minute or two running on a loop.
Episode selection features a shot of the stage, with three of the archways from the opening present. The music playing during this menu is dependent on the disc -- each disc has a bit of a song corresponding to an episode on the disc. For example, disc 1 has an instrumental of ôRocky Topö -- Roy Clark performs this song, and all the instruments in it, in the third episode. The main menu lacks a little bit, but the episode selection menu is great -- I donĺt recall hearing any music on it on any sets in the past.
Video and Audio Quality:
While having fuzzy packaging and quality menus is fine, itĺs nothing if the episodes themselves donĺt shine. Luckily, the video quality and audio quality here is EXCELLENT, especially for the showĺs age. Iĺd love to say itĺs fine and leave it at that -- but as Iĺve been led to believe you guys want me to pick it over with a fine-toothed comb: There ARE some compression artifacts around some edges that occur during periods with lots of motion (read: opening credits). Itĺs a tiny flaw, but itĺs there. Chapter stops occur at the end of each act. The audio is particularly good for its age -- youĺre not getting 5.1 surround sound here, but you could have figured THAT out. In regards to possible edits, I donĺt have that information available by press time. Iĺll continue to search for them in the meantime. Here, at the very least, are episode runtimes (and they seem consistent, so a good sign):
Disc 1:
1) Kris Kristofferson, Rita Coolidge: 25:44
2) Leo Sayer: 25:44
3) Roy Clark: 25:41
4) Gilda Radner: 25:42
5) Pearl Bailey: 25:43
6) Jean Stapleton: 25:43
Disc 2:
7) Alice Cooper: 25:41
8) Loretta Lynn: 25:41
9) Liberace: 25:42
10) Marisa Berenson: 25:40
11) Raquel Welch: 25:40
12) James Coco: 25:41
13) Helen Reddy: 25:41
Disc 3:
14) Harry Belafonte: 25:44
15) Lesley Ann Warren: 25:42
16) Danny Kaye: 25:39
17) Spike Milligan: 25:43
18) Leslie Uggams: 25:39
19) Elke Sommer: 25:42
20) Sylvester Stallone: 25:41
Disc 4:
21) Roger Miller: 25:43
22) Roy Rogers & Dale Evans: 25:42
23) Lynn Redgrave: 25:42
24) Cheryl Ladd: 25:43
Special Features:
A couple more unique features for this set:
Muppets on Puppets (58:43): A 1 hour program (this aired on NET, the predecessor to PBS) filmed by Jim Henson in 1968-69 is hosted by Jim Henson and features one of the earlier looks at his creations. This program is actually in black & white. Iĺm honestly surprised this even still exists.
A Company of Players (10:20): A feature that takes look at the puppeteers that control the Muppets.
Purina Ads (2:34): These ads were some of the earliest appearances of the Muppets on television. Theyĺre from the early 1960s and feature Rowlf. While most now consider Kermit easily the ôstarö of the Muppets, there was a time when Rowlf was in fact the...uh...top dog. Also it is in black and white.
Total Runtime of Special Features: approximately 72 minutes.
Final Comments:
I love the Muppet Show sets -- theyĺre some of the finer sets of classic TV Iĺve seen. Also remember, readers, that this set is intended for a general family audience. Even given that, these sets put out a fine product in both the content and the features departments. While Iĺd certainly like to see commentary tracks, I can understand why theyĺre not here. Ultimately, this is a set I wholeheartedly recommend to everyone, young and old. Youĺre sure to find something you like in this DVD set.
Final Numbers (out of 5 stars - How our point system works)
Audio: 4/5
Video: 4.5/5
Special Features: 3/5
Menu Design/Navigation: 5/5
Final Score: 4.5/5
-- Reviewed by Seth Thrasher on 05/17/08
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text:
Just had a lovely weekend of doing pretty much nothing, and it was lovely. On Friday night, we watched The Rock, which is a pretty damn good film by anyone's standards. According to Empire's A-Z of Michael Bay, the script was tweaked by Dick Clement, Ian La Frenais, Jonathan Hensleigh, Quentin Tarantino and Aaron Sorkin. That's quite a pedigree.
On Saturday, the sun had his hat on. A walk around York in the sun is one of the best things you can do in life, but when you cap it off with a Rissoto Lucia and a sit in Museum Gardens with Dr B and the new issue of Port (roughly a thousand times better than the new issue of Esquire), you've got yourself a perfect Saturday.
And then on Sunday we decided to try poaching eggs for the very first time. We couldn't have done this without Google (my usual technique: type the food in question and follow it with "Nigella", "Jamie" and "Delia") and Twitter (bless you, wise Flying Monkeys). Whilst doing it, @mikebreed tweeted this New Yorker cartoon, which is basically a portrait of us in the kitchen. I'm glad to say it went very well, and we managed to get them eggs poached and slapped on some toast with a spot of pesto just in time for a classic Columbo (featuring the ever-bronze George Hamilton on particularly slimy form). Bless you Peter Falk – Sundays were invented for you.
We ended the weekend with a spot of DIY Conversing (very excited about receiving my bespoke Swiss Cheese Cons – I'll get some pics up here as soon as they arrive), ordering tickets for Wilco at The Roundhouse (even more excited about that!), and a watch of Walter Salles' Dark Water. It's a pretty good film, but one that commits the unforgivable crime of wasting Tim Roth. It got me a little bit fascinated with its location: Roosevelt Island. A sliver of land between Manhattan and Queens, barely a block wide, it's a bizarre microcosm of New York – like a Lego model of the city built on a sideboard. Must visit it next time I'm over there.
So yes, for a weekend of doing nothing, I managed to squeeze a heck of a lot out of it.


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Dear GAP-Forum,
This is to announce bugfix number 7 for the GAP library. The priority
of this fix is high.
This fix corrects:
1) An error in the 'PreImagesRepresentative' code for homomorphisms between
2) An error in the 'Centralizer' code for AgGroups that may introduce
duplicate parent groups.
3) An error in 'RealClassesCharTable'.
4) A compiler problem in the DOS version. (With level 2 optimization the
Kernel function TreeEntry does not work.)
5) Potentially stray pointers in kernel routines for finitely presented
groups if a garbage collection is issued in between.
6) Adaption of the XGAP share package to changes in the Tietze transformation
routines in GAP 3.4.4
7) Upgrade of the MeatAxe share package to the C-Meataxe 2.2.3 (to avoid
problems under Linux)
Errors 1 and 3 may give wrong results, errors 2 may cause GAP to
issue an error message. Error 4 will lead to unpredictable results (wrong
results of error messages).
Error 5 might possibly lead to segmentation faults.
Many thanks to Martyn Quick for (implicitly) reporting error 1, to Gerhard Hiss
for reporting error 3 and to Charles Leytem for reporting error 4.
To apply the fix, load the zoo archive 'fix7.zoo' from the
bugfixes web page
Alternatively you can find this file in the 'bugfixes' directory of the
GAP ftp distribution.
Unpack the file in the home directory of your GAP distribution (the
directory containing the 'lib' and 'etc' directories) using 'unzoo -x
fix7.zoo' (On a PC or a Mac you will have to enter the argument line after
the call to 'unzoo'.) This will replace the erraneous file by fixed versions.
Make sure you have write permissions when applying the fix.
As this fix changes the source you will have to recompile. DOS and MAC
users will find new binaries on the bugfixes web page.
If you use the MeatAxe share package you will also have to recompile the
MeatAxe binaries.
You can remove the file 'description7' afterwards.
Thomas Breuer, Frank Celler, Volkmar Felsch, Alexander Hulpke,
and Werner Nickel, 12-Sep-97
############################################################################# # # these commands should run without error if fix7 has been applied. # g:= SmallGroup( 36, 1 ); gens:= g.generators; a:= gens[1];; b:= gens[2];; c:= gens[3];; d:= gens[4];; bad:= a*b*c^2*d^2;; c1:= Centralizer( g, b ); c2:= Centralizer( c1, a ); c3:= Centralizer( c2, bad ); DoubleCosets( g, c1, c2 ); DoubleCosets( g, c1, AsSubgroup( g, c3 ) ); DoubleCosets( g, c1, c3 );
if ForAny(imgs,i->i<>a.identity) then
c:=FreeGroup(4,"c"); r:=List(c.generators,x->x^2); Append(r,[(c.1*c.2)^4,(c.1*c.3)^2,(c.1*c.4)^2,(c.2*c.3)^4, (c.2*c.4)^2,(c.3*c.4)^4]); Append(r,[(c.1*c.2*c.3*c.2)^3,(c.2*c.3*c.4*c.3)^5]); c:=c/r; s:=Subgroup(c,[c.3*c.1,c.4*c.2,c.1*c.4*c.2*c.1]); p:=PresentationSubgroup(c,s);


text:
15 Ways to make a gal smile..
1. Tell her she's beautiful. Not hot or sexy.
2. Hold her hand, just bcos you love her.
3. Leave her voice messages to wake up to.
4. Wrestle with her,and let her win.
5. Hug her from behind.
6. If you talk to another gal,walkover to her
after you're done and kiss her.
7. Write her note, or call her just to say.."i
love you"
8. Introduce her to your friends as your
9. Play with her hair.
10. Get upset if he gets unwanted contact
from someone else.
11. Make her laugh, just you love to see her
12. Lets her fall asleep in your arms.
13. Hang out with her on weekends because
she's important to you.
14. Make it a habit to be buying her gifts as
surprise parkage atleast once in a week.
15. Kiss her before other ladies &make her feel
Agree or disagree?
How to love your Lady!
15 Ways to make a gal smile..


text:
It is often said that two heads are better than one. The University of Kentucky and Kentucky Employers' Mutual Insurance have found this to be true. They have teamed up to improve workplace safety through several unique occupational health initiatives. One project that has drawn a great deal of attention is a safety initiative targeted at small, residential construction companies.
The faculty and staff of the University of Kentucky (UK) were experienced at designing and implementing unique research programs to identify and understand occupational hazards and then developing training materials to address these hazards. Several faculty members had been involved in developing latent-image narrative training exercises for mining and agriculture and had received recognition from the National Institute for Occupational Safety and Health (NIOSH) and the Mine Safety and Health Administration for their efforts.
Kentucky Employers' Mutual Insurance (KEMI) is the largest provider of workers' compensation insurance in Kentucky and serves approximately 14,000 policyholders. KEMI is dedicated to promoting workplace safety through direct consultation with its policyholders and the development of training materials.
In 1996, these two agencies worked together to tackle a question that has perplexed many safety professionals: How can you effectively train workers of small, residential construction companies? These companies have been labeled a "hard-to-reach" population by many safety professionals because the majority of these companies has fewer than 10 employees, does not belong to a trade union or organization, and job sites change regularly. These factors make safety training difficult to conduct.
The UK faculty and staff wanted to develop materials for small, residential construction companies, but did not know how to access the workers of these companies and get them to participate in the training program. KEMI agreed to provide companies who participated in the safety program with a discount on their workers' compensation premiums. This was right in line with KEMI's principles: companies that make efforts to train their workers on safe work practices should be rewarded for their effort in the form of reduced premiums. This premium discount turned out to be just the carrot that employers needed to motivate them to take the time and effort to train their workers on safety matters.
The team wrote a grant to NIOSH that was funded in October 1996. The project has completed its third and final year of funding. The first year of the project entailed traveling throughout the state to conduct focus groups with construction workers to gather information useful in developing the materials. Workers were asked an array of questions about their job sites, work habits, preventive measures, most-common hazards and methods of training new and inexperienced workers. This step was necessary to ensure that the materials developed were accurate, realistic and addressed the perceived concerns of the workers.
Training Exercises
The UK faculty and staff used the information from the focus groups to develop reality-based exercises that describe a common work situation and ask the participant to make decisions related to safety and health. For example, one of the exercises describes a cluttered job site that poses serious slip and trip hazards for cabinet installers. The participant is asked if the cabinet installer should 1) call the boss to tell him about the clutter and ask what he should do, 2) clean it up himself, 3) don't do anything about the mess, just get started, or 4) just clear his immediate work area.
When participants choose the answer or answers from the problem booklet, they go to the answer booklet and select the corresponding number(s). It has no text beside it at first. However, a latent image marker is used to highlight the area on the answer sheet and information appears. The information tells participants whether their selection was correct or incorrect and gives an explanation of the answer.
In the example mentioned earlier, if the participant chooses answer No. 2, the information would say: "Correct. Even though it is not his mess, working around all that clutter will slow Joe down and increase his chance of injury." On the other hand, if the participant had chosen No. 3, the information would say: "Joe shouldn't start the job until the job site is picked up. Remember, he will be adding to the mess by removing old cabinets."
The "invisible ink" was an excellent way to provide immediate feedback and stimulate thought. It really engaged the participants, and facilitators in the group sessions had to keep them from working ahead of the group.
Once these materials were developed, groups of workers were asked to review the exercises and provide feedback. From this feedback, the exercises were modified and put into final format.
The next question to address was how to conduct the training. Both group meeting and home-based trials were conducted. The team had predicted that the participants in the group format would benefit more from the exercises because of their involvement in the group discussion. However, after eight group meetings, we compared the evaluations of the two groups and found there were no statistically significant differences. Given the resources needed to conduct the group training and the inconvenience to the workers who had to travel to the training site, it was decided to go strictly with the home format.
The Results
The exercises have been a huge success. More than 300 individuals have completed the exercises and returned them to UK. There are a six exercises that depict roofers, carpenters, block masons and other construction tradesmen in realistic work scenarios making decisions that affect their safety or the safety of those around them. The exercises address back injuries and slips and falls, two of the most common causes of work-related injuries. Each exercise has a lengthy evaluation that enabled the team to improve the exercises and determine their effectiveness. The exercises have received the equivalent of an "A-" or "B+" from the participants on being realistic, accurate and effective. Also, the exercises can be completed at home, which increases participation by eliminating the need to interrupt work schedules or to travel to a meeting place.
KEMI has assumed full responsibility for the materials since the end of the funding and is in the process of making them available to all of their policyholders involved in construction trades. KEMI will continue to offer premium discounts to policyholders that take the time and effort to train their workers. The training will be available in paper and Web formats. The Web format has an audio component to provide the immediate feedback given by the "invisible ink."
This relationship with UK created a winning situation for everyone involved. The UK researchers got access to a hard-to-reach population so they could test their training materials. KEMI had a chance to promote a cutting-edge training program and make training materials available to their policyholders. Finally, policyholders received valuable safety training and an opportunity to earn a discount on their premiums.
Continuing Efforts
More recently, UK and KEMI have teamed up on another project. UK's Kentucky Injury Prevention and Research Center has received funding to develop a multisource surveillance system for occupational burns to develop prevention strategies.
KEMI assists UK by identifying injured workers who have been burned in the course of their work. The staff at UK collect information from the individual regarding the primary and secondary causes of the accident, costs associated with their treatment, and a wealth of other information that will assist them in developing prevention strategies. These strategies will be communicated back to KEMI and to other insurance companies, public health officials, employers and trade organizations with the goal of preventing occupational burns.
This team approach has worked so well for both agencies that we continue to look for new and innovative programs to prevent occupational injuries. With both parties working together, we are able to draw on each others' strengths and accomplish a common goal: to promote the safety and health of Kentucky's workers.
Jonathan Mays, MS, is policyholder services manager at Kentucky Employers' Mutual Insurance, the largest provider of workers' compensation in Kentucky. He manages their loss education efforts and is based in Lexington, Ky.


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Pregnancy lasts nine months for the mother, but by the time it becomes a reality, you are often a few months into it. When the belly pops, various emotions can begin to take full force - sometimes all at once. Although birth seems like an overwhelming experience, preparation can help you feel more in control. The following tips can help you find your center and get in the zone for your upcoming birth.
1. Step away from Google, and center yourself.
Your phone and the Internet are not your friends during pregnancy. It only brings in fear, during a time when you want it least. Rather, find time to focus your mind, body, and soul. Take time each day to slow down. Notice what calms you, and what stresses you. When contractions begin to build, there comes a time where you need to turn inward. Your true wisdom will take over and your body will do its job to bring baby closer to delivery. It is critical to find personal time leading up to the birth to help you know where to go when labor begins. It can be overwhelming, but if you know how to calm and relax, you will be along for the ride - rather than overtaken by it.
2. Choose books that inspire you.
Similar to the over-googling fear-causing research, reading too much can offer you misinformation and cause stress. If you thrive off more information, know your limits for what is helpful and what is harmful. Speak with your doula or a childbirth educator to find resources that best suit your needs. Each pregnancy may benefit from specialized reading. There is a vast wealth of knowledge available, and it's best to find the ones that bring joy and help you look forward to your journey into motherhood. Learn about the process and your body's reactions. Birth is just the beginning, so find literature that focuses on nurturing and growth.
3. Find a doula that calms you.
As well as educating yourself and learning about your desired birth, you should find a doula that helps you stay calm and centered. It is important for your energy to remain calm and focused during the birth, but you need to assemble a team who can do the same for you. You will know when you find the right doula for you. A great doula can vastly improve your birth and help you feel empowered.
4. Skip the couch and office chair ASAP, use the ball for all sitting.
Birth balls are a godsend not just for laboring moms but pregnant and postpartum women as well. Leading up to labor your pelvis is able to adjust and position the baby as needed. Couches and chairs tend to build tension in the muscles you want to relax. They can also promote bad postures that do not aid in labor. The birth ball takes pressure off your back and hips and allows you to prep for using your ball during contractions. After birth, the ball becomes a tool, similar to a rocking chair, that can soothe your baby or provide a comfy seat for breastfeeding. Not to mention, it tones your core throughout.
5. Rest up.
Many pregnant mothers become frustrated that they continually want to sleep leading up to the birth. The most important thing in pregnancy, labor, and delivery is to listen to your body. If you feel you need a rest midday - do it. There are not going to be times in the future where you have that luxury. Enjoy the quiet time you have now to indulge and treat yourself to a few siestas. If naps aren't your thing, but twelve hours of sleep feels needed, follow your gut. Sleep will be a hard thing to come by, and now is the time to catch all the Zs possible.
6. Be present.
Live in the moment during your pregnancy and birth. You are only pregnant with this person once, and the experience is one to cherish. Just remember - the days are long, but the years are short. Keep a journal during pregnancy and the early days of parenting if you can. It doesn't have to be grand. Even a small note on your phone will do. Looking back on it will be a wonderful reminder. It can also teach you a lot about future experiences or births.


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Toronto's most beloved overstuffed bear and probable comedic genius, Chris Locke, brings the wakka-wakka and brings the house down the first Wednesday of each month. With the help of some of the top comics in the city, funny is guaranteed.
Back to All Events
Earlier Event: October 25Be Awesome Button Party
Later Event: November 8U.S. Election


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Six persons were killed and 15 injured when a tempo collided with a private bus early Saturday morning in Dabwali village in Sirsa district. The deceased belonged to Moga district in Punjab.
The deceased were identified as Bhagwan Singh, his wife Surjeet Kaur, Gurdev Singh, Dilpreet Kaur, Malkit Kaur and Jasbir Singh.
According to the police, the accident occurred as there was heavy smog in the air leading to very low visibility on the road.
When the tempo overtook the truck near Sawant Khera in Dabwali, it collided with a private bus that was coming from the opposite direction.
The truck then hit the tempo from the rear side crushing it completely, the police said.
Six persons including the driver of the tempo died. The 15 persons who were injured were admitted to a civil hospital in Sirsa and Bathinda where they are undergoing treatment.
The drivers of the bus and truck fled from the spot after the accident.
The police have registered a case under Sections 279, 304A, 337 and 338 of IPC against the drivers of the bus and the truck who are yet to be identified.


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From a humble beginning and with a very bright future ahead, Don Jazzy Mavin Records newly signed act, Korede Bello, has added another feather to his cap as he smiled home with the prestigious Most Promising Music Act To Watch award.
Korede Bello picked up the award at the just concluded Nigeria Teen Choice Award held at Sheraton Hotels, Abuja.
The award comes barely two weeks after releasing the Cold Outside singer released his second official single as a Mavin artiste.
Korede Bello has released African Princess since he was signed as a member of the label and has also collaborated with his label mates in the most popular song of the year *Dorobucci *and the follow up single *Ada Obi. *If you listened to his part of the song, you will know that Korede Bello has found a place in the heart of many Nigerian and African girls.
Congratulations to the youngest Mavin Records act.


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iTunes | Stitcher | RSS feed
The Host relates part of his history and shows us the first translation from Samantha Ko.
This week's Broadcast Failure was performed by Stephen Jack Cullen.
The song was Till it's over by Sj Tucker
Which is part of The Green Album, a collection of new or previously unreleased music by a collection of artists concerned with the state of our environment.
25% of all profits from sales of the Green Album go toward the Rainforest Trust.
You can find out more here.
If you want to send a report to the Switchboard please click here.
Music used:
Villainous Treachery by Kevin MacLeod
How We Survive (originally written for the film of the same name by Joshua Yeo) by Thomas O'Boyle
Ice Demon by Kevin MacLeod
S01 E05: Mediocre Conduit
iTunes | Stitcher | RSS feed


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cannon thomas. month 11.
I am barely sneaking this one in under the wire (ok it's late… even his photo was late) but what a big month Cannon had! Others than crawling and attempting to walk around he is just all mommy most of the time. We also had our first family cold for the entire week of Thanksgiving which wasn't fun!
So quickly going down the line of some of his favorite and most used things this month:
He's really getting close to walking so he has been cruising around d the house with his little walker. I have come back around to getting him dressed every day (we definitely went through a couple of months where he only wore pajamas all day every day soooo our go to's lately are this cute onesie that I got from Mac and Mia (yes yes a onesie is similar to pajamas but it's not actually pajamas). He got his Christmas present early (thanks to dad) - a ball pit. He's obsessed! And lastly we continue the Blue Truck saga with the Christmas edition; and have decided it is his birthday theme - in one month!
1. vTech Walker | 2. Stride Rite Shoes | 3. vTech Ball Pit | 4. Little Blue Truck Christmas | 5. Onesie from Mac and Mia
Heading into 1 year - I can't believe it!


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This is one of the outstanding vehicles which graced the fields of the 2018 AACA Fall Meet, Hershey, PA. It is the custom built Vagabond.
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When you're looking for quality apparel and accesssories at a great value, the Port & Company® collection is ther natural fit. With Port & Company, you're sure to get an exceptional price on well styled clothing that's made to last. This collection had an incredible range of apparel for kids and adults with a focus on everyday wear including t-shirts, sweatshirts, headwear and basics... all at an irresistible value.


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Poaching of fish and wildlife in and around Kariba, Gache Gache and the Matusadona National Park is on the increase.
It is not easy to protect these natural resources in times of economic hardship.
Several public-spirited organisations, supported by the tourism industry are working hard to combat the threat at a considerable cost. Their efforts deserve support. Tourism, after all, depends on continued healthly populations of fish and wildlife.


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WIN is pleased to highlight the case of peace activist Hermann Theisen where the Court applied the provisions of the EU directive on trade secrets to acquit Mr. Theisen of criminal charges. Mr. Theisen's case is an important contribution to the ongoing debates surrounding whistleblower protection in Germany. More broadly, though, this case is a landmark, setting the standard of how the trade secrets directive can be used as a conduit for whistleblower protection – a surprising and welcome turnaround for legislation that has a less than favourable reputation amongst many working to support and defend whistleblowers in the EU.
We are grateful to The Society for Civil Rights (GFF) for providing the summary of this case reproduced below.
In 2018, several lower courts in Germany convicted peace activist Hermann Theisen for calling on employees of weapons manufacturers to expose the illegal activities of their employers.
The Society for Civil Rights (GFF) supported Mr. Theisen in his appeal procedures to get these courts to recognise that neither whistleblowing in the public interest nor the call for it are criminal offences.
On 16 January 2019, the Munich District Court became the first court to acquit Mr. Theisen on these charges.
Hermann Theisen is not a whistleblower – but he wants to encourage others to blow the whistle. To fight illegal arms exports, he regularly hands out leaflets to the employees of weapons manufacturers close to their company premises. In these leaflets, he asks employees to consider blowing the whistle on illegal activities of their employers, such as violations of export restrictions. The leaflets also describe the legal risks that whistleblowers face.


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Bee Fields Stole
This is an Anne Hanson of Knitspot design - in some ways I like the Bee Fields triangular Shawl better (I think the panels with the strips of bees and the otehr pattern between are preferable on that) but I'm not a great triangular shawl person - also can't bear those long rows!
The yarn is wonderful Chocolate Toffee from Jen at Fyberspates - and most delightful it is! Jen has *very* good customer service - she sent me 2 skeins that had conned her they were dry (silk will do this) but were in fatc just very slightly damp. by the time they arrived here they stank most awfully. I tried just drying them - no good - and ended up washing them several times, which spoilt the lustre quite a bit. I let her know - she said 'snap' the yarn and the sheen will return - and I think it is getting better! However, she also sent me two more skeins. The match is pretty good (I thought I'd lost lots of colour from the 2 I'd washed, but not so!)
And doesn't it have a honeyed look? Perfect for this bumble bee broth?
By the way - if you wonder why the yarn looks good - it's because I realised I have a perfect light box. It's the bath! There is a long window next to the bath, but it faces another building and north-ish, so almost never any direct sun,but very light. And the bath itself is white but slightly matt. What d'you think - better?


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Santa Monica RNs Postpone One-Day Strike, Accept Offer for Mediation to Resume Contract Talks
E-News Park Forest
June 12, 2012
Nurses at Saint Johns Health Center in Santa Monica have decided to postpone the strike set for Wednesday June 13 to allow a day of mediation. Jack Cline, a Medical-Surgical Department RN at the hospital says, "The decision to postpone the strike was really a no-brainer. Mediation gives both sides the chance to step back and refocus on the task at hand - negotiating a contract to improve the quality of care at our hospital and to ensure we can advocate for our patients for years to come."


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The Library of America announced that it has hired John Kulka to be its new literary director. Kulka—who has held positions at Harvard University Press, Yale University Press, and Basic Books—is replacing editor and author Geoffrey O'Brien, who will conclude his long tenure as LoA's editor in chief at the end of 2017.
Mattress company Casper is launching its own quarterly print magazine. Woolly "encourages readers to relax with a mix of personal essays, comedic advice columns, yoga instructor confessions and much more," according to Adweek.
The New York Times talks to Kevin Young about poetry, hoaxes, and his new book, Bunk. In his research, Young found that modern hoaxes are much worse than their predecessors. "They're worse in their damage and in their intent now," he said. "And to see that, and be proven right, or prescient, is a kind of hollow victory."
The South African government is threatening to ban journalist Jacques Pauw's new book, The President's Keepers, an exposé of "Jacob Zuma's compromised government." The State Security Agency sent a cease and desist letter two days after the book was published, claiming that Pauw's work was "replete with inaccuracies." But NB, the book's publisher, says that it has no plans to withdraw the book.
Through a collection of a year's worth of New York Times push notifications, Slate examines how "the convergence of Trump and technology and the media landscape, with the invigorated news giants and hungry digital outlets duking it out for our bloodshot eyeballs" has changed the way we live. "For all of our polarization and our partisan bubbles, this inability to detach from the news is something we've experienced together," they write. "We didn't used to know what was said at every White House press briefing. We didn't await word of the next mass shooting. We didn't always wake up expecting news. The cadence of life has changed."


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"According to another ancient teaching, man has three ears: the outer.. the part you see, bears the name ear but which does not hear anything; the inner ear, with all its intricate resonating devices, which connects with the brain and the rest of the body and tells us what sound the ether is carrying; and the whole man, from the top of his head to the soles of his feet and from his heart to his intellect, who "hears the meaning of what the sound is saying."
"Listening requires a centering discipline if we are to understand each other. For what we say will be related to our past and future, to our health and mood and ambitions and self- image, our needs and our ideals'... it will also be related to the weather, the season, to moonlight and the stars; it will be related to the history of man, to the history of the individual, to nature and evolution at every level; it will also be affected by the relationship between us."
Excerpt from Centering, by M.C.Richards
A picture I took of Christopher Hedge at the amazing Magic Shop Studios while working on the post production mixes of my album Light Breaks. Fine tuning and listening to the mixes and the sound waves, while the waves break out side.
Christopher is not only a master of working with sound but also has mastered the technology and the tools to support a works sound and vision. With a laser like focus he is able to hear the places in the mixes that require adjustments in order to seamlessly bring the songs into a more cohesive whole.


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Coach Austen Cochran
I've played multiple sports through my childhood. I started weight training (powerlifting, bodybuilding) when I was 14 and began more cross training when I was 17. After I graduated Cedar Park high school in 2008, I joined the Marine Corps Reserve. I have been meritoriously promoted twice and I have led PT for our weapons company for the last two years. I found Crossfit in Afghanistan early 2011 and took the level 1 course when returned in December 2011. I did physical therapy with Mike and Dave while I was in high school and when I found out they were doing Crossfit, I thought it would be a great opportunity to learn PT with Mike and advance my training with Dave. I'm going to school for physical therapy and I'm training for the Crossfit Games.
Dynamic warm up
6 of each
lunge stretch
leg cradle
hand walks
pvc arm circles
press ups
Group warm up
6 count burpees
10 each of jacks
high knees
butt kicks
bottom squat hold 30sec-1 min (first round only)
push ups (2nd round hand release)
50 ghsu
50 ghbe
25 strict hanging knee raises
3 rounds for time of
50 double unders
21kb swings
12 pull ups
MaD MOBI
calf stretch
knee on the wall
roll calves on bb


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Review: ANZ Rewards Travel Adventures Visa credit card
Up to 200,000 Bonus Amplify Rewards Points - St.George Amplify Signature
Over 2 years when you spend $12k on eligible purchases each year.* Plus reduced first year annual card fee $179 (usually $279). New Amplify Signature cards only. Click here to apply.
The Good
- No international transaction fees
- Two yearly Virgin Australia lounge visits
- 40,000 bonus Velocity points for eligible new customers
The Bad
- Earning rate reduces after spending $2,000/month
Added Value
- Free domestic Virgin Australia return flight every year
Packaging a free domestic return flight every year, two yearly airport lounge visits, no international transaction fees on purchases and 40,000 bonus Velocity points for eligible new customers, there's a lot to like about the ANZ Rewards Travel Adventures Visa credit card.
However, with points tiering kicking in after spending just $2,000 each month, this card may be better-suited to shoppers already using a higher-earning American Express card where AMEX is accepted, and are looking for a card to keep in reserve for those times where it's not, to still earn some points on their Visa spends.
Under that strategy, the $2,000 tiering threshold becomes less of an issue, and although the ANZ Visa carries a $225 annual fee, the cost is easily recouped after taking the free return flight every year, leaving you with a card that's practically 'free' while still earning a reasonable number of points for those times where AMEX isn't accepted.
ANZ Rewards Travel Adventures Card: fast facts
- Grade/tier: Platinum
- Card type: Visa
- Loyalty program: ANZ Rewards
- ANZ Rewards airline conversion partners: Virgin Australia Velocity (2:1), Air New Zealand Airpoints (200:$1), Cathay Pacific Asia Miles (3:1), Singapore Airlines KrisFlyer (3:1)
- ANZ reward points earned per $1 spent: 1.5 up to $2,000 per statement period, 0.5 thereafter (no points on ATO)
- 1.5 ANZ reward points = 0.75 Velocity points, $0.0075 in Airpoints Dollars, 0.5 Asia Miles, 0.5 KrisFlyer miles
- 0.5 ANZ reward points = 0.25 Velocity points, $0.0025 in Airpoints Dollars, 0.16 Asia Miles, 0.16 KrisFlyer miles
- Points capping: Uncapped, but tiering applies as above
- Mobile wallets: Apple Pay, Google Pay, Samsung Pay, Fitbit Pay, Garmin Pay
Fees, charges and interest:
- Total annual fee: $225
- Supplementary cardholder fee: $65 with rewards
- Interest rate on purchases: 20.24% p.a.
- Interest-free days on purchases: Up to 55
- Interest rate on cash advances: 21.74% p.a.
- International transaction fee: None
- Minimum income requirement: $35,000 p.a.
- Minimum credit limit: $6,000
Earning points and free flights:
On the surface, the ANZ Rewards Travel Adventures Card earns the same number of points per dollar spent as the ANZ Rewards Platinum Visa, yet with a higher ongoing annual fee of $225 versus $95 on the Rewards Platinum card – so what's the difference?
Well, by paying the extra $130 per year, you'll receive a complimentary return Virgin Australia domestic flight which you can book on a variety of routes, including long journeys like Sydney-Perth on which commercial fares usually cost much more.
Travel just needs to be booked at least 60 days in advance, with new cardholders eligible for this benefit after spending $500 on their card within the first three months – ditto two complimentary Virgin Australia lounge passes, which could be used when taking this free flight or on another trip.
These perks aren't limited to the first year, either: you'll enjoy the same benefits every year until the card is cancelled, although as an incentive for eligible new customers, there's currently a one-off bonus of 40,000 Velocity points when you apply and spend $500 on eligible purchases in the first three months following card approval: enough to book another return economy class flight between Sydney and Perth, plus a payment to cover taxes and fees.
On everyday purchases, you'll also earn the equivalent of 0.75 Velocity points per $1 spent via the ANZ Rewards program, on monthly payments of up to $2,000 (decreasing thereafter). This earn rate apples on both domestic and overseas spend, pleasingly with no international transaction fee on purchases made abroad.
In terms of the earning rate, that's certainly not as high a threshold as available on some other cards, but for points-savvy spenders who primarily use AMEX or Diners Club to maximise their points and just need a points-earning 'backup' card to keep in reserve, the favourable $2,000 ceiling could be all you really need.
Complimentary insurance cover:
You may be covered by international travel insurance on return trips of six months or less after spending at least $250 on transport costs or land activities for that trip using your ANZ Rewards Travel Adventures Card before the journey commences, such as by charging your airfares, cruise costs, accommodation, tours, or other eligible purchases to your card.
Although booking a flight using airline frequent flyer points doesn't directly activate the cover, using your card to pre-pay some of your hotel costs on the same trip could activate the same insurance protection instead (full details in the policy documents, which you should read).
ANZ's line-up of insurance covers also extends to interstate flight inconvenience insurance, rental vehicle excess cover in Australia, and a 'best price guarantee scheme'. As always, refer to the policy documents to check that you qualify, and that the cover meets your needs.
Airport lounge access:
Relax in Virgin Australia's domestic airport lounges with complimentary access twice per year when flying onward on a Virgin Australia domestic flight. You'll receive your first lounge passes in the mail after spending at least $500 on eligible purchases within the first three months, and again every year thereafter.
If you're already a Velocity Gold or Platinum frequent flyer or have lounge access already covered through another channel, you could either use these passes to bring in additional guests over and above your normal allowance – one complimentary guest for Velocity Gold, three complimentary guests for Velocity Platinum – or could gift them to friends or family members to use on their own travels.
ANZ Rewards Travel Adventures Card: the verdict
As a standalone points-earning credit card, the ANZ Rewards Travel Adventures Visa probably wouldn't be your first choice, given its restrictive $2,000/month points tiering threshold and reduced earning rate on further spends beyond that, but when considered more as a 'backup' card to a higher-earning American Express or Diners Club card, it gets a lot more attractive.
That's because you'd use that AMEX or Diners card to earn the most points in the places those cards are accepted, and then the ANZ credit card everywhere else: and those 'leftover' spends may not exceed $2,000/month anyway, allowing you to earn points at the card's highest rate.
The annual fee of $225 is also more than offset every year by the inclusion of the return domestic flight, boosted further by the promise of airport lounge visits for those who don't already have access, and from the savings you'll receive by not being charged international transaction fees on overseas purchases, as are common on other cards.
Plus, with 40,000 bonus Velocity points under your belt in the first year, you'll be flying in no time: and not just from the free trip that comes included every year with the card as standard.
You can apply for the ANZ Rewards Travel Adventures Visa here.
Qantas - Qantas Frequent Flyer
14 Nov 2013
Total posts 8
Hi Guest, join in the discussion on ANZ Rewards Travel Adventures Visa credit card


text: it has been a most joyous few months as we celebrated birthdays, Halloween, Thanksgiving and finally ending this week as we celebrated the birth of our Savior with Christmas. i will be quick to admit, no matter how hard i try, the holiday season becomes very busy and filled with a lot of fun (but time consuming) activities. it has been nice to have the past few days to just relax and have no plans on our "agenda". i have even taken a few afternoon naps which have been quite enjoyable. these images were from one morning this week. i stopped to observe our three year old as she was just enjoying some down time herself.