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Before "Anna Karenina," we knew that a Joe Wright/Keira Knightley literary adaptation would be like: classy, pretty, energetic but well-mannered, like their Oscar-nominated work together, "Pride and Prejudice" and "Atonement."
But "Anna" is nothing of the sort. This is Leo Tolstoy's epic novel of passion and betrayal as Baz Luhrmann or Ken Russell might have imagined it, an extravagantly stylized take that sets the entire film (or most of it, anyway) inside a decaying old theater to emphasize the theatricality of the Russian gentry of the time.
Beginning with its screenings in Venice and Toronto this fall, the film has both excited and confused audiences. When I saw it in Toronto, I wrote that it was "bold and occasionally silly but more often thrilling" — but this week, TheWrap's reviewer Leah Rozen wrote, "[T]he obvious artifice distances the viewer from fully entering into the emotion of the story and the characters."
But then, as she told TheWrap, Keira Knightley knew that's what she was getting in for.
You seem to have made a wildly divisive movie here — people either go with the conceit, or they don't.
As soon as you try to do anything that's so off-the-wall and not naturalistic, you always have people who'll go, "No, I don't get it." But it was amazing how many people who were at the premiere who said, "I am so inspired."
It's a lovely word, when somebody says they found it inspiring. I do think it's inspiring, because it breaks all the rules, and that's really an extraordinary, frightening thing to see.
People might certainly approach this movie with certain expectations: It's Joe Wright, it's Keira Knightly, it's a classic novel, we know what that's going to be. And it's not that at all.
It's definitely not. That that was sort of part of the reason that we all loved doing it. I think when you're doing a version of "Anna Karenina," which has been done so many times before, and you're working with a group of people who have worked together a number of times before, there's sense of that we have to do something a little different, we have to shake it up, we can't be safe.
And you know, the worst that can happen is that you fail. And if you fail, at least you're failing together, which is always nice. We all just thought, let's just jump off this cliff.
But when you signed on, Joe hadn't chosen the theatrical conceit, had he?
No, it was going to be a naturalistic telling, right up until about 12 weeks before we started shooting. And I think in doing the research, Joe got fascinated with this idea that Russian aristocrats in the 18th and 19th centuries spoke French or Italian, dressed in the French style, their food was based on French food, their etiquette was based on French etiquette, their houses were built in the French style. They'd have tiny secret roots in the Russian style, but they'd never show anybody.
He got obsessed with the idea, which I also found incredibly interesting, of these lives lived on a stage, lived in the constant pretense of being French, of being something that they weren't. If you put it in this theatrical setting, this heightened, stylized fantasy world, you could get the idea that there's a level of play-acting going on with every single one of the characters.
When he broke the news to you 12 weeks before shooting, though, I imagine you didn't immediately say, "Oh, great."
I went, "Oh, no." I remember standing in his office, and there were these drawings everywhere of this theater world. I said "OK, I don't get it whatsoever," and he just started describing it. And when he described the race sequence, where a horse falls from the stage into the auditorium, I went, "Oh, let's go then."
Partly because, why wouldn't you try? When we did "Pride and Prejudice," I was that crap girl from "Pirates" who pouted a lot, and he was a TV director, and everyone went, "This is going to be awful." And then when we did "Atonement," and it was this unfilmable novel that was never going to work.
We were always the underdog, and that's when we work well. And suddenly when he said we were going to do this, everybody was, "Oh, you know how to do that." We didn't like that. Suddenly there was this expectation that I don't think either of us were comfortable with, in a funny way. So it kind of made both of us think, We have to try something different.
As an actress, though, it must mean that you had to play certain scenes in a more stylized, theatrical manner than you were planning to do.
Yes, there are moments when it is heightened. We didn't want it to be a minimalist performance. The whole point of Anna is that she is being driven by her emotions. If she was being rational, a lot of the things that happened in the story wouldn't have happened. She is completely an emotional being.
Very often when you're doing big emotional performances, you're working in quite a minimal setting. You'll do two or three shots, you'll do two or three takes. But with this, suddenly you're doing a scene that's shot through this mirror, and you have to time your teardrop to come down as you turn and hit that beam of light that's coming across your forehead. And you're doing it 14 or 15 times. It adds a certain level of complexity to the whole thing, which is rather interesting.
It strikes me that not only the dance scenes, but also the sex scenes, are very choreographed.
The sex scene is actually a choreographed dance [by Sidi Larbi Cherkaoui] that we shot two ways. There is a wider shot where you can actually see that it's dance. What ended up on film is the close-up version that we shot, so that you get the idea of these two bodies that are entwined and you can't figure out whose is whose. But it was actually a dance.
No wonder it looked choreographed.
Yes, exactly. That'll do it. It has been performed many times onstage, and it's normally performed between two men. And I think Joe liked the idea that it was performed between two men — that within the sexual act, different people take control at different times.
In doing something as stylized like this, you are always walking a tightrope. And I think we clearly thought that the wide shot of this actual dance was too much for this sex scene. But it will make a very nice DVD extra, I should imagine.
Is it true that Joe came to you on the set at one point and said, "I think I hate her?"
Yeah. She's a fascinating character, because the question of whether she's the heroine or the anti-heroine is a constant. And the answer is very ambigous. I think she's both. When I was re-reading it last summer I was thinking, Tolstoy absolutely hates her.
There are points where he's writing like she's the whore of Babylon, and there are other times when it feels like he completely loves her and understands her and she is the victim. I think both Joe and I felt that about her. We were very conscious of not wanting to simplify her.
In some ways we have made her more likeable than she is in the novel, but we also kept that manipulative, deceitful, needy aspect to her. And there were times when we would be doing a scene, and he would just say, "I hate her."
Not necessarily what you want to hear as you're playing her.
I'd say, "You can't say that to me right now." But in a lot of the sequences with Karenin [Jude Law], we actually did play the extremes. We played her as the absolute villain of the piece, and we played her as the absolute innocent. We normally found something in the middle, but we wanted it down on film that there were those two kind of different parts to her.
Did you keep the book close at hand to consult the 700-or-so pages that couldn't make it into the screenplay?
I terrified all the boys. My copy of "Anna Karenina" was completely annotated and had lots of very colorful post-it notes all over it, so it was about twice the size of everybody else's. And I would quite often go back to it. I thought, Is there something we can add from the book to make this more interesting?
What was the color coding for?
[laughs] Well, that's very tricky. The color coding is each different character, each different situation. If there's an action that completely changes the course of the character, that gets a different color. It's absolutely, completely anal, but it makes me feel like I've done a lot of work, and terrifies other people, so it's really great.
The next time you and Joe work together, are you going to look for ways to complicate the task, the way you did with this one?
To make it as difficult as possible? Yeah. It's a flaw, I think, in both of our personalities – but again, why wouldn't you try? You have to try to do something a little bit different, something that takes you out of your comfort zone. I think you constantly have to change the bar. Maybe not raise it, but change it.


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Mammograms for women ages 50 to 74 may not be needed every year
A new study shows that women between the ages of 50 to 74 that get mammography screenings every two years may be at no more risk for advanced-stage breast cancer and at a lower risk for false positives, than those who get tested annually.
False positives on a mammogram may lead to unnecessary biopsies or treatments.
"You really decrease you chance of harm if you screen every two years," lead researcher Karla Kerlikowske, a primary care physician and professor of medicine at the University of California, San Francisco, said to Bloomberg Businessweek. "The fear was that if you do it every two years versus every year, you are going to have a really big tumor when you are diagnosed. The reality is these tumors just don't grow that rapidly."
The results, which were published on March 18 in JAMA Internal Medicine, follow the 2009 recommendation by the U.S. Preventive Services Task Force that advocated for biennial mammography for women in this age group instead of the previous suggestion of getting screened every one to two years.
However, the study authors pointed out that the original recommendations only looked at age as a factor for influencing breast cancer risk. This new study factored in age, breast density and postmenopausal use of hormone therapy (HT).
- Radiation for breast cancer may raise heart disease risk for women
- Advanced breast cancer on the rise in young women, study finds
- FDA approves new late-stage breast cancer drug Kadcyla
About 211,731 women received a breast cancer diagnosis in the U.S. in 2009 -- the latest year for which statistics were available -- and 40,676 will die each year from the disease, according to the Centers for Disease Control and Prevention. It is the most common cancer among women in the U.S. and one of the leading causes of cancer death among women of all races and Hispanic women.
The researchers looked at data from 11,474 women with breast cancer and 922,624 women without breast cancer who underwent screenings at U.S. facilities involved in the long-running Breast Cancer Surveillance Consortium (BCSC) from January 1994 to December 2008.
Women who went every two years for a screening were not associated with an increased risk of advance stage breast cancers or large tumors, even if the woman had dense breasts or used hormone replacement therapies, when compared with women who were screened every year.
For women who were between the ages of 40 to 49, those with extremely dense breasts were 1.89 times more likely to be found with advance-stage cancers and 2.39 times more likely to have large tumors when they were screened every other year versus annually.
"This study is not about whether you should start screening at 40 or 50, but if you are going to be screened, does it matter if you do it every year or every two years," Kerlikowske said. "If you're in that younger group, with dense breasts, it probably does matter."
Women ages 50 to 74 were less likely to receive a false-positive diagnosis if they were screened every two years. For women who had mammographies every two and three years, they had a 30.7 and 21.9 percent respective risk of false positives than women who got screened each year (about 50 to 60 percent regardless of age, according to Susan G. Komen for the Cure).
But, women in the younger age group with extremely dense breasts had a 65.5 percent chance of a false positive if they were screened biennially, and women who used hormone therapy who had dense breasts regardless of age were at a 65.8 percent chance of a false positive.
Unlike the U.S. task force, the American Cancer Society recommends annual mammogram screening starting at age forty.
"I don't think any one study ought to change everything,"said Dr. Otis Brawley, chief medical officer of the American Cancer Society, to Reuters.
Brawley said he did not expect changes in official screening policies for professional organizations, but he did think doctors were moving towards a more personalized approach when it came to screening for breast cancer.
"This is one of several studies that are all pointing in the same direction over the last several years," he said.
for more features.

subset: commoncrawl


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Looking for a Associate Pastor job in South Carolina?
Browse our list of part-time Associate Pastor jobs in SC and full-time Associate Pastor jobs in SC. Associate Pastor job opportunities in many denominations including Southern Baptist (SBC), Independent Baptist, Non-Denomination, Methodist, Presbyterian and others. Upload your ministry resume to our resume database so churches in SC looking for a Associate Pastor can easily connect with you. Sign up for email notifications and whenever a church in SC is seeking a part-time Associate Pastor or full-time Associate Pastor we will send you an email of the new job posting.


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EA (Electronic Arts)
NextGen Reality staff produced graphics and effects for several TVC's created at NextGen Studios for EA gaming franchises as well as producing the graphics, 3D and effects for the Electronic Arts' "Celebrating 20 years in Australia" documentary.
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Our team of specialists and staff believe that informed patients are better equipped to make decisions regarding their health and well being. For your personal use, we have created an extensive patient library covering an array of educational topics. Browse through these diagnoses and treatments to learn more about topics of interest to you. Or, for a more comprehensive search of our entire Website, enter your term(s) in the search bar provided.
As always, you can contact our office to answer any questions or concerns.
The following services are performed at our offices:
EMR - Electronic Medical Records
Lower Extremity MRI
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Relief for Neuromas
Dr. Blumfield helps hurting Feet
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Healing the pain in your feet
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Repairing your feet
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múi giờ trong Helsinki là : GMT+02:00
Helsinki was founded in 1550 and become the capital of Finland since 1812. Helsinki is famous for its design, high technology, and architecture. Situated near Tallinn, Stockholm, and Saint Petersburg. Helsinki has also close historical connections with these three cities. Helsinki has many beautiful sights to explore. National Museum of Finland is the example and also the biggest historical museum in Helsinki.


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Cassandra Rull launches limited-edition Dream Beach dresses
Dream Weaver
You don't know how it happened, but here you are. Floating from cloud to cloud. Mmm, they taste like cotton candy.
Oh, look. There's Leonardo DiCaprio.
You've got to be dreaming. Especially since you're now gazing upon the most gorgeous dresses ever. Floaty, whisper-weight rayons in stunning tribal, paisley, and ocean prints that flutter oh-so-perfectly in the summer breeze.
Deep down, you know that these elusive Dream Beach dresses and maxis are by local designer Cassandra Rull. You can sense her leap from playful basics to sophisticated resort wear. And, you get the feeling that she moved her manufacturing to Bali to concentrate more on creative design.
Unique details start drifting into focus. A scoop neckline elongates and flatters the neck. Triple shoulder straps anchor an open back. Side slits and cowl armholes add movement and romance.
These beauties are so close, you can almost touch them. But in order to do so, you've got to jump online and snag one off Rull's Etsy shop, quick. She only made two of each style and print, so once they're gone, they're gone forever.
Ooh. Talk about a reality check.
$119 dresses, $159 maxis, one size fits all. Limited quantities available in Cassandra Rull's Etsy shop. Photos courtesy: Cassandra Rull.


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Weather stations Aargau
This map shows the distribution of the weather stations in the Canton of Aargau of which current data and forecasts with pinpoint precision are available. In general, the weather stations measure air temperature and humidity (2 meters above ground), wind speed and wind direction (10 meters above ground), as well as sunshine duration, amount of precipitation and air pressure.
Our statistical forecast method enables us to calculate for each weather station a point forecast embracing all of the characteristics of the site.


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China's first female astronaut and two other crew members emerged smiling from a capsule that returned safely to Earth Friday from a 13-day mission to an orbiting module that is a prototype for a future space station.
The Shenzhou 9 parachuted to a landing on the grasslands of the country's sprawling Inner Mongolia region at about 10 a.m. (0200 GMT). China declared the first manned mission to the Tiangong 1 module a major stride ahead for the country's ambitious space program.Liu Yang, China's first female astronaut.
The three, all experienced air force pilots, were lifted on to folding chairs and appeared in good health. They smiled, waved, chatted and saluted as state television ran live footage from the landing site.
"Tiangong 1, our home in space, was comfortable and pleasant. We're very proud of our nation," Liu Yang told national broadcaster CCTV.
Space program commander, Gen. Chang Wanchuan, declared the astronauts in good health and declared the mission "completely successful."
He was followed by Premier Wen Jiabao, who said the mission marked "absolutely important progress" for the space program.
The mission had included both remote control and piloted dockings with the module and extensive medical monitoring of the astronauts as part of preparations for manning a permanent space station.
China's next goals include another manned mission to the module originally scheduled for later this year but which may be delayed depending on an evaluation of the Shenzhou 9 mission and the condition of the Tiangong 1. China has been extremely cautious and methodical in its manned missions, with more than three years passing since the previous one, and all four have been relatively problem-free.
Tiangong 1 is due to be retired in a few years and replaced with a permanent space station around 2020 that will weigh about 60 tons, slightly smaller than NASA's Skylab of the 1970s and about one-sixth the size of the 16-nation International Space Station that China was barred from participating in, largely on objections from the United States. Possible future missions could include sending a rover to the moon, possibly followed by a manned lunar mission.
Launched June 16 from the Jiuquan center on the edge of the Gobi desert in northern China, Shenzhou 9 is the latest success for China's manned space program that launched its first astronaut, Yang Liwei, into space in 2003, making China just the third nation after Russia and the U.S. to achieve that feat. China would also be the third country after the United States and Russia to send independently maintained space stations into orbit.
Earlier in the week, a spokeswoman said China spent 20 billion yuan ($3.1 billion) on its space program between 1992 and 2005 — a rare admission for a program with close links to the secretive military. By the time the next Shenzhou mission is completed, Beijing will have spent an additional 19 billion yuan ($3 billion), the spokeswoman said.


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With the advent of Windows 10, Microsoft has slowly ramped up the competitiveness of Windows' built-in software such as browsers (Microsoft Edge), app and game gateways (the Windows Store and Play Anywhere), and security products (Windows Defender).
This is leading at least some company leaders to worry that Microsoft is trying to push out third-party software when Microsoft-made solutions are readily available.
The latest Microsoft competitor to take a stand is Eugene Kaspersky, founder of security company Kaspersky Labs. Recently, Kaspersky announced in a blog post that his company was filing complaints of anticompetitive behavior by Microsoft in "various countries (including the EU and Russia)." It's not clear if Kaspersky Labs is complaining to officials in the United States.
At issue for Kaspersky is Microsoft's treatment of third-party antivirus solutions that compete with Windows Defender—a free security product included with Windows 10.
Microsoft has offered free security software for years. There's the Windows Security Essentials download for Windows 7, and versions of Defender for Windows 8/8.1 and Windows 10.
Kaspersky's beef isn't really with the existence of Defender. Rather, it's with how Defender is favored to the detriment of competing, paid products.
The story behind the story: While Kaspersky focuses on security products in his blog post. The context of his argument is that Microsoft is "seizing niche markets" in order to push out independent developers. There's little doubt Microsoft is promoting its own software inside Windows 10, and aggressively so.
We recently reported on Microsoft's advertisements for Edge on the taskbar even when another browser is designated as the default program. There have also been annoyances with major updates, such as Windows 10 resetting user preferences to Microsoft defaults.
Defender's deadline
Topping Kaspersky's list of complaints is how Microsoft treated third-party vendors when Windows 10 first rolled out. Kaspersky says developers were only given one week to comply with Windows 10's new requirements, a timeline that proved impossible to hit.
As a result of not being ready in time, Windows 10 would deem noncompliant security programs incompatible and deactivate them. The operating system would then activate Defender in place of the preferred third-party software the user had installed.
To remedy this problem, Kaspersky suggests that Microsoft should provide new versions of Windows to developers in "good time" so they can bring their programs into compliance.
That's an odd request to make in the age of the Windows Insider Program, which makes early builds of Windows 10 readily available to the public. That said, even with the Insider program it can be difficult to figure out which late-stage Insider build will be the official version rolling out to users during a major update.
Kaspersky also wants Windows 10 to "explicitly inform the user of the presence of incompatible software before upgrading," and then recommend to install a compatible version of said software after the upgrade. The first part of that demand is not unheard of. In 2012, Microsoft's Windows 8 upgrade utility informed users of incompatible programs before continuing with the upgrade.
Warnings and favoritism
Kaspersky also took issue with Microsoft's warning window for Windows Defender. When another AV product is installed, Windows 10 can display the warning you see here that says Defender is turned off.
If you press that Turn On button seen above, it automatically turns on Defender and disables the third-party AV program. Kaspersky wasn't clear about when this warning window appears. When I installed Kaspersky Anti-Virus on Monday the warning window did not appear until I explicitly opened it.
Kaspersky argues that Windows 10's treatment of third-party AV programs can also have some unintended consequences for the user. Let's say, for example, that a user accidentally installs a trial period antivirus program (it's easy to do this with bundleware) while also running, say, AVG Antivirus. The new trial software disables AVG, but when the trial period ends for the new software both third-party programs are deactivated, and Defender is turned on. In that situation, Kaspersky believes Windows 10 should default back to AVG instead of Defender since AVG was the more recently used security program.
Kaspersky also wants Windows 10 to explicitly ask the user before enabling Windows Defender. That's probably a no-go since Microsoft aims to balance user convenience and security with ease of use in Windows 10. Automatically enabling Windows Defender in the absence of another security program does all of that.
Yet Microsoft could make its Action Center notifications more explicit. When I uninstalled Kaspersky AV on Monday, Windows 10 notified me that my PC was not protected. The OS then advised me to click on the notification seen here to activate Windows Defender. Seconds later Windows Defender was activated with no action taken on my part.
Kaspersky isn't the only one taking issue with Microsoft's current tactics. Epic Games CEO Tim Sweeney has accused Microsoft on several occasions of killing the PC as an open platform—arguments that we've disagreed with yet haven't entirely discounted.


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I always seize this opportunity to rejoinder: "If I knew, I'd be on a yacht off the Isle of Man snorting blow off a stripper's ass." The irony being, of course, that when I respond thusly I usually am snorting blow off a stripper' ass, frequently on a yacht (or some reasonable facsimile thereof, such as a well-appointed catamaran with fine leather and granite finishes). Ergo: I do in fact know when the shithouse will go up in flames. And, feeling charitable towards humanity on account of the solicitous ministrations I am presently receiving (even as I write) from a stripper (the backside of whom I have just availed myself of to snort blow), I will herein reveal it to the general public.
First, consider that the final collapse of the dollar is equivalent to the price of commodities approaching infinity. And when the price of commodities approaches infinity, any ratio with commodity prices in the denominator will, of course, approach zero.
What if we could find a ratio that loses a constant value every year, such that its zero on the time-axis can be easily extrapolated?
My data goes back 23 years, so I am looking for a ratio (1) whose linear regression fits the data well over that period, and (2) has the same linear regression line no matter where you start or end over that 23-year span (e.g. 1990-2013, 1994-2012, 1990-1995, 1990-1999, 2002-2007, 2002-2013 etc.). If such a ratio with commodity prices could be found, extrapolation would be justifiable.
It would also be nice if this ratio had some fundamental significance. For example, if the dollar collapses, it will almost certainly collapse because government debt has become unmanageable and needs to be monetized. The easiest way to maximize the life of the shithouse, then, is to lower interest payments on the debt in real terms as gradually as possible, until you can't do so anymore.
Well, look no further, we have our ratio.


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22 November 2009
More cemetery portraits.
5 comments:
Deez is right. They are creepy. I found a few out in a catholic cemetery by me. I should didn't get a chance to go out there and take a picture.ReplyDelete
Put it this way, the one of first lady really scared me!!ReplyDelete
That one is very creepy.ReplyDelete
Ahhhhh...picture number 3...the guy with the blue around him...Creepy!!! I'm glad I'm not the only one that thinks they're creepy...I'm getting the bug and need to go to a cemetery really soon...ReplyDelete
Deez, I went this afternoon when I was clocked out for lunch. I took many pictures of stones with pictures on them. MUAHAHAHAHAHAHAHA!ReplyDelete
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When American astronauts make the next "giant leap" by launching to Mars, they will bring with them a memento from the first moon landing 45 years ago.
NASA on Monday (July 21) will present the Kennedy Space Center in Florida with a mission patch that Apollo 11 crew mates Neil Armstrong, Buzz Aldrin and Michael Collins carried to the moon in 1969, collectSPACE has learned. The patch will be held at the spaceport until the first crew is ready to lift off for the Red Planet on a mission NASA plans for the 2030s.
NASA Administrator Charles Bolden will give the framed emblem to Kennedy Space Center director Robert Cabana during a ceremony to rename the historic Operations and Checkout (O&C) Building for the late Neil Armstrong, the first man to step foot on the moon. Aldrin and Collins will attend the event to deliver remarks paying tribute to their Apollo 11 commander.
"At NASA, we're working on the next giant leap – a human mission to Mars, standing on the shoulders of astronauts Neil Armstrong, Buzz Aldrin and Michael Collins," Bolden said in a recent statement marking the 45th anniversary of the moon landing. "In the spirit of this brave crew, we look forward to a new generation of NASA achievements."
Forty-five years ago Sunday, Armstrong and Aldrin, on the lunar module "Eagle," separated from the Apollo command module "Columbia" crewed by Collins, and descended to the moon's surface. At 4:17:40 p.m. EDT (2017 GMT) on July 20, 1969, the four-legged lander safely touched down at Tranquility Base, where the astronauts then spent two and a half hours outside collecting moon rocks, deploying science experiments and planting the American flag. [Apollo 11 Moon Landing Anniversary: Complete Coverage]
"That's one small step for (a) man, one giant leap for all mankind," Armstrong said as he took his first step on the moon.
The Mars-destined Apollo 11 patch is one of a small lot of emblems that were silkscreened on the same glass fiber cloth that covered the crew's spacesuits and which were flown to the moon as souvenirs for presentation back on Earth. On July 20, 1987, on the 18th anniversary of their mission, Aldrin and Collins gave the patch to then-NASA chief James Fletcher at the Case for Mars conference at the University of Colorado in Boulder.
"Carried to the moon aboard Apollo 11," Collins inscribed across the top of the Beta cloth patch. "Presented to the Mars 1 crew."
All three astronauts autographed the fabric underneath the iconic emblem, which features an American eagle landing on the moon while grasping an olive branch in its talons.
In 1992, the flown patch was borrowed by the Smithsonian and framed for display to be a part of the National Air and Space Museum's exhibit, "Where Next, Columbus?" which featured a Mars terrain and addressed topics related to a future human mission to the Red Planet. It was returned to NASA's Washington, D.C. headquarters in 2002, with the closing of the museum's hall.
After the emblem's presentation on Monday, the Kennedy Space Center plans to place the patch on periodic display. The astronauts' inscription and signatures have somewhat faded over the years, so care is needed to preserve them for the patch's ultimate journey to Mars.
NASA is now preparing for the first test flight of the Orion, its next-generation space capsule, that it plans will launch astronauts on the first missions beyond Earth orbit since the Apollo moon landings. The agency has set Mars as its ultimate goal for its "next giant leap," preceded by flying to a redirected asteroid and the Red Planet's moons.
And in 2011, the final space shuttle mission delivered a flag to the International Space Station that 30 years earlier had flown aboard STS-1, the shuttle program's first flight. The flag remains on the station today, awaiting the arrival of the first U.S. commercial crewed spacecraft, expected to launch in 2017.
Click through to collectSPACE.com for continuing on-site coverage of the renaming of the Operations & Checkout Building for Neil Armstrong.
Follow collectSPACE.com on Facebookand on Twitter at @collectSPACE. Copyright 2014 collectSPACE.com. All rights reserved.


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By Trudy Kawami and John Olbrantz
This lavishly illustrated book explores the art of the ancient Near East that has been brought together in this exhibition co-organized by Trudy Kawami and John Olbrantz. The artworks range in age from approximately 500 BCE to 6000 BCE and include works from the geographic regions of Mesopotamia, Syria and the Levant, Anatolia and Iran.
This time period laid the foundation for Western civilization. Kawami examines the art, culture and themes of the exhibition while Olbrantz delves into how the ancient Near East captured the imagination and interest of America and how this fueled the growth of ancient Near Eastern art collections in the United States.
The book is dedicated to the late James Romano, curator of ancient art at the Brooklyn Museum of Art. The book will be distributed by the University of Washington Press, Seattle and London.
- Publication date: 2013
- Hard cover
- 192 pages
- Price: $34.95
- To order, call: 503-370-6855


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In London it's easy to get off the beaten track, avoid the crowds, and find somewhere your friends have never been. So after you've checked off Buckingham Palace and the Houses of Parliament, find these places that will give you a unique view of the city:
1. A timewarp London house
Just by the popular East London Spitalfields Market is a wonderfully atmospheric London street with the bizarre but fascinating Dennis Severs' House. American Dennis Severs bought the house 30 years ago and lived here, without electricity and other home comforts, while creating something unique for visitors. It's still a private home, not a museum, but opens regularly. You're advised to walk around in silence to let your senses fully experience the setting. Severs created an imaginary family to live in this Huguenot silk weaver's home so you'll see signs of life of Mr Isaac Jervis, his family, and their descendants such as fresh fruit on the table, half drunk cups of tea, and you'll soon believe they've just popped out which is what you're supposed to think. It's really hard to describe this place but it's well worth a visit.
2. An architect's treasure trove and some gruesome artefacts
Lincoln's Inn Fields is the largest public square in London and is said to be the inspiration for Central Park in New York. On either side of the square you'll find Sir John Soane's Museum and the Hunterian Museum. Sir John Soane was an architect and avid collector of antiquities. He left his home and contents to be forever free for the public to see - and there's an incredible amount to look at here. You'll find bizarreness such as the sarcophagus of Seti I in the crypt, and an astonishing unfolding wall of Hogarth paintings in the picture gallery. Across the square is the Hunterian Museum at the Royal College of Surgeons, an interesting look at the history of surgery, with lots of glass jars with preserved animal and human body parts - so it's not for the squeamish. If you're a Dickens fan, the Old Curiosity Shop is nearby too. Now a high-end shoe store, the shop was once a bookstore and is known as one of the oldest shops in London!
3. A museum on what we buy
The Museum of Brands in Notting Hill is exactly what it says on the tin. Robert Opie collected daily life, consumer objects since he was 16 and this museum displays more than 12,000 original items. From shampoo bottles and washing powder boxes to toys and food packaging, see what you and your family can recognise. The Museum of Brands is a real trip down memory lane and a great way to enjoy living history.
4. A place for free speech
Every Sunday afternoon you can hear preaching and ranting at Speaker's Corner a corner of Hyde Park, near Marble Arch tube station, which has long been established as a place where free speech is welcome and encouraged. There's plenty of religion and politics but also some off-the-wall ideas such as free hugs and alien invader news. Karl Marx and Lenin have spoken here so there may be someone worth listening to or you can try your hand at public speaking here!
5. The final resting place of many a famous figure
Speaking of Karl Marx, his final resting place is in north London at Highgate Cemetery. It's a large cemetery, split into East and West on either side of a quaint lane. The East Cemetery is where you can see Karl Marx's Memorial and Malcolm McLaren's tombstone. Over on the West you have to take a guided tour as it's incredibly overgrown and the ground can be pretty uneven and they don't want to lose you in there. All entrance and tour fees go towards the up-keep and repairs on site.
6. London's Roman baths
No one's sure if these are really Roman but they are indeed an oddity in central London and a bit of a challenge to find so follow detailed directions. A 10-minute walk from Trafalgar Square, down a side road, through a tunnel, press a button for a light to come on, look through a window and you too will see what I'm talking about. Charles Dickens refers to the baths in David Copperfield and the lead character was said to regularly use the plunge bath here.
7. A palace that's free to visit
Here's a London Palace you can visit for free. Fulham Palace was the Bishops of London's country home from the 11th century so it's never been a royal palace, but the British did treat their Bishops regally. There's a museum documenting the site's history, with a contemporary gallery of palace-inspired art, the Drawing Room Cafe which is loved by locals, and splendid gardens to explore.
8. A free museum full of quirky
Victorian finds In South London, a short train ride from London Bridge, you'll find the Horniman Museum, founded by Victorian tea trader Frederick Horniman, who collected most of the artefacts on his travels. It's a brilliant free natural and cultural history museum which even has an aquarium, farmyard animals outside and regular concerts on the bandstand. All of this and the strangest walrus you will ever see make this a great day out. (See more photos of the Horniman collection.) For even more museums that have free admission, click here!
9. Sit with Churchill and Roosevelt
This bench in central London is called Allies and commemorated 50 years of peace. The bronze statues of Franklin D Roosevelt and Winston Churchill appear to be sitting and having a chat but there's a handy space between them for you to sit down. It makes for a fun photo opportunity. Note how shiny Churchill's right and Roosevelt's left knees are from visitors giving them a rub! After having a laugh here you might want to visit the Cabinet War Rooms or the Britain At War Experience or even sit in Winston Churchill's chair at the Cigar Museum.
10. A fine art gallery with a Roman amphitheatre in the basement
It's free to visit the impressive Guildhall Art Gallery and Roman Amphitheatre, located in the City. And yes, you did read Roman amphitheatre: its remains were only discovered under the gallery in 1998 and is now a protected monument. The curved line of the amphitheatre continues across the courtyard outside so you get the picture of just how significant a building it would've been.


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Bernard F. "Bernie" Cass
Madison:Bernard F. Cass, age 74, succumbed to esophageal cancer after a courageous three year battle on March 16, 2013 at home surrounded by family.
He was born September 8, 1938 in Madison, the son of Walter and Clara (Schipp) Cass. Bernie graduated from East High School in 1956. He served in the National Guard (1955-56) and the U.S. Air Force (1956-60). He was united in marriage to Margaret Olson in 1957. He retired from the U.S. Postal service after 26 years. Bernie was scout master of Boy Scout Troop 29, past president of Emerson's P.T.O., and was an active member of Madison's Fraternal Order of Eagles post 623, where he served two years as president. He was an active member of the Madison Aquarium Club and shared his passion for fish with his wife and children. Bernie's admiration for A.J. Foyt, Indy racing and USAC led him to his love of NASCAR and Matt Kenseth. He spent much time building model airplanes and was very interested in tracking his family genealogy. He was a lifelong Green bay Packer fan and proud share holder. He was a fan of the Men's and Women's Badger Basketball and Football. He enjoyed going to Milwaukee Brewers and Madison Mallards baseball games as well as watching and listening to them. Bernie loved camping with family and friends over the past 40 years at Duck Creek Campground. He enjoyed fishing with his dad, father-in-law, and children. Thanks to his nephew, Jim Olson, Jr. and friend, Joe Hasse, he was able to fish his last summer.
Bernie is survived by his wife of 56 years, Margaret, three sons, Richard (Carol), Robert and Anthony; eight grandchildren, Melanie (Matt), Sean (Karen), Justin (Cassie), Micheal, Mary (Terrell), Scott, Mark, Melissa; seven great-grandchildren, Diamond, Jaydin, Justin (the apple of Papa's eye), Jordin, Renia, Nero, Anthony; a brother, Edward (Rachel) and sister, Christine (Randy) Gjertson, sisters-in-law, Ginny Bonner Roehl, Sara (Terry) Anderson, brothers-in-law, Ray, Clarence (Evelyn), Jim, Dan (Betty) and Michael (Lesa) Olson; as well as many nieces and nephews.
He was preceded in death by his parents; brother, Wally; and daughter, Michelle.
Bernie's family would especially like to thank Dr. Amet Sanjal and the Oncology staff at Dean Clinic.
A Mass of Christian Burial will be held at 11 a.m. on Thursday, March 21, 2013 at St. Bernard's Catholic Church, 2450 Atwood Avenue, with Msgr. Mike Hippee presiding. Burial will follow at Resurrection Catholic Cemetery. Visitation will be from 4-7 p.m. on Wednesday, March 20 at Ryan Funeral Home, 2418 N. Sherman Avenue, and again on Thursday at the church from 10 a.m. until the time of Mass. In lieu of flowers, donations may be made to St. Bernard's Catholic Church or Agrace Hospice, 5395 E. Cheryl Parkway, Fitchburg, WI 53711.


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Advanced Computing, Mathematics and Data
Staff Awards & Honors
July 2008
Katrina Waters Appointed to Editorial Board of Toxicology Journal
Dr. Katrina Waters, a senior research scientist at the Pacific Northwest National Laboratory, has been appointed to the Editorial Board of Toxicology and Applied Pharmacology for a three-year term beginning July 1, 2008. The toxicology journal publishes original scientific research pertaining to action of chemicals, drugs, or natural products to animals or humans.
Dr. Waters is currently involved in the Systems Toxicology of Nanomaterials focus area of the Environmental Biomarkers Initiative and the PNNL Center for Novel Biomarkers of Response. Her research includes biosignature discovery from integrated microarray and proteomic data describing lung inflammation from nanoparticle exposure and environmental exposures, including disease susceptibility factors. Dr. Waters joined PNNL in 2004. Prior to that, she was a senior research biochemist in Molecular & Investigative Toxicology at Merck Research Labs in West Point, PA.


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We Are the Ones We've Been Waiting For
Context for My Conclusions
Early on in his career, Andy Warhol embellished his paintings of cartoons and other Pop images with drips and "expressionistic" passages so that the world would know to take him seriously as an artist. Or so the story goes. More likely he simply hadn't reach the point at which he understood himself what he was working toward...who knows for sure?
Yet now that we're this side of Andy's choice to abandon the obligatory tell-tale signs of "seriousness," we can point to it as evidence that art movements have a down-side to them. They can keep artists from clearly focusing on where their explorations might otherwise take them. The "rules" of a movement that might provide the structure for mining deeply into a rich vein also keep directing adherents (or worse, those who see adherence as their only access into the "dialog") back into choices others have predetermined as valid.
Still, often one hears in the cacophonous contemporary art world a longing for a return to the days of movements or at least a salivating anticipation of the "next big thing," either of which will presumably provide some direction, something to really rally behind or invest in. Like waiting for Godot, it borders on tortuous, this sense that their must be something that will bring clarity or at least a wider urgency. I'd like to suggest we take a cue from the improbable new President-elect and consider instead that we are the ones we've been waiting for.
The clarity we seek will not, I suspect, emerge in conjunction with the rise of a dominant voice or bold new direction by a band of brilliant artists (the essential "art world" is probably too dispersed for that now), but rather with a broader point of view, a step back if you will, that permits us to recognize that Pluralism isn't a temporary brainstorming session, but rather a progression into a richer and wider cultural inter-connectivity. I'll explain more in detail below what I think that means in a fine art context.
First, though, for broader context, consider that socially we're already way ahead of this notion and increasingly very comfortable with it. When I check the stats on this blog, I see I enjoy a daily dialog with people living in virtually every corner of the world. My "friends" on Facebook live in nearly every continent and that circle keeps expanding. What we lose in intimacy with such environments, we make up for in immediacy and quantity. Yes, there's plenty of flotsam bobbing about in the blogosphere and social network sites, but there are absolute gems that come to those who put even the tiniest of efforts into finding them as well. But even the flotsam, especially in its database-convenient accumulation, becomes a ponderous thing, a raw material that provides satisfaction via its quantity (think: hit counters).
Of course, there's more value in this than merely the daily dispensing of digital pellets of personal validation. I don't mean to valorize sitting at a computer, but rather to point to how these tools are enriching our off-line social lives. When I meet someone at an art fair who comments on the blog or am prompted to visit an exhibition by a previously unknown "friend" of a "friend" on Facebook (someone whose profile and mutual friends I can see in preview), for example, I encounter these folks with a remarkable jump-start on real-world intimacy. An artist friend of mine just admitted the other day she finally gave in and joined Facebook because she felt she was missing out on too many invitations to events that everyone else seemed to know about.
Furthermore, we are collectively creating an exhilarating and phenomenally accelerating new lingua-franca (centered in English, which is rapidly closing in on 1 million words) through such tools, one that keeps blending all of recorded human history into an ever-widening pool of referents. (See this list of words added to the Oxford Dictionary recently....origins for new "English" words range from Scotland to East Africa to Japan, some of them just now, nearly 100 years after first coinage, and much of them created in response to the need to discuss new technology among ourselves).
More than that, though, we are collectively sorting through the content of recorded history and tagging it...in essence, through the Internet we're building the most remarkable content management system (CMS) the world has ever known. Consider Wikipedia or YouTube. How much money would it have cost someone to find and input all that data, let alone add all that metadata, let alone refine the quality of the data (via ratings and/or feedback) in a socially relevant way? These are truly historic projects, and we're all contributing to their generation (willingly and for free I might add). (Yes such systems suffer from the bane of any database [i.e., garbarge in = garbage out], but I'll get to that in a moment.)
Moreover, with the speed with which you can now access information that the Internet provides, more of history, more of contemporary life, more of everything is quite literally at your fingertips. I recall, for example, a bit they did on Monty Python decades ago and within seconds I'm watching it on YouTube. If I want to share its significance, I no longer need to summarize or transcribe the telescript, I send out a link and voila, we're all watching the exact same bit. This ability accelerates what I can communicate more accurately. It connects us more succinctly (especially as I would have undoubtedly remembered it incorrectly had I been left to summarize it from memory).
Finally, this ability (and more importantly, our collective acceptance of communicating this way) permits me to draw more casually and eventually more effectively from all of history (images and titles and text and video) to try to convey something. When I wish to suggest humorously that the order for the New Year is Hope, it takes me mere minutes to provide a series of images that reach back millennia. A few key strokes and voila, history condensed and sewn together with ease to underscore my point.
It's not just the access (dedicated travelers or scholars could always spend their lives researching dusty volumes or the back roads of the world and then regurgitate what they found toward their own ends), though, but the ease of it. The speed of it begins to blur it all a bit. Indeed, all of world history and human accomplishment is our fertile playground and the ravenous rate with which we can consume it is changing how we feel about boundaries between times, places, and things. It didn't take me a week to make an appointment with a library and then hours of searching to find the Monty Python sketch, during which any number of life events might have derailed my quest or interest. I found it in seconds and combined it with another idea and moved on.
But why isn't this bad, you might ask? This speed surely leads to shallower observations or offerings, no?
Taken individually, perhaps (depending on the effort or the skills of the person offering it), but collectively I would argue the opposite. The following is an excerpt from something I wrote for the Daily Constitutional, Issue 6, Summer 2008:
It's widely accepted that programming has advanced to the point that no mere mortal will ever again consistently be able to beat the best computer applications at playing chess. The best that even the World Chess Champion can consistently hope for is a tie. And that may be but a momentary situation. Indeed, the notion has been raised that the brute force of intelligence available to a computer now produces the same results as the most intuitive human mind (leading to the situation where humans now prefer to pit their machines against each other at chess tournaments). In terms of processing future possibilities, things have reached the point at which quantity becomes indecipherable from quality.Effectively directing such quantity into meaningful connections (it's not enough to take your opponent's queen if that then facilitates their checkmating you) is still an achievement of high purpose, though. And for human purposes that will always require understanding what is important from a human point of view. Against this furious backdrop, this new rapidly evolving reality, then, what reflects most accurately what's important now? How can you elevate one idea or achievement or time period over another in such a sea of arguably equal options/sources/references? The answer seems to be you don't. Not in the manner you used to at least. Perhaps moving forward, you assess what's important (to you or to society at large if that's your role), not solely through a chronological canon of individual achievements (although those are still essential elements), but rather through our new-found ability to see deeper, more complex, more subtle connections, independent of linear history or place.
What that means for the players in the art world constitutes the balance of this post:
Two "trends" (if you will) or perhaps simply emphases in curating seem to be acknowledging that inter-connectivity is important now. The first is overt collaboration, as evidenced most succinctly perhaps by the collective What, How and for Whom (WHW; Ivet Curlin, Ana Devic, Natasa Ilic and Sabina Sabolovic) who formed in 1999 and will be curating the upcoming Istanbul Biennial. Second is the growing interest in mixing historical with contemporary art or older historical works with more recent historical works...any dismissal of linear time seems of urgent interest (see, for example, this, this, this, this, and this) to present a more accurate overall picture of the works' significance or, as the recent exhibition at the Morgan Library and Museum called it, to "draw connections." This achronological approach has captured the imagination of nearly everyone I speak with about it these days. Part of the enthusiasm is admittedly designed to correct what's seen an "imbalance of commercial interest." But I suspect more of it is because of the synaptic connection it sparks...evidence of how it answers a floating question about our times.
Art on Paper has been carefully balancing its coverage of the medium it's dedicated to, independent of the year the work was created, since the early 90s (see their summer issue reviews for a range of their interests). Their medium-specific mission has permitted this connecting thread across history more easily than that of, say, Artforum or other art publications dedicated to contemporary art, but the history of that publication has been one of continuously widening its scope. It's not irrelevant that its publishers are Peter Nesbett and Shelly Bancroft (the brains behind the sometimes controversial and always thought-provoking non-profit space Triple Candie [currently without a physical location]), two art world insiders with a knack for seeing the big picture.
The depth and breadth that focus permits is but one part of what I think art criticism must provide at the moment, though. The writers at the New York Times cover an incredible range of exhibitions, spanning all of art history, and still maintain more credibility collectively than any other daily publication in the world. But that, I believe, is their strength...their collective voice. Other publications have identifiable points of view or voices, but a singular point of view for any publications' readers increasingly seems a fetishization to my mind. So much so that I suspect publications with only one art critic will benefit greatly from those critics also voicing their opinions via other, perhaps less-formal channels, to permit these (non-edited) critiques to balance out their formal contributions. Blogs are one such channel, but other (less time-consuming channels) are being used effectively by writers for this as well.
A high-profile contemporary art collector (a fairly brilliant man recognized as such in his industry) recently noted with great enthusiasm that he had moved past the point in building his collection of only buying "brand" names and had found great joy in also acquiring work by less-established artists that complemented or connected his trophy pieces. He had learned enough about contemporary art to connect the dots, so to speak, he said. Juxtaposing works based on formal or conceptual connections had become his new passion. But more than that, the line that cut through from a budding artist to a highly celebrated one seemed more relevant than any individual piece.
Indeed, I suspect such collections will prove to be more important in the future than deep assemblies of brand names. They will prove to have been more insightful of what was really happening at this time. I know I can't say that without seeming to indict a wide range of what are considered very important contemporary collections, mostly because of their remarkable depth (how many pieces they include by "significant" artists), but having informally surveyed visitors to such collections they nearly universally report the ennui such visits left them feeling. Why? I began to wonder. What is it about such an approach that seems so ho-hum now? Why is the idea of connecting the dots so exhilarating?
Two years ago we were invited to participate in Art Chicago, which I had never done before (this was the year of its rebirth via the Merchandise Mart team) and we were excited to try it. Upon seeing our placement at the fair, though, I grew rather anxious. We were surrounded by galleries with programs so different from ours (a secondary market gallery that sold important Modernist works, a print gallery, an old Masters gallery, and contemporary galleries that I considered to be having a very different dialog than the one we're investing in [which is my nice way of saying they were too commercial for my tastes]) that I didn't know what to expect. Most of the fairs we had done before were much more consistent in their scope. A few of them were all but homogeneous (you'd find the same well-selling contemporary artists in several booths). Oddly, though, as the week wore on I began to love the context. To see the connections between what our artists were doing and what had come before, sometimes long before, was very eye-opening. Of course I knew the references that were obvious, but sometimes a subtle connection would reveal itself and it was, indeed, exhilarating.
Now that the market has cooled down, I do wonder whether fairs that had focused on traditional (i.e., older) works but began to embrace contemporary art or contemporary fairs that expanded to include more traditional work will back off that trend. I think that would be unfortunate for the public, even as it might be necessary temporarily for some organizers. The homogeneous art fair increasingly has the same impact that the too-indepth collections have on viewers if anecdotal evidence counts for anything.
I suspect we're going to see more exhibitions like the one that just ended at Kinz and Tillou, pairing the photography of contemporary artist Kim Keever with paintings by Hudson River School artists. Indeed, if a contemporary art gallery's role is to explain to the public what an artist is doing and why he/she is important, such exhibitions are surely much more effective than lengthy press releases, no? Another gallery presenting work in this manner for years now to great effect is Pavel Zoubok Gallery, which strategically deals in both the primary and secondary market more seamlessly than any other gallery of its size. Presenting their contemporary artists' work alongside historically important work in an ongoing series of group exhibitions, they connect the dots brilliantly (not to mention improve their odds in any market climate).
More than that, though, galleries will see education on inter-connectivity as a solid means of selling work. A friend of mine who owns a gallery rocked my world when she described her program, which seems consistent to me but confuses some of their collectors from time to time, in terms of imagining that each gallery artist were a segment on a color wheel. You have connections between the artists that mimic the relationship of complementary colors and those that are more akin to the relationship of colors next to each other, both formally and conceptually. It may not be immediately obvious how artist A makes sense in the same program as artist B until you see how one completes a segment of the same wheel.
Not all galleries strive for consistency in their programs, of course, but the same thinking can be incredibly useful in connecting certain artists in one's stable with the artists in a collection. Using the axis system of a color wheel and the main categories of formal concerns and conceptual concerns, connections that may have required painful lengthy explanations may be easier to communicate (provided they're actually there, of course).
If we accept that the role of contemporary art curators is to investigate and present what's important among the studio practices of living artists, then the two "trends" suggested above should be reflected in what artists are doing, no? Collectives are certainly alive and well, even as their membership, raison d'etre, or output ebbs and flows (as is the norm with collectives it seems): from Fluxus to the Gorilla Girls to Forcefield to K48 to What is to Be Done? and countless others, contemporary collectives continue to form in response to issues or merely a convergence of interests and time and place. Whether curating collectives have any meaningful connection to artist collectives is a fair question though.
Collaboration is also not only alive and well, but seemingly reaching a critical point as a medium unto itself among contemporary artists. Not only are artist teams still thriving (husband and wife [or husband and husband or wife and wife] teams seem everywhere interestingly enough), but we're seeing artists now who see collaboration with a wide range of others (artists and non artists alike) as the main thrust of their practice. Most interesting among such approaches (especially for me admittedly) is that practiced by Christopher K. Ho, described by Jonathan Neil as "collaboration [that] implies or even necessitates a certain antagonism. [Ho's] favored analogy is to the tennis match, where two players not only compete against one another but also collaborate in the creation of the match itself, which
somehow exceeds the inevitable outcomes of victory or loss. Here, 'working together' is stripped of its hackneyed utopian veneer and set up as a constant and never frictionless negotiation."
So while friction is in abundance still (evidenced as well by the individual goals of artists that can drive collectives apart), a deeper understanding of the value of collaboration is emerging. Indeed, the "match" (the collective series of points, the back and forth, the connection between the players that creates the drama, and the rules that facilitate the accomplishment) itself becomes what is most interesting for the viewer. Any individual play might indeed make all the highlight reels (even go down in history as spectacular), but the satisfaction comes from witnessing the accumulation of individual plays, some fabulous, some merely moving the match forward.
How this seems relevant to artists not working in collectives or using collaboration as a medium is perhaps best illustrated by looking at two ongoing trends in art making that seem to be converging. One is what I'll call the accumulation (connect a thread through Yayoi Kusama, Tara Donovan, and Daniel Zeller to name but a few) and cataloging processes (connect a thread through Mark Lombardi, Jennifer Dalton, and Danica Phelps, again, to name but a few) trend. What these processes have in common is an approach to organizing vast amounts of information, seemingly the greatest mental challenge of our time. The second trend is the battle to realize the 2-D object (read: painting) in space trend (connect a thread through Elizabeth Murray to Frank Stella's wall sculptures to Matthew Ritchie [and yes, Ivin Ballen]).
What the mutation of these seems to be heading toward is a complex approach to composition that incorporates a huge amount of information and presents it in multi-dimensions (I've seen Rauschenberg-esque photog-collage canvases cut into all manner of forms, painted over in parts with outrageous palletes, and installed such that it's all coming out into the room and along the floor recently...exhilarating, but still in the resolution phase I would say. Not to be confused with installation or scatter art, this effort is a single wholly connected object, not architecture or sculpture unto itself either, but a painting in which the artist confines his ambition to a singular composition.)
But even that, I would submit, is only the beginning of where the foundation being laid now can take art. Talking with three of the smartest people I know in the art world in Miami (Jonathan Neil, Franklin Boyd, and András Szántó) it was suggested that where this is heading, these achievements in visualizing so much information, is an incorporation of the fourth dimension, or in other words, the temporal. I'll leave it to artists to figure out what that will look like.
So it seems to me that what some of us are missing, as we're anxiously anticipating the next big thing, is that it's right here, right now, under our noses and that we, in fact, are actually all participating in it. The systematic connecting of the dots across all of history, the uploading and tagging of the videos, the databases we're voluntarily building in social network sites, the knowledge base we're creating and constantly refining in Wikipedia, all of this is a necessary part of building the foundation for the coming new way of seeing and processing the world around us. We're collectively creating a massive content management system, but it is simply a tool, not the product. This multi-dimensional interconnectivity is merely the new "Perspectiva!"
I suspect it's an evolutionary survival strategy, actually. We simply must be able to process information more quickly to survive. But it must be noted again, that as in any content management system, the output (or what you can actually do with the system) is only as good as the input. In other words, the quality of the individual paintings or photography or video or installations that go into this system, that we tag and collectively connect the dots to, is as important as what anyone ever expects to get out of it. Quantity must be directed by high purpose to reach its quality potential. (The real potential there, again, is something I can't wait for artists to show us.)
What this means I feel is that artists are free to focus intensely on their individual contributions, in the media of their choice. Free of adherence to any manifesto other than their own. This, I know, is where we are...the Pluralism that defines our time, and yet, still, you hear the frustration that the lack of a dominant movement has created in talking with one another about what's important now. I would argue that what's important now is what we are collectively doing. It must come first, and in a way it's an essential part of the art of our time.
UPDATE: Ben, of Emvergeoning, offers a thoughtful response and a few counterpoints:
[A]rt world observers still looking for "the next big thing" need to take a deep breath and accept that fragmentation is here to stay; and this is, in fact, "the next big thing." This isn't a crisis, it's just a way of being.
Labels: art trends


text: DevExtreme JavaScript Scheduler is a responsive scheduling component available as an AngularJS directive. Behaving like a native component, Scheduler supports two-way binding to scope properties and declarative configuration. In this demo, Scheduler is highly customized using templates. Refer to other demos in this section for a detailed overview of other Schdeuler features, like Google Calendar integration, time zones support, appointment grouping, etc.


text:
JERUSALEM (AP) - An ancient stone with mysterious Hebrew writing and featuring the archangel Gabriel is going on display in Jerusalem as scholars debate the inscription's meaning.
The so-called Gabriel Stone, said to have been found 13 years ago in Jordan, features an unknown prophetic text from the time of the Second Jewish Temple.
The tablet made a splash in 2008 when an Israeli scholar theorised the inscription would revolutionise the understanding of early Christianity, claiming it referenced a messianic resurrection pre-dating Jesus.
Curators at the Israel Museum said on Tuesday that it is the most important inscription found in the area since the discovery of the Dead Sea Scrolls.
The Israel Museum exhibit, opening on Wednesday, also features ancient New Testament and Quran texts referencing the archangel Gabriel.


text:
Your first thought is, Oh man, he's dead. His head came off or his brains are scrambled and Heath Miller is trying to cover up the on-field camera because he's dead. And then your second thought is, What do you mean it's not a touchdown? His limp, vacated body totally collapsed across the plane! Football is a strange, conflicting sport for a viewer.
Le'Veon Bell appeared to score the touchdown that would give the Steelers a chance at a game-tying two-point conversion, but as he was hit by three Ravens, his helmet popped off and he went directly into the Fencing Response, a reflex action that indicates at least a moderate brain injury. (The scariest part might have been his head snapping back as he hit the ground, but Bell was already unconscious by then.)
After a replay review, during which Bell somehow walked off the field (unsteadily, with help—the Steelers said he suffered "a possible concussion"), officials ruled the ball placed at the half-yard line. Bell was injured for nothing, which is a pretty damn cynical way to look at a scary injury to a 21-year-old kid. Pittsburgh found the end zone two plays later, just reinforcing the pointlessness of it all.
The call was made correctly. Rule 7.2.1(r) is crystal clear. "An official shall declare the ball dead and the down ended when a runner's helmet comes completely off." It was instituted before the 2010 season to protect ballcarriers from continuing to run and becoming targets after their helmets come off. "We watched some tape where players are running in the field of play without helmets,'' then-chair of the NFL Competition Committee Rich McKay said at the time. "In our mind, that is not a safe situation.''
The intent is unassailable, but the enforcement is suspect. In Bell's case, his helmet came off in the process of being tackled. He wasn't made safer by the play retroactively being declared dead as he was going to the ground. Bell would have been given his continuation had he lost his helmet on any play that wasn't automatically reviewable, so why not here? All the rule did in this instance was penalize the Steelers for their runner being hit helmet-to-helmet.
And right about here is where you realize that one of the more instantly horrifying NFL moments in years has been reduced to a debate on rule minutiae that's come into play just once in four seasons, and you again think that football can be a seriously fucked up sport sometimes.


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sconce, wooden or metal bracket affixed to a wall and designed to hold candles, lamps, or other types of illumination. One of the earliest forms of lighting fixtures for domestic and public use, sconces first appeared in Classical antiquity, but more elaborate variants were stimulated by the custom that arose in the European Middle Ages of affixing metal sconces holding candles to the walls of churches when they were consecrated. Various elaborations and refinements were added in the 17th century, including mirrors or metal reflectors to intensify the light.
Carvers and gilders made sconces part of their stock-in-trade; and, as more care was lavished on interior design, sconces were influenced by the overall style of the rooms for which they were intended, assuming exuberant Rococo, Eastern, or Classical shapes. In these more elaborate sconces (which could also include clocks as well as mirrors), the backplate was usually known as a girandole and came to signify a certain pretentiousness. Although wall brackets were used to support gaslights in the 19th century, these forms could not properly be described as sconces. The sconce was revived with the invention of electric lighting, which, combined with an appetite for the picturesque, stimulated the production of sconces supporting imitation wax candles topped by specially designed, flame-shaped bulbs.


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HELLO! We are home again after a good long meander around the north, and itching to be off again already.
Our wheeled home is just so almost there that we now have a proper sense of how it'll be when we're in it for good, and it is wonderful. We've made a beautiful home with a view that is always changing. Of course there are still cupboard doors and plugs and taps and bookshelves and desks and hooks and pictures to go in yet, but it isn't a horsebox anymore!
This last week's travels took us through towns and villages, along bumpy backroads and under chimney-scraping bridges and back again and we met some lovely folk along the way.
We parked in shady forested corners, on tops of moors, beside streams and down little lanes. We sat in the evenings in candle and firelight with the dinner cooking and pigeons cooing overhead.
We had fires in the woods with friends and woke in the mornings to take our wares to sell in town or just to wander about like tourists, drinking coffee and looking at cathedrals.
Up above are some views of our stops and here below are some views from our windows.
And if it's all sounding just a little too romantic, know that we also came across some people who didn't want us there.. which is the inevitable difficult Other Side to the freedom of a nomadic life.
We were delighted however to meet up with some fellow bus-dwellers who despite being parked just a few miles from here, found us in the land of blog. Andy and Mel of the Black Bus Company and their cats and dogs have found a lovely little corner of Scotland to park their wheeled home and we were happy to meet them for tea and talk.
And further along our way we were welcomed warmly by another young creative couple with exciting plans for wheeled journeyings and woodworkings around Ireland.
A day's meander around Durham's little lanes and the whispering Norman arches of Durham Cathedral was a joy (the bronze cathedral door-knocker growls to the right and there's a peep through an arch below); as was my visit to the excellent Seven Stories Children's Book Centre in Newcastle. It is a seven-storied warren in celebration of the supposed mere seven stories in the world and the thousand different ways of telling them. In this child-centered book haven, there are corners with cushions and books to read, and little doors to open, children's artwork, audio books in the arms of chairs and 3-D recreations of tale worlds. There's a wooden-beamed attic with dressing up clothes and a stage, and there are wonderful examples of original illustrations and manuscripts, opening up the worlds inside the creation of books as well as the worlds inside the tales inside them.
I had the place virtually to myself and was able to amble about one of the current exhibitions From Toad Hall to Pooh Corner, which is based around children's stories set in an idyllic and almost lost English countryside. I sat at the hearth in Badger's Kitchen, with birdsong twittering overhead and admired the just exquisite pencil and watercolour illustrations by Australian artist Robert Ingpen (whose work I have long admired) for a new edition of The Wind in the Willows. There were also EH Shepherd originals, and book manuscripts, layout roughs and authors' notes. Seven Stories holds all sorts of story based events and grown-up books are wholly not allowed! I'd thoroughly recommend a visit, especially since I see a new exhibition in the listings of local author David Almond's work Winged Tales of the North.
Our Geordie-land wander took us past Tui's family where we were mobbed by curious local kids on bikes who we let inside the truck to look around and in their bouncy exuberance wanted to look iside all the drawers and come along with us and hounded us with questions like "are you English?" and "where do you wee?".
"In the woods" I whispered to open mouths and raised eyebrows.
Perhaps if the people who see us and wonder but then call the police would remember the boldness of youth and come over to us with their questions ... There they would find a cup of tea and plenty of answers and obligings, instead of the threat of the unknown fear that lurks like a highwayman on the dark roads of their minds.
I know the negative stories of gypsies stealing your lead piping and/or children, and leaving piles of rubbish. But surely there are just as many nasty house-dwellers as there are nice ones... why tar everyone with the same brush? Indeed it is the home-dwellers who come by the green spot where our black bus friends are parked and dump their unwanted rubbish, and it is the bus-dwellers who clear it up.
Well, anyway, we are returned for a while to busy ourselves with finishing the truck, and I'll make a few more clocks. There'll have to be plenty of clearing upping and freecycling, and I even have a passing notion to have a wee sale of my original paintings... because of course they can't all go in the truck. Would anybody be interested in such a thing?
The sun has come back to Scotland with us, as has a flat tyre. We are now on the hunt for a good set of new tyres for the truck before we leave and we seem to have the rarest wheel size in the world. It is nice to be back amongst blog friends ... the doings of blog land can easily whisk out of your grasp when you leave them for a while so I am bumbling to catch up a little. All your kind kind words are appreciated and enjoyed as ever, and it will be incredible when we have our mobile internet and can blog on the hoof. I leave you with an evening scene in the truck, parked somewhere between here and there... outside there are ominous forest rustlings, and inside, a cup of Horlicks.


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Apple granted original list-editing iPhone patent, 13 others
A list of thirteen original Apple patents was officially published on Wednesday by the USPTO, with a key list editing filing not only arming the company's legal team with yet another weapon for future litigation, but also giving a glimpse into the how Apple sought to change the future of smartphones by creating a truly integrated user interface, according to Apple patent blog Patently Apple.
The original touchscreen patent, first filed for in June 2007, covers a method for displaying and managing lists on a portable multifunction device, and details a simple computer user interface controlled by finger gestures rather than a sequence of button presses and stylus touches.
What the abstract describes is the basic list management system found on current iOS devices.
Included in the patent background is a look at the state of portable devices at the time, which Apple claimed "resorted to adding more pushbuttons, increasing the density of push buttons, overloading the functions of pushbuttons, or using complex menu systems to allow a user to access, store and manipulate data." A far cry from what the company eventually released in the original one-button iPhone.
Apple's granted patent regarding list editing | Source: Patently Apple
The claim goes on to explain that devices which rely on physical pushbuttons are inherently limited in their configurability, and that a conventional user may find it frustrating to operate such an inflexible interface. As the argument slowly builds its case for touch-screens over physical buttons, Apple is quick to point out that the stylus is also obsolete.
Because such devices are designed to read the precise pinpoint contact of the stylus (when a user makes a selection on the touch screen with the stylus), making selections on the touch screen of the device without a stylus, for example, with a user's finger, can prove to be somewhat difficult.
The filing wraps up by concluding that a more transparent UI be implemented, one that features finger input to select and manipulate on-screen items that are easy to use, configure and adapt.
As we see in current iOS devices, Apple's answer to the "transparent UI" was to leverage another recently-granted patent for capacitive touch panels and a battery of multi-touch gestures to create a user experience that is far more customizable than physical pushbutton operation.
Along with the above list-editing patent, Apple was granted a filing regarding pairing and storage access between a handheld device and a computer which describes how the iPhone is able to be used as a portable hard drive.
Rounding out the patent list is a filing for Apple's Bluetooth headset, which was pulled from shelves following a lukewarm reception after it was introduced shortly after the first iPhone in 2007.


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Iran's Islamic Revolutionary Guards Corps hacked into 29 Web sites affiliated with U.S. espionage networks, Iran's semi-official Fars News Agency reported on Sunday.
"The hacked websites acted against Iran's national security under the cover of human rights activities," Fars reported. It did not disclose details of the attacks.
The 29 Web sites were identified in a statement (in Farsi) released on a Web site operated by the Revolutionary Guards.
The Internet has been used by Iranian opposition groups who contested the results of last year's elections there to organize demonstrations and share information about protests and arrests. The Revolutionary Guards is a military group that was founded after Iran's 1979 revolution. The group includes conventional army, navy, air force, and intelligence units, as well as the Basij paramilitary force and various business units.
Some of the hacked domain names listed by Fars pointed to a single Web site, hra-iran.org, which displayed a short statement on its main page: "This website is temporarily unavailable, please try again later." Other domain names led to sites that were also unavailable.
Recently cached versions of the hra-iran.org Web site on Google show the site was operated by a group calling itself Human Rights Activists in Iran (HRAI). Information previously available on the site included a report on 400 Iranian opposition protesters that were arrested on Nov. 4, 2009, an Iranian holiday that marks the anniversary of the 1979 takeover of the U.S. Embassy in Tehran, according to a cached version of the site.
It was not clear whether HRAI had ties to U.S. intelligence organizations or whether the Fars report labeled them as such due to their apparent sympathy for opposition protestors. The Fars report did not tie any of the Web sites to a specific U.S. government entity.
The Fars report came one day after the Islamic Republic News Agency, Iran's official news agency, reported that the Iranian government had disrupted several "U.S. backed cyber war networks" and arrested 30 people.
The networks were funded as part of US$400 million allocated to the U.S. Central Intelligence Agency to destabilize Iran, drawing on opposition groups including groups loyal to the deposed Shah of Iran, it said.


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This story was updated at 6 a.m. ET.
An unmanned rocket turned night into day early Thursday (Aug. 30) as two heavily armored NASA spacecraft finally launched into orbit to study Earth's harsh radiation belts after a week of delays.
The twin Radiation Belt Storm Probes mission launched at 4:05 a.m. EDT (0805 GMT) today from Florida's Cape Canaveral Air Force Station, lighting up the predawn sky as it soared into space atop an unmanned United Launch Alliance Atlas 5 rocket. The liftoff had been planned for Aug. 23, but it was pushed back two days due to technical glitches, and then another five days to avoid foul weather from Tropical Storm Isaac.
"It was a wonderful event, a very smooth countdown," NASA launch manager Tim Dunn said after the launch, adding that the Atlas 5 gave NASA's newest science satellites "a great ride."
"We're all thrilled. Just excited as can be," Dunn added.
After a 60-day commissioning period on orbit, the new radiation-tracking spacecraft will begin the science phase of their two-year mission, which aims to help scientists understand how Earth's two doughnut-shaped Van Allen radiation belts affect our planet's space weather.
Such information could have considerable practical applications, researchers said, since extreme space weather can knock out satellites and disrupt GPS signals, radio communications and power grids.
"RBSP will be able to predict the extremes and the dynamic conditions of space weather," Mona Kessel, program scientist for the $686 million mission at NASA headquarters in Washington, D.C., told reporters in a prelaunch briefing on Aug. 20. [Launch Photos: NASA's Radiation Probes Blast Off]
Mysterious radiation belts
The twin solar-powered probes will ply the Van Allen belts, where trillions of high-energy charged particles from the sun have been trapped by Earth's magnetic field. These fast-moving particles can damage satellites and potentially pose a threat to orbiting astronauts.
To deal with this harsh radiation environment, critical components on each RBSP spacecraft are shielded by 0.33 inches (8.5 millimeters) of aluminum.
The inner Van Allen belt usually extends from the top of Earth's atmosphere to about 4,000 miles up (6,437 kilometers), while the outer one runs from around 8,000 to more than 26,000 miles above our planet (12,874 to 41,842 km). The belts are dynamic, however, and can expand greatly during solar storms.
Though the two belts were discovered in 1958, they remain mysterious today. For example, the belts sometimes react quite differently to seemingly similar solar outbursts, for reasons scientists don't yet understand.
The RBSP team hopes the twin probes can help researchers get to the bottom of such puzzles.
"RBSP was designed to answer the questions of how these radiation belts are responding," said mission deputy project scientist Nicola Fox, of the Johns Hopkins University Applied Physics Laboratory in Laurel, Md.
Working together
The nearly identical RBSP spacecraft are about 6 feet wide by 4 feet tall (1.8 by 1.2 meters), though their span increases to 10.5 feet (3.2 m) with their solar panels deployed. Each weighs roughly 1,400 pounds (635 kilograms).
The probes will fly in formation through the Van Allen belts on highly elliptical orbits, mapping out the regions' magnetic fields and charged particle density with their eight science instruments.
"We need eight because we're measuring across this huge [particle] energy range," said Harlan Spence of the University of New Hampshire, one of the mission's principal investigators.
And launching two spacecraft rather than one is not redundant, either, scientists said. The probes' observations will allow researchers to determine whether differences in radiation levels inside the belts reflect changes across space or time.
Together, the RBSP spacecraft will precisely track how the Van Allen belts ebb and flow over time. This information — combined with observations from sun-watching spacecraft like NASA's Solar Dynamics Observatory —could greatly improve scientists' space weather forecasts down the road, researchers said.
RBSP's measurements could also have more immediate benefits, they added.
The probes' observations "will be delivered in near real time to users all over the world, so that those users can use the space weather data to protect sensitive ground-based as well as space-based assets," said Michael Luther, deputy associate administrator for programs for NASA's Science Mission Directorate.
Follow SPACE.com senior writer Mike Wall on Twitter @michaeldwall or SPACE.com @Spacedotcom. We're also on Facebook and Google+.


text: 1 Now there were in Samaria seventy of Ahab's sons. And Jehu sent letters to Samaria, to the rulers of the town, and to the responsible men, and to those who had the care of the sons of Ahab, saying, 2 Straight away, when you get this letter, seeing that your master's sons are with you, and that you have carriages and horses and a walled town and arms; 3 Take the best and most upright of your master's sons, and make him king in his father's place, and put up a fight for your master's family. 4 But they were full of fear, and said, The two kings have gone down before him: how may we keep our place? 5 So the controller of the king's house, with the ruler of the town, and the responsible men, and those who had the care of Ahab's sons, sent to Jehu, saying, We are your servants and will do all your orders; we will not make any man king; do whatever seems best to you. 6 Then he sent them a second letter, saying, If you are on my side, and if you will do my orders, come to me at Jezreel by this time tomorrow, with the heads of your master's sons. Now the king's seventy sons were with the great men of the town, who had the care of them. 7 And when the letter came to them, they took the king's sons and put them to death, all the seventy, and put their heads in baskets and sent them to him at Jezreel. 8 And a man came and said to him, They have come with the heads of the king's sons. And he said, Put them down in two masses at the doorway of the town till the morning. 9 And in the morning he went out and, stopping, said to all the people there, You are upright men: it is true that I made designs against my master, and put him to death; but who is responsible for the death of all these? 10 You may be certain that nothing which the Lord has said about the family of Ahab will be without effect; for the Lord has done what he said by his servant Elijah. 11 So Jehu put to death all the rest of the seed of Ahab in Jezreel, and all his relations and his near friends and his priests, till there were no more of them. 12 Then he got up and came to Samaria. And he was at the meeting-place of the keepers of sheep, by the way, 13 When he came across the brothers of Ahaziah, king of Judah, and said, Who are you? And they said, We are the brothers of Ahaziah, king of Judah; we are going down to see the children of the king and of the queen. 14 And he said, Take them living. So they took them living, and put them to death in the water-hole of Beth-eked; of the forty-two men he put every one to death; 15 And when he had gone away from there, he came across Jehonadab, the son of Rechab: and he said good-day to him, and said to him, Is your heart true to mine, as mine is to yours? And Jehonadab in answer said, It is; and Jehu said, If it is, give me your hand. And he gave him his hand, and he made him come up into his carriage. 16 And he said, Come with me and see how I am on fire for the Lord's cause. So he made him go with him in his carriage. 17 And when he came to Samaria, he put to death all those of Ahab's family who were still in Samaria, till there were no more of them, as the Lord had said to Elijah. 18 Then Jehu got all the people together and said to them, Ahab was Baal's servant in a small way, but Jehu will be his servant on a great scale. 19 Now send for all the prophets of Baal and all his servants and all his priests, to come to me; let no one keep away: for I have a great offering to make to Baal; anyone who is not present, will be put to death. This Jehu did with deceit, his purpose being the destruction of the servants of Baal. 20 And Jehu said, Let there be a special holy meeting for the worship of Baal. So a public statement was made. 21 And Jehu sent out through all Israel; and all the servants of Baal came, not one kept away. And they came into the house of Baal, so that it was full from end to end. 22 And Jehu said to him who kept the robes, Get out robes for all the servants of Baal. So he got out robes for them. 23 And Jehu, with Jehonadab, the son of Rechab, went into the house of Baal; and he said to the servants of Baal, Make a search with care, to see that no servant of the Lord is with you, but only servants of Baal. 24 Then they went in to make offerings and burned offerings. Now Jehu had put eighty men outside, and said to them, If any man whom I give into your hands gets away, the life of him who lets him go will be the price of his life. 25 Then when the burned offering was ended, straight away Jehu said to the armed men and the captains, Go in and put them to death; let not one come out. So they put them to the sword; and, pulling the images to the earth, they went into the holy place of the house of Baal. 26 And they took out the image of Asherah from the house of Baal, and had it burned. 27 The altar of Baal was pulled down and the house of Baal was broken up and made an unclean place, as it is to this day. 28 So Jehu put an end to the worship of Baal in Israel. 29 But Jehu did not keep himself from all the sins of Jeroboam, the son of Nebat, and the evil he made Israel do; the gold oxen were still in Beth-el and in Dan. 30 And the Lord said to Jehu, Because you have done well in doing what is right in my eyes and effecting all my purpose for the family of Ahab, your sons will be kings of Israel to the fourth generation. 31 But Jehu did not take care to keep the law of the Lord with all his heart: he did not keep himself from the sin which Jeroboam did and made Israel do. 32 In those days the Lord was angry first with Israel; and Hazael made attacks on all the land of Israel, 33 East of Jordan, in all the land of Gilead, the Gadites and the Reubenites and the Manassites, from Aroer by the valley of the Arnon, all Gilead and Bashan. 34 Now the rest of the acts of Jehu, and all he did, and his great power, are they not recorded in the book of the history of the kings of Israel? 35 And Jehu went to rest with his fathers, and was put into the earth in Samaria. And Jehoahaz his son became king in his place. 36 And the time of Jehu's rule over Israel in Samaria was twenty-eight years.