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Tuesday, February 19, 2008
The purpose of puffery and closed-mindedness
Two contrasting responses from America to my post Third rate music on Naxos' American classics?
Flinging merde - 'Granted some of the stuff that Naxos has packaged in that series has been less than distinguished but operating in a cultural establishment where critics treat every cow patty ever dropped by the likes of Alwyn (above) and Bax and Finzi and Michael Tippitt (sic) as if it were fois gras, Clements is hardly in a position to fling merde' - from Sequenza21, and I'm sure Norman Lebrecht would approve of that misspelling of Tippett.
The true beauty of the effort - 'Personally speaking I expect listener reaction to concert music is heavily dependent on emotional mood and cultural/historical context . The concept of "ratings" and "tiers" for composers is pretty much an over-rated specialization of critics, which serves the purpose of puffery and closed-mindedness.
My father is the American composer George Frederick McKay (photo below), who liked to say that "if the criticism of a composer's music gets to be really sharp, then he knows he is writing some good pieces." He also once got a big laugh from hearing concert goers in seats in front of him commenting in reverent tones that he was dead.
His music is really like a big layer-cake; in other words, in his young life, he composed jazz-infuenced pieces and romantic songs. Later, his music became more socially aware and radical-- "ultra-modern" toward the end of the 1930's at a time when he mentored John Cage in Seattle both encouraging the younger composer musically and inviting him to the family home for dinner and philosophical discussion.
Following this, my father launched into a loving involvement with American folk-music, and completely cast aside the "opus' system, which he considered a rather crazy European artifact. As to making critics of his music "cringe," he probably would have enjoyed this, since he had a mischievous and rugged nature derived from his upbringing in the West. His music is far from simple, and in many cases has deep religious and philosophical meaning. Much is yet to be revealed, since he composed nearly 1000 various works.
It is doubtful that any of us will ever get to hear high-level performances of all his works, since most conductors are still under the threat of being pummeled by Symphony Society grannies if they get too far afield from the standard concert fare. We have a commercial radio station in Seattle that broadcasts a full month of Mozart works, with one Mozart piece every hour, which gives me the urge to say "give me a break, guys!" Also noted is the absolute repetition of Vivaldi's Four Seasons by glamour-puss groups of all stripes.
So with this rather subjective outburst, I have implicated myself forever as an indivdually thinking patriotic, and maybe not so clever commentor. I should add that, although I loved Mozart's music in context to the movie "Amadeus," he never will or would have the chance to equal the magic of George Frederick McKay's interpretation of Native American themes that most likely stretch back 10,000 years in human history.
This is the true beauty of the effort John McLaughlin Williams has made to create wonderful recordings of the legendary music of America, that many have forgotten. My father's initiative in his mature years was to merge his music with the natural music of his homeland and speak of international peace' - comment from Fred McKay on my Naxos American Classics post.
Any American readers who still think Michael Tippett is an English pastoralist should listen to my Future Radio programme on March 2 when I will be playing Tippett conducting his own Second Symphony; while this Tippett post with its world view brings this path full circle.
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29 comments:
- violainvilnius said...
wouldn't have thought Tippett's triple concerto was very pastoral...
- 12:47 pm
- Pliable said...
A Child of Our Time, King Priam, The Ice Break, The Knot Garden, The Midsummer Marriage, The New Year, The Rose Lake, the String Quartets ...
- 2:33 pm
- JMW said...
What would Ken Russell say of Tippett? Regarding the Double Concerto: "....ahhh, no MESSAGE..."
- 3:46 pm
- Pliable said...
Just think John, we could have had Richard Chamberlain cast as Michael Tippett rolling around on a railway carriage floor with Glenda Jackson.
- 4:05 pm
- violainvilnius said...
....as geriatrics anonymous or what?....
- 4:12 pm
- Pliable said...
Tchaikovsky was only 53 when he died. But on some other blogs that counts as geriatric.
- 4:22 pm
- JMW said...
"Just think John, we could have had Richard Chamberlain cast as Michael Tippett rolling around on a railway carriage floor with Glenda Jackson."
I am laughing so hard at that!
- 5:02 pm
- Pliable said...
Email received:
"Just think John, we could have had Richard Chamberlain cast as Michael Tippett rolling around on a railway carriage floor with Glenda Jackson."
The Tippett I knew (I met him a couple of times and exchanged correspondance), he would most likely have preferred Glen to Glenda.
As for pastoral, there are a few Tippett works : think of The Heart's Assurance.
David Cavlovic
- 5:29 pm
- Pliable said...
That was precisely my point David.
Like MT Pyotr Ilyich preferred his Anton Chiluvsky to his Antonina Milyukova.
- 5:33 pm
- JMW said...
Did I mention that I played in the premiere of Tippett's The Mask of TIme with the Boston Symphony Orchestra? Tippett was there, walking into Symphony Hall with faux non-chalance, along with a "friend" (Glen indeed), rocking shoes (moccasins or some such) without socks. Oh, the 80's!
- 6:22 pm
- Pliable said...
Nice Tippett photo here which resonates with that last comment -
- 9:23 pm
- Civic Center said...
Fred McKay's letter was great and he made me want to check his father's music out on my next Amoeba (outrageously large music store in San Francisco) run.
- 1:32 am
- rhapsody407 said...
old Billy Alwyn wrote some good stuff. Alas, the only British music one can count on to be played in the States is Elgar, and the occasional nod to RVW (always the Tallis variations). Which, normally, is more than what can be said of American music, except BSO is jumping through some of its 125th-anniversary commissions: Bolcom, Harbison, and Carter.
I also notice the comment over at Sequenza is gone. As one who surveyed the complete Louisville First Arts recordings, I would echo the comment that remains:
"the same could probably be said for the older Louisville Orchestra, CRI, and New World Recordings American classical music projects, but I am very thankful to all of these projects for — piecemeal — attempting to record, produce, and distribute a panorama of American classical music aspiration and achievement over about a 200 year period"
On the other hand, if Naxos is simply presenting so much music, leaving the judgement to the listeners, one must wonder why Naxos settled on the phrase "American Classics" as opposed to "American Music"? If it's anything like "Opera Classics" (from which Leos Janacek and Richard Strauss are conspicuously missing) we should expect similar unfortunate absences. (Some "worthy" Americans thus-far overlooked: Horatio Parker, Peter Mennin, William Kraft, Gardner Read, Paul Nordoff, and perhaps most glaringly, Harold Shapiro)
- 2:28 am
- Henry Holland said...
'Personally speaking I expect listener reaction to concert music is heavily dependent on emotional mood and cultural/historical context.
No, it's using my 35+ years of experience as a music fanatic to decide whether the piece is worth my valuable time. I've listened to enough music in my life to be able to, if I'm paying attention, hear something once and know if I want to hear it again.
The concept of "ratings" and "tiers" for composers is pretty much an over-rated specialization of critics, which serves the purpose of puffery and closed-mindedness.
Or: for a composer who wrote 1,000 pieces, he was obviously going for quantity, not quality, so I'd appreciate someone sorting out the wheat from the chaff for me. For a self-selecting example, I can't stand the Donizetti operas I've heard at all, so I can infer from that past history the performance of one of his operas that hasn't been done in 150 years is not going to be sending me scrambling for my credit card, thus I can spend my time digging up more performances of Gruppen or Repons.
"if the criticism of a composer's music gets to be really sharp, then he knows he is writing some good pieces."
Or: you're writing crap, maybe it's time for a radical re-think of your approach.
in many cases has deep religious and philosophical meaning
Well, that loses me there completely, what else ya got? :-)
Poor Tippett, his stock really has fallen since his death, hasn't it? I seem to remember some critics predicting this when he died. A revival in 20 or so years then, the 125th anniversary of his birth is in 2030! :-) He doesn't seem to have any champions around, like Solti or Colin Davis were when he was alive.
- 7:31 am
- Pliable said...
Richard Friedman has left a comment on the original post. It contains two important statements (my bold), so I'm repeating it here:
Yikes. Lord knows, the Brits have produced probably more 3rd and 4th rate composers than probably anyone else. (Oooo, am I going to get flamed.)
ALL composers need to have their music performed and recorded. Who judges whether or not they're 1st or 3rd rate without being able to hear them first?
This so-called first-ratedness involves a lot of PR as well as talent. Bach was considered 3rd rate until some 19thC composers rediscovered him (or so I've read).
(Is that PR or good marketing?)
In any case, if the world were to come to an end tomorrow and I had a choice between hearing some Beethoven, or Mahler, I'd rather choose something I'd never heard before. Surprise me!
Now I'm intrigued about G.F.McKay. I'll order the CD, and then I'll be the judge of that!
- 9:01 am
- violainvilnius said...
so what does a composer need to do to get heard? Unlike that unfortunate fiddler who happens to fall on his Guadagnini, breaking it, just as he brings out a CD?
But there are also lots of pieces, recently rediscovered, which could have remained buried, eg some early Mozart, a Sperger viola concerto and so on....
- 9:09 am
- Pliable said...
"So what does a composer need to do to get heard?
That question is the big one, it and prempts a post I was planning.
I view with increasing dismay the 'Oprah effect' in classical music whereby a select few gurus give their 'approval' to certain composers and musical genres, and that music gets heard as a result.
So endless Feldman and Nielsen is OK, but don't dare to admit McKay or Tippett is on your CD player, even though you may also love Feldman, Nielsen et al.
Richard Friedman had it right when he wrote ALL composers need to have their music performed and recorded.
Broadcasters, blogs and music writers now have frightening power. They need to be far more inclusive and far less judgemental in their use of that power. That is how more composers will get heard.
- 9:49 am
- JMW said...
I think Henry Holland completely misunderstands the composer's motivation when he wrote that "a composer who wrote 1,000 pieces, he was obviously going for quantity, not quality...". No composer aims to write so much; they write because they must. Ernst Toch once said "I do not write; I am written." A true , professional composer writes to satisfy an inner irresistible urge for purposes of self-expression, without mind toward the ideal of a masterwork. Any composer who says 'now I will write my magnum opus" is necessarily disappointed, as it cannot be done that way. In composition, absolute, undeniable, uncontroversial greatness is incidental, the confluence of training, means and material, inspiration and other things. Without saying who is or isn't absolutely great (how can we anyway?), we have been left so many gems by composers along with countless masterworks. Let's enjoy them all.
- 4:29 pm
- Henry Holland said...
I think Henry Holland completely misunderstands the composer's motivation when he wrote that "a composer who wrote 1,000 pieces, he was obviously going for quantity, not quality..."
No, I stand by my statement. Mr. McKay died at ca. age 70, so assuming that juvenalia is included in that total, that's more than 150 pieces a year on average--that's on top of his pedagogical commitments! I'm sorry, but *as a consumer*, I don't care in the slightest what the motivation is, there's simply no way that someone being a compositional assembly line like that can write consistently inspired music, which is why, contra Mr. McKay's relative, I would want someone who is in to "ratings" and "tiers" to advise me on what is really of worth in the ouvre.
- 6:31 pm
- JMW said...
"...I would want someone who is in to "ratings" and "tiers" to advise me on what is really of worth in the ouvre." (sic)
It's fine to depend upon "ratings and tiers" if one feels short of time. However, this method is one of shortcut, and an indication that you, like many, consume music as mere entertainment. It is a perfectly fun and legitimate way to do so, but not a way that will produce deep knowledge of whatever subject is at hand. Tacitly, the former is your objective, but it is not mine. I'll wade through everything a composer of demonstrated talent has written - and be the richer for it.
- 7:47 pm
- Drew80 said...
Mr. Holland:
I doubt that you would enjoy any of the Naxos McKay discs, and I would not waste your time and money on them if I were you. I think you probably would be appalled by all three of them.
However, I bet you might enjoy all three Naxos George Rochberg discs: the Violin Concerto, the Second Symphony and the Fifth Symphony.
The Naxos recording of the Rochberg Violin Concerto is the original version, before Isaac Stern imposed severe cuts on the piece.
The Second Symphony is serial, and very, very beautiful. I think you would love it. I am told that George Szell admired the work.
The Fifth Symphony is mostly tonal, and also a very strong work. It was written for Solti and Chicago.
I suspect that you would find the three Rochberg discs to be very rewarding, while I think any of the McKay discs would cause you to grind your teeth.
- 11:29 pm
- JMW said...
To bring this full circle, it started because some believe that when one dislikes a piece of music, it is therefore necessarily third-rate in quality. This is a subjective conclusion that is demonstrably half-baked as such opinions are usually predicated upon nothing more than audition. Based upon that alone one can form conclusions as to whether the work appeals to you personally, but that's about all. Any definitive judgement of third-rate calls for a score and analysis, and is based upon more than mere opinion, which is what we're usually offered in place of considered analysis. So, it's ok not to like it, but that doesn't besmirch the composer's craft or intent. For example, I'm not a big Messiaen fan, but I know what makes him great, and being able to discern that helped me to interpret his music for a recording that won a Grammy. I still don't really like it, but he is certainly not third-rate. The score tells me that.
- 3:52 pm
- Fred McKay said...
George Frederick McKay composed a large number of works for many reasons---he was raised in a frontier family whose members actively played violin and piano for lovely dance music at country gatherings, so he was thrust immediately into the real romance of folk tunes; he loved poignant melodies throughout his life; his professors Sinding and Palmgren encouraged this lyrical path; and he spent 40 years teaching experiential composition classes at the University of Washington, where the students and teacher would try out each others' works.
One favorite McKay story concerns the performance of an avant-garde "electronic music" piece, during which a huge thunderclap sounded over the old music building. "God must be angry at our trespasses into modern music" was a remark heard in the classroom, or something to that effect. My father was generally up at 6 in the morning composing at the piano, and later would work more at the University, with refinements taking place there, or at his big writing desk at home.
One of his very early works which was very nearly lost---"An April Suite" was recently recorded by Bill Bolcom, after it was returned by one of my aunts after 70 years. My father had written this for her as kind of a "letter" to a kid sister in the old days. This piece has been described as a "gem" by Bolcom in correspondence to me, and it has recently been played several times on Swedish National Radio, as well as American NPR stations. Pleasingly, it has some nice blues inflections from the early 20th Century environment.
We listened to a great variety of recorded music at home, including Carmina Burana, pieces by De Falla and Ginastera, Bartok, Hindemith, Vaughn Williams and occasional works by my father's students Bolcom and Earl Robinson. He also subscribed to the big Louisville Symphony recording series which contain many modern works. In the 1930's and 1940's he had conducted several premieres of his works with the Seattle Symphony, and was involved both artistically and as a performer with the ensemble before it took on a more corporate nature in modern times. I must plead neutrality in terms of the absolute artistic judgement concerning his music, although several conductors of good musical background presented his music in the old days, including Leopold Stokowski, Sir Thomas Beecham, Howard Hanson and Arthur Benjamin.
If I were to recommend one bit of McKay music with real atmospheric quality, it would be the middle movement of Sinfonietta No. 4, which was somewhat of a surprise package that was unwrapped by John McLaughlin Williams and the Urkaine Symphony after 50 odd years in the dark. This music contains some wonderful sounds of nature and a romantic view of the Pacific Coast region.
One interesting episode from my father's career happened in the 1940's, when he invited Bartok to present a lecture and concert at the University of Washington. He had also invited Bartok to take up teaching at the Seattle campus as well, but Bartok apparently was to ill at this time to make that kind of committment. My father, during a reception asked Bartok if he would continue writing revolutionary music----Bartok turned to him and said---"my music is not revolutionary, it is evolutionary." At any rate the two composers had a mutual interest in composing music for children as well as serious modern works.
McKay also has several works based on classical period composers' music and he has published books on orchestration and harmony that reside in hundreds of university libraries. He also has written a book involving Beethoven's music, called Processes and Prototypes, which has never been published.
We recently had the McKay 100 year birthday celebrations in the Seattle area, with the peak being a couple of performances of his Violin Concerto by the Seattle Symphony with Richard Hickox conducting.
Just recently I have completed a memoir concerning my father called "McKay's Music: The Composer Chronicles----George Frederick McKay's Musical Trek Through the Landscape of 20th Century America." ISBN 0615165893
This book is somewhat unconventional, but has a nice bibliography, photos, letters and manuscripts illustrated; plus the first English translations of letters from Christian Sinding to McKay.
Finally, I have noticed that NAXOS has an 18th Century Classics Series now, so the old guys can have their glory back to the satisfaction of traditionalists.
Fred McKay
- 5:54 pm
- Henry Holland said...
Drew80, haven't seen you around the usual classical/opera blogosphere outposts recently, hope everything is well. You know my tastes, thanks for the Rochberg recommendation/McKay anti-recommendation. :-)
However, this method is one of shortcut, and an indication that you, like many, consume music as mere entertainment.
Pliable, sorry for cursing on your great blog, but bloody effing hell, JW, you are so wide of the mark, it's not even funny. Music is EVERYTHING to me, has been since I was 8 in 1968 and was blown away by hearing Cream and Hendrix, it's by a trillion light years the most important thing in my life apart from my Mom and Dad. Your stance is patently absurd, full stop:
We were presented with a virtually unknown composer who has 1,000 works to his credit, I stick up for the idea that having a source to sort through all that and make recommendations would be a good thing [VIZ: Mr. McKay's post while I was typing and proofreading this] and I'm suddenly the classical equivalent of a Hannah Montana/Spice Girls fan?
It is a perfectly fun and legitimate way to do so, but not a way that will produce deep knowledge of whatever subject is at hand.
And wading through 1,000 pieces, even if they were all available to hear, is worth the time and effort? And, again, that's a strawman: I simply don't need to hear another piece by Telemann, a favorite of classical radio programmers here in Los Angeles, because they all sound the same to me.
I don't know about you, but I work a non-music related job, I have maybe 3 hours a day during the week to listen to music, so I'm supposed to use that precious time to thoroughly investigating an obscure composer when I haven't even heard all of Walter Braunfels (composer of the glorious Die Vogel that they're doing here in Los Angeles next year) operas, for example? Priorities, man, priorities.
Tacitly, the former is your objective, but it is not mine.
Here's a hint: don't ascribe motivations to total strangers on the Internet without asking first, it makes you look foolish and shallow.
I'll wade through everything a composer of demonstrated talent has written - and be the richer for it.
Ah, the key word being "demonstrated". I have at least one recording of almost every note Franz Schreker wrote, and that's been worth it, but four of his operas are among my favorite pieces of music, so that wasn't a stretch. You know, I don't need to wade through all of Bach's cantata's to get the idea, having heard about 20 of them, in fact, in my view that would be a pitiful waste of *my* time, time better spent investigating composers similar to the late romantics (Schreker, Korngold, Szymanowski etc.), sorta serialists (Dutilleux, Lutoslawski), plink-plonk purveyors (Boulez, Birtwistle, Dillon, Feryneyhough), spectralists (Grisey, Murail, Saariaho) and verismo and late romantic opera styles that I enjoy.
- 6:41 pm
- JMW said...
Though agreement isn't necessary, it's nice that we share enthusiasm for Braunfels and Schreker!
- 7:58 pm
- violainvilnius said...
JW comments about people who use 'ratings and tiers' use music mainly as an entertainment (this sounds a bit like Adorno's comment suggesting that if you enjoy a piece of music it must be bad).
Sorry, JW - first, what is wrong with listening to music as entertainment? Secondly many of us who have a non-musical day job, need to practice their dratted instruments at night, and who patronise all the concerts in the neighbourhood in between, are quite glad to get a tier or rating or two, from reasonably respected sources of course.
Even when it's an advertising blurb from Naxos (they do some wonderful, always mouthwatering podcasts with introductions to unusual pieces of music which of course they are just bringing out, but they are pieces you might overlook while looking at a printed catalogue). There is just so much music about...
In the last week or so I have listened to punk rock, Kraftwerk, the Who etc all in the name of my eventual music degree. It was very interesting indeed (I'm a total stranger to That Sort Of Music). This is also a pre-selection of music, not by a commercial body, but a university who I hope has no commercial interest.
How can anyone hope to choose music to listen to, either for interest, enjoyment (it's not forbidden to have an emotional response, is it?), or reasons of study given the vastness of the oeuvre available (and then some of us have to choose books to read, too...). And almost all those who listen to music pay for it, which helps to keep it alive....
- 1:45 pm
- JMW said...
I didn't say listening to music as mere entertainment was bad, just that it precludes real acquaintance with a material that is patently intended as more than a diversion.
I love Kraftwerk, particularly Man-Machine and Autobahn. But it ain't Beethoven. Or Schreker.
- 3:49 pm
- interplayer said...
It is interesting to see that some Americans prefer Mahler over much of their own country's production, which is understandable just as well as vice versa. I would like to add that my father who was an avantgarde writer in Germany definitely had a predilection for American composers, not only Cage whom he admired but many more. I think he would have been interested in the work of McKay whose name I happen to hear for the first time in this debate. I will recall the case of Ruth Crawford-Seeger, for me one of the finest avantgarde composers of the first half of last century, with a similiar interest in avantgarde and folk. Should anybody be interested, I would also like to add that we had some interesting debates about the (cultural) relativity of judgement in the intercontinental composer's workshop "global interplay", see http://www.wnmf2006.de/index.php?PageID=29&lang=en
- 1:12 pm
- JMW said...
An interesting footnote: Mahler performed Henry Hadley, specifically the rhapsody "The Culprit Fay". I'd say that given our knowledge of his notoriously high and unforgiving standards, Mahler thought pretty highly of Hadley.
- 5:04 am


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OXFORD, England, May 21 (UPI) -- British researchers say vitamins B6, B12 and folic acid lower levels of homocysteine, which may reduce Alzheimer's disease risk.
Dr. David Smith of Oxford University in England said the amino acid homocysteine is linked to shrinkage of the brain. Shrinkage of the brain is linked to Alzheimer's disease.
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Boy suspended after using finger as pretend gun
Mother fighting for removal of suspension from son's record
HARMONY, Fla. – The mother of an 8-year-old Central Florida boy is fighting back after her son was suspended from school for using his finger as a play gun.
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Bonnie Bennett said her son, Jordan, was suspended Friday at Harmony Community School in Osceola County after playing cops and robbers with another student.
"There was nothing in his hand. He used his thumb and index finger," said Bennett. "It was a game. He made no threatening advances or threats to harm anyone. No words were said."
Bennett said she would have been satisfied with some form of punishment but is worried now that since he's been suspended, her son will be seen as a violent child.
"They took a child that has never been in trouble before and went to the extreme," said Bennett. "A child that has no history of violence is now classified as a violent offender."
But the Osceola County School District said it wasn't just a simple game.
A school representative said the district can't comment on the specifics of what happened because of confidentiality, but after reviewing the entire incident, Jordan's actions showed to have violated the code of student conduct.
Bennett said she'll continue to fight, hoping the principal will remove the suspension from her son's school record.
"I'm prepared to go to court if I have to because this is wrong. It's wrong for my son and any other child if they're faced with the same thing because of a game," Bennett said.
According to Bennett's son, the other boy involved was also sent home because of the incident.
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Fernley Phillips, the guy who wrote "The Number 23" is apparently in talks to write the already announced remake of "An American Werewolf in London". I have no idea if this is good or bad news because I've never seen "The Number 23" and I don't know anyone who has. Oh wait, I think that makes this bad news.
A new one sheet for the Italian zombie 3D flick "The Horde" is out and about this morning and while I can't read it I assume is says something along the lines of "Even though we're dead we still want wine and pasta! We've come for your wine and pasta!". 99% Sure I've made that joke on here before. Hey, reruns!
A new British comic artist Simon Bisley has created a kick ass poster for the newly released Neil Marshall film "Centurion". What's the main focus of the poster you might ask? Why giant softball shaped boobs of course. It's nice to a comic guy going in a different direction for once with his art.


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text: ← Wagon Station Update Full On Everything → More Studio Catchup Posted: August 31st, 2011Author: zittelFiled Under: A-Z WestLeave a Comment Part two of studio catchup features of "Lay of My Land" – a new sculpture for my September show at Regen Projects. It's a sculpture of A-Z West, split up into sections representing the individual parcels that has been painstakingly acquired and added together to create a seemingly united whole. When the frame arrived from Chuck's place up in Baldy it was BIG. So big, that it caught all of us off-guard, but fortunately the new studio swallowed it up perfectly. Dan came down from Portland for a social visit and ended up making rocks, and Jim came out from New York and made models, and Neal and Erin came out from LA with endless heavy dusty bags of hydrocal stuffed in their cars. And somehow in the end it all came together. Now, believe it or not, as I post this I'm actually now sitting in Stockholm where we are now making other variation of this sculpture for a show at Magasine 3 (that opens next week!) but that part comes later…. Leave a Reply Click here to cancel reply. ← Wagon Station Update Full On Everything →


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THREE L-shaped units, each composed of two steel plates joined at right angles, lean against and into each other, and create an assemblage of angled planes and spaces articulated by light and shadow, and put in motion by the viewer drawn around the sculptures.
The sculptures are fabricated from 1 1/4" (3cm) thick steel plates, oxidized or painted, and from stainless steel. They are 9' to 12' high (280 to 380cm) and weigh up to 7 tons. A monumentality is inherent to all my sculptures, small and large.
THE NEREID sculptures are part of the Right Angles series. They are inspired by the marble Nereid statues and their "wind swept drapery" at The British Museum, London. The painted steel sculptures open towards natural light which, reflected from the sculptures' angled planes, diffuses the borders between the sculptures' exterior and interior surfaces.
THE STRUCTURE sculptures are inspired by architecture, in particular the house as vessel, container, body. Again, the angled planes diffuse the border between the exterior and interior surfaces, and the viewer drawn around the oxidized steel sculptures discovers openings like doors, windows, and solid walls.
MY ART is influenced by architecture. The right angle in the physical world, and its inherent sensations of equilibrium and quiet are my reference points as I work towards the finished sculpture by "simplification of design and refinement of proportions". (Mies van der Rohe).
Grounds for Sculpture, NJ
Metropolitan Museum of Art, NYC
Leigh Yawkey Woodson Art Museum, Madison WI
Private Collection, Charlotte, NC
Private Collection, Southport, CT
Private Collection, Hamburg, Germany
JMOMA, Museum of Modern Art, Jacksonville FL
Cedarhurst Sculpture Park, Mitchell Foundation, IL
James A. Michener Art Museum, PA
Deutsche Bank A G
Esso A G
Broschek, Druck, Germany
McCann-Erickson Co.
Wessing Partners, Germany
Wichers Design, Germany
Private Collection, Munich, Germany
Mr. and Ms. Michael Handrick, France
Jack and Joan Goldman, IL
Mr. W. Kramarsky, NYC
Mr. and Mrs. A. Cortesi, NYC
Mr. and Mrs. W. Thompson, NYC
Mr. and Mrs. George McKinnis, Bronxville, NY
Craig Drill Capital, NYC
Shanghai Krupp Stainless, China
Hall Financial Group, Dallas TX
National Memorial Archives, Dept. of the Interior, Washington, DC
PIER WALK 2000 Chicago, IL, invitational., "Right Angles #36" outdoor sculptures
PRATT INSTITUTE for Art and Architecture Sculpture Park, "Right Angles # 23", NYC
A NEW LEAF GALLERY, Berkeley CA, invitational, sculpture group show
WOODSON ART MUSEUM, Wausau, WI, "Nature/Nature", Curator Brooke Barry, Grounds for Sculpture, NJ
Collection CEDARHURST PK. MITCHELL FOUNDATION, "Bau 99 (1993-97), Mt Vernon IL
Collection GROUNDS FOR SCULPTURE, "Nature's Laugh", Hamilton NJ
PIER WALK '98, 3-D Chicago, Chicago, IL invitational, "Skye X" outdoor sculpture
ART/OMI, INVITATIONAL SCULPTURE EXHIBITION, Omi, NY, group show, outdoor
SOUTHERN VERMONT ART CENTER, invit, outdoor sculpture "Ampersand", Manchester, VT
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Simulink® is a block diagram environment for multidomain simulation and Model-Based Design. It supports system-level design, simulation, automatic code generation, and continuous test and verification of embedded systems. Simulink provides a graphical editor, customizable block libraries, and solvers for modeling and simulating dynamic systems. It is integrated with MATLAB®, enabling you to incorporate MATLAB algorithms into models and export simulation results to MATLAB for further analysis.
Learn the basics of Simulink.
Model a simple system in Simulink.
Navigate the hierarchy and connections in a system.
Model-Based Design with Simulink
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Mick Jagger broke his silence today about the tragic death of his girlfriend, L'Wren Scott, posting the below statement on his website:
I am still struggling to understand how my lover and best friend could end her life in this tragic way. We spent many wonderful years together and had made a great life for ourselves. She had great presence and her talent was much admired, not least by me. I have been touched by the tributes that people have paid to her, and also the personal messages of support that I have received.
I will never forget her,
Photo: Getty Images
From: ELLE US


text:
Every society, democracy or dictatorship, has the capacity for justice or injustice. When justice stands proud and injustice lowers its head, society progresses. When justice goes to ground and injustice becomes emboldened, then society regresses.
Politicians, the press, powerful figures, higher learning institutions and pressure groups shape social discourse and direction. Whether they choose to stand for progressive or backward-looking ideas, for reform or obstruction, is crucial for a society to progress or regress.
Taiwan now stands at a crossroads.
On the one side, we have groups like the Youth Alliance Against Media Monsters, which stands for freedom of speech and against media monopolization. Many other students have also become involved in several high-profile cases — including forced land expropriations in Dapu Township (大浦), evictions to make way for the Wenlin Yuan urban renewal project and the labor dispute at Hualon Corp. They stand for justice for residents, land owners and workers, and do not have vested interests in any of these causes.
On the other side, we have people like Deputy Legislative Speaker Hung Hsiu-chu (洪秀柱), who recently said: "Students are not legislators, of course they cannot question government officials." This was the same person who, when she was a legislator, lambasted a Ministry of Education official, saying: "What kind of Ministry of Education is this?" and "Resign! Resign! Shut up!" and subsequently telling the press that the nation has a useless education ministry.
For Hung, it is okay for a legislator to embarrass a government official, but not for a member of the public to criticize a public servant. What does Hung stand for?
When students protested outside the ministry last week, Minister of Education Chiang Wei-ling (蔣偉寧) showed how much he cared for the students by sending out the riot police, and then asking universities to find out more about students who attended the protest and "show them concern." This is happening today in a democratic nation that thinks martial law and political suppression have been consigned to history. What does Chiang stand for?
National Tsing Hua University student Chen Wei-ting (陳為廷), a co-convener of the Youth Alliance Against Media Monsters, was criticized for failing to show due respect to his elders in the way he spoke to Chiang at the legislature's Education and Culture Committee meeting on Monday last week. What Chen was showing was the spirit of "I love my teachers, but I love the truth more." However, the press branded him as "ill-mannered."
Compare that with four years ago, when President Ma Ying-jeou (馬英九) referred to visiting Association for Relations Across the Taiwan Straits (ARATS) Chairman Chen Yunlin (陳雲林) by his proper title, "chairman," but all Chen could muster was a "mister" in return. The same press did not call the ARATS chairman "ill-mannered." What does the press stand for?
Then there was Tsing Hua University itself, which chose to believe an alarmist report in the Chinese-language United Daily News and rushed out an apology to Chiang and the public without bothering to check the facts, only to hurriedly retract its statement after many people protested. The university presided over a farce caused by its lack of scientific spirit or due caution in checking facts. What does the university stand for?


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Why No One's Buying: 5 Mistakes that Kill Your Conversions
If you've ever had a hard time getting a client, you might be tempted to wonder if you're any good at what you do.
Or worse…doubt you're cut out for business.
Most likely, however, the problem isn't you. Most likely, the problem is your marketing. [Insert big sigh of relief here.]
So, sit with me while I walk you through 5 marketing blunders that might be causing your prospects to slip right through your fingers…
Mistake #1 – They're not clear on the results they get
You must have 100% clarity about who the heck your ideal client is and what her results will be from what you do. That means it's not about the components of what you offer. It's about what results s/he gets from what you offer.
This is always the first point of the conversation or the copy. Not the cost. Not the great workbooks they get. It's about your clients and their results.
Mistake #2 – You offer too many calls to action
I recently visited the website of a life coach.
On the main page, she offered a link to her favorite new book, another link to some colleagues' websites, a downloadable free guide to de-cluttering, and a whole bunch of payment options for her to be your coach.
It was exhausting!
Remember this: A confused customer never buys.
Many solo business owners suffer from a "fear of being clear." They believe that if they don't offer every possible option, they might miss out on someone. They insist that this is all about abundance. Hey, the world is full of options, and people love options!
In truth, it is the ultimate lack mentality. It's the fear of being clear. Clarity is the ultimate wealth mindset. In every communication with your prospect, you must know the answer to this question:
What is the one thing you want your prospect to do FIRST?
Mistake #3 – You hide your expertise
One of the keys to making lots more money in your business is positioning yourself as an expert.
At first, this can be a huge stumbling block. Many of us have been raised to believe that if we're any good, people will find us magically.
Plus, we're scared of bragging.
But here's the good news. Positioning is not bragging. It's much more organic.
Positioning combines credibility, authenticity, expertise, testimonials, success stories and even lifestyle to create a marketing message that establishes you as a go-to person in your field.
Mistake #4 – You fire-hose them
Okay, take a deep breath. This one's a biggie.
Some folks get a little freaked out when they begin charging money or even when they post their first free offer.
So they become like the party hostess who runs around trying so hard to make sure everyone's having a good time that they drive people away because they're trying too hard.
Their free offer is 423 pages, plus a workbook, plus an audio and video training, too. They create packages promising you late night calls, early morning calls, their cell phone number – and their first-born.
Two problems here:
First, most people can't process all of that. It overwhelms them. You want to engage with them, not fire-hose them.
The second problem is that you'll eventually despise your clients if they DO sign up for your program! You can't possibly deliver on everything!
Again, we're dealing with a fear/lack mentality. You have to take time to think clearly and strategically. What would most serve people – and what would be do-able for you to deliver on?
Mistake #5 – You wait for them to make the first move
"So, like, just call me if you ever find that you're ready to, you know, talk about working with me. I'm here anytime."
Does this sound like you? (Okay, you can remove the "like" and the "you know." You'd never talk like that.)
If so, then it's no wonder you don't have clients!
Why is that? Well, your prospects want to know what they should do and when. You need to learn how to make offers. This doesn't mean getting pushy or selling hard.
It means you must provide clear instructions for how to become your client. You must tell your prospect what to do next and when.
NOW YOU! Are you making any of these five mistakes? And most important… what ONE THING will you change now that you know better?
Christine Kane is the Mentor to People Who are Changing the World. She helps women and men Uplevel their lives, their businesses and their success. Her weekly Uplevel You eZine goes out to over 32,000 subscribers. If you are ready to take your life and your world to the next level, you can sign up for a FREE subscription at http://christinekane.com.
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|Skin cancer
|Classification and external resources
|A telangiectasia.
|172, 173
|article/276624, article/870538, article/1100753, article/1965430
Skin cancers (neoplasms) are named after the type of skin cell from which they arise. [3]
In the UK in 2010, 12,818 people were diagnosed with malignant melanoma, and about 100,000 people were diagnosed with non-melanoma skin cancer. There were 2,746 deaths from skin cancer, 2,203 from malignant melanoma and 546 from non-malignant melanoma.[5]
Most cases are caused by over-exposure to UV rays from the sun or sunbeds.[6]
There are three main types of skin cancer: malignant melanoma.
|Basal cell carcinoma
|Note the pearly translucency to fleshy color, tiny blood vessels on the surface, and sometime ulceration which can be characteristics. The key term is translucency.
|Squamous cell carcinoma
|Commonly presents as a red, crusted, or scaly patch or bump. Often a very rapid growing tumor.
|Malignant melanoma
|The common appearance is an asymmetrical area, with an irregular border, color variation, and often greater than 6 mm diameter.[7]
Basal cell carcinomas are present on sun-exposed areas of the skin, especially the face. They rarely metastasize and rarely cause death. They are easily treated with surgery or radiation. Melanomas are the least frequent of the 3 common skin cancers. They frequently metastasize, and could potentially cause death once they spread.
Less common skin cancers include: keratoacanthoma, spindle cell tumors, sebaceous carcinomas, microcystic adnexal carcinoma, Pagets's disease of the breast, atypical fibroxanthoma, leimyosarcoma, and angiosarcoma.
The BCC and the SCCs often carry a UV-signature mutation indicating that these cancers are caused by UV-B radiation via the direct DNA damage. However the malignant melanoma is predominantly caused by UV-A radiation via the indirect DNA damage.The indirect DNA damage is caused by free radicals and reactive oxygen species. Research indicates that the absorption of three sunscreen ingredients into the skin, combined with a 60-minute exposure to UV, leads to an increase of free radicals in the skin, if applied in too little quantities and too infrequently.[8] However, the researchers add that newer creams often do not contain these specific compounds, and that the combination of other ingredients tends to retain the compounds on the surface of the skin. They also add the frequent re-application reduces the risk of radical formation.
Signs and symptoms
There are a variety of different skin cancer symptoms. These include changes in the moles, such as jagged edges to the mole and enlargement of the mole.
Basal cell carcinoma
Basal cell carcinoma usually presents as a raised, smooth, pearly bump on the sun-exposed skin of the head, neck or shoulders. Sometimes small blood vessels can be seen within the tumor. Crusting and bleeding in the center of the tumor frequently develops. It is often mistaken for a sore that does not heal. This form of skin cancer is the least deadly and with proper treatment can be completely eliminated, often without scarring.
Squamous cell carcinoma
Squamous cell carcinoma is commonly a red, scaling, thickened patch on sun-exposed skin. Some are firm hard nodules and dome shaped like keratoacanthomas. Ulceration and bleeding may occur. When SCC is not treated, it may develop into a large mass. Squamous cell is the second most common skin cancer. It is dangerous, but not nearly as dangerous as a melanoma.
Most melanomas are brown to black looking lesions. Unfortunately, a few melanomas are pink, red or fleshy in color; these are called amelanotic melanomas. These tend to be more aggressive. Warning signs of malignant melanoma include change in the size, shape, color or elevation of a mole. Other signs are the appearance of a new mole during adulthood or new pain, itching, ulceration or bleeding. An often-used mnemonic is "ABCDE", where A= asymmetrical, B= "borders" (irregular= "Coast of Maine sign"), C= "color" (variegated), D= "diameter" (larger than 6 mm—the size of a pencil eraser) and E= "evolving."
Merkel cell carcinomas are most often rapidly growing, non-tender red, purple or skin colored bumps that are not painful or itchy. They may be mistaken for a cyst or other type of cancer.[9]
Ultraviolet radiation from sun exposure is the primary cause of skin cancer.[11] Other factors that play a role include:
- Some genetic syndromes[11] including congenital melanocytic nevi syndrome which is characterized by the presence of nevi (birthmarks or moles) of varying size which are either present at birth, or appear within 6 months of birth. Nevi larger than 20 mm (3/4″) in size are at higher risk for becoming cancerous.
- Chronic non-healing wounds.[11] These are called Marjolin's ulcers based on their appearance, and can develop into squamous cell carcinoma.
- The use of many immunosuppressive medication increase the risk of skin cancer. Cyclosporin A, a calcineurin inhibitor for example increases the risk approximately 200 times, and azathioprine about 60 times.[13]
Squamous cell carcinoma is a malignant epithelial tumor which originates in epidermis, squamous mucosa or areas of squamous metaplasia.[citation needed]
Macroscopically, the tumor is often elevated, fungating, or may be ulcerated with irregular borders. Microscopically, tumor cells destroy the basement membrane and form sheets or compact masses which invade the subjacent connective tissue (dermis). In well differentiated carcinomas, tumor cells are pleomorphic/atypical, but resembling normal keratinocytes from prickle layer (large, polygonal, with abundant eosinophilic (pink) cytoplasm and central nucleus).[14]
Their disposal tends to be similar to that of normal epidermis: immature/basal cells at the periphery, becoming more mature to the centre of the tumor masses. Tumor cells transform into keratinized squamous cells and form round nodules with concentric, laminated layers, called "cell nests" or "epithelial/keratinous pearls". The surrounding stroma is reduced and contains inflammatory infiltrate (lymphocytes). Poorly differentiated squamous carcinomas contain more pleomorphic cells and no keratinization.[14]
The risk of developing skin cancer can be reduced through a number of measures including: decreasing indoor tanning and mid day sun exposure, increasing the use of sunscreen[20], and avoiding the use of tobacco products.
There is insufficient evidence either for or against screening for skin cancers.[23]
Treatment is dependent on type of cancer, location of the cancer, age of the patient, and whether the cancer is primary or a recurrence. Treatment is also determined by the specific type of cancer. For a small basal cell cancer in a young person, the treatment with the best cure rate (Mohs surgery or CCPDMA) might be indicated. In the case of an elderly frail man with multiple complicating medical problems, a difficult to excise basal cell cancer of the nose might warrant radiation therapy (slightly lower cure rate) or no treatment at all. Topical chemotherapy might be indicated for large superficial basal cell carcinoma for good cosmetic outcome, whereas it might be inadequate for invasive nodular basal cell carcinoma or invasive squamous cell carcinoma.[citation needed]. In general, melanoma is poorly responsive to radiation or chemotherapy.
For low-risk disease, radiation therapy (squamous cell carcinoma.
Mohs' micrographic surgery (Mohs surgery.
In the case of disease that has spread (metastasized), further surgical procedures or chemotherapy may be required.[24]
Currently, surgical excision is the most common form of treatment for skin cancers. The goal of reconstructive surgery is restoration of normal appearance and function. The choice of technique in reconstruction is dictated by the size and location of the defect. Excision and reconstruction of facial skin cancers is generally more challenging due to presence of highly visible and functional anatomic structures in the face.
When skin defects are small in size, most can be repaired with simple repair where skin edges are approximated and closed with sutures. This will result in a linear scar. If the repair is made along a natural skin fold or wrinkle line, the scar will be hardly visible. Larger defects may require repair with a skin graft, local skin flap, pedicled skin flap, or a microvascular free flap. Skin grafts and local skin flaps are by far more common than the other listed choices.
Skin grafting is patching of a defect with skin that is removed from another site in the body. The skin graft is sutured to the edges of the defect, and a bolster dressing is placed atop the graft for seven to ten days, to immobilize the graft as it heals in place. There are two forms of skin grafting: split thickness and full thickness. In a split thickness skin graft, a shaver is used to shave a layer of skin from the abdomen or thigh. The donor site, regenerates skin and heals over a period of two weeks. In a full thickness skin graft, a segment of skin is totally removed and the donor site needs to be sutured closed.[25]
Split thickness grafts can be used to repair larger defects, but the grafts are inferior in their cosmetic appearance. Full thickness skin grafts are more acceptable cosmetically. However, full thickness grafts can only be used for small or moderate sized defects.
Local skin flaps are a method of closing defects with tissue that closely matches the defect in color and quality. Skin from the periphery of the defect site is mobilized and repositioned to fill the deficit. Various forms of local flaps can be designed to minimize disruption to surrounding tissues and maximize cosmetic outcome of the reconstruction. Pedicled skin flaps are a method of transferring skin with an intact blood supply from a nearby region of the body. An example of such reconstruction is a pedicled forehead flap for repair of a large nasal skin defect. Once the flap develops a source of blood supply form its new bed, the vascular pedicle can be detached.[26]
The mortality rate of basal cell and squamous cell carcinoma are around 0.3% causing 2000 deaths per year in the US. In comparison the mortality rate of melanoma is 15-20% and it causes 6500 deaths per year.[28]
A study of the incidence of non-melanoma skin cancer from 1992 to 2006 in the United States was performed by the dermatologist Howard Rogers, MD, PhD, and his colleagues based on the evaluation of Medicare databases. The results of their research showed that cases of non-melanoma skin cancer rose an average of 4.2% a year.[30]
More than 3.5 million cases of skin cancer are diagnosed annually in the United States, which makes it the most common form of cancer in that country. According to the Skin Cancer Foundation, one in five Americans will develop skin cancer at some point of their lives. The first most common form of skin cancer is basal cell carcinoma, followed by the squamous cell carcinoma. Although the incidence of many cancers in the United States is falling, the incidence of melanoma keeps growing, with approximately 68,729 melanomas diagnosed in 2004 according to reports of the National Cancer Institute.[31]
The survival rate for patients with melanoma depends upon when they start treatment. The cure rate is very high when melanoma is detected in early stages, when it can easily be removed surgically. The prognosis is less favorable if the melanoma has spread to other parts of the body.[32]
In the UK, 84,500 non-melanoma skin cancers were registered in 2007 although a study estimated that at least 100,000 cases are diagnosed each year. Most NMSCs were basal cell carcinomas or squamous cell carcinomas. In 2007, 10,672 cases of malignant melanoma were diagnosed.[33]
- ^ Merck Manual of Diagnosis and Therapy
- 0-07-139140-7.
- ^ CancerStats — Skin cancer survival, Cancer Research UK
- ^ CancerStats — Skin Cancer statistics UK Cancer Research UK
- ^ http://www.cdc.gov/cancer/skin/statistics/index.htm
- 7804986.
- ^ "Malignant Melanoma: eMedicine Dermatology". http://emedicine.medscape.com/article/1100753-overview.
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- 15095915.
- 20883261.
- ^ 15753968.
- ^ http://www.bmj.com/content/345/bmj.e5909
- 22151386.
- ^ http://www.pathologyatlas.ro/squamous-cell-carcinoma-skin.php. Retrieved 2007-07-21.
- 22123420.
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- 21282699.
- 21282699.
- ^ "Screening for Skin Cancer". U.S. Preventive Services Task Force. 2009. http://www.uspreventiveservicestaskforce.org/uspstf/uspsskca.htm.
- 21846961.
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- ^ Maurice M Khosh, MD, FACS. "Skin Grafts, Full-Thickness". eMedicine. http://emedicine.medscape.com/article/876379-overview.
- ^ Skin Cancer Reconstruction
- 1984806.
- http://www.aafp.org/afp/20000715/357.html.
- ^ "WHO Disease and injury country estimates". World Health Organization. 2009. http://www.who.int/healthinfo/global_burden_disease/estimates_country/en/index.html. Retrieved Nov. 11, 2009.
- ^ "Epidemic of Skin Cancer in the U.S.?". http://www.webmd.com/melanoma-skin-cancer/news/20100316/epidemic-of-skin-cancer-in-the-united-states. Retrieved 2010-07-02.
- ^ "Skin Cancer Facts". http://www.skincancer.org/Skin-Cancer-Facts/. Retrieved 2010-07-02.
- ^ "Malignant Melanoma Cancer". http://www.skincancerjournal.com/melanoma/. Retrieved 2010-07-02.
- ^ "Skin Cancer – UK Incidence Statistics". http://info.cancerresearchuk.org/cancerstats/types/skin/incidence/index.htm. Retrieved 2010-07-02.
- ^ "Skin Cancer Facts and Figures". http://www.cancer.org.au/cancersmartlifestyle/SunSmart/Skincancerfactsandfigures.htm. Retrieved 2010-07-02.
- ^ Green, Adèle (2012-09-01). "Skin Cancer Prevention: Recent Evidence from Randomized Controlled Trials". Current Dermatology Reports 1 (3): 123-130. doi:10.1007/s13671-012-0015-9. http://link.springer.com/article/10.1007%2Fs13671-012-0015-9?LI=true.
External links
|Wikimedia Commons has media related to: Skin cancers
This article uses material from the Wikipedia article Skin Cancer, which is released under the Creative Commons Attribution-Share-Alike License 3.0.


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From other dimensions, and times past, the Retro-Robots seek to infiltrate and decorate! Caution! Reports are flooding in from around the world that Robots have been sighted with radical amounts of style! And bold, vibrant colors. Deep in the Slate Blue depths of space a funky pattern emerges.... When it comes to fun, and completely unique ways to fill a room, this "Rug-Does-Compute."
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Export 3 results:Author Title Type [ Year]
Filters: Author is Detert, M. [Clear All Filters]
Analysis of subsurface gravel layer flow caused by turbulent open-channel flow using 3D PTV and pressure sensor techniques. BAW-Workshop Soil and Bed Stability - Interaction Effects between Geotechnics and Hydraulic Engineering(2004).
Pressure fluctuations within subsurface gravel bed caused by turbulent open-channel flow. Proc. of River Flow 2004. A. A. Balkema Publishers. 695-701(2004).
Simultaneous 3D PTV and micro-pressure sensor equipment for flow analysis in subsurface gravel layer. Proc. of River Flow 2004. A. A. Balkema Publishers. 703--712(2004).


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About The Haystack
At The Haystack, C&EN editor Lisa Jarvis weeds through pharma's molecular mountain to pluck out the drug developments worth noting. Coverage spans science and business context for drug industry news; spotlights on academic and industry conferences; interview outtakes and updates from drug discovery features in C&EN's pages; and the employment prospects for chemists working in life sciences.
Lisa Jarvis was born into a family boasting some of Chicago's fiercest White Sox fans. She got her B.A. from Bard College, and did a brief stint at Northwestern University's graduate program in chemistry before choosing writing over basement lab life. As the sole occupant of C&EN's unofficial Brooklyn Bureau, she covers biotech, pharma, and fine chemicals.
Twitter: lisamjarvis
With contributions from:
Carmen Drahl grew up in the pharma-rich hills of New Jersey. She got a B.A. from Drew University, where she snuck into the Residential School on Medicinal Chemistry during the summers, and a Ph.D. in chemistry at Princeton University. While at Princeton, Carmen started her own blog, "She Blinded Me With Science." At C&EN, she covers medicinal chemistry, organic chemistry, and topics at the interface of chemistry and biology.
Twitter: carmendrahl
SeeArrOh is a medicinal chemist working in industry. SeeArrOh also blogs at Just Like Cooking and has contributed to several other blogs, including Chemjobber, TotallySynthetic, and CENtral Science's Newscripts.
Twitter: seearroh
Aaron Rowe is a C&EN contributing editor. He has also contributed to the Wired Science blog, to CNN's blog Light Years.
Twitter: soychemist