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2011-AugGolden Ears Philosophy
Nick Name: Golden Ears Registered Date: Aug 08, 2011, 04:02:10 IP ADRESS: *.56.123.5 Views: 68439
When consumers seek to purchase a product, they compare many different factors before making the final decision, including design, cost, performance, and brand, to name a few. Among numerous such factors, there is one unique factor that clearly sets audio equipment apart from every other product: its "sound".
Perhaps it is because this "sound" is intangible, but each person has his own approach to sound. Each individual feels differently about it, and each individual has a unique attitude towards it. Frequently, audiophiles cannot even agree on the terminology used to describe sound.
For instance, two audiophiles listening to the same product may disagree on the amount of bass that it has - one might think that it is 'thin', while the other might argue that it is 'excessive' or 'rich'. You might say that a DAC is 'clear and accurate', while to me the same unit sounds 'harsh and clinical'. One man's 'separation' is another's 'disjointedness'. Such disagreements are ubiquitous in every area pertaining to evalua-tion, from conception of space to resolution.
In addition, some reviewers speak of the 'ambience' or 'soundstage' only accurately presented by a well-installed pair of loudspeakers in their reviews of earphones and headphones. (Personally, I wonder whether it would be more appropriate to label this quality 'openness'.)
While there are numerous causes for this subjectivity, the primary culprit is likely that people evaluate other products based on what is familiar to them; the problem with this, of course, is that everyone has a different opinion of the same product since no two people have identical setups.
Furthermore, our brains tend to mess with our perception of sound as well: when we listen to more expensive or better-designed products, we tend to perceive their sounds to be relatively superior to their cheaper and less attractive counterparts, even when the sound is, in fact, identical. Thus, a blind test is necessary for an accurate evaluation of the sound and sound alone, isolated from all other variables. But as those who have tried it should know, it is painstakingly annoying and rather difficult to set up with rigor. To most people, it just isn't worth it to go through the process to analyze the sound of a single product.
After all, we listen to music to enjoy, not to test.
At Golden Ears, we try to straighten out these problems by measuring all areas of the sound of a product from many perspectives using various methods.
The empirical measurements of sound are analogous to a blueprint of a building: just as a solid understanding of the architecture is aided by varied perspectives - from the top, left, and front - our comprehension of sound may be augmented by data regarding frequency response, impulse response, cumulative spectral decay and so forth. Once we understand what each measurement means, we immediately have an idea of what to expect from a particular product, and an objective standard of comparison to boot.
The oft-brought up argument against this paradigm goes that 'the data don't matter; it's what you hear'. When I first founded Golden Ears, I too doubted how much relevance the measurements had to the perceived sound - but in reviewing about 200 products to date (August 2011), there hasn't been a single exception to the rule that a unit that measures great also sounds great.
This is not to suggest that data are infallible - they have their own blindspots that need to be taken with a grain of salt. For instance, the THD(Total Harmonic Distortion) is, strictly speaking in the hi-fi sense, a corruption of the original signal and thus a blemish preferably eliminated, but the numbers do not always match what we hear (tube amps). This is because the measurement of the THD does not take the Masking Effect (where smaller sounds are 'masked' by their larger counterparts) into consideration - this is one of the many places where further research could lead to improved methodology. (c.f. Earl Geddes & Lidia Lee's work on Sound Quality Perception)
'Does 'listening' to music belong to art? Or does it belong to science?'
While each of us might have slightly different answers, it's pretty safe to assume that most would say that listening to music is closer to art. Now, if we were asked a slightly different question,
'Does 'creating' music belong to art? Or does it belong to science?'
It would also be likely that most of us, again, would agree that creation of music belongs to art. But if we were to tweak the question again to read,
'Does 'reproducing' recorded music belong to art? Or does it belong to science?'
We would suddenly have quite a bit of discord, unlike as in the previous questions - the right answer to this question is, in fact, the key to constructive discussions of audio products.
Though everyone is entitled to their own opinions, the Golden Ears' answer to this riddle is that 'reproducing' recorded music belongs to the domain of science.
Perhaps it is because the acts of 'listening', which belongs to art, and 'reproducing', which belongs to science, are simultaneous that we are tempted into thinking that reproduction of music is art as well - but it is important to note that while the listener is engaging in art, equipments that are reproducing prerecorded music should not be doing the same.
If an equipment introduces new signals to a completed track (Figure 1), the listener is presented with something entirely different from the intent of the original creator. Thus, the equipment ought to play back precisely what is on the record, and an equipment that meets such a criteria is said to be 'faithful' to the original recording, from which the term High-Fidelity, and the abbreviation 'Hi-Fi' derives.
In art, modifying what exists or creating something new is 'creative' and recommended; but in science, this creativity is called 'distortion', and is frowned upon. And it is when we approach audio with the misguided mindset that 'reproduction' is art that we get a product like '24k gold SATA interconnect' or 'magic audiophile stones' that we see when we google 'audiophiles are retarded'.
Again, reproduction belongs to the domain of science.
Because reproducing music is science that strives to preserve the original recording, the manufacturers ought to develop their products scientifically, and a review site such as Golden Ears also has a duty to evaluate products under this same paradigm of 'faithfulness to the original recording'.
For the manufacturer, the scientific approach not only leads them towards developing a flat response expected of a Hi-Fi device, but also allows them to introduce purposeful distortions according to preference, and for the reviewer, it leads to credibility as a uni-form standard ensures fairness and by extension consensus.
This, however, does not preclude or prescribe a personal preference in listening, which belongs to art. For instance, I have a preference for flat response from loudspeakers (distinguished from a flat response from earphones), but Basshead Bob might like something warmer and heavier on the lower end, while Delicate Daisy might prefer some brassy sparkle in the treble. And such preferences ought to be respected.
To find out where your own preferences are, you could look up your current setup in the GE database (mainly the frequency response), and if you think that it lacks bass, then another product with a higher line at the bass end of the graph might suit your preference, and vice versa. Or, you could simply look at the graph of a product that you liked - this represents your preference.
But it is important to remember that personal preferences can change over time, and that nobody has such a thing as 'one-size-fits-all' preference that happens to be every-one's cup of tea. Thus, from the Golden Ears' perspective, we can only recommend products that are towards flat response that most people will find closer to their personal preference and acceptable if not fantastic.
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تعرف الان على افضل الخدمات التى تقدمة الشركة الان فى الممكلة العربي السعودية التى لا احد يقدمة الان حيث اننا نعمل على تقدم افضل شركة تنظيف شقق بمكة التى تقوم بتنظيف الشقق فى اقل وقت ممكن مع افضل المتخصصون الان وبالق التكاليف والخدمات العالمية التى لا احد يقوم بتقدمة الان وباقل الاسار والعروض المختلفة حيث اننا نعمل على تقدم العديد من الخصومات الرائعة الان فى السودية التى لا مثيل لها الان وباقل التكاليف الممكن
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It's that time of year when kids are heading back to school and parents are taking their kids to buy new backpacks, shop for sturdy shoes, and get their hair trimmed. And then there's a mother in China who took her quadruplets to get numbers shaved on their heads. A Getty Images photo of the fancy cuts is making the rounds on the Internet and just might go down as the best back-to-school photo ever. Scroll down to find out more about this classic pic.
When Tan Chaoyun enrolled her identical quadruplets in elementary school in south China's Guangdong Province, teachers told the mother that they wouldn't be able to distinguish the 6-year-old boys. Chaoyun understood the problem because her own husband can't tell the boys apart because they're identical except for the shape of their eyelids, according to MSN. Sometimes the father ends up punishing one child for something another brother has done.
Before school started, the mother decided to take the boys to the barber shop and have the numbers 1, 2, 3 and 4 shaved on their heads to make it easier for teachers and classmates to tell the quadruplets apart.
When the boys went to their first day of class on September 3, the teachers were please, and Chaoyn told Chinese Now that everyone "marveled" at the boys' hair.
Check out SFGate's gallery of back-to-school photos and please add to our collection by uploading photos of your smiling students.

subset: commoncrawl


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|Computer Basics/E-book Tutor Session
Event Type: Adult
Age Group(s): Adult
Date: 12/14/2018
Start Time: 2:00 PM
End Time: 2:45 PM
Don't know where to get started with computers, the Internet, or downloading library e-books? Register below to get one-on-one help.Main Library
Location: Tutor Study Room
Registration Ends: 12/13/2018 at 12:00 AM
Contact: Kyle Samudio
Contact Number: (714) 738-3361
Status: We're sorry. This event is currently full.


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In such moments we experience a sense of translucence such that that which we see, feel, sense, hear, or touch no longer feels separate from us but is experienced as a part of our own totality. When our hand resting over the heart of the beloved merges and becomes one with his or her body, when we become the same midnight sky that fills us with awe, we remember, however briefly, our place in the scheme of things. These brief flickers of remembrance imbue our vision with freshness and innocence so that we can see things as they truly are.
Because these moments of lucidity are so blissful, we wish that they may become
the base state of our lives rather than the brief and oftentimes tenuous
experience to which such happiness is usually assigned. These moments of clarity
have nothing to do with the caricatures of happiness presented to us through the
media or popular culture. These moments have always been there. The beloved's
heartbeat and the sky have always been there. These moments are simply awaiting
our arrival.
Yoga is a technology for arriving in this present
moment. It is a means of waking up from our spiritual amnesia, so that we can
remember all that we already know. It is a way of remembering our true
nature, which is essentially joyful and peaceful. Developed as a pragmatic
science by ancient seers centuries ago, yoga is a
practice that any person, regardless of age, sex, race, or
religious belief, can use to realize her full potential. It is a means of
staying in intimate communication with the formative core matrix of yourself and
those forces that serve to bind all living beings together. As you establish and
sustain this intimate connection, this state of equanimity becomes the core of
your experience rather than the rare exception.
Through observing nature and through intense
self-observation and inquiry, the ancient yogis were able to codify the
conditions that must be present for realizing our intrinsic wholeness. Although
such realization can occur spontaneously, more often than not it is the result
of a sustained commitment to practice over a lifetime. This is not to imply that
yoga is a goal which we strive toward, or that there is some kind of
chronological progression toward "self-improvement." Rather, it is the
recognition that each individual can achieve understanding only through his own
exploration and discovery, and that all of life is a continual process of
refinement which allows us to see more clearly. When we clean the windshield of
our car, we suddenly see the road ahead as bright and defined. The road, the
image before us, is exactly as it was before we cleaned the window. The trees
are the same green, the sky the same vivid blue, and the markers just as
defined, only now we see what is there. We start to be able to see the potholes
in the road ahead and to avoid them. We start to remember such dangerous roads
and steer our way clear to safer routes in the future.
In the same way, yoga is
not about self-improvement or making ourselves better. It is a process of
deconstructing all the barriers we may have erected that prevent us from having
an authentic connection with ourselves and with the world. This tenet is an
extremely important one because the effort to change and improve ourselves is
fraught with the risk of subtle self-aggression that only produces more
unhappiness. We cannot strive toward something that we already are.
Nonetheless, there is work to be done. And this work is not about following a formula, or strictly adhering to rules, because yoga is not a paint-by-numbers affair. Nor does yoga require blind faith in an outside authority or dogma. Nor is it a religion, although the practice of its central precepts inevitably draws each individual to the direct experience of those truths on which religion rests. Rather, yoga is a way of living and being that makes real happiness possible. Yoga is also a science that incorporates a broad range of practices and techniques that can be tailored and adapted, to best suit your personal constitution and personality. We are not asked to believe anything until we have experimented, tested, and found our direct experience to be sound.
The great paradox of this "work" is that there is no reward to strive toward, because the practice is the reward. In the very moment you focus your attention by coming back into your body, your breath, and your immediate sensate reality, you will experience a deep sense of vibrant
stillness. This feeling is so pleasurable, so joyful and revitalizing that you will be drawn toward lifestyle choices that nourish your
well-being. This work is not about forcing yourself to give up anything, because that which is no longer nourishing to you will gradually drop away effortlessly. There is no waiting and no delayed gratification because yoga is both the means and the result, and the seed of all that is possible is present at the very beginning. This experience of stillness is possible in the first ten minutes of your first yoga class. It is possible in this very breath. Sadly, if we approach and practice yoga with the same cultural dictum of striving and effort, force and self-coercion that we may have applied to other aspects of our lives, we may practice diligently for decades while never allowing our self to appreciate the simple truth of its own wholeness.
Although there are many branches to the tree of yoga, from devotional methods to more intellectual approaches, from schools that
emphasize service toward others to those that focus on physical purification,
Patanja Sutras, clearly defines an eight-limbed path (ashtanga) that
forms the structural framework for whatever emphasis upon which an individual
wishes to concentrate. The Yoga Sutras, or "threads," consist of four books
produced sometime in the third century before Christ. Such was the clarity of
Patanjali's vision of wholeness that he consolidated the entirety of yoga
philosophy in a series of 196 lucid aphorisms. Each thread of the Yoga Sutras is
revealed as a part of a woven fabric, with
each aphorism merely a mark or color within the whole
pattern. The threads, however, begin to make sense only through a direct
experience of their meaning. This is not a linear process but rather an organic
one in which colors and markings gradually become more clear until a pattern
forms. And this pattern that Patanjali weaves for us is a description of the
process of unbinding our limited ideas about ourselves and becoming free.
The eight limbs of yoga are traditionally
presented as a hierarchical progression, but this linear progression toward an
idealized goal tends only to reinforce the dualistic idea that yoga is something
to "get." It may be more helpful to imagine the eight limbs as the arms and legs
of a body--connected to one another through the central body of yoga just as a
child's limbs grow in proportion to one another, whatever limb of practice we
focus upon inevitably causes the other limbs to grow as well. People who begin
yoga through the limb of meditation are often later
drawn to practice more physical postures. Those who are drawn to vigorous physical practice later find themselves being drawn into the quieter, more meditative practices just as each limb is essential for the optimal functioning of your body, every limb of yoga practice is important. Growth in practice happens naturally when a person is sincere in her wish to grow.
The eight limbs emanating from a central core
consist of the following:
Yamas and Niyamas: Ten ethical precepts that allow us to be at peace with ourselves, our family, and our community.
Dynarmic internal dances in the form of postures. These help to keep the body strong, flexible, and relaxed. Their practice strengthens the nervous system and refines our process of inner perception.
Roughly defined as breathing practices, and more
specifically defined as practices that help us to develop constancy in the
movement of prana, or life force.
The drawing of one's attention
toward silence rather than toward things.
Focusing attention and
cultivating inner perceptual awareness.
Sustaining awareness under all
The return of the mind into
original silence.
The greater part of this book on yoga will focus
on the most down-to-earth practices--the asanas and the practices of
breathing and meditation. These form an embodied approach to spiritual practice,
where we use the body and all our sensual capacities in the service of
regeneration and transformation. This is contrasted to many approaches in which
the body is seen as an obstacle that must be transcended. Let us first look at
the core principles for living, the yamas and niyamas
that form the central vein from which all other yoga
practices spring.
The Ten Living Principles
The first limb, or the yamas, consists of
characteristics observed and codified by wise people since the beginning of time
as being central to any life lived in freedom.
They are mostly concerned with how we use our energy in
relationship to others and in a subtler sense,
our relationship to ourselves. The sages recognized that stealing from your
neighbor was likely to promote discord, lying to your wife would cause
suffering, and violence begets more violence; the results are hardly conducive
to living a peaceful life. The second limb, the niyamas, constitutes a
code for living in a way that fosters the soulfulness of the individual and has
to do with the choices we make. The yamas and niyamas are emphatic
descriptions of what we are when we are connected to our source. Rather
than a list of dos and don'ts, they tell us that our
fundamental nature is compassionate, generous, honest, and,
In the West we are taught from an early age that
what we do and what we own sole components for
measuring whether we are "successful." We measure
our success and that of others through this limited vantage
point, judging and dismissing anything that falls outside these narrow
parameters. What yoga teaches us is that who we are and how we are
constitute the ultimate proof of a life lived in freedom. If you do not truly
believe this, it is likely that you will measure success in
your yoga practice through the achievement of external
forms. This tendency has produced a whole subculture of yoga in the West that is
nothing more than sophisticated calisthenics, with those who can bend the
farthest or do the most extraordinary yoga postures being deemed masters.
Because it's easy to measure physical prowess, we may compare ourselves to
others who are more flexible, or more "advanced" in their yoga postures, getting
trapped in the belief that the forms of the practice are the goal. These outward
feats do not necessarily constitute any evidence of a balanced practice or a
balanced life. What these first central precepts the yamas and niyamas
ask us to remember is that the techniques and forms are not goals in
themselves but vehicles for getting to the essence of who we are.
One of our greatest challenges as Westerners
practicing yoga is to learn to perceive progress through "invisible" signs,
signs that are quite often unacknowledged by the culture at large. Are we moving
toward greater kindness, patience, or tolerance toward others? Are we able to
remain calm and centered even when others around us become agitated and angry?
How we speak, how we treat others, and how we
live are more subjective qualities and attributes we need to learn to recognize
in ourselves as a testament to our own progress and as gauges of authenticity in
our potential teachers. When we remain committed to our most deeply held values
we can begin to discern the difference between the appearance of
achievement and the true experience of transformation, and thereby free
ourselves to pursue those things of real value.


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How many quilts are too many to show during Show and Tell at guild meetings? I know there aren't rules or anything, but I have four ready, and I KNOW that is hogging the time, but is three too many? Three of my quilts are ready for charity and I hadn't intended to show them, but they ended up looking quite good. The fourth I know I want to show.
I didn't know we were having Show and Tell at our last meeting or I would have shown two of these already. The other two I have made since then.
So, how many quilts is too many? Should I select just two of these to share??
What do you think?


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29 U.S. Code § 2898 - Special provisions
prev | next
(a) Enrollment
The Secretary shall ensure that women and men have an equal opportunity to participate in the Job Corps program, consistent with section 2885 of this title.
(b) Studies, evaluations, proposals, and data
The Secretary shall assure that all studies, evaluations, proposals, and data produced or developed with Federal funds in the course of carrying out the Job Corps program shall become the property of the United States.
(c) Transfer of property
(1) In general
Notwithstanding title II of the Federal Property and Administrative Services Act of 1949 [1] and any other provision of law, the Secretary and the Secretary of Education shall receive priority by the Secretary of Defense for the direct transfer, on a nonreimbursable basis, of the property described in paragraph (2) for use in carrying out programs under this Act or under any other Act.
(d) Gross receipts
Transactions conducted by a private for-profit or nonprofit entity that is an operator or service provider for a Job Corps center shall not be considered to be generating gross receipts. Such an operator or service provider shall not be liable, directly or indirectly, to any State or subdivision of a State (nor to any person acting on behalf of such a State or subdivision) for any gross receipts taxes, business privilege taxes measured by gross receipts, or any similar taxes imposed on, or measured by, gross receipts in connection with any payments made to or by such entity for operating or providing services to a Job Corps center. Such an operator or service provider shall not be liable to any State or subdivision of a State to collect or pay any sales, excise, use, or similar tax imposed on the sale to or use by such operator or service provider of any property, service, or other item in connection with the operation of or provision of services to a Job Corps center.
(e) Management fee
The Secretary shall provide each operator and (in an appropriate case, as determined by the Secretary) service provider with an equitable and negotiated management fee of not less than 1 percent of the amount of the funding provided under the appropriate agreement specified in section 2887 of this title.
(f) Donations
The Secretary may accept on behalf of the Job Corps or individual Job Corps centers charitable donations of cash or other assistance, including equipment and materials, if such donations are available for appropriate use for the purposes set forth in this subchapter.
(g) Sale of property
Notwithstanding any other provision of law, if the Administrator of General Services sells a Job Corps center facility, the Administrator shall transfer the proceeds from the sale to the Secretary, who shall use the proceeds to carry out the Job Corps program.
[1] See References in Text note below.
Source(Pub. L. 105–220, title I, § 158,Aug. 7, 1998, 112 Stat. 1016.)
References in Text
The Federal Property and Administrative Services Act of 1949, referred to in subsec. (c)(1), is act June 30, 1949, ch. 288, 63 Stat. 377, as amended. Title II of the Act, which was classified principally to subchapter II (§§ 481, 483, 484, 485, 486, 487 to 490, 491, 492) of chapter 10 and section 758 of former Title 40, Public Buildings, Property, and Works, was repealed by Pub. L. 107–217, § 6(b),Aug. 21, 2002, 116 Stat. 1304, the first section of which enacted Title 40, Public Buildings, Property, and Works. For disposition of sections of former Title 40 to revised Title 40, see Table preceding section 101 of Title 40. For complete classification of this Act to the Code, see Tables.
Prior Provisions
Provisions similar to this section were contained in sections 1707 and 1709 of this title prior to repeal by Pub. L. 105–220.
LII has no control over and does not endorse any external Internet site that contains links to or references LII.


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BRIDEGEWATER, Va. – The York College women's softball team started the Fastpitch Dreams Spring Classic on Monday. The Spartans were able to rebound from an 8-1 loss to Ferrum to grab a 12-3 win against Gwynedd Mercy in their second game of the day.
The Spartans opened the tournament against Ferrum. Jennifer Taff (Germantown, Md. / Clarksburg) got the start on the mound for the Spartans. In the bottom of the first, the Spartans were able to put together an early offensive spurt. Sara Thacker (Ijamsville, Md. / Urbana) was able to draw a walk to put herself on first. Carleigh Ruleman (Owings, Md. / Northern) came up to bat and quickly doubled to center to send Thacker flying into home for the RBI. The Spartans were able to tie up the score at 1 in the bottom of the first.
Ferrum was able to put together five runs in the next three innings with two triples pushing their lead to five with a 6-1 lead. In the fifth and sixth Taff was able to knock down six straight batters to stop the onslaught before Ferrum was able to tack on two more in the top of the seventh.
Taff was able to go for all seven innings and grabbed four strikeouts. The Spartans were limited to only three hits by Ferrum's Aiyana Lew. Ruleman had the offensive highlights for the Spartans with a double and RBI on the day.
In the second game of the day, the Spartan bats surprised the Gwynedd Mercy defense. Morgan Levine (Oakland, N.J. / Indian Hills) was able to get two strikeouts in the first three batters she faced and set the Spartans for a strong day. In the top of the second, the Spartan bats arrived with a Lauren Lum (Rancho Santa Margarita, Calif. / Trabuco Hills) double, Alyssa Molino (Montgomery, Pa. / Montgomery) single, and a Katie Maloney (Aston, Pa. / Sun Valley) triple with two RBIs. Ashley Chenoweth (Fredericksburg, Va. / Stafford) was able to send Maloney home with a single following the Maloney triple. The Griffins were able to put together two unearned runs off errors.
The Spartans responded in the top of the third with a seven run onslaught. Natalie Fritz (Fayetteville, Pa. / Chambersburg) was the first Spartan to cross the plate off a Mackenzie Ewell (Hamilton, N.J. / Steinert) single. Ewell and Molino were the next to score off a Maloney double. Maloney scored after a Chenoweth hit forced a Griffin error. Thacker hit the second extra base hit of the inning with a triple to send Chenoweth home. Ruleman came up the with a hit to the right field that caused an error to put Thacker home. Fritz bookended the Spartan scoring, with a dagger of a double to get the RBI with a Ruleman score. The Spartans ended the inning with a 10-2 lead.
The Griffins put together one run in the bottom of the fourth, but had no other scoring chance. In the top of the sixth, the Spartan bats awoke again with a two run performance. Maloney got her third extra base hit of the day with a double that scored Mendez and Molino. The insurance runs were able to give York the nine run lead to cut the game after a scoreless bottom of the sixth.
On the mound, the Levine had five strikeouts against the 27 batters she faced. The Spartans were able to get 15 hits off of the Griffin's Ashley Lamont (0-2). Katie Maloney had six RBIs on the day with two doubles and a triple on the day. Lum, Fritz, and Thacker all added extra base hits for the six Spartan extra base hits.
The Spartans return to action on March 5th at Fastpitch Dreams Spring Classic for another double header starting at 1pm.


text: At the June meeting of the Ocean Pines Garden Club, the club awarded its first scholarship. The recipient was Megan Lawton, a recent Stephen Decatur High School graduate. Pictured with Lawton is Sonny Lee, left, scholarship chairperson, and Darlene Musitano, club president, and Megan. A luncheon was held to celebrate the event.


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Rom Harre is Emeritus Professor of Philosophy at Linacre College, Oxford, and Adjunct Professor of Philosophy at Georgetown University, Washington, DC. In his book, Pavlov's Dogs and Schrodinger's Cat: Scenes from the Living Laboratory, we get an enlightening look at the use of plants and animals–including humans–in scientific experiments. In the excerpt below we see how dogs were essential to figuring out heart transplants.
By coincidence, two men, one living in the seventeenth century and one in the twentieth, who both used dogs as models and whose work led to major breakthroughs in medicine bore the same name. The first Richard Lower used dogs to perfect blood transfusion techniques, while the second Richard Lower used the same species of animals to perfect heart transplantation methods.
History, as presented in the media and so in popular belief, credits the beginning of heart transplantation techniques to Christiaan Barnard. Digging a little deeper we come across the most successful practitioner of this art, Norman Shumway. However, using dogs as experimental apparatus – as pilot plants- to perfect the surgical techniques required to carry out transplant operations on human beings. Christiaan Barnard did forty-eight trial transplants with dogs before he undertook such an operation with a human being. He acknowledges that what he uses 'was a technique built on that developed by Shumway and Lower, who had experimented on more than 300 dogs… With their findings joined to mind there was little point in continuing to further sacrifice of animals.'
Richard Lower studied at the Medical School at Cornell but moved for his residency period to the University of Washington in the northwest of the United States. One autobiographic snippet suggests that the American northwest suited his love of the outdoors. Finding things not to his liking there he moved south to Stanford were he could qualify more quickly. Working in very primitive conditions in the training section of the hospital he eventually met up with Norman Shumway and forged a remarkable partnership with him.
Norman Shumway (1923-2006) studied medicine at Vanderbilt University, moving on to a doctorate at the University of Minnesota in 1956. He was appointed as a surgery instructor at Stanford University in 1958, where he remained for the rest of his career. He seems to have been a somewhat paradoxical character. Reticent and wary of publicity, yet he was famous for his witty and jocular conversation, particularly during the course of long and demanding surgical procedures. The persistence with which he pursued his goal of successful himan heart transplantation suggests a dogged streak.
Lower began his experimental programme as an assistant to Shumway working on the techniques for open heart surgery, including the possibility of cooling a living heart so as to stop its beating. Under this condition surgical repair would be greatly facilitated. The heart could then be warmed up and restarted with a fibrillator. Perhaps the heart could be removed completely from the patient's body for delicate surgical work and replaced when the repair was done. This is the procedure known as 'auto-transplantation'.
Dogs were already in regular use at Stanford University Medical School for training surgeons. …Lower and Shumway continued their use of dogs as experimental apparatus, pilot plants for the ultimate transfer of the techniques to the human case. Despite his skill in surgery Lower was unable to achieve successful autotransplantation. The reason was simple. To remove the heart from the dog the aorta and pulmonary vessels had to be cut in such a way that there was sufficient length on each side of the incision for sewing the heart back in. Lower simply could not manage to retain enough of the vessels on either side of the severing cut to meet this essential condition. However, it then ocurred to him that in implanting a 'homologous heart' – one from another dog – the problem could be overcome. By cutting the aorta of the first dog close to the heart a substantial section of the aorta remained in the cavity of the chest. By cutting the aorta of the donor dog to leave a substantial length from the heart, enough 'tubing' was left to make successful suturing possible. The same held for other cardiac blood vessels. This technique proved to be entirely successful. The first operation transplanting a heart from one dog to another was carried out in 1959.
The results of the project were reported in the Surgical Forum of 1960. In the discussion section of the paper the authors report that the dogs died within a few days and at best survived for as much as three weeks. The cause of death was found to be adverse immunological reactions rather than heart failure. 'If the immunological mechanisms of the host were prevented from destroying the graft, in all likelihood it would continue to function adequately for the normal life span of the animal.' Lower carried out other experiments, include a bizarre xenotransplant, inserting a human heart into a chimpanzee. A newspaper report described the result euphemistically: 'the heart functioned until Lower euthanized the chimp and terminated the experiment.'
Lower eventually moved to Richmond, Virginia, where among his visitors was a South African surgeon, Christiaan Barnard. Barnard also visited Shumway whom he had know previously at the University of Minnesota. Back in Stanford it was not until 1967 that Shumway was ready to go ahead with confidence to a programme of human transplantations. During the preceding eight years he had continued his use of the bodies of living dogs as the essential apparatus for his transplantation experiments. It was a great surprise to him to learn that on December 23 his old acquaintance and recent visitor, Christiaan Barnard, had carried out a successful human heart transplantation operation on Louis Washkansky. The use of the necessary immunosupprressing drugs left often the possibility of fatal infection. Washkansky contracted pneumonia and died after only 18 days. After a few more operations Barnard abandoned his programme because the immunosuppresing drugs available at that time for preventing the rejection of the transplant also left the patient vulnerable to common and simple infections…
Shumway began his own programme of transplantations on 6 January 1968. While his patients survived the operation for increasing lengths of time, and given immunosuppressing drugs, continued on the path to recovery, the life expectancy of the recipients of healthy hearts was subject to the danger of infections with which the damped immune system could not cope… All this changed when a new drug, 'cyclosporine', was introduced. While suppressing the body's efforts to expel the alien heart tissue it allowed resistance to common infections to remain robust.


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"The book of the season has got to be
Decca: The Letters of Jessica Mitford,
edited by Peter Y. Sussman"
Available in British paperback as well as U.S. and U.K. hardbacks
DECCA: The Letters of Jessica Mitford
Edited by Peter Y. Sussman
Peter Y. Sussman spent most of his career as an editor at the San Francisco Chronicle. He remains a vocal advocate on issues of journalism ethics, diversity and freedom of information, especially news media access to prisoners, and he was a co-author in 1996 of the Society of Professional Journalists' Code of Ethics.
He is also the co-author, with prison writer Dannie M. Martin, of Committing Journalism: The Prison Writings of Red Hog. He has written many booklets, book chapters and freelance articles, and since leaving the Chronicle he has taught and lectured as well.


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Zohar wrote:I asked in the help desk but didn't get a reply, I figured I'd ask here.
I'm trying to make a "map" or my friends. I want to see my friends and how I know them (for example, I'll have me in the middle of the map, a friend connected to me with a "friend" line, then his cousin connected to him with a "family member" line. I think the most "distant" person I know that way is a friend's cousin's friend's friend's friend's ex-girlfriend). I'd like to include family members in it etc.
So, anyone have any idea what I should use for it? I suppose a graph theory software would work, but I don't know any and didn't have much luck finding something suitable online. Do you know of a freeware program that can work? I don't have any programming knowledge at all, if that means anything.
The standard open source graph rendering software is Graphviz. I dunno how easy it is to use, and maybe Dia is enough for you.
antonfire wrote:I'm looking for software that'd allow me to make mathematical diagrams quickly, without too much effort. I don't like to have to aim exactly at a circle after I've drawn it to get a radius, and I like to be able to adjust things after I'm done.
I used Pro/ENGINEER for an engineering class last semester, and its sketching function was pretty excellent. If my mouse was near a curve, it would assume that I wanted a point on the curve. If a line was nearly vertical, it would assume that I wanted it vertical. If two lines were about the same length, it would assume that they were supposed to be the same length. (Of course, all of these constraints could be disabled.) I could adjust dimensions and things after drawing them, by dragging things around or by entering numerical values, and the constraints that we had before (vertical lines, point on a curve) would stay satisfied. Basically, I really liked the design of it.
Of course, it was part of a 3D engineering modelling thing that I don't need and can't possibly afford for my own computer.
Now I'm looking for a (free?) program that would do some of the same nice stuff that Pro/ENGINEER Sketcher does, and I haven't been able to find anything yet.
I created a diagram using Kig and then cleaning up the svg output with Inkscape. The greek theta is an imported svg file from Wikimedia Commons.


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text:
Boy slave 'crucified' by Sudanese Muslim
Now a youth, he tells Voice of the Martyrs he's forgiven attacker
Boy who was 'crucified' by Muslim
A Sudanese slave who was assigned to watch his Muslim master's camels was "crucified" when he was caught sneaking out to attend a Christian church, according to reports from Voice of the Martyrs.
The aid organization that helps persecuted Christians worldwide said the reports come from witnesses in the Sudan who were in contact with the youth, now about 15.
Damare Garang was seven when the attack happened, officials said. He had been captured by Islamic soldiers when his Sudanese village was attacked, and then sold as a slave to a Muslim family in Tuobon, Bahr el Gazel.
His duties were to tend the master's camels, but one day one fled.
"How could you do this? You will surely have to pay! You stupid slave, I should just kill you now," he was told.
However, the child escaped any injuries at that point.
Then the following day Damare, who had been raised in a Christian family, sneaked away for a time to a small church service across the village.
His master was waiting when he returned.
"Where have you been?" he was asked, and partly from fear and partly from not having another answer, he said, "to church."
"You have made two grave mistakes," the slave master said. "Yesterday you lost one of my camels, and today you worship with infidels!"
The master went to a barn and returned with a large board, some rusty spikes and a hammer, the report said.
"Frozen in fear, Damare was dragged out to the edge of his master's compound where he was forced to the ground with his legs over the board," the VOM report said. "The savage brutality of the master was unleashed as he proceeded to drive the long nails through Damare's knees and then nail his feet securely onto the board."
While Damare was screaming in agony, the slave master simply walked away.
The boy's help arrived in the form of a Good Samaritan who happened by, and saw the small boy. The man sneaked into the compound and carried the boy to a hospital where the board and nails were removed.
Damare later was released to the custody of his helper, with whom he lived for the next 18 months.
Once again, then, there was a militia attack on his village, and he was separated from his protector. When the Islamic army soldiers were driven off, a commander of village forces recognized Damare's speech as being of the Dinka tribe, and took charge of him.
That commander eventually adopted Damare, who now lives in Mario Kong.
He remains disappointed he is unable to run quickly like other boys, but he says he's forgiven his attacker, because Jesus was nailed to a cross to forgive all sins.
"Before leaving, we gave Damare a care package with mosquito netting, soap, new clothing, shoes, a hat, a new Bible, a soccer ball, and a fishing line and hooks," said the VOM report by Tom Zurowski.
"Please tell the Christian children in America to remember to pray for the children of Sudan," Damare told his visitors.
Previous stories:


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Achieve with us.®
Home ... Who We Are ... Media Center ... Peter V. Berns Bio
Peter V. Berns is a nationally recognized nonprofit sector leader and public interest lawyer. He is the Chief Executive Officer of The Arc, the world's largest community-based organization of and for people with intellectual and developmental disabilities.
Berns has been at the helm of The Arc since July, 2008. Under his leadership, the organization has charted an ambitious course of progress, innovation and change with the development of a Strategic Framework for the Future of The Arc.
As the leading provider of vital services and support for families and individuals, The Arc promotes and protects the human rights of people with intellectual and developmental disabilities and actively supports their full inclusion and participation in the community throughout their lifetimes. The Arc works daily on behalf of the more than 7 million people with intellectual and developmental disabilities in the United States, including about 1 million individuals and family members who are directly served by state and local chapters across the nation.
Before joining The Arc, Berns was the Executive Director of the Maryland Association of Nonprofit Organizations, a post he held for 16 years. In that capacity, he built the Association from a start-up to a position of prominence in the nonprofit community, nationally, with nearly 2,000 members of all sizes, all sectors and from all regions of the state. In addition, he served as Chief Executive Officer of the Standards for Excellence Institute since its inception in 2004.
Berns came to The Arc with a track record of success in the areas of nonprofit management, governmental relations and advocacy. As a public policy advocate, he was critical to reforming state and federal Medicaid regulations improving life for persons with disabilities and their families. He was named to the Nonprofit Times Power and Influence Top 50 list in 2000, 2002, 2003, 2004 and 2005, and again in 2015.
His previously held positions include Deputy Chief of Consumer Protection in the Maryland Attorney General's Office as well as Assistant Attorney General and, earlier in his career, Staff Attorney/Fellow at the Institute for Public Representation at the Georgetown University Law Center.
In May 2011, President Barack Obama appointed Berns to the President's Committee for People with Intellectual Disabilities, which will provide advice and assistance to President Obama and the Secretary of Health and Human Services on a broad range of topics that impact people with intellectual and developmental disabilities and their families.
Berns received his JD, cum laude, from Harvard Law School and he has an LLM in advocacy from Georgetown University Law Center. He received his BA in psychology, magna cum laude, from the University of Pennsylvania.
He and his wife, Melissa Zieve, reside in Baltimore, MD with their four children.
The Arc, 1825 K Street, NW, Suite 1200, Washington, DC 20006(800) 433-5255, ©2018 All rights reserved.
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I've encountered more than one friend opposed in principle to, say, working for government contractors doing defense contracts. The idea being, that by supporting the military-industrial complex in any way means supporting killing people and unjust wars. Not too long ago, GPU, a distributed client for the GNUtella P2P network, put a clause in their modified GPL intended by the founders to specifically prohibit military use. There are various problems with this specifically, which I'll return to later.
There is certainly an argument to be made that war and human aggression is a self-perpetuating machine. Or that there are powerful entities who stand to gain from war (such as the military-industrial complex in the United States), and by nature, these organizations are interested in revenue and growth rather than the best interests of their country, or the welfare of their fellow man.
The two most often-cited examples of the effectiveness of nonviolent protest are Gandhi in India's Independence Movement, and Martin Luther King Jr. in the Civil Rights movement. Given their results and extraordinary methods, I'd say most people agree that they were visionary leaders, and used nonviolent tactics to achieve their goals. However, it is disingenuous to use this as a justification for across-the-board pacifism, since these two movements cover a small fraction of possible political and military situations. In both of these instances, the groups involved were aiming to affect the domestic policy of a government that was unwilling to use lethal force, and to sway public opinion to put further political pressure on those in power. These tactics would not have worked, say, against Nazi Germany.
The other group of people I seem to encounter are of the belief that since they don't agree with or approve of the things our armed forces and intelligence services are currently being ordered to do by the Bush administration, to work for anything related to the defense industry is to give tacit approval to the shift towards totalitarianism that has been in the neoconservative agenda.
I couldn't disagree more. The executive branch ordering NSA wiretaps without obtaining warrants is a frightening step in the direction of unchecked government surveillance. However, to say that this proves we don't need an NSA, or that the NSA does not do worthwhile work is naive. Keeping the politicians honest is not the NSA's job, or the armed forces' job, it's our job as involved citizens. To approve or disapprove of a given war is understandable; to pretend that there never be a justifiable military action in our country's future is shortsighted at best. Furthermore, if intelligent and concerned Americans don't go into these fields, how will things ever improve? Richard Clarke called for young, fresh minds to go into government, because otherwise things will stagnate, and the old ways will persist as the world changes, leaving us behind. Don't we need more people who have the country's best interests at heart, as well as a sense of how important civil liberties are to maintaining a true democracy? A lot of the objectors I refer to in this post are liberal. I think the best way to make the case that "big government" can work is to roll up your sleeves and make it better yourself. I'm honestly very curious to hear any opposing viewpoints on this matter.
Digression: But back to the software with the "no military use" clause, which is really written in such a way to be a self-righteous political badge rather than an actual guideline for use. The problem with this is that the GPL itself prohibits an author from specifying precise conditions under which the software may be used and distributed, assuming the basic open source requirement of the GPL is met. In this way, the GPL is "pure," in that it simply ensures self-perpetuation of code for the benefit of the community. It doesn't matter if you're a for-profit business, left-wing, right-wing, black or white, what matters is that if you play by the GPL's rules, you have to share any work you want to distribute as your own, and everyone wins. An increasing number of programmers are losing sight of the community-based, nonpolitical goals of the GPL and trying to apply their own beliefs and biases and prejudices to software, and getting angry when things don't go their way. You can't donate a book to the library, and then prescribe conditions regarding who may or may not be allowed to borrow it. Perhaps the analogy is simplistic, but open source software is a public good, all the same.


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Stage & Dance
Wanted: arts events for the 2013-14 season
Hey, area arts groups: Summer has not even officially arrived, but we're already thinking about fall, when we'll publish our special preview to the 2013-14 arts season.
Concerts, plays, visual art and museum exhibits, musicals, comedy acts, dance events, ballets, operas and more in Kentucky and the Cincinnati area will be included in the annual performing-arts calendar, to be published in September in the Herald-Leader and at LexGo.com. The calendar is designed to be kept by our readers for their use through late spring.
To make sure your performance company, organization or college's activities or productions are part of our guide, go to our online calendar, get registered (it's free) and submit your events. (But first, search the calendar to make sure your events aren't already listed, because many are.)
If the Internet is not your thing, you can submit your season listings (with complete information, including times, dates, places, ticket prices and contact info) by email to email@example.com.
Questions? Call Harriett Hendren at (859) 231-3324 or 1-800-950-6397, Ext. 3324, or email firstname.lastname@example.com.
The deadline for submission is noon Aug. 1.


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Race and Gender on Orange Is the New Black
Willa Paskin and Zerlina Maxwell talk Season 2.
As a member of Slate Plus, you'll get access to exclusive podcasts—including our newly launched series about Season 2 of Orange Is the New Black. Over the next couple of weeks, Slate television critic Willa Paskin will be talking with experts to explore the show's second season through the lens of economics, race, LGBTQ issues, and more!
In Conversation No. 3, Willa chats with political analyst and writer Zerlina Maxwell about challenging racial and gender stereotypes, talking "black" and performing blackness, and the very real possibility that Lisa Loeb's "Stay" might not have been a hit with the Litchfield inmates. Maxwell has written for many places, including Mic.com and Ebony.
This podcast contains major spoilers, so listen after you watch the Season 2 finale.
Miss out on the first two conversations?
In Conversation No. 1, Willa chats with NPR's Adam Davidson about how prison economies really work, whether Vee is the ultimate capitalist, and if the Litchfield would ever carry name-brand candy bars. Listen here.
In conversation No. 2, Willa chats with love and sex advice columnist Dan Savage about long-distance relationships in prison, the mechanics of lesbian sex, and what advice he would have given to characters on Orange Is the New Black. Listen here.
Here's the transcript of the podcast:
Willa Paskin: Hello and welcome to a Slate Plus podcast about Orange is the New Black. I'm Willa Paskin, Slate's TV critic, and in the last few weeks, I've discussed various aspects of the show with some excellent and learned experts. This week, I'm joined by the excellent Zerlina Maxwell, a political analyst and writer from many places, including Mic.com and Ebony. Hi Zerlina.
Zerlina Maxwell: Hi, hey how are you?
Paskin: Thanks so much for joining me!
Maxwell: Thanks for having me!
Paskin: So we're going to talk about the show and the show's relationship to race in a kind of freewheeling way I hope. And I wanted to start by asking you about a piece that you wrote, Nine ways that Orange is the New Black Shatters Racial and Gender Stereotypes.
The premise of the piece, or my sense, was that you thought that a lot of the sort of un-fleshed out aspects of the show and characters had gotten more developed in season two, and one of your examples I thought was great was Blanca, who in the first season just screams and seems crazy, and then this season has calmed down and says some really insightful things about love.
Maxwell: Right, she's just a normal person!
Paskin: Totally. And it made me think that you liked this season better.
Maxwell: Yeah, yeah. I felt that by the end of season one, I sort of "got" what they were trying to do, cause in the first three episodes when it's very Piper-centric, right? She's going in, in the beginning of season one, I was like, "I don't like this show, I don't like this girl, I don't care, she's a jerk, why is everybody telling me to keep watching?"
Three episodes in, I don't like this show! I don't like it. But I kept going. It became more and more clear, and even more so in season two, that the people who write the show are in on it, right? And the lens in which we're looking in on it and are introduced to Blanca are through Piper's eyes, right? So she's seeing Blanca as sort of this ranting, crazy person. Obviously they help that out by making her hair all crazy, but again, right, you don't know how much Pantene Pro-V is available inside of a prison—
Paskin: Not very much.
Maxwell: Right, so everyone on the show is pretty disheveled, but she was extremely disheveled and ranting, but I think she did that on purpose, Blanca. Sort of like performing crazy, so that people would leave her alone so she could hide and talk to her boyfriend.
Paskin: One of the best things I read about it this season was that someone who had actually been in prison sort of fact-checking it, and it was this amazing piece because it was about how everything in the show was totally wrong, then she reveals she's a Wiccan and she basically convinced everyone to leave her alone by like playing up the fact that she was a Wiccan and they got really freaked out about her. And I was like that sounds like nothing so much as an Orange is the New Black storyline.
Maxwell: I feel like that. I mean, you do whatever you need to do to survive while you're on the inside. I mean, so many different characters have said the same thing in sort of different ways, right? For Blanca, that means "I get to sext my boyfriend from inside prison and if I act a little crazy people will leave me alone and I'm safer to sext in private, then I'm going to do that because it's what makes me happy."
Paskin: What do you think of Piper now?
Maxwell: I started out really, really hating her. I was like UGH, I know this girl. It's also like that too, you feel like you have reference points for her, I feel like I've met people like Piper.
Paskin: Do you mean sort of like self-involved and unaware of that?
Maxwell: Yeah, I mean I live in Brooklyn, and I mean I was the only black person in my school until high school, so I've been "otherized." College was the same way, I went to Tufts [University] and that's not super diverse. So I know so many Pipers, I know so many folks who are well-meaning in some ways.
I mean, she's not a malicious person, but she has blind spots. So it becomes so evident, even to her—and I think that's why I like her more in season two, she's aware of her blind spot. As people of color marginalize people, women, we're just asking that you're like, "You know, I'm aware white privilege exists."
Paskin: Right, you're aware of what you don't know what you benefit from.
Maxwell: And I think that's how Piper has evolved to the point where I can be like, you know, I actually do like her. For example, in season two, one of the plotlines is the furlough. I'm pissed off that she got the furlough, but then again her grandmother is dying, that's a once-in-a-lifetime thing.
Paskin: Also, everyone should get furlough when their grandmother is dying. It's not fair that just she gets furlough.
Maxwell: Right, it was more that the system is unfair, and yes, she is privileged, she was correct in that stupid speech—
Paskin: Did you think that speech was stupid?
Maxwell: Well, the first time I saw it I was like ugh, oh my god they're like preaching to us. But then, the second time I watched it through, I actually thought it was pretty funny. But it was true. She's acknowledging that white privilege exists and that she benefits from it, but you're still mad that she benefits from it.
But at least she's aware of it, because there are so many folks who wanna say, "No no no, that doesn't exist, that's 1955, whatever, get over it." And it's important that people now are like "No, it's unfair and maybe I did get some unearned benefits, that doesn't mean I didn't work hard."
Paskin: I thought that actually the payout of that plotline where Healey's like "Are you kidding, you have to go." And everyone is like "We're all really mad at you but we're going to be more mad at you if you don't go."
Maxwell: And I think Piper is an interesting thing because I think even though she's white, I think that of all the people in the prison, I probably relate to Piper the most, or have the most similarly-lived experience to Piper, even though we're different races, because of our economic privilege.
So I think that in that moment, I can understand her willingness to say, "No, I want to give it back. It's not fair, I want to give it back." But then, like you said, that's insulting because so many people their fathers, and I think Poussey talks about when she didn't get furlough when her father died. And it's an important thing, you can't just give it back.
Paskin: And also giving it back—
Maxwell: For what? Nobody gets to go now.
Paskin: It's such an unfair system that it's not like you can hand it off to someone.
Maxwell: No, nobody's going to get it.
Paskin: It's interesting that speech, and also Crazy Eyes or Susanne's mom's speech at that sleepover, I think the writers—and this doesn't really surprise me—they have a really good handle, or are very cognizant of those moments feel to me like they are timing out in speaking to us.
Maxwell: Oh, no I thought they were talking directly to us at a lot of moments. Black Cindy example is another one where I feel like she was performing blackness, and I know people like that that are in one moment quoting Nietzsche and the next moment being like super black, or whatever "black" means, and that doesn't mean that she's one or the other, which is why this show works, because people are complicated and not just one thing. I mean I talk like Black Cindy sometimes, and I also talk like Piper sometimes. I mean, that's cool because it makes it more believable.
Paskin: And it's another thing knowing how to read the people that you're around.
Maxwell: Exactly.
Paskin: And to be the person—
Maxwell: Well, we code switch, I mean we do that all the time, and I think Black Cindy particularly.
Paskin: Black Cindy, I thought, didn't do so much code switching as she had all this fake energy, she would be the joker. She would make herself silly and over the top and then there was a real person there who was just that was her way of coping.
Maxwell: Right, and do you ever wonder if the people that you see in the real world who are performing stereotypes, or whoever you see on the subway on the way to work, and you're like "Oh, those kids…" or whatever, maybe they're performing too, and maybe they're just real people underneath as well? And most likely they are.
Paskin: One thing, and this is not related to Orange is the New Black, but teenagers in general, teenagers are always performing, and especially when they're in groups and on the subway, it doesn't matter what race they are, teenagers on the subway are basically so annoying because they're together and they just want to be… not even trouble, they just want to laugh as loud as they can and show how much fun they're having.
Maxwell: I think that we have to remember that underneath whatever you think people are is another person, and I think the show does a good job in making us rethink how we perceive people just based on how they look, or where they come from. And it's cliché, but it's also… we don't do that, we don't question our preconceived notions of the guy with the neck tattoo. You see a guy with a neck tattoo, and you think automatically he's this way or he's that way. And then it turns out he's talking baby talk.
Paskin: So you're talking about Maria's boyfriend, babydaddy, who has come to prison to visit her, and we see all these scenes of him being totally mute with the baby and she's just talking at him and then maybe that penultimate episode, she gives him that speech about how you really have to talk to your kids because it's how they learn and there is such a disadvantage if you don't talk. And then the next episode he's sweetly talking to his daughter, who apparently he has loved this whole time and we've just projected that he was bitter and mad and angry.
So you wrote about that scene in your piece as well. To me, that scene was like very cute but kind of set off my bullshit alarm on the season, because I think there are these two competing strands in the show, which are there is this huge genuinely human impulse, like you just said, they want you to not judge people by what they seem, which is great thing to be up to, it's hard to be mad at it, even though I thought a lot of the dramatic stuff this season kind of fell apart because nobody could be genuinely unsympathetic, except maybe Vee. It's prison, like there are bad people the. Everyone we know, we love them all except for Vee.
Maxwell: The reason that I like that is that you aren't expecting it. So throughout the whole season, he was in it enough and silent and neck-tattooed that you're like why doesn't he talk?
Paskin: And kind of glowering, too. Not giving her anything, sort of mean.
Maxwell: And to the point where you noticed it. At first, you were like "All right, he's not talking, that's weird," and then the next time you're like "He's still not talking, that's weird. He still looks upset about something." And then when she was transferred, he was still sort of like ugh, and you're like "This guy, what's wrong with him?" And then at the end and they were just like "HAHA."
I like stuff like that because it challenges your preconceived notions of when I see someone on the street, they have a neck tattoo and they are a certain height, you're like, "OK, are they going to lurch for me? I'm going to do this or this is how I'm going to escape." As a woman, obviously, you're always thinking that, but I think that it's important that we challenge ourselves. I found that that was very subtle.
I don't even know that many other people have mentioned it to me or even noticed it, but it was one of the things that I noticed, along with the Black Cindy thing, which actually was the two examples I was like I need to write an article about how they're sort of challenging our stereotypes.
Paskin: OK, I have one that I thought was bad. I thought the "sStay" sing-along was bad. I do not believe that a prison full of women of color feel the way, I thought it was the wrong age, I thought it was a little old. I mean, if it's like a Fugees song, I believe that. If it's "No Scrubs," I believe that, but I don't believe "Stay" for one second.
Maxwell: I sort of could imagine the writers are a certain age, so for me it was not that the character scene singing, that scene was the writers. That's how I viewed the scene, I'm old enough to remember that song and I was like oh, you know. But also I feel like the writers are my age too. It was clear, it was a very specific cultural reference, and not only… you have to be over 30 to get.
Paskin: Right, totally.
Maxwell: And so maybe that was just a reward for people who are in their age demographic.
Paskin: Totally, and that is also one of those moments that is like oh, prison is like summer camp, like you're doing a sing along about—
Maxwell: I would say, there are moments where it was silly. Piper even says, "Oh, it's like camp!" Or it was Soso who says, "Oh, it's like camp1" Wait until she's there for a little longer, right? I mean she lost a little bit of that naivety—
Paskin: Soso?
Maxwell: Yeah, but still not quite enough. I think they really need to explore that further.
Paskin: I feel they set her up as this Piper-like character who was even more annoying, we don't have to like more because she's not the main character. Then she had the whole not wanting to shower thing and we realize she had pain, and then they didn't flesh that out.
Maxwell: Right, they didn't. I want to know what she did to get in there, I want to know why it was so difficult to contact Occupy people.
Paskin: I always just thought she had done something like chained herself to a tree.
Maxwell: Yeah, I got that sense. In that scene she talks about your parents pick you up from jail. This is not jail, this is prison. There are not many shows like this, and there haven't been many shows like this, certainly that two black women in a really complicated and beautiful friendship, a villain like Vee, she can be on the list with all of the top other villain, you know Gus Fring or whomever else, and she's a black woman but it doesn't matter. I mean they wrote the character and it wasn't supposed to be black necessarily.
I think that's really cool. And so pulling out the things that I find valuable, because this is a unique moment when we can have this conversation because we have all of this material to work with. Normally, the shows are just not this nuanced and this interesting to talk about—
Paskin: Or they have like a black character.
Maxwell: Right. Like a black friend as someone who's sort of not cast in the role of black friend in real life, but I'm sick of watching stories from the black friend. I'm sick of watching stories that are not about real people of color, or real women, I say "real" as like complicated, nuanced, like human—
Paskin: Recognizable.
Maxwell: Right. And so that's why I think I try to pull out the things that I find valuable, even though it's not perfect. Why would it be? It's a TV show.
Paskin: I think pieces that are probably pretty strongly anti this show, I think they come out more from like the context of the show being so praised. Like if the show wasn't as popular and wasn't so praised, I don't know that people would be compelled to write. In terms of the number of women of color and ages and sizes on the cast, it's kind of unprecedented.
Maxwell: It's completely unprecedented! We have a cast of all different colors, all different sizes, all different ages and all different backgrounds, all different sexualities. Gender performance is also something on the show that's sort of played with. It's great material to be like watch this and let's just talk about it. And those conversations are super important, because otherwise you're never going to be able to see this story on the news or hear a story from somebody up the block that's a different culture than you and really understand them if you haven't been exposed to it
So if we can do that by television and pop culture first, and then allow people to have these conversations, because it's actually something that's more nuanced than we normally get, we're never really going to make progress on this whole race thing.
Paskin: The critiques of the show that have been like the fact that it is that Piper is working as this Trojan horse makes this show unpalatable generally. Some of the critiques of it have been this is still like a story about a white woman, and all of these, even if they're nuanced black characters, are still kind of just going along for the ride. She's still the point of view, and that kind of undermines everything else about it.
Maxwell: I didn't feel that way about season two. It's the way that the show evolves episode by episode that allows it to not be just Piper's lens. Yeah, the world sucks. Nobody would watch the show if it was a black girl going to prison, if the main character was a black girl from the Bronx going to prison. Nobody's watching that.
Paskin: Maybe they will now.
Maxwell: Maybe they will now though, and that's unfortunate, but like look, I live in the world. I wish a lot of things were different. They aren't. The world that we live in is what it is. So I think that the show is still very valuable in terms of entertainment value, it's funny, but also giving us people to care about and allowing us to talk about these complicated things after we're done watching it and we're being entertained.
I interviewed all the black women cast members, and all of them are active with the real Piper and the Women's Prison Association because of their work on the show, and then they talk about that in interviews. I think that's important also, because then it allows viewers to be like wait, oh, there is real work that I can do because I'm entertained by this show, and especially since season two was based on the conditions in the prison being, based on the real conditions in the prison where it's filmed. So that is insane. Cause when you're watching it, you're like what the heck, oh, this is actually real, happening right now.
I just think that the more Americans are forced to think about people in prison, because we just forget—the system puts them in there and we don't even think about it—and most people have connections somehow to someone who has been incarcerated. We need to stop sort of tunnel-visioning our days and just doing our routines and just blocking out those folks who are in prison because eventually they get out, they become part of our society again. It's not always extremely difficult, I just feel like we dehumanize them, and this show allows us to see those folks as ourselves.
It really is us, I'm not different than the people in prison, I just didn't get caught if I ever did something illegal, right? People are people. Institutions are made up of human beings. When people are like I hate the Federal Government, I'm like yeah, and there's people and families and all kinds of career folks that work for the federal government. It is an institution, but it's also made up of people, which means that if it's corrupt or unfair in some way, if you change the people inside or change their point of view, then you can do a lot to actually change the way the institution behaves.
Now, that's really difficult to do, but maybe it starts with a show about prison in order to change the way we think about prison so that people who get into that position to make policy decisions make different choices. It's complicated, but we've seen that happen in other spaces.
I just think that it is a TV show, we're entertained by it, or laughing, but also we're thinking about the issues, and most shows don't do that.
Paskin: Thank you so much, this was so fun.
Maxwell: Yeah, it was really fun. When you were like, "Come in and talk about Orange," I was like that's what I do all the time anyway, so sure!
Paskin: Well I'm glad that you got to so everyone could listen. Thanks so much!
Feedback about today's podcast? Let us know! email@example.com.
For info on how to subscribe to the Slate Plus podcast feed, go here.


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|Athletic Trainer
|3rd Year
|Alma Mater:
|Northeastern University, 2012
Tessa Martin is in her third year as assistant athletic trainer at UMass Boston.
A native of Trinidad and Tobago, Martin graduated from Northeastern University in May of 2012, where she was also a member of the nationally-ranked squash team.
Prior to her arrival at the UMass Boston campus, Martin worked at SquashBusters Inc. in Roxbury Crossing for the last two years. Amongst her many responsibilities she was in charge of developing and implementing a new squash-specific fitness program, which included daily team fitness sessions and individual fitness testing for 130 student-athletes.
While in Boston, Martin has gained a tremendous amount clinical experience having worked at Emmanuel College, Emerson College, and UMass Boston from 2009-2011.


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March 21, 2012
The Simple Question that Will Encourage Saving
The Save More Tomorrow Program uses behavioral finance to increase retirement savings
By Shlomo Benartzi, Professor of Accounting
This appeared in the Financial Times on March 18, 2012.
As a major pension reform sweeps the UK this year, pension providers should consider one more change. Making it would mean a million or more Britons would save for retirement, and it is as simple as choosing chocolates or bananas.
The change - more of a tweak, really - is another nudge to save. With automatic enrollment, a modest slice of an employee's pay is automatically deducted for savings unless the employee chooses to opt out of the plan. The feature was mandated by parliament in 2008 as part of the pension reform.
The benefit of automatic enrollment varies by country, but it is always dramatic. One study showed that the number of retirement savers in a US plan jumped from 49 per cent to 86 percent with the addition of automatic enrollment. In the UK, a Department for Work and Pensions study showed 65 percent of Britons would join a plan if automatically enrolled. Automatic enrollment works so well because of human inertia. When faced with the option to save, many of us dither indefinitely over the simple choice to enroll. When enrollment is automatic, that same inertia turns many inveterate procrastinators into savers.
Unfortunately, automatic enrollment does not work for everyone. But tapping another basic human trait can convert many who opt out of a plan into savers in the near future. This brings us to chocolates and bananas, and an experiment of choice. The experiment's subjects were told they were going to meet in a week and that a snack would be provided. For the snack they could choose among unhealthy options, such as chocolates, and healthy ones, such as bananas. Most subjects chose bananas. But when the week was up, experimenters told the
subjects they had enough chocolates and bananas for everyone. When immediate gratification was an option, the subjects - even the virtuous ones who initially picked bananas - chose chocolates overwhelmingly.
The same psychology works in finance. When faced with a future choice, we generally select a smarter option, such as savings, while an immediate choice triggers the pleasure of spending. The science is clear. Brain scans show that the emotional and logical areas of our brains wrestle over immediate decisions, but our logical bits rule when considering our future well-being.
Based on this knowledge of human nature, a "future enrollment" tweak to pension plans will swell the ranks of savers. When workers opt out of a plan, they should be asked: "when you would like to start saving?" Doing so kicks the decision over to Logic Central in the brain. Employees should be offered options. One powerful option is to start saving when they get a pay rise. A US study showed that eight out of ten workers would be willing to save the amount of that raise in a retirement plan. This option does not trigger the pain of loss, because take-home pay does not drop. The idea has a proven record in the Save More Tomorrow program developed by myself and Richard Thaler, of the University of Chicago. In the program, employees commit to increase their savings automatically whenever they get a pay rise.
Not surprisingly, retirement plan providers must overcome their own inertia to add the future enrollment option. Of course, the government could mandate the change, just as it did with automatic enrollment. But mandate or not, future enrollment may follow Save More Tomorrow's path. Everyone we introduced the idea to thought it would work, but nobody wanted to be the first to use it. When one big mutual fund group looked past short-term qualms to long-term benefits and finally adopted it, others rushed to do the same. The National Employment Savings Trust (Nest), the new defined contribution plan, could lead future enrollment in the UK.
Consider the maths: about 10m employees will be eligible just for the Nest retirement plan. If the DWP's 65 percent estimate is correct, that is still 3.5m who will opt out of that plan. One simple future enrollment question could easily cut that number by 80 percent. And, even if I am overconfident and the actual number of future savers ends up being half or a third, it is still 1m Britons.Contact Information
Media Relations, (310) 206-7707, firstname.lastname@example.com


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The Public Service Project
The CLSR's Public Service Project supports and provides opportunities for Public Service Work at New England Law. Public service work at New England Law includes work by
- Faculty -
- Public service legal work of Center faculty
- pro-bono work performed by other members of New England Law | Boston faculty
- The wide variety of public service legal work performed by the Director of the Public Service Project, Russell Engler
- Students -
- New England Law students may obtain transcript recognition for approved public service legal work through the Public Service Transcript Notation Program.
- Profiles of New England Law students performing public interest work, public opportunities for students and public interest grant recipients.
- Awards given to our students.
The Director of the Public Service Project is Professor Russell Engler.
Articles Related to Legal Education and Public Service Legal Work
For an analysis of the need to integrate public service legal work into legal education generally, please see Russell Engler, From the Margins to the Core: Integrating Public Service Legal Work into the Mainstream of Legal Education, 40 New England L.L. Re. Rev. 479
For a perspective on public service work generally at law schools, please read, Russell Engler, What Counts as Pro Bono/Public Service, in the AALS Section on Pro Bono and Public Service Newsletter, Vol.2, No.3, p. 4
For data demonstrating the connection between clinic work and future pro bono work, please see Russell Engler, The Path to Pro Bono.


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Academy Award maker plans layoffs in Chicago
The Chicago company that makes the familiar gold-plated Oscar statuettes is laying off almost 100 employees as it's bought by a Canadian firm, but some workers could be rehired.
R.S. Owens & Co. Inc. said this week in a notice to the Illinois Department of Commerce that it will lay off 95 workers on Dec. 17, when it is purchased by St. Regis Crystal of Canada. The business-data website Hoovers says R.S. Owens has about 250 employees.
R.S. Owens President Scott Siegel said many employees have applied to work for the new company but he isn't sure how many will be hired.
The Oscar and Emmy statues will still be made in Chicago.
R.S. Owens has been manufacturing Oscar statues for about 30 years.
The 85th Academy Awards will take place on Feb. 24, 2013. Nominations will be announced on Jan. 10.


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Rabbi Yonason Goldson: Clarifying one of the greatest philosophical conundrums in theology
Rabbi Dr Naftali Brawer: Passover frees us from the tyranny of time
Rabbi Hillel Goldberg: Silence is much more than golden
Jonathan Tobin: Why Did Kerry Lie About Israeli Blame?
Jewish World Review
Blind dog gets own guide dog
Jeanne Moos
(More Entertaining Videos Below)
Every weekday JewishWorldReview.com publishes what many in Washington and the media consider "must-reading". Sign up for our daily update. It's free. Just click here.
Interested in a private Judaic studies instructor for free? Let us know by clicking here.
Comment by clicking here.
Comment by clicking here.
Amnesia induced by moose
A woman sedated by a dentist comes out of it with a foreign accent.
Take Osama's wives --- PLEASE!
'Carnival barkers' ticked at Obama.
Dawn of a bad name
Gadhafi gets 'autotuned' by Israeli --- and Arabs worldwide cheer
Is Gadhafi really daffy? We look at him as he looks in a mirror
Showdog's a dead ringer for Snooki. Plus the barking photog
Woman is denied doggie custody
© 2012


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Well, we're here! The first ever issue of Kiteworld is now on sale.
Kiteworld International magazine is written by kiteboarders for kiteboarders. We're based in Lewes, South of England, 10 minutes from the beach.
Kiteworld celebrates the entire kiting experience- including kitesurfing, kitebuggying and snowkiting in our editorial content. The magazine is available on the newsstands and through core kiting shops across the world, and also through our secure store, http://www.xcshop.com
We'd love to hear your views on our first issue. I'm not regularly online- I spend enough time at my desk and need as much time on the water as I can get in my life right now, but give me a shout at firstname.lastname@example.com
Hugh Miller,
Editor, Kiteworld
For more, see http://www.xcshop.com
[ This Message was edited by: Hugh on 2002-05-20 19:26 ]


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The Social Soap Box: Digital is BIG Business in Thailand and Asia
When you think of Thailand, historic Buddhist temples and shrines usually come to mind. However, during my visit to the golden land last week, I was pleasantly surprised by the proliferation of social and digital media. From QR codes to Facebook logos splattered across the many storefront windows, it's no wonder Bangkok is ranked the largest Facebook city and Thailand ranked 16th largest Facebook country. While dining at a local restaurant in Chiang Rai, it was hard not to do a Facebook check-in when promotional materials were easily visible on tables, walls and even menus. And yes, I checked in and received my 5% discount.
Although Thailand is considered a developing country according to the International Monetary Fund (IMF), it's use of digital and social media certainly makes the country advanced by any standard. According to eMarketer, Thailand is ranked fourth among Southeast Asian countries in the percentage of "likes" and "follows" corporate brands receive from consumers. The top three are Vietnam, Philippines and Malaysia. Here are additional data from an eMarketer report:
- 47% of APAC companies use SM, and 56% are planning to use SM
- 47% of APAC companies use SM, and 56% are planning to use SM
- This year, Asia-Pacific will pass North America as the region with the most Facebook users
- Asia-Pacific has three times as many social network users as North America
For marketers and communicators, this presents a great opportunity to expand your company's digital and social footprint. At Cisco, we are continually experimenting how to reach customers and influencers in various countries through social media. We currently have over 200 social channels globally, and approximately 12 in APAC. That includes properties on Facebook, LinkedIn and Twitter, as well as global outlets such as Weibo and VKontakte.
In an effort to keep conversations fresh, Cisco Blogs closes comments after 60 days. Please visit the Cisco Blogs hub page for the latest content.


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Actor MACAULAY CULKIN has spoken out to silence reports he's been dating a Spanish porn star since his split from MILA KUNIS.
The couple parted ways at the end of last year (10) after an eight-year relationship.
Culkin was linked to adult actress Irene Lopez last week (ends23Jan11) after they were pictured together, but the former child star has moved swiftly to dismiss the new romance rumours.
He tells E! News, "As I do with many fans, I briefly met and took a photo with Irene Lopez at her request. I have had no contact with this woman in any capacity, social or otherwise before or since that picture was taken. Any reports to the contrary are false."
The star's representative adds, "The reports that Macaulay Culkin is dating Irene Lopez are completely false. We are disappointed that Ms. Lopez has told E! Entertainment fictitious stories regarding Mr. Culkin."


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Maj. Gen. Jeffery Hammond, US commander in Baghdad, patted the hand of the Iraqi general who oversees government forces in Sadr City. He smiled, but delivered a firm message.
"Tell the mayor – the mayor of Baghdad, the big mayor – tell him we'll be here tomorrow morning at 9 o'clock, and we'll be very disappointed if he's not here. The prime minister needs this to happen," he said during a Friday trip to Sadr City. "We gotta get going."
General Hammond is pushing for services – trash pickup, medical care, water, electricity – for a southern slice of the volatile district. It's part of a US plan to win Iraqis away from Moqtada al-Sadr's sway. And they see a window of opportunity as fighting in Mr. Sadr's Baghdad stronghold shows signs of quieting.
While sporadic fighting continued Sunday, clashes with the Mahdi Army calmed after Sadr issued a statement Friday calling for the "patience" of his followers and for an end to bloodshed among Iraqis. He stepped back from his earlier threat of "open war until liberation," saying it was only directed at Iraq's "occupiers."
In the assault on the Shiite enclave, the Americans' original goal was to push Mahdi Army gunmen out of the southernmost section of Sadr City, from where a barrage of rockets and mortars was launched on the Green Zone, home of US and Iraqi offices. The firings from this part of the district have mostly stopped.
As part of the US and Iraqi campaign against the cleric and his Mahdi Army militiamen, the Americans have walled off one southern part of it from the rest of this vast quarter of 2 million Shiites.
Now, Hammond wants the residents there to see the benefits in helping keep the fighters from returning. And he's in a hurry to do so. Sadr City is certainly on edge. While fighting has tapered off since the Iraqi government's campaign against Shiite militias in Basra sparked new violence in Baghdad, it could easily erupt again.
The idea here is to replicate successes in other Baghdad neighborhoods where security walls and controlled entrances have delivered significant drops in violence.
The Americans have tried to win over Sadr supporters through civic projects before, only to see fierce bouts of fighting return. And Hammond is no stranger to the earlier attempts that the US made at turning things around in Sadr City – efforts that began within months of the US invasion in March 2003. There have been programs for working with the locals and trumpeted infrastructure projects before.
But, he says, he sees "three elements that make me believe we can achieve it this time."
One is the Iraqi government. "You have a government with the will now and the resources to get something done." Two, the Iraqi Army and police. "They now have security forces that have performed and proved they can operate under fire."
And three, the people have changed, he says. "Maybe the most important thing is that the people are just tired. They're tired of the bad guys hurting good people, it's as simple as that."
Hammond admits to disappointment at the pace of government engagement in Sadr City so far, but reserves judgment for the moment. "I'm a little disappointed we haven't got the government in here yet, but give it a few more days," he says. "We'll see how well they've kicked in the resources."
American and Iraqi officials also point to several recent developments to support the idea that now is the time to plant a sustained government presence inside Sadr City.
On Sunday, Prime Minister Nouri al-Maliki met with Iraq's Sunni vice president to address ways to reintegrate Sunni parties back into the Shiite-led government. Iraq's largest Sunni bloc said over the weekend that it would soon rejoin Maliki's cabinet, a development attributed to Maliki's crackdown on Shiite militias.
Added to that is Maliki's commitment to Secretary of State Condoleezza Rice during her recent visit to Baghdad that the government would spend $300 million to improve living conditions in the Shiite neighborhood.
But perhaps the best sign, some US military officials say, is evidence that local residents are ready for things to change in the neighborhood.
"The people tell us they are sick of the fighting, they want a positive life," says Lt. Col. Frank Curtis, commander of the 4th Infantry Division's 302nd Civil Affairs Battalion.
During Hammond's Sadr City foray on Friday, the streets were quiet. It was the Muslim Sabbath, so even those businesses that have remained open despite the fighting are closed. And it was oppressively hot. But few vehicles moved, some streets near the military installations were completely closed to traffic, and the few young men walking or hanging out at intersections failed to give the neighborhood a sense of life.
Hammond's visit to the walled-off neighborhood included stops at the US military outpost where a civil affairs officer worked with an embedded civilian reconstruction team, and at a joint US-Iraqi outpost that had come under fire just the day before.
Colonel Curtis says a drop-in medical clinic that his unit organized the day before was "overwhelmed" with 300 residents. The original trickle of locals coming to file compensation claims for property damage during the heaviest fighting has grown to a steady stream.
For Hammond to get anywhere in Sadr City he needs the participation of an Iraqi government and key ministries that so far have shown little initiative in taking their services into areas like Sadr City.
That is why this general from the 4th Infantry Division on his third tour in Iraq this time finds his agenda filled with meeting Iraqi civilian government officials, local leaders, and influential sheikhs, and his time with military officers increasingly focused on delivering services.
"I didn't think I'd find myself doing this," Hammond says. "But we need the people to see they have security forces that are making their neighborhoods safe, and to see they have a government that can deliver a better quality of life."


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A fiery idea ignites the arts
S. Dennis Kiln offers new opportunities for students
August 15, 2012
By Jill Yanish '13
The spark is the new kiln at the College of Saint Benedict, which was lit for the first time on July 27. Smoke billowed from the chimney of the pole shed where the kiln is housed, tucked behind the CSB campus, near the bus sheds.
Sam Johnson, assistant professor of art at the College of Saint Benedict and Saint John's University, wanted to create a kiln that would strengthen the art department, as well as honor Saint Benedict's Monastery and the college. The kiln will be named the Sister Dennis Kiln, for S. Dennis Frandrup, OSB, professor emerita of art at CSB and SJU.
Frandrup taught at CSB and SJU since 1973 and also serves as the artist in residence at CSB. Twice, during her tenure on the faculty, she won the adviser award for her dedication to students.
"The art department grew from her leadership," Johnson says. He credits Frandrup, as well as the other sisters of the Monastery, for their contributions to the arts at CSB and SJU. "They're a quiet, but forceful, power."
The Sister Dennis Kiln was funded by a major gift to CSB from an anonymous source, as well as capital funding from CSB and SJU and donations of materials and labor from various community members. Approximately a dozen community members, students, alumnae/i and faculty worked for about a month to build the kiln. Those who helped build the kiln had the first opportunity to fire their ceramics.
A fiery first
The first firing of the kiln came with many unknowns and required vigilant supervision while it reached its peak temperature of 2,400 degrees Fahrenheit. Overseeing the kiln requires stoking the fire every six minutes and close watch to maintain the appropriate temperature.
The Sister Dennis Kiln is a complimentary partner to the Johanna Kiln at SJU, which was first fired in 1995. The Johanna Kiln is larger and geared toward professional use, while the smaller size of Sister Dennis Kiln allows it to be fired in a weekend, making it ideal for student use. Johnson foresees the kiln being a place of mentorship where students can learn from each other and community artists.
Johnson credits Richard Bresnahan, artist in residence at SJU, for the recognition of a wood kiln in the CSB and SJU community. He emphasizes the fortune and exclusivity of having two such kilns on the CSB and SJU campuses.
"No one asks what a wood kiln is here. It's part of the institutions," Johnson says. He adds that the Sister Dennis Kiln will generate a deeper spark for the arts - literally. "The kiln adds value and potential for our students."
A dedication and blessing of the S. Dennis Kiln is scheduled for 4:00 - 4:00 p.m., Tuesday, Sept. 4, south of tennis courts on the south side of the CSB campus. Parking is available in lots six and eight.