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The facts, figures and story of going off-grid at Gundaroo - a guest post by Sue Ogilvy and Danny O'Brien - thanks!
Hi Michael,
We thought we might like to let you know how influential you have been in advancing sustainability.
We first read your work about Sustainable House in 2009 and that, along with The Natural Step and some permaculture influences flung us into a new orbit. Since then, we've taken up new careers and lifestyles – I'm developing and applying accounting standards for ecosystems in agriculture and in the national accounts, we have a social enterprise that retails healthy, ethical, sustainable meat into Canberra, Danny is Treasurer of Canberra City Farm and we have 100ha in Gundaroo where we have just completed our house. Our house is inspired by all your work as well as great engineering from overseas. In order to minimise our need for energy to heat the house during Canberra winters, when solar energy is in (relatively) short supply, we decided to build to PassivHaus standard. In other words, we've built a house in Canberra with NO heater….. and we're not mad.
I'm very pleased to be able to report that, despite cold miserable days, the coldest temperature we've recorded in the house is 19.2 degrees. It's just wonderful to be comfortable and not feel guilty about it!
Our PassivHaus project
The design and construction brief was clear – design and build a home that is based on passive-solar design, constructed of natural materials where possible, minimise the chemical toxicity of the building materials, and leverage appropriate levels of technology to reduce the ongoing operational costs for heating, cooling, power and water.
The solution to the brief has been to build a simple but elegant home using German PassivHaus principles, with power supplied from an off-grid 9kW Solar system.
The PassivHaus standard builds on regular passive solar design principles, and requires increased performance standards for insulation, air leakage control, and management of energy required to heat and cool the home. (See notes below.)
We've been in the house for 2 months now, and through warm sunny days, gloomy days and overnight temperatures of -6oC, the house has really shown that it is delivering on the promise. The temperature has not dropped below 19.2 degrees (even with the freezing nights) and has stabilised at a comfortable 21-23 oC during gloomy days and cool nights. The higher temperatures due to the solar gain on sunny days are easily managed through opening the clerestory windows in the living room and tilting other windows throughout the house to manage a very comfortable temperature.
Located on a 250acre property in Gundaroo (near Canberra), it was straight forward to orient the home true North in order to maximise solar gain during winter. This ensures maximisation of heat gain during the cold winter months that are experienced in the area.
Thermal mass is provided through the use of a polished concrete floor. The slab construction is a floating raft slab, which has been fully insulated using 50mm XPS foam (R1.74) in order to ensure there are no thermal bridges between the slab and the ground.
The walls have been constructed using a 140mm stud wall (allowing for high levels of insulation @ R4), and are covered with two membranes:
- The external membrane provides a water resistant, breathable membrane that effectively acts like a Gore-tex cover for the house – providing a moisture barrier for the frame, whilst allowing any moisture in the frame to pass to the external environment.
- The internal membrane provides a humidity variable vapour redarder and airtight membrane, allowing moisture to pass from the frame to the interior of the house whilst providing an air tight seal to stop any movement of air.
The combination of the two membranes provides an air tight seal for the house, whist at the same time ensuring maximum longevity of the structural frames through ensuring no moisture is held in the frame cavity.
Similar construction techniques were used for the roof/ceiling structure, achieving R7 insulation throughout the whole house. A false ceiling was used throughout the house to allow for the installation of downlights to ensure there were no requirements to have breaks in the layers of insulation.
Temperature control, air tightness, and thermal gain is further managed through the use of triple-glazed timber/aluminium windows, utilising tilt-turn mechanisms to provide an air tight seal when closed, whilst enabling dual modes of operation – tilted to allow low levels of air to circulate through the house during winter; turned (and opened) to allow the house to be flushed with cooler air during summer evenings and nights.
The quality and effectiveness of the construction has been tested by an independent building airtightness (blower door test). The house achieved a rating of 0.47 Air Changes per Hour @ 50 Pa, easily meeting the the 0.6 ACH required for PassivHaus standard, and an order of magnitude better than standard houses that typically operate between 10 to 20 ACH.
The timber/aluminium combination was chosen to allow the use of natural materials (timber interior) whilst at the same time minimising maintenance and wear (aluminium exterior). The timber frame ensures that there is no thermal bridge.
Air quality is controlled through the use of a heat recovery ventilation unit. The ventilation design for the house unit takes stale air from within the house (from the wet areas and kitchen) and replaces that with fresh air from outside (into the living areas and bedrooms). The unit utilises a rotating drum design that operates at 80% efficiency, ensuring that heat is retained within the house during winter and is kept out of the house during summer. The advantage of the rotating drum technology is that humidity levels are maintained within the house at a comfortable level. The ventilation unit can also be placed in summer bypass mode in order to flush the house with cool air at night.
Further protection during the warmer months has been achieved through the intelligent placement of the eaves (960mm on the North), combined with the deep pergola that will support the deciduous grape vines for a lush, cooling aspect on the North and East sides of the house. The carport on the Western aspect protects the house from the worst of the Westerly sun.
The whole system has been designed to operate off-grid, utilising power from a 9kW off-grid solar system which has an 1800AH/48V battery backup system. The solar system has been implemented using 3 strings of panels (12 panels each) at varying levels of inclination (40, 25 and 20 degrees) ensuring that power is evenly provided throughout all months of the year.
In order to minimise the load on the system, the lighting throughout the house is based on LED technologies.
The system is rounded out with a Sanden Eco Hot water heat pump system. Operating from the renewable energy source, the heat pump system ensures that the only fossil-fuel required for the home is used for the gas cook-top and oven (we considered the load on the solar to be too high to allow for electric cook-top and oven).
Water Efficiency
Being located in rural NSW, the house is naturally off-grid for water, with a 115kL tank installed that catches rainwater from both the house and shed.
Low-flow taps and shower heads have been installed to ensure that water is conserved during the drier months.
The waste water from the house is processed via the worm-farm composting system, with the processed water being pumped to a dispersal trench adjacent to the planned orchard. This allows us to minimise the additional water required for growing of our food.
Other septic systems were considered during the process that may have allowed other uses of the processed water, but they were either too high energy users (pumps running full time) or were not appropriate for the soil types in our area.
Water for the garden and food production areas will come from a combination of a local bore and rainwater.
Indoor Air Quality
Maximising indoor air quality has been central to the design.
Starting with the use low VOC paints and natural timber and concrete sealers and oils, the internal air quality is maintained through the use of the active ventilation system. Fresh air is constantly fed into the house via the heat recovery ventilation unit, whilst at the same time maintaining a very comfortable living temperature without the need for any active heating.
The original plan for the cabinetry was to use ply doors due to the perceived lower VOC content of ply versus MDF and chipboard. However, once it was identified that low VOC could be achieved in the manufactured materials for the cabinetry through the selection of SuperE0 MDF, the overall chemical load of the house was reduced, with SuperE0 interior for the Laminex finishes part of the build.
Material Selection, Resource Efficiency, Site Management
The key criteria and solutions for material selection were:
- Sourced from sustainable, renewable sources:
o LVL timber used for construction of the frame and roof
o Timber used in the window frames
o Timber used in the pergola (regrowth Red Ironbark)
o Woolen carpets
- Materials made from recycled material:
o Aluminium exterior to the windows
o Benchtops and feature timber throughout from recycled Blackbutt
o Insulation made from recycled glass
o Recycled materials used in construction of the manufactured board for the cabinetry
- Materials made from materials that could be recycled:
o Zincalume and Colourbond cladding
o All the timber components
- Materials sourced locally:
o Site fill sourced from clay located on the property (thus reducing energy required for haulage)
Whilst we were aware of the embedded energy contained within materials such as the concrete floor, our analysis showed that the benefits achieved through the use of thermal mass would by far outweigh the energy used to produce the product.
The house is located on a slight ridge sitting above a drainage line that has the potential to carry water during extreme conditions (taking water from the overflow of a neighbour's dam). A deliberate design decision was made to not cut the house site into the hill, but rather to use the local clay as fill for the site in order to raise the house pad above any drainage lines. An earthen berm was constructed using surplus fill on the Northern, Eastern and Southern boundaries of the house site to further control any storm water. Using the berm to slow the water as it moves through the landscape allows the water to soak into the sub-soil rather than flowing (and potentially causing erosion).
Monitoring performance
One of the major frustrations when designing the performance of the home was the lack of real data relating to key decision points for the build (e.g. do we fully insulate the slab to limit heat gain during winter, or do we just edge insulate in order to bleed heat during summer?).
As a consequence, we have run conduit through and under the slab in order to provide temperature monitoring points in the following locations:
- In the ground under the slab (below the insulation)
- Outside the house in the ground (as a comparison to the under-slab temperature)
- In the slab on the Northern half of the slab
- In the slab on the Southern half of the slab (to see how long it takes for temperature normalisation throughout the slab)
In addition to thermocouple sensors in those points, we are in the process of implementing a monitoring solution that links to the MODBUS interfaces for the Solar system (to monitor energy production and use) as well as the Ventilation unit (to monitor temp in and out – and therefore the effectiveness of the ventilation system).
Fitting into the environment
The design has taken cues from the rural environment in which the house belongs. From utilising zincalume as the external finish to reflect the range and variety of sheds and water tanks in the area, to using intelligent selection of colours internally to pick out hints of the broader vegetation as the seasons change, this home has been designed to sit comfortably in the landscape.
Notes: Background info re PassivHaus standard
Specifically, the standard requires the following (Ref: www.passiv.de):
1. The Space Heating Energy Demand is not to exceed 15 kWh per square meter of net living space (treated floor area) per year or 10 W per square meter peak demand.
In climates where active cooling is needed, the Space Cooling Energy Demand requirement roughly matches the heat demand requirements above, with a slight additional allowance for dehumidification.
2. The Primary Energy Demand, the total energy to be used for all domestic applications (heating, hot water and domestic electricity) must not exceed 120 kWh per square meter of treated floor area per year.
3. In terms of Airtightness, a maximum of 0.6 air changes per hour at 50 Pascals pressure (ACH50), as verified with an onsite pressure test (in both pressurized and depressurized states).
4. Thermal comfort must be met for all living areas during winter as well as in summer, with not more than 10 % of the hours in a given year over 25 °C.
Sue and Danny run a farming business and it's worth taking this link to see more information about them and whether their site has something to offer you.
Here are the contact details for some of the project team:
Paul Howick
Licenced Builder
PO Box 246, KippaxACT2615
PassivHaus technology:
Windows, Ventilation unit planning/design and supply, Heat pump hot water system, along with plenty of advice in relation to the overall planning and design for the house came from Laros Technologies:
Andreas Luzzi
LAROS Technologies
Address: Unit 2, 5 Bodalla Place, Fyshwick ACT 2609, AUSTRALIA
Phone +61 (0)2 6160 7777
Solar Setup:
Tim Davaris from YGrene Energy was absolutely fantastic, consultative, and was very competitive price wise with a high quality solution
Tim Davaris
Ygrene Energy Pty Ltd
PO Box 12 YASS NSW 2582 0419 267 042


text: In this volume are presented examples of men who shed lustre upon ordinary pursuits, either by the superior manner in which they exercised them or by the noble use they made of the leisure which success in them usually gives. Such men are the nobility of republics. The American people were fortunate in having at an early period an ideal man of this kind in Benjamin Franklin, who, at the age of forty-two, just mid-way in his life, deliberately relinquished the most

subset: commoncrawl


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Fukuda ふくだ
Fukuda is a 14-seat Kaiseki restaurant opened in late 2014 by the chef Fukuda and his wife. It soon earned a lot of good reputation as well as its first Michelin Star in less than a year. It also received the Tabelog 2017 Silver Award.
The restaurant is pretty close to Azabujuban train station, the atmosphere of the restaurant was really homey and full of love. Chef's wife, who was only 25 years old, wears a really sweet and cute smile all the time. So was Chef Fukuda-san who seems really enjoy what he was doing.
Fukuda accepts only two groups of guests everyday, and doesn't accept solo-diner. Reservation on the same day is not acceptable.
The first dish was hamaguri clam cooked with seaweed. Very umami and soulful to warm up the stomach. Followed by the Owan of Higedara, or haddocks in English, which is a kind of fish i never had before in Japan. It has a similar texture and flavor with cod but more delicate. The dashi was top quality as well, full of delicious flavors.
Next we had two raw fish dishes include the botan ebi (shrimp) sashimi with a lot of shrimp roes. It was insanely fresh and sweet. Chef Fukuda is very good at grilling fish, his Sawara Aburi served next was my favorite dish of the night. It has a mouth-watering smoke flavor, the skin was crispy and the fish itself was melt-in-mouth tenderness.
Although the sawara dish was incredible, the portioning was quite BIG - unlike the tiny serving size i have had at most upscale Japanese restaurants, this dish was probably in a Izakaya size that is good to share between 2-3 people. I had a 20+ pieces sushi meal at Sushi Arai for lunch, my dinner at Fukuda starts at 7pm and i was already full after finishing this dish.
The kinmedai yuanyaki was also outstanding. Yuanyaki means to marinate the ingredient in a Yuan-style sauce (yuan), and then grilled it. The fish smells marvellous, it was so perfectly grilled that you can see the delicious fish oil on its skin, which is incredibly thin and you can even tear it off the fish. The fish meat was as succulently delicious as it looks.
Before the rice to arrived, we had a small bowl of chawamushi topped with savory konowata (sea cucumber ovaries). The Amadai kaburamushi was another unique and big dish. It was made of Amadai and covered with a layer of mashed kabu (turnip) mixed with some diced mushrooms and black fungus, steamed together and finished with a layer of kuzu broth. The mild sweetness of the kabu was wonderfully brings out after being steamed, very balance with the delicious fish.
One of the best things of the meal was the warm ambiance brought by chef coupe's smiles, which makes me feel being treated at their home, and the food tastes like love from their heart.
Throughout the entire meal, there was no luxurious ingredients but every dish was flawlessly tasty. Chef Fukuda-san showed us the pot of gohan, or rice dish, with a big smile. The rice was quite simple, made of jyako (a kind tiny sardines that has been semi-dried salted), deep-fried tofu, eggs and mountain vegetables.The deep-fried tofu gives more smells and texture to the rice, i couldn't stop to refill my bowl even i was 120% full at that point. The young pickles were light and very refreshing.
The last dish of the meal was dessert. Made of straeberries and white wine sauce to cleanse our palates as well as giving a sweet ending. At the same time, chef's wife was packing the rice we didn't finished for us. I don't usually eat left-overs but this was an exception.
My experience at Fukuda was unforgettable. I wouldn't say that all the dishes were amazing compare to those top-ranked Japanese restaurants, but it is fabulous in its own ways. For 15K omakase menu, you will definitely get what you paid for - not only for the satisfying food, but also for the happiness you can experience here.
Doing things we like with the person or people we love, isn't that the essence of life?
Azabujuban Fukuda 麻布十番 ふくだ
Address: 港区麻布十番3-7-5 マスコビル麻布弐番館 1F
Hours: 17:30~21:00, Off dates please check their Tabelog
Cost: 15K-20K
Date of visit: Late Feb.2017


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The Tampa Bay Lightning snapped a six-game losing skid Saturday with a 6-5 overtime win against the Florida Panthers, but it was the incredible pass from Steven Stamkos to Teddy Purcell that sent the game to the extra period.
From behind the net, Stamkos found Purcell wide open in the slot with a no-look behind-the-back backhand pass.
Benoit Pouliot scored in overtime to give Tampa Bay its first win since Feb. 1.
[nbcsports_video src=http://nhl.cdn.neulion.net/u/videocenter-v1/embed.swf service=nhl width=590 height=353 fv=hlg=20122013,2,208&event=FLA782&server=http://video.nhl.com/videocenter/&pageurl=http://video.nhl.com/videocenter/&nlwa=http://app2.neulion.com/videocenter/nhl/]


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Where did this 3-day weekend go? I got all of my grad-work done, the house was clean but is now it's a mess again, one movie splurge, no naps, no laundry done, and it's damn 9 o'clock! WTH?
Yeah there's a bunch of other honey do's in there that got done and more that didn't, but today I was so busy I didn't get to eat my first meal until dang 730p. It was protein-shake Monday folks. And only 20oz of water. Not good, not good.
9-days to go… Man if it goes as fast as the last three days have… I tell you, I'm having dreams about it. I don't know if it's nerves or my Amandalyzing brain. I AM nervous I am going back to work too quick- even if I am still in my home and just at a desk/PC. Nothing I can do about that though… At least if I have to lay down for 5-10 minutes, I can.
So the pre-op diet is now a breeze. Getting past day 1 and 2 was the rough part, now it's easy-peezy. And I'm not even nervous about the 2-day liquid part. I can do a protein shake every 3-4 hours no problem, if today was any good indication.
So, I went in my closet today to grab some jeans to help the hubby corral some cows (literally) and I tried to put on 2 pair before I finally found one that barely fit. (There's more than one reason I live in yoga pants and long t-shirts folks) I just stood there in my closet for a minute and got excited that soon, soon, most of this shit will be too big for me.


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Richman Chemical Sponsors Local Children's Baseball League
Lower Gwynedd, PA, February 27, 2015 – Richman Chemical announced today it is officially sponsoring the Souderton Area Baseball League (SABL) 11U travel team. The team, which advanced to the state playoffs last year, is fundraising toward playing in a global tournament at the Baseball Hall of Fame in Cooperstown, NY in 2016.
About Richman Chemical
Richman Chemical, Inc. provides custom chemical synthesis, custom manufacturing, and raw material sourcing in the life sciences, specialty chemical, biotechnology, pharmaceutical and emerging technology industries. Founded in 1988 by Ed Richman, the company is headquartered outside of Philadelphia. Click here to view all Richman Chemical press releases. For more information follow us on LinkedIn.
Press Release Contact:
Christopher Kulp
Chief Commercial Officer
Richman Chemical Inc.
Email: email@example.com
Website: www.richmanchemical.com
Office: (215) 628-2946 Ext. 13
Fax: (215) 628-4262


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The basic questions Crowe refuses to answer
Brink and Crowe exchange, 3 July 2012
Eugene Semon and the Perth Group exchange, 8 July 2012
Dear David
I write to ask whether circumstances might now permit of a reply to the Perth Group's enquiry more than four years ago, copied below.
You did say, "I do plan to respond comprehensively to this."
It's a matter of the first importance for our movement.
Yours sincerely
Anthony Brink
In our first contribution to the Duesberg softspot email 20/3/2008, that is, a year ago, we asked you two questions.
"Our questions are:
· Since the "HIV" experts, including Montagnier and Gallo, admit:
o to prove the existence of a virus, it is necessary to purify the particles and to show that they have unique RNA.
o To date, no "HIV" experts including Montagnier and Gallo, have proof of purification and admit that there is no unique RNA.
why should the dissidents give to the "HIV" experts that which they admit they do not have and debate with half-truths?
· It is possible for the dissidents to be proven correct by debating with half-truths?"
After a reminder you responded on 31/3/2008: "I do plan to respond comprehensively to this. Unfortunately this has come at a very busy time for me, and obviously I need to put extensive thought into a response".
Despite our repeated requests we still await your response. These are straightforward questions of pivotal significance for the dissident movement. Is your tardiness because (i) the answers require much scientific knowledge; (ii) the answers are obvious but run contrary to vested interests; (iii) other reasons? Regardless of any excuses, how can the movement achieve its goal when the leader is either unable or unwilling to answer such crucial questions?
(Excerpt from: PERTH GROUP RESPONSE TO DAVID CROWE RE THE PARENZEE HEARING http://www.tig.org.za/DavidCroweApril-7-2009.pdf)
My position on the first item is very clear.
I can't believe that I would agree to respond to the second and third bullets which are very unclear and poorly written and ultimately a type of question like, "When did you stop beating your wife?".
They also imply that there is such a thing as absolute truth and even rethinkers don't have access to that. It also implies that the mainstream are actively debating dissidents which has only very rarely been the case.
Dear David
I think I understand.
When on 31 March 2008 you proffered the Perth Group the seemingly sincere assurance that you 'do plan to respond comprehensively' to their questions when you find the time – which, being critical in our internal strategic policy disagreements, you agreed 'obviously' warranted 'extensive thought' in your 'response' – this was not the 'absolute truth'.
In fact this wasn't the truth at all, not even a half-truth.
That is, you gave the Perth Group this seemingly sincere assurance without meaning it.
You never intended to 'to respond comprehensively' to the Perth Group's questions.
Like when borrowing money, and saying I'll pay you back on Monday, but without any intention of honouring your undertaking, in fact having the fixed intention of dishonouring it.
Would this be a correct reading of your dishonestly evasive response to my reminder of the Perth Group's long unanswered straightforward, pivotal questions?
Please correct me if I've misunderstood your meaning.
In the event that another 'case' arises in which 'the mainstream are actively debating dissidents', would you agree that 'rethinkers' can 'access' the 'absolute truth' about 'HIV' by reading the Perth Group's corpus, and learning from it that 'to prove the existence of a virus, it is necessary to purify the particles and to show that they have unique RNA' and that 'To date, no "HIV" experts including Montagnier and Gallo, have proof of purification and admit that there is no unique RNA'.
Or is this not the 'absolute truth'?
If you agree that it is the 'absolute truth', and you've repeatedly said as much, why in the last 'case' that you were involved in did you 'give to the "HIV" experts that which they admit they do not have and debate with half-truths', in fact the absolute untruth that 'HIV' exists but is harmless.
Like a toothless vampire.
Without any evidence for this.
As the Perth Group asked you several years ago, 'how can the movement achieve its goal when the leader is either unable or unwilling to answer such crucial questions?'
After seemingly honestly undertaking to answer them.
Yours sincerely
Anthony Brink
Eugene Semon then chimed in and the Perth Group responded on 8 July 2012:
Dear Eugene,
Here we respond to your first and last paragraph (italics). For the benefit of those in your cc list, as well as ours, please elaborate on the data in other paragraphs and we will likewise respond.
On the notion of debating with "half truths", as Brink accuses, we need to set the record straight.
One thing that's frustrated me from the time of the "soft spots" exchange is this notion of Standards of isolation/purification promulgated by Pasteur Institute in 1973. This doesn't even rise to the level of a "half truth." The other side's HIV expert (Coon) pointed out about ten years ago that this idea is flat out wrong. He is correct and I've written extensively on this - why I've broken it off with Brink - that it's not just Peter who should rethink his position.
What in your view "does not even rise to the level of a 'half truth'" is the truth for most microbiology and "HIV" experts including Gallo, Montagnier, Gluschankof and Bess (see In a Nutshell at the end of our commentary on The ENV?). In fact to prove the existence of HIV both Montagnier and Gallo used the "Standards of isolation/purification promulgated by Pasteur Institute in 1973". They only forgot to publish an EM of the "purified" virus particles.
Additionally, in "soft spots" exchange, I pointed out re "unique RNA": there's the 1.22 - 1.24 band. Lots of evidence retroid RNA - that's researcher Marcella McClure's term - can show up from human cells according to both R Garry (Type A particle* not infectious) and Spiegelman (70's research referenced 4 years ago). I was kicked down by PG as many may recall and I did respond as many should recall. Claus was supportive of that response as well. [*or exosome w/ERV genes, etc]
So what came next, what really stuck in my craw? When Henry Bauer asked the "origin of HIV DNA" question at hivaidsparadigm? It was the PG response to my answer to Henry. Kicked down for daring to read papers that PG was apparently unfamiliar with. I did respond (many here included in cc) with appropriate references and an invitation to tear my argument apart. No such rebuttal ever took place and here we are.
Thus, isn't it now time to just proceed in good faith with one and all and deal with what I've previously described? Does the "unique RNA" exist? PG seems to say no because it was not obtained by Gallo from 1.16 band. This is technically correct. But if one reads the Gallo et al papers AFTER the famous four of 1984 up to the sequencing in Jan 1985 in Nature, it's clear that Gallo never claims (in those papers) that HTLV-III nucleic acids were obtained from 1.16 band. And Brian Foley actually pointed this out to PG in the BMJ debate.
That was the worst moment for PG IMO: telling me at hivaidsparadigm that Brian Foley agreed with them.
The absolute truth is that from the very beginning we have mentioned and still do that the answer to the question "Does the "unique ["HIV"] RNA" exist" is no. But it is equally true we never said this is because "it was not obtained by Gallo from the 1.16 band". To the contrary. Maybe the best way to respond to this paragraph is to quote from one of our responses to Brian Foley in the BMJ debate, 18 July 2003.
"Let us remind Brian Foley how the first and still some of the best known "HIV" clones (pLAV13; pLAV75; pLAV82; λHXB-2; λHXB-3; λHXB-5; λHXB-8 and λHXB-10) were obtained. (1) (2) (3) (4) All were obtained in a similar way.
"To clone the HIV genome, we isolated unintegrated viral DNA [in fact, all the extra-chromosomal DNA present in the cells or in other cases the DNA present in cells] after acute infection of H9 cells with concentrated HTLV-III [after culturing the H9 cells with supernatant from co-cultures containing tissues derived from AIDS patients] and cloned this DNA into a λ phage library to be screened with viral cDNA…extra-chromosomal DNA was extracted according to a procedure of Hirt and assayed for its content of unintegrated viral DNA using HTLV-III cDNA as a probe. The synthesis of this cDNA was primed with oligo(dT) and reverse-transcribed from poly(A)-containing RNA of virions that had been banded twice on sucrose density gradients". (3) In other words:
(i) Montagnier and Gallo obtained the "HIV" genome by "purifying" the "virus" in sucrose density gradients; [in Gallo's case by repeating it twice];
(ii) The poly(A)-RNA which banded at the density of 1.16g/ml, (the "purified" virus) was defined as "HIV" genome. All the "HIV" clones derived from this poly(A)-RNA.
(i) Neither Montagnier nor Gallo published electron micrographic proof of purification. Furthermore, according to Montagnier neither he nor Gallo has purified HIV, as we have repeatedly stated. The only electron micrographs published to date are those of Bess et al (5) and Gluschankof et al (6). Although they spared no effort their "purified" HIV consisted mainly of cellular fragments and some particles which they called "HIV" but not one of which had all the morphological characteristics attributed to it;"
(Ref. 3 is Hahn et al (Gallo): Characterisation of the HTLV-III virus associated with AIDS. Nature 1984; 312:166-169)
Can you please tell us: (i) where in the long BMJ debate "Brian Foley actually pointed" to PG that Gallo never claimed to have obtained the "HIV" genome from the 1.16 band; (ii) if not from the banded, "purified" virus, where did Gallo obtain his "HIV" genome?
Please give us a method by which one can obtain the genome of a new, unique retrovirus, without obtaining it from virus particles.


text: Card Club (last few projects of 2013) January 8, 2014 The last quarter of 2013 proved to be hard for me to blog. Here are some of the October - December card club projects. Many of these projects were cased or taken from Jill Olsen's St. George event. Anything I pinned to my pinterest board was my own concept. It seems I am missing a handful of cards that I'll need to borrow from someone in the group in order to photograph. Email me if you need details on supplies used or technique questions.


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This compact wallet features a press stud and zip closure. Plus, TEN card slots. Very handy indeed. Measurements: 8,5 x 11,5 cm.
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Last Tuesday I had the opportunity to join Laura Andrews' "Flying Ringlet" class at Das Perlament in Bonn (Thank you so much, Petra and Laura!) I had a blast and the project is so much fun to make! Meanwhile I finished my ringlets and came back to Petra's idea to make a long, a really loooong necklace. Ok, I am 6 feet tall, so I can wear this :-)
Ok, some close-ups! Ringlets...
... and more ringlets...
... und gebastelt hab ich auch! Mit Ketten, Satinbändern und Kleber. Jawohlja, Kleber!
... and I made some braids with satin cords and chains. And glue! Yes, I used G.L.U.E.!
And some more ringlets!
Laura und ihre Nichte Sarah hatten sogar noch einen Sack Mitbringsel für mich. Total lieb, oder?
Laura and her niece Sarah even had some very lovely presents for me. You are so sweet!! And Laura, when I read the message, you had me in tears, my dear friend!


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Lord Baltimore Cake
Use this recipe to make our Lord Baltimore Wedding Cake. For batter amounts for pans, see under ingredients; this recipe can be doubled. You will need to fill and bake two of each size of pan for tiers. Split cakes in half horizontally; trim layers to be one and a quarter inches high. You will need three layers of each size; reserve extras for another use.
- Yield: Makes 5 cups batter
Photography: Dana Gallagher
Source: Martha Stewart Weddings, Summer 2004
- 12 tablespoons (1 1/2 sticks) unsalted butter, softened, plus more for pans
- 3 cups all-purpose flour, plus more for dusting
- 6 large egg yolks
- 1 cup milk
- 2 1/2 teaspoons pure vanilla extract
- 1 tablespoon plus 1 teaspoon baking powder
- 3/4 teaspoon salt
- 1 1/2 cups sugar
- Batter for each 3-inch-deep pan: 6-inch, 2 1/2 cups; 10-inch, 5 cups
Preheat oven to 350 degrees. Butter pans; line with parchment paper. Butter lining; dust with flour, tapping out excess. Set aside.
Lightly beat egg yolks, milk, and vanilla in a medium bowl; set aside. Whisk together flour, baking powder, and salt in a medium bowl; set aside.
Mix butter and sugar on medium speed in the bowl of an electric mixer fitted with the whisk until pale and fluffy. Add the flour mixture in three batches, alternating with the milk mixture and beginning and ending with the flour, mixing well after each addition and scraping down sides of bowl as needed. Do not over-mix.
Pour batter into prepared pans. Bake until cakes are pale golden and a tester inserted in centers comes out clean, 25 to 30 minutes. Let cakes cool completely in pans on wire racks.


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Standing below this incredible installation sculpture at Rice Gallery will make you feel like you're standing under a dome of a thousand broken rainbows or bubbles. Though chain-link fences are something usually hidden, Soo Sunny Park imagined a reality that puts the wire structure on display.
Made up of 37 sections of fence, Park's structure is suspended above the gallery in graceful arches and waves with lovely translucent sections of Plexiglas to catch and refract the light.
The little scales of Plexiglas interact with the light at different times during the day depending on the quality of light, so be sure to to visit twice.


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1970 Dalesman Puch 125 MX and 125E road test/
"If you're in the right frame of mind, these long wheelbase dirt racers could be uncut gems..."
Original road tests of classic and vintage motorcycles, all here online instead of packed in stuffy boxes in your garage or basement.
The largest library of vintage motorcycle road tests online. Plus some cool stuff in the store.


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We love coffee.
Paramour Coffee is a specialty coffee roasting company 25 years in the making. We are a small family business built on hard work, perseverance, and above all, a profound love of coffee.
Owner Jim Hovind trained under the legendary Sal Bonavita and Alfred Peet, founder of Peet's Coffee. Paramour Coffee is a tribute to these masters. To this day, Sal continues to be a trusted mentor and friend. Alfred passed several years ago, but the question, "What would Alfred think?" comes up on a daily basis.
Our mission is to make gourmet coffee accessible. No pretense or snobbery; just good coffee roasted the way it's meant to be. We hope you love your coffee as much as we revel in its creation.
Feedback welcome
Your feedback is important as we strive to continually improve our products and service. Please contact us with any comments, questions or concerns.
What others are saying
Paramour Coffee was featured in the December 2012 Winter Issue of Manhattan Magazine.
Story by Lou Ann Thomas. Photography by Cathy Mores.
Click here to view a pdf of the whole article.
Love your coffee
What is coffee? Owners Jim and Laura Hovind explain what coffee means to them and how being a specialty coffee roaster is a labor of love, and artform and a way to ease yourself in the morning. Watch the Video


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Email me for more info. My work is always available at Basic Space Gallery, Portland, OR • www.basicspacegallery.com and Art on Broadway, Beaverton, OR • www.artonbroadway.net
|Dianne Jean Erickson Artist
I am a member of the International Encaustic Artists organization. If you would like to learn more about this artistic group and the use of encaustic medium, use the link below.


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Maletis Beverage invites you to GET IONIZED!
We are committed to bringing you the highest quality products, and that is why we are proud to present Essentia. Essentia surpasses other water in quality, taste, and purity. It hydrates better because it is full of electrolytes and ions, purified to achieve an unbeatably clean and smooth taste. There is a reason our water is #1 in ionized alkaline water.
Drink Essentia and get your ions on!


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All our events at The Attic & Co. are specifically crafted with our community in mind.
We host holistic community meetings designed to give artists a space to relax and recharge (…perhaps with a cup of tea in a blanket fort), as well as potlucks and creative work shares.
We also offer events to showcase and support the artists that we work with, including curated talks and discussions, staged readings and performances, and networking opportunities (that aren't horrible!?).
We love welcoming new community members to The Attic, so come along to one of our events and find out what we're all about!
If you have an idea for an event then please reach out to us through the Contact page – we're always looking for new ideas!


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Athens Classical Marathon Package
- This package includes:
- Accommodation (minimum 2 nights stay is required)
- Complimentary Pasta buffet dinner specially designed for athletes (served on Saturday evening in our sister property Herodion Hotel that is located only 100m from Philippos Hotel)
- Nutritious daily Pre-Marathon buffet breakfast
- Free meditation treatment
- Special therapeutic Marathon massage (on request at extra charge). Early booking discount 10% will be offered in you book your appointment by 6th of November 2019.
- Special Marathon materials ( e.g. Maps, Weather updates, information on suggested training tours around the hotel)
- Free Wi-fi
- Complimentary late check-out until 16.00 upon availability
- City tax & V.A.T.
- Stay period: from 7 to 11 November 2019
- Minimum stay two (2) nights required
- Accommodation Tax of 1,50 euro per room, per night is not included and is payable on the spot
- The package requires full-prepayment at the booking time and it is not refundable in case of cancellation
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ARLINGTON, Texas -- On an 80-degree May evening here, he's the only Texas Ranger wearing knee-high blue socks in old-school fashion, tucked into (rather than hidden beneath) the standard white pants. His shaggy brown hair sticks out in pieces under his baseball cap and his scruffy five-o'-clock shadow is barely visible. With his average height (6 feet), average build (200 pounds) and boyish features, he looks like he could blend into most crowds.
But then Ian Kinsler begins to play: diving to stop balls hit between first and second base on defense; leaping to grab a catcher's high throw and then pivoting around to thwart his opponent's attempt at stealing second. His fluid motions look effortless, acrobatic, yet each is precisely calculated.
Standing at the plate, his knees crouched, bat at the ready behind his shoulder, he waits, focusing on which ball he'll drive to center field for a base hit or down the right-field line for a running double. Earlier in his career, the 26-year-old says he didn't know how to use his legs when hitting; instead, he'd "swing as hard as I could at anything." Not anymore, as evidenced by his stat line: Through June 2, he's hitting .277 and ranks in the top 20 MLB hitters in at-bats, runs (T-14th), home runs (T-12th) and RBIs (T-16th).
His path to the majors wasn't as arduous as some; rather, Kinsler says, his high school and college teams were the tougher test. "I always knew I'd get a chance and get drafted, but I basically had to prove myself to put myself on the map," he says. "I think that almost worked to my benefit, flying under the radar a little bit."
Kinsler's Canyon del Oro High School team in Tucson, Ariz., looked more like a pro roster, stacked with four current major leaguers (besides Kinsler): Kinsler's best friend Brian Anderson (White Sox), Scott Hairston (Padres), Chris Duncan (Cardinals), as well as Shelly Duncan and Ryan Schroyer. Kinsler was drafted in the 29th round, behind his teammates, but didn't feel ready for the pros. Because he hadn't been recruited by any D-1 programs, he headed to junior college at Central Arizona and played for a year before being drafted, again in the mid-20 rounds. "I still felt like I wasn't ready or mature enough to play every day at the big league level, and I needed to play college baseball a little longer," Kinsler says.
He transferred to Arizona State University (where Dustin Pedroia was a teammate) for the spring semester, but played poorly in his first 10 games. He was benched for the rest of the season. "That was the toughest time in my baseball life," Kinsler says. "Sitting on the bench isn't fun, and I'd never had to do it before. It was tough to jell with my teammates, too, who'd been playing together that whole year."
He talked through most of his decisions with his father, Howard, a former prison warden. Howard had coached Ian in his younger years, and following Ian's dismal spring, the two agreed that transferring might be his best option. He moved again, this time to the University of Missouri for his junior year.
Kinsler hit .335 for Missouri and was drafted in the 17th round by the Rangers in 2003. After his first year in the minors, "I was probably 170 pounds and I decided I needed to lift, put on some weight, and eat as much as I could," he says. "And I learned how to hit."
His work made the minors a quicker and easier road: He had a breakout year at shortstop in 2004, splitting the season between A and Double-A and hitting so well (20 HRs) he was named the Rangers' minor league player of the year.
If you play baseball your whole life and believe you're better than everyone else you play, that can continue.
-- Ian Kinsler
Kinsler spent 2005 in Triple-A, transitioning from shortstop to second base, hitting .274 with 23 home runs. And then, in spring training 2006, he won the Rangers' starting job at second. He debuted April 5 against Curt Schilling and the Red Sox and finished 2006 with a .286 batting average and 14 home runs. Defensively, he led all AL second basemen in errors with 18.
In 2007, Kinsler led all AL second basemen with 20 home runs and was 23-2 in stolen base attempts, one of only 6 batters in the AL to have at least 20 home runs and 20 stolen bases. Before the 2008 season's start, he signed a five-year deal worth $22 million guaranteed, which will jump to $32 million if the Rangers exercise an option for 2013. "It's a lot of money," Kinsler said at the time. "I've never imagined being in this position in my life."
He moved to the Rangers' leadoff spot in 2008 and was voted to the MLB All-Star team. Kinsler dominated the statistics through late July, leading the AL in batting average, runs, hits, total bases, at-bats and plate appearances. Many fans and even reporters believed that, had he not suffered a sports hernia that took him out for the rest of the season, he would have been voted the AL MVP over his former college teammate.
Given how he's started 2009, Kinsler might have that chance again. Those errors he tallied almost once every seven games early in his career? Out of 50 games thus far, he's had only four.
Kinsler is laid-back, funny and straightforward. In a recent nationally televised game, announcers compared him to baseball legend Rickey Henderson. Whether he'll live that out remains to be seen, but he believes in his ability to prove any naysayers wrong. "If you play baseball your whole life and believe you're better than everyone else you play, that can continue," Kinsler says.
Even if that means logging some "under-the-radar" time.
Anna Katherine Clemmons is a reporter for ESPN The Magazine.


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6913 Colony Dr
Madison, WI 53713
Contact: Scott Monsma
Cell: 608.556.1344
Email: email@example.com
Website: www.cellularatomics.com
Services Provided
- Federal R & D grant development (SBIR/STTR)
Industry Experience
- Biotechnology
- Life Sciences
Company Description
Providing SBIR conceptualization, authoring, editing and assistance. Also well versed in scientific visualization and preparation of compelling illustrations and graphics.
Areas of Expertise
Stem cells- mesenchymal and pluripotent Directed differentiation Cell culture Hepatocytes Protein expression Insect development and pathology Baculovirus


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Cover-All Describes Partnership with IBM
Cover-All Technologies Inc. (NYSE: COVR) today announced details of a relationship with Armonk, NY based IBM as an OEM partner for their IBM (NYSE: IBM) Cognos Business Intelligence technology.
As part of the agreement, Cover-All embeds certain IBM Cognos software capabilities into their NexGen Business Intelligence Suite while at the same time, offering these capabilities as part of a single license and support relationship through Cover-All's NexGen Business Intelligence Suite, at a competitive price point.
"Early on, we recognized IBM's leadership position and vast capabilities within the Business Intelligence tools marketplace," commented Manish Shah, President and CTO of Cover-All. "Merging their revolutionary technology and ours, complemented by our domain expertise within Property & Casualty, we've developed not just a new product, but a whole new way of thinking about Insurance Business Performance Management."
Cover-All's NexGen Business Intelligence Suite includes a complete technology set from the extraction of data from any core system, through an industrial strength middle-tier designed specifically for global insurance applications. Finally, rich data visualization is accomplished through via a comprehensive set of predefined yet highly configurable dashboards, scorecards, KPIs and reports.
"Top performing organizations are 5.4 times more likely to use an analytic approach over intuition. With Cover-All's inclusion of IBM's leading analytic capabilities they can now help clients gain actionable insights to drive their business," says Craig Bedell, World Wide Insurance Industry Executive for IBM Business Analytics Software.
"The power of our domain rich capabilities, matched with IBM's industry-leading data-analysis and visualization technology, makes for a truly differentiated product suite," continued Mr. Shah. "But the revolutionary aspect of this product lies within the inherent flexibility afforded to the business user. We've put an extraordinary amount of configurability in the users' hands, allowing them to build their own views based on information that's relevant to them. Further, our product-oriented approach allows us to deliver these capabilities much faster than traditionally seen in these types of projects."
© 2019 Benzinga.com. Benzinga does not provide investment advice. All rights reserved.


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Eastern Shore of Virginia Wedding Photography
Four Seasons DC Wedding
A lovely garden rose bouquet by Isha Foss Events
Spring flowers in Norfolk Virginia
Norfolk Women's Club Wedding
Lush Virginia Beach Wedding Photography by eleise theuer
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World-Trade-Center-Norfolk-Wedding-PhotographerSparkly wedding exit at the World Trade Center in Norfolk Virgina photographed by Eleise Theuer.
beautiful-wedding-cake-in-Norfolk-Virginia-Eleise-Theuergorgeous fig wedding cake in Norfolk Virginia, Eleise Theuer Photography Virginia Beach Wedding Photographer
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norfolk-virginia-wedding-photographyA gorgeous cake topper at Tine and Eddie's Eastern Shore WEdding in Virginia features a deer couple and bright orange lights on a cool naked cake
Eastern Shore of Virginia Wedding PhotographyTine and Eddie yuck it up wearing horse heads on their wedding day. Photographed by Virginia Beach Wedding Photographer Eleise Theuer.
Four Seasons DC WeddingRomantic wedding image at the Four Seasons DC by Eleise Theuer
darling-flower-girl-richmond-virginia-weddingabsolutely darling little flower girl at a park wedding in Richmond Virginia
A lovely garden rose bouquet by Isha Foss EventsThis gorgeous wedding bouquet was created by Isha Foss Events and photographed by wedding photographer Eleise Theuer, Virginia Wedding Photography
Spring flowers in Norfolk VirginiaGomphrena photographed by Eleise Theuer, Spring Flower lover and Virginia Beach Wedding photographer
fluffy-white-maltipoo-in-norfolk-virigniaa lovely little maltipoo photographed by eleise theuer photography in norfolk virginia. kim wadsworth puppy.
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Norfolk Women's Club Wedding
Keswick-Hall-Wedding-First-Dancelovely, romantic wedding at Keswick Hall in Charlottesville Virginia with a fun first dance with a glowing bride. Charlottesville Wedding Photography by Eleise Theuer.
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Jane-Austen-Wedding-in-AshevilleA gorgeous regency wedding in Asheville NC. Top hat wedding and neck cloth wedding. Regency Wedding. Gorgeous Contemporary Regency Jane Austen Wedding photographed by Eleise Theuer.
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Norfolk-Virginia-Portrait-PhotographerThis little girl with a yellow bow was photographed in Norfolk Virginia by portrait photographer Eleise Theuer, Norfolk's absolute premiere children and family photographer.
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Last May, I was an observer at the John Duffy Composer's Institute, sponsored by the Virginia Arts Festival, which serves the cluster of towns at the mouth of the Chesapeake Bay, home also to the world's largest naval base. Norfolk, where the Institute convenes - courtesy of Old Dominion University, enjoyed an operatic renascence some twenty years ago when the Scottish composer Thea Musgrave married the conductor of the Norfolk Opera, Peter Mark; and four of her operas were created here. Today, the Virginia Arts Festival, a separate entity, headed by director Robert Cross, has taken over the sponsorship and espousal of the new, by investigating process rather than promoting a completed product. The five-year old John Duffy Institute is a two-week residential course tailored to the needs of aspiring opera composers. Five scenes from works-in-progress are rehearsed and examined by professionals experienced in creating the new, including director Rhoda Levine, baritone and voice coach Patrick Mason and conductor Alan Johnson; in addition masterclasses were held by visiting composers Libby Larsen and Charles Wuorinen.
The octogenarian composer John Duffy, founder and president (1974-1995) of Meet the Composer, an organization dedicated to the creation, performance, and recording of new American music, which has initiated countless programs to aid American composers, is a central figure in American musical life. Take a look at the Institute's guest book and you will find composers Mark Adamo, Robert Ashley, William Bolcom, John Corigliano, Anthony Davis, John Harbison, Lee Hoiby and Tania Leon, jazz great Billy Taylor, and lyricist Sheldon Harnick. John Duffy, a prolific composer in his own right, writes operas on intriguing subjects: Edward Kennedy and the Chappaquiddick incident in Black Water (1998), and he is now at work on a life of Muhammad Ali. He maintains that composer training is weighted so heavily to manipulating pitches and instrumental know-how, that writing for voices, and dramatic timing are not addressed, and evidence of this can be found in some very high-profile and lauded new work. However, Duffy is, refreshingly, without a stylistic agenda, evinced by visiting composers Larsen and Wuorinen, who are poles apart in terms of musical language, as well as by the five diverse participants. Their operas-in-progress covered many early 21st century trends. There was a version of Calvino's Invisible Cities, by Yale graduate Christopher Cerrone, with minimalist musico- dramatic roots. Then came a dramatized setting of Shakespeare's Venus and Adonis by Zachary Wadsworth, already a recognized as an neo-romantic art-song writer in his mid- twenties. Wu Kong - Chinese born American based Zhou Juan's modernist take on Monkey – Journey to the West, challenged western- trained singers and coaches to assimilate Mandarin and some traditional Chinese opera techniques. Edith Stein, by John Tarbet, a late-starter composer but experienced as a musical director on shows, is a serious musical in Sondheim/ Guettel mode, based on the life story of a Carmelite nun who died at Auschwitz; then came two direct and compact retellings of Aesop fables, The Fox and the Hen, and The Fox and the Grapes by Stony Brook professor Peter Winkler – with libretti by veteran director Rhoda Levine.
During rehearsals, the nitty-gritty of technical know-how was to the fore, resulting in last minute rewrites. While no one can expect 100% audibility of words in opera, singers demonstrated from which vocal register words can 'ping'. Rhoda Levine showed how to highlight a crucial piece of plot information in a scene, giving many examples of how a tiny miscalculation or crucial inaudible word can switch an audience off. Not that there was an erring towards safety and conventionality: Patrick Mason examined extended vocal techniques, and Levine encouraged Zhou Juan to direct her own scenes, demonstrating that composing a score is just part of a process that reaches fruition on opening night. Such technical minutiae brought home to all composers present the responsibility of writing pitches that can articulate, rather than hinder, a vision. In essence, an opera score is not a finished article that is then handed on as a problem for others to solve.
The visiting composers witnessed rehearsals, and gave the five participants individual follow up. Libby Larsen, a self-styled 'composer-citizen' with many operas under her belt, shared her experiences of being commissioned, obtaining rights for in-copyright literary sources, negotiating fees, even running marathons (she is a champion) for companies who have commissioned her. She stated that 'Music of any culture comes from the language the people speak, both their verbal language and their body language. That's really what makes Italian opera sound Italian and French opera sound French. American English produces its own music in the rhythms and the shapes of the melodies'. In her work, familiar musical idioms, such as jazz songs framing the acts of her setting of William Inge's Pulitzer prize winning play Picnic (2009), or bar-room music in Every Man Jack (2006), a vehicle for the histrionic talents of Rod Gilfrey, based on the last days of writer Jack London, generate the musical material within, intentionally easing the listener into a known musical environment and then taking them by the hand into unfamiliar terrain.
Nothing like this can be found in the work of Charles Wuorinen, an unashamed elitist, tales of whose intimidating intellect cast an expectant chill over proceedings. It was an inspired choice to have two visitors to the Institute so apparently at odds. Statements such as 'Most middle-American opera is neo-tonal doo-doo' were calculated to provoke debate, as was his high-handed dismissal of all popular music. For one whose musical language is rooted in the rigors of late (serial) Stravinsky, Babbitt and Carter, his own choice of opera subjects are populist: Haroun and the Sea of Stories (2004), and Brokeback Mountain. It is rare for a creator to be so open about the vicissitudes of a work-in-progress, and instructive for the wannabe opera creators present. Commissioned by the New York City Opera on Mortier's watch, though unfinished and as yet unheard, it has provoked controversy online - Google it and you'll see. It will not be a retreat from Wuorinen's uncompromising musical language - no I fanciulli del West this, with cowpoke songs. In fact, Wuorinen proved persuasive when questioned why he would want to clothe these buttoned-up ranch hands with his brand of music. For Wuorinen, setting words to music is like pinning a butterfly to a card; it destroys them and so one must digest words in advance of their musical setting. Which is problematic for theatrical immediacy, one would have thought.
The technical sessions were the bread and butter of the two-week Duffy Institute. It is virtually impossible for an aspiring opera composer to learn on the job. Opera conductors can start as rehearsal pianists, but an entry-level composer slot in an opera house is essentially without function, as opera seasons bask almost exclusively in the past. For all the subsequent discussion of what is/might be/should/ should not be a new aesthetic for opera, it was this emphasis on practicalities that proved the most enduring. The performers illustrated a distressing number of new works, from establishment to fringe, that are deficient in basic operatic craft. It is not rocket-science, it can be achieved by watching and listening acutely. Conceiving something carelessly, egotistically maybe, is not a badge of individuality or modernism. Even Wagner, egoist über alles who transformed opera almost more than any other, recognized this in his apprenticeship, conducting, and learning tricks from the commercial Italian bel-canto tradition. It's not surprising that composers have a rush of blood to the head when they finally achieve a commission or production, as they still get top billing. This is a peculiarity in the field of contemporary audio-visual entertainment, where credits are more evenly attributed. Modern dance has a far more catholic repertoire of music – true, it can be used in a cavalier fashion - yet many fine composers work in, or lend their work to, the field, but with much less fanfare than if they were to produce an opera. They do not front or dominate what is a collaborative process. But we are used to identifying operas solely by composer, and this casts an oppressive shadow and heightens expectations.
Maybe opera houses are to blame, and should simply be cordoned off to new work, functioning solely as museums. The film-director, Paul Schrader, wrote in the Guardian last June:
Movies were the art-form of the 20th century. The traditional concept of movies, a projected image in a dark room of viewers, feels increasingly old. I don't know what the future of audio-visual entertainment will be, but I don't think it will be what we used to call movies. Narrative will mutate and endure. Audio-visual entertainment is changing and narrative will change with it.
So, if the dominant twentieth century art form, film, is being written off, what chance for opera, which climaxed the century before? Why would people still congregate in large spaces for entertainment, when there are so many more options right at home? The Italian opera tradition, long perceived as central, crumpled quickly in the early twentieth century with the advent of film. Opera isn't quite dead yet, but it is a minority pursuit – like jazz, or Morris-Dancing. Rather, in popular culture, opera has come to symbolize certain things: quality, exclusivity (in advertising), decadence or the bizarre. Alan Ball, writer and director of that astonishing TV phenomenon Six Feet Under and the current HBO vampire saga sensation, True Blood, distanced himself from current media vampire saturation, by stating that there would not be a hint of opera on the soundtrack, by now a clichéd shortcut to denote decadence. As for new operas, in terms of cultural awareness, they are simply off the roadmap. Several times, I have been asked by literate, cultured people, if new operas are written in Italian, or if I mean Phantom of the Opera. In terms of media awareness, the opera that in 2009 has claimed the most attention so far is talented singer-songwriter Rufus Wainwright's first attempt at the genre: Prima Donna. It could have benefitted from two weeks in Virginia. Critical disagreement between opera aficionados and Rufus groupies, new to the form, and much more welcoming of the work, has been instructive. Are the conventions of opera now so alien, that they require immersion and historical context to be comprehensible to a newcomer?
At the last gasp of English National Opera's Contemporary Opera Studio, a series of seminars held in 2005, a prominent director summed up the difference of approach to new work on either sides of the Atlantic as follows: in America they look for the new Puccini, and here in Europe the new Wagner. Thus, an advocate for the most challenging of new work resorted to historical exemplars one-hundred years old and more. You don't see today's hot film directors referring to D.W.Griffith as a benchmark, or 21st century composers of musicals invoking Show Boat. In most art forms there has been a paradigm shift. Why, in opera, is new work so often compared to what came long before it?
While the pages of Opera bear witness to a multitude of new work around the world, in Virginia it was discussed just how few new pieces get revived, or travel. In particular, many works from Europe, heralded and lauded in the press, were known only by recording or by repute in the USA. The recent DVD release of Birtwistle's The Minotaur was a revelation, as none of his large-scale operas have ever been staged in the USA. Conversely, the American operas that garner many productions within the USA, which in a less subsidized environment pay court to audiences, do not play well in the UK or Europe, where critics tend to be dismissive. Thus Mark Adamo's Little Women (1998), which has received over sixty productions, mainly in America, but also Israel, Mexico, Australia and Japan, has only this year debuted in Europe, at the Bruges Festival. Jake Heggie's Dead Man Walking (2000) has made more inroads into Europe, but has not yet been staged in the UK. However the prevailing opinion at the composer group at the Duffy Institute was that many American 'audience friendly' operas were eclectic to a fault, pushing Puccini's assimilation of external musical elements to add atmosphere to an extreme, in the manner of a sophisticated film score, but lacking the robust individuality required to mint all the elements as the work of one author. The American operas that do travel tend to be from the minimalist aesthetic, with arguably the most identifiable musical style, in fact defining the zeitgeist. Witness how Philip Glass's language has transcended cultural borders in advertising, technology and so on, and how the very different style of Steve Reich has jumped the so-called 'classical-popular' divide, finding its way into remixes for club use. Interestingly, such works do not necessarily harness the apparatus of the opera house. Though the epoch-making Einstein on the Beach debuted at the Metropolitan Opera House, it did not use the orchestra. Theatrically it rejects a psychological approach. The drama is emblematic, at a remove, with events depicted rather than lived through, akin to a son et lumiere in a stately home. The music is dehumanized, and often alien to those who are drawn to traditional opera because of its emotional voltage. On the other hand, with a more neutral and stately dramatic approach, the sensory overload of new opera, with unfamiliar musical, textual and visual information to process, can be mitigated. Rapprochements with grand scale opera do occur, and the style is morphing, notably in John Adams, whose Nixon in China favours a more traditional dramatic approach; but as his music has renounced the tenets of minimalism, his dramas have become less theatrical and more contemplative. Still they travel, and audiences can make their minds up about them in the flesh.
More discussion centred on the phenomenon of the trained operatic voice, especially delivering colloquial English text. Singers can be obsessed with purity of vowel that in English, or American English irons out regional accent and status, thus making all classes of characters sound 'posh'. Is it that prosody and singing style in new opera sounds, stilted and - dare one say it – insufferably middle-class?
The Duffy Institute is one of several oases for operatic craft dotted around the world. Elsewhere, American Opera Projects organizes showings of operas-in-progress and has a website which accepts submissions from composers. But otherwise, the situation is grim, in the UK, ENO's studio is no more, and the Performing Arts Labs, that focused on opera/music theatre from 1991/9 has moved on to art forms that are more experimental with less perceived elitist baggage. It is left to precariously funded small companies to develop new work, though a chance to write a fifteen minute miniature, does not constitute a thorough training in operatic craft. And, since the beginning of the twentieth century, a whole corpus of beguiling small scale new work has emerged that cannot be assimilated into a large-scale opera house. One can think of a couple of energetic, iconoclastic chamber opera debuts that have been followed up with works for a big house of a much more conventional cut, as if all freshness and experiment had been inhibited by dealings with the Heath-Robinson panoply of the nineteenth century opera house, weighed down with outworn traditions.
Certainly, it was an eclectic and articulate bunch that convened under the masterful eye of John Duffy in Virginia – could they be the latest crop of Don Quixote's tilting at windmills, or through them, and those like them, can opera divest itself of its paralyzing baggage, and be on the verge of something new?
© Julian Grant 2009. This article appeared in OPERA Magazine's 60th Birthday Issue - February 2010


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Two photographs from my Grain series were included in the February 2015 B&W group exhibition at
I was pleased to have one of my works from the Connotations series included in this show.
The purpose of the Snowden Memorial Exhibition is to recognize the diversity and achievement of artists whose work shows creativity of concept, excellence of design and expertise of media; to display these works to regional audiences and to be an educational opportunity for students.
I am showing my Connotations series work at Coldstream Fine Art. The show runs from July 19 - August 11, 2018
I have two pieces in the 2018 SNAP! Photo competition collection this year: 'Beach Motel 53 55 57' and 'Seed Plant' . This is always such a great classy event and I'm always honored to be included in such a great group of talented photographers.
Lawrence Avenue apartments was awarded the Architecture and Urban Photography Award at the 2017 RMG Exposed event at the Robert McLaughlin gallery in Oshawa. This is the third year in a row that I have received this award.
The triptych image below titled 'Beach Motel 53 55 57' was selected along with a second submission for this years edition of the RMG Exposed fundraiser. Shortly after photographing this motel on the Etobicoke Motel strip the building was demolished to make way for a high rise condo tower that now takes up the site.
I was happy to have two pieces in this years group show. On April 19, 2017 I had a chance to see the show, listen to a juror discuss the selection process and hear some of the artists speak about their work.
Two photographs from my Grain series were included in the February 2015 B&W group exhibition at


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Council of Canadian Academies Report - Improving Medicines for Children in Canada
CAPHC is proud to share with you the most recent report from the Council of Canadian Academies, Improving Medicines for Children in Canada.
We are very fortunate to be welcoming the report's primary author Dr. Stuart MacLeod as a speaker at the upcoming Canadian Child and Youth Health Coalition's Annual Symposium on Sunday, October 19th. The symposium will take place in conjunction with CAPHC's Annual Conference, October 19 - 21, 2014, in Calgary, Alberta http://conference.caphc.org/ccyhc/
Dr. MacLeod will be addressing this very important report and its findings at this symposium entitled: "Solutions towards safe and effective treatment for Canadian children".
The Council of Canadian Academies' report focuses on the ethical development of safe and effective medicines for children; examines gaps in the current state of knowledge regarding the relationships among clinical pharmacology, human development, and pediatric drug investigations; and identifies opportunities for strengthening knowledge of safe and effective pediatric medicines. This in-depth assessment may serve as a tool for informing research programs and policy-making for governments, ministries, and interested researchers. It may also be relevant to a variety of stakeholders concerned with child health and science-based issues of significant public health importance and to individual health care providers.
Full news release HERE.
The report can be found here:
English: http://www.scienceadvice.ca/en/assessments/completed/therapeutic-products.aspx
French: http://www.sciencepourlepublic.ca/fr/assessments/completed/therapeutic-products.aspx
Elaine Orrbine, President & CEO
Canadian Association of Paediatric Health Centres


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Genres: Historical, Romance, Historical Romance, Regency, Young Adult
Pages: 368
Format: eBook
Source: Library
Juliana Telford is not your average nineteenth-century young lady. She's much more interested in researching ladybugs than marriage, fashionable dresses, or dances. So when her father sends her to London for a season, she's determined not to form any attachments. Instead, she plans to secretly publish their research.
Spencer Northam is not the average young gentleman of leisure he appears. He is actually a spy for the War Office, and is more focused on acing his first mission than meeting eligible ladies. Fortunately, Juliana feels the same, and they agree to pretend to fall for each other. Spencer can finally focus, until he is tasked with observing Juliana's traveling companions . . . and Juliana herself.
A decent standalone YA historical romance.
My Thoughts on Love, Lies and Spies
I picked up Love, Lies and Spies after reading a review of it somewhere. It's basically "lite" historical romance, meaning it lacks the same depth to the emotional arcs you find in most historical romances (at least that I like to read). Given that this is a YA historical romance, the lack of depth is a disservice to readers.
Spencer and Juliana both struggle with finding their places within society. Spencer is attempting to be a spy (and not really doing well, if you ask me), and Juliana uses the excuse of a season to go to London to see if she can get hers and her father's research on insects published.
Juliana isn't anything like the typical debutante in her time, and that's a big point in her favor. But other than trying to find a publisher for research, she seemed to spend more time meeting or thinking about Spencer than focusing on her bluestocking tendencies that make her so different. Her family (aunt, uncle, cousin) were an interesting collection of characters that mostly faded in the background unless they were needed.
Spencer seems to be a pretty typical hero of his time, although it's hard to judge without a lot of information about his past. (Which either I missed or there wasn't any.) Despite his thinking that to work for the War Office, he must remain single, he can't help his growing attraction to Juliana.
If you're looking for a standalone YA historical romance (so yes, people, that means it's a clean romance), Love, Lies and Spies is a fun romp that won't pull the angst strings.