text:
Haiku Review: Workers Café
Temple Bar Gallery & Studios
11 October – 2 November 2013
By Fujimoto Ryouji
A noble pop-up.
Local produce. Workshops. But
what of The Lockout?
Monday, December 23, 2013
Sunday, December 1, 2013
Installation view of 'a lamb lies down'
Installation view of a lamb lies downCurated by Paul Hallahan
Broadstone Studios
November 2013
Installation view of David Eager Maher's work.
Broadstone Studios
November 2013
Installation view of David Eager Maher's work.
Wednesday, November 20, 2013
Images from 'more adventurous thinking...'
more adventurous thinking...
from the archive of Dorothy Walker, with artist's response from Seamus Nolan
NCAD Gallery
15th June - 7th October 2013
Tuesday, October 22, 2013
McCarty and Kensmil at the RHA
by Marlene McCarty
Crying Light
by Natasja Kensmil
Royal Hibernian Academy, Dublin
5 September – 20 October 2013
Review by Darren Caffrey
Does anything frighten us like the merest sight of our own reflection? Terror comes of a story told to scare, equally the frame of art is no hiding place from the horrors of life. It could be, but artists don't want it that way. Indeed fear is often as compelling as the lure of success. And so it is with two exhibits running in sync at the Royal Hibernian Academy which both tease at something of the draw of death and destruction.
The work of Marlene McCarty stands larger than life and here precisely is the illusion which draws you closer. Each work is composed as a tableau, presenting distinct characters within each scene but hinting also at a union which might yet reveal the full extent of the tale. In fact, the gallery text shares with us a glimpse of the real life world of each figure and each figure has been finely rendered in graphite pencil and blue Biro. But that is where the facts begin to blur into a bigger story about shared responsibility. It is this terrifying concept, overshadowing the tale of each gruesome crime, which in itself brings to mind the true cause of fear and so-called psychopathic behaviour.
Life is once only. Marlene's first foray into representing murderous young girls came as the result of being introduced to the life of another Marlene as told in a true life american crime novel. When Marlene Olive was just a teenager she and her boyfriend of the time killed her mother and father. One day Marlene McCarty was asked by her mother to move some things in the attic. It was here that she found a self-portrait from when she was seventeen. In her own words, this typical pencil drawing was "terribly tightly rendered with all the teenage angst of hoping to make it look like a pretty version of me". Similarly drawn, McCarty found in a portrait of herself a means to reflect the innocence of murderous individuals. She has since been making various series of drawings, worked up from head shots and details of height, and composing of them a literal fantasy embedded in real life events. Taken as a subject, the many examples of the same crime only serve to reiterate the claim of human.
"The girl, as she matures, is losing her position as a child in society. Now she's being sexualized, not only physically and hormonally, but also by outside desire. She's living in these domestic environments with her parents, and generally her mother is going through this stage where she's losing her sex appeal and her cultural currency. And in each case, there's an impulse. The impulse for the girls was: I have to get out of here, I have to free myself, I have to get rid of this environment of parents, family and everything that is oppressing me. And murder was the way out." (1)
Rather than speak about individual works, it would seem the job of the critic is not to criticise or praise but to simply acknowledge what is present. The characters seduce in formal representation and their drama becomes ours for a moment, each one accorded characteristics which reflect their sex, age and place in the group. Primates bowl about as sideline to, and perhaps also as a symbol of the great meaning of such a litany of tragic events; but primarily we are confronted with what it is to be sexual. The fact that in these drawings the characters are clothed with the folds and falls of various fabrics, restricted even by a suggested tightness, nonetheless leaves each of them naked to the eye of any viewer.
The use of line to delineate form while also dancing with the notion of transparency serves to illustrate the fantasy which is innate in looking. The question being: if we are looking, what do we want to see? Indeed, what are we afraid of seeing? Thus, the naked bodies of boys and girls are set into the picture amongst an array of vulva and fully erect and somewhat limp penises of the adult males and females in the mix. Elsewhere, she has drawn more hands than makes sense and even two faces, making of the scene a sketch; as though some other possibilities were rejected. The drawing thereby providing a form of proof of exactly what happened in the process. It is clear that although true to life, in many ways these drawings represent a means to look at the question of human desire. We all have nipples. Indeed by representing also the individual hairs of primates along with the wild seventies hair styles of her subjects, including also the pubic hair of both males and females, she has confronted head-on issues which religious and now secular societies have failed to manage: namely how do we stand as one and become the other. In such a social climate, fear and tragedy will surely test even the most respectable of judges.
In one particular drawing, with a provisional title of Group 2, the central figure serves as a force of attraction for the other figures in the picture plane. On either side, this figure is engaged by adult primates, embracing and open to their gaze. Behind the back of each adult primate, adult women breast-feed and otherwise comfort the young as well as the female primate which make up what is overall, a playful, joyous composition. At the knot core of this drawing we are presented with a dual headed, dual shafted erection, which in turn is weighted by dual testes. It is from this heart of the picture plane that every other line extends and reflects without ever filling in the blanks. It is here precisely that nurture begins: the bondage of man and beast.
In the end is death, even for the youngest life. The picture plane is always a reflection and the paintings in 'Crying Light' reflect change. Whether it be the traditional costume or custom or indeed the evocation of an epoch, the works by Natasja Kensmil illustrate these changing attitudes which prop us up and hold us back. The paintings themselves, taken from two different bodies of work, shadow every subject with a murky glaze of requiem and distance, the colour palette too appearing suitably dated. While there are two distinctive sets of work presented, the uniform of aged remorse is bound by Kensmil's painterly style and so dead babies and queens present no challenge to one another, nor science for superstition. And so when this progressing world of charming simplicity is taken over by a swarm of soft black swirls in Crystal Eyes not only is everything not alright, it is terrifyingly real, the smoke of industry billowing a new darkness with it.
As a cast and setting, Kensmil's use of history proposes different stories which make the one world. In Elizabeth I, we are given to understand that the story of the world which this queen commands, is itself yet to be discovered, as though predestination is as absurd as any other context we might observe. Conversely, The Armada Portrait, painted in Elizabethan times by George Gower, reflects with its globe and grasp in favour of politics and power, the picture plane reserved only for symbols and stature. Kensmil's version however supplies a sort of tragic comedy, developed as a layer which resolves eerie greens into the heads of frogs, as though the product of an ectoplasm not seen by Gower, thereby omitted from his painting. Exactly because the original concerns itself with control as the structure and the future, it confuses the richness of humanity for the riches and potency of rule and order. Indeed when looking back at any reflection from the past, all we have at our disposal is fact and suggestions which the facts support.
On the whole, the absurd proves here a useful reminder of the terror of self doubt which even the monarchs of our world must encounter and leaves the various bug-like species which populate the foreground on the left to appear as a reminder of how focus and as such power is all about positioning: the small things which make even the bigger things seem small by comparison. Arresting and prominent, the queen's tiny head sits engulfed by the ruffles of her time, while elsewhere in the picture much larger shapes hang like memories without a place. Even so, the frog heads appear in stages, relating to one another in likeness and difference, as gradually they come to resemble if not a queen, then certainly a subject in their own right. Time as we know passes and the child which she clutches as she holds the sceptre of rule is shown to almost float within a space that can only be expected to grow as her grip loosens. Of this well known subject, the artist has made a fresh and rewarding shadow of the original.
Indeed the breadth of historical influence is itself light and welcoming. As each tale is explored it is revealed in line with both history and experience. And so while even the most intimate of views are presented for us to witness, the effect of a precious use of light and sparingness of colour in turn compose a changing view of revolution. In The Martyrdom of Tsar, where we look up at a masked man on a horse, the horses back stridently bold and beset also with the surrounding skulls of the dead, the image is one of power and we are left in no doubt as to who is responsible. Of course the painter here is also the story teller, illustrating social and scientific revolutions as both informed and obscured by her actions, a turn exemplified in Anatomical Manuscript, where the paint forms a hazy screen through which something of alchemy occurs.
In the series of paintings entitled Sleeping Beauty, the agonised faces of young children hold their cold black stare as if somehow protected from any further scrutiny or judgement. The faces are painted in short rough brush strokes and their expression is one and the same. They are dead, they could be alive but the pallid greenish hue suggests otherwise. This particular series extends from the fact of infant mortality and draws on the once favoured custom of capturing the image of a dressed corpse. Known as memento mori, the practice translates as 'Remember that you'll die', and it presumably works on the basis that such a document could preserve the life of the dead beyond mere memory. However, in Sleeping Beauty IX, the head of a baby nestles amongst the ruffled lace of an age and there is something which suggests that the subject might as well be a prize cabbage, a thing which although special, perhaps even loved, is now surely long consumed. Decoratively painted in loose gestural marks, the artist has been careful to observe the relevant traditions, and so for the viewer the statement is clearly made. There is little room for feelings though, only remembrance as the means to expose in us a responsibility for life.
Are these paintings of better service to this end than say the actions of you or I? Of course not, but they do operate as part of a texture of reminders set down by the living which mark and indeed warn of the passing of life. Equally, the drawings of Marlene McCarty do not make for much use in the sentencing of murderers, nor do they propose an alternative working of healthy family life. In each case the artist is hoping only that by being responsible for the work, by making the mark and creating where else there was little, actions may continue to show themselves through consequence. If then responsibility is defined by action, it is shown here in both exhibitions that innocence is not clear. Be it the softly erotic pencil lines of McCarty or the bright white tangled brush work of Kensmil's dead babies, all we can really say is that whatever is found to be useful is carried on into the next. In this way action threatens innocence.
(1) The artist speaking in Art in America: http://www.artinamericamagazine.com/news-features/news/marlene-mccarty/
Tuesday, August 13, 2013
Beasts of England, Beasts of Ireland & Eigse
Beasts of England, Beasts of Ireland
Isabel Nolan, Stephen McKenna, Poly Morgan, Dan Hays, Alex Rose, Djordje Ozbolt, Ben Long, Francis Upritchard, Yuriy Norshteyn, Martin Healy and Garrett Phelan. Curated by Stephen Brandes
Eigse Carlow Arts Festival 2013 Visual Art Open Submission
66 individual works selected by Stephen McKenna PPRHA & Emilia Stein RHA
VISUAL, Carlow
7 June – 8 September 2013
Review by Darren Caffrey
In the local sense, festivals and their associate art trails follow the scent of remuneration. Art spaces are key focus points for public expression, and this itself establishes a political content. In a world where natural disasters or even clemency must be quickly guesstimated into a rounded figure of noughts, the show of art in Ireland's public galleries is, in these terms, a show of worth. This worth is paid for by a series of beneficiaries and sponsors, all of which serve to identify what form expression will take in the public space.
VISUAL in Carlow is currently host to two group shows. While Eigse Carlow Arts Festival 2013 Visual Art Open Submission is almost exactly what it says, Beasts of England, Beasts of Ireland is comparatively cryptic. The beasts in question maybe refer to the selected artists, or it may be a reference to the commonplace ecologies of what is local in terms of global citizenship. In fact, this exhibition "considers some of the ways animals have been deployed symbolically within contemporary art practice".
If you haven't yet been, VISUAL has room for you, boasting as it does of over 3000 metres square of dedicated cultural application. Sitting on the grounds of Carlow College, it too is an instrument of education. Unlike the nearby college, it is a place where the standards of education are not set but rather fluid. At times seemingly trend based and indeed trend biased, contemporary art practice is nothing if not contemporary. John Berger has written well about why we look at animals, contending that "the treatment of animals in 19th century romantic painting was already an acknowledgement of their impending disappearance". Elsewhere Berger references Levi-Strauss' observations, citing the diversity of species to be employable also as an elective strategy for social differentiation. And so by virtue of the concept of species there arrives the necessity of class.
VISUAL was sited at a time when local commerce had been found in need of a diversification all of its own. In the same year that sketches were released of VISUAL (The National Centre for Contemporary Art and Performance Theatre), Carlow's long standing sugar plant finally closed. Upstairs in the Lobby Gallery, essentially a landing–cum–hallway space, one particular work characterises something of this very contemporary transition. Rosalind Murray's Sugar Woz Ear appears on screen in a work which assumes the clichéd vernacular of youth; married to simple wordplay, as rendered via a performed gesture in front of the camera involving flower petals. A large flat-screen TV stands portal–like before an architecture of industrial scale phwoar, and on screen the wind scatters these petals which spell out the letters, W, O, Z, as if to replay the passing of. While headphones play back the artists own rendition of 70's pop gem Sugar Sugar, the element of wordplay further extends into the narrative itself, leaving as a final shot, the artist standing behind a steel gate in a field of what appears to be rape.
A viability report prior to construction of VISUAL noted that families, tourists, students and firms would be attracted to the town's greater national visibility. Broadly speaking, the development of industry to not only reflect but include the arts generally, and even more specifically the visual arts, has in turn given rise to a redistribution of creative activity. Considering the landscape that is public sector construction, there is no doubt local knowledge about the cost which does not show up in the official rhetoric of projection, yet none of this may be relevant to the facts. It is this framing of everything under the one staggered roof which makes the case for intentionality beyond public expression. So too it is this manner of selection which distracts from what might be otherwise useful in asserting a community of artists both locally and nationally.
What Eigse offers to VISUAL is a selection of artists, sourced both locally and nationally, peppered with a few anomalies to force the rule. The five 'invited' artists for this annual show were Gary Coyle, Richard Gorman, Eithne Jordan, Jim Savage and Dorothy Cross, with the bulk of the works contributed by lesser known practitioners. The collection as a whole was standard for a show of this sort but worth mentioning for its collective value and staging. Surely it is right that artistic activity of all kinds be regarded as complimentary to a local identity, and indeed who better than those who live within and work for that very community image.
The works in Beasts of England, Beasts of Ireland may all have benefited from being shown according to their respective qualities, utilising perhaps just one wall of the space to create a tableau of cut and paste iconographies, each work a personal affect of sorts. Naturally leaving three walls bare would not reflect the convention and so it is that each work has been taken, only to be drowned soon after. As part of the open submission exhibit presented in conjunction with Eigse, an interestingly titled work by Helen Robbins sees dried lichen and wool fashioned into the shape of a girl's dress, and curiously it all appears to question the nature of selection itself while being simultaneously contained in a wooden box with a glass front. Make me a coat of Rich Moss and I will return to the forest to gather all that I lost is satire in verse while Mens Rea by Mark Leavey is funny, possibly in ways other than intended. Consisting of a child's desk from by-gone parish schooling which has now been reconfigured to more closely serve as a one person pew at which to kneel, the abuse in each case is clear. Directly above this prop a neon light makes explicit the title as well as the actions and inaction from which we might learn. The title of this work is of course latin, translating as literally 'guilty mind', it is also the legal term which refers to criminal intent. On the rest where countless elbows have waited, a switch has been added so that the viewer is responsible for lighting the Mother Mary, so that she may say something of the Christian narrative.
"So he made a whip out of cords, and drove all from the temple area, both sheep and cattle; he scattered the coins of the money-changers and overturned their tables." This is the quote arrived upon by researching Veronica Nicolson's 2:15 sign. Simple presentation allied with rich cultural instinct frames this biblical passage as though a statement of the people. The question of why scripture came to be referenced at GAA matches is an interesting one, but whereas the popular JOHN 3:16 sign highlights the main thesis of christianity, namely that Jesus was sent to prove God's love, here the crucial change is that even Jesus didn't accept the abuse of the people's faith.
Sheep and cattle, along with a host of other farm animals were present also when Old Major's rousing speech of revolt opened the first chapter of George Orwell's Animal Farm. Beasts of England, Beasts of Ireland takes its name from a song which follows this speech, the wisdom of the past foretelling of a future choice. If the shows title sets a political tone, the work selected merely rationalises its own fantasy. Produce being the final mark, it is as if producing work for the viewer/consumer is all that either the supplier (artist) or the distributor (gallery/curator) were concerned with. And so in a lustily high-ceilinged space, where filtered light pours in from the top like water, the mark reached by much of the work appears only as unwanted ends which have been afforded far too much space to breathe.
The charge sanctioned to hold the focus of the exhibition and our focus alike is the work of Ben Long, flatly titled Horse Scaffolding Sculpture. Steel and aluminium bars form the basis of what is essentially a hollow evocation of heraldic past. This literal hollowness is also what permits the illusion of depth, as though every sense of its power is visible yet also far out of reach. The stand from which Long's horse figure rears is like the figure itself. Intricately constructed and meticulously worked out in the round, it stands firm against concept, taking of construction only that contact which is bound by structure. The simplicity of its stand suggests that it probably travels well and so it will no doubt rear once more when the show has ended.
In any case, the conceptual shadow which this sculpture ensures leaves even the humble scrappy works below to be found wanting of attention, even empathy. Animals do indeed feature prominently, from the ways we keep them when they're alive to the ways we keep them when they die, and perhaps more notably, their straightforward likeable-ness. A mix of paintings and a few photographic prints placed low on the wall to shake things up, the curator perhaps did not consider the work relative to the space until it was too late. The idea of viewers getting down on their hands and knees to see their kind in the heads of horses is perhaps too much, even so, these various works by Alex Rose suffer little.
To be clear, the room swallows everything in one standardised gulp. Effort has been made to reconcile the size issue by staging a sort of school setting where monkeys learn by watching people watching a hedgehog on a quest. The Hedgehog in the Fog is contributed by Yuriy Norshteyn, (http://www.youtube.com/watch?v=oW0jvJC2rvM) while the monkey assemblages were supplied by Francis Upritchard. The entire presentation of this show may be understood by noting that the monkey figures, fashioned from furs and leather, are forced to compete for your vision with a ventilation grate which cuts their visible space and dispels the making of each monkey into component parts. While seemingly an innocuous intrusion, the resulting separation of these monkeys from character to object appears as contrary to the anthropomorphic act. Given this psychological function, it can only be concluded that the conceptual break serves some higher purpose. What is truly disappointing is that this purpose only appears to concern the monkeys where it is that they fit within the near geometric format of the over all scheme as printed on the gallery handout.
And so that which was laid out has in the end prevailed, order featuring above creative action. The fact that this all takes place in such an exceptional art space as VISUAL is itself an issue beyond the contributing artists, the curator or even the gallery as institution. There is a question regarding animal in man which the economic reality of fabulousness simply does not answer. Perhaps society will soon be capable of accepting that there is no farm in the country, only the fact of death.
Monday, July 15, 2013
Haiku Review: Tree Works
Haiku Review: Tree Works
by Nigel Cooke
The Douglas Hyde Gallery, Dublin
31 May - 17 July 2013
By Fujimoto Ryouji
Heads and blobs and streaks...
('bout time something big was shown)
by Nigel Cooke
The Douglas Hyde Gallery, Dublin
31 May - 17 July 2013
By Fujimoto Ryouji
Heads and blobs and streaks...
('bout time something big was shown)
And small scenes ground them.
Wednesday, June 26, 2013
Images from Dublin Degree Shows 2013
Images from Dublin Degree Shows 2013
BA graduates from DIT, IADT, DIT Photography, and NCAD
Various locations in Dublin
Photos by Jim Ricks
Sarah Doherty
Órla Phelan
Andy McNulty
Conor O'Grady (both)
Marie Farrington
Janna Kemperman
Declan Graham
Louise Roe (both)
Sam O'Neill
Ciaran Cooney
Neil Dorgan
Barry Keogh
Installation view
Robert McCormack
Stephane Hanly
Alan Swaine (both)
Eoghan McIntyre (both)
Michelle Doyle
Nigel Holohan (both)
Aoife Mullan
Muriel Foxton
Cara Coyle
Melanie Spendlove
Holy Ingram
Michael Dignam
Sean Wright
Roisin McCashin
Andrew Shannon
John Conway (both)
Thursday, June 13, 2013
Housing a Pig
Housing a Pig
Neil Carroll, Jonathan Mayhew, Jo McGonigle, Keef Winter, and Carla Wright. Project Board: Peter Lloyd Lewis.
Unit 3, James Joyce Street, Dublin 1
26 April – 27 May 2013
Review by Jim Ricks
Housing a Pig is the third and final episode in a series of shows curated by Paul McAree, part of a broader project called FLOOD. Its been located around the corner from The Lab and Oonagh Young Gallery in Dublin 1.
The title's suggestion of actively 'putting up' a biblically unclean animal is at once catching and surprising, but primarily a practical concern in more rural parts of this island. Up in the Big Smoke this proposal is meaningful of something certainly allegorical. Traditionally, in Western Europe, the pig has been a symbol of greed and lust. This is perhaps best expressed in George Orwell's Animal Farm where the corrupted animal leaders (Stalinist bureaucrats) and the human farmers (capitalist ruling class) eventually become indistinguishable. Later in the 1960's it was popularised as a term for the police (I suppose this is just insulting, as it may always have been). So what of this boar's dwelling? This curatorial accommodating of swines?
The space itself, Unit 3, should be mentioned here as it precedes this thought. It is a small, barely finished shop unit (reused) on a back street. There is local, pedestrian traffic that rarely seems to draw the art crowd. Its proximity to rougher housing estates leaves the door closed. But it's this 'roughness', the painted block walls and exposed pipes, seated in a new and promising Tiger-era building with large windows, that make the below quotation meaningful. There is even more significance if we look at the FLOOD project at-large. Besides it's current incarnation they have several books published, a record and a series of posters (including the memorable I will be a phenomenon by Theresa Nanigian, where to participate, one had to email directly and would receive a copy by post).
My curiosity is raised for this exhibition. The show is self-described as:
"Within FLOOD stands a gallery within a gallery – re-purposing a video room from a previous exhibition, rotated and positioned with its back to the entrance, denying the visitor an immediate impression of the exhibition. The room houses 3 artists works, all wall based, while 2 artists sculptures occupy the floor outside the structure. The exhibition seeks to break an easy relationship with the act of viewing and navigating a space, and to question what happens to a work's autonomy in a thematic gathering of works."
In the scheme of the things, and particularly within the
debate numerous individual opinions about press releases or
gallery texts and their frequent use of 'international art speak',
this put me on guard. Has too much been revealed? Even Totally Dublin
picked up on these 'White Cube' structural points in their
review. Or is it so bleeding obvious that it's not even worth
allowing any mystery abound? While some may say it's ridiculous
including all this within the gallery information, I feel it's
worth stating. As the idea of the more fixed, traditional and
commercial gallery is carefully played with and unfixed, the
audience's perception and access to it does also. I think of it as
putting visitors in a privileged position of access upon entry. It
becomes a stage set with its back turned.
A doormat placed at the entrance and used unconsciously, as we are trained to when entering a home or business, is wiped with countless wet shoes. This first point of contact is actually an artwork, but not actually part of the show. Angst – it has the word 'angst' printed on it – is part of an internationally distributed edition of thirty. There is, according to our gallery guide, a reference to Carl Andre's bricks (Equivalence VIII). While not immediately clear to me, it is, presumably, a formal, loose comparison - lying on the floor and a similar colour. However, my lasting impression is of this wiping away of disquiet, this anxiety. Simple. Physical. Actual. I, sincerely and wholeheartedly, want to wipe it clean from my boots, life and practice.
After wiping away or sidestepping Angst we find two works with one title, Constructing the Debris by Keef Winter. In front of the door is a diamond like casting of concrete with a rebar 'thread' running through it. It is immediately and consciously reminiscent of one of Constantin Brancusi's 'beads' from his several Infinite or Endless Columns (1918 – 35). Brancusi used this term, 'beads', to describe the segments his famous sculptures were comprised from. This is further heightened by the long curving intersection of rebar and concrete. It reminds me, also, of the video animation by Sophie Eagle titled Collapse (Endless Column). Her video features a CGI version of the Romanian artist's column collapsing repeatedly on a remote desert road. Or also of The "Endless Column" project at the Studio Museum of Harlem. Indeed, the iconic Modernist sculpture is meme-like in today's art. I can say that having worked with it several times myself. Does Winter's piece represent another actualisation of this process?
Winter's accompanying piece, to the left, is less of an apparent construction, as it looks to be real industrial waste; a mangled concrete blob with rebar. It is the less in-tact partner to his cast shape. Perhaps the pair represent failing of the modernist dream, reduced to rubble just as the well-known, short-lived failure of the Pruitt-Igoe housing project in St. Louis. Pruitt-Igoe's demolition in 1972 has become the short and simple (and symbolic) end to Modernity and ostensibly the beginning of a Post-Modernity. Or maybe Keef offers us another approach, positioning his work on top of the Post-Modernist feedback loop of simulacra, finally exhausted.
Within the space's very intentional White Cube gallery are several works by three artists. They are shuffled in their hanging on this space-inside-a-space, set-like facade, so as to diffuse a sense of authorship, creating a sense of curatorial purpose and plan. Concerns of the living interacting with the dead stuff of buildings (I and II), a geometric fragment of safety glass hangs from a custom wooden device/arm/frame by Carla Wright. Cut back to this shape, it may have been from an office window, school or industrial building. A matching ceramic shape provides the second part, a fragile echo construct of the original. Also hung on a matching specialised armature.
A simple magenta striped paper bag, commonly used for something like sweets or postcards, lies on a shelf. Duet – [Abstract Composition], the work by Jo McGonigle, has its mouth open, and so becomes structural. It appears to be a simple gesture, but nonetheless beautiful – a found object. Upon inspection the top has been overprinted, double-exposed with a new layer of magenta stripes. The original provides a foundation for an imperfect 'human' mimetic copy. Layers of the unique and imperfect are impressed upon the machined and infinitely produced.
Similarly overprinted are Jonathan Mayhew's LLLAYERSSS series. Dated, generic family photos sourced from the internet are stamped repeatedly with layers of the Slayer logo. It is a sort of juvenile rebellion made nearly architectural or even archaeological, like the imposition of angular city offices over millennia-old settlements. Or is it the metaphoric architecture of the nuclear family defaced, like graffiti on a buildings exterior facade?
Beyond the white cube, as it were, Neil Carroll offers a wholly free-standing sculpture with, again, clear architectural ties. Between Leaving and a Possible Return, is constructed of drywall and a timber substructure, it is an abstract piece on a referential base. It's subtly ornamented with markings of stripes, plans, perspectival studies and the like. It appears to be simultaneously in construction and a ruin. There is a clear resonance to Brutalism's raw materials and boxy angularity. Maybe an early model for Boston's Government Center or an in–progress maquette of a giant never-constructed Yugoslavian memorial. Yet it also appears to be a cut-away, a fragment of some larger structure, removed and isolated from its parent.
Housing a Pig offers the audience little from the street view window, intentionally disrupting the commercial experience these facades were intended for. It more than makes up for it through extended written explanation and a rich, well curated exhibition. But the elephant in the room may be the tackling of something bigger. Alluded to in the press statement is this challenging of the viewer through the exhibitions physical stance. But is it not more an exploration of the architectural within contemporary art? The oft trodden territory of adolescent–like Post Modernity's rebellious rejection of the Modern project, with its idealism and purpose, is expanded here. Just as the more current 'moment' for the casual nostalgia of Modernist architecture and its utopian–ness is avoided.
There are in fact many layered historical references (some heavy, some less demanding) amongst the chosen works. And while the physical and practical architecture of the shop-front-cum-gallery is challenged in an actual way, the works, when put together, propose various reads on our own perception of constructions both social and physical. All appropriately leave angst behind. I felt, amongst the works, not a worry or fear about the human condition, but a reflective and pioneering strategy, picking up and making up something new with what we have at our collective disposal.
Within FLOOD's final installment as a 'gallery' on James Joyce St, the question of architecture within the sphere of art in a more structural, even philosophical way can be challenged. What will be built or housed next? And if the question of housing is indeed constant and present, I'm left uncertain as to who is the metaphorical 'pig', the audience, the artist, the show, or the art world itself?!
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text: Dadar – The fifth 'My Mumbai Short Film Festival' will be organised at Ravindra Natya Mandir here. The nomination for the festival has been started. The three-day long festival has been receiving overwhelming response from all over the world. Countries including Germany, Argentina, Russia, Bangladesh, Iraq, Uzbekistan, Colombia, France, United Kingdom, Spain, Romania, Serbia, Iran, Italy etc are participating in this festival. The festival will have entries in categories like social awareness, animation, mobile shoot film, ad film, music video and documentary. The online registration for the festival is 15th November and DVDs can be sent till 20th November, informed Amitraj Nirmal, secretary of Universal Marathi, the organiser.


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We can help. You can overcome drug addiction and have a better life than you ever thought possible!
There are numerous drug and alcohol rehab centers solutions to the people living in the Vermillion region. You will need to recognize each of the varieties of treatment choices that are available in Vermillion, AB., in order to find the suitable treatment option for yourself or someone you care about. Selecting the proper alcohol and drug rehabilitation center in Vermillion is the most important element in the treatment of drug abuse, drug addiction and alcoholism. The following data will help you to fully grasp your numerous rehab possibilities so that you have the greatest possibility of an ideal end result.
Let's take a look at the many alcohol and drug rehabilitation programs in Vermillion, South Dakota possibilities that correlate with the circumstances of the individual searching for rehabilitation.
Inpatient alcohol and drug rehab in Vermillion, AB. is often a rehab possibility best for many who will need health-related treatment during treatment or individuals with considerable drug use histories. Women and men can develop mental and physical dependence to drugs even after a short time period, so inpatient drug rehab in Vermillion is among the best rehabilitation possibility in the majority of instances. On account of substance abuse and addiction, people will usually struggle to recover using the minimal services available from outpatient rehabilitation facilities in Vermillion, South Dakota where drugs remain easily available when they leave the outpatient facility. Likewise, men and women in rehab who receive outpatient rehab as opposed to inpatient drug and alcohol rehabilitation in Vermillion remain susceptible to detrimental influences and circumstances which may get in the way of their recovery process. If an individual lives with an abusive partner or maintains associations which entail substance abuse, any rehabilitation activities in outpatient rehab are done in vain. That is why in-patient drug and alcohol rehabilitation in Vermillion, AB. is going to generate more fruitful outcomes that will prove long lasting unlike an outpatient drug rehab center where advantages could be very minimal and acute.
In Vermillion there is both short-term and long-term inpatient drug treatment. Short-term is a 30-day program, while long-term inpatient alcohol and drug rehab in Vermillion, South Dakota is more in depth and rehabilitation can last 3 to 6 months on average. It is deemed an ideal setting for clients because it is a safe and secure drug free setting where they can recover both physically and mentally without distraction. Preferably, men and women proceed in the long-term in-patient drug treatment program in Vermillion for the maximum time period allowed, to enable them to handle anything which may jeopardize their sobriety when they depart rehab. Because of the fact that detoxing and becoming physically stable can take 2-3 weeks alone, the 3 to 6 months in long-term in-patient alcohol and drug rehabilitation in Vermillion is going to be time spent well and significantly more efficient than short-term programs.
The most important component of all if you or a loved one is struggling with a drug abuse or addiction issue is to do something about it, make calls and seek advice from trained addiction professionals and get an assessment and treatment options to ensure the greatest potential for a full recovery.
Drug Rehab Exact Match:
We can help! You can overcome addiction and have a better life than you ever thought possible.
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Yankton, SD. 57078
411 24th Street
Sioux City, IA. 51104
2101 Court Street
Sioux City, IA. 51104
1221 Pierce Street
Sioux City, IA. 51105
409 11th Street
Sioux City, IA. 51105
625 Court Street
Sioux City, IA. 51101
Counselors available 24 hours a day, 7 days a week.1-800-405-8409
We have addiction treatment specialists available 24/7, ready to help you find the right treatment choice that meets your financial ability.addictionca.com


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Civil War Reunion Medal of Major John Suter – 54th Pa. Vol. Inf.
Civil War Reunion Medal of Major John Suter – 54th Pa. Vol. Inf. – This fine reunion medal is in superb condition and is accompanied by a small, period, hand-written label, identifying Major Suter. Suter was an apparently gallant officer, serving in the 54th Pa. Inf. throughout the war, participating in numerous battles. One side of this medal depicts an image of Suter, while the other side is composed of a chromolithograph depicting an idealized, war period military scene. The ribbon indicates that the medal commemorated the 14th Annual Reunion of the 54th Pa. Inf., held at New Market, Va. (the 54th participated in this battle in 1864); Major Suter would have been deceased at the time of this event. SOLD
Capt John Peter Suter – excerpt from:
Henry Wilson Storey's "History of Cambria County, Pennsylvania"


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Connecting IP to innovation policies
- Applicability. Are IP policies suitable tools to support innovation performance for all actors in the IP system including SMEs and young businesses? (see Characteristics of IP policies)
- Types of policies. What types of IP policies are most important to impact innovation? Should priorities be given to certain types of IP or users? (see Policy design for IP)
- Institutional coordination. What institutional arrangements can help ensure the various actors of the IP system coordinate their policies for larger impacts on innovation? (see Governance of IP systems)
Governance of IP systems
National IP systems are inherently complex as they cover a diverse range of legal, economic and strategic functions. For that reason, their management is increasingly shared among various institutions. Cooperation is critical at the top for IP systems to effectively contribute to innovation because different institutions in charge might be at cross-purposes with one another (see Governance of IP systems).
Prioritisation, compatibility and trade-offs in policy design
Ensuring the legal and administrative conditions for IP holder are preconditions for IP to have a potential to operate to the advantage of innovation. However, policies targeted at stimulating use of IP systems by actual and potential users are often needed. Prioritisation of specific actors and/or sectors and/or types of IP is a more reasonable approach. Several trade-offs arise including the trade-off between static loss over dynamic efficiency which is at the heart of IP policy (see Policy design).


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Speech by SCED at "Made in Asia" sourcing symposium 2017 (English only)
Distinguished speakers, ladies and gentlemen,
Good morning! First of all, I would like to congratulate the French Chamber of Commerce and Industry for putting together yet another marvellous symposium.
And like my non-French friend Anson, I also feel strongly about our French connection. France indeed has much to offer for everyone to enjoy and celebrate, there's beautiful scenery, trend-setting fashion, and of course, amazing food and inspiring culture.
In particular, France has long been the art aficionado's paradise. There're over a thousand national art museums and privately-owned galleries and studios. Some say France is the art capital of the world because of all the talented curators. The curators have done such a great job in selecting the right contents for the right audience. They are able to create maximum mutual value by matching the best with the best.
That brings to what I would like to share with you all this morning, the role of Hong Kong in the global business arena.
As all of you may agree, Hong Kong has long excelled in its middleman role by bringing a world of people together, to invest and trade, to do business, to exchange ideas, and to open up new possibilities.
With increasing globalisation and the advent of the Internet, however, the supply chain landscape is changing quickly. Now that our potential business partners have increased access to information and e-commerce portals, the barriers that existed previously which prevented manufacturers or wholesalers from selling directly to the consumers have been removed somewhat.
That does not mean our role as middleman has become obsolete though. If anything, our conventional middleman role has evolved with more sophistication that adds even more values to businesses. We are not just a super-connector, we have become a knowledgeable curator as well.
Just look at the symposium today, we have a thriving MICE (meetings, incentive travels, conventions and exhibitions) sector here in Hong Kong. And we have, over the past couple of years, proactively facilitated our business sectors through our IP (intellectual property) trading and crossover collaboration initiatives. We help businesses grow and succeed by finding trustworthy partners across the globe. We connect businesses from all over the world to valuable growth opportunities of many kinds. We put the right fish in ponds together, to achieve maximum mutual benefits and value.
You may ask, what makes Hong Kong a successful curator? Trust. Trust in our trade professionals, trust in our institutional advantages, and trust in our growth opportunities.
For decades, our trade professionals have been well-known for their resilience and resourcefulness. People working along the supply chain have confidence in our services. Over the years, our trade professionals have accumulated rich knowledge, network and expertise in product sourcing and providing customised solutions to clients. Our logistics operators offer indispensable and handy value-added services, such as labelling, price-tagging, pick and pack as well as packaging on behalf of clients. Their tailor-made supply chain solutions which match buyers and sellers are also well acclaimed by clients.
As for our long-standing institutional advantages, they stem from the rule of law under the "one country, two systems" principle. Hong Kong is located right at the heart of Asia with a proficient and efficient logistics network. Our strong inter-modal connectivity, together with our round-the-clock customs clearance and "free port" status, make Hong Kong an ideal sourcing hub in Asia. Hong Kong has been regarded as one of the best cities in the world to do business, and we have been named as the freest economy in the world by the US-based Heritage Foundation for the past 23 years in a row. This status reflects real advantages for connecting businesses in Hong Kong.
In terms of growth opportunities, I introduced to you last year the humongous growth engine called the "Belt and Road" Initiative. Encompassing some 65 nations spanning Asia, Europe, the Middle East and Africa, the "Belt and Road" Initiative is perhaps the 21st century's most ambitious multi-lateral undertaking. This visionary long-term plan will accelerate demand and boost the volume and intensity of international trade and investment flow along the "Belt and Road" routes. Hong Kong is best-positioned as the curator for sourcing the best opportunities, pulling together various parties in pursuit of all these exciting developments.
Ladies and gentlemen, Hong Kong remains the strongest, indisputable and irreplaceable middleman with the shrewd foresight to assist businessmen to grasp the opportunities and embrace the challenges ahead. With your trust in our ability to connect and to help you prosper, we stand ready to be the ideal curator for your businesses. Thank you very much.
Ends/Thursday, March 16, 2017
Issued at HKT 9:52
Issued at HKT 9:52


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I had the privilege of meeting nearly a hundred educators of high-ability learners at the Colorado Association for Gifted and Talented (CAGT) Conference in Denver, Colorado last week. Simultaneously, we had Global #gtchat Ambassadors in Ireland, Ohio, and Missouri and beyond sharing news about "How Gifted Education and Social Networking Can Propel Learning, Collaboration and Advocacy!"
For those of you who are checking out the Ingeniosus site for the first time, welcome! For those who are returning, I'm hopeful that you'll continue to utilize this site in your search for resources, inspiration and idea generation.
I continue to be impressed with the level of dedication of teachers in the state of Colorado, throughout the United States and world. Feel free to use the Ingeniosus site and social networking opportunities as you see fit. If you want to learn more about #gtchat – the Global Chat on Twitter dedicated to all things gifted and talented – click here. Also feel free to "like" the Ingeniosus Facebook Page. It's an easy way to stay in touch with the latest gifted education news and resources.
As you begin building your own online Professional Learning Network (PLN) via this site and social networks, my hope is that you'll invite others to do the same. The more educators and parents of high-ability learners we have collaborating, the greater our chances of positively impacting this critical population.
If you find a valuable tool, blog, resource site or have a new idea relative to educating and/or supporting gifted learners, leave a comment here and/or send me an email. Again, you are vital to the future and the tireless work you do – day in and day out – matters greatly!
Kindest regards,
Deborah Mersino (@DeborahMersino)
Tags: #gtchat, Advocacy, collaboration, education, educator, Facebook, Gifted, global, Ingeniosus, inspiring, learning, passion, Resources, social, Twitter


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Anti-Valentine's Day Beer Dinner w/ Boulevard Brewing
HopCat - St. Louis 6315 Delmar Blvd., St Louis, Missouri 63130
HopCat-St.Louis Anti-Valentine's Day Beer Dinner
For those of you whose relationship status is "sleeping in the bed diagonally", we crafted a Valentine's Day beer dinner just for you. Join us as we welcome our friends from Boulevard Brewing Company for a 5 specialty beer tasting paired with a 4 course "single on Valentine's" themed beer dinner with a food menu created by our dark-minded chef John Schwartzbauer.
Buy a ticket before they sell out & tell all your friends you're spending Valentine's Day with your true loves…food & beer. Welcoming Beer is poured at 7pm sharp and seating is first come, first serve!
Welcoming beer: Jam Band – 5.9% - Fruit Ale w/ Blueberries, Raspberries and Tart Cherries
First Course: Fruit and berries dipped in caramel
Paired w/: Chocolate Ale – 9.1% - American Strong Ale w/ Cacao
Second Course: American style Ramen w/ Lemongrass, Braised Pork Meatballs, and Bean Sprouts
Paired w/: Bourbon Barrel Quad Barrel-Aged Ale - 11.8% - Bourbon Barrel-Aged Belgian-Style Quad
Third Course: Detroit Style pizza w/ Pepperoni, Ham, Mushroom, and Red Onion
Paired w/: Tough Kitty Milk Stout - 5.5% - English style Milk Stout w/ Lactose
Dessert: Dark Chocolate Brownie w/ Boozy Caramel Sauce
Paired w/: Whiskey Barrel Stout – 11.8% - Whiskey Barrel-Aged American Imperial Stout


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Bethlehem man stars in opera
Wednesday, August 8, 2012 by The Press in Focus
Bethlehem's Jeremy Galyon stars in the opera, "Susannah," 7:30 p.m. Aug. 10 and 3 p.m. Aug. 12 in the Berks Opera Workshop and the Fall Festival of the Arts production, WCR Center for the Arts, 140 N. 5th St., Reading.
Carlisle Floyd's masterpiece was inspired by Appalachian folk songs, hymns and opera melodies. It was written during the 1950's McCarthy Era and inspired by the biblical Apocrypha.
In the opera's plot, Susannah is an innocent young person targeted by closed-minded hypocrites and preyed upon by a corrupt leader.
Galyon, a Metropolitan Opera bass, stars as the Rev. Olin Blitch. The opera includes soprano Tamara Black, Metropolitan Opera tenor Charles Reid and Berks Opera Workshop singers.
Berks Opera Workshop director Francine Black conducts the orchestra. Joel Gori directs the production.
The fully-staged, costumed production of "Susannah" will be sung in English.
There is a multimedia introduction by Berks Opera Workshop President David Richie 45 minutes before each performance.
Tickets: racc.edu/ millercenter, 610-607-6270


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Published in 2009, 270pp
Christopher P. Price, Joanne Lozar Glenn & Robert H. Christenson
New AACC Book for 2009
This workbook offers a step-by-step guide to applying the principles of evidence-based laboratory medicine (EBLM) in routine practice.
The term "evidence-based" is increasingly becoming part of the language in the practice of clinical medicine, and in laboratory medicine. In laboratory medicine, it is also becoming clear that the "evidence" differs somewhat from that on which the specialty was founded. The foundation of laboratory medicine is an understanding of the molecular mechanisms that describe the pathology of disease, but in applying this knowledge to patient care the emphasis moves from understanding disease mechanisms to improving health outcomes.
By applying EBLM to daily practice, laboratory professionals can
Ensure appropriate use of tests at the requesting, decision-making, and application phases.
Make the business case for implementing new diagnostic tools and strategies that meet clinical needs.
Become full members of the clinical team and take an important role in implementing change.
The key is understanding the question being asked-and then applying the A5 EBLM Cycle: Ask, Acquire, Appraise, Apply, Assess.


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KNIFE-wielding gangs have turned some West Midland town centres and districts into no-go areas for rival teenagers, according to a shock new Birmingham report.
Gang members as young as 14 wear identifiable clothes and colours, like unofficial uniforms, as part of the "postcode" turf war.
Teenagers are concerned for their safety at school due to fights between the rival groups – and teachers are criticised for doing nothing to make pupils feel safer, it is claimed.
Most young people say they know friends and associates who carry knives, both for protection and intimidation, while girls said rape alarms are no deterrent against sex attacks because bystanders would not bother to intervene.
There is also widespread concern about bullying and so-called "happy slapping" – where violent attacks are filmed on mobile phones and posted online. Such violence is perceived by many young people as being "accepted and normalised behaviour."
The bleak picture of children's lives being blighted by gangs and violence is revealed in "Listening to Young People," a report compiled for West Midlands Police Authority with the support of the National Youth Agency and the West Midlands Criminal Justice Board.
It draws on discussions held by focus groups and a regional youth conference held at the International Convention Centre, Birmingham, in November.
The conference, attended by 150 young people aged 11 to 20 from across the West Midlands, featured 18 workshops and the report summarises the key findings of the discussions.
It makes grim reading for the police, education authorities and youth workers at a time when violent crime – juvenile knife crime in particular – is high on the political agenda.
The report, presented yesterday to the police authority's community and security committee, warns of the damage being wrought by gangs in the West Midlands.
It said: "Some young people feel very protective of the area/territory they 'represent' whilst other young people stated they represented an area that was not even their own residential postcode and instead they belonged to a gang area by association with a school or college, thus illustrating the complexity of the association of gangs with a geographic area.
"Some young people place an emphasis on territory which impacts negatively on their ability to visit certain areas including town centres because they were concerned they would be a victim of gang related violence.
"Many young people said they would not go to another area or city because they did not 'represent' that area."
Joining a gang gave young people a sense of "belonging, protection and respect." Gangs had "identifiable names, were linked to geographical areas and could be identified by the labels, clothes and colours worn (i.e. blue, red and black)."
Despite a series of high-profile knife-related murders, as well as initiatives warning youths about the dangers of being armed, most young people said they knew peers who carry knives for reasons of safety, protection, status, reputation and to intimidate.
Young people said they want to see more police on the streets, particularly at night-time, and a police presence made them feel safer in school. "Yet there was a sense that teachers can't or don't do anything to make them feel safer in schools and schools won't get involved in crime unless it occurs in school," added the report.
Bishop Derek Webley, a member of the community and security committee, said there was general concern about "territorial behaviour."
He said: "There are postcodes that create demarcations in the minds of young people and they limit themselves to movements in that postcode unless they are going to a neutral area, like the city centre, where no one controls it. It is not just a black thing."
Committee chairman Prof Ron Amann said: "Young people appear to have a broader understanding of gangs than we do. We immediately associate gangs with violence and knives whereas they see it more broadly."
A Birmingham City Council spokesman said the authority worked in close partnership with West Midlands Police to provide extra support to schools.
The spokesman said: "Police community support officers now offer support and guidance to pupils and parents and staff at primary schools. At secondary level, the Tooled Up for School initiative has been rolled out across Birmingham and aims to make 11 to 16-year-olds feel safe and secure and able to resist the need to carry an offensive weapon.
"We use mobile metal arches and hand-held wands at a number of schools to detect any pupil carrying a weapon."
The council worked with the police to deliver knife-crime awareness programmes and there were similar programmes in relation to gangs.


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The publications available through this medium are primarily FDPI technical and periodic reports. However, until our digital library is fully online, major publications that support our programs will also be made available on this site.
FDPI Governance Documents
Articles of Incorporation-Foundation for Development Planning, Inc
Bylaws of the Foundation for Development Planning, Inc
FDPI Conflict of Interest Policy
FDPI Annual Reports
FDPI Annual Report 2010-2015
FDPI Annual Report 2016
FDPI Annual Report 2017
FDPI Annual Report 2018
FDPI Technical and Periodic Reports
Other FDPI Publications
Discussion Paper on establishment of an association of nonprofits for the United States Virgin Islands.
FDPI Public Engagement Strategy
Caribbean Civil Society
Directory of Caribbean Regional Civil Society Organizations 2019
Caribbean Philanthropy Law Initiative-The Case of the British Virgin Islands and the Federation of St. Kitts and Nevis (2011)
An Overview of the NGO-Civil Society Sector in the Insular English-speaking Caribbean (2010)
Legal Framework Supporting Philanthropy and the Nonprofit Sector in the Insular Caribbean (2010)
Civil Society Capacity Development in Barbados and the Eastern Caribbean (2009)
Report of the First Greater Caribbean Civil Society Forum (1997)


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Figure 1: Photosynthetic light response curves
Plants and people perceive light very differently from one another. Humans and many other animals use something called photopic vision in well-lit conditions to perceive color and light. Lumens are a unit of measurement based on a model of human eye sensitivity in well-lit conditions, which is why the model is called the photopic response curve (Figure 1). As you can see, the photopic response curve is bell shaped and shows how humans are much more sensitive to green light, than blue or red light. LUX, and foot candle meters measure the intensity of light (using lumens) for commercial and residential lighting applications, with the only difference between the two being the unit of area they are measured over (LUX uses lumen/m2 and foot candle uses lumen/ft2).Using LUX or foot candle meters to measure the light intensity of horticulture lighting systems will give you varying measurements depending on the spectrum of the light source, even if you are measuring the same intensity of PAR.The fundamental problem with using LUX or foot candle meters when measuring the light intensity of horticulture lighting systems is the underrepresentation of blue (400 – 500 nm) and red (600 – 700 nm) light in the visible spectrum. Humans may not be efficient at perceiving light in these regions, but plants are highly efficient at using red and blue light to drive photosynthesis. This is why lumens, LUX, and foot candles should never be used as metrics for horticulture lighting.
PAR is photosynthetic active radiation. PAR light is the wavelengths of light within the visible range of 400 to 700 nanometers (nm) which drive photosynthesis (Figure 1). PAR is a much used (and often misused) term related to horticulture lighting. PAR is NOT a measurement or "metric" like feet, inches or kilos. Rather, it defines the type of light needed to support photosynthesis. The amount and spectral light quality of PAR light are the important metrics to focus on. (To find out more about spectral light quality click here). Quantum sensors are the primary instrument used to quantify the light intensity of horticulture lighting systems. These sensors work by using an optical filter to create a uniform sensitivity to PAR light (Figure 1), and can be used in combination with a light meter to measure instantaneous light intensity or a data logger to measure cumulative light intensity.
- How much PAR the fixture produces (measured as Photosynthetic Photon Flux)?
- How much instantaneous PAR from the fixture is available to plants (measured as Photosynthetic Photon Flux Density)?
- How much energy is used by the fixture to make PAR available to your plants (measured as Photon Efficiency).
PPFD is photosynthetic photon flux density. PPFD measures the amount of PAR that actually arrives at the plant, or as a scientist might say: "the number of photosynthetically active photons that fall on a given surface each second". PPFD is a 'spot' measurement of a specific location on your plant canopy, and it is measured in micromoles per square meter per second (μmol/m2/s). If you want to find out the true light intensity of a lamp over a designated growing area (e.g. 4' x 4'), it is important that the average of several PPFD measurements at a defined height are taken. Lighting companies that only publish the PPFD at the center point of a coverage area grossly overestimate the true light intensity of a fixture. A single measurement does not tell you much, since horticulture lights are generally brightest in the center, with light levels decreasing as measurements are taken towards the edges of the coverage area. (Caveat Emptor: Lighting manufacturers can easily manipulate PPFD data. To ensure you are getting actual PPFD values over a defined growing area, the following needs to be published by the manufacturer: measurement distance from light source (vertical and horizontal), number of measurements included in the average, and the min/max ratio). Fluence always publishes the average PPFD over a defined growing area at a recommended mounting height for all of our lighting systems.
Figure 2: PPFD measurements | 120 x 120 cm single canopy @ 60 cm | URSA Optilux 640
Photon Efficiency refers to how efficient a horticulture lighting system is at converting electrical energy into photons of PAR. Many horticulture lighting manufacturers use total electrical watts or watts per square foot as a metric to describe light intensity. However, these metrics really don't tell you anything since watts are a measurement describing electrical input, not light output. If the PPF of the light is known along with the input wattage, you can calculate how efficient a horticulture lighting system is at converting electrical energy into PAR. As a reminder, the unit for PPF is μmol/s, and the unit to measure watts is Joule per second (J/s), therefore, the seconds in the numerator and denominator cancel out, and the unit becomes µmol/J. The higher this number is, the more efficient a lighting system is at converting electrical energy into photons of PAR.
In order to invest in the proper horticulture lighting system to meet your cultivation and business goals, you need to know the PPF, PPFD, and photon efficiency to make informed purchasing decisions. However, these three metrics should not be used as sole variables to base a purchasing decisions. There are several other variables such as form factor and coefficient of utilization (CU) that need to be considered as well.
All factors need to be used in combination to select the most appropriate systems based on your cultivation and business goals, and the take home message is that PPF, PPFD, and photon efficiency are the proper metrics used by scientists and industry leading horticulture lighting companies. If a company does not provide you with the correct metrics used for horticulture lighting, they should not be selling horticulture lighting systems, and you will not be able to verify the true efficacy of their system. Fluence Bioengineering always publishes these metrics in product literature and is one of the leaders in photosynthetic photon efficiency as verified by Rutgers and Utah State University.


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Crawford, Posey in line to start 2018 ASG
Two Giants players lead their positions in fan balloting for the 2018 MLB All-Star Game presented by Mastercard. The first National League balloting update was announced Monday on MLB Network.• VOTE NOW: 2018 Camping World MLB All-Star BallotShortstop Brandon Crawford and catcher Buster Posey were the top vote-getters in their
Two Giants players lead their positions in fan balloting for the 2018 MLB All-Star Game presented by Mastercard. The first National League balloting update was announced Monday on MLB Network.
• VOTE NOW: 2018 Camping World MLB All-Star Ballot
"Not surprised at all," Giants manager Bruce Bochy said of Crawford. "He's a great athlete, you just appreciate their talent. This guy, for what he's done on both sides of the ball for this long, it's one of the best runs I've seen."
In his past 36 games, heading into Monday's series opener with the Marlins, Crawford hit a MLB-best .439 (58-for-132) with six homers, 16 doubles and 27 RBIs.
"It's the first week of voting, hopefully it'll keep going," said Crawford, whose only All-Star campaign came as a reserve in 2015. "I appreciate it for sure and would love to start the All-Star Game. To be a starter in the All-Star Game, you would definitely be getting the fans' vote, so I would definitely appreciate those votes and the people recognizing my flight."
Posey, a five-time All-Star, leads all catchers with 281,331 votes. He has a narrow lead over the Cubs'
Fans may cast votes for starters at MLB.com and all 30 club sites -- on computers, tablets and smartphones -- exclusively online using the 2018 Camping World MLB All-Star Ballot until Thursday, July 5, at 11:59 p.m. ET. On smartphones and tablets, fans can also access the ballot via the MLB At Bat and MLB Ballpark mobile apps. Each fan can vote up to five times in any 24-hour period, for a maximum of 35 ballots cast.
Following the announcement of this year's All-Star starters, reserves and pitchers, fans should return to MLB.com and cast their 2018 Camping World MLB All-Star Final Vote for the final player on each league's roster. Then on Tuesday, July 17, while watching the 2018 All-Star Game presented by Mastercard live on FOX, fans may visit MLB.com to submit their choices for the Ted Williams Most Valuable Player Award presented by Chevrolet with the 2018 MLB All-Star Game MVP Vote.
The 89th Midsummer Classic, at Nationals Park in Washington, D.C., will be televised nationally by FOX Sports; in Canada by Rogers Sportsnet and RDS; and worldwide by partners in more than 180 countries. FOX Deportes will provide Spanish-language coverage in the United States, while ESPN Radio and ESPN Radio Deportes will provide exclusive national radio coverage of the All-Star Game. MLB Network, MLB.com and SiriusXM also will provide comprehensive All-Star Week coverage. For more information about MLB All-Star Week and to purchase tickets, please visit AllStarGame.com and follow @MLB and @AllStarGame on social media.
Glenn Sattell is a contributor to MLB.com.


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Commanding General, 100th Infantry Division
A veteran of 30 years' service, Major General Withers A. Burress commanded the Century Division from activation until 22 September 1945, when he left the 100th to take command of the VI Corps.
Born in Richmond, Virginia, on 24 November 1894, General Burress matriculated in the Virginia Military Institute from which he graduated in 1914 with the degree of Bachelor of Science. He was commissioned in the Regular Army as a second lieutenant of Infantry on 30 November 1916.
With the advent of World War I, General Burress was assigned to the 23d Infantry Regiment, 2d Infantry Division, with which unit he served as assistant regimental operations officer. He participated in five major engagements: the Troyon Sector, Chateau Thierry, the Aisne-Marne Offensive, the Pont-a-Mousson Sector, and the St. Mihiel Offensive. He returned from France on 2 November 1919 with the permanent rank of captain.
Between wars, General Burress occupied school and command posts throughout the United States, including his VMI alma mater where he was Professor of Military Science and Tactics. On 29 October 1941, he became Assistant Commandant of the Infantry School, Fort Benning, Georgia. He left this important post upon assignment to the Puerto Rican Department early in 1942.
General Burress guided the 100th through the difficult Vosges Mountains campaign; the initial assault on Bitche; the 100th's great winter defense before that Maginot bastion; the final capture of the Bitche fortress; the bitter, 9-day assault against Heilbronn, which resulted in the 100th's most brilliant victory; and the surge southward to Stuttgart.
December, 1944: General Burress's official command photo, Winter, 1944-45.


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It's here!! Our annual Christmas shoot is LIVE and I'm so excited to introduce you to these amazing women and share their awesome style with y'all! If you've been following me for a while then you know we do these shoots every year and they are just so much fun! Brandon Hill shot this year's and last year's shoot and as you can see, he is so talented!
It's so funny because {somehow} every year we always coordinate our outfits so well without even planning it! It just always works out somehow and this year's mix of colors was just so beautiful! Read on to see my outfit and read about these incredible bloggers in Austin!
Janna Doan (left) has the classiest petite style in ATX! Not kidding y'all. I love her green dress so much and paired with her gold clutch and drop earrings, she is absolutely stunning!
Rachel (right) is killin' it in this sequin dress you guys. Serious dress envy over here! I love all of her adorable youtube videos and she's getting married! Check out her page for some fun wedding content!
First off, how amazing are Jess' shoes?! So dang cute! This girl is the sweetest girl and I've loved getting to know her! She works at Nordstrom so she knows her fashion!
You all know how I feel about this little firecracker on the left, Haylee! She is so stunning in this bright red dress and plaid blazer! You can find her talking about her mommy adventures and thrift store finds on her blog!
Kaley (right) is also quite the little firecracker and I can't get enough of it! She's full of life and so dang funny. Her velvet dress had to be the most unique outfit of the bunch and I totally love it! She's moving to Dallas soon which makes me so sad but I'm thankful Dallas isn't too far of a drive!
Haleigh (left) is an old friend of mine and has the cutest style. I met her when I went off to college and she was my freshman roomie! We became inseparable and I'm so glad she has finally joined the blogging world! She's killin' it!
Hilary (middle) is a brand new blogger and also a newbie to Austin!! Her high-fashion style is absolutely flawless this jumpsuit
Meg (right) is probably one of the cutest mommas I know right now! I love her adorable style and I can't get enough of her little baby boy on Instastories! Plus, she's absolutely hilarious so you should definitely be following her!
Here's my full look!


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POP BITS. Justin Bieber's 'Heartbreaker' is just one of those songs that seems like it will never be released. We have been gagging to hear some of the Biebs' latest track and we finally received a taster.
Justin premiered a snippet of the new track on his advert for his new fragrance 'The Key'. We have watched the advert so many times we know all the words already- Well he does just sing "Heartbreaker" over and over again. We thought that this would satisfy our JB appetite but it has made it worst. We need 'Heartbreaker' now! POP BITS OUT.
Watch the advert for 'The Key' below:


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I have some friends travelling to China, and they would like to get email, use Skype, and browse the web without the fear of the government looking over their shoulder.
My first thought is to set up an encrypted proxy for them to use for internet browsing and Skype. Perhaps they could also use PGP for sending email.
They have looked at two companies for doing this: MailVault (for encrypted email) and MetroPipe (for secure proxy). Does anyone know more information about these companies?
Also, how can they be sure they are using the encrypted proxy, so they don't accidentally browse with out it? What else should they be thinking about?


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When you need data back fast, ITGuys Data Recovery in Arvada can is your best option. With 24 hour turn around time on average, our arvada data recovery services have a success rate of more than 99% and we cost less than most competitors. The turn around time is normally within 24 hours, and we'll match anyone's advertised rates! There's nothing to lose except your data, so call the ITGuys at 303.578.6256 today.
The Arvada data recovery process is simple. Just give us a call and we'll give you a free quote right over the phone. It's that easy. We're proud to be the best Data recovery service in arvada, helping people just like you get back to work without missing a beat of your day.
We get it, you're busy. You don't have time to continually back up your data and keep track of all of your files. And there are just some things that iCloud and carbonite cannot back up. Cloud storage is becoming popular, but what happens to your data if you forget to pay your bill. At ITGuys, we make IT support easy. When you need a quality IT support service in Arvada without spending a ton of money for it either. Call the ITGuys for quality discount on-site support for your data recovery needs.
We can give you a free estimate right over the phone. Most challenges can be fixed over the phone, and in some cases remotely. If we can't help you, we'll point you in the direction of someone who can. We can have a technician on-site at your location in the same day. Whether your computer doesn't boot, it was dropped, spilled on, or melted in the oven, there's no challenge to big or too small for the ITGuys in Arvada.


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Let the memory of Berma be with us forever
- 73 years old
- Born on July 8, 1937 .
- Passed away on May 4, 2011 .
This memorial website was created in memory of our loved one, Berma Russum 73 years old , born on July 8, 1937 and passed away on May 4, 2011. We will remember her forever.
Happy Birthday to my mama in Heaven! not a day goes by that you are not thought of or missed! You may not be here with us~ but your in our hearts We celebrate you and. All the memories you gave us.... Love you Always Always...
Happy Birthday Mama! Isn't a day goes by I don't think about you& wish you were here! Did you like the flowers of the Moo Cow? I know how much you liked moo cows! Love you Mama!
I bring you this flower that you may remember to all the good memories we shared together. You taught me so many things and I'm grateful. You may be gone from our lives here on earth but your memories are with us forever. We find your notes and cherish ever word. Thank you. Love you always xoxo
Happy Birthday Mom!!! Brought you some roses today, pretty pink ones... I know you would like them. <3 I wish that I could of sung to you today on the phone... to bake you a cake or bring you your favorite coconut cream pie... I hope you get the messages, I send you on your balloons... I love you mom... Miss you soooo much!!! Happy birthday. OXOXO <3
Happy Birthday Mom... I brought you your favorite flower, and placed them next to your cross.. Your stone says paradise, because that is where you are... I know its beautiful there...I know your happy and not in pain...We celebrated your day,today we sent you love to heaven...We Miss You Sooo Much! I love you mom...
Its been a year tomorrow... I Miss you SOOOO MUCH!!! I miss our talks, your hugs, and your words of encouragement... Today has been so tough... But I know you are there, and you hear me... I love you mom.... Thank you for being the most Amazing woman I have ever known... You will Never be forgotten, I LOVE YOU MOM... <3 :O(...
It has been a long year... I miss my mom so much. I visited her grave site today and left pink roses just like she had for her funeral. I also took a couple and placed them on her mom and dads grave site. They know. Life will never be the same... I lost my go to best friend. I know you are watching over me... I love you Mom.
Today I brought flowers to your place of rest.To my loving mom/friend/teacher. You gave so much of yourself. As I am now a mother/grandmother myself I have an understanding of all you did. You gave me the gift of understanding and love. I miss you so


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Fisk, Jerry
Hi, my name is Jerry Fisk; I have been living and working full-time as a Master Bladesmith since 1989. I received the honor of being named a National Living Treasure in 1999. Most of my pieces are created using natural materials for handles. The blade steels I prefer are traditional carbon steels or I will blend various steels to make my own Damascus. I continue to push myself to improve what I do know and to learn new skills and techniques so that I can offer you the best work that I can currently do. I prefer to engrave the pieces that I make as I think it makes the package complete though the piece must stand on its own merits without ornamentation. All of my blades from field grade to ornate pieces are tested to insure they perform in the manner for which they are designed for and made as strong as the design allows. n these modern times you have to search for something that a craftsman/artist makes one-at-a-time. The days of one person working in their shop to create functional works of art are fast going, as it seems we live in a disposable world. This is your time to own something for you and your family that can be passed down. Each generation will have its own stories of the piece and the memories it holds for them. That is something to treasure for the ages.
RESULTS 1-15 of 25
Layaway Available
- Damascus BowieBy: Fisk, JerryDate Added: 12/02/19Price: $4,650.00
- SenderoBy: Fisk, JerryDate Added: 06/13/19Price: $1,395.00
- BowieBy: Fisk, JerryDate Added: 05/30/19Price: $2,295.00
- SenderoBy: Fisk, JerryDate Added: 04/19/19Price: $1,295.00
- SenderoBy: Fisk, JerryDate Added: 03/07/19Price: $900.00
- TomahawkBy: Fisk, JerryDate Added: 05/11/18Price: $395.00
- Sendero - SnakewoodBy: Fisk, JerryDate Added: 05/10/18Price: $1,195.00
- Drop Point UtilityBy: Fisk, JerryDate Added: 02/19/18Price: $595.00
- Damascus and Walrus Ivory D-Guard BowieBy: Fisk, JerryDate Added: 09/21/17Price: $2,995.00
- Magnum Camp Knife - Jerry Fisk DesignBy: Blackjack Knives, Fisk, JerryDate Added: 07/07/17Price: $325.00 Sale Price: $270.00
- Drop Point UtilityBy: Fisk, JerryDate Added: 10/26/16Price: $495.00
- Damascus Drop Point HunterBy: Fisk, JerryDate Added: 08/22/16Price: $1,495.00 Sale Price: $1,400.00
- Arkansas Camp KnifeBy: Fisk, JerryDate Added: 04/25/16Price: $1,395.00
- Bird and TroutBy: Fisk, JerryDate Added: 04/21/16Price: $995.00 Sale Price: $595.00
- BowieBy: Fisk, JerryDate Added: 01/29/16Price: $1,395.00
RESULTS 1-15 of 25
Layaway Available


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With 25 years' experience working within natural health and the independent health food trade, Target Publishing, the publisher of leading trade and consumer magazines, Health Food Businessand Natural Lifestyle, have developed Natural Pharmacy Business.
By bringing our successful formula to the UK's pharmacy industry, we are offering natural product suppliers the opportunity to reach an emerging market of pharmacists looking to stock natural ranges because of increased consumer-demand and declining margins on traditional over-the-counter sales.
- Find the editorial valuable 100% 100%
- Find the advertising valuable 98% 98%
- Find the editorial valuable 99% 99%
Wow! Last month was great for #SaltoftheEarth team! Two awards in quick succession from .@janeyleegrace & .@npbmagazine!
— SaltoftheEarthDeo (@NaturalDeo) November 6, 2016
We officially launched into retail space yesterday! Read about our vision for the future in Oct/Nov @NPBmagazine 🏬https://t.co/WPT2S0DysG pic.twitter.com/7qEIchhtk3
— Nutri Advanced Ltd (@nutriltd) October 24, 2016
Thanks to everyone who voted for Lifeplan at the @NPBmagazine Pharmacy Business awards.
We had a great time at the show.. pic.twitter.com/4tcAY0HbyY
— Lifeplan Products (@LifeplanProduct) October 4, 2016
The @npbmagazine awards @pharmacyshow. Congrats to all the winners and those highly commended! pic.twitter.com/egaxy5OH5U
— The Pharmacy Show (@pharmacyshow) September 25, 2016
Good to see this – haven't heard much from @nelsons_press recently #pharmacy #hayfever @toomepharmacy @fohhomeopathy https://t.co/QMbnC5RRG2
— Dr Gary Smyth (@GaryJSmyth) August 29, 2016
So proud of our super talented team! #retail @NPBmagazine #expert #pharmacy https://t.co/qy2ZlToJvr
— Meagher's Pharmacy (@MeaghersPharmcy) June 17, 2016
Read the article from Dr Alex Tournier on Homeopathy and the NHS. Very good. https://t.co/jDR1EHHIYq
— Health Leads UK Ltd (@Health_Leads_UK) February 4, 2016
James Harrison
Editor, James Harrison is an experienced editor and researcher who has worked with numerous healthcare and medical clients, including: medDigital, Glaxosmithkline, AstraZeneca as and Bowen Craggs.
Talk to our team about reaching thousands of pharmacy buyers in the UK and Ireland.


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Over the weekend I got a Huawei Ascend Mate 2, white, excellent condition, for only $60. It has already been updated to Android 5.1. I have played around it quite a bit and I really like it. It hits the marks for me--GPS locks on and stays that way, it doesn't lag (most notably it doesn't shut down Maps/Navigation running in the background if I'm doing other things), and it has great RF performance, delivering a good signal at my house which is well in the boonies and other phones (most notably the ZTE Grand X Max + I'd used previously) had failed to do. I've gotten around its unusual Android behavior of no apps drawer by using Nova Prime (which I use anyway). I've learned other quirks--when installing via side-loading the .apk files from the microSD, ALLOW apps to run in the background (that's why 1Weather and kept disappearing and NoLED wasn't informing me of anything, I learned) and DO NOT delete the installation package when prompted (it was deleting the .apk files off of the microSD).
There are a few quirks, the main one I'm struggling with--when changing wallpaper via the Android settings, it keeps putting a "divider" down the middle vertically, sort of "splitting off" what I'm telling it to do vs what I want it to do, basically showing me two different halves. The only way around this I've found is running "Perfect Viewer," a 3rd party picture viewing app, browsing to wallpapers I've downloaded and using IT to set the wallpaper. I can also get respectable results sometimes long-pressing and having Nova handle it. However, if I want to use the built-in wallpapers the phone comes with, the only way to do that is through the Android settings and when I do that it "splits" this wallpaper in half, showing this wallpaper on one side and the previous wallpaper on the other. NOTHING I do stops this.
Is there anyway around this? Alternatively, where are the file locations for the built-in wallpaper? This way I could browse there using Perfect Viewer or ES File Explorer and then I'd be OK.
We work to fully solve issues, we try to help improve the situation of people who need this help. That is an honorable purpose and makes this worth the effort.


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Cordovan Slip Wallet
Highland Belts and Fine Leather Goods
Minimalist Wallet that holds credit cards along with various sizes of currency. Great sizing for a front or back pocket wallet. Made in Maine from Horween® Genuine Shell Cordovan.
Highland Belts and Fine Leather Goods
Highland Belts & Fine Leather Goods was started in 2002 by Adam Sutton. With 20 years of experience selling for Horween Leather Co., he took his leather knowledge and his market experience with both finished goods and leather sales to form Highland. For nearly 15 years Highland has been making specialty belts and leather goods. Highland specializes in belts for the golf market and they have been making Genuine Shell Cordovan belts and accessories since their inception.


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At Adventures in CFNM, rugby hunk Brian is starting to regret making such a fuss about his sporting injury. He never expected it to lead to being stripped completely naked and having his genitals examined so closely. But Kimberly is a very thorough woman and won't let him go until she's completely sure there's nothing seriously wrong with him – no matter how bad it makes him feel. And now she has a willing assistant in the form of the young Sophie Watts!
| Want to see more of Adventures in CFNM? Click here |


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A federal appeals court upheld a contempt order against two companies own by a Canadian business man accused of processing millions of dollars for the internet gambling industry. Looks like Taco Bell won't be the only reason to make a run for the border. Read more.
views and opinions expressed are those of the author and do not necessarily reflect those of CalvinAyre.com
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A Collection of Epitaphs and Monumental Inscriptions, Historical, Biographical, Literary, and Miscellaneous: To which is Prefixed, An Essay on Epitaphs, Volume 1
Lackington, Allen, & Company, 1806 - Epitaphs
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Common terms and phrases
ABBEY beauty Ben Jonson beneath blest bloom born breath buried CANTERBURY CATHEDRAL CATHEDRAL charms church CHURCH-YARD dead dear death died doth dust dy'd dy'd e'er earth EDWARD WINTER Epictetus epitaph erected ev'ry eyes fair faith fame fate gen'rous genius grace grave grief hath heart heaven honest honour husband inscription John John MILNE JOVIANUS PONTANUS King LADY learning lies liv'd live London Lord lov'd lyes lyeth maid marble memory mind Montgomeryshire monument mortal mourn Muse ne'er never night Nott o'er peace pity poet poor praise pride Reader rest rich ROBERT DODSLEY sacred shrine sigh sleeps sorrow soul stone sweet tear tender thee thine THOMAS THOMAS KNOLLES thou tomb truth virtue weep west MINSTER Westminster WESTMINSTER ABBEY wife WILLIAM WILLIAM PRYNNE wise worms wyff youth
Popular passages
Page 20 - He gained from heaven ('twas all he wished) a friend. No farther seek his merits to disclose, Or draw his frailties from their dread abode, (There they alike in trembling hope repose) The bosom of his father and his God.
Page xiv - When I look upon the tombs of the great, every emotion of envy dies in me ; when I read the epitaphs of the beautiful, every inordinate desire goes out; when I meet with the grief of parents upon a tomb-stone, my heart melts with compassion ; when I see the tomb of the parents themselves, I consider the vanity of grieving for those whom we must quickly follow...
Page 18 - Here rests a woman, good without pretence, Blest with plain reason, and with sober sense ; No conquest she, but o'er herself desir'd ; No arts essay'd, but not to be admir'd.
Page 235 - Virtues lov'd to dwell. Affection warm, and faith sincere, • And soft humanity were there. ' In agony, in death resign'd, She felt the Wound she left behind.
Page 21 - WOULD'ST thou hear what man can say In a little ? reader, stay. Underneath this stone doth lie As much beauty as could die : Which in life did harbour give To more virtue than doth live. If at all she had a fault. Leave it buried in this vault. One name was ELIZABETH, The other let it sleep with death : Fitter, where it died, to tell, Than that it lived at all. Farewell 1 SONG.
Page 4 - He played so truly. So by error to his fate They all consented; But viewing him since (alas, too late) They have repented. And have sought (to give new birth) In baths to steep him; But, being so much too good for earth, Heaven vows to keep him.
Page 38 - They were lovely and pleasant in their lives, and in their deaths they were not divided.
Page 95 - Lord 1680, Was buried a true Englishman, Who in Berkshire was well known To love his country's freedom, 'bove his own, But living immured full twenty year, Had time to write, as does appear, HIS EPITAPH.
Page 4 - Weep with me, all you that read This little story : And know, for whom a tear you shed Death's self is sorry. 'Twas a child that so did thrive In grace and feature, As heaven and nature seemed to strive Which owned the creature.
Page 221 - Here lies our Sovereign Lord the King, Whose word no man relies on, Who never said a foolish thing, Nor ever did a wise one.


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- Daily Value: an updated and modified version of the Recommended Daily Allowance, developed by the FDA and placed on the labels of foods, vitamins, etc.: see RDA
- Douay Version (of the Bible)
Origin of DVClassical Latin Deo volente God willing
- digital video
MLA Style
APA Style
- Latin Deo volente (God willing)
- Bible Douay Version
MLA Style
APA Style
dv - Computer Definition
(1) (Digital Video) A generic term for capturing and/or editing video in the digital domain.
(2) (Digital Video) A digital videotape format introduced in 1995 for camcorders. Over the years, DV has been widely used in both consumer and professional applications, and the small MiniDV cartridge was very popular in handheld units. Tapeless DV camcorders have also come on the market using optical discs, hard disks and flash memory cards for storage. DVCAM and DVCPRO Soon after DV debuted, Sony and Panasonic introduced their own professional variants geared to make editing easier (see DVCAM and DVCPRO). However, the tape width and encoding format are the same, and the cartridges are mostly interchangeable. In pro models, quality camera lenses and electronics make a difference. Mini DVD Camcorders Some camcorders have been built that record onto small "mini DVD" discs. However, DVD and DV are not the same video format, and a mini DVD is a disc, while MiniDV is a DV cassette size (see DVD). DV Is Standard Resolution (SD) DV records 720 horizontal pixels and 480 interlaced lines of standard resolution in countries with 60Hz electric current and 576 lines for 50Hz. High-definition versions of DV with 720 and 1080 lines are the official HDV standard and Panasonic's DVCPRO HD (see HDV and DVCPRO). Compression and Specifications Depending on the motion content of the scenes, DV provides about a 5:1 compression. It uses the same DCT algorithm as MPEG for compression, but it is easier to edit because each frame is compressed independently without relying on the prior frame (intraframe compression). Based on the IEC 61834 standard, DV tape moves at a constant rate of 18.8mm per second, providing a data rate of 25 Mbps. The SMPTE 314 standard supports 25 Mbps and provides 50 Mbps for studio use. See Micro DV and SD formats.
MLA Style
APA Style


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Critical fire danger is prompting a Red Flag Warning to continue across Northern California today. The biggest concerns for fire danger will be very low humidity, gusty North winds, and hotter temperatures ahead for today. Humidity has not recovered well overnight, and is mostly below 35 percent in the valley for the start of the day. Humidity is expected to dip into the 5 to 15 percent range this afternoon, which could result in new fires being started very easily. Temperatures have stayed slightly warmer overnight, with valley areas dipping into the high 50's to mid 60's, and mountain areas dropping into the 30's to 40's overnight. Winds are already strong for the start of your Thursday. Winds are expected to pick up out of the North to around 20mph this afternoon, with gusts up to around 30mph. Stronger winds could result in the enhanced spread of fires in our region. Temperatures are projected to top out in the mid 90's for the majority of the valley today and in the 70's to mid 80's in the mountains this afternoon. The Red Flag Warning is set to stay in place for the valley and foothills through 7pm tonight.
Slightly cooler temperatures, lighter winds, and higher humidity will help fire danger dip back into the moderate to high range on Friday. Temperatures are expected to be around 4 to 5 degrees cooler than Thursday afternoon. Valley areas will end up in the high 80's to low 90's from Friday through Sunday. Dry weather and sunny to mostly sunny skies are expected to persist through your weekend. Temperatures will start to climb again for the start of next week, and low to mid 90's are projected from Monday through at least Wednesday of your extended forecast in the valley.
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- Storm Tracker Forecast: High Fire Danger prompts a Red Flag Warning today
- Pleasant Today, Red Flag Warning Returns Tonight
- Red Flag Warning Ahead!
- Red Flag Warning for critical fire danger ahead
- The threat of thunderstorms prompts a Red Flag Warning tonight


text: LAST FEW!Save the environment and promote HubNut with this stylish cotton shopping bag. Ideal for hiding your car brochure or magazine fetish due to its not-at-all transparent construction.Or, be the envy of everyone in your local supermarket as you convey your items by stylish tote bag rather than crumpled plastic bag you've had sitting in a cupboard for longer than you can remember.These bags are made from 100% organic cotton, and screen printed with PVC-Free products by Blackwater Studios. This make them ideal for Waitrose.Size: 42cm x 36cm x 8cm


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See where thousands of workers came to tame the Colorado River and turn the Black Canyon into Lake Mead, the largest reservoir in the US! This bus tour of the Hoover Dam will take you by air-conditioned motorcoach to the one of the most impressive manmade engineering projects in the world.
After a short 45-minute trip, you'll get the chance to undertake a VIP experience in the heart of the Dam; the Government Guided Discovery Tour! This gives you access to the Visitor's Centre, all exhibits, the movie room, the humming generator room and the breathtaking Observation Deck. You'll have plenty of time to explore by yourself, and to take as many photos as you want to.
Discover all the fascinating history behind this amazing feat of engineering, and then be driven back to your hotel so all you need to do is sit back and relax!
You also get a FREE 1-day monorail pass (worth £13) with this ticket so you can continue exploring Las Vegas even after the tour is over.
If you want to get a real sense of how impressive the Hoover Dam is, get the Helicopter Ticket! You'll be able to do the VIP tour and then board a helicopter for a six-minute flight that whisks you over Lake Mead and the Dam.
Daily excluding Christmas Day.
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