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Brussels, 21 October 2011
Galileo will boost economy and make life of citizens easier
A Must have for Europe
"If Europe really wants to be considered as a serious partner by the United States and keep control of essential functions for its economic development, it must demonstrate that it has the willingness and the means to be present in Space. Galileo is a key test case for the European Union in that respect."
Carl Bildt, ex Prime Minister for Sweden, 2001
"Galileo is of strategic importance for the independence of the European Union regarding satellite navigation and will offer a relevant contribution to the implementation of the Europe 2020 strategy for growth. It will significantly contribute to the economic recovery of Europe and address major challenges such as sustainable transport"
Antonio Tajani, European Commission Vice-President, responsible for enterprise and industry policy, 2011
In this memo:
What is Galileo?
Galileo makes life easier for citizen and economy
Example: Improved mobility for elderly
€124 bn market value to increase to €244 bn by 2020
System architecture is based on 30 satellites
What is satellite navigation?
EGNOS the European Geostationary Navigation Overlay Service
What has been achieved until now by the Galileo and EGNOS Programmes?
How much have the Galileo and EGNOS Programmes cost?
How much money is required to complete the two Programmes?
How was it possible to reduce the budgetary request by 500 million?
When will Galileo and EGNOS be operational?
Will Member States be able to use the PRS for military purposes?
History of the Galileo programme
What is Galileo?
Galileo will allow the users to know their exact position in time and space, just like GPS, but with greater precision and reliability. Galileo is the Programme of the European Commission to develop a global satellite navigation system under European civilian control. It will be compatible and, for some of its services, interoperable with the American GPS and Glonass (Russia), but independent from them.
Galileo makes life easier for citizen and economy
Europe needs Galileo to be independent in a sector that has become critical for its economy and for the well-being of its citizens. The positioning and the timing signals provided by satellite navigation systems are used in many areas of the economy, including power grid synchronization, electronic trading and mobile phone networks, effective road, sea and air traffic management, in-car navigation, search and rescue service. Thus, it is estimated that already 6-7% of Europe's GDP, or €800 billion, relies on satellite navigation applications. These are among the strong benefits of Galileo:
Example: Improved mobility for elderly
A company in Graz (Austria) is developing enhanced GPS systems to improve mobility and self determination of the elderly. With the outstanding improvement of the Galileo/GPS signal the elderly can be better guided home for example when get lost in cities. The existing GPS-only receiver chipset will be replaced by an innovative miniaturised GPS/EGNOS/Galileo chipset supporting a tailored acquisition aiding functionality. The chip will be based on a 3-frequency GALILEO/EGNOS/GPS satellite navigation receiver concept. The manager of the company said: "With Galileo Europe becomes independent in using basic GPS applications, which together with Galileo can achieve considerably enhanced applications. These achievements would not have been possible with one single system".
€124 bn market value to increase to €244 bn by 2020
The global annual market for global navigation satellite products and services is currently valued at 124 billion Euros and is expected to grow over the next decade, leading to an estimated market size of €244 billion in 2020.
Like the Internet, a global navigation satellite system is a service enabler rather than a standalone service. It acts as a catalyst for economic activities, leading to the creation of added value and jobs in a wide range of connected sectors (upstream and downstream markets) and at macroeconomic level through socio-economic benefits for society as a whole.
The expected benefits of Galileo and EGNOS can be divided into three main components:
In additional, the technological advances that come about as a result of Research & Development investment in the space industry are transferred to firms in other sectors in the form of 'spill-over' effects. Research by Oxford Economics1 suggests that such spill-over effects are very large, with R&D investment by the aerospace sector generating a social return of around 70% - i.e. every €100 million invested in R&D leads to an increase in GDP of €70 million in the longer term in other sectors (e.g. health and medicine, transport, computer science).
The overall economic impact is estimated to be around 90 billion euro over the next 20 years (source GSA studies Market Monitoring and Forecasting).
System architecture is based on 30 satellites
The system that is being deployed under the Galileo Programme will be composed of 30 satellites in medium Earth orbit on three planes inclined at 56° to the equator at 23 616 km altitude. Ten satellites will be spread evenly around each plane, with each taking about 14 hours to orbit the Earth. Each plane will have one active spare, able to cover for any failed satellite in that plane. A global network of sensor stations will receive information from the Galileo satellites and send that information to control centres located in Europe. The control centres will compute integrity information and synchronise the time signal of the satellites, relaying those information back to the satellites via a global network of about fifteen up-link stations. Finally, the satellites will send the relevant timing and integrity information to the receivers.
What is satellite navigation?
Satellite navigation is based on the principle of triangulation: I can calculate my exact position if I know my exact distance to three points of which the exact position is known. In order to know my exact distance to those three points, the most accurate way is to see how much time it takes to get a signal from those points, knowing that the signal travels at the speed of light (approximately 300.000 kilometres per second).
EGNOS the European Geostationary Navigation Overlay Service
Already since 1st of October 2009 Europeans benefit from improved GPS signals in Europe provided by EGNOS, the European Geostationary Navigation Overlay Service. EGNOS comprises just three satellites including more than 40 ground stations, and acts as an enhancement to the US-based GPS system for safety critical applications in aviation and marine environments. It provides freely available positioning data throughout Europe to any EGNOS-enabled GPS receiver.
Among the ground stations 34 are ranging and integrity monitoring stations (RIMS) receiving signals from the US GPS satellites; there are four mission control centres to handle data processing and differential corrections counting; and there are six navigation land earth stations that manage accuracy and reliability data for sending to the three satellite transponders for relay to end-user devices.
EGNOS is hosted by the European Space Agency, the European Commission and Eurocontrol and is the first pan-European satellite navigation system. Similar services are provided in North America by the Wide Area Augmentation System (WAAS), and in Japan by the Multifunctional Satellite Augmentation System (MSAS).
What has been achieved until now by the Galileo and EGNOS Programmes?
In 2008 the European Commission was charged with the overall management of the Galileo and EGNOS Programme.
The Commission's first priority was to launch the procurement of space and ground segment components required to take the Galileo Programme to full operational capability. Of the six lots tendered, four were attributed in the course of 2010 and the remaining two lots were signed in June 2011 during the Le Bourget fair (IP/11/772, IP/10/1382, IP/10/7) This means there is now a concrete deployment calendar to he first system milestone, initial operational capability, which is due to be achieved in 2014. In parallel, work has continued on the first four operational satellites which are being built under European Space Agency (ESA) auspices; two of which will be launched on 20th October 2011 and a further two in 2012 aboard a Soyuz rocket from Europe's spaceport in French Guiana.
How much have the Galileo and EGNOS Programmes cost?
The definition and validation phase of Galileo over the years 2000 and 2001 was financed by the EU and European Space Agency (ESA) and cost the EU contribution around €80 million (coming from the 5th Research and Development Framework Programme). A similar amount was contributed by ESA.
Total costs of the development phase which was launched in 2003 under the auspices of the ESA is currently around €2400 million, with the EU providing roughly up to two-thirds of the funding.
The deployment phase (so-called FOC phase) is entirely financed by the EU's budget. Of the total €3405 million made available, €560 million were re-attributed to the development and validation phase and around €2400 million are earmarked for the deployment phase of Galileo. €417 million have been set aside for EGNOS.
The total cost of implementing EGNOS to date has been around €1100 million. Of this, more than 400 million were financed by ESA, €200 million came from previous EU financing programmes and €417 million have been made available under the current budget framework.
The annual operating costs of Galileo are in the order of €800 mio per year. The revenue is estimated to be in the order of €80 million per year on average, in constant prices in 2011 (source: the Impact Assessment accompanying the new Regulation proposal).
How much money is required to complete the two Programmes?
EGNOS is now operational and does not need additional budget for completion, over and above what is earmarked in the current budget. With the entry into operations of the Safety-of-Life service, EGNOS will enter the next phase of its life-cycle.
As regards Galileo, costs for the completion of the ground and space infrastructure and for the exploitation of Galileo and EGNOS are estimated at €1bn per year on average over the next two decades without escalation. In the Commission budget proposal from 29 June 2011, a total of €7bn have been proposed for the next financial perspective. A stable, long-term and sustainable governance framework for the exploitation of the Galileo and EGNOS programmes and a transition to it needs to be defined. With this mind, the European Commission will present its proposal on the repeal of Regulation 683/2008 with a new GNSS Regulation at the end of November 2011.
How was it possible to reduce the budgetary request by 500 million?
The Commission's proposal for the EU budget 2014-2020 foresees a budget of € 7000 mio. for the provision of Galileo and EGNOS. This amount is lower than initial estimations, thanks in part to an optimised approach to procurement. It takes into account notably the following factors:
When will Galileo and EGNOS be operational?
Galileo will provide 5 services.
Galileo satellites will be launched in pairs aboard Soyuz rockets from Europe's spaceport in Kourou, French Guyana.
As of end 2012, it is expected that two satellites will be launched every quarter. The use of the Ariane-V rocket, which will be adapted to allow the launching of four satellites simultaneously, is also being considered.
Will Member States be able to use the PRS for military purposes?
History of the Galileo programme
Galileo was born in the nineties when the European Space Agency initiated research and development programmes in that area in partnership with the European Commission and the civil aviation community. For perspective, the first satellite of the GPS system was launched in 1978.
Discussions on a European system started in the late nineties and in 1999 the Council called on the Commission to develop a global system managed by public civil authorities. After the failure of negotiations on a public-private partnership, the Parliament and the Council in 2008 decided to complete the constellation using EU budget.
The Case for Space: The Impact of Space Derived Services and Data (July 2009)
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Gabirich necesitaba un nuevo diseño de otro y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 137 diseños de 30 diseñadores freelance.
We're creating a new design for a pillow that needs to show a screaming face. We'd like something fun as it will fit into a novelty line and should also be appealing and catchy for a first impression
The Brightside Group
I am interested in seeing some fun designs for this pillow which will appeal to audiences aged between 25 and 70.
My original artwork was rather "in your face" (no pun intended) and pretty unattractive (think Mick Jagger...) so this time I need it to be "approachable" yet still convey passion -- whether anger, extreme joy or extreme sadness.
I would like to convey the message of professionalism while at the same time being quirky; appealing while being interesting and something which a buyer would be attracted to if seeing if for the first time.
We plan on selling the pillows through gift stores, catalogs and online and intend to have a line of "emotions"so would be interested in various designs -- anything to do with passionate feelings.
I would like the deisgns to incorporate no more than 5 colors and something that can be easily silk-screened. Clean, crisp designs and pleasing to the eye.
- Item 1...Strong emotional connection to the image
- Sense of whimsy or humor
- Visually appealing to first-time buyer
- Original artwork
- Size to fit 14" by 14" pillowWinner may be contacted for more work
- Item 1...
- Nothing that screams clip art, please
- Harsh ugly faces
- Dark or depressing colors
- Amateurish looking designs

subset: commoncrawl


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Okay, okay, you've seen, read, and heard about a million different dystopian stories, books and movies that take place in a ravaged, not-too-distant America. And, yes, Dualed by Elsie Chapman is yet another example of this trend. But that doesn't mean that this novel doesn't deserve to be one million and one.
West Grayer lives in Kersh, a city that has isolated itself from the rest of America when the wars broke out. After a universal cold vaccine rendered the U.S. population infertile, war in the States was constant. But the mysterious Board decided to wall off the city of Kersh in order to live in peace. But peace comes at a cost, as it always does.
Children must be engineered from prospective parents' genetic codes. Space is limited. The threat of the outside wars spilling over their walls is constant. The Board deals with these realities with one solution: every child born is a twin. Your twin is your alternate, or alt. You and your alt are trained in combat and weaponry in school. At some point in your young life, anywhere between the age of 10 and 20, you will become "active." When you become "active," your alt also becomes "active." And you have 30 days to "complete:" to find and kill your alt before they kill you. If you both fail to complete within a month, then your engineered genetic code will self-destruct and you both will die. In a society where space and resources are limited and the threat of war is close, only the strongest can survive. Only one will survive. Only one is worthy.
Dualed is like a combination of Highlander, The Hunger Games and Children of Men. West Grayer, a sixteen-year-old girl, has lost almost everyone she loves in this world. Most were PKs, peripheral kills, those who are killed by accident during a completion. One thing that makes Dualed and West unique in a sea of dystopian fiction is that she doesn't really fight the system. She, and many others, can be critical of the Board and may not always follow the law, but West isn't interested in revolutions or protests. She isn't out to save the world or even make it a little bit better; she's just too busy trying to survive and to protect the one person she has left in this world.


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PINOLE — A 24-year-old Pinole man was shot dead in Tara Hills on Monday, authorities said.
The man, identified as Nicholas Callen, was shot at a home on the 2600 block of Cornelius Drive at about 2:50 p.m. in the unincorporated area near Pinole, according to the Contra Costa County Sheriff's Department.
Sheriff's deputies performed CPR on Callen before firefighters and medics arrived, according to sheriff spokesman Jimmy Lee. They were unable to revive him.
No motive has been established and no arrests have been made.
Anyone with any information on the incident is asked to call the sheriff's Investigation Division at 925-313-2600, sent tips to firstname.lastname@example.com or leave an anonymous 866-846-3592.
David DeBolt covers breaking news. Contact him in Richmond at 510-262-2728. Follow him at Twitter.com/daviddebolt.


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A powerful earthquake struck northeastern Burma (Myanmar) on Thursday night, killing one woman and shaking buildings as far away as Bangkok. No tsunami was generated.
Homes and at least one bridge were damaged in several villages along Myanmar's borders with Thailand and Laos, according to residents who spoke to an aid agency.
There were also reports of minor damage in northern Thailand, where a woman died when a brick wall collapsed on her, police Capt. Weerapon Samranjai said. Cracks spread in the foundations of some buildings in the province surrounding the city of Chiang Rai, about 55 miles (90 kilometers) from the epicenter. The spires fell off two pagodas.
"The tremor was so strong, and things fell down from the shelves. It was very scary, and we all ran out to the streets," said a 25-year old woman who runs a mini-mart in Tachileik, a Myanmar town near the border. As is common in the country, she spoke on condition of anonymity because authorities discourage talking to the media.
It was difficult to get a comprehensive picture of damage in the country's remote northeast, where communications, even at the best of time, are sketchy. The military-run government also tightly controls information.
The hilly region could see landslides of rock and mud shaken loose in the quake, said Jenny MacIntyre, a communications manager with World Vision, who spoke with representatives from the aid agency who were near the epicenter in Myanmar.
The 6.8-magnitude quake was just six miles (10 kilometers) deep, according to the U.S. Geological Survey. At that strength and depth, it said 600,000 people could feel shaking anywhere from strong to violent. It added that since buildings in the area are considered vulnerable, damage could be widespread.
Buildings swayed hundreds of miles (kilometers) away, including in the Thai capital, Hanoi, Vietnam, and the Myanmar city of Mandalay.
"People living in high-rise buildings felt the tremor, and we are still on the streets. We are afraid to go back into the house," said a 34-year-old woman from Mandalay, who also spoke on condition of anonymity.
Max Jones, an Australian resident of Bangkok, was in his 27th-floor apartment when his building started shaking so hard he had to grab the walls to keep from falling.
"It was bloody scary, I can tell you," he said. Jones said he could see people running in the streets.
The quake was followed by two smaller aftershocks, 4.8 and 5.4 in magnitude.
The Pacific Tsunami Warning Center said the quake was located too far inland to create a destructive wave.


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World of Warships : TIRPITZ 1:700
Novedades de marcas, nuevos lanzamientos.
4 mensajes • Página 1 de 1
- FerGus
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World of Warships : TIRPITZ 1:700
LA empresa Italeri saco un nuevo kit en 1:700 del Tirpitz .
aca la descripcion en ingles pero bueee.
1 MODEL KIT - 1 LIQUID CEMENT - 1 SHIP GUIDE - 1 WALL POSTER (29,7x42cm) - WORLD of WARSHIPS DECALS - 1 STATIC INVITE CODE - 1 BONUS CODE
Tirpitz was the sister ship of the famous German battleship Bismarck and named after Grand Admiral Alfred von Tirpitz. It was laid down at the Kriegsmarinewerft Wilhelmshaven in November 1936. The works were completed by February 1941, and after a series of wartime modifications, the vessel become heavier than Bismarck. Thus, Tirpitz became the heaviest battleship built by a European navy.
After the sea trials, Tirpitz joined a flotilla in the Baltic Sea. The mission was to prevent the possible break-out of the soviet fleet based at Leningrad. Shortly after, the battleship was unsuccessfully attacked by the Royal Air Force in its home port of Kiel. It became obvious that it needed to be moved. In November 1941, Tirpitz was sent to the fjords of Norway to act as a "fleet in being". Its task was to engage and disrupt convoys sent to help the Soviet Union. For this assignment, a better anti-aircraft defence and two quadruple 53.3cm torpedo tube mounts were installed.
Camouflaged and protected by a battery of anti-aircraft guns and smoke generators, Tirpitz was stationed in Fættenfjord, north of Trondheim. Due to several factors, including fuel shortages, it was rarely sent out on missions. However, its presence in the area of operations was a serious threat to Allied forces — even the rumour of a prowling Tirpitz had dramatic consequences, as exemplified by the tragic story of Convoy PQ 17. Suspecting an imminent attack by Tirpitz, the convoy was scattered as a defensive measure against the battleship. As a result, individual merchant ships were easy prey for U-boats and the Luftwaffe: 24 out of the 35 ships forming Convoy PQ 17 were destroyed.
This event convinced the British Admiralty that Tirpitz needed to be neutralised in order to ensure undisturbed convoy operations. Several plans were developed and attempted, but the majority of them ended in total failure. The battleship remained operational until mid-1944, which is when it came under a successful attack from RAF Lancaster bombers. Six-ton Tallboy bombs were used, and one of them struck the bow of the ship. The bomb penetrated the armour, exited the keel and exploded below the ship, causing enough damage to render Tirpitz unseaworthy. The ship remained afloat and was used as a floating gun battery after being moved to Håkøya Island, outside Tromsø. On October 29th, a second attack was performed by 32 bombers, but they were unable to hit the battleship. A third and final attack was performed on November 12th, 1944. The RAF managed to hit Tirpitz with two bombs, and not even the sandbank could prevent it from sinking.
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Re: World of Warships : TIRPITZ 1:700
Muy bueno!!! y es enorme 42cm!!!!
- Pablo el magno
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Re: World of Warships : TIRPITZ 1:700
muevo el tema a la sección de Modelismo -> Novedades.
Ya hicimos lo posible, ahora, hagamos lo imposible (Napoleón Bonaparte)
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Re: World of Warships : TIRPITZ 1:700
Mas alla de la maqueta, me encanto la historia. Gracias Fergus.
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The Self Evident Truths project is a photographic document of 10,000 people in the USA that identify as ANYTHING OTHER than 100% straight
The Self Evident Truths project is a photographic document of 10,000 people in the USA that identify as ANYTHING OTHER than 100% straight – as in, if you are anywhere on the LGBTQ spectrum in ANY way, even 1% gay, we want to take your picture!
Created by artist iO Tillett Wright, the aim of the project is to humanize a vast community through the simplicity of their faces, showing that we come in all shapes, sizes, races, and social strata, thus making it harder for people to discriminate against us.
This project exists to spread awareness and understanding about a broader spectrum of human sexuality. We want to bring human stories from within the LGBTQ community to the world, so that we can begin to erase the boundaries between "Gay", "Trans", "Straight", and "Other".
For a deeper understanding of the philosophy behind the project, watch iO's TED talk, "Fifty Shades Of Gay":
What's going to happen with all the photos?
We are going to create an installation with all 10,000 portraits on the lawn in front of The Washington Monument, likely in 2016 before the next presidential election.
There will be a large photo book, organized by people's self-assigned percentage, showing the face of the full spectrum of human sexuality.
Once iO has shot 10,000 portraits, the project will become open source, allowing participants to submit their own photos and stories online, thus creating an ever-expanding database.
Images will be disseminated using various methods, in an effort to influence policy makers to vote in favor of equal rights for the LGBTQ community.
How did the project come about?
For the best explanation, we invite you to watch iO's TED talk, but in a nutshell: In 2010, stunned by the Prop 8 debacle, iO started to ponder where the real disconnect was between gay Americans and those voting against them, and she decided it was an issue of fear. Unfamiliar with the realities of gay life, and bombarded with misinformation, conservative voters are misinformed about what it means to be gay, so she decided to introduce people to each-other. Hence, the portrait project was born.
What happened to the percentage question?
In the year after her TED talk, iO and the team came up against the uncomfortable realization that the percentage question was yet again, accidentally exclusionary. Answering it became problematic for people of more fluid gender identity.
What do you have now?
Instead of the percentage question, we now have three questions that we feel, when triangulated, and combined with the person's age at the time of photographing, gives a more accurate representation of a human's sexuality on THE DAY THEY ARE PHOTOGRAPHED. This is not meant to, in any way, define a person for life.
Each of the questions asks a person to place themselves somewhere between the following measurements, using units of 1-100. Those measurements are:
Masculine to Feminine
Attraction to Males or Females
Hyper Sexual to Non Sexual
How does the sponsorship work?
When you go to buy your shirt/shirts, you are prompted to enter the portrait numbers of the faces you'd like to sponsor. You get to sponsor ONE FACE PER SHIRT PURCHASED. You are offered your top five choices for sponsorship, for each shirt, and this is done by process of elimination. If your first choice is taken, we'll move to your second, etc. If all five of your choices are taken, we will automatically assign you a face, but don't worry, it'll be a goodie. ;)
Can I sponsor more than one face?
ABSOLUTELY! For every $20 that comes in, a face gets sponsored. And if you don't want that many shirts, they will be given to those who can't afford them!
What if I ordered a shirt before the launch of the video?
The sponsorship of faces only begins with the launch of the video (May 8th). If you ordered a shirt before then, you have a beautiful shirt! If you'd like to sponsor a face, order another! :)
Can I be photographed more than once?
Nope. The project is 10,000 portraits of 10,000 people. We know there are some doubles in there, but those slipped past us and will be removed and not counted. We know you look cute with that new do, but please don't fill out a release form and have another portrait taken as it just confuses things on the back end.
What's with the 'no glasses' rule?
We only ask that everyone remove their glasses because we shoot in natural daylight, and the reflection obscures your eyes. We are NOT trying to dictate or change your identity!! On a rare occasion, the situation will allow for glasses to be worn, but that is super rare, and depends entirely on the daylight iO is shooting in.
What happens after DC?
This website will become open to self-upload, so people iO couldn't get to can upload their own photos, and the project then becomes and endless, expanding document of beautiful faces internationally!
We will then tour the exhibition of the original faces, as well as our mini documentary series, and hopefully create some festival-like awareness/education days. :)
All donations go towards funding the photography of 10,000 portraits across the nation, as well as the installation in Washington DC. See where the money is going to get a more detailed breakdown.
Please make checks payable to:
Fractured Atlas
Please mail checks to:
Self Evident Project
8424 Santa Monica Blvd #A788
West Hollywood, CA 90069
If you would like to donate over $100 to the project, it will be processed through our fiscal sponsor, and become tax deductible to you.
SelfEvidentTruths © 2010–2014, All Rights Reserved.


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Skyware PMS Interfaces with eRevMax for Seamless Online Booking Connectivity
Completes two-way integration to expand rate and inventory distribution.
Orlando, FL, August 23, 2014 --(
)-- eRevMax, the leading hotel online distribution technology provider has completed 2-way interface with Skyware Hospitality Solutions to offer automated channel management and reservation delivery to Skyware hotel customers across North America.
This integration will allow accommodation providers connected with Skyware PMS to distribute availability and pricing to the major third party booking sites from their property management system and receive reservations directly through eRevMax solutions including RateTiger & Connect. Rates and inventory will automatically be updated across all connected sales channels including the Global Distribution Systems (GDS), various Online Travel Agents (OTA), Meta-search channels (MSC) and other e-commerce sites.
Skyware property management system (www.skywaresystems.com) provides a scalable and reliable solution for all types and sizes of hotels and enterprise organizations, especially independents and boutiques. The partnership between the two leading hospitality software specialists will help hotels streamline their sales by using only one integrated platform for seamless distribution management.
"As Skyware Hospitality Solutions grows and matures in the hospitality industry, we are always looking for organizations that provide a technical advantage to our customer base. eRevMax's, RateTiger is a great example of this. They provide a flexible solution with multiple channels and easy to use software. Their pricing model fits well within our customers' price point," said Bob Palloni, Chief Operations Officer, Skyware Hospitality Solutions.
"Our interface with Skyware PMS eliminates the need for accommodation providers to maintain online inventory manually across each booking website and the need to manually re-enter online reservations from booking websites into the PMS. A greater number of hotels can now leverage the benefits of our Channel Ecosystem while streamlining their distribution efforts. The secure XML connection ensures live rate and inventory updates as well as booking data retrieval, thereby keeping the hotel PMS updated at all times," said Greg Berman, Chief Operations Officer, eRevMax.
eRevMax is developing its connectivity solutions to offer sophisticated real-time revenue management functionality to the hospitality industry. This includes solutions for the independent market and scaling up through the Tier One enterprise hotel groups. eRevMax's Channel Ecosystem facilitates quality certified connectivity and relationship management services to support complex revenue generation strategies.
About Skyware: Skyware Hospitality Solutions (www.skywaresystems.com), serving the hospitality industry with its 24/7 service and state-of-the-art technology, is widely recognized for providing hotels, resorts, and management companies with flexible software solutions. Based in Frederick, MD, with a network of offices worldwide, Skyware is a leader with advanced software tools for hotel owners and operators who need to manage their business in a real time environment for efficient operational control and profitability.
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Privatisation in OECD countries reached an all-time high in the 1990s and remained high in the first years of the 21st century. State assets worth close to USD 500 billion were sold in the 8 years from 2000 to 2007. At the same time, the landscape for privatisation has evolved considerably. In most countries, block sales of individual enterprises already in competitive sectors are a thing of the past. Continued privatisation has taken place in more complex sectors such as the network industries, where companies are too large and too heavily regulated to be swiftly transferred. Gradual, or in many cases partial, privatisation via stock markets is now the most prevalent.
Privatisation in the 21st Century (PDF), published by the OECD in 2009, is a comprehensive best practice report which analyses these trends.
The main findings of this report were subsequently synthesised in a summary of recent experiences (PDF) which draws operational and policy conclusions from the best practices.
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Quantum control of a spin qubit coupled to a photonic crystal cavity. Nature Photonics. 7(4) Carter PhC qubit.pdf (992.15 KB). 2013.
Analytically Solvable Pulses for High Fidelity Quantum Gates. APS March Meeting 2012.. 2012.
High Frequency AlN/GaN HEMTs on Free-Standing GaN Substrates. Physical review B. 85. 2012.
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Electron-Nuclear Dynamics in a Quantum Dot under Nonunitary Electron Control. Physical Review Letters. 107 11-1226-2433.pdf (356.22 KB). 2011.
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Optically Generated 2-Dimensional Photonic Cluster State from Coupled Quantum Dots. Physical Review Letters. 105 10-1226-3130.pdf (86.99 KB). 2010.
Directing Nuclear Spin Flips in InAs Quantum Dots Using Detuned Optical Pulse Trains. Physical Review Letters. 102 09-1226-0054.pdf (414.14 KB). 2009.
Optical spin spin initialization and nondestructive measurement in a quantum dot molecule. Physical Review Letters. 101 08-1226-3576.pdf (1.08 MB). 2008.
Optically induced spin gates in coupled quantum dots using the electron-hole exchange interaction. Physical Review B. 78 08-1226-1557.pdf (346.21 KB). 2008.
Theory of fast optical spin rotation in a quantum dot based on geometric phases and trapped states. Physical Review Letters. 99 07-1226-0927.pdf (199.07 KB). 2007.


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The Tasmanian wolf, also known as the Tasmanian tiger, was neither a wolf nor a tiger. It was a thylacine, a marsupial cousin to kangaroos and wallabies, which evolved over several million years, in the forests of Australia and New Guinea, into a fearsome apex predator. Long extinct on the mainland, carnivorous thylacines survived on the island of Tasmania into the early years of the twentieth century, when the settlers finished them off. Their violent extinction is the central drama of Walton Ford's latest painting, a huge and surpassingly weird watercolor whose early stages I observed during several visits last fall to his ramshackle, barnlike studio in Great Barrington, Massachusetts.
"This animal scared the hell out of the settlers," Ford said, exuberantly. "It looked like a wolf, but with stripes, like a tiger, and they could get up on their hind legs, which made them even scarier. The settlers were sheepherders, and they built up this myth of a huge, bipedal, nocturnal vampire-beast that sucked the blood of sheep. The settlers put a bounty on these animals and began killing them off in every possible way—poison, traps, snares, guns. The last known one died in captivity in the nineteen-thirties, but they lived on in people's imagination."
Ford's painting, which was spread across three large sheets of paper pinned to the wall, showed a roiling pyramid of murderous animals, lightly blocked out in washes of yellow ochre and raw umber. A few of the thylacines had lambs or parts of lambs in their jaws, but others seemed to be biting and tearing viciously at one another. "My idea," he said, "was to make an island out of thylacines and killed sheep—they're not on an island; they are the island—and to have it sinking beneath the waves. I want it to be a brutal picture of thylacine bloodlust, a blame-the-victim picture, a sort of fever dream of the Tasmanian settler alone in the bush with these animals, although there was never any evidence of one killing a human being, and very little evidence of their eating sheep."
The way he described it, the whole thing sounded hilarious. Ford, who is forty-eight years old and powerfully built, with a shaved head and a rapid-fire, non-stop way of talking, overwhelms you with his enthusiasm for what he does. And you have to agree that he does it very well. As a realist painter of birds, quadrupeds, reptiles, and other species, Ford has any number of peers in the field of natural-history illustration but very few in the world of contemporary art. His technical facility is dazzling. Working almost exclusively in watercolor, he can render feathers, fur, hide, trees, plants, weather, landscape, and other natural elements with virtuosic skill. No one else, to my knowledge, has ever done watercolors of this size and ambition—the thylacine painting measures eleven and a half feet long by eight feet high—and no contemporary artist has employed natural history to tell the kind of stories that Ford tells. Although human beings appear only marginally in his work, if at all, most of his paintings have to do with the deep interaction between man and animal. "I do a huge amount of research on animals," he told me at one point. "But it's the person that gives me a way in. Animals in the wild are boring. Before Fay Wray comes to Skull Island, King Kong isn't doing anything. There's no story until she shows up. . . . What I'm doing, I think, is a sort of cultural history of the way animals live in the human imagination."
There were six large paintings in Ford's most recent New York show, at the Paul Kasmin Gallery, in Chelsea, last spring, and each one told a tale. In the past, Ford sometimes wrote excerpts from his research right on the painting, in spidery handwriting that mimicked the field notes of John James Audubon and the other nineteenth-century natural-history artists he admires, but he has more or less stopped doing this. Now he prefers to let the image stand on its own and project its mysterious aura. His three-panel "Loss of the Lisbon Rhinoceros," the most arresting image in the 2008 show, is based on an incident in the year 1515, when a ship carrying a captive Indian rhino as a gift from King Manuel, of Portugal, to Pope Leo X, in Rome, foundered in a storm off the coast of Genoa and went down with all hands and hoofs. (This was the first rhino seen in Europe since Roman times; descriptions of it inspired Dürer's famous but inaccurate woodcut.) What the viewer sees is the tremendous animal standing on the ship's deck, legs awash in fast-rising seawater, head raised and eyes fixed on the hilly shoreline it could probably swim to if its hind leg weren't chained to the mast of the doomed vessel. You don't have to know all this, any more than you have to know what's going on in "Tur," a 2007 picture dominated by a hugely horned bull in a snowy landscape, but Ford is happy to fill you in. "That's an aurochs," he said, showing me a reproduction in the lavish, oversized art book on his work that Taschen published a year ago, in a limited edition of a hundred copies. (The edition included a signed Ford print, and cost seven thousand dollars; a smaller, less lavish version comes out this spring, for seventy dollars.) "It's a prehistoric bull, the one you see in the cave paintings at Lascaux. This is pretty much the first thing a human being ever painted. They were incredibly dangerous animals, who survived into relatively recent times."
Ford's studio is on the second floor of a former railroad warehouse, just beyond the tracks and close to the center of town. He didn't really start the big, narrative paintings he does now until he moved here from Manhattan, in 1995, with his wife, Julie, and their two-year-old daughter, Lillian. (Their second child, Camellia, was born two years later.) The long, L-shaped studio has windows on one side, and two overstuffed and very beat-up armchairs, where he does most of his reading. The floor is littered with open books and magazines, sketches, photographs, images taken off the Internet, opened and unopened mail, extension cords, and overflowing cardboard boxes—one of them full of small plastic animal figurines, including a thylacine, which he uses to help him get different views of the creatures he's painting. Ford's hiking gear occupies an area of floor space in back—boots, backpack, rain gear, sleeping bag, and other items that sustain him on the weeklong, solo wilderness treks that his restless nature requires once or twice a year.
There are a few large bookcases, which his new studio assistant, Anna Booth, is trying to organize, but Ford usually manages to find whatever he's looking for in the chaos. Sweeping a mass of papers off a chair so that I could sit down, he picked up one of his well-worn art books and opened it to a reproduction of Géricault's "The Raft of the Medusa." "Géricault doesn't go away, does he?" Ford said. "That's because he had a very contemporary, dark way of looking at things. The drawings that led up to this painting were very helpful to me in figuring how the shapes would fit together in my thylacine triptych. Looking at the Géricault was what made me realize I wanted to make an island of thylacines, sinking in the ocean."
I asked him about the difference between art and illustration. Springing up from his chair, he stumbled on a plastic animal, sent it flying with a kick, and returned carrying a book opened to Delacroix's "Liberty Leading the People." On one level, he said, the painting was as stupid and obvious as an election poster; what made it art was "all in the treatment." Ford said that he was interested in fudging the line between art and illustration; a lot of great art was illustration, and vice versa, depending on the degree of skill and imagination the artist brought to it. But there was another factor, too, and it involved the viewer's participation. "Norman Rockwell wanted to tackle civil rights," Ford said. "So what does he do? He does a painting from the point of view of a little black girl in a perfect Sunday dress, and there's a tomato splashed on the wall right near her head, and two U.S. marshals' legs on either side of her, and you have only one place to go—you're stuck with Norman Rockwell's interpretation. Some people love it, because you're off the hook, everyone understands it right away. Illustration can be a starting point, but to become art it has to open up and allow for other interpretations—then you get the kind of work I love most." He named Goya's "Los Caprichos" and "The Disasters of War." Also Bosch's "The Temptation of St. Anthony," works by Bruegel, Dürer, Giotto, and the nineteenth-century English landscape painter Samuel Palmer, and "that fantastic Winslow Homer image of a fox in the snow, with the crows. Nobody would say that's just illustration. It's a powerful and romantic work."
"In my case," he said, a little later, "I wanted to take the language of the nineteenth-century natural-history illustrators and use it in a way they would never have imagined—to plumb our own collective ways of thinking about the natural world and these beings we share the planet with."
Ford's interest in the natural world is familial. His pre-Civil War ancestors on both sides were plantation owners in Tennessee and Georgia, whose impoverished male descendants hewed to the values of the gentleman sportsman. Ford's parents turned their backs on the South and the past when they got married and moved to New York, but his father, Enfield Berry Ford, known since childhood as Flicky, remained an ardent fly fisherman and hiker all his life, and often took his wife and four children on fishing trips to Canada during the summer. They lived in Larchmont, and Flicky, who had once gone to the Art Students League and wanted to be a cartoonist, commuted to Manhattan, where he worked as an art director for Time Life, designing brochures and in-house publications. "He was a big personality, a big drinker, a womanizer, and a wild man," Ford said. "Sort of hard to be around when I was a teen-ager." When the womanizing broke up the marriage and Flicky left home for good, Walton, who was eleven at the time, remembers feeling relieved.
Both Walton and his brother Enfield (called Flick), the firstborn, who is six years older, started drawing when they were young. Their parents gave Flick a copy of Audubon's "Birds of America" one Christmas, and Walton copied many of the plates. Flick, who became a natural-history painter—his 2006 book, "Fish," is recognized as the best thing in its field—saw right away that Walton was a more gifted artist than he was. "From a very early age," he told me recently, "Walt was thinking about how to make an impact in the art world."
All Walton really cared about then was drawing and being in the woods (which were in short supply around Larchmont). "I was a bad kid," he told me. "I had dreadful grades. I never played football, or joined any of those things in school." He cut classes, shunned homework, and, in junior high school, smoked his share of pot. His college prospects looked dim, but then his mother, who was working as the director of development for Sleepy Hollow Restoration, in Tarrytown, saved the day by getting him into the summer art program at the Rhode Island School of Design. He did this for one summer, joyously ("I found that the things I could do were valued! I went from being fairly invisible in high school to being a star"), and built up a portfolio that was good enough to get him into RISD, which he entered in 1978. "I knew I was going to be O.K. then," he said. "From the time I was six, I'd wanted to be an artist."
In his second year, however, Ford decided to major in filmmaking. He wanted to tell stories, and he thought that he could do that better with film. The decision was reinforced by his friendship with Jeffrey Eugenides, who was then a student at nearby Brown University. They'd met in an acting class at Brown, where Eugenides's performance of a scene from David Mamet's "Sexual Perversity in Chicago" had been as much of an eyeopener for Ford as Ford's impersonation of an ape had been for Eugenides. "Jeff was one of the super-brains of our generation," Ford said. "And I was blown away. I began reading Mamet, and 'The Tin Drum,' and 'The Painted Bird,' and all sorts of stuff. The literary crowd at Brown sort of adopted me, because I was a paint-splattered hipster and more successful with women than they were." Eugenides, who won a Pulitzer Prize in 2003 for his novel "Middlesex," confirms this. "Walton was famous at school for his dexterity at drawing, for being funny, and for his all-American appeal to the ladies," he told me. "We were all girl-shy and nervous, and he was the opposite." The proof was Ford's success in winning Julie Jones, the most beautiful girl in his class at RISD and also, as he still maintains, the most gifted—she made fluent realist drawings of people in strange but convincing interiors. "I thought I was going to be a James Bond guy," Ford said, "but there she was. I was a goner." They started dating in their freshman year, when they were both eighteen, and they've been together ever since.
In their senior year, Walton and Julie were both picked for an honors-program semester in Rome. For Ford, the main event there was going to Assisi and seeing Giotto's cycle of paintings on the life of St. Francis. "It made the biggest impact on me of anything that happened at RISD," he said. "The storytelling is so clean and clear. It's unbelievably emotional without being overblown, like in the Sistine Chapel. I was supposed to make a film in Italy, but I couldn't finish it, because I just started painting and drawing again. I realized I was going to be a narrative painter." [#unhandled_cartoon]
It was hard going during the next ten years, finding his way in an art world where he often felt hopelessly out of step. After a tentative postgraduate stopover in Newport, Rhode Island, where Ford did drawings of beds, draperies, and other designer furnishings and Julie painted signs for shopkeepers, they made the inevitable move to New York, in 1983. To pay the rent on the apartment they found, in what was then a fairly rough neighborhood in the Williamsburg section of Brooklyn, Ford joined a group of slightly older RISD grads who had started a business renovating apartments in the Dakota, on Central Park West—doing cabinetry, wood refinishing, and other specialized jobs. Julie had been hired as the bookkeeper for a Manhattan jewelry firm run by the family of Walton's closest childhood friend, Walter McTeigue. Walton and Julie, who got married in 1985, both managed to make time for their own work. "I was doing large-scale oil paintings on wood, which looked something like Hudson River School landscapes," Ford told me. "It wasn't successful work." He also designed a few book jackets, and tried his hand at some illustrations for the Times, which turned them down. "I was very unsuccessful as an illustrator," he said. Julie's exquisite figure drawings and Walton's somewhat inchoate visual narratives seemed far removed from any of the trends in contemporary art. The spotlight then was on big, noisy, semi-figurative paintings by Julian Schnabel, David Salle, and the other so-called neo-expressionists, American and European, and on the graffiti-inspired generation of Jean-Michel Basquiat and Keith Haring. A few New York painters, including Eric Fischl and Mark Tansey, were exploring forms of narrative realism, but Ford was way out on his own premodern, nineteenth-century limb.
Ford's early efforts did not go unnoticed. At the beginning of the nineteen-nineties, he had shows at two downtown galleries—Bess Cutler and Nicole Klagsbrun. Marcia Tucker, the director of the New Museum of Contemporary Art, liked Ford's work and put it in group shows (she also used Walton and Julie as occasional babysitters). When the couple moved to lower Manhattan, in 1992, to a loft on Chambers Street, Bill Arning, who ran the nonprofit art gallery White Columns, sent Irving Blum down to see Ford's work. Blum, the co-owner of the Blum-Helman Gallery, on Fiftyseventh Street, found the paintings "conservative, yet oddly beguiling." They were not right for his regular clients, he said, but Blum himself bought a watercolor bird drawing, done very much in the style of Audubon, and over the next few months he kept on buying more of them, for fifteen hundred dollars apiece. Ford had just started doing these Audubon knockoffs, and he was conflicted about it. Ever since childhood, hooked on Audubon's great images, he'd drawn birds and animals in his school notebooks, but he never thought that he could make art this way. "I thought it was for people who did duck stamps," he said. The watercolor images of birds he was doing now "looked exactly like Audubons," he said, "but there would be something wrong in each one. I did a sparrow hawk, on top of an enormous pile of sparrows he had killed—way too many."
Ford's ambivalent relationship with Audubon was something he had to work out. A trip to India helped. Julie had applied for a Fulbright Indo-American Fellowship, to study eighteenth-century Tantric designs. When the grant came through, two years later, in 1994, the Fords and their daughter Lillian, who was then a year and a half, spent the next six months immersed in a culture that Ford found thoroughly baffling. "You're starting from scratch in India," Ford said. "Physical gestures are different, you're not making connections, and you become so annoyed, and impatient, and missing the point. And then you think, Wow, that's what we do with cultures we don't understand. I'd already started doing those pseudo-Audubon pictures, trying to add another layer of meaning. I didn't do any painting in India, but when I got back I started right away using Indian birds and animals to get at these issues of global misunderstanding." In a jewel-like etching called "Bangalore," an Indian kingfisher perches in a tree, along with a gaudy, American-made bass lure. "What's he doing with it?" Ford asked, rhetorically. "Impossible to tell. It doesn't belong in India."
Two months after their return, in 1995, the Fords moved to the Berkshires. Walter McTeigue, Walton's childhood friend, had been living there since 1992; he had reëstablished his jewelry business in Great Barrington after trying to make it as a dairy farmer. When the Fords came up for a visit, McTeigue told them that the old farmhouse he had once lived in was available and that they could rent it for seven hundred dollars a month, about half of what they were paying in the city, and they decided to give it a try.
Getting out of New York enabled Ford to make his peace, at last, with Audubon. "Anybody who reads up on Audubon is going to have mixed feelings about him," he told me. "He was a braggart, a liar, and just too trigger-happy, even for that time. He killed hundreds and hundreds of birds he didn't need. He shot things off the deck of a ship, and just let them fall in the ocean. As I often say, he was more like a National Rifle Association guy than an Audubon Society guy. But the paintings are beautiful." What was it about them, I asked, that appealed to him so much? "I liked their weirdness," he said. "It wasn't realism. He'd shoot the birds, and pin them down on a board with wires, in strange positions. Most natural-history artists today try to make what look like painted photographs, but Audubon gives you that pre-photographic way of looking, where the paper functions as air."
Ford can't praise Audubon without giving you the other side. "He was an awkward draftsman. After he'd painted the birds, he wanted to paint all the North American mammals, and there you see how hard it was for him to deal with perspective, and anatomy, and the animal's way of moving. Audubon's son drew most of the larger mammals, which are terrible, but Audubon did the smaller ones, and you can see animals that were in every way superior to his in the work of other nineteenth-century natural-history artists, like Edward Lear. People think of Lear for 'The Owl and the Pussycat' and 'The Book of Nonsense,' but he was better than Audubon as a natural-history artist." Ford readily concedes that Audubon is the cornerstone of his own work, but, to me, Ford's conceptual wildness—the tension between nature and culture, fornication and extinction, the animal and the human—makes him contemporary in ways that Audubon could hardly have imagined. As Ford says, Audubon would not have painted an island of doomed thylacines.
Ford and Julie and the girls now live in Southfield, a pretty village ten miles east of Great Barrington. The family's pets include a guinea pig, a gerbil, two horses (which they board at a nearby stable), a rabbit, and a small black schipperke, the same breed of dog that Walton had as a child. Julie stopped painting when Camellia was born, to give more time to the children, but recently she's started to work again, in a space that Walton partitioned off for her in his Great Barrington studio.
"I don't think I became an artist until about ten years ago," Ford told me. The key element for him was giving up oil paint. Not many artists have established major reputations with watercolor alone. Charles Burchfield did so, and Winslow Homer's watercolors are preferred in some quarters to his oils, but, because watercolors are on paper, the art market has always priced them well below works on canvas. Ford was coming to understand, however, that the traditional medium for natural-history art was what best suited his particular talents.
His first show at Paul Kasmin's gallery, in 1997, included as many oil paintings as watercolors. The pictures in that show were priced low, from five to ten thousand dollars, and "there wasn't a big rush" to buy them, Kasmin recalls. "The subject matter made a lot of people think I'd had a complete lapse of judgment, or taste." But the market was opening up to more eclectic kinds of work, and Kasmin eventually sold nearly every painting in the show. During the next few years, working mainly in watercolor, Ford became increasingly skillful and a great deal more confident. His pictures got bigger and more complex, his stories more outrageous. In some of them, the focus is on one or two birds or animals, which are often engaged in violent combat, copulation, or both. "Chingado" shows a Spanish bull raping a Mexican jaguar, whose fangs are sunk in the bull's throat. "They're coupling to create Mexico," Ford told me, airily, on one of my later visits to the studio. Other paintings contain a multiplicity of creatures whose plight refers to historical events or legends. At first glance, the long procession of great auks in "Funk Island" winds, lemming-like, over a rocky landscape, toward the distant fires and cauldrons that signal their extinction as a species. Clear enough, but what is going on in that huge cloud of smoke from the fires? Closer examination reveals dozens of naked men and women in erotic combinations. Ford's research had disclosed that the flightless auks were clubbed to death, in the eighteenth and nineteenth centuries, so that their plumage could be used in feather beds and pillows. "This was the global economy in action, right?" he said. "It was like a goddam Auschwitz for birds, so the Marquis de Sade and Casanova could do their fucking on feather beds!"
The stories he was telling required more space, and his paintings expanded to provide it. He bought his paper in twenty-yard rolls, and cut it himself. Ten feet by five was about the limit, he found, because watercolor requires Plexiglas to protect it, and anything larger would make the framed pictures too heavy. He started out by mopping the whole sheet with water, to keep it from shrinking unevenly when he put the paint on, and then, to give his pictures the foxed look of old engravings or book pages, he'd paint the edges with a wash of water and raw umber. "This is something I've had to make up as I go," he told me. Ford also started working with a master printer in New Hampshire named Peter Pettengill; the series of six aquatint etchings they produced, over a seven-year period, are the same size as Audubon's Double Elephant Folio prints.
Ford works slowly, producing only three or four large paintings a year, on average, and even in the currently downsizing art market there is a waiting list of people who want them. The buyers tend not to be well-known collectors of contemporary art. A woman from Tennessee owns "Falling Bough," a large and dramatic painting of passenger pigeons; it hangs in her apartment in the Dakota, where Ford worked when he first came to New York. Mick Jagger recently bought "Hyrcania," a painting of an Iranian tiger from Ford's 2008 show, and the Smithsonian Institution acquired "Tur," the great aurochs. "Nila," his largest work to date—a life-size Indian elephant in full stride, composed in twenty-two sections and measuring twelve by eighteen feet over all—occupies an entire ballroom wall in a Rhinebeck estate. So far, museums have held back. The Museum of Modern Art's only Walton Ford is a small print—a version of "Bangalore." The Whitney acquired a complete set of his large-scale prints, and included them in a group show in 2003; it still has no paintings. The Brooklyn Museum gave him a solo show in 2006, did very little to promote it (no catalogue), and bought nothing from it. Ford's New York shows have been favorably reviewed, for the most part, with an emphasis on his brilliant craftsmanship and on what the Times' Randy Kennedy, writing about the Brooklyn Museum show, described as an atmosphere where "the calm of Audubon gives way to the creepiness of Francis Bacon and sometimes even to the horrors of Wes Craven."
Ford's big pictures now bring around four hundred thousand dollars, and one of them, the "Lisbon Rhinoceros," sold last year for six hundred and fifty thousand. This is well below the millions that Jeff Koons, Damien Hirst, and other entrepreneur-artists have pulled down in recent years, but Ford has no gripes. "I do exactly what I want to do, and I get well paid," as he put it. "So I don't sweat global dominance." The question of whether he's an artist or an illustrator still hangs over him, although less so as time goes on. "I don't think he's an illustrator," Robert Storr, a former MOMA curator who is now the dean of the School of Art at Yale, told me last fall. "Basically, illustration serves to depict something that already exists as a verbal idea. Ford uses illustrational techniques. He's taken a lot from Audubon, and he's done it very well, but Audubon is not just an illustrator. He's a serious and interesting artist, and I think Ford has understood the ways in which his work is potent."
One crisp, sunny day in November, I spent two hours with Ford in the American Museum of Natural History. We had lunch first, in a restaurant across from Lincoln Center. On the façade of the Metropolitan Opera House, Ford's fifty-foot-high banner of Mephistopheles, in the form of a goat standing on its hind legs, announced the new production of Berlioz's "The Damnation of Faust." Ford was excited about the banner, which he could see from the restaurant, and about being in New York. "I feel like an animal out of the cage," he said. "I spend all that time by myself in the studio, and then I come here and drink wine and look at beautiful people." He had on his city clothes, black jeans and a Western-style checked shirt with mother-of-pearl snaps, and his energy level was high. He finished off his plate of charcuterie in short order, and ate half of mine, announcing, "As long as they make prosciutto, I'm never going to be a vegetarian."
Ford has been visiting the naturalhistory museum since he was five. Whenever he starts a painting, he said, he goes there first and makes drawings of the bird or animal he's going to depict. "I have no excuse to get anything wrong," he said. "They don't move, they don't go to sleep, they don't hide like they would at the zoo." For his thylacine painting, he looked up images in the files of the museum's mammalogy department, where he is well regarded. Recently, he brought his two daughters, who are horse-mad and ride several days a week, to see the museum's exhibition "The Horse."
We went first to the Hall of North American Birds, to look at some of the museum's oldest exhibits—small-scale dioramas showing peregrine falcons, barn swallows, shorebirds, and other local species against backgrounds that were painted around the turn of the last century. "Look at this one," he said, of a bucolic Hudson River scene with a small sailboat tied up to a dock. "That's about as exquisite as a work of art gets." The artistry of the dioramas seemed to excite him even more than the wildlife in them. Stray visitors stopped to listen as he talked about Carl Akeley, the naturalist and explorer whose pioneering innovations in taxidermy had made the museum's most spectacular dioramas possible. "Akeley really built this museum," he said. "He gathered a group of artists who worked here into the nineteen-thirties, creating the dioramas. You'll never get that degree of perfection again, with this kind of weather and light and atmosphere." We moved on, at a fast clip, to the Hall of North American Mammals, where, he said, the artists' techniques had reached their highest level. Ford knew which artist had done each diorama. His favorites were James Perry Wilson and Carl Rungius. "Wilson is my man," he said, almost beside himself with admiration. "He's everywhere here. He did the jaguar, and the coyotes." We stood for quite a while looking at Wilson's diorama of two gray wolves running in the snow, at dusk, in Gunflint Lake, Minnesota. "Isn't this one of the most beautiful things in New York?" Ford asked, in a hushed voice.
Before leaving, Ford insisted that we look at the gorillas in the Akeley Hall of African Mammals. The gorilla diorama is huge, a mountainous landscape overlooking a distant valley, with six or seven gorillas going about their pacific, herbivorous business. "Carl Akeley died right here," Ford said, pointing to a spot in the foreground. "There were two expeditions for the gorilla exhibit. On the first one, they shot the animals and brought the skins to New York, and made the plaster models. Then Akeley went back to Africa to collect the plants, and he died there, of dysentery. He'd said this was his favorite place in the world, so they buried him there—right in that little hollow. But his bones are no longer there. People went back later, and found the grave had been robbed." A fine Walton Ford story, and, naturally, Ford did a painting based on it. Called "Sanctuary" (1998), it depicts the same landscape, with a life-size gorilla in a tree, cradling in his black hand a human skull. "Akeley collected them," Ford explained, "and they collected him right back."
The thylacine triptych isn't finished yet. Ford stopped working on it temporarily and began a painting of mountain lions, for Kasmin to take to Florida for the Art Basel Miami Beach fair in December. (It sold before the fair opened, for four hundred thousand dollars.) The mountain lions were nearly done when I visited his studio in mid-November. Lately, he explained, there had been numerous sightings of these big cats in the Berkshires, "although not one sighting is documented, and there's no evidence—no scat, no tree scratchings, no attacks on pets or joggers. Mountain lions have been extinct in New England for decades." Ford's painting is set in a local cemetery, where several pairs of mountain lions are copulating among the gravestones. "They're making more ghost cats for people to see," he said. His are life-size, and very lifelike.
"I've never had more ideas," Ford said happily. "I've never been better at what I do, so I may as well crank it out." Tom Ford, the designer, has commissioned him to do ten very large paintings for a twenty-foot-square gallery in his home in Santa Fe. The paintings will cover all four walls, and the subjects will be based on the American West. Ford owns several works by Walton, including "Space Monkey," a 2001 watercolor that was inspired by Patti Smith's song of the same title. When Patti Smith came across the picture online, she e-mailed Walton, and he answered, and now they are friends.
"I feel like we have a shared world, through literature and childhood impulses," Smith told me recently. "I sent him a poem of mine, about the last dodo, and we might do something together with that." Smith thinks Ford's work is on the verge of breaking through into something new, which she sees as "an almost Turner-like violence."
When I asked Ford where he thought his work might be heading, he looked momentarily uncertain. "Oh, crap," he said, massaging his head. "I hope I'm still going to do something more interesting than I'm doing now. I feel like, right now, I'm an interesting minor artist, a footnote in art history, you know? I've got this territory that's my own, and I'm making watercolors that nobody else can make, but I'm not pushing the language of making pictures in any new direction. There's nothing I'm doing that wasn't done better by Géricault. But maybe that will change. Anyway, I'm not there yet." ♦


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Good to read your recent experience. Thankfully your battery issue was solved just in time. If I had known that you will be travelling to Chennai I would have asked you to get the battery replaced from JP battery itself. They provide good service and their price is also competitive.
My journeys between Bangalore - Chennai I never take risk for break. It's either Sai Sangeeth near Ambur or our all time favourite the Shoolagiri HP junction. But for Shoolagiri HP you would have to take the service lane and take the underpass to reach the opposite side , if you miss there won't be any U turn.
I'm waiting for you to get Hella Lights! It actually looks very good on the Linea
Enjoy your drives


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Template:Cub Scout Monthly Themes/2011/May
From MeritBadgeDotOrg
May 2011 BSA Theme - Acorns To Oaks
"Nature provides a miraculous wonder in the life cycle. This month the boys can discover how plants grow from seeds. They can build and grow a terrarium or plant a garden. Here is the opportunity to assist nature by building birdhouses, bat nurseries, or squirrel feeders. This theme also can be used to assist the leaders in helping the boys learn about their own growth and health. They can make goals using a food pyramid. This would be a good month to work on the Physical Fitness belt loop and pin. All these things will help them grow strong and healthy much like a sturdy oak tree." - Program Helps
Character Connection:
Monthly Program Resources:
Belt Loops and Pins:
Webelos Activity Badges:
Theme-related activities:


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Event box
Mother Goose Time
Mother Goose Time is available for all children Birth-24 months and their caregivers.
We will spend a half hour with stories, rhymes, songs, and plenty of other activities designed to help with your child's early literacy skills and motor skills. Plus, we have lots of fun!
- Date:
- Wednesday, November 6, 2019 Show more dates
- Time:
- 9:30am - 10:00am
- Location:
- Children's Programming Room
- Categories:
- Children


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blackjack wrote:We did it like in 'Mad Max - Beyond Thunderdome"
< Two men enter, one man leave > :D
Thank you for the ideas. Any thoughts about how to keep the winner from sitting in the PvP arena and forcing others to wait?
blackjack wrote:We did it like in 'Mad Max - Beyond Thunderdome"
< Two men enter, one man leave > :D
bosapara wrote:DS-minetest wrote:Also how did you make the music, did you write it in code?
Yes, any sound was decoded as an example note "c" of 1th octave = "a", "c#" = "b" and etc
DS-minetest wrote:bosapara wrote:DS-minetest wrote:Also how did you make the music, did you write it in code?
Yes, any sound was decoded as an example note "c" of 1th octave = "a", "c#" = "b" and etc
Took it long to write the music and make it nice? Could you post one music table(I guess)?
(I have made my code, so, that there are sounds from "1"-"24" and extra sounds like "wood".)
ulla wrote:Hello, i would need to know the range of action of @nearest in the commandblock
And if you can set it from the command line, example: / teleport @nearest [r = 5] X Y Z?
Thanks in advance
if event.channel=="s" then
somma = event.msg
if event.channel=="d" then
sommb = event.msg
if event.idd=="w" then
lupo= somma + sommb
digiline_send ("acd",lupo)
2017-09-04 17:23:51: ERROR[Main]: ServerError: AsyncErr: environment_Step: Runtime error from mod 'mesecons' in callback environment_Step(): /home/seb/.minetest/mods/pipeworks/wielder.lua:27: attempt to call global 'nodeupdate' (a nil value)
2017-09-04 17:23:51: ERROR[Main]: stack traceback:
2017-09-04 17:23:51: ERROR[Main]: /home/seb/.minetest/mods/pipeworks/wielder.lua:27: in function 'wielder_on'
2017-09-04 17:23:51: ERROR[Main]: /home/seb/.minetest/mods/pipeworks/wielder.lua:178: in function 'action_on'
2017-09-04 17:23:51: ERROR[Main]: /home/seb/.minetest/mods/mesecons/mesecons/internal.lua:190: in function </home/seb/.minetest/mods/mesecons/mesecons/internal.lua:183>
2017-09-04 17:23:51: ERROR[Main]: /home/seb/.minetest/mods/mesecons/mesecons/actionqueue.lua:93: in function 'execute'
2017-09-04 17:23:51: ERROR[Main]: /home/seb/.minetest/mods/mesecons/mesecons/actionqueue.lua:84: in function </home/seb/.minetest/mods/mesecons/mesecons/actionqueue.lua:61>
2017-09-04 17:23:51: ERROR[Main]: /usr/share/minetest/builtin/game/register.lua:412: in function </usr/share/minetest/builtin/game/register.lua:392>
ThomasMonroe wrote:Ok i like making pure mesecons contraptions, meaning i dont like using lua controllers.
i have run into some problems with setups that need double pistons, ie hidden staircases.
I was wondering if adding an adjustable piston(one that can push a specified number of nodes out from its base) would be something able to be added.
ThomasMonroe wrote:Also i have noticed a peculiar mechanic for redstone that may be really, really usefull for mesecons
G = wire or delayer
X = wool block, piston, or something related to redstone
O = empty
the signal would curve around this setup, and activate the piston too
would this be possible to implement?, it would make life a little easier XD
christoferlevich wrote:command blocks don't work unless the user that placed them is logged in
TheCaretaker wrote:What blocks/nodes do not stick to sticky blocks in the newest version of Minetest of the Mesecon Mod?
NetYard5 wrote:How does "Mesecon detector" works? detect nodes following its range? can anyone teach me how to make this block activate ( With the middle icon turn into green like player detector )
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The North Bergen Police Department got a huge thank you from Shirlene Quigley when she dancer and her father stopped by police headquarters on Thursday.
The 32-year-old and her father, Brad Quigley, thanked the members of the detective bureau for finding her and reuniting her with family, the New Jersey police department said.
"We are beyond pleased this situation has come to a successful conclusion," police wrote in an Instagram post. "The North Bergen Police Department wishes Shirlene health, happiness and success in all of her future endeavors."
Quigley, who lives alone in North Bergen, vanished near the Port Authority Bus Terminal at around 1 a.m. Sunday after making a cryptic comment to friends.
Rihanna and Missy Elliott posted emotional pleas on Instagram for information on the whereabouts of Quigley, who has also performed with Beyonce.
North Bergen police said in an Instagram post Tuesday evening that the dancer was found safe with the help of NYPD. She was at an undisclosed medical facility, and her father flew in from Los Angeles to reunite with her.
In the post on Thursday, police said the public outcry was instrumental in helping to find Quigley.
"The outpour of concern and assistance from the community and celebrities alike was quite touching. We could not have done it without their help," police wrote.