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With tax day behind us now, the IRS is looking for cheats. If you stiffed Uncle Sam, beware: He knows where you live—or at least, the IRS knows the metro areas where cheats most likely live:
Five metros have the highest concentration of tax cheats, according to an analysis of confidential IRS data done by the National Taxpayer Advocate (NTA).
As reported by the Associated Press, the five are Los Angeles, San Francisco, Houston, Atlanta and the District of Columbia.
Some include towns awash in high rollers—Beverly Hills, for example, and Newport Beach, Calif. Others, though, include such middle-class locales as College Park, outside Atlanta.
The NTA found likely cheats to be concentrated in 350 communities in 24 states.
Of the 350, California accounted for about a third, most in communities clustered around L.A. and San Francisco. Other clusters exist around Houston, Atlanta and Washington, D.C.
It's these same metro areas, says the NTA, where a sole proprietor is most likely to be audited.
A survey by the NTA's Taxpayer Advocate Service asked sole proprietors questions to help determine what factors distinguish "high compliance" payers from "low compliance" (i.e., cheaters).
The survey determined that what cheaters have in common is not wealth. It's attitude.
Taxpayers most likely to cheat voiced the lowest trust in government and in the IRS. They were more likely, for example, to believe the IRS treats taxpayers unfairly, and more likely to describe the IRS as behaving disrespectfully.
Sole proprietors in construction and in real estate rental were more likely to cheat than those owning other kinds of businesses. Cheaters were more apt to belong to local organizations, such as civic leagues, fraternal societies and clubs. They were more likely to belong to a trade association or labor union. They were more likely, too, to report that fellow members of such groups viewed the tax system as unfair.
This fraternization of likely cheaters, coupled with their geographic concentration, might someday lead, warns the NTA, to communities where cheating is regarded as socially acceptable.
These five metro areas are also the ones where sole proprietors are most likely to be audited. Where are they least likely to be? Which metros have the highest concentration of "high compliance" payers?
As determined by the TAS (and reported by the A.P.), the five most-honest metros are: the Aleutian Islands, off Alaska; West Somerville, Mass.; Portersville, Ind.; and Mott Haven in New York's South Bronx.
Why Mott Haven?
Bernard Stein, a City University of New York professor who helps edit the Mott Haven Herald, a newspaper run by students at the City University Graduate School of Journalism, describes Mott Haven as very poor and largely Latino, with an unemployment rate of 20 percent or higher.
On the one hand, Stein tells ABC News, Mott Haven is filled with huge, low-income housing projects left over from the 1950s. On the other, it has an historic district filled with "lovely old row houses" and artists' studios carved out of old industrial buildings.
Though local media, says Stein, has been predicting for a decade that Mott Haven will be New York's next hip neighborhood, it hasn't happened.
Local business still consists mostly of bodegas, dry cleaners, beauty shops, and other stores whose owners—recent immigrants to the U.S.—live nearby. Beverly Hills it's not.
What makes Mott Haven's sole proprietors such honest taxpayers?
Stein speculates the reason may be their work ethic and sense of personal morality. Then, too, he notes, recent immigrants tend to view government as their friend, not enemy.


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Galaxy Evolution in High Definition Via Gravitational Lensing
Dr. Jane Rigby
Deputy Project Scientist for JWST, NASA Goddard Space Flight Center
Abstract: In hundreds of known cases, "gravitational lenses" have deflected, distorted, and amplified images of galaxies or quasars behind them. As such, gravitational lensing is a way to "cheat" at studying how galaxies evolve: lensing can magnify galaxies by factors of 10–100 times, transforming them from objects we can barely detect to bright objects we can study in detail. For such rare objects, we are studying how galaxies formed stars at redshifts of 1–4, the epoch when most of the Universe's stars were formed. For lensed galaxies, we can obtained spectral diagnostics that are currently unavailable for the distant universe, but will become routine with next-generation telescopes.
In particular, I'll discuss MEGaSaURA, The Magellan Evolution of Galaxies Spectroscopic and Ultraviolet Reference Atlas, which comprises high signal-to-noise, medium spectral resolution (R~3300) spectra of 15 extremely bright gravitationally lensed galaxies at redshifts of 1.6<z<3.6. The sample, drawn from the SDSS Giant Arcs Survey, are many of the brightest lensed galaxies known. The MEGaSaURA spectra reveal a wealth of spectral diagnostics: absorption from the outflowing wind; nebular emission lines that will be key diagnostics for JWST, GMT, and TMT; and photospheric absorption lines and P Cygni profiles from the massive stars that power the outflow.
Preparing to Explore the Universe with the James Webb Space Telescope
Dr. Jane Rigby (NASA Goddard, Deputy Project Scientist for JWST)
Abstract: NASA's James Webb Space Telescope (JWST), scheduled to be launched in 2019, will revolutionize our view of the Universe. As the scientific successor to the Hubble Space Telescope, JWST will rewrite the textbooks and return gorgeous images and spectra of our universe. In my talk, I will show how JWST will revolutionize our understanding of how galaxies and supermassive black holes formed in the first billion years after the Big Bang, and how they evolved over cosmic time. I'll describe how our international team is preparing for launch, how we decide what targets to observe, and how we are testing the telescope to be sure it will work in space.
More information about the telescope can be found at https://www.jwst.nasa.gov/.
Science with the James Webb Space Telescope
Jane Rigby, NASA/GSFC
NASA's James Webb Space Telescope (JWST) will have revolutionary capabilities and sensitivity for imaging and spectroscopy from 0.7 to 28 micron. JWST should make major scientific advances across astrophysics, including the physics of reionization, galaxy formation and assembly, planetary science, and extrasolar planets. In anticipation of a scheduled launch in 2019, JWST Cycle 1 Guest Observer proposals will be due in spring of 2018. I will review the scientific capabilities of the telescope, the integration and test program, and how observers will plan observations and analyze JWST data.
The statistical study of solar dimmings and their eruptive counterparts
Larisza Krista, Cu/CIRES, NOAA/NCEI
Results are presented from analyzing the physical and morphological properties of 154 dimmings (transient coronal holes) and the associated flares and coronal mass ejections (CMEs). Each dimming in the catalog was processed with the semi-automated Coronal Dimming Tracker (CoDiT) using Solar Dynamics Observatory AIA 193 Å observations and HMI magnetograms. Instead of the typically used difference images, the transient dark regions were detected "directly" in extreme ultraviolet (EUV) images. This allowed us to study dimmings as the footpoints of CMEs—in contrast with the larger, diffuse dimmings seen in difference images that represent the projected view of the rising, expanding plasma. Studying the footpoint-dimming morphology allowed us to better understand the CME structure in the low corona. While comparing the physical properties of dimmings, flares, and CMEs, the relationships between the different parts of this complex eruptive phenomenon were identified: larger dimmings were found to be longer-lived, which suggests that it takes longer to "close down" large open magnetic regions. During their growth phase, smaller dimmings were found to acquire a higher magnetic flux imbalance (i. e., become more unipolar) than larger dimmings. Furthermore, the EUV intensity of dimmings (indicative of local electron density) was found to correlate with how much plasma was removed and how energetic the eruption was. Studying the morphology of dimmings (single, double, fragmented) also helped identify different configurations of the quasi-open magnetic field.
Dr Larisza Krista received an MSc degree in astrophysics in 2007 from Eotvos Lorand University, in Budapest, Hungary. She did her PhD at Trinity College Dublin (Ireland) as a Government of Ireland Scholar, on "The Evolution and Space Weather Effects of Solar Coronal Holes". She moved to Boulder in 2011 to accept a research scientist position at CU/CIRES in residence at NOAA/SWPC. She has also been a long-term scientific visitor at the High Altitude Observatory, where she collaborates with Dr Scott McIntosh. Her main interests involve the evolution of open solar magnetic field regions over the solar cycle as well as the related heliospheric structures and geomagnetic effects.

subset: commoncrawl


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Introduction to Precomputed Realtime GI
Geprüft mit Version: 5.5
Schwierigkeitsgrad: Fortgeschrittene Anfänger
In Unity, there are two distinct techniques available for precomputing global illumination (GI), or bounced lighting. These are Baked GI and Precomputed Realtime GI. This tutorial focuses on Precomputed Realtime GI.
When working with Precomputed Realtime GI, a lighting precompute is the process of calculating the bounce of light around the static geometry within a Scene in the Unity Editor and storing this data for use at run time. This process reduces the number of lighting calculations that must be performed at run time, allowing realtime bounced lighting while maintaining interactive framerates.
When using Baked GI, traditional lightmap textures are generated offline during the precompute process. These textures then exist as assets within the project and cannot be changed at run time. Precomputed Realtime GI does not create lightmap assets in the same way. Instead, lighting data is saved as a Lighting Data Asset which contains the information needed to generate and update a set of low resolution lightmaps interactively, at run time.
Unless our Scene has been properly prepared and optimized, the time it takes to complete these calculations can become excessive. In this tutorial, we will learn how to optimize a Scene for Enlighten (the backend for Unity's Precomputed Realtime GI and Baked GI solutions) so that lighting precomputes take minutes rather than hours.
Over the course of the document we will cover:
How to determine an appropriate lighting resolution for our Scenes.
What Charts are and how they affect our precompute times.
How to start the precompute process.
Using probe lighting to reduce the complexity of our lighting solution.
Improving auto-unwrapped UVs generated by Unity's Precomputed Realtime GI.
What Clusters are and how they are used to generate globally illuminated lighting.
Using Lightmap Parameters to fine-tune our lighting on a per-object basis.
Once we have learned and applied these techniques, we can leverage the benefits of using Precomputed Realtime GI: fast lighting iteration times, the ability to experiment more rapidly during the lighting process and realtime bounced lighting during gameplay.
Reducing precompute times from hours to minutes
In the Lighting Tutorial Scene used for this tutorial, precomputing the lighting with a default, non-optimized setup took around 7.5 hours on our test machine. For a Scene of this complexity, clearly this is unacceptable.
Default Scene: Precompute took 7.5 hours. Optimized Scene: Precompute took 2.25 minutes.
Following around 30 minutes of Scene preparation using the techniques covered in this tutorial, the precompute time was 2.25 minutes for a production-quality result. Considering that we can rapidly iterate on Scene lighting without needing to re-calculate GI and change GI lighting during gameplay, the attractive benefits of this technology are quickly apparent.
Downloading assets for this tutorial
Throughout this tutorial we will be referring to the Lighting Optimisation Tutorial project available from the Unity Asset Store.
In this written tutorial, we will be using the example Scenes contained within the Scenes/Article folder: LightingTutorialOptimal, LightingTutorialNonOptimal and LightingTutorialStart.
LightingTutorialOptimal has been set up according to this tutorial and is intended to represent an example of how production-ready lighting results can be achieved with minimal precompute time using Unity's Precomputed Realtime GI.
LightingTutorialNonOptimal reflects a lot of the common problems we see in projects that either don't finish baking, or take an unacceptably long time. This is a good reference for how Scenes should not be configured.
LightingTutorialStart will be the Scene which we are working with throughout this tutorial. As we follow the steps laid out in this tutorial, we will take this Scene to a completed, production-ready result.


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Historical Fiction
November 2017
'You will, of a Sunday, cook for me, and me alone, the finest supper.
You will neither repeat a dish nor serve foods that are in the slightest degree mundane.
In return I will continue to keep you alive and well...Should you balk in any fashion you shall find yourself swimming home, whole or in pieces, depending on the severity of my disappointment.'"
~ from Eli Brown's
Gunpowder and Cinnamon
Recent Releases
The Living Infinite: A Novel
Chantel Acevedo
In 1893, the Infanta Eulalia of Spain travels to the U.S. by way of Cuba. Although her stated plan is to attend the World's Columbian Exposition in Chicago, Eulalia has a secret agenda: to find a publisher for her scandalous autobiography. In addition to recounting the adventurous life of an unconventional woman, this atmospheric novel by Cuban-American author Chantel Acevedo examines the turbulent events surrounding the Bourbon Restoration in Spain and Cuba's War for Independence.
The Vengeance of Mothers: The Journals of Margaret Kelly & Molly McGill
Jim Fergus
In this sequel to
One Thousand White Women
, participants in a federal "Brides for Indians" program have lost their Cheyenne husbands in a brutal attack by the U.S. Army.
The Vengeance of Mothers
describes the experiences of two widowed sisters and their rebellion against the U.S. government, interspersing their diary entries with accounts of the events up to the Great Sioux War of 1876.
Caroline: Little House, Revisited
Sarah Elizabeth Miller
Reports of abundant land in Kansas Territory convince Charles Ingalls that his family's future lies west of the Mississippi. His (pregnant) wife Caroline is apprehensive, but dutifully packs up their belongings and prepares for a 700-mile covered wagon journey. Authorized by the Little House literary estate,
unfolds from the perspective of Ma Ingalls; the narrative bridges the events of
Little House in the Big Woods
Little House on the Prairie
, in case you're inspired to revisit the original series.
The Boat Runner: A Novel
Devin Murphy
The son of a successful Dutch industrialist, 14-year-old
Jacob Koopman enjoys a privileged upbringing that includes sailing lessons and...a summer at Hitler Youth Camp? Jacob's father, eager to cultivate business contacts, encourages his sons to embrace German culture -- until Holland is invaded and the Koopman family loses everything. Should they flee the country? Collaborate with the Nazis? Join the resistance? There are no easy answers in this dramatic coming-of-age story.
Unforgivable Love: A Retelling of Dangerous Liaisons
Sophfronia Scott
Set in 1947 Harlem, this retelling of
Les Liaisons Dangereuses
centers around a pact between scheming heiress Mae Malveaux and charming nightclub owner Valiant "Val" Jackson: if Val seduces Cecily, Mae's virginal cousin and the fianc
e of her ex-lover, Mae will sleep with him. However, Cecily has fallen in love with a jazz musician, while Val's got his eye on Elisabeth Thompson, a married woman who believes (wrongly) that Val can be redeemed. The stage is set for high society scandal.
Cinnamon and Gunpowder
Eli Brown
Kidnapped in 1819 by notorious pirate Mad Hannah Mabbot, chef Owen "Wedge" Wedgewood wonders why his life has been spared. It turns out that fine dining experiences are few and far between on the high seas. Charged (on pain of death) with creating sumptuous spreads from such unpromising provisions as gruel, rat meat, and moldy potatoes, Wedge gradually becomes a vital member of the crew. Atmospheric and rich in tantalizing culinary descriptions,
Cinnamon and Gunpowder
also provides a fast-paced, swashbuckling sea story
The Wedding Officer
Anthony Capella
Although James Gould's official title is "wedding officer," his actual duties require him to prevent marriages between the Allied soldiers stationed in Naples and their Italian girlfriends. The locals, perplexed by the polite young British captain who won't accept bribes, send widow Livia Pertini to cook for him, hoping that she'll distract him from their illegal activities. So Livia sets to work seducing James with her cooking, never expecting to fall for him. Lavish descriptions of food and cooking make this World War II love story a sensual feast for readers.
White Truffles in Winter: A Novel
N. M. Kelby
Legendary chef Auguste Escoffier -- creator of such culinary masterpieces as Peach Melba -- has never invented a dish for his wife, Delphine (though he has named at least two after his longtime mistress, actress Sarah Bernhardt). Can Delphine persuade him to honor her before she dies? Interwoven with scenes from the Escoffiers' marriage are flashbacks that reveal how Auguste, a former army cook, revolutionized French haute cuisine by combining military discipline in the kitchen with a scientific approach to food preparation. With its vivid depiction of early 20th-century France and its mouth-watering descriptions of meals,
White Truffles in Winter
is a treat for foodies, Francophiles, and fans of historical fiction.
John Saturnall's Feast
Lawrence Norfolk
After the death of his mother -- an accused witch in a pre-Civil War England where the Protestant Reformation is beginning to take hold -- John Saturnall becomes a kitchen boy at Buckland Manor, the estate of Sir William Fremantle, where his refined palate and culinary talents ensure his eventual promotion to head cook -- and attract the attention of Sir William's headstrong daughter, Lucretia. But when Lucretia's father promises her hand in marriage to her loutish cousin, Lucretia's protest takes the form of a hunger strike -- and it's up to John to entice her to break her fast. For another lush, dramatic tale about an orphan boy who rises to the rank of master chef and employs his talents to woo his lady love, try Elle Newmark's
The Book of Unholy Mischief
, set in Venice during the Renaissance.
The Arrangement
Ashley Warlick
Unfulfilled in her marriage to academic Al Fisher, aspiring writer Mary Frances Kennedy pursues married painter Dillywn "Tim" Parrish -- who, unlike Al, supports her literary ambitions while satisfying her physical desires. Set in 1930s Los Angeles, Paris, and the Swiss Alps, this lush and atmospheric biographical novel stars
pioneering food writer M.F.K. Fisher, of whom W.H. Auden once said, "I do not know of anyone in the United States who writes better prose." For another fictionalized account of a real-life love triangle, try Lily King's
, inspired by the life of anthropologist Margaret Mead.
Contact your librarian for more great books!
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The girl with the beautiful eyes!
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This is one of my favorites of all times! This is a photo of one of my favorite models posing with my gecko.
1 response
Jon Scally said (27 Aug 2010):
The eyes are very striking and the make-up on the upper lids ties in with the gecko wonderfully
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Last April, the German photographer Thomas Struth went to Windsor Castle and took a picture of the Queen of England and the Duke of Edinburgh for the National Portrait Gallery in London. This is not the kind of photography Struth usually does. He is one of today's most advanced and acclaimed art photographers, whose monumental color photographs hang in museums throughout the world, and whose interests do not extend to taking inoffensive pictures of famous people. But when he got the call from the National Portrait Gallery, in January, he found himself saying yes. The occasion was an exhibition of paintings and photographs of Elizabeth II done in the sixty years of her reign, which the Diamond Jubilee of 2012 will celebrate. Struth's photograph would be the final portrait in the exhibition.
"When the National Portrait Gallery called and said that in their eyes I was the best person to do the portrait, I was quite shocked," Struth told me. "My immediate reaction was 'What can I possibly do that's not only affirmative but would include a message from me? Would I be able to say something new about people like this?' "
Struth and I were eating lunch in a Berlin hotel restaurant; it was a month after the sitting, and I had come to Germany to interview him and watch him at work. He is a tall, bearded man of fifty-six with large pale eyes and an exceptionally likable persona. He radiates decency and straightforwardness. He is kind and calm and modest. He is the kid in the class everyone wants to sit next to.
Struth went on to tell me of his elaborate preparations for the portrait of Elizabeth and Philip. He studied old photographs and found most of them wanting. He saw the technical mistakes, "what should not happen"—notably their distracting backgrounds. He visited Buckingham Palace and decided it was too cluttered. When the gilded green, red, and white drawing rooms at Windsor Castle were offered, he selected the green room (the white room was "too tired" and the red room "too much") and spent a day there making test shots. "While I was there, I said, 'I want to see the dresser'—the woman who is in charge of the Queen's wardrobe. Because the second thing I noticed when I looked at the past photographs of the Queen was that many of the dresses she wears are very unfortunate. She has quite big boobs and she often wears something that goes up to the neck and then there is this stretch of fabric under the face that makes it look small." (I smiled to myself at Struth's coarse reference to the royal bosom—a rare lapse in his excellent English.) The day before the sitting, Struth continued, "the dresser came in with twenty dresses. She was a very nice woman, and we had an immediate chemistry. I felt that she saw me. Later, she told the Queen that I was O.K.—that I was a nice guy. I selected the dress, a pale-blue brocade with garlands, a bit shiny, and it matched nicely against the dark green."
I asked if the Queen accepted his choice and he said yes. He did not choose the Duke's costume, except to ask for a white shirt. At the sitting, the Duke wore a dark suit and a blue tie. "He was perfect," Struth said.
In further preparation, Struth read a biography of Elizabeth, and "I felt sympathy. They were my parents' generation. She was exactly my mother's age and Philip was born in 1921, two years after my father was born." He added, "I said O.K. to the commission for reasons I cannot name, but I thought, I'm going to have sympathy for these people."
The paradoxicality of Struth's association of Elizabeth and Philip with his parents—his mother was in the Hitlerjugend and his father served in the Wehrmacht from 1937 to 1945—could not have been lost on him, and was surely implicit in the "reasons I cannot name." Like many, if not most, Germans of his generation, Struth has been haunted by the Nazi past, and speaks of the Holocaust as a major influence on his life and work. "If you want to know what formed me," he said in our first interview, "this is the big thing: the culture of guilt that I was born into and that surrounded me in my childhood." He told me that he learned about the Holocaust early in his life, though he doesn't know exactly when—"I feel as if I always knew about it"—and was tormented by the question of his parents' complicity. His father liked to tell stories about his bad war. He had fought in France and then in Russia, where he was severely wounded twice, and survived "almost as if by a miracle." These stories "irritated" the young Thomas. "Whenever my father talked about the war, he told only his personal story. He never said something like 'Oh, my God, when I came out of it and realized what we had done, I felt so sorry!' That would have been the natural thing to say. But he never said it. I don't know what he believed." Struth went on to speak, in a somewhat amorphous way, of his work as a form of the Vergangenheitsbewältigung ("coming to terms with the past") by which Germany's best spirits remain gripped. Will his portrait of the monarch who was on the right side of history ("the last living connection to an episode—the island race standing up to Hitler—that has become the foundation story, almost the creation myth, of modern Britain," as Jonathan Freedland recently characterized Elizabeth II in The New York Review of Books) bring his project of expiation to a remarkable kind of culmination?
If so, it will not be visible in the portrait itself. Struth's work does not reflect the culture of guilt he speaks of. Unlike, for example, the gritty, dread-inducing paintings of Anselm Kiefer, whose thoughts never seem far from Auschwitz, Struth's photographs evoke nothing bad. They have a lightness of spirit, you could almost say a sunniness, that is not present in the work of the other major practitioners of the new oversized color photography—Andreas Gursky, Candida Höfer, Jeff Wall, Thomas Ruff among them. Struth is the Sunday child of the lot. His huge photographs—city streets, people looking at paintings in museums, industrial landscapes, factories, laboratories, rain forests, and family groups—are as pleasing as his persona; they seem to be an extension of it. Michael Fried, in his tautly argued book "Why Photography Matters as Art as Never Before" (2008), pauses to remark, with apparent (uncharacteristic) irrelevance—but evident intuitive understanding of the force of Struth's radiance—"A striking fact about Struth's public career is the almost universally enthusiastic response that his work has received." An early enthusiast, Peter Schjeldahl, wrote in the Swiss art journal Parkett, in 1997, "It is time to say that Struth's pictures regularly take my breath away. I find it hard to look at them steadily for any length of time, so intense is their effect on my emotions." In the catalogue of a 2003 Struth retrospective at the Metropolitan Museum in New York, Maria Morris Hambourg and Douglas Eklund testified to "a remarkable feeling" they experienced while looking at Struth's photograph of two women standing before Gustave Caillebotte's "Paris, Rainy Day," "of stepping into one's own skin again, while alienation from others and from history—the curse of the modern—is dissolved in the image." Today, there is no diminution of the enthusiasm; if anything, it is growing, and sane critics are continuing to lose it under Struth's mesmerizing spell.
The morning after the lunch in Berlin, Struth and I drove to a factory outside Dresden, operated by a company called SolarWorld, where he would spend the day photographing. He had been there a few weeks earlier to ascertain whether he would find a subject, and he did. We were greeted by an agreeable young woman named Susanne Herrmann, the plant's public-relations manager, who took us to a changing room where we put on white jumpsuits, white plastic hairnets, and white booties over our shoes so that we would bring no contaminating dust particles into the plant. Dan Hirsch, Struth's new assistant, who had driven in from Düsseldorf with Struth's equipment—numerous cameras, tripods, and film—had already arrived. ("I desired somebody like this for a long time," Struth said of Hirsch, a twenty-eight-year-old Israeli, who had written to Struth and to Candida Höfer a few months earlier, offering his services; he had heard back only from Struth, who interviewed him and hired him on the spot. "Everything he said seemed very honest and made sense.")
We entered a large room filled with machinery that made a great din and nowhere disclosed the function that its beautiful forms followed. I immediately saw why Struth wanted to photograph here. Everywhere you looked, a fetching ensemble of industrial parts appeared—like a found object—to tempt the eye even as it baffled the mind. While Struth and Hirsch set up a large view camera in front of one of these ready-mades, and took preparatory pictures with a digital camera, I was given a tour of the factory by Ulrike Just, another agreeable employee, with the title of quality manager, and learned what all the activity and complexity was about: inert little tiles, about six inches square, called wafers, were being converted into vital solar panels. The wafers were sent from place to place on the floor to undergo endless chemical alterations, washings, and inspections—all done by machinery. The occasional person we came across on the factory floor was tending to a machine, like a nurse. Watching the machines work was amazing: it seemed as if the merest of functions required the most violent exercise of machinery. A certain inspection of the wafers, for example, was done by a machine that fairly jumped up and down with excitement. The single human intervention—a final inspection by specially trained eyes and hands—would one day cease; inevitably, machines that could do this work would be invented.
Struth was laboring as mightily as the machines to take his pictures. He had covered his head and shoulders with a gray photographer's cloth, and every shot seemed to cost him great effort. He would emerge from under the cloth looking beaten down and depleted. His assistant did things to assist, but Struth continued to look as if he were undergoing a shattering ordeal. He moved to another place on the factory floor, and the exertions continued. At around two, he reluctantly stopped, and he and Hirsch and I and Susanne Herrmann drove to a restaurant where the founder of SolarWorld, Frank Asbeck, was giving us lunch. A long table in a shady courtyard had been set with nine places. The party was filled out by four executives from the factory, dressed in dark suits, who filed in together and talked only to each other. Lunch was delicious, featuring the white asparagus then in season and being served everywhere in Germany. Asbeck, who was fat and exuberant, more Bacchic than Apollonian, told an amusing story about his previous work, something about being fired before he was hired to run a trout farm because he had written an article about the antibiotics that were being secretly given to the trout. The conversation turned to green subjects, and I quoted Michael Pollan's mantra: "Eat food. Not too much. Mostly plants." Asbeck laughed and said, "I guess I don't do the not too much part." As he spoke, he patted himself fondly, like one of the large, rich men of the past who took pleasure in their fatness.
After lunch, we returned to the factory and Struth went back to his strenuous labors under the photographer's cloth, with Hirsch hovering nearby, performing his assisting functions when Struth signalled for them. He worked through the afternoon and into the evening hours. The time set for us to drive to Dresden for the night went by, but he showed no signs of quitting. Ulrike Just was staying after hours—she had been told to stay as long as Struth wanted to work. I tried to busy myself by taking pictures with my Instamatic camera. Finally, I rather crossly left for Dresden in a taxi.
Of course, my crossness was unjustified. I had wanted to see a master photographer at work, and had just had the chance to do so. Struth's invisible cloth of obliviousness was as necessary to his art-making as the actual cloth he worked under. To enter the state of absorption in which art is made requires reserves of boorishness that not every exquisitely courteous person can summon but that the true artist unhesitatingly draws on.
The next day, Struth, his courtliness restored, and I walked around Dresden and talked about his project of taking photographs at industrial and scientific workplaces. I asked him if he felt he was making some sort of "statement" about society with these photographs.
"I think yes," he said, but he added, "Some of the pictures don't show what I was thinking. For instance, when I went to Cape Canaveral as a tourist I was struck with the sense of the space program as an instrument of power. When, as a state, you demonstrate that you are able to do that, it contributes to cultural dominance. I hadn't realized this before. But when I went there to photograph I saw that it is something you cannot put into a photograph."
"Do you feel you need to put large meanings into your work?" I asked.
"Well, it's part of my thinking. It's something that stimulates me. To have a narrative is an incentive. If it was only about composition and light and beautiful pictures, I could just photograph flowers."
"Forget the flowers," I said. "Let's stay in the factory. Because there were very beautiful forms there. Wouldn't that be enough for you? If you just found beautiful compositions there, and made beautiful photographic abstractions. You want to do more than that?"
"I'm trying to elicit from you what the more is."
"The more is a desire to melt, like to—how can I say it?—be an antenna for a part of our contemporary life and to give this energy, put that into parts of this narrative of visual, of sort of symbolic visual expression . . ." Struth struggled, and gave up.
I asked him if the fact that SolarWorld's activity had to do with solar energy was part of his interest in photographing there.
He said that it was, and added, "My own personal energy account is very bad, because I fly so often and drive, and can't claim that I'm a good sustainable-energy person. But I've almost always voted for the Green Party, and since it was founded I always thought these subjects were important and are a fascinating challenge for the world."
"How will your pictures show that what is being produced at SolarWorld is good for mankind?"
"Just by the title."
"So photographs don't speak."
"The picture itself is powerless to show."
That afternoon, we flew to Düsseldorf, where Struth has lived and worked for most of his life. He recently moved his living quarters to Berlin, and was about to move his studio there as well. But Düsseldorf has been the center of his artistic life since he entered its Kunstakademie, in 1973, and studied first with the painter Gerhard Richter and then with the photographers Hilla and Bernd Becher. He entered the academy as a student of painting. The paintings he has preserved from this period show a penchant for surrealist creepiness—they depict looming landscapes and sinister people and are painted in a precise, Magritte-like style. After two and a half years, Richter proposed that Struth go and study with the Bechers. Struth had started photographing as an aid to his painting. He would photograph people on the street, who became the haunted figures in his paintings, as well as the streets themselves, in early-morning de Chirico emptiness. His paintings became more realistic, and cost him more effort, and, as they did so, he had an epiphany. "I realized, this takes too long," he said over lunch in a Düsseldorf café. "And that I'm not interested in the painting process. I'm interested in making pictures. And if I'm not interested in spending time accurately rendering the shadows in the coat and getting the color of the hat right and stuff like that, I realized—"
"You realized that someone else or, rather, something else—a camera—could do this for you?" I cut in, imagining the eureka moment.
"Yes. After I started taking photographs from which I would make my paintings, I realized that the photograph already does it. The photograph already shows what I want to show. So why make a painting that takes me five months to finish and then it looks like a photograph?"
"That's what the photo-realists did," I said.
"Yes, but that's naïve. I remember when I first saw those paintings, I thought, That's not very interesting. They are only trying to show they can paint. That's not art."
Struth, of course, was mischaracterizing the photo-realist project—which was not to display painterly skills but to cast a cold eye on the psychopathology of mid-twentieth-century American life. The huge paintings of Airstream campers and gooey pies on luncheonette counters brought the details of the color photographs they were based on to an arresting, sometimes almost comical degree of visibility. These paintings were about scale—in much the way that the oversized photographs of Struth, Gursky, Wall, Höfer, et al. are—and in this sense they anticipated the new photography, though they were evidently not a conscious influence on the new photographers.
Recalling his student days, Struth spoke of the atmosphere of seriousness that permeated the academy: "When I came there, it was a shock to realize that I had to regard art as a serious activity and develop a serious artistic practice. Painting and drawing was no longer my hobby, a private activity that I enjoyed. It was something that had categories. Artists were people who took positions and represented certain social and political attitudes. It was an intense experience to realize this. There was very intense judgment by the students—who is doing something interesting and who is an idiot painting lemons as if he were living in the time of Manet and Cézanne."
In a 1976 student exhibition at the academy, Struth showed forty-nine of the black-and-white photographs he had taken of empty Düsseldorf streets from a frontal perspective leading to a vanishing point, and the success of the series led to a scholarship in New York, where he did the work for which he was first known—black-and-white photographs of empty New York streets, again taken head on. The assumption that these single-minded works were inspired by the Bechers' über-singleminded photographs of industrial structures turns out to be wrong. As it happens, when Struth took his Düsseldorf pictures, he had not yet seen the Bechers' photographs—another example of the Zeitgeist's uncanny ways.
The Bechers are cult figures, known in the photography world for their "typologies" of water towers, gas tanks, workers' houses, winding towers, and blast furnaces, among other forms of the industrial vernacular. In the late fifties, they began going around Germany, and then around the world, taking the same frontal portrait of each example of the type of structure under study, and arranging the portraits in grids of nine or twelve or fifteen, to bring out the individual variations. They did this for fifty years, never deviating from their austere formula: all the photographs were taken at the same aboveground-level height and under overcast skies (to eliminate shadows), as if they were specimens for a scientific monograph.
Struth is reserved about the Bechers' photographs, though he respects what he sees as the ideological backbone of their enterprise. "When Bernd and Hilla made this contract with themselves in the nineteen-fifties, to catalogue these kind of objects, German photography was all abstract subjectivism," he said. "People didn't want to look at reality, because what you saw in Germany in the fifties was destruction and the Holocaust. It was all a terrible reality, so precise looking was not a widespread impulse." The Bechers' precise looking was a model of ethical rigor. But Struth believes that "eventually their meaning in the history of art will be linked more with their teaching and the influence it had than with their work."
I asked Struth about the influence on him of the Bechers' pedagogy.
"Their big pedagogical influence was that they introduced me and others to the history of photography and to its great figures. They were fantastic teachers, and they were fantastic teachers in the way that they demonstrated the complexity of connections. It was an outstanding thing that when you met with Bernd and Hilla they didn't talk about photography alone. They talked about movies, journalism, literature—stuff that was very comprehensive and complex. For example, a typical thing Bernd would say was 'You have to understand the Paris photographs of Atget as the visualization of Marcel Proust.' "
I said, "I don't get it. What does Atget have to do with Proust?"
"It's a similar time span. What Bernd meant was that when you read Proust that's what the backdrop is. That's the theatre."
"Did you read Proust while you were studying with the Bechers?"
"No, no. I didn't."
"Have you read Proust since?"
"So what was the point for you of connecting Atget with Proust?"
Struth laughed. "Maybe it's a bad example," he said.
"It's a terrible example," I said. We both laughed.
Struth went on to contrast the beloved, haimish Bechers, whose classes were often held at their house or in a Chinese restaurant, with the "much more difficult to deal with" Gerhard Richter: "Gerhard was very ironic. I never had the feeling that he is someone who speaks naturally or openly. He was friendly, but you never knew what he really meant. It was very coded language and coded behavior."
Struth's characterization of Richter did not surprise me. I had seen the portrait of him and his wife and two children that Struth took for the Times Magazine in 2002, on the occasion of a Richter retrospective at the Museum of Modern Art in New York. It is a beautifully composed picture of four people whose bodies are rigid with tension, and whose staring faces illustrate different ways of looking hostile. White lilies in a glass vase and a picture of a skull on the wall reinforce the photograph's primal unease.
I was surprised to hear that Richter and his wife liked the picture.
"It's a very sad and disturbing picture," I said.
"O.K.," Struth said.
"They do not look like a happy family."
"Well, that's not the issue."
"That almost is the issue of the picture."
Struth conceded that "they don't look relaxed and happy," and added, "He's not an easy person, that's for sure. He's a very particular person."
As we were leaving the café, Struth said, "I feel bad about Proust and Atget." Struth is a sophisticated and practiced subject of interviews. He had recognized the Proust-Atget moment as the journalistic equivalent of one of the "decisive moments" when what the photographer sees in the viewfinder jumps out and says, "This is going to be a photograph." I made reassuring noises, but I knew and he knew that my picture was already on the way to the darkroom of journalistic opportunism.
During our conversation in the café, Struth received a phone call from the Grieger printing lab telling him that the first test prints of his portrait of the Queen and the Duke were ready for his inspection. The Grieger lab is considered the supreme printing lab for large-scale photography and is the place where many of its practitioners go to have their prints made. At Grieger, we were met by Dagmar Miethke, who was Struth's "special person" there, and on whose eye and taste he depends for the finish of his photographs. Miethke, an easy and friendly woman of around fifty, pinned the print to the white wall, and the three of us silently regarded it.
My first impression was of a vaguely familiar elderly couple posing for a formal portrait in a corner of the palatial Minneapolis hotel ballroom where their fiftieth wedding anniversary is being celebrated. The pair were seated on an ornate settee, and my attention was drawn to the woman's sturdy legs in beige stockings, the right knee uncovered where the skirt of her pale-blue silk dress had hitched up a bit as she settled her ample figure into the settee; and to her feet, in patent-leather pumps planted firmly on the fancy hotel carpet. Her white hair was carefully coiffed, in a sort of pompadour in front and fluffy curls on the sides, and her lipsticked mouth was set in an expression of quiet determination. The man—a retired airline pilot?—was smaller, thinner, recessive. They were sitting a little apart, not touching, looking straight ahead. Gradually, the royal couple came into focus as such, and the photograph assumed its own identity as a work by Struth, the plethora of its details somehow tamed to serve a composition of satisfying serenity and readability.
Struth broke the silence and said that the picture was too yellow, and for the next half hour color adjustments were made on test strips, until he was satisfied that the print had reached the degree of coolness he wanted. Then the issue of size arose. The print we were looking at was big, around sixty-three by seventy-nine inches, and he asked that a larger print be made. When this was produced, he regarded the two prints side by side for a long while. It seemed to me that the smaller print was more flattering to the Queen—the larger print made her look larger, almost gross. Struth finally asked that the smaller print be taken away so that he could study the larger print without distraction, and he finally decided on it. Further color adjustments were made on the big print—the Queen's hands were made less red, the background was darkened, to noticeably good effect—and Struth was satisfied.
Struth had positioned the settee—upholstered in green silk brocade, with curved gilded arms and legs—at a slant, so that the Queen was more prominent and lit with a kind of white glow, while the Duke receded into the shadows. The Duke is still handsome at ninety, his military bearing intact, but in the double portrait, next to the Queen's amplitude, he looked a bit shrunken.
Struth said of the sitting, "When we walked in"—he was accompanied by Hirsch and another assistant, named Carolina Müller—"they were not particularly friendly. No smiles. I was very nervous. I took a few shots and realized I hadn't adjusted the shutter opening. Then I saw that the pillow behind the Queen was not in a good position—exactly the kind of mistake I didn't want to make—so I said to her, 'Excuse me, can you lean forward,' and I just fixed the pillow behind her back. Then I made three or four more shots. And one of those shots was it. I knew it was it."
At his studio, Struth showed me the contact sheets of the sitting. There were the pictures with the badly positioned pillow behind the Queen. In another reject, the Duke had both hands on his thighs, rather than one hand strategically placed—as Struth instructed him to place it—on the seat of the sofa. Another showed the Queen looking majestic, the way she looks on money. In others, her mouth was slightly and awkwardly open, or her hands were folded on her lap in what Struth called a "defensive" position. The selected picture was indeed the right one.
Struth said he believed that his preparations impressed the royal couple and contributed to the success of the portrait: "They saw we took the task seriously." He spoke again of the bad photographs of the Queen and the Duke that he had studied, this time in terms of "the mistakes that make them look like almost comic impersonators of their functions rather than like real people. You would be shocked by how many terrible photographs there are of them. It's clear that the best pictures of Elizabeth and Philip are by Lord Snowdon, because he was a family member. Elizabeth looks happiest in Snowdon's photographs." He added, "I think what matters is that when the circumstances are prepared well and the people sit and look into the camera there is always a chance of truth."
In fact, there is more than a chance. Photography is a medium of inescapable truthfulness. The camera doesn't know how to lie. The most mindless snapshot tells the truth of what the camera's eye saw at the moment the shutter clicked. Only the person being photographed can assume the lying appearance of "naturalness" that the portrait photographer seeks and tries to elicit with his repertoire of blandishments. But this appearance is not enough to give the portrait the look of art. For that, the preparations that Struth talked of—the fussing with pillows and the tilting of sofas and, most crucially, the selection of site—is necessary. The portraits of August Sander, who may be the greatest portrait photographer in the history of the medium, are a great object lesson in the significance of settings in the art of the photographic portrait. His settings are not incidental backgrounds for the figures whose souls he seems to have captured with his camera; they are intrinsic to the viewer's sense that such a capture has taken place. And so it was with Struth's portrait of Elizabeth and Philip.
In one of our talks, Struth told me that when he was in high school he belonged to a little band of classmates—four boys and four girls—who spent all their time together and were determined not to be like their parents, whose recoil from the catastrophe of the war had taken the form of ultra-conventional behavior and a devotion to what was "safe and clean." Later, as I was leafing through a book of Struth's photographs, this phrase came floating to mind, for there is a sense in which it describes the world of Struth's huge, handsome pictures, from which the dangerous and dirty is conspicuously absent. "Dallas Parking Lot" (2001), for example, a magnificent composition of cool grays and icy blues and warm browns that Struth extracted from the ugly mess of the construction boom in Dallas, shows a rooftop parking lot in early-morning near-emptiness and after-rain freshness, over which pristine glass high-rise buildings hover like benign guardians of the sleeping city's security. As it happened, this picture was not included in a retrospective of Struth's work in Düsseldorf (these days, there seems to be a Struth exhibition opening somewhere at every moment), to which he accompanied me on my last day in Germany, but in which many other representations of Struth's safe and clean world were on view.
His monumental (fifty-seven by seventy-four inches) portrait of the eight members of the Ayvar family, in Lima, is a rare encounter with poverty. That the family is poor may be inferred from the room in which they sit—a piece of plasterboard with cracks in it appears behind the group, the foreground shows part of a patterned velvet sofa over which a sheet has been thrown to hide something torn or ruined, a dark muddy linoleum covers the floor, a small cheap religious print hangs high on the wall. Clearly the spareness of the room is an object not of advanced taste but of want, of not having the things that advanced taste keeps at bay. The family members—a tiny, dark-haired mother, a gray-haired father, and six children, ranging in age from a seven- or eight-year-old boy to a grown son and daughter—sit at a small table facing the photographer. A current of sympathy runs between the subjects and the photographer that brings to mind the sympathy that flowed between Walker Evans and the sharecropper family he photographed in Dust Bowl Alabama, in the nineteen-thirties. But with this difference: Evans's black-and-white photographs are heavyhearted pictures. They show the hopelessness of the struggle of the people they dignify and beautify. The smell of poverty wafts out of them. If any smell wafts out of the photograph of the Ayvars, it is that of laundry detergent. The father's crisply ironed short-sleeved dress shirt, the children's neat white and pastel-colored T-shirts, decorated with cartoons, and, most conspicuously, the bleached white cloth draped over the table, every stitch of whose green-and-red cross-stitched border is made visible, you could almost say celebrated, by the oversized print's magnification—all this creates a gestalt that is far removed from that of the rueful Evans's homage to the dirt-poor. As with all Struth's photographs, it is hard to say what "statement" it makes, but its note is characteristically cheering, even elating. The dazzling white cross-stitched tablecloth (to which the eye is drawn as if to a central figure) emblematizes the work's optimism, like that of an Easter Sunday service—or an encounter with a friendly photographer.
As Struth and I were looking at another big picture, and he was pointing out something in its foreground, a museum guard suddenly materialized and told him that he was standing too close and should step back behind a line on the floor. Struth did not say, "I took that picture," but obediently stepped back behind the line. A little further into our tour of the show, the guard—a small woman of Japanese origin, now informed of Struth's identity—reappeared and profusely apologized for her blunder. Struth good-humoredly reassured her, but she could not stop apologizing and finally withdrew, walking backward with her hands held in supplication and her head bobbing up and down in little Japanese bows.
The picture we had been standing in front of showed a semi-submersible oil rig in a shipyard on Geoje Island, in South Korea—a huge red thing, a colossus on four legs on a platform afloat near the shore, taut cables anchoring it to the concrete pavement onshore, on which piles of miscellaneous building materials are strewn. The photograph (a hundred and ten by a hundred and thirty-eight inches) magisterially represents what can be called the new optics of the new photography, which sees the world as no human eye does. When you look at these photographs, it is as if you were looking through strange new bifocals that focus on things at a distance at the same moment that they focus on things close up. Everything is equally sharp. Struth's photograph of Notre Dame is another striking example of this phenomenon. Every detail of the façade is rendered in razor-sharpness, as are the clothes and knapsacks of the dwarfed tourists in the plaza in front of it. Reproductions of these photographs in books give only a hint of their breathtaking strangeness. One needs to see them full size to marvel at them.
After the museum, Struth took me to his studio, which was in the process of being dismantled. It was a very long room on the second floor of a former printing plant, filled with desks and computers, sofas and bookcases, a drum set, and a narrow mattress on the floor neatly covered with blankets, where, after giving up his Düsseldorf apartment, Struth would sleep when in town. Windows facing the street lined one long wall, and a line of black file boxes sat on the floor along the wall opposite. These files, which relate to the business end of Struth's enterprise, were being reorganized before being shipped to Berlin; Struth wanted them to be in order before the move. Much of Struth's work these days is running his business. His art has made him rich, and his dealings with the people who have made him (and themselves) so occupy a good portion of his time (and of the studio's functions). He is on the phone a lot: someone is always calling him about some business particular; he seems to be under pressure.
It wasn't always like this, he told me, and cited two events that changed his life from that of a carefree rich artist to that of one who feels he has to hustle to remain one. The first was the renovation, in 2005, for a hundred and fifty thousand euros, of the Düsseldorf studio. The second was his marriage, in 2007, to Tara Bray Smith, a young American writer, who gracefully accepted living in Düsseldorf for two and a half years, and then proposed the move to Berlin—which Struth was happy to make. "The time was over. I was so used to Düsseldorf—it seemed good to move somewhere else." Good but not cheap.
"Before I did the renovation of the studio and before I got married, I had one assistant, not three, I needed very little money, my apartment was very inexpensive," Struth said. "I made much more money than I needed—and I paid a fifty-per-cent tax to the German state. Then I did the renovation, I met Tara, we moved to Berlin, I rented a studio there that was six thousand euros a month, I hired two more assistants, Tara said she would love to have a small place in New York, and I thought, O.K., it makes sense, and we found one, though a bigger place than I thought. All of a sudden my expenses exploded, and I felt much more pressure to sell." I asked Struth what his photographs sell for, and he replied that at Marian Goodman, in New York, it is around a hundred and fifty thousand dollars. The gallery takes fifty per cent, and the state takes fifty per cent of Struth's share. Goodman sold thirty-five pictures in his last show, in 2010, but in Berlin only ten pictures sold that year. "There's never certainty," he said. At the same time, "I'm not worried. There's always something." For example: a commission from a billionaire (who wishes to go unnamed) to photograph his family, which Struth might not have accepted when he was flush and photographing only people he knew and liked.
At the studio, Struth leafed through the catalogue of the Metropolitan Museum exhibition to illustrate another seminal event. This was the taking of a photograph entitled "The Restorers at San Lorenzo Maggiore" on the last day of a three-month stay in Naples, in 1988. In Naples, Struth experienced the famous effect that the South has on industrious Northerners. "I discovered I was just very happy there. I fell in love twice. I thought, I'm not only the strict German, I have some joyful capacity in me that wasn't unearthed until now." The picture—a lovely composition in muted ochre and umber colors of four people posed in front of a long row of the large old religious paintings on which they have been working in a high-ceilinged room in a former abbey—was the first photograph Struth saw reason to print big. It was also the work that opened the door to the project for which he is perhaps best known: his museum pictures. These show what we see when we walk into a museum gallery: people looking at paintings. We only secondarily see the pictures themselves.
For about a decade, Struth ingeniously played with this conceit. In some of the museum photographs, the relationship between disturbing subject matter—such as that of "The Raft of the Medusa"—and unperturbed viewers was the point, or part of it. In others, spatial relationships were explored, such as in the photograph entitled "Galleria dell'Accademia I," a work showing Veronese's "Feast in the House of Levi," whose depth perspective supports the momentary illusion that the visitors in shorts and jeans standing before it are about to enter its bustling scene. Yet another concept was to focus solely on museum visitors, photographing them from the point of view of the work they were gazing at. In one series, Struth shows tourists at the Galleria dell'Accademia in Florence gazing up at Michelangelo's "David" and in another at The Hermitage, looking at a da Vinci Madonna and Child. These "audience" pictures are intermittently amusing but, to my mind, a bit trite. We have seen pictures of unself-consciously gaping tourists before. I am also unable to appreciate the series called "Paradise," large, straightforward pictures of jungles and forests. ("His jungles look like the potted plants in a dentist's office," the critic Lee Siegel wrote in 2003, putting his finger on it.)
Struth's photographs taken in factories, laboratories, and nuclear power plants, on the other hand, look like nothing one has ever seen before. These glimpses into what the critic Benjamin Buchloh calls "the technological sublime" were on view at Marian Goodman last year and constitute some of Struth's most powerful images. While at SolarWorld with Struth, I had these images in mind. The feeling of not understanding what one is seeing, of not knowing the functions of madly tangled wires and tubes and cables and mysterious flanges and pulleys and levers, is brilliantly conveyed by these huge pictures of places few of us have ventured into and on whose products many of us depend. Predictably, the places are not satanic mills but belong to the world of Struth's benign photographic vision. They reassure even as they baffle. They tell us that the people who are absent from the pictures are back there somewhere and that they know what it all means and know what they are doing.
On our way out of the Düsseldorf studio, Struth paused to play a twenty-second riff on the drums, relics of the days when he played in a rock band. We drove to my hotel for dinner, where Struth—after ascertaining that he wouldn't be acting like a rude guest—joined me in mocking the pretentious food served in mercifully stingy portions. (Everywhere else I ate in Germany, the food was elegant and delicious.) Back in New York, I have been corresponding with Struth by e-mail. In August, he sent me digital images of four of the pictures he had taken at SolarWorld. They were both surprising—while at the factory I hadn't "seen" any of these images myself—and of a piece with the incomparable Marion Goodman photographs. I wrote to ask if he or Hirsch could also send me the snapshots that, after the formal sitting, Hirsch had taken of the Queen and the Duke looking at a picture of Struth's dog, Gabby, which Struth had thought to pack when making his meticulous preparations. Hirsch promptly sent three of them. They are wonderful. My favorite shows Elizabeth beautifully smiling at the picture of the dog that Struth and Philip hold toward her as they broadly grin at each other over her head. In another e-mail, Struth wrote that he had heard from the curator of the exhibition at the National Portrait Gallery that Philip "was clearly touched by the portrait, and asked, 'How did he do that?' " I wrote back and asked about the Queen's reaction, and the answer was that it was unknown. In a recent e-mail, Struth wrote, "Still have not given up to find out what the Queen thinks. I tried to get in touch with the dresser, but I heard they are all in Scotland right now." He added, "Not that that is at the top of my agenda." ♦


text:
Gated Intracoastal Tennis Compound sited on 1.62+/- acres and 425+/- feet of wraparound waterfrontage facing the mega-mansions of Hillsboro Mile. Monumental South Florida waterfront estate featuring a Palatial Main House with 6-bay garage and two separate guest houses all surrounded by verdant gardens. Resort-style amenities include a lavish sun-splashed pool, Entertainment Pavilion, Fitness center, lighted tennis court, and sand volleyball court. Over 15,000+/- SF with a desirable first floor master wing and dual luxe master bathrooms. 200 +/- feet of protected side yacht dockage minutes to the Hillsboro Inlet for the avid boater. Shown by appointment only to pre-qualified buyers only.
- List Price
- $7,750,000
- Property Type
- Single Family
- Lifestyle
- OceanFront
- Deepwater Inlet
- Bedrooms
- 7
- AC Square Feet
- 14,958
- Garage Spaces
- 6
- Year Built
- 1989
- Taxes
- $102,797
- Tax Year
- 2018
- New Construction
- No
Interior Features
- First Floor Entry
- Bar
- Elevator
- Fireplace
- Foyer Entry
- Walk-In Closets
- Wet Bar
- Carpeted Floors
- Marble Floors
- Tile Floors
- Wood Floors
- Drapes & Rods
- Impact Glass
Dining Area
- Formal Dining
- Kitchen Dining
- Snack Bar/Counter
Master Bedroom / Bathroom
- 2 Master Bathrooms
- Bidet
- Separate Tub & Shower
- Whirlpool/Spa
- Pets Allowed
- Yes
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Items where Author is "Fine, Ben"
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Fine, Ben and Hall, David (2012) Terrains of neoliberalism: Constraints and opportunities for alternative models of service delivery. In: McDonald, David A. and Ruiters, Greg, (eds.) Alternatives to Privatization: Public Options for Essential Services in the Global South. Routledge Studies in Development and Society . Routledge, New York / Oxford, UK, pp. 45-70. ISBN 9780415886680


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Oh, okay. Well, if it's easier to use an old one and lock this one or whatever then that's cool. I had a look for topics like this earlier and couldn't find one which was why I started this up. Otherwise I guess we can see how it goes. I'll add you for now anyway.
What about Steam IDs as well?


text: We DO NOT TOLERATE illegal pornography. This site has adult content! If you are under 18 years of age please leave this site immediately! All performers on this site are over 18 years old. We are not responsible for any third link parties. All content appeared on this site is the property of its owners. If you come across any questionable pictures or videos please report to the webmaster immediately! No part of this website can be copied without prior permission. We are proudly labeled with the RTA.


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Police have arrested three individuals in connection with the acts of vandalism that caused $25,000 worth of damage in Dolores Park early this year.
In January the Recreation and Park Department told the Chronicle that some vandals damaged two tractors that were used to construct the park's playground. Additionally, some benches, lampposts and 20 to 30 planters were smashed.
Mission Police Captain Robert Moser made the announcement yesterday:
"I am happy to announce that the Department's Graffiti Abatement Unit along with officers from Mission Station has arrested three individuals for the January vandalism of Dolores Park."


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Demi Lovato Hilariously Surprises Unsuspecting Passengers
Could Demi Lovato get any cooler?
Taking a break from her Future Now tour and CAST speaking events she decided to go undercover as a Lyft driver, and these passengers in Denver never saw it coming.
"I'm touring with my ex-boyfriend's brother right now," an undercover Demi Lovato tells one of many unsuspecting passengers. Little does the rider know, Lovato is talking about her current tour with Nick Jonas.
Going by the name of Samantha and hidden behind a hat and sunglasses, she teases herself with the passengers, saying Selena Gomez is a much better singer than Demi Lovato and how she thinks Lovato has a "weird chin." Their was even an amazing sing-along!
Check out the full video below:


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Ed Garner sees more enthusiasm in the people who prowl his lots these days. He likes it.
"It seems like we're getting more traffic," said Garner, owner of Autorama RV Center in Des Moines, Iowa, where business this year is up an estimated 40% from the worst-in-a-decade decline of 2008. "A lot of people seem to be coming farther away than what they used to. We're getting people coming from 100, 125 miles away."
Part of that, Garner conceded, may be that his pool of customers is larger now that several former competitors have closed. But readiness to buy, he said, also provides hope that America's bottom-dwelling recreational vehicle industry now finally seems pointed upward, according to The Des Moines Register.
"I think there's still room for improvement," said Garner, who over the weekend sponsored an RV and boat show in the Varied Industries Building at the Iowa State Fairgrounds. "I don't think a lot of the retirement people that we used to get are probably the strongest buyers right now. But the farm people who are still farming, they seem to have a little more money than they've had."
Ron Lichtsinn, owner of Lichtsinn Motors Inc. in Forest City, agreed that a troubled business seem to be trending up. The world is not yet as rosy for Lichtsinn, who sells motorhomes with six-digit prices in comparison to Garner, who sells mostly travel trailers.
"If you were going to compare it back to the record years of '04 and '05, yeah, it's still lousy," Lichtsinn said this week. "But we're certainly starting to see a lot of energy."
That's important, analysts said, because RVs generally are a good indication of whether consumers are ready to spend money on big discretionary purchases.
"The RV industry is always the first in and the first out, and there's already been a noticeable beginning of it coming out of the current recession," Dave Hoefer, an adviser to Earthbound Recreational Vehicles in Indiana, told Bloomberg News earlier this month.
Data from the national Recreation Vehicle Industry Association (RVIA) show wholesale sales of RVs in the United States peaked at 390,500 in 2006, slipped to 353,400 the next year, then dove to 237,000 in 2008.
Shipments from factories to dealers are projected to total less than 150,000 in 2009, according to an association report released last week. But July's monthly decline was the smallest it's been since October, and analysts now project the tide to turn in 2010, with factory shipments of roughly 185,800.
Industry news reports describe a creeping optimism that in recent months has included slightly stepped-up production at RV makers around the nation and several new manufacturers arising from the assets of bankrupt firms.
Winnebago Industries Inc. of Forest City said this week that it has gradually begun to rehire portions of a work force that layoffs have halved in the past 18 months to 1,650 people at the end of May.
"There have been a few that have been called back, but nothing of significance," Winnebago spokeswoman Sheila Davis said. "I think we are being cautious."
Winnebago, which lost nearly 60% of its stock value between September 2006 and February 2009, has seen its stock triple in price since then, from $4.05 per share to $12.62 at Friday's close.
Iowa dealers said most current buyers seem more interested in low- to moderate-priced travel trailers but that buyers also are interested in the tiers above entry-level products.
Denise Roberts, owner of Imperial RV Center in Ankeny, said consumer confidence seems to be building slowly. Her business has been picking up since April.
"I think in the early part of the year, it was more that nobody knew what was going on," Roberts said. "I think it was fear. For a while there, it got a little scary."


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At Pure 4Runner, you will find the largest selection of 4Runner parts and accessories on the web. We are dedicated to providing you with the best customer service around.
We do our best to ship all items the same day the order is placed, custom requests may take longer. We do our best to deliver most items within 5-6 business days, most will show up much sooner. Not all items come from our shop in Texas. If your order contains items from multiple suppliers/warehouses, you will potentially receive tracking numbers and items at different times.
Here at Pure 4Runner, a Pure Auto Parts Inc company, we understand the importance of maintaining our customers privacy online. We understand that in this time of spam e-mail, and credit card fraud our customers want to know and have the right to know how personal information is handled.
The clevis D-shackle provides a means for connecting the looped ends of cables, straps and snatch blocks. The shackle's pin is threaded to allow easy removal.
For M6000 and larger winches. 3/4" (20mm) shackle with 7/8" pin diameter.
Product 59/63
WARNING: This product may contain chemicals knownto the State of California to cause cancer, birth defectsand other reproductive harm.


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Descripción de Wacom Bamboo Create Pen and Touch Tablet (CTH670) – Comprar Desde USATraducir al español
Descripción AmpliadaTraducir al español
Bamboo Create is a medium format pen and touch tablet specifically designed for the digital photo enthusiastic. The pressure sensitive pen gives you precise control for your digital photo editing creativity. Four ExpressKeys give you quick shortcuts implement your most frequently used commands. Included in the box are full versions of Adobe Photoshop Elements, Nik Color Filters, Corel Painter Essentials, a training DVD and a free coupon for an 8x8 Shutter fly photo album. Using the pen and Multi-Touch gestures gives you the precise control needed to take your creative projects to the next level. Draw, paint, annotate, sign and edit your photos and art all with the stroke of a pen.


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- 1 English
Etymology 1Edit
From Middle English subget, from Old French suget, from Latin subiectus ("lying under or near, adjacent, also subject, exposed"), as a noun, subiectus ("a subject, an inferior"), subiectum ("the subject of a proposition"), past participle of subiciō ("throw, lay, place"), from sub ("under, at the foot of") + iaciō ("throw, hurl").
- enPR: sŭbʹjĕkt, IPA(key): /ˈsʌb.dʒɛkt/
- (also) (Received Pronunciation) IPA(key): /ˈsʌb.dʒɪkt/
Audio (US) (file)
- Hyphenation: sub‧ject
subject (comparative more subject, superlative most subject)
- Likely to be affected by or to experience something.
- a country subject to extreme heat
- Dryden
- All human things are subject to decay.
- 2013 June 22, "T time", in The Economist, volume 407, number 8841, page 68:
- The ability to shift profits to low-tax countries by locating intellectual property in them […] is often assumed to be the preserve of high-tech companies. […] current tax rules make it easy for all sorts of firms to generate […] "stateless income": profit subject to tax in a jurisdiction that is neither the location of the factors of production that generate the income nor where the parent firm is domiciled.
- Menu listings and prices are subject to change.
- He's subject to sneezing fits.
- Conditional upon.
- The local board sets local policy, subject to approval from the State Board.
- Placed or situated under; lying below, or in a lower situation.
- (Can we find and add a quotation of Spenser to this entry?)
- Placed under the power of another; owing allegiance to a particular sovereign or state.
- John Locke
- Esau was never subject to Jacob.
- John Locke
Etymology 2Edit
From Latin subiectus ("a subject, an inferior"), subiectum ("the subject of a proposition"), past participle of subiciō ("throw, lay, place"), from sub ("under, at the foot of") + iaciō ("throw, hurl").
- enPR: sŭbʹjĕkt, IPA(key): /ˈsʌb.dʒɛkt/
- (Received Pronunciation) IPA(key): /ˈsʌb.dʒɪkt/
Audio (US) (file)
- Hyphenation: sub‧ject
subject (plural subjects)
- (grammar) In a clause: the word or word group (usually a noun phrase) that is dealt with. In active clauses with verbs denoting an action, the subject and the actor are usually the same.
- In the sentence 'The mouse is eaten by the cat in the kitchen.', 'The mouse' is the subject, 'the cat' being the agent.
- An actor; one who takes action.
- The subjects and objects of power.
- The main topic of a paper, work of art, discussion, field of study, etc.
- (Can we date this quote?) John Milton
- the subject for heroic song
- (Can we date this quote?) John Dryden
- Make choice of a subject, beautiful and noble, which […] shall afford an ample field of matter wherein to expatiate.
- (Can we date this quote?) William Shakespeare
- the unhappy subject of these quarrels
- 1905, Baroness Emmuska Orczy, chapter 5, in The Hocussing of Cigarette[1]:
- Then I had a good think on the subject of the hocussing of Cigarette, and I was reluctantly bound to admit that once again the man in the corner had found the only possible solution to the mystery.
- 1922, Ben Travers, chapter 5, in A Cuckoo in the Nest:
- The departure was not unduly prolonged. […] Within the door Mrs. Spoker hastily imparted to Mrs. Love a few final sentiments on the subject of Divine Intention in the disposition of buckets; farewells and last commiserations; a deep, guttural instigation to the horse; and the wheels of the waggonette crunched heavily away into obscurity.
- (Can we date this quote?) John Milton
- A particular area of study.
- Her favorite subject is physics.
- 2014 June 14, "It's a gas", in The Economist, volume 411, number 8891:
- One of the hidden glories of Victorian engineering is proper drains. […] But out of sight is out of mind. And that, together with the inherent yuckiness of the subject, means that many old sewers have been neglected and are in dire need of repair.
- A citizen in a monarchy.
- I am a British subject.
- A person ruled over by another, especially a monarch or state authority.
- (music) The main theme or melody, especially in a fugue.
- (Can we date this quote?) W. S. Rockstro
- The earliest known form of subject is the ecclesiastical cantus firmus, or plain song.
- (Can we date this quote?) W. S. Rockstro
- A human, animal or an inanimate object that is being examined, treated, analysed, etc.
- (Can we date this quote?) Conyers Middleton
- Writers of particular lives […] are apt to be prejudiced in favour of their subject.
- 2010, Ursula James, Clinical Hypnosis Textbook: A Guide for Practical Intervention (page 73)
- It is also essential for those who come to the subject 'fresh' to gain the insight that will bridge their knowledge from being a subject of hypnosis to a potential practitioner.
- 2013 July-August, Catherine Clabby, "Focus on Everything", in American Scientist:
- Not long ago, it was difficult to produce photographs of tiny creatures with every part in focus. That's because the lenses that are excellent at magnifying tiny subjects produce a narrow depth of field.
- (Can we date this quote?) Conyers Middleton
- (philosophy) A being that has subjective experiences, subjective consciousness, or a relationship with another entity.
- (logic) That of which something is stated.
- (mathematics) The variable in terms of which an expression is defined.
- Making x the subject of x2 − 6x + 3y = 0, we have x = 3 ± √(9 − 3y).
Derived termsEdit
- The translations below need to be checked and inserted above into the appropriate translation tables, removing any numbers. Numbers do not necessarily match those in definitions. See instructions at Wiktionary:Entry layout#Translations.
See alsoEdit
Etymology 3Edit
From Medieval Latin subiectō, iterative of subiciō ("throw, lay, place"), from sub ("under, at the foot of") + iaciō ("throw, hurl").
subject (third-person singular simple present subjects, present participle subjecting, simple past and past participle subjected)
- (transitive, construed with to) To cause (someone or something) to undergo a particular experience, especially one that is unpleasant or unwanted.
- I came here to buy souvenirs, not to be subjected to a tirade of abuse!
- (transitive) To make subordinate or subservient; to subdue or enslave.
Further readingEdit
- subject in Webster's Revised Unabridged Dictionary, G. & C. Merriam, 1913.
- subject in The Century Dictionary, The Century Co., New York, 1911
- subject at OneLook Dictionary Search


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- boodmo
- Catalogues
- Brake System
- Brake Caliper
Brake Caliper SPIDAN 404478
Roll over to zoom
Image shown for representation purpose only
Brake Caliper
- Part Number: 404478
- Brand: SPIDAN
- Origin: Aftermarket
- Brake Caliper
Features and specification
- Fitting place : Brake System
- Fitting Position : behind the axle
- Manufacturer Restriction : MANDO
- Fitting place : Brake System
Replacement parts are fully interchangeable parts with chosen one.
Replacement Parts
Brand Part Number Name Description Price
OEM Replacement Parts? x
OEM (Original Equipment Manufacturer) - parts sold under Car Manufactures brand.


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GCH CH Sporting Field's Bahama Sands
(Photo by Gay Glazbrook)
One place we didn't visit over the weekend was Pine Bluff AR where the Southeast Arkansas Kennel Club hosted two shows this past weekend. On Saturday the seven who saw BIS judge James White were the Brittany, GCH CH Melridge Stir N' It Up, the Pharaoh Hound, Faouziah's Faramir, the Kuvasz, GCH CH Szumeria's Wildwood Silver Six Pence, the Norwich Terrier, GCH CH Skyscot's Texas Hold' Em, the Pomeranian, GCH CH Bar-Net Rocky Road Of Samron, the Standard Poodle, GCH CH Bar-None Fabulosity, and the Pembroke Welsh Corgi, GCH CH Riverside Get Over It.
Best went to the Pom, Rocky. Just 21 months old, Rocky has been a regular in the Toy Group final four over the past several months. This is his first BIS. Congratulations to breeder/owner Norma Smart, owners Lavonne Beard& Pat Barnett, and handler Jana Klein.
Sunday Rocky was back to see Keke Kahn along with the same Kuvasz & Standard Poodle, the Golden Retriever, GCH CH My Buddy's Boppity-Bop Blue Moon RN, the Whippet, GCH CH Sporting Field's Bahama Sands, the American Staffordshire Terrier, GCH CH Alpine's Ring of Fire, and the Finnish Lapphund, CH Sugarok Casanova. Her BIS was the Whippet, Tawny. Tawny & handler Amanda Files have sprinted to the front of this year's competitors with four BIS already this year.


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Mook received the laboratory's most prestigious scientific award at UT-Battelle's annual Awards Night ceremony.
Mook was nominated for his cutting-edge research in the field of neutron scattering physics. During his three decades in Oak Ridge, Mook has become recognized among the nation's leaders in materials research such as magnetic interactions, quantum fluids, and superconductors.
Friday night's awards ceremony recognized team and individual winners in 22 categories of scientific research, laboratory operations, and community service. Four individual Director's Awards were selected from among the winners in the respective categories.
The Director's Award for Outstanding Team Accomplishment was presented to Gene Barker, Debra Carpenter, Kay Houser, Kristen Kerber, Darla Miller and Sarah Shinpock of ORNL and Melissa Beckman and Irene Prinn of the University of Tennessee.
They were honored for rallying in a crisis to solve a variety of problems in record time and provide the technical expertise to support a $12.7 million funding opportunity from the NIH for ORNL and the Tennessee Mouse Genome Consortium. They also received a Science and Technology Award for Technical Support by a team.
The Director's Award for Outstanding Individual Accomplishment in Community Service was presented to Tim Myrick of the Facilities Revitalization Project.
This award was for his exemplary financial and personal commitment to Habitat for Humanity of Anderson County, Aid to Distressed Families of Appalachian Counties and Team UT-Battelle.
Myrick also earned the Community Service Award for Community Volunteerism for Individual Contributions Outside ORNL.
The Director's Award for Outstanding Individual Accomplishment in Laboratory Operations was presented to Ron A. Crone of the Research Reactors Division for his innovations and development of an exceptional maintenance and operations program and process in his division.
Crone also earned the Laboratory Operations Award for Administrative and Operational Leadership by a Front-Line Manager.
In the category of Community Service, Teresa Ferguson of the Energy Division earned the award for Community Volunteerism for Individual Contributions Inside ORNL for her outstanding contributions to promoting values and diversity within the ORNL community.
The award for Community Volunteerism by a Team Inside ORNL was presented to Roger Jones, Lonna Cotter, Kahra G. Gilley, Nancy E. Holcombe, C. Renae Humphrey, Greg Irby, Deborah Jenkins, Timothy K. Jones, Keith S. Joy, Beverly S. Mathis, Betsy A. Riley, Patricia Scofield, Janie Sharp, Diana L. Tucker, Ron Walli and Lora M. Wolfe.
They were recognized for their leadership in serving as team captains in support of activities to raise awareness and money for the Juvenile Diabetes Research Foundation.
Claudia A. Walls of the Metals and Ceramics Division earned the Good Samaritan Award for serving as a child advocate in her community and as an advocate for the rights of the disabled through the East Tennessee Regional Human Rights Committee.
The award for Community Volunteerism for Team Contributions Outside ORNL went to Brenda Hackworth, Keiji Asano, Gary L. Bell, Jeffrey E. Christian, Larry DeLoach, Roberta S. Grafton, Van B. Graves, James M. Hackworth Jr., Bryan C. Hathorn, Joe Horton, Rebecca B. Kendall, Deborah W. Knox, Anthony R. Medley, Dan O'Connor, Harry Quarles, Jim Rivers, Cyrus M. Smith, Becky J. Verastegui and Mary Beth Watt.
They were honored for expertly coordinating ORNL staff in an extremely ambitious initiative to build a Habitat for Humanity house and, in the process, helping to launch Team UT-Battelle.
Ellen D. Smith of the Environmental Sciences Division earned the Community Leadership Award for sustained commitment and leadership to the city of Oak Ridge in addressing important environmental issues, including legacy contamination, geologic hazards in limestone areas, and greenways.
Arpad A. Vass of the Life Sciences Division earned the Science Communicator Award for important contributions of his time and effort to demonstrate the relevance of his research in the area of forensics, especially the Time-Since-Death Project, to a worldwide public through magazines, newspapers and news production companies.
In the category of Laboratory Operations, Brenda W. Campbell of the Chemical and Analytical Sciences Division earned an Administrative Support Award for outstanding support of the Organizational Review Task Force committee's two models of ORNL's organizational structure.
Donna L. Moates of the Chemical Technology Division also received an Administrative Award for sustained contributions to the Chemical Technology Division's Finance Office.
Jeff A. Patty and Jack Crawford of the Plant and Equipment Division earned honors in the Bargaining Unit Support category for excellence in millwright support and ALARA work practices at the Radiochemical Engineering Development Center.
An Operations Support by a Team Award was presented to Tim Myrick, Jon Bartlett, George Clark, Keith J. Dempsey, Tom Etheridge, Mahendra Lakumb, Steven L. Laman, Anthony R. Medley, Carlo D. Melbihess, Dell Morgan, Melessa W. Ogan, Nicole E. Porter, Crystal A. Schrof and David D. Skipper.
They were honored for transforming the UT-Battelle Leadership Team's ORNL modernization vision into a DOE-approved master plan that is now being executed on a scale and accelerated schedule that is the envy of the rest of the DOE complex.
Sandra B. Kennedy of the Physics Division earned the Environment, Safety, Health and Quality Award for promoting environment, safety, health and quality excellence in the Physics Division and at ORNL.
Kathy Rosenbalm of the Spallation Neutron Source Project Office earned the Secretarial Support Award for unparalleled administrative competence, strong leadership and an unfailing cheerful attitude in her role as the Spallation Neutron Source Project's Executive Secretary.
Suzanne A. Herron of the Spallation Neutron Source Project Office earned the award for Administrative and Operational Leadership by a Middle Manager. This was for her outstanding leadership in developing and managing an effective project controls organization in the Spallation Neutron Source Project.
In the Science and Technology category, Douglas H. Lowndes of the Solid State Division earned an award for R&D Leadership by a Front Line Manager for his innovative leadership in the development of nanoscale science research and capabilities at ORNL.
Stephen G. Hildebrand of the Environmental Sciences Division earned an award for R&D Leadership by a Middle Manager for his exemplary leadership of the Environmental Sciences Division in establishing new scientific endeavors and excellence in operations, including ESH&Q, work force diversity and fiscal growth.
Warren Everett Dixon of the Robotics and Process Systems Division earned an Early Career Award for Engineering Accomplishment for innovative advancements in the application of energy-based analysis for stabilizing nonlinear engineering systems and exceptional early career achievements in robotics research and engineering.
The award for Engineering Development by a Team was presented to Jim Hardy, Philip R. Bingham, Matt Chidley, Timothy F. Gee, James S. Goddard, Gregory R. Hanson, Kathy W. Hylton, Karen Moore, Jeffery R. Price, Chuck R. Schaich, Kenneth W. Tobin, John C. Turner, Edgar Voelkl and G. R. Wetherington Jr. of ORNL and C. E. Thomas of nLine Corporation.
This award was for overcoming significant challenges in a very short time to produce the first-of-a-kind Direct-to-Digital Holographic prototype wafer defect detection system.
Kenneth W. Tobin of the Instrumentation and Controls Division earned the Distinguished Engineer Award for establishing an internationally recognized program in computer vision technologies applied to industrial inspection, semiconductor metrology and yield management.
Jizhong Zhou of the Environmental Sciences Division earned the Early Career Award for Scientific Accomplishment for his innovative scientific leadership in microbial ecology and pioneering efforts in applications of genomic/molecular technologies to environmental studies.
The award for Scientific Research by a Team was presented to Steven Paul Hirshman, David Alban, Donald B. Batchelor, Lee A. Berry, M. J. Cole, Amanda J. Deisher, G. Y. Fu, James F. Lyon, William H. Miner, Peter K. Mioduszewski, Donald A. Monticello, Bradley E. Nelson, David A. Rasmussen, Raul Sanchez, Donald A. Spong, Dennis J. Strickler, Prashant M. Valanju, Andrew S. Ware and David E. Williamson.
They were honored for research on the physics of plasma confinement in three-dimensional systems, leading to the development of the Quasi-Poloidally Symmetric Stellarator concept.
ORNL is a multiprogram science and technology laboratory managed by UT-Battelle for the Department of Energy.


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After Flight 17 Crash, Agony, Debris and Heartbreak in Ukraine Villages
Villagers Near Malaysia Airlines Crash Site Feel Abandoned and Overwhelmed
PETROPAVLIVKA, Ukraine—Even before Malaysia Airlines Flight 17 was shot down, the war raging between Ukraine and pro-Russia rebels created crushing challenges for the mayor of this small, worn-down village.
Natalya Voloshina couldn't pay municipal salaries, pensions or energy bills because money from the central government in Kiev was frozen. The coal mine where her husband and high-school sweetheart works largely shut down. The fighting was creeping closer....


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Rocker Ozzy Osbourne has denied rumors of a split from his wife Sharon and apologized to his family for returning to drink and drugs.
The former Black Sabbath singer says he was in a "dark place" but has been sober for 44 days.
In a message posted Tuesday on his Facebook page, 64-year-old Osbourne said that "for the last year and a half I have been drinking and taking drugs."
He said "I was in a very dark place" and apologized for his "insane behavior."
Osbourne added: "Just to set the record straight, Sharon and I are not divorcing."
The couple and their children, Jack and Kelly, became reality TV stars a decade ago with MTV series "The Osbournes."
Sharon Osbourne was later a judge on "America's Got Talent."


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Do you have a passion for giving advice to some of America's scrappiest underdogs? Come serve as a startup coach! Individualized meetings with EITs will focus on offering strategic insight into some of their toughest entrepreneurship obstacles.
Back to All Events
Earlier Event: July 27Business Coaching Night
Later Event: September 12Pitch Practice Night


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Visit Campus
Here's where you'll find how to get to Lansing Community Colleges campuses and off-campus learning centers, locate services and transportation alternatives as well as view LCC's campus activities and facilities.
Buildings and Facilities
Locate offices and services within the different buildings on LCC's main campus.
Campus Visitation Opportunities
We invite you to visit our campus to see our modern, high tech facilities and learn about LCC programs, enrollment steps, choosing classes, and finding success at LCC.
Find maps and directions for the metropolitan Lansing area, the LCC main campus, service area and off-campus learning centers.
Parking Locations
Lansing Community College offers numerous and varied parking options on campus and around the immediate downtown Lansing area.
Public Transportation (CATA Bus Services)
Find information on routes, hours of operation, rates and special services.
Learning Center Locations
Student Affairs Division
Gannon Building - StarZone
Phone: 517-483-1162
Additional contact information »