text:
The Cliffs Notes to this column will be offered for only $4.95 at any of our participating cheesesteak stands and only $1.95 with the purchase of a side of Cheese Whiz.
Contradictory as it sounds, minimalist music is arriving in an avalanche this fall.
That's gotta be one big avalanche, a big, contradictory avalanche; Philadelphia's nowhere near the mountains.
But since minimalism is, by definition, minimal, one envisions...
a) a Buckminster Fuller building.
b) a Samuel Beckett play.
c) a Franz Kline painting.
d) a "less is more" attitude.
e) creatures from some musical Lilliput engulfing Beethoven and Brahms.
If you guessed a-d, you're getting warmer. However, if you guessed the Jonathan Swift reference...
Yet minimalism has evolved to a point where John Adams' newest opera, The Flowering Tree, commands attention musically and dramatically as handily as Verdi.
Um. From its sheer numbers, minimalism is overshadowing (?) Beethoven and Brahms, yet (?) it commands attention, like Verdi? Okay. And all of this despite the fact that John Adams doesn't consider himself a minimalist. (Sorry folks. This is for my sake. I just want to leave myself a trail of breadcrumbs, if you know what I mean.)
A musical language based on the idea of small cells of sound repeated to hypnotic lengths has found a range of expression undreamed-of 30 years ago, when some of this music sounded like an LP record stuck in a groove.
Thirty years ago, in 1978, which would make musical minimalism roughly twenty years old, John Adams was beginning to move away from eight-tracks to cassettes and from minimalism to this neo-romantic-minimalist hybrid of which you speak. So, John Adams, at least, was dreaming, way back then.
Is this the culmination of a long-germinating movement?
Cassettes? Probably not. Minimalism? Is fifty years long enough? A hybridized form of minimalism with expressive flexibility? As sure as the seasons change, which is, by the way, what will happen to this "movement," too.
Certainly, there's a critical mass.
(brain twitches) Critical mass is the SMALLEST amount of fissile material needed for a sustained nuclear chain reaction. In the vernacular, it's the same, except it refers to people, ideas, or fads. So...
Tons of expressively flexible minimalism, an avalanche if you will, is ready to explode? Or has it already exploded? I'm confused. Very confused.
Either way, a bevy of CDs, DVDs and performances will be rolling down the hill this fall. This includes some John Adams (not a self-described minimalist) and Philip Glass.
Only Steve Reich, minimalism's J.S. Bach, is missing.
This avalanche of minimalism, as one might want to color it, consists of two, count them, two composers—a whole two composers (2). Too.
I also wonder who is minimalism's Baldassare Galupi.
If there's a consolation, it's a strange but imposing one: British composer Michael Nyman, who coined the term "minimalism" and enjoyed overnight popularity with his distinctive score for the 1993 Jane Campion film The Piano, is getting a burst of U.S. visibility.
"Hear me my diminutive dominions. Instead of Steve Reich, let them eat Nyman." Yeah (whimper).
Stand back from it all, and conclusions are unexpected.
Conclusions about what? Oh yeah, I almost forgot, the conclusions about this being the culmination of a long-germinating movement.
Why are conclusions unexpected, Dave?
Compare Adams' The Flowering Tree, about a woman who can transform herself into a tree, and Richard Strauss' Daphne, whose title character has similar talents.
Since comparisons are not conclusions (sigh), I'll play along. What, then, separates the two? Though, I'm not sure where this could be going. Can a comparison of two similar stories utilizing different aesthetics inherently reveal whether or not this avalanche is, indeed a long-germinating movement? Paint me skeptical.
Adams defines the unimaginable, using hypnotic minimalist arpeggios in ways that convey the rhythm of the Earth while melodies wander into unknown regions, governed only by the winds of fate.
Sorry, I need to stand back from it all for a second, too, because it's breadcrumb time (my head hurts)!
To recap: From its sheer numbers (three), minimalism is overshadowing (?) Beethoven and Brahms, yet (?) it commands attention, like Verdi. It has grown into something more expressive. Both of these facts leads to the question whether or not this is the culmination of a long-germinating movement. To investigate this further, we need to stand back, look at the bigger picture by closely examining two similar, yes dissimilar, works up close. (Am I being fair up to this point?) And conclusions are unexpected. But we're going through the motions anyway.
Where'd I leave off? Ah!
Adams defines the unimaginable, using hypnotic minimalist arpeggios in ways that convey the rhythm of the Earth while melodies wander into unknown regions, governed only by the winds of fate.
First, "hypnotic minimalist arpeggios" is, well, quirky. Unless "hypnotic" is modifying "minimalist," which is okay, then...no. I take that back. It's just wrong. Minimalism is, by and large, hypnotic. So, "hypnotic minimalism" is redundant. On the other hand, if "hypnotic" is modifying "arpeggios," fine. But, then, in this case, the "minimalist" is redundant. You see? Both "hypnotic arpeggios" and "minimalist arpeggios" are the same thing. If you want to contend that they are not the same thing, then whoops, too! You need a comma separating "hypnotic" and "minimalist."
Despite that nitpicky mess, the contention is that "Adams defines the unimaginable," which, by its implicit impossibility, is impossible, given that he can't imagine the unimaginable. Right? Moving on.
The woman-to-tree transformation arises from a bedrock of radiant string tremolos; celebratory percussion sounds like pealing bells in a meadow of glistening string harmonics and soft percussion.
I just threw up in my mouth.
The assemblage of sounds is one thing, but could traditional composers create such trancelike stasis?
Excellent. We're back on track, sort of. We're back on track to compare apples and oranges. But we're still nowhere close to finding out why conclusions pertaining to whether or not today's minimalism is the culmination of a long-germinating movement are, in fact, unexpected.
And to answer the question about traditional composers, yes.
In contrast, Strauss is about the emotional impact the characters experience at the hands of magic, so the transformation musically is such an afterthought - expressed with Daphne's wispy, wordless vocalization - that you could almost miss it. In effect, Strauss ducks the dramatic problem.
I'll give Dave one thing: the conclusions, if you can call them that--and are apparently back on the table--are, indeed, unexpected. By comparing Adams to Strauss, we found that they composed with different means and intents. Adams defines the unimaginable; Strauss ducks the dramatic problem. In "conclusion," romanticism is not minimalism. And to think, I'm up to my ears in student loans, when I could have just waited a few years in order to read this.
Meanwhile, back at the ranch...
Like Renaissance vocal polyphony, which gives a spiritual radiance to anything composed with its precepts, minimalism seems to be the language of the heavens.
Hmmm. Either something is terribly wrong with this or I'm beginning to nod off. I know! I need some coffee. Just continue reading; I'll be back in a moment.
Revisiting Glass' Mohandas K. Gandhi meditation, Satyagraha, one noticed anew how the piece elegantly bypassed the mundane particulars of a linear plot - the sort that took Tan Dun down hackneyed blind alleys in The First Emperor - and went straight to more important matters of the soul.
It's not the most dramatic way to go - you'd never want a sequel to Tosca done in this way. And yet Adams' Doctor Atomic gets dramatically muddy without leaving its lofty perch. Its landscape - Los Alamos, where the first atomic bomb was tested in 1945 - is built from peripheral details. A hard-bitten military officer goes on at length about counting calories. Physicist J. Robert Oppenheimer closes Act I by singing the John Donne sonnet "Batter My Heart, Three-Personed God."
Soon, you realize the opera is directing its energies toward the moral dilemma of those who made the bomb: Civilization was in the hands not of gods but of real, calorie-counting individuals. The minimalist element - with high-stakes drama juxtaposed with almost passive washes of sound and repetition - gives space to the moral problems at hand, not just for the characters, but for the audience.
Okay, I'm back and caffeinated.
What would you have done?
What?! Who, me? Shit! What did I miss? A lot, apparently.
Into this comes Nyman - with all the grace of an atheist at a Christmas pageant.
I'm no stranger to insults, but man, this is like shooting an Indian for trying to dress all civilized and such but failing to cinch the bolo tie tighter.
What the hell did I miss!?
(reads previous thread)
Oh. Weird.
His new, determinedly secular pieces prove that minimalism can be earthy, jazzy and sexy, which would be admirable if the music weren't so suffocating in its inflexible, intractable manner.
So, is it fair to say that his pieces are characterized by suffocating earthiness, suffocating jazziness, and suffocating sexiness? Is it also fair to say that those things don't mean anything?
Jesus. "An atheist at a Christmas pageant." Jesus. What's with this "sacred vs. secular" thing, anyway?
Among American minimalists, repeated ostinatos are like the broken white stripe down the middle of the highway, each one taking you farther along the piece's musical path.
By most accounts (Well, one really. I did some research a while back, which was funded by the Michael Nyman Institute of Stupid Things People Say About Him)—by most accounts those white dashes in the middle of a road or highway are there solely to inform a motorist which side of the road he/she may occupy, while, circumstances allowing, indicating a safe place to pass a slower vehicle. They are not, repeat not, there to take you anywhere. You may pass by them, but never will they take you anywhere. In fact, they are not living creatures. Some living creatures can, indeed, take you places, like horses, elephants, seeing-eye dogs, and most importantly, asses.
Similarly, ostinati are simply there. You, you, pass by them.
Nyman's repetition is more like a rock-and-roll riff with abrasively robust sonorities and little contour, and with the composer's considerable sense of invention relentlessly tethered to the central idea. Never does his music kick into that minimalist overdrive when the music mushrooms into something greater than its parts. Nyman takes a straight, unveering, almost robotic route to its conclusion.
Really. When did this become a Michael Nyman bashing party? I thought we were here to find out whether or not this "expressive" (subjective opinion) minimalism (misnomer) is the culmination of a long-germinating movement. Or at least why conclusions are unexpected.
While I don't particularly like Nyman's music, does he deserve this? Maybe. But, still...
All the plasticity cultivated by American minimalists of late - which we may have taken too much for granted - is rejected by Nyman.
That is, if you can call what they're doing "minimalist."
In its place is novelty: His suite, Mozart 252, sets to music letters from the composer's father, poems by the composer, plus his list of debits and credits, all with clinical detachment and vocal lines behaving like just another instrumental voice within the larger musical machinery. Same thing, oddly enough, with settings of sexually graphic Italian poetry titled Lust Songs.
Setting odd texts to music is not novel.
Put to the service of a strictly secular cause, minimalism hardly seems like music.
Where did this come from? Where the fuck are we? I'm caffeinated and alert. Would someone like to fill me in?
However, that theory is shot down by, of all people, the devoutly Buddhist Glass.
? "Of all people?" ? ?????????? ??? ??? Glass shot down theories? Really? Your theory, maybe. Or maybe, you just didn't think your theory through before writing it down for all of Philadelphia and beyond (I'm in San Francisco) to read?
He achieves Nyman's in-your-face aggressiveness without the rigidity in Waiting for the Barbarians, a 2005 operatic adaptation of J.M. Coetzee's novel about military-dominated regimes and merciless torture.
Torture? What does this "story" have anything to do with Nyman's music not really sounding like music?
Here, Glass exercises every compositional muscle he's ever had: In place of his usual musical expanse, he constructs scenes from penetrating modules that lack the pin-point specificity of nonminimalist composition but are dramatically masterful.
Oh yes. The "penetrating modules that lack the pin-point specificity of nonminimalist composition but are dramatically masterful" scene-construction muscles. I just worked those out the other day. Boy do they hurt.
In one, the humanitarian hero confronts a dictatorial colonel, who is heard against a choral backdrop telegraphing how much he's in the majority.
The story...though secular...what? Seems like music? Despite your theory?
The key difference is that Glass' compositional ego is subordinated to telling the story, while Nyman subordinates his stories (whether abstract or literal) to his personality.
Help. Anyone?
For Glass, minimalism is the key to a world of poetic expression.
Did you ask him? Christ.
Just fucking shoot me already. Any semblance of coherence is gone. Every sentence, phrase and word is problematic. I'm plain lost. And I still have no idea whether or not minimalism is the culmination of a long-germinating movement, nor are we even trying to conclude anything--that's why conclusions are unexpected--not to mention we still only have three composers that constitute an avalanche. And what's with this whole "sacred vs. secular" bullshit?
Nyman's key is just that,
What?! A world of poetic expression? I. Don't. Know. What. Is. Going. On. Anymore.
...which means that no matter how technically impressive he is, the music remains cold and strangely irrelevant.
A note to everybody ever: Please stop talking about "stories" in music as if they were concrete, irrevocable determinants of a piece's worth and importance. Thanks. It helps no one.
Usually, compositional methods are only as good as those using them. But minimalism is one that penalizes practitioners who use it perversely.
Those sentences say exactly the same thing!!!!!!!!!!!!!! !! !!!!!!!!(?)
Except now you're calling Nyman perverse. For what? What's perverse? And where's my goddamned long-germinating movement? (insert poop joke here about how we've been reading it, all along)
My Breadcrumb Trail Has Been Eaten!
The Cliffs Notes to this column will be offered for only $4.95 at any of our participating cheesesteak stands and only $1.95 with the purchase of a side of Cheese Whiz.
Posted by Empiricus at 1:35 PM
Labels: David Patrick Stearns, diddle-diddle minimalism, John Adams, Michael Nyman, minimalism, Musical Bullshit Generator, Philadelphia Inquirer, Philip Glass, Steve Reich
7 comments:
- Sator Arepo said...
What the fuck?
Wow. That is some crazy shit...
and as an athiest that is sometimes forced to attend Xmas parties--fuck you (not you, E.).
- Sator Arepo said...
Uh, "ostonati"?
- Empiricus said...
Huh? Dictionary much?
- Empiricus said...
Love you...
- Empiricus said...
Poop is always close to brown. Remember that, my friend.
- Sator Arepo said...
Wait, what?
Just fuckin' with you.
School today...
- Empiricus said...
Ah, comments (esp. inside jokes)! Good things to have around.
"Usually, compositional methods are only as good as those using them."
This little nugget has been swimming around in my head all day. I can't shake it. I think it's a truism. But it certainly doesn't need to be qualified with, "usually." Name an instance when a piece was successful only because of the compositional method, not the composer. They're not mutually exclusive, are they?
If that's true, then why this?
"BUT, minimalism is one that penalizes practitioners who use it perversely."
..as if it needs the "but." Isn't minimalism a kind of compositional method? One that is only as good as those using it?


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In the Pipeline and Under Study
As part of the Roswell Park mission to cure cancers of all kinds, we search continually for better treatment methods. We place a high priority on providing more options for patients, to try to raise their clinical outcomes above the current standard of care. All Roswell Park physicians who treat leukemia patients are also research scientists who maintain active laboratory-based research programs.
Research Approaches
Approximately 15-25 clinical studies focused on leukemia are open for enrollment at Roswell Park at any given time, and about half our leukemia patients participate in those studies. Your treating physician will let you know if you are eligible for a study. If so, the decision to enroll will be entirely up to you.
Translational research, which aims to transfer new discoveries to the clinic as quickly as possible, is central to our efforts to help our leukemia patients. It begins in the laboratory, where scientists define an abnormality within a cell and strive to correct it. This is the first step in developing a new treatment.
With many clinical research studies open for leukemia patients at any given time, Roswell Park provides patients with more options to improve their chances for survival. Patients who enroll in clinical research studies are treated in our Clinical Research Center, which maintains the highest level of safety and quickly generates information about potential new treatments. The Center enables us to offer our patients access to treatments that are not widely available. Studies focus on such goals as:
- The development of new drugs for leukemia, especially targeted therapies
- Finding new ways to uses existing cancer drugs or therapies
- The discovery of new targets or pathways we can use to attack the cancer
- Understanding how leukemia cells multiply and discovering ways to stop them
Some of our current studies are examining:
- Whether vitamin D supplements can improve outcomes for patients with acute mylogenous leukemia (AML)
- How low levels of oxygen and the growth of new blood vessels affect acute leukemia
- Genetic characteristics of leukemias
- New and promising treatments for elderly patients with AML
Search available clinical research studies for leukemia patients at Roswell Park, or call 1-800-ROSWELL (1-800-767-9355).

subset: commoncrawl


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== Build Server (alderaan) ==
== Build Server (alderaan) ==
This is an Intel® Core™ i7-920 Quadcore (with Hyper-Threading) server with 8GB of memory. The machine is run by
This is an Intel® Core™ i7-920 Quadcore (with Hyper-Threading) server with 8GB of memory. The machine is run by (). It runs Arch Linux.
=== [[DeveloperWiki:PKGBUILD.com|pkgbuild.com]] ===
=== [[DeveloperWiki:PKGBUILD.com|pkgbuild.com]] ===
Revision as of 11:21, 4 October 2011
This page provides an overview of the Arch servers and their functions. Details can be found in the respective links for each server. We currently have two phyical server machines:
- 1 Main development server (formerly gerolde)
- 2 Trusted User server (sigurd)
- 3 Releng server (alberich)
- 4 Build Server (alderaan)
- 5 Other servers
Main development server (formerly gerolde)
This is a Dual-Xeon 2.8GHz server with 16GB of memory and a 2x300GB software RAID 1 array. It has been bought with Arch donation money and is currently located at velocity, who also donate the power and bandwidth. It runs a Xen hypervisor with the following hosts:
This is the Xen dom0 for the development server. It runs a Debian system with the Debian Xen kernel, as Arch does not maintain a stable Xen kernel. It has no public services. ssh access is limited to a small number of IP addresses and only Thomas, Aaron, Jan and Dale have access to it.
It bridges the physical ethernet interface with the virtual interfaces of the Xen domU instances and runs an IP-based firewall.
This is the main development server. It runs Arch Linux with a modified kernel26 package with pv_ops/Xen support added.
DNS aliases: rsync.archlinux.org, archlinux.org, mail.archlinux.org
It offers the following public services:
- ssh(openssh): All developers have ssh access to this machine.
- rsync(rsyncd): Public mirrors (whitelisted by IP address) can synchronize the FTP directory. Anyone can synchronize the ABS tree.
- smtp(postfix): SMTP server for the @archlinux.org and @aur.archlinux.org domains
- http(lighttpd): All developers have direct access to the FTP directory via HTTP (static content only) - this is password-protected, users must use the mirrors.
Developers use this server to maintain the package repositories, the corresponding packages subversion repository and access the git repositories for their various arch-related projects.
This is the main web server. It runs Arch Linux with Arch's own kernel. Only developers who maintain web applications have ssh access. The ssh port is only open to gerolde.
DNS aliases: bbs.archlinux.org, dev.archlinux.org, mailman.archlinux.org, planet.archlinux.org, projects.archlinux.org, repos.archlinux.org, svn.archlinux.org, wiki.archlinux.org, bugs.archlinux.org
It offers the following public services:
- http(apache): Hosts the following websites:
- www.archlinux.org: Main Arch website - uses python/django and a few static html pages
- mailman.archlinux.org: Mailing list configuration, subscription and archives - uses mailman
- bbs.archlinux.org: Forums - uses fluxbb(php)
- wiki.archlinux.org: Arch Wiki - uses mediawiki(php)
- projects.archlinux.org: Access to the git repositories - uses cgit
- planet.archlinux.org: Feeds from Arch-related blogs - uses static html pages
- repos.archlinux.org: Access to the packages and community subversion repositories - uses websvn
- bugs.archlinux.org: Bugtracker - uses flyspray(php)
- svn(xinetd/svnserve): Public subversion access
- git(xinetd/git-daemon): Public git access
Resource Allocation
Because this box is servicing multiple VMs, the resources allocated to each are not static. Here is how the box is currently divided up:
- dom0: 512 MB RAM, 4 CPUs, 4GB disk
- gerolde: 9493 MB RAM, 4 CPUs, 193 GB disk
- gudrun: 6145 MB RAM, 4 CPUs, 30 GB disk
Trusted User server (sigurd)
This is a Pentium D dual core 3.40GHz server with 4GB of memory and a 2x160GB software RAID 1 array. The machine is being donated by SevenL networks. It runs Arch Linux.
DNS aliases: aur.archlinux.org, community.archlinux.org, tracker.archlinux.org
It offers the following public services:
- ssh(openssh): All trusted users have ssh access to this machine.
- http(lighttpd): To host several websites (see below)
- trusted user development server.
- websites:
- aur.archlinux.org: The AUR - uses php
- community.archlinux.org: apparently nothing
- websites:
- bit torrent(opentracker): Bit Torrent tracker for the Arch Linux ISO images
Releng server (alberich)
- hardware: VPS donated by airVM, 125GiB LVM setup, 2GB ram, 1 core E5530 @ 2.40GHz
- software: Arch Linux
This machine is meant for building installation images and hosting testbuilds and such. It runs no other services, because releng image building is "tricky stuff" best kept separate
The machine contains the releng environment, including chroots for each architecture.
DNS aliases: releng.archlinux.org
It offers the following public services:
- ssh(openssh): All release engineers have ssh access to this machine.
- http(lighttpd): To host releng files (testbuilds, custom repos/packages), no official media
Build Server (alderaan)
This is an Intel® Core™ i7-920 Quadcore (with Hyper-Threading) server with 8GB of memory. The machine is run by Ionut Biru (ioni). It runs Arch Linux.
It offers the following services:
- ssh (openssh): Access to the build server is available to all Trusted Users and Developers on request.
- Build server.
- Each user is given access to a set of build scripts that simplify the build process for users with poor internet connections or lacking a 64-bit machine.
Other servers
We can always use more of course for our world domination plans! Right now our infrastructure is mostly contained to the above-mentioned servers, but there are a few specialty things running elsewhere.
This server is hosted on Dan's linode. It runs an instance of munin, which collects various stats from the servers in the archlinux.org domain. If you need access to any of this information and are a developer, get in contact with someone that does server administration. If you want an additional server added to the list, just ask.


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Toward water and sanitation for all: Featuring Matt Damon, co-founder of Water.org
Last week, on April 20th, Matt Damon, co-founder of Water.org, addressed ministers of finance, water, and sanitation from across the world at the Sanitation and Water for All (SWA) Finance Ministers' High Level Meeting at the 2017 World Bank-IMF Spring Meetings. The meeting focused on finding ways to fill the enormous financing gap via innovative financial solutions. Mr. Damon urged ministers to consider the full breadth of financing options to achieve the goal of providing safe, affordable, and sustainable water and sanitation for all.


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When you think about the Pacific islands, many things can come to mind, such as coconut trees, coral reefs, and pristine beaches. In many cases, however, nestled below those coconut trees, lodged in the reefs, and buried under the beaches are unexploded World War II-era bombs and projectiles. I recently traveled to Palau and the Solomon Islands to assess U.S.-funded programs to limit the impact those old but still explosive remnants of war (ERW) have on local populations and their environment.
In Palau, the non-governmental organization Cleared Ground Demining (CGD) operates a program centered on the island of Peleliu, where for 74 fierce days in late 1944, American forces battled the island's Japanese defenders. The scorched earth, and the charred remains of trees and vehicles have long since given way to lush greenery on Peleliu. A few pillboxes and artillery emplacements still stand, and oil drums, canteens and other war relics still litter the jungle. However, ERW remain the most dangerous reminders of the fierce combat that swept over the island. Loose bullets, machine gun bands, mortars and large aerial bombs contrast with the beautiful scenery on land and in the waters around Peleliu, making this picturesque landscape dangerous for the locals, for development and for tourists. U.S. funding helps CGD to build local capacity to deal with the negative effects of ERW by training Palauan teams to conduct battle area clearance, explosive ordnance disposal spot tasks, and risk education campaigns. U.S. funding has supported the clearance of suspected hazardous land adjacent to Peleliu's only power plant, and this coming year, CGD will clear unexploded ordnance (UXO) along a planned pipeline that will supply the residents of Peleliu with running water.
My trip ended at Guadalcanal in the Solomon Islands, centerpiece of the U.S. Marine landings and naval engagements that kicked off the island hopping across the Pacific. Not too far from Guadalcanal's main airport and set in a clearing through dense jungle is Hell's Point, where PM/WRA funds the American nonprofit Golden West Humanitarian Foundation to train the Royal Solomon Islands Police Force's explosive ordnance disposal (RSIPF EOD) team. After just two years of training, the RSIPF EOD team has gained an incredible capacity to recognize, remove, and reduce the impact of ERW left behind from the vicious fighting from 1942 to 1943. For example, in the past year alone they've destroyed over 10,000 ERW in the Solomon Islands. In addition to limiting the public safety threat that ERW pose, the team prevents so-called "fishbombers" from acquiring explosives for the dangerous and environmentally-harmful practice of explosive fishing. Where munitions are sufficiently stable, the team uses a mobile band saw to cut munitions open and burn out their explosive content, rather than detonate them. The RSIPF are now capable of assisting fellow Pacific island states, as two members of the RSIPF EOD team accompanied Golden West EOD experts on another U.S.-funded clearance project in the Marshall Islands in July of this year.
It is truly important that this work continue. ERW threaten not only the residents of and visitors to contaminated Pacific islands, but the environment as well. In addition to the potential for accidental detonation, these old munitions can contain harmful compounds. As the munitions deteriorate on land and in the water, they release chemicals into the ground and into the food chain. As a result, clearance and capacity-building programs that the United States, Australia and other countries fund are critical for Pacific island environments, economies and populations.
In 2013, the U.S. Department of State has provided $1 million for ERW removal projects in the Pacific, and sent representatives to the June 2013 Pacific Islands Forum 2nd Regional UXO Workshop in Brisbane, Australia. Through PM/WRA, the Department of State looks forward to expanding its work in the Pacific, including research projects on ERW contamination in the Pacific and hopping to more islands to conduct ERW clearance. This important work is saving lives, permitting development where it is needed, and preserving the delicate environment of the Pacific region.
To learn more about PM/WRA's conventional weapons destruction programs worldwide, please visit our webpage.


text:
Swine Flu at Washington Post
In an apparent move to rip off some of Conde Nast's disease-ridden glamor, the Washington Post told employees yesterday that three cases of the dreaded Mexican Pig Flu have been found at headquarters. Full memo below, via Michael Calderone at Politico:
We want to update you on the recently reported cases of the H1N1 (Swine Flu) virus involving employees who work in our NW Building, and the steps we have taken to help prevent the spread of the virus. We are aware of 3 cases involving our employees or their families. These employees were instructed to stay home for 7 days after their symptoms, or their family member's symptoms, began. Those employees who work in the same general area as the affected employees were notified of the situation and the appropriate areas of the building were disinfected. We will also be placing bottles of hand sanitizer throughout common meeting areas of the building for employee use.
The spread of H1N1 virus is thought to be happening in the same way that seasonal flu spreads. Flu viruses are spread mainly from person to person through coughing or sneezing by people with influenza. Sometimes people may become infected by touching something with flu viruses on it and then touching their mouth or nose.
This is a reminder to take these everyday steps to protect your health:
· Cover your nose and mouth with a tissue when you cough or sneeze. Throw the tissue in the trash after you use it.
· Wash your hands often with soap and water, especially after you cough or sneeze. Alcohol-based hand cleaners are also effective.
· Avoid touching your eyes, nose or mouth. Germs spread this way.
· Try to avoid close contact with sick people.
· Stay home if you are sick for 7 days after your symptoms begin or until you have been symptom-free for 24 hours, whichever is longer. This is to keep from infecting others and spreading the virus further.


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Curvy Kate Response: We are so sorry to hear this happened to your Portia short! We have logged this complaint with our production team.
Jen from Florida
Curvy Kate Response:
we haven't had anyone complain about the Portia, a review like this is highly unusual. I would suggest washing the panties by hand, cold water with a very gentle, non-abrasive product and laying flat to dry, over time the fabric will get softer and softer.
Tatiana from Atlanta, GA, USA


text:
A cotton farmer who plants corn on his base acres this spring could receive $94 more per acre than a corn grower who plants corn. It's one of the ironies of Freedom to Farm, the 1996 law widely supported by corn and wheat and labeled "Freedom to Fail" by cotton and rice producers.
With corn prices forecast by USDA to average above $3 per bushel in 2006-07, corn growers will not receive a counter-cyclical payment. The failure to receive a CCP payment most years under the 2002 farm bill has been a big factor in corn farmers' desire to rewrite the law.
Cotton farmers will receive a counter-cyclical payment of 13.7 cents per pound on their program yield for 2006-07. If you multiply 13.7 cents by a yield average of 615 pounds of lint per acre, you get $84 per acre. (For payment purposes, yields are frozen at 1985 levels.)
Cotton farmers will also receive a direct payment that averages about $10 per acre more than received by corn farmers, according to the agricultural economic baseline prepared by the Food and Agricultural Policy Research Institute.
Rice farmers who plant corn on their base acres will also receive more revenue, although in a slightly different form. No counter-cyclical payment is expected for rice in 2006-07, but producers receive direct payments of $96.22 per acre, on average, according to the FAPRI baseline.
In 2007-08, the baseline projects a rice counter-cyclical payment of $18.04 per acre, providing rice farmers with about $90 more per acre gross revenue than corn growers.
"The decoupled payment to me is the big factor that will show up in the farm bill debate," said Abner Womack, FAPRI's director, in an interview at the Institute's offices near the University of Missouri-Columbia campus. "A cotton farmer will still get a direct payment and a counter-cyclical payment for cotton, even if he grows corn."
We don't think Sens. Richard Lugar, R-Ind., and Pat Roberts, R-Kan., had that in mind when they championed Freedom to Farm in 1996. But farm bills have a history of producing unintended consequences.
Womack said farmers should be concerned about those because of the pressures on lawmakers to write a WTO-compliant farm bill. Some have talked about more decoupled payments to accomplish that goal.
"Congress has to be careful when it's writing the law," he said. "The higher you make the decoupled component the more you provide an incentive for the landowner to take the payment and not allow anyone to farm his land."
High corn futures and government payments aren't the only reason cotton farmers reportedly are switching record acres to corn. Many growers have become disenchanted with what they see as a lack of responsiveness by the cotton market to reduced acres in the United States and other regions.
But the lopsided payments for cotton will likely become another sticking point when the ag committees sit down to write the next farm bill.


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Adaptation and medical interventions unification in resource-constrained country
Suche in Medline nach
|10. Juli 2012
Background: Ukraine is a resource-constrained country. Nowadays, health care system is under reformation. Medical interventions need good evidence base and unification across the country.
Context: For a long period of time expert method was used to develop medical standards and clinical pathways. However, since 2008 an adaptation has been used in Ukraine as a method to develop clinical guidelines. Guideline development groups are multidisciplinary and consist of representatives from different regions and organizations. So such groups are able to estimate existed resources in every region and possibilities of Ukrainian health care system.
Description of best practice: On the base of clinical guidelines medical standards and unified clinical protocols of medical care are developed. Evidence base, used to formulate recommendations in clinical guidelines, is a ground to define and support obligatory and desirable criteria, actions, and interventions. It is used to exclude non-obligatory interventions from existed medical standards and clinical pathways. In 2011 on the base of clinical practice guidelines were developed 4 unified clinical protocols of medical care. On the base of these unified clinical protocols of medical care in each health care setting local protocols of medical care will be developed.
Lessons for guideline developers, adaptors, implementers, and/or users: Such approach helps to evaluate possibilities of Ukrainian health care system; use interventions only with the best evidence base, and save resources. Adaptation is a resource-saving approach that helps to unify health care organization and medical interventions across the country.


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Check here for the latest news, updates and events.June 2010
Ahhh...Summertime! With these longer days it is the perfect time to start a new project or complete unfinished ones. And, with the Summer Sale at PAiA, your project will cost even less or you'll be able to afford to take it the next step farther. Enhance or refurbish a device with add-ons from the Small Kits and Gear section. Or, fit some of the new modules to an FR-7 for use with a P9700S, an older PAiA modular, or even Theremax.
Scott Lee03 August 2009
Two conductor mono cables (signal and ground)? Yes, we still use star grounding in many of our patches, but we know that many of our customers prefer to use grounded-shield cables for their patches, because it's simple. Of course, you can use either and that's what we're doing here now that we've got these great custom cables in stock. If you order a 9700/S set, you'll still get a set of plugs and a generous length of ultra-high-quality single-conductor instrument cable for your first set of patch cables, but if you like to have pre-build cables, our new products are hard to beat. We use a great, soft grey cable with small-diameter 3.5mm plugs, in the shorter lengths that so many patches cry out for. We've even color-coded the barrels so you can pull just the right cable out of your tangle for that quick patch.
The tool kits are something we've been wanting to do for ... forever. More than ever, we have customers whose PAiA kit is their first electronic project. Of course, we've designed these kits so they can be built by anyone using almost any tools, but we've always wanted to have something really special to offer the new experimenter: a truly complete set of tools at the lowest possible price. Today, we've done it and we know you'll be as pleased as we are.
We're pleased as punch to welcome David Arms, Bass and Synth, to the technical team. Also, the inimitable Cliff Schecht, Guitar, is back for another season of intern fun on the design bench. The small changes you've seen in the last year (new cabling, new panels) and others behind the scene are tiny indications of many new things getting ready to pop. Hold onto your hats.25 November 2008
We're happy to say that one of our favorite t's, our Theremax t-shirt featuring the iconic Clara Rockmore in performance, is back in stock at a great new price. If you've been looking for that perfect gift, or (like us) you lost your shirt in the last market drop, your luck has turned! (Summer 2009 update: the market's up, but not our price. Stock up while you're still flush!)


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IRVINE — It was a loss about which UC Irvine baseball coach Mike Gillespie wanted to be anything but trivial.
But nothing less than a bit of baseball lore that unfolded at Anteater Ballpark on Wednesday may have upstaged the consequences of the Anteaters' 7-3 nonconference loss to visiting San Diego.
San Diego junior third baseman Kris Bryant launched his NCAA-leading 30th home run of the season in the second inning to conclude his regular-season with seven homers in his last six games. His 30 homers tie the NCAA single-season record since BBCOR composite bats, that all agree minimize power, were put into play in 2011. The 30 dingers also surpass the total hit by UCI as a team in the last two seasons combined (27).
Further, Bryant, projected to be selected with one of the first three picks in the Major League Draft in June, upped his season totals to 61 runs batted in, 72 runs scored and 45 extra-base hits among his 67 hits. He has 57 walks and 37 strikeouts entering the West Coast Conference Tournament.
"He is special," said Gillespie, who is in is 26th season of Division I coaching. "I don't know if I've seen another guy who was that impressive, and that's a lot of guys and a lot of good players over the years.
"The numbers are video-game numbers that are just staggering," Gillespie said. "He is just spectacular. It's really believable to me that he is in the big leagues as soon as this summer, depending on who takes him."
Bryant, who hit in the leadoff spot for the 12th time this season – part of Toreros Coach Rich Hill's ploy to allow opposing teams at least one chance to pitch to Bryant with no one on base, while also maximizing his potential at-bats – has 13 RBIs in the last six games. His production has helped USD (32-22) score 75 runs in its last six games, including double-figures in each of the previous five before Wednesday.
The Toreros scored four in the first inning off UCI starter Kyle Hooper, who yielded the Bryant homer over the left-field fence before exiting. Hooper allowed eight hits and five runs, all earned, over 1 2/3 innings.
Hooper fanned Bryant looking to open the game and UCI's Race Parmenter retired him on strikes in the eighth to help limit Bryant to a one-for-five performance.
Junior Mitch Merten led a handful of UCI relievers who had success, but the Anteaters (31-17) could not muster more than six hits off three USD hurlers.
USD starter Louie Lechich allowed one earned run on five hits in a career-best six innings to earn the victory, his second in five decisions.
Merten struck out all four hitters he faced to help UCI produce a combined 11 punchouts. Jimmy Litchfield allowed one hit in two scoreless innings and Evan Brock held the visitors without a hit or a run in two innings, striking out two.
Elliot Surrey and Parmenter blanked USD in their single inning of relief, respectively.
UCI sophomore first baseman Connor Spencer went two for five to pace the hosts, for whom Dominique Taylor and Taylor Sparks had a single and an RBI apiece. Spencer is now hitting .386.
Mikey Duarte added the third RBI on a groundout for UCI.
" The loss was hugely disappointing," said Gillespie, whose team has seven regular-season games left to make a run at an NCAA Regional berth, including a crucial three-game Big West Conference series that begins on Friday at first-place Cal State Fullerton. "We're running out of games that don't matter.
"There is really no secret about what is at stake [at Fullerton]. "I'm positive we'll compete and I'm sure [Friday starting pitcher Andrew Thurman] will compete like heck. It ought to be a dog fight."
San Diego 7, UC Irvine 3
Lechich, Covey (7), Wagner (9) and Green; Hooper, Merten (2), Litchfield (3), Brock (6), Moore (8), Parmenter (8), Surrey (9) and McClanahan. W – Lechich, 2-3. L – Hooper, 1-3. 2B – Conyers (USD), Stephens (UCI). 3B –times HR – Bryant (USD).
Twitter: @BarryFaulkner5


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Wood Fireplaces
Grandma used to say that wood heat was a different kind of heat. She was right. With forced air furnaces, only the air is conditioned, so the air temperature in the home changes rapidly when the furnace shuts off. A Kuma wood stove produces a combination of radiant and convection heat that warms your entire environment. The walls, floors and contents warm up to provide a cozy home.
In most regions, heating with a wood stove is the least expensive way in cost per btu- even if you buy your firewood. Plus, it is the only fuel source you can control by cutting your own wood. With a volatile energy market, heating with a Kuma wood stove can save real dollars.
Kuma wood stoves are highly efficient and offer high heat output, long burn times, low emissions and conveniences like large, easy to use ash pans. We're perfecting the art of wood burning.
Handcrafted Quality
Still made right here in Idaho, USA. Kuma takes incredible pride in products that are made by one craftsman, start to finish. No assembly lines. Not assembled with parts made offshore. Each stove has the finish details you would expect on a hand-made stove. All stoves are laser cut precision steel and come with our limited lifetime warranty. Kuma Stoves is still a family owned and operated, so when you purchase a Kuma, we can honestly say it is from our family to yours.
Environmentally Smart
Wood burning is not only a renewable fuel source, it also has a positive environmental impact. As trees grow, they absorb carbon dioxide (CO2) using energy from the sun. When a tree dies or is burned, the carbon that is stored in the tree is released back into the air. Thus, heating your home with a Kuma EPA certified wood stove or insert releases no more carbon dioxide into the atmosphere than a tree rotting on the forest floor. However, heating your home with a fossil fuel such as gas or coal releases a compressed form of CO2 that directly contributes to global warming. Additionally, all Kuma EPA certified wood stoves emit on average 15 times less particulate matter into the air than older, non-certified stoves.


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Vision: To be a world-class school system
Mission: To ensure each student achieves his/her highest personal potential
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The School District of Lee County and The Foundation for Lee County Public Schools are committed to the success of each student. We have established ambitious goals to assist our students in becoming college and career ready.
While many say they don't want their money going to "brick and mortar" this is actually where you can do the most good. A donation to this fund will ensure that our students and teachers have a safe, modern and functional learning environment – which is key to helping them reach their highest personal potential.
Time is a critical factor in a child's education. Unlike the old factory model of years past, learning time must become more personalized. Please help us expand the number of before and after school programs, extended year programs that allow students to get extra help, and added enrichment in subjects like science, mathematics, and art we currently offer.
The path to a great education begins early. Research indicates children who receive a high quality early childhood education are 50% less likely to be placed in special education, have a 34% lower rate of being retained, and are more likely to graduate from high school. Please help us expand our Pre-K programs and community partnerships to get our youngest students off to the best start possible.
Educational research clearly indicates that the teacher makes the greatest difference in a child's education. Please help us attract, support, and retain great teachers by donating to our Grow Our Own Program.
If you just can't make up your mind, choose our "Meet the Need" category and we will apply your donation to the Envision 2030 area of greatest need.
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Important dates and deadlines for December 2016
As we approach the festive season, here are the important tax dates and deadlines to be aware of from 1 December 2016.
1 December
Advisory fuel rates
New fuel rates come into force.
Corporation tax
Deadline for corporation tax due for the year ended 28 February 2016.
07 December
VAT return
Due date for October VAT returns, unless exempted.
14 December
EC sales list
Deadline for paper monthly or quarterly return filing.
19 December
CIS return
Construction Industry Scheme: monthly return due for period to 5th of month.
Postal monthly PAYE/class 1 NICs/student loan payment
Payment by cheque of PAYE, class 1 NICs, student loan deductions and deductions from payments to subcontractors for the month up to the 5th of this month.
21 December
EC sales list
Deadline for online monthly or quarterly return filing.
Due date for payment of supplementary declarations for November 2016.
22 December
Electronic monthly PAYE/class 1 NICs/student loan payment
Electronic payment of PAYE, class 1 NICs, student loan deductions and deductions from payments to subcontractors for the month up to the 5th of this month.
30 December
Online self-assessment (PAYE)
Deadline for online submission of self-assessment tax returns for tax year ended 5 April 2016 for HMRC to collect tax through PAYE codes, where they owe less than £3000.
31 December
End of CT 61 quarterly period.
Company accounts filing deadline
Deadline for filing your company tax return is 12 months after your accounting period for Corporation Tax ends.
Corporation tax return
Filing deadline for corporation tax return self-assessment form CT600 for period ended 31 December 2015 to be submitted to HMRC.
Talk to a member of our team today about your tax obligations.
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Search this website. You can use fund codes to locate specific funds
Mark Sherlock, Lead Portfolio Manager of the Hermes US SMID Equity Fund at Hermes Investment Management, believes aggregates giant Martin Marietta Materials exhibits consistently strong pricing power and is well-placed to benefit from greater infrastructure spending in the US following years of under-investment in the nation's highways, making it an attractive long-term holding.
Pricing power
Martin Marietta is the second-largest aggregates and heavy building materials company in the US. The firm makes materials used for roads, footpaths and building foundations and has operations in 26 US states, Canada and the Caribbean.
Since it is uneconomical to transport materials more than 50 miles by truck, the aggregates sector consists of a number of local oligopolies. The aggregates sector also has high barriers to entry; in an industry which is consolidating, only 10 new quarries have been approved in the last decade, benefiting existing operators.
Martin Marietta has achieved strong pricing power within this market structure due to its dominance in many geographical areas – it has set prices that have on average risen more than 3% each year since 1970, with no declines during recessions.
Positioned for an infrastructure boom
There are a number of dynamics supporting the long-term investment case for Martin Marietta. Population growth is resulting in increased per capita aggregates consumption, population density is creating demand for greater infrastructure networks, and the superior finances of states in which the company operates supports infrastructure spending. The average lifespan of a federal road in the US is nine years, and we expect the company to provide greater volumes of materials as more money is spent restoring highways and infrastructure.
The firm itself has the potential to expand its operations in both Texas and Colorado, which provided half of its 2015 sales, while its strong cash flows enable it to buy back shares and make acquisitions in future. According to one analyst note, EBITDA could double to $1.7bn-2bn by 2020[1].
Announcing its results for the first half of 2016, the group reported record net sales and net earnings. The first multi-year US highway bill in a decade, in addition to improving employment and substantial backlogs for contractors, should fuel growth as the recovery in the nation's construction industry continues.
Sustainable growth
We seek companies with a strong durable competitive advantage that are trading at a discount to their intrinsic value. As a high-quality cyclical stock, Martin Marietta meets our criteria because it is among the top one or two players in its respective markets, and its pricing power provides strong potential for sustainable future growth.
We first invested in the stock in 2012, as we believed the materials sector could benefit from a recovery in capital expenditure amid the US economic recovery. In 2014 we increased our holding as the earnings potential of the business became clearer, and we still find the company's fundamentals attractive.
Taking the high road: Martin Marietta stock price, Oct 2012 to Aug 2016
We hold stocks for the long term, and over the next three-to-five years we expect a combination of greater volumes, high margins and rising prices to increase the company's profitability. Given the structural case for highways investment in the future, we think Martin Marietta should continue to grow profits in the long term.
[1] Martin Marietta: Potential for EBITDA to double. Increased delivery of aggregates by rail, by Mike Betts. Published by Jefferies International Limited in 2016


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It goes without saying that an art center such as the Walker is the sum of many parts: from the physical structure that holds a variety of discipline-specific content and acts as a beacon for publics from the Twin Cities and further afield; to its programming team and support staff who ride the hamster-wheel of cultural production, feeding an expectant audience near and far. There are also the artists who create artworks and choose this place to be the hallowed ground on which they stand and are consumed, whether permanently (through entry into the collection), or ever so temporally. The Walker's long history exists not only as a reference to what has been achieved, but also stands as a tangible entity that the institution needs to answer to in the present in order to push forth a legacy steeped in time. Beyond this, there are of course other unseen realities, functions and qualities that make up the Walker – the sobering forces of economics whether monetary or otherwise, the cultural capital embedded in our collection and the caché this offers amongst a broader art world. There are of course power relations and political forces implicit in all these aspects of the institution.
Using these elements as fertile ground for discussion and collective thinking, the Interdisciplinary Work Group (IWG) has come together to assess the "pragmatic and more theoretical" concerns of engaging in and supporting interdisciplinary practices. This inquiry has been directed at both internal ways of working across programming teams as well as looking at how artists work today, which is in a manner that increasingly defies disciplinary divisions of performance, visual art, theatre, film/video. The group has been a somewhat self-sufficient initiative since fall 2011, inviting a selection of artists and thinkers to discuss interdisciplinary and collaborative practices and the spaces that support their growth and sustainability.
During one such session, which I initiated, the group met with architectural theorist Eyal Weizman to discuss his approach to similar questions that have arisen through his research-led practice. Below is a report from writer Susannah Schouweiler on our conversations. I have taken the liberty to highlight the points in the text that I feel have a particular pertinence to discussions the group has had to date, namely foregrounding the fact that this process can play a part in 'institution building'. The work of the IWG need not just be about assessing the status quo, but can be about working with our colleagues to formulate a departure from existing models into as yet to be determined future ones.
As a point of reference, I also want to call out two institutions that share similar profiles of having once been 'multidisciplinary art centers': the Institute of Contemporary Art , London and The Centre for Contemporary Art Ujazdowski Castle, Warsaw (whose recent project Office of Possibilities covers similar terrain to the IWG). Emerging from questions of how multidisciplinary art centers continue to function in a climate where disciplinary boundaries are transgressed and blurred, the two institutions have evolved new structures that attempt to bridge the gap between disciplinary departments internally and promote new models for supporting interdisciplinary art practice. I also want to direct your attention to another project, Department 21, which took similar pains to re-imagine another great institutional context that has gone through major transition in recent decades – the art school.
A small group of Walker staff – researchers, educators, programmers and curators — convened in the center's basement Art Lab last October to talk with Israeli architect, human rights activist, polymath artist and intellectual Eyal Weizman. All of us members of the Walker's IWG, we met for an informal conversation led by visual arts curatorial fellow Yesomi Umolu, who'd invited Weizman to speak briefly with us.
Umolu begins by asking us to consider Weizman's varied practice – in 'forensic architecture', human rights advocacy, collectively produced, activist art installations in Palestine — with an eye toward "the pragmatics and challenges involved in fostering and sustaining institutional support structures for collaboration and interdisciplinary work." She notes that "aside from his theoretical aptitude, Eyal has been quite successful at establishing productive arenas for exchange, carving out spaces for interdisciplinary work in both heavily bureaucratic settings (like the university)" as well as in settings more politically charged and restrictive, like his work in Palestine.
Umolu particularly points to his efforts in the creation of an open residency model for the collective behind Decolonizing Architecture Art Residency (D.A.A.R.) based in Beit Sahour, Palestine. According to the mission statement provided online, the D.A.A.R. "combines discourse, spatial intervention, education, collective learning, public meetings and legal challenges… to act both propositionally and critically within an environment in which the political force field is dramatically distorted. [To that end, the collective] proposes the subversion, reuse, profanation and recycling of the existing infrastructure of a colonial occupation."
But before our discussion with Weizman begins in earnest, as with all meetings, members of the IWG begin by introducing themselves. Our introductions around the table stop for a moment with Susy Bielak, the Walker's Associate Director of Public and Interpretive Programs. Weizman interjects with questions of his own for her — about Bielak's role in the institution, her work at the Walker — upon hearing her title. He wonders aloud about the designation, "director of public and interpretive programs," parsing the language of the title, noting how such a moniker in an arts center like ours betrays the changing cultural currents beneath the surface, the evolutions in institutional roles and intentions. Usually, he says, interpretation of art is left to the viewer. "What does it mean for an institution to invert the process of interpretation in this way? Does it amount to sampling the world?" Further, he wonders aloud, "all of these other roles we have in such arts centers, could they be inverted, too?"
He goes on, "There is a certain critical mass, beyond which institutions are no longer just a black box, a container for art to show, and for the public to see." To remain relevant, Weizman reflects, "an institution has to be a step ahead, to anticipate and even to create the very conditions for the art it will later show."
"It's a question of scale, isn't it?" he asks. "And that's the wonder of what you have here: The ambition of creating quasi-think tanks within a center [the way the Walker has], across a variety of disciplines, and then dispatching those fine senses into the world, cultivating an institutional, interpretive practice that is mediated through artistic research… that's very interesting."
Take the Walker's new website, he says. "It's full of independently produced, outward-looking commentary. That's such a change from the usual museum presence online, restricted to presenting the art and information particular to its own collection."
He says, "To be relevant, your institution has created a free-standing information channel, providing news and commentary of its own [rather than relying on outside media to interpret the work]." Further, "it's not about visiting that artist 'over there' anymore. Curators need to go 'there' before any art is even proposed, as part of the institution's preliminary research. It's the difference between institutional cultivation and discovery."
After the introductions are complete, Weizman explains a bit about the origins and practical structures undergirding the practice and residency program of Decolonizing Architecture. D.A.A.R. was co-founded by Weizman, Sandi Hilal and Alessandro Petti, who currently manages the collective's day-to-day activities and programs. The site, southeast of Bethlehem, has between three and 15 residents at any given time; the Delfina Foundation fully supports two of those residents, selected through an open, competitive process.
Weizman laughs, "D.A.A.R. started as a $300,000 grant in search of a mission." He explains, "Alessandro [Petti] is a writer; I wrote a book; Sandi [Hilal] wrote a book. In the course of our own research, we realized that a lot of people were interested in coming to Palestine. Slowly, what emerged from our work there was an entirely different type of architectural practice." He goes on to note that, while there are other architectural residencies people can apply for, D.A.A.R. combines those residential residencies with a type of studio residency, putting artists and architects in residence together. He says, "What is interesting about colonizing the architecture [in these contested areas of Palestine], beyond the work itself, is that doing so involves bringing together a collective studio, creating a commons among us."
What unites their various practices, he says, is "a very Godard question (i.e. Do you make political film, or do you film politically?). For us, that question is: Do we engage with existing political architecture, or do we work politically, actively creating the conditions for our practice?"
"For us," he says, "any collaboration [with existing political architecture] would effectively amount to a normalization of the situation [in Palestine]– we just wanted to get away from all that." He goes on, "The end of the Intifada was fuzzy, it was dangerous — the whole idea of cultural agency in the midst of that brutal repression. But afterward, you could see an A-list of international scholars passing through Ramallah; it was like a permanent biennale." He goes on to note that "the area's not under siege anymore; it's actually very cosmopolitan: it's like Tel Aviv, but with a wall around it, where you can't move around freely. The time was ripe for a 'cultural Intifada.'"
By way of its residency program, the D.A.A.R. collective has produced work shown in biennales and museums around the world — the Venice Biennale, the Bozar in Brussels, NGBK in Berlin, the Istanbul Biennial, The Architecture Biennale Rotterdam, Home Works in Beirut, Architekturforum Tirol in Innsbruk, the Tate in London, the Oslo Triennial, the Centre Pompidou in Paris and many other places.
Yesomi Umolu raises a practical but thorny question: "Given the collaborative manner of creation of work in the D.A.A.R., how does the group handle issues of co-authorship and credit?" Weizman shrugs, saying, "Our captions (for work) are a mess. We never managed to figure out how to credit all those involved our works' creation; there's always a diary, a description of where the work comes from, how it came about. But what we do is alive, it's changing all the time, and so the notion of credit… we just figuring it out as we go. The end goal is to have co-authorship, of course, but the minute particular names are involved it gets complicated, too confined."
Michele Steinwald, a curator of performing arts at the Walker, changes the direction of the conversation, referring to the more philosophical notions presented in Weizman's talk the night before: ideas about art as truth-seeking, about the sleuthing, investigative work involved in "forensic architecture" and its slippery, aesthetically creative conclusions. She asks him to apply those insights to a question that's been troubling her, to do with the implicit transactions involved in publicly presenting performance — transactional expectations framing the relationship between audience and performer, but also that of the commissioning institution and artist. Steinwald said she was curious how Weizman might "rupture" those expectations, re-negotiate terms and expectations on both sides to change the way work is created, presented and, ultimately, publicly received.
She says: "In the world of dance, there's a sense that our audiences simply don't understand contemporary work. So, as a presenter I've been struggling to find ways to be more generous about explaining, about arming the audience before the artists perform. I'm trying to work backwards from the conditions framing the transactional nature of buying a ticket, seeing a show."
Steinwald puts it another way: "How do I unearth the 'truth' of artistic practice and process behind performance, the logic of choreography for the uninitiated? How do I tell the story of that work in a transformational way?" She goes on to tie her questions to Weizman's own work: "Yesterday, in your presentation about the investigation and narrative creation involved in 'forensic architecture,' you talked about the inherent plasticity, the inevitable give in the truth-seeking process."
She's interested in the plasticity inherent in the transactions, the commercial relationships implicit in public performance, Steinwald says: "I'd like to break down audience presumptions surrounding monetary value, the expectations that follow when you buy and ticket and sit and watch something in a theater for a certain period of time. I want time to stand still during performance, to play with the framing conditions in such a way that we can cultivate altogether different audience experiences of dance."
Weizman responds bluntly: "I don't know. But I'm fascinated by your articulation of this idea of a contract [between ticket-buyer and performer, commissioner and artist], and what might be involved in the breaking of the contract." He muses, "I've written [in The Least of All Possible Evils] about the process of seeing as something that needs to be opened or ruptured." As in the situation you mention, he says, "there's a kind of transactional contract involved in seeing," and it's one, Weizman notes, that warrants deconstruction.
He says, "There is a fabulous political theorist Ariella Azoulay; she writes about something she calls 'the civil contract', taking the idea from Rousseau." With regard to Steinwald's concerns, he says, an interesting line of inquiry can emerge from that starting point: "What is the civil contract involved here, and how might you open up the formalization of these relationships [between audiences and performers] in a way that transcends the transactions of consumption?"
Simply put: "What is in the 'contract' of dance performance? How might you present dance in such a way that disrupts that original, implicit contract [rooted in models and expectations of consumption], and which opens up new modes of relationality?" This isn't so much an avant garde disruption of viewing you seem to be talking about, he says to Steinwald, as it is a shift in understanding of the "conceptual, political, intellectual" underpinnings of the work itself and how it's conceived.
Weizman steps back from the specifics of dance, to more general notions to do with specialty and the privilege of expert knowledge or disciplinary fluency. "We need to think of the emergence of ideas as being part of their time. I'm less concerned with doubt or deconstruction, or the imagined oppression of specialists or experts." The fact is, he says, "you don't have to be expert to participate in the conversation."
As for 'truth,' he says, that's plastic too: "I don't have a problem with a certain amount of doubt." After all, Weizman says, "bringing doubt is what artists do — that's the role of aesthetics, isn't it? We need to be projective, we need to propose new worlds."
He argues for artists to embrace "militancy – aesthetic, artistic, creative power focused like a laser beam." He says, "I grew up in [Israel] — a country that is colonizing, killing – and we have to do better, we have to take sides. We need to think beyond artistic critique to partisanship, and the work of proposing something new."


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Programming note: A's-Pirates coverage gets underway today at 3:30 p.m. with A's Pregame Live on Comcast SportsNet California
The Oakland A's recalled second baseman Grant Green from Triple-A Sacramento and designated infielder Adam Rosales for assignment, the club announced on Monday.
Green was batting .318 with 11 home runs and 49 RBI in 81 games with Sacramento and will be making his Major League debut tonight in Pittsburgh.
He is tied for second in the Pacific Coast League in runs (61) and hits (112), tied for fourth in doubles (25), ranks fifth in total bases (176) and tied for sixth in extra base hits (39). The 25-year old right-handed hitter was batting .366 against left-handed pitching compared to .306 against right-handers. Green was batting .269 over his first six games in July after hitting .372 with seven home runs and 21 RI in 26 games in June.
He has appeared in 67 games at second base, 13 at designated hitter and one at first base. Green was the A's first round selection and the 13th pick overall in the 2009 First-Year Player Draft. He has a .305 average with 55 home runs and 276 RBI in 469 games over five seasons in the minors.
[RELATED: Report: Grant Green to join A's in Pittsburgh]
Rosales was batting .200 with four home runs and eight RBI in 48 games with the A's. He began the season on the disabled list with a strained left intercostal but was reinstated April 25 and hit .318 over his first 13 games. Rosales is batting .140 in 35 games since then. He started 31 games at shortstop and one at third base and also appeared in 13 games at second base and one in left field. The 30-year old Rosales made his A's debut in 2010 and has a .226 batting average with 15 home runs and 55 RBI in 194 games in four seasons with Oakland.
Oakland A's media services provided this report.


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My good friend Todd had a birthday brunch party today and to help him celebrate, I took along a couple of premixed drinks that seemed to go over well. I brought a Bloody Mary premix, and also a Ward 8 premix. I left the Bloody Mary stuff out for folks to pour into a glass and add their own vodka, but for the Ward 8, I mixed the whiskey into the premix myself.
Some of the party guests asked for my recipes, and before I could really explain them, Todd blurted out, "adashofbitters.com!" So, to anyone following Todd's advice, welcome.
I'll start with the Bloody Mary and save the Ward 8 for a later post.
I really think that the most important ingredient in a good home-mixed Bloody Mary is good tomato or vegetable juice. I mean, think about it. This is a vodka drink, but will you really taste the vodka? So does it make much sense to use a crappy canned tomato juice with Ketel One? I know a lot of bars do that shit, but it seems pointless to me.
I'm not alone; a lot of bartenders are juicing fresh tomatoes or making a more subtle tomato water from fresh tomatoes. This technique is something I'm eager to try, but it might be too fiddly for most people who just want a good Bloody Mary at home. A good substitute, I've found, is a really good bottled juice. Pay attention to what you're buying. Please, no V-8. It's okay in a pinch, I guess, but I prefer other juices.
Right now, I'm liking a blend of two juices, and forgive me for mentioning brand names. I'm not getting anything from these vendors but a damn good Bloody Mary. I start with equal measures of R.W. Knudsen Very Veggie Organic and Bella Cucina's Passata al Pomodoro. (If you're in NYC, note that Bella Cucina has a stand in the food market in Grand Central Terminal.)
It probably doesn't matter, in the end, what juice you use–just find something you'd drink on its own, or something you'd cook with. If you wince or say, hey, this juice will do as a morning quaff as I'm rushing for the train, well, don't use that if you want a good Bloody.
Anyway, to my blend of tomato and veggie juices, I add a healthy amount of lime juice, Sriracha hot sauce, Old Bay seasoning, onion powder, garlic powder, Colman's mustard powder, fresh horseradish, kosher salt, freshly ground black pepper, Angostura bitters, and lemon bitters. My quantities don't matter, and probably a thousand bartenders would quibble with my choices; it's up to you to balance things to your taste.
Our "house" vodka is the unflavored Charbay, although those good folks make a Meyer Lemon vodka that would be great in a Bloody Mary.


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Foot Locker announced Tuesday the introduction of SIX:02, an elevated retail concept featuring fitness apparel and athletic footwear for women.
The first three stores will open for the holiday season in Stamford Mall in Stamford, Conn., Willowbrook Mall in Wayne, N.J., and North Star Mall in San Antonio, Texas.
SIX:02's concept is based on being the first-to-market design around a broad assortment of women's athletic brands in an environment created specifically for that female customer, according to Foot Locker.
The store features dedicated fit zones and fitting lounge areas, as well as a service concept that features an on-premise consultative selling team.
"A woman's day tends to be packed with work, family, and friends. She often finds a moment for herself at the gym, during a run, or at an early morning fitness class," said Stacy Cunningham, executive VP marketing at Foot Locker. "She deserves a place to find premium fitness and athletic gear that allows her to combine her personal style and versatility with performance features. We are excited to offer her that opportunity and experience at SIX:02."
[via Chain Store Age]


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En español l You might think your medical costs will be taken care of once you qualify for Medicare. But you'll quickly find that you're still paying out of pocket, and probably paying much more than you expected.
Sign up for the AARP Health Newsletter.
Fidelity Investments, which has been tracking retiree health care costs for more than a decade, estimates that a 65-year-old couple retiring this year will need $240,000 to cover future medical costs. That doesn't include the high cost of long-term care. Nor does it take into account additional costs you may incur if you decide to take — or are forced into — early retirement before your Medicare kicks in.
Fidelity's estimated $240,000 includes the cost of deductibles and copayments, premiums for optional coverage for doctor visits and prescription drugs, out-of-pocket expenses for prescription drugs, and other expenses that Medicare doesn't cover, such as hearing aids and eyeglasses.
Even if you face no other costs, paying for premiums and deductibles for the traditional Medicare choices of Parts A, B and D (rather than opting for the Medicare Advantage program known as Part C) can quickly eat up retirement savings. Consider:
Part A covers inpatient hospital costs, stays in skilled nursing facilities, home health care visits and hospice care. Most beneficiaries pay no premium for Part A, but there is a deductible of $1,184 this year for inpatient hospital stays.
Part B, which covers doctor visits, outpatient services, preventive care and some home health visits, does charge a premium, and in 2013 the standard monthly premium is $104.90 — or $1,258.80 for the year. The deductible is $147.
Part D, the drug plan that had more than 32 million beneficiaries enrolled in 2012, charges an average monthly premium of about $40 — or $480 a year.
Put it all together and you're looking at $3,069.80 a year for basic Medicare coverage, assuming you meet your hospital deductibles. And unless you stay out of a hospital altogether, you will meet the deductible. The average cost of a hospital stay in 2009, according to the federal Agency for Healthcare Research and Quality, was $2,000 a day, and the average stay cost $9,200. Even if these were the only health care costs you incur, in 10 years your annual spending would be $30,698 at today's prices, and higher if health care costs continue to rise faster than the cost of living.
Given the news from the Employee Benefit Research Institute that 60 percent of workers report that they or they and their spouses have saved less than $25,000 for retirement (excluding the value of their homes and pension plans), it's going to be a tight squeeze for many retirees.
Pat Fero, who lives in Sun Prairie, Wis., already knows what that feels like.
A 63-year-old former high school English teacher, Fero has diabetes and severe osteoporosis, for which she takes the prescription drug Forteo. In addition to the cost of Part D premiums, Medicare recipients may find themselves paying more if they reach the so-called doughnut hole. Here's how it works: Once total retail drug costs under the plan exceed $2,970 (in 2013), those with Part D start paying 47.5 percent of the cost of brand-name drugs and 79 percent of the cost of generics until the costs of that and other drugs reach the cap of $4,750. There is no generic version of Forteo, so for the four months she was in the gap in 2012, Fero paid $569 a month for the drug. When she reached her doughnut hole limit, her payments went back to $55 a month.
Next page: What can you do to help cover your health care costs? »


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Let $C$ be a hypercube in $\mathbb{R}^D$ with edge length of $L$. Let $\mathcal{P}_1,\ldots,\mathcal{P}_K$ be $K$ convex polytopes that partition $C$. Let $S_k$ be the surface area of the polytope $\mathcal{P}\_k$, where $k\in \{1,\ldots, K \}$. Define $S=\sum_{k=1}^K S_k$, what is the upper bound and lower bound of $S$? In particular, I'm interested in the bounds which can be expressed as function of $K,D$ and $L$.
In case it is not clear, the surface area of a convex polytope $\mathcal{P}$ is the sum of $(D-1)$-dimensional Lebesgue measure of the facets of $\mathcal{P}$.
There may have some nice results when $K\rightarrow\infty$ and reformulating this problem as a tessellation induced by some random processes. However, I'm interested in small $K$, say $1< K<50$.
I guess this problem has been solved, but I'm struggling to find good literature.