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I received some comments and questions on my Ecosystem of Globalization paper. They were good comments, and I thought I wd share my response. Comments are in italics.
Sorry to be so long in replying. Some of the language was new to me, and I wish I knew more about economics, etc., but it was easy enough for me to follow a lot of it. I thought if you ever expand this, I, personally, would benefit from examples, for example, of extension and intensification.
Extension means growing geographically, by pulling new markets into capitalism. So China becoming a capitalist economy (in whole or part) would be an example of extending. Another example would be a local, non-capitalist economy being pulled into the world economy. Extension is a way of increasing profit etc. by selling more to the new markets, tapping into resources, integrating people as workers and consumers into the (capitalist) world economy.
Intensification is making more profit out of the same market. This can be done by turning existing activity into profit-making activity, e.g., privatizing public services, or people buying services that used to be done by unpaid labor at home (e.g. childcare, food preparation, house cleaning), or people consuming more (helped by easy debt).
So the idea is that once there are no more new areas to pull into capitalism, the only way it can grow is through "intensification."
Random thoughts.
Re: Transportation and globalization. It seems to me this is an important cost to the ecosystem of increasing globalization. I wonder how one would figure the relative costs and benefits of local production and consumption vs spreading out production and shipping goods around the globe.
This is an interesting question. It gets to what is counted as a cost. You are saying that if all of the externalized costs were factored in, global production might not be so cheap...
You say on p 2 "there is no 'wilderness' today…outside of capitalism." Right. Some time ago, the National Forest Service began using the language of "recreation amenities" in relation to public land management. This fits into the original paradigm of public land management as resource management and conservation, rather than preservation. First, it focused on extractable resources like timber, mining, and grazing. Then, recreation amenities came into the same paradigm. I know there are economic analyses of recreation showing how many dollars a nearby community gains from having, say, a national park nearby. I imagine there are more sophisticated economic analyses of recreation as a commodity, but I don't know.
I think also, even if it isn't managed as a park or for economic exploitation in any way, it still isn't "wilderness". That even if it is "unspoiled" or unexploited, it still is related to capitalism in some way (e.g., an "other" or as a resource reserve that allows everything else in capitalism to go on.
Another negative effect of globalization is the disruption and disenfranchisement of local communities, especially land-based communities. As local communities get caught up in globalization, they lose their connection with the land, resulting is less sustainable ways of treating the land. This might be another concern related to speculative capital on p 3. Disruption of local communities has both human and environmental costs.
This would be a good example of "extension."
On p 4, in your para which begins "It should be noted…," is it also relevant that new technologies create new needs in existing markets, which in themselves are a sort of new market? Is this intensification? Is that even a useful way to think about it?
Yes, this is a useful way to think about it, it is an example of intensification.
Reading the section on the ecosystem of globalization, I thought of a recent book by Richard Louv, LAST CHILD IN THE WOODS. The subtitle has the catchy phrase "Nature-Deficit Disorder" in it. I liked the book. Among other things, he goes into how kids are blocked from direct contact with nature by insurance companies, homeowners' associations, liability issues, etc. In other words, he takes up some of the institutional and structural barriers to contact with nature as well as the psychological ones. Now, looking back at my notes, I have no idea why I thought of that in reading this section of your paper. Maybe you can see a connection. Anyway, I liked the book.
No, it is very apropos. You had mentioned the book to me, and I think I had it in mind. (Wait -- I see Richard Louv is quoted in WSJ article in footnote # 10).
On page 6, note 11, I chuckled. Finally some light humor in a dismal situation!
I wasn't sure what you meant by "the end of value" on page 7, but I wanted to know. This sounds like a useful and interesting concept.
"Value" is a Marx concept, and the way I understand it is that it describes a particular kind of relationship between people and between people and nature. The idea here is that capitalism turns everything into an economic quantity. So it is also way of looking at the world, not for any intrinsic usefulness or quality or in its own right something with a right to exist, but as a means to increase wealth. In this sense, the "end of value" is a good thing. That was another paper (http://www.gocatgo.com/texts/eov.html)
So, here is my big question, and maybe the central question of your paper. If I understand you right, capitalism is inherently anti-environment or anti-environmental-sustainability, by virtue of its need to continually extend and intensify production. Only an overthrow of Capital will foster sustainability. Got it. Are there variations on capitalism which are not inherently destructive; can capitalism evolve, or is a revolution required? And if capitalism is irredeemable vis a vis the environment, are there any practical alternatives in the foreseeable future?
I think what I was trying to get at is that capitalism is not "anti-environment or anti-environmental-sustainability". But rather that capitalism creates a certain kind of environment to ensure ongoing profitability. Although it often looks like it, I don't think capitalism will commit environmental suicide (well it still might, but it's a losing bet no matter how you think of it). "Sustainability" raises the question of sustainable on whose terms? Towards what end? So it might be possible to have a "sustainable environment" of tree plantations, ocean fish farms, and private nature parks. But your idea of sustainable would be much different I expect. But your main point, what is to be done -- that's the thing. It might sound counter-intuitive, but I guess the important thing is getting people to think differently, to be conscious of this, to realize that they can do things and that things can be different. You are certainly part of that. People have different talents and will apply those as they see fit. I think that there is something radical in developing a qualitative, holistic, monistic sense of nature; but a decent understanding of capitalism is important too. So the question to me is how does consciousness change, what ideas are put out there and discussed and argued out. And the political and economic solutions will flow from that. I hope.
I would like to bring these kinds of issues into my courses more. I did last week in a one-day discussion on ecopsychology with the Wilderness Therapy students, and they got into it. I think it is a set of questions they ask a lot, but which rarely get brought into ecopsychology discussions. Andy Fisher (RADICAL ECOPSYCHOLOGY) does too, questioning capitalism and current social paradigms, but still, it is oddly absent from ecopsychology discussions. Anyway, thanks for sharing this paper with me. Keep me posted. If you have or see anything else that would be a good, broad intro to the economics of environmental sustainability, let me know.
Hmm. James O'Conner has an essay, call "Is Sustainable Capitalism Possible?", anthologized in Natural Causes, that raises some important questions -- I think starts well, but gets dense as it goes on about capitalism (I still need to finish reading it). There's a chapter from the Deep Ecology for the 21st Century by Donald Worster, "The shaky ground of sustainability" that looks alright, but I just glanced over it. The Brundtland Commission Report "Our Common Future" from the late 1980s is the classic UN-type document, see:
Or the Wikipedia entry on sustainable development might be helpful to:
I'll give it some more thought.
-- jd
Thursday, December 21, 2006
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I tried to keep my plate relatively free this quarter at the School of Visual Concepts (SVC). I'm taking a single class, and while I printed three separate items last quarter, I felt I needed to have the time to work on the keepsake and the book. But I wanted to make at least one thing in class, learn to use the largest platen press on site, and produce something wee and refined, as all my first-quarter projects were relatively coarse or large. I settled on a business card.
In looking at type for the card, I realized what an opportunity I had to use chromatic type, which are typefaces designed in variants that can be overprinted exactly in place with different colors, allowing for insets and knockouts and other neat effects. This kind of design was found particularly, though not exclusively, in wood type, and you might be most familiar with it thinking of old circus posters, or new ones that reference the past.
Wood type is almost always large and was designed mostly for advertising. As such, it could be wackier and more interesting than metal type, most of which was designed and sized for text and headlines. (There are plenty of metal faces designed for ads, but they're a modest subset of all faces designed for metal.)
The Hamilton Manufacturing Company cornered the market on wood type in America in the late 1800s, and remained in operation until the 1970s. The Hamilton Wood Type & Printing Museum preserves the former company's collection and actively uses it, and has worked to cut new faces and push forward to keep this history alive. As part of that, they worked with the digital type foundry P22 to create a series of faces based on and referencing classic wood type. One of them is American Chromatic, and that's what I picked for the type for my name on the business card. It has eight styles that can be used together and some separately. Per my previous discussion about the cost of licensing type, the Hamilton faces are part of Adobe TypeKit, making them viable to use for a modest, one-off project.
Now, I designed it small, and my mentor was rightly concerned the tiny details of stars (inset and printed) wouldn't come through. I thought that was okay, because the brain fills in details, and except for designers and printers putting their nose up the cards, people would perceive the bits as stars because that's what they expect. I learned quite a bit about the limits of registration (lining up multiple passes) and overinking on a platen press, and my next job on a platen will be so much the better for that.
I've printed the first side with American Chromatic produced as photopolymer plates. The opposite side will have my contact information, and I'm using metal for that, including a dial telephone that's a two-piece chromatic item! The front is classic Americana colors; the back will be 1950s goldenrod and avocado.
By the way, one of the technical reasons wood was used is that you need an even printing surface at an exact height with letterpresses; it's 0.918ʺ in the U.S. and many other places. Metal type works up to a certain size, at which point it becomes unwieldy: the amount and cost of metal, its weight, its behavior. As the Hamilton Wood Type Museum notes, "large letters used in printing were carved out of wood because large metal type had a tendency to develop uneven surfaces, or crack, as it cooled." Properly aged wood can be planed and sanded to exactly the right height and kept in fine fettle for many years — some is still printable after well over a century.


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The Department of Correctional Services has received $202 million to purchase vehicles and improve adult institutions in the next fiscal year.
Of the figure, $180 million will go towards renovation and rehabilitation at the Tower Street Adult Correctional Centre in Kingston, while the remainder will be used to purchase vehicles for the Department.
This is outlined in the 2017-18 Estimates of Expenditure now before the House of Representatives.
The vehicles that will be purchased include: one ambulance, one pickup truck and one panel van. The vehicles are to be used for the transportation of goods and personnel.
The Department has three core functional areas, including custodial services (adults and juveniles); rehabilitation; human resource management; and community services.


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Please inquire at firstname.lastname@example.com for rates and availability.
Former house engineer at Pogo Studio and current house engineer at Earth Analog. Freelance at other studios including my space, Wave Upon Wave.
With over a decade of experience in recording, mixing, mastering, and restoration, I'm happy to custom tailor to your project.
I love to talk music, let's talk.
Thank you. -James


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I was posted in that interior village as an Assistant Conservator of Forest. I got a lovely quarter. Two bedrooms with one balcony and a cute front-yard. One chowkidar with his family lived in a small cottage near my house to help me in all household work.
First night, I had a very sound sleep, while during the dawn, I heard a humming sound from far. There was a beautiful wood near my house. I could feel the humming sound was coming from the other side of the wood.
I wondered, asked the chowkidar's wife, if she knew about it. She said that this kind of sound comes from different trees and birds, and asked me not to worry at all.
I wondered, asked the chowkidar's wife, if she knew about it. She said that this kind of sound comes from different trees and birds, and asked me not to worry at all.
Next few days too, I heard the humming sound, almost the same time. It was a sweet-sound, but didn't seem to be real. I thought of enquiring more, but everyone said the same thing.
On a Sunday morning...I got up early, laying back on a cozy chair and gazing at the sky with my cup of hot coffee. I was content to just sit there thinking about the humming sound. Suddenly, I heard the sound… It was gradually becoming mysterious for me, which was driving me insane. I wanted to know from where it was coming….I decided to visit the wood…
I wrapped around a shawl and proceeded towards the trees. Tall trees, impenetrable bushes, varieties of birds, all were making the whole scenario mesmerizing. I kept going deeper and deeper, following the humming sound….
After a while, I saw one open space, full of colourful flowers and a buzzing stream flowing in a zig zag way. I could see an old man plucking flowers and keeping in his basket. He was looking at the flowers at the side of the meadow and noticing nothing else ….I went near to him and asked him softly whether he was the owner of the meadowland. He smiled, "No…! But, I am the owner of the breeze flowing over this…." He just laughed. "I come here to pluck flowers every morning…" He added.
I quickly came to my point….I asked him whether he had any knowledge about the humming sound. He nodded his head with a smile. My face became brightened. I asked him what was that sound and what was it's origin…
"Come, I will show you the origin of the humming sound…it's nothing, but actually some gusty sound…"
He asked me to follow him… He had a stick in his hand.
He started his conversation…
"Many years back, when I was young, a pretty girl came to our village, like you. I had a sheep herd that time, often used to come to this grassland. One day, I saw that girl approaching me….I was nervous. She came to me and enquired about the same humming sound…"
He kept talking. And, we were walking deeper inside the wood…..It was becoming darker and darker, because of the density of the trees… Then, we reached a similar place from where we started our journey, near a whispering brook. Colorful flowers were decorating the whole savanna. We kept walking…
He continued… "I wanted to spend some time with her….so I told her that I knew the source of the humming sound…"
The old man had a glint in his face and childish exuberance, while he was walking me through the dense forest. It's been quite a while I walked along with him listening to his story. Suddenly, I started feeling creepiness in air and realized it's been more than 2 hrs since I left my quarter. He looked at me and gauged the uneasiness in my face, with a smile.
He said, "My young lady don't be worried I am taking you to the source of humming sound".
Suddenly, I felt like some animal is gulping water from a stream. Immediately, I turned around to see and realized that I was near the same stream, where I met the old man plucking flowers.
He said, "My young lady don't be worried I am taking you to the source of humming sound".
Suddenly, I felt like some animal is gulping water from a stream. Immediately, I turned around to see and realized that I was near the same stream, where I met the old man plucking flowers.
I understood that something was wrong and decided to flee from there…from him…..I started running……..But, I had no clue which direction will take me back to my quarter…
I kept running…..I reached the dark place again, densely rooted trees, and crossing that place, I reached the meadowland with the brook again…..This time I saw the old man sitting on a rock, smiling at me…
I kept running…..and running……until I found myself next day at my bed. I was engulfed by many people…..
My theme : Imagination and reality
My theme : Imagination and reality


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Hello Lovelies! Today I am sharing a fun unboxing video of the Hipster Holiday kit from Clique Kits, which features the amazing Merry Days collection from Crate Paper! You can watch my unboxing video here.
I am so excited to work with this awesome kit and hope you will join me throughout the month of December! See you again soon!


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The Vista Farmers Market is held every Saturday from 8 a.m. till 1:00 p.m., and we attend this market on an every-other week basis. This farmers market is held in the parking lot of the Vista Courthouse Complex, and our stand is located at the very south end.
Back to All Events
Earlier Event: July 23Horton Plaza Farmer's Market
Later Event: July 29Santa Monica Farmer's Market


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Falguni Mather
Accredited Certified Advanced EFT Practitioner
My practice as an integrative counsellor focuses on a mind-body-social approach to therapy. Incorporating EFT, Matrix, somatic therapies and psychotherapy, I aim to address all aspects of your difficulties, mental, emotional and physical.
I specialise in support through personal crisis, moving on from trauma and increasing confidence. My approach is to create a safe, supportive, non-judgemental environment so you can voice your concerns and difficulties while feeling heard.
Wherever you are at right now, I believe in you. I am fully invested in doing my part to get you to connect to, and use, your inner resources, so you can live your life in a way that is most meaningful and satisfying to you.
Originally from India, I have travelled widely and lived in a number of cities including Singapore, London and Istanbul. I have two amazing children who are a constant source of inspiration to me. I currently reside in the beautiful city of Hong Kong, where I have lived and worked since 2004.


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2:40 PM | Earthquake hits Mid-Atlantic...next threat is Hurricane Irene
Paul Dorian
An earthquake this afternoon centered near Richmond, Virginia with a preliminary magnitude of 5.8 was felt from North Carolina to Massachusetts. This quake follows the strongest Colorado earthquake in more than 40 years that occurred yesterday. Meanwhile, the other major "nature-related" story for the Mid-Atlantic is Hurricane Irene. Irene is now showing signs of an "eye" indicating further development is likely. This storm appears to be headed to the North Carolina coast by early this weekend and will likely reach major hurricane status before that landfall (i.e., category 3 or even 4). The potential track after that is to near or over the Chesapeake Bay and then to near or over the South Jersey coast. Flooding rains and damaging winds are a real threat from Irene this weekend all the way from North Carolina to New England. Grounds are already saturated in much of the Mid-Atlantic region where some areas have received more than a foot of rain this month and, to make matters worse, there could be some heavy rainfall late Thursday from a cold frontal system. Stay tuned as we progress through the week on this serious threat for the Mid-Atlantic.


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Underride guards might have saved the Tesla driver, but are they practical and realistic?
We have written earlier that the Tesla driver killed in autopilot crash might still be alive if trailers had side underride guards, and about the tragic deaths of Marianne Karth's two daughters in a rear underride crash.
Around the time Joshua Brown's Tesla went under the side of a trailer, Karth and other advocates were meeting in the first Truck Underride Roundtable, a group trying to improve standards of underride protection. The National Highway Traffic Safety Administration is looking at the rules, and Mrs. Karth and the Truck Safety Coalition have made submissions demanding stronger rear underride protection and the requirement for side underride guards.
The Truck Trailer Manufacturing Association (TTMA) has commented on these, and on the demand that trailers be equipped with underride side guards. (TreeHugger has been advocating for sideguards for years to protect cyclists and pedestrians, but has not previously followed the activities relating to car underride protection.)In an earlier 2004 study on sideguards done by the industry, it was estimated that they would weigh about 750 pounds and cost $ $1560. That doesn't sound like much, but would increase fuel costs and reduce payload, and therefore income. Add it all up and they say they would cost the industry $573 million annually. And those are 2004 dollars! Divided by the number of deaths it would prevent, (they claim 11) it comes to $47 million per life saved, which is not "cost beneficial."
However research by the Association for the advancement of Automotive Medicine comes up with significantly higher numbers, which no doubt change the economics. (PCI stands for Passenger Compartment Intrusion).
There is yet another study that concludes that even those numbers determined by Fatality Analysis Reporting System (FARS) are underestimating the deaths caused by side underride collisions. So the economic cost per death is a lot lower than $47 million per person. It is doubtful that the cost to the industry is half a billion dollars too. But we are still talking big numbers.
The TTMA notes that European precedents don't apply because their trailers are built differently than North American ones, more like flatbed trucks with big substantial rails underneath (this true, they are really like flatbeds with fabric sides) whereas North American trucks are monocoque construction with lighter rails below. American trailers also have sliding tandem axles at the rear, that are moved to adjust for loads. There are significant technical challenges.
They also claim that the Krone Safe Liner trailer, discussed in our previous post, is "technological and commercial failure."
Due to the increased rigidity in the trailer structure that resulted from the added frame supports, the trailers were less flexible when operated over uneven road surfaces or on surfaces that produced twisting forces. Cracks began to appear in the major beams and cross members. Safe Liner trailers became disabled during highway use and presented safety risks to other motorists….KRONE eventually concluded that the Safe Liner design was not technologically feasible and presented a risk of major accidents, so in 2003 it discontinued production and repurchased these trailers from its customers.
The TTMA also looked at an American aftermarket side underride protection system designed by Bruce E. Enz John E. Tomassoni Angela Trego, and made a persuasive case that this is also problematic. Others, like the Underride Network, make the case that it is technically and economically feasible.
So where does that leave us? Confused and concerned. The fact remains that, as I noted in the earlier post, the designs of our cars and our transport trailers are fundamentally incompatible. Our cars are designed with air bags and crush zones that are useless against trucks; as one activist noted, you are safer driving into a brick wall than into the side of a trailer.
The death of a famous actor caused a big change in the rules that made rear underride protection mandatory; perhaps this well-publicized crash will bring a change in the thinking about side protection. Perhaps if this was something that was thought of at the design stage of the trailer instead of being an add-on, there might be a technical and cost effective solution that works.
Instead, The TTMA wants the car manufacturers to take the lead on this, suggesting that "crash avoidance technologies are rapidly developing for passenger vehicles that may prove both technologically feasible and cost- beneficial for all types of collisions, including collisions into the sides of trailers" - we have just had a demonstration about how that might play out.


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More than 30 abstracts presented at the 60th American Society of Hematology (ASH) Annual Meeting & Exposition in San Diego, featured research highlighting the ability of Bio-Rad's Droplet Digital PCR (ddPCR) to provide high sensitivity and accuracy in quantifying minimal residual disease (MRD) — those remaining cancer cells after therapy that are associated with relapse — in blood diseases such as leukemia.
One study described how ddPCR may be able to more accurately determine MRD than qPCR and therefore better determine which patients with childhood acute lymphoblastic leukemia are eligible for high-risk treatments. In another study, researchers found that the concentration of residual leukemic cells, determined by the QX200 Droplet Digital PCR System, was one of the risk factors that predicted relapse in patients with chronic myeloid leukemia who had discontinued therapy. In addition to these studies, below are highlights of other presentations that showed how ddPCR is used to measure MRD in patients with acute myeloid leukemia (AML).
ddPCR utilization in phase 1b trial in TP53-mutant MDS and AML
Dr. David Sallman, a hematologic oncologist at the Moffitt Cancer Center in Tampa, Florida, presented results from a phase 1b clinical trial enabled by ddPCR. Dr. Sallman and his team tested the use of azacitidine, a chemotherapy drug, in combination with small-molecule drug APR-246 in patients with myelodysplastic syndromes (MDS) and AML with TP53 mutations. Data have previously shown that azacitidine alone leads to complete remission in 20 to 30% of patients with TP53 mutant MDS and AML. The results of this study showed that 82% of these patients achieved complete remission when APR-246 was added, representing a significant improvement over treatment with azacitidine alone.
The researchers used next-generation sequencing (NGS) and ddPCR to analyze the depth of remission by quantifying MRD. "In our trial we found that ddPCR was extremely effective at defining patient-specific depth of remission," Dr. Sallman said.
Phase 2 of the trial will continue to use ddPCR as one of the ways to determine the depth of remission, noted Dr. Sallman, adding that remission, as defined by ddPCR and high-sensitivity NGS assays, would also be evaluated as a predictor of outcomes in patients treated with APR-246 and azacitidine.
ddPCR helps predict remission in patients with AML
Allogenic hematopoietic stem cell transplantation (HSCT) is one of the only curative therapies for hematologic malignancies such as AML. However, many patients relapse after transplantation.
Dr. Amanda Winters, MD, PhD, of the Department of Pediatrics at the University of Colorado and Children's Hospital Colorado, and her team evaluated the use of ddPCR for monitoring MRD to predict which patients might relapse after HSCT. While MRD has previously been shown to be highly predictive of relapse for patients after chemotherapy, few studies have evaluated its predictive ability in HSCT.
The team used single-mutation ddPCR assays to track 21 different AML-associated mutations in a 36-patient cohort. All patients selected for this retrospective study had received a bone marrow transplant and consented to the Tissue Bank protocol, making past marrow and peripheral blood samples available to researchers. The patients had also been identified as having at least one of the 21 mutations at diagnosis.
The research found that ddPCR-based molecular MRD assessment was predictive for relapse and survival post-HSCT for patients with AML. The presence of molecular MRD at the one-month point after transplant was significantly correlated with relapse and mortality. Based on these findings, Dr. Winters and her team believe monitoring AML-associated mutations with ddPCR after transplant could help physicians detect relapse earlier.
Read about how scientists in Brazil are pre-empting mutational changes in lung cancer with ddPCR technology >


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Y'all, get grab a cup of coffee and comfy because you're about to spend the rest of your Monday morning pinning this beautiful Folly Beach wedding. Polly and Devin tied the knot this September just outside of Charleston at a wonderful beach house - the Robinini by the Sea. Polly looked quite stunning in the perfect lace fit and flare gown while Devin looked dapper in a classic tuxedo. The couple married in an intimate oceanside ceremony before celebrating the night away with their guests. We love how this couple incorporated their pooch into their big day and all of Polly's DIY details. A big thank you to Molly Joseph Photography for sharing all the loveliness!
Charleston Wedding Vendors
Photographer: Molly Joseph Photography // Cake Designer: Ashley Bakery // Officiant: Christy Loftin Details Charleston // Caterer: Crazy Dutchman Catering // DJ: Other Brother Entertainment Submitted via Two Bright Lights


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Conversation with Martha Jones: Recent Work and the Deeper Catalogue
February 9, 2015
I want to talk with you about your exhibit up now at the Linda Matney Gallery, Abstract Portraits 2014, but I'd also like to make this interview more inclusive by asking you to talk about work that preceded both your present show as well as the one-artist exhibit you had here at the Matney Gallery in 2013-14. Can we start by discussing your older artwork and make our way forward?
Lately I have been interested in looking more deeply into your catalogue, and I am especially interested in this painting of a hand surrounded by these inverted half-circles over what look like the meander patterns you were using then but that also look a lot like eyes. I'm intrigued by the amount of energy in the painting and the way you've suggested an anthropomorphic awareness at the same time that these symbols are so abstract. Can you say something about this painting and anything else you'd like to share about how your work was developing at the time?
Anatolia Trip, oil on canvas, 24" x 32", 2007, private collection
This painting is in a private collection in Greece; I painted it in 2007 during the two-year period from 2006 to 2008 when I was living in Athens, Greece and maintaining a painting studio there. Looking at the painting again, I'm really struck by what it shows about fundamental changes my work was going through during these two years. Two major changes made an enormous difference to what I do: I started painting abstractly and my color palette lightened considerably. This period was enormously important for the development of my work: my work really took off in 2009 after I returned to Williamsburg, and actually most of the work I've done since then has been involved with working out the implications of the decisions I made in Athens.
While I was in Athens I was searching for examples of abstraction in ancient art as well as elsewhere that would give me something to work with in my own abstract projects; I found that the meander was one of the most fruitful designs for this purpose. Here is a meander pattern in the circular border of this red-figure 5th-c. Athenian vase painting.
Usually the patterns appear in a continuous frieze, but I opted to break them down into single examples or into pairs of meanders as in the hand painting. I found I could turn the meanders and make them look as if they were headed or moving in different directions. Much of the sense of movement here comes from the fact that the patterns are turned toward the left along the top of the canvas but half way down the left side and along the bottom they turn back toward the right before turning back to the left on the right side. The single meander on the right side of the composition has lines that appear to show motion coming from its bottom. The overall impression is of a movement of these patterns around the hand at the center of the composition.
The painting is very transitional: there's a semi-anthropomorphic quality to these pairs of meanders under the dome-shaped cover that you've picked up on. The palette still shows some of the darker palette of my work before this time. I was trying out several colors for lines and really became most interested around this time in using a red line and pink volumes; in this painting you can see me experimenting with lines in several colors.
Can you say any more about the changes to your color scheme and pick out any other paintings from this period that show the developments you've described?
The lighter and pinker color schemes that I began to use while in Athens were influenced by the bright Mediterranean light and show affinities with the late work of Philip Guston. Here are a couple of other examples of work from this period in Greece that demonstrate these changes. In this painting I was working with the forms of letters as the basis for an abstract composition.
My Mother, oil on canvas, 24" x 32", 2007
You can see the capital letter A in black and orange turned upside down; the shape to its left is based on a Rho in Greek or a P in English—it's also turned upside down. Actually I'd originally worked on this painting in the opposite orientation and then turned it upside down. I was looking for an abstracted result and felt that the letters were a bit too readable for the more mysterious effect I was searching for. Next to the A was what started life as a capital M, but the central half line has been partially painted over. There's still a sort of half-anthropomorphic look here. The two bucket-like shapes in the top left and top center are based on the basic arch and look again a lot like eyes—eyes that to me look like they're closed and asleep; the semi-circles over them can be interpreted as eyebrows—if one likes.
This next painting is a lot more open to the background than the two we've just discussed. The painting is really an exercise in determining which lines and forms will take priority over others. This process of working out what goes into the foreground and what into the background is always important in my work and especially in my newest work from the 2014 show. Also, in this painting you can see other examples of motifs from ancient art: there's the outline of a palmette turned upside down in the lower left; the large gray mass is based on a Cycladic figurine, but plumper and more massive. The meander looks here like the letter S or the numeral 5.
Meanders and Palmette, oil on canvas, 28" x 38", 2008, ASCSA collection
Although I didn't actually realize it at the time, the next painting that was one of the last I did in Athens really brought together a lot of the characteristics that would be present in the period after I returned to the US. There's the pink and red color scheme, the arch shape and some meanders as well as the rounded edges to the overall composition that became really important to me after this.
Arches, Meanders, Flower, oil on canvas, 28" x 39", 2008
Can you say something generally about how your work has developed over time especially after the period represented by the paintings we've just been discussing? I know you showed some of the work from this period in a fellowship exhibit at the Virginia Museum of Fine Arts in 2011 and later at the Andrews Gallery at William and Mary in 2014. Can you talk about pieces from these shows?
The VMFA Fellowship show was made up of work up to 2011 including some done in Greece and was the first time I'd shown most of the work that grew out of the extended stay in Athens. The exhibit was called "Big, Pink Paintings" and stressed monumental-sized paintings (2 m. x 2.8 m.): the show included four paintings this size.
The Kiss, oil on canvas, 78" x 94", 2009
The Andrews show also focused on work done between 2007 and 2012. So taken together the work in the two exhibits gives a good idea of how my work developed during the period in Greece and for a few years after the paintings we were just discussing. (Some of the 2009 monumental-sized paintings and more monumental work from 2013 were shown in Martha's 2013-14 show at the Matney Gallery and are illustrated elsewhere on the gallery web site. Click here to see that blog post.)
In a general sense, I'd say that I've worked with much more complete abstraction since the Athens period. Also in Greece I conceived the ambition to work on a monumental scale, started working in this direction there, and successfully did so in the period after I returned to the US. The paintings in the two exhibits you've asked about show how important the influence of Philip Guston's late work was for my decisions about color and style even though my work is more purely abstract than what he was doing in his late period. This next painting is a good example of how the meander and arch motifs can be used to suggest a broad range of meanings rather than merely as design motifs. The horizontal repetition of arches and meander symbols here are in my opinion reminiscent of written symbols arranged in lines on a horizontal grid.
White Meanders, oil on canvas, 31" x 39", 2009, private collection
At the Andrews show I included this next painting, the largest painting I've ever done, twice as wide and the same height as my other largest paintings. In it I was quite interested in working out different patterns of symmetry and asymmetry that govern the repetition of similar motifs across the large area.
Forms of Symmetry, oil on canvas, 78" x 188", 2010
Your use of poetry and text as images has intrigued me: many paintings almost seem to be exposing hidden meanings--a sort of recitation of the words via images. The Andrews show was really focused on language and poetry as a theme in your work. Can you single out other pieces from your Andrews exhibit that deal with this theme?
Yes. The paintings and drawings in the Andrews show were all chosen because they related directly or indirectly to the subject of language and its visual representations. Some works in the exhibit included entire poems, parts of poems, some poems by others, as well as poems I'd written myself previously, and poems I wrote at the same time I worked on the drawing or painting. Other works contained one or two words; still other work in the show contained individual letters, or syllables, or paintings in which the entire composition was influenced by a letter shape.
Map Paint, oil on canvas, 24" x 24", 2010
I like to think, also, that symbols like the meander pattern have a fundamental relationship to the symbols of writing systems; I'm not in the business of substantiating the historical truth of this notion, but I imagine that such symbols were either antecedents for early writing or developed alongside the symbols for written speech. Here are a couple of examples of smaller works that use the meander as their main theme.
Reversed Yellow, oil on canvas, 11" x 14", 2011
Blue-Green Meanders, oil on canvas, 16" x 20", 2010
Also, a lot of my own poetry is on Mediterranean themes or shows the influence of ancient poetic traditions; many of them I wrote in Greece or Sicily, many of them outdoors at ancient archaeological sites, at beaches or walking in the mountains. Here's a good example of what I call a poem-painting; the poem here is a shortened version of a poem I wrote in Greece. My goal with these poem-paintings is to simplify the visual aspects of the work so that they don't compete with the words. Also in most of these I usually simplified what was originally a longer poem so that the text would not overpower the visual composition. I tried to come up with a set of roughly rectangular visual spaces that can be arranged to contain the rhythmical units of the language. My goal was to create an interesting interplay between verbal and visual rhythms.
The Goat is Near Here, oil on canvas, 36" x 36", 2011
I was able to focus on the role of language as a theme in my work in the Andrews show, but it's a theme I've been interested in since at least 1999-2000; several of the representational paintings I did at this time include letter forms, syllables, and even long quotations from the Iliad and Odyssey in Greek chosen because of their thematic connection to the African traditional objects depicted in the work. In its various forms, metaphors of language, poetry and writing continue to be important for my work. Here's a painting from 2000 that's in a private collection; it wasn't in the Andrews show but is a good example of the use of language in work I did quite a while ago now.
Mother and Child, oil on canvas, 30" x 30", 2000, private collection
As for what you said about the paintings being involved in some mysterious process, exposing secret meaning. That is great. Thank you so much for saying so. I feel myself that there are always a lot more meanings to these works than I can necessarily explain in conversations like this. That's a good thing.
Can we step back one more time? Can I ask you for a little more information about your earliest African-inspired work and the other figurative work based on Greek art that you were doing at the same time? Besides the language-theme connection, how do these images relate to your later work? I'm also curious about how your audience reacted to the transition from the figurative to the abstract.
You're taking me back to 1999-2000. My professional background before beginning to paint full-time was as a university instructor of Latin, Greek and Classical Studies. I gave up teaching and began painting full-time in 2005 and have been happy with the decision to return to what I think is actually my strongest and most long-standing talent. As a classicist my interests lay primarily in Greek and Latin literature; the entire field has been a fundamental influence on my work. My newest work is not so obviously connected to these interests but their influence is there nevertheless. Most of the paintings from this period depict African subjects. The paintings could be described as a sort of expressionist representational form.
Monkey, oil on canvas, 24" x 30", 2000
I was interested in working toward abstraction; in hindsight I can see that this is where the process started but at the time I didn't know how far I'd take it. In the paintings I was interested in flattening out the images from my drawings and incorporating elements of their design into the overall composition of the painting to a point that approached abstraction although the object depicted remained recognizable. Not all of these pictures are based on African imagery; this painting shows 2 small Greek vases decorated with abstract designs.
Corinthian Aryballoi, oil on canvas, 24" x 30", 2000
The obvious answer to how my audiences have taken the shift to abstraction has had to do with whether individuals liked or appreciated abstraction already. By now I've been doing it long enough that I find I've convinced a lot of people of the value of paintings that take the painting itself as its primary subject rather than primarily attempting to represent an image. Also I've tried to make clear that these paintings are "about" a lot of things in addition to composition, application of paint, color, form, line and other purely visual concerns.
Can you elaborate on how your work has been received by your audience in Europe as opposed to in the US? Do you have any interesting anecdotes to share about your experiences with patrons either elsewhere or in the US? Do you have an ongoing relationship with the organizations that have collected your work.
Most of the patrons who have bought my work have been either other artists or academics in other fields. Up to this point this has been true both in Europe as well as in the US. The two years I had a studio in Athens was just long enough to develop enough work to have a show sponsored by the American School of Classical Studies in Athens and to generate interest. I have several works in a private collection in Greece as well as a painting in the collection of the American School. I have been associated with the American School for a long time beginning in the early 1990's when I was a graduate student studying archaeology and classical studies there.
A Discussion of Martha's Most Recent Work
February 12, 2015
Abstract Portraits: 2014 Paintings
Linda Matney Gallery, Entry Gallery
December 5, 2014 – February 15, 2015
I wanted to ask you some questions about your new work from the Fall of 2014 that's presently on exhibit here at the Linda Matney Gallery. Can you say something about what you meant to accomplish with this series of paintings and how they relate to previous work?
I decided to call the show "Abstract Portraits"; this title best represents my key concerns in the work—use of a vertical portrait format and developing a type of abstract painting that upsets the expectation that portraits are only representational in a traditional sense.
Abstract Portraits
The work grew directly out of the series of paintings I did in 2013 and exhibited here at the Linda Matney Gallery. I called that series the "Intersticism Project" because I was concerned with how to treat the spaces between forms and how to represent the areas where forms and lines meet and overlap. (There's a lot of information about this 2013-14 show on a previous Matney Galley blog. Click here.) The paintings in this earlier series were abstract with some hints of figuration. For the work in the earlier Matney show I developed a sort of grid in a spiral formation; on that rather regular spiral form I dispersed more free-formed shapes.
Lucky Cat #1, oil on canvas, 54" x 60", 2013
The paintings in this series tended to be much larger than the most recent work and included two monumental-sized works. Here's one example. Like many of my paintings this one and others in this series demonstrate my interest in making rounded compositions on the rectilinear format of the canvas. This interest in overall compositions that are circular and oval is also crucial to the new work although the effect of the new work is quite different.
Twin Cats, oil on canvas, 72" x 96", 2013
The work I'm showing this year developed out of this form of abstraction but took it in a very different direction. I decided to concentrate on the spiral grid in its own right, and for the most part the paintings are studies in geometric form and color. The painting style is more precisely structured and less free-form than what I was doing last year. The paintings are much smaller than the Intersticism Project work, and that's a factor in the more precise painting technique.
To speak of abstract portraits is really a sort of paradox, or an apparent contradiction to the idea that portraits are representational. I like that play on traditional notions, but really the idea of these paintings as portrait-like grew out of a decision to work in a vertical format and with oval and round canvases. For a long time I have been doing paintings on a horizontal canvas, and the primary visual reference of my largest paintings has been to landscape painting. So I had been thinking for a while that I would take it as a challenge to work with a vertical format and see what I would come up with. These paintings, then, are pretty experimental for me.
The oval and round canvases were also important to my thinking of these paintings as portrait-like. A couple of factors led to my decision to try them out. I'd spent quite a bit of time last year reading John Richardson's biography of Picasso; I was struck by how often Picasso and Braque had used oval canvases in their earliest cubist still-lifes. This is really a very old-fashioned portrait format—think of all the oval portrait paintings and photographs from the 19th and early 20th century. I thought it would be interesting to do something modern with such an old-fashioned format.
Another influence on these oval and round paintings was the series of ceramic sculptures that I've been working on for the last two or three years. Like the paintings the emphasis is on multi-colored segmented strands of line. I am showing three of these in the Abstract Portraits show. The parts of these sculptures can rotate, but they are quite delicate. Although I regard these as interesting works in their own right, I also see them as a sort of prototype for larger work in other materials. I'd like to do more work with these types of moving sculptures in the future.
Ceramic Ovals,10.5"h. x 4.5"w. x 4"d., 2013
Can you say anything more about what you're looking for in the new paintings? The way that the vertical strands of color and the horizontals of the spiral intersect brings the metaphor of weaving to mind.
Yes, I think these paintings really have several metaphorical references. As I was working I myself thought a lot about how the painting process was like the process of weaving. I thought about which of the vertical, horizontal and diagonal lines would make up the foreground and which would go into the background in the different paintings and how they would overlap. I made a pretty conscious decision at a certain point not to cross over the yellow strands when I used them for the horizontal lines that curved back to form the overall spiral shapes. I wanted to allow this most luminous and least definite of colors to really take on the quality of line and carry the major structures of the composition. As the series progressed I used other colors as well as yellow for the overall spiral but still tried to keep that spiral in the foreground.
I also was interested in how these paintings carry the metaphor of traditional female crafts: not only weaving, but also needlework. Because it was practically difficult to make the rounded canvases secure enough on the easel to work with, I tended to hold the canvas with my left hand and to paint it with my right much as one would hold an embroidery hoop with one hand while working with the other.
Many people who've seen these paintings have instantly thought of them as representing eggs. This interpretation is an obvious extension of the oval shape, and it's interesting. Actually this was not my original intention or focus, but these paintings are abstract and therefore pretty open to interpretation and I am thinking about the egg analogy more and more.
I wonder if you have any thoughts on whether or how what you're doing in some way relates to the act of representing facial features?
Yes, the question about the similarities and differences between these abstractions and traditional representational portraits is really something I was interested in myself. The differences are so obvious, but the similarities are, I think, subtle and intriguing. I have been thinking of how the set of horizontal lozenge shapes that make up the spiral composition can be taken to represent in some essential way the planes of a human face. To follow the thought, it's the different decisions about color, the different number of loops in the spiral, the different painting techniques and other variables that define the sort of individuality that parallels the act of depicting an individual portrait subject.
Also, there's something about the shaped canvases I just really think is interesting; I get this sense that these paintings border on the three-dimensional in a way that rectangles and squares can't really do. I've been interested for a long time to come up with rounded compositions on rectilinear canvases, so using these oval and round canvases has been really fun. There's a quality of object-ness to them that's very sculptural.
What are you plans for your work in the future? Could you say something to the audience that has already discovered your work as well as to new patrons that would encapsulate where you have been as well as where you are going? What would you tell a new patron interested in collecting the works of Martha Jones?
I haven't said anything about the sculptural assemblages that I've been making for the last few years. I would like to do a show in a large space filled with these converted television dioramas. I've showed examples of this work several times, but I haven't yet shown them as I imagine them—in a rectangular space arranged in ranks of about five across and of about eight to ten rows deep. I would really be interested to see how this would look; I keep imagining Chinese warriors figures buried in the tomb of their king.
BAAA!!!!, sculptural assemblage, 20"h. x 19"w. x 20"d., 2013
I am continuing to experiment with the small oval and round paintings as in this present show. Some of these new paintings are a bit different: more impasto, some with over-painting in white cloud-like shapes, and that's an interesting development.
I've started painting large again, and have just finished my first large painting (55" x 63") since my fall 2014 work went up in this exhibit. I started this painting with the canvas turned vertically and got some interesting results, but I wasn't completely satisfied so I tried turning it horizontally. This is when the painting really came alive, and I was able to finish it successfully. Although it's not vertical in orientation, it really shows the benefits of the lessons I learned from the abstract portrait series of constructing a composition from strands of line. The application of paint is much more loose like what I was doing a year ago, but the sense of composition has benefited enormously from my work last fall. Sorry, I don't have photographs yet of this new painting. The color scheme is very timely: it's primarily pink and red again (with hints of yellow and orange left from early painting stages), and this time against a background of pale blue—looks like a Valentine to me. I have some ideas for following up this painting with related work on canvases of the same size; we'll see whether this will develop into a new series.
As far as what I'd say to my audience for the work and to new patrons considering a purchase: I think one of the major things that holds the entire corpus together is my concern that my paintings have both a really strong over-all composition that will make a strong impression when the work is viewed from a distance and at the same time contain detailed paint work that is interesting to look at when examined up close. I think these are features that emerged in the figurative work and became even more important in the abstract work. I believe that I am continuing to produce good work and work that is complex enough to be interesting to look at over time. So, I believe this work would make a sound investment.


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Why Fish Oil is a Bad Choice for Omega 3's
It's not consumed well (your body utilizes phospholipids – fish oil comes in triglyceride or ethyl ester structure, so it is less bioavailable)
It can turn sour rapidly (particularly if the creator or dealer put stored it ineffectively – this is extremely normal, sadly)
It can be hurtful (mercury and other terrifying contaminants are a big issue – oils from enormous fish such as tuna have the highest amounts)
The Takeaway:
Want the long-term edge given by omega 3's?
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What to search for:
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Come from a source low on the food-chain (huge fish eat little fish and the contaminants develop so on and so forth...)
It's 2017, Time to Switch to Krill Oil
Krill oil has been around a couple of years yet it's use has only lately surged.
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Peruvian alpaca fiber exports reached 1,305 tonnes as of April this year and amounted US$21,518,000.
The amount is higher, if compared to the same period last year when 1,292 tonnes (valued at US$18 million) were sent abroad, Peruvian Agriculture Ministry-run Sierra Exportadora program announced.
Currently, the average price is at US$14.60 per kilogram, and the main destination is Italy.
Shipments to the European nation totaled US$8.3 million, followed by those to China (US$7.5 million) and South Korea (US$2.7 million).
In order to contribute to expanding exports, Sierra Exportadora provided support to the "Tambo Inca Alpaca Breeders Organization" based in the Apurimac region. It has inked a trade agreement with "Consorcio Alpaquero Peru Export Juliaca" which led to providing 120 cwt of white huancayo-blanco fiber.
This organization is made up of 40 alpaca breeders from Cotaruse district belonging to the Aymaraes province (Apurimac region). It is in charge of breeding alpacas and collecting fiber during the November-December and February-March period.
Likewise, "Consorcio Alpaquero Peru Export de Juliaca" gathers alpaca-breeding organizations from Andean Puno and Cusco regions, which provide fiber to be later transported to the Arequipa region, where the value adding process is carried out.
In the region, the material will be classified and converted to be later shipped abroad with the aim of continuing providing income to farmers from the Highlands.


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A Practical OCF Guidebook, Designed Just for You!
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Need more information? Watch the just released video, upper left and turn your photography dreams into a reality.
OCF Book Dimensions 12 x 8.5 x 0.8 (164 pages)
OCF Lighting Book Description
David Lloyd Photography presents "Creative OCF Lighting Techniques for Photographers" a coffee table style hard-cover book designed for amateur and professional photographers alike. Photographed, designed and written by Certified Professional Photographer David Lloyd. A former "New Product Design Engineer" for the Vivitar Corporation, this book offers 164 pages of practical Off-Camera Flash tutorials; illuminated with lighting examples, diagrams, pull-back photos and techniques, developed over a period of more than 30 years of professional engineering, photography, and electronic strobe design.
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In stock
This LED Light Bulb has an E14 (screw in) fitting, making it compatible with any indoor or outdoor lights with the same E14 lamp holder. Each Garden Trading light will state in the specification which bulb it requires.This bulb has a...
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Empire in the Sky is an independently developed PC video game set in a stylized 1960s-1980s retro cartoon universe with blatant and extensive references to NASA and other "Space Race" icons. Much of the data is modeled after real life, so you might even learn something! This is the "lava lamp" of space RPG shooters! Travel the cosmos in a fully customizable spacecraft -- designed by you (or us). Fight or befriend scores of alien civilizations in your quest to rule the cosmos, while exploring a rich, procedurally generated world that includes planets, planetary bases, towns, cities and starbases. Build a nearly limitless and vast empire that stretches across hundreds of star systems, on thousands of planets! Empire in the Sky optionally lets you build your own starbases and planetary bases, and enhance your designs by crafting individual spacecraft parts.
We're moving our focus to Fringes of the Empire Prequel while an unnamed tech giant examines the Empire in the Sky engine.
empire in the sky development paused
Fringes of the Empire takes place in the same world as Lost Astronaut's Empire in the Sky. Find out more about this game and its coming availability on...
announcing lost astronaut's fringes of the empire
Lost Astronaut has joined the early developer program at Leap Motion. Check out this cool video on the future of gesture-based gaming!
lost astronaut to work with leap motion
An update to our development progress for Lost Astronaut's Empire in the Sky. This article covers beam weapons and planetary surfaces.
lost astronaut's empire in the sky desura exclusive: planetary settings
Announcing a mini-contest, sharing information about the upcoming pre-release availability (for those who want to buy into the early preview support...
mini-contest, new textures, cool side-scrollin' action
Spreading the love, this article is about how we attained our highest ranking ever today on Desura! Download our free alpha demo available now.
empire in the sky (alpha) ranks 21 of 7,716 on desura
Read this article to find out the "State of the Empire" and when you can help alpha-fund us.
empire in the sky alpha is on desura, what's next?
A stylized 1960s-1980s retro cartoon universe with blatant and extensive references to NASA and other "Space Race".
empire in the sky released on desura
Come test our space game! See what there is in store for Empire in the Sky, and provide us valuable information to make this game accessible to everyone...
empire in the sky alpha demo early preview (windows)
An interactive timeline for Lost Astronaut's Empire in the Sky
empire in the sky: timeline
Empire in the Sky has been approved for publication on the Desura platform. Find out what's in store for August 2012.
lost astronaut's empire in the sky on desura in just a few weeks!
Two lessons on building that will get you started with Empire in the Sky.
how to build in empire in the sky
Another state-of-the-dev address by it's author, H. Elwood
what's in store in lost astronaut's empire in the sky
Combat is coming together for Empire in the Sky! Find out more.
weapons ready, captain!
In August 2012 we will make a playable demo available.
when will this game be ready? what will it be like?
Along with a recent decision to seek "alphafunding", we have announced an August 2012 demo availability date. Please check back with us then to download...
demo available in august 2012
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It seems like it was just yesterday that I gathered a bunch of smartwatches, a back sensor and my Google Glass in a box and headed out to The Lab on Queen Street West to geek out with Toronto about wearable tech. In January of last year I had this idea to create a meetup which brought people together to try out some of the latests in wearable tech in order to help us all better understand why this new wave of computing is so important. Fast forward to today and We Are Wearables Toronto is now 3,000 strong, making it the largest Wearable Tech group on Meetup.com.
I continue to be blown away by the We Are Wearables community in both Toronto and Chicago. Our stages have seen brain-sensing headbands, heartbeat authentication bracelets, gesture control wristbands and smart shirts that light up or measure your breathing and panel conversations on Payments & Identity, Wearables and Women and more. But the real magic happens off stage and in the exhibitor area where members get a chance to try on the tech. I know first hand that this emerging tech needs to be experienced in order to be understood. This is why demos are such a critical component to the We Are Wearables format. A light bulb goes on when you get a chance to use EEG to calm your mind, or wave your hand to fly a drone. You get it. You get excited and you realize that all of this tech, that sometimes feels like Sci-Fi, is ready now. And what's great is that you get to experience this all with like-minded people.
We have definitely accomplished a lot as a community this year in raising awareness for wearables within the cities we are in and most importantly with ourselves. I personally want to thank you all for your commitment, dedication and curiosity to this new tech. Let's keep growing! Viva the Wearable Revolution!


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Forrester Park Golf Club Wedding - Sarah & Matt
Sarah & Matt's wedding at Forrester Park Golf Club was one of those fun packed days with brilliant guests. I felt like another guest their with a camera on the day due to the countless offers of a pint. Really appreciate it everyone. It was a fairly overcast day but this is always great for photos and no one is squinting in the blazing sunshine when I'm taking photos. Sarah got ready at her mum and dad's house while Matt and the groomsmen greeted everyone at the Forrester Park. Sarah looked stunning as she arrived for the ceremony in what is a beautiful interior. Forrester Park have done a wonderful job on the interior of the clubhouse. It's more like a colonial stately home than a golf club. Very impressive.
After the ceremony we headed outside for group photos as well as canid shots of guests just having a great time. I was very kindly offered a meal in the bar and I have to say, superb! Then it was down to the dancing and the party in to the night.
Thank you for making me part of your very special wedding day guys!


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As the traditional nuclear family fades into history, we've entered the era of the "non-traditional" family: single parents, pairs of moms and dads, blended families, multi-generational households, grandparent caregivers. With a growing share of babies today born outside marriage, American society seems to be finally leaving behind the Leave it to Beaver model.
A new study by Pew Economic Mobility Project asks how family structure--a divorced or single-parent household versus a conventional married one--affects a child's economic opportunities later in life. Society's attitude toward divorce and single parenthood has become more open over the past few generations, but has our economy?
It's easy to assume that divorce or single-parenthood would lead to some hardships, and Pew did find a link between marital status and socioeconomic advancement across generations. But the outcomes are also heavily influenced by race and class factors, which persist among poor households whether children grow up with one parent or two.
For children who start at the bottom third of the economic ladder, Pew found, "only 26 percent with divorced parents move up to the middle or top third as adults, compared to 42 percent of children born to unmarried mothers and 50 percent of children with continuously married parents."
In terms of "absolute mobility," or the potential to rise relative to their parents' income level, divorce does not have a clear impact on children's mobility:
Among children who start in the bottom third, 74 percent with divorced parents exceed their parents' family income when they reach adulthood, compared to 90 percent of children with continuously married parents.
Still, the study concluded:
Perhaps surprisingly, there is no evidence that being born to an unmarried mother reduces upward absolute mobility from the bottom third of the income distribution-the rates for those children and for children with continuously married parents are statistically indistinguishable.
When you slice the data by race, a different picture emerges. Divorce appears to make a bigger difference for black children's future prospects.
Among African American children who start in the bottom third of the income distribution, 87 percent with continuously married parents exceed their parents' income in adulthood, while just 53 percent of those with divorced parents do.
Among white children who start in the bottom third, about the same proportion of adult children exceed their parents' income regardless of whether their parents were continuously married (91 percent exceeding) or divorced (92 percent exceeding).
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Pointing out that "family structure can explain only some of the differences in economic mobility rates between African Americans and whites," the study raises intriguing questions about how social policy interacts with parents' life choices.
The sweeping welfare reforms of the Clinton era continue to reveal the ramifications of using welfare to impose certain social norms at the expense of those who don't fit the mold. As Kate Boo explained in her trenchant 2003 New Yorker article "The Marraige Cure," the supposed correlation between marriage and economic well-being became perverted into the rationale that promoting marriage could reduce systemic poverty.
The "reforms" targeted urban black single mothers who were stereotyped as antithetical to the "traditional" family: degenerate, shiftless women who couldn't stop having babies. The result was a national crusade to push impoverished single mothers simultaneously into the labor market and the marriage market, for better or worse.
To antipoverty and racial justice activists, the pro-marriage credo has simply repackaged the old blame-the-poor canard in the rhetoric of "family values." In fact, poor single mothers have been systematically locked out of the social privileges that their middle-class married counterparts typically take for granted. Welfare rights activists since the 1960s have shown that policies intended to relieve poverty end up punishing women for not being June Cleaver.
In addition to the patriarchal conservatism inherent in pro-marriage ideology, women face practical barriers to getting hitched: Black women especially may have trouble finding a long-term male partners in communities devastated by mass incarceration. Not to mention, some old-fashioned types see marriage as a matter of conjugal love rather than social engineering. Go figure.
Despite the talk of "personal responsibility" in welfare policy, the real barriers poor single mothers face are rooted in poverty itself. According to a 2002 policy paper by Stephanie Coontz and Nancy Folbre:
Non-marriage is often a result of poverty and economic insecurity rather than the other way around. The quality and stability of marriages matters. Prodding couples into matrimony without helping them solve problems that make relationships precarious could leave them worse off. Two-parent families are not immune from the economic stresses that put children at risk. More than one third of all impoverished young children in the U.S. today live with two parents.
Pew doesn't directly critique welfare reform's legacy, but the research does point to policy changes that could help break the cycle of intergenerational poverty. The Earned Income Tax Credit, for instance, has helped lift millions of children out of poverty through targeted income supports. Paid family leave time, subsidized child care, and career training and unemployment insurance programs that recognize challenges unique to working single parents, would help move non-married families toward long-awaited equity.
Regardless of what you think about the institution of marriage, there's no justification for forcing children to pay an economic penalty for their parents' decision to divorce or remain unmarried. And a parent's decision not to tie the knot shouldn't be an economic shackle on the next generation.
While our concept of the family has grown and diversified since the days of Mrs. Cleaver, for households striving toward advancement, our labor market and social policy remain stuck in the past.
This article originally appeared in In These Times.


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The event will begin at 4 pm Pacific Time (7 pm Eastern Time), at the Venetian hotel, in Las Vegas. Interested parties can watch a live webcast, available on the NVIDIA® website, at www.nvidia.com/ces2012. A replay will be available for seven days.
At CES, NVIDIA will showcase its Tegra® mobile processor, GeForce® GPU and NVIDIA 3D Vision product families. It will also preview in-vehicle auto navigation and infotainment systems.
Visit us at the Las Vegas Convention Center, Booth # 31431 in South Hall 3 and Booth # CP24 in Central Plaza.
To follow all our news at CES, visit our CES Social Media Newsroom on Facebook. It will include feeds throughout the week with real-time updates from the NVIDIA Blog, Facebook page, Twitter profile and YouTube channel.
About NVIDIA
Certain statements in this press release including, but not limited to statements as to: NVIDIA's participation at CES 2012; and the effects of the company's patents on modern computing are forward-looking statements that are subject to risks and uncertainties that could cause results to be materially different than expectations. Important factors that could cause actual results to differ materially include: global economic conditions; our reliance on third parties to manufacture, assemble, package and test our products; the impact of technological development and competition; development of new products and technologies or enhancements to our existing product and technologies; market acceptance of our products or our partners products; design, manufacturing or software defects; changes in consumer preferences or demands; changes in industry standards and interfaces; unexpected loss of performance of our products or technologies when integrated into systems; as well as other factors detailed from time to time in the reports NVIDIA files with the Securities and Exchange Commission, or SEC, including its Form 10-Q for the fiscal period ended November 22, 2011. Copies of reports filed with the SEC are posted on the company's website and are available from NVIDIA without charge. These forward-looking statements are not guarantees of future performance and speak only as of the date hereof, and, except as required by law, NVIDIA disclaims any obligation to update these forward-looking statements to reflect future events or circumstances.
© 2012 NVIDIA Corporation. All rights reserved. NVIDIA, the NVIDIA logo, GeForce, NVIDIA 3D Vision and Tegra are trademarks and/or registered trademarks of NVIDIA Corporation in the U.S. and other countries. Other company and product names may be trademarks of the respective companies with which they are associated. Features, pricing, availability, and specifications are subject to change without notice.
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For further information, contact: Media inquiries: Robert Sherbin NVIDIA (408) 566-5150 Email Contact Investor inquiries: Chris Evenden NVIDIA (408) 566-6616 Email Contact


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Annual Dinner
January 26, 2019 | 5:30 p.m.
Sheraton Overland Park Hotel
Presenting Sponsor
Plans are under way for another spectacular evening of fine dining and dancing at the Sheraton Overland Park Hotel as the Shawnee Chamber of Commerce celebrates its Annual Dinner. This black-tie or semi-formal evening includes the presentation of the Citizen of the Year Award, a cocktail reception, silent and live auctions, an elegant dinner and dancing.
This premier event will celebrate the many successes of the 2018 Chairman of the Board of Directors of the Shawnee Chamber of Commerce, Dennis Monahan, Central Bank of the Midwest and will welcome the 2019 Chairman of the Board, Heidi Thummel, GBA.
Annual Dinner Chair Michelle Hereford, American Family Insurance and Co-Chairs Suzanne Schmidt, Capitol Federal Savings and Jody Adams, Weaver's Auto Center, have been working diligently with the event's committee of dedicated volunteers to make sure the evening is memorable.
For additional information please contact Mary Taylor at 913.631.6545 or by email.


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Join us Thursday, at the Out Loud HSV studio for a Youth Poetry Meet Up. Geared towards ages 13-22, this meet up will be a chance to connect with fellow writers and work on performance and craft in an ongoing group critique format. Space is limited, so please email email@example.com for availability.
Back to All Events
Earlier Event: September 23Poetry Slam Sunday
Later Event: October 1Anthology Submissions Open!


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By Brenda Flanagan
In 2013, Gov. Chris Christie drove New Jersey's political narrative. Unbeatable, unstoppable — looming large on the political stage.
"Well, how about this, New Jersey?," said Christie.
All smiles in November but Christie kicked off the year with a furious political broadside, aimed at Congressional Republicans, who kept delaying the vote on a $60 million aid package for New Jersey victims of Superstorm Sandy.
"There's only one group to blame for the continued suffering of these innocent victims – the House majority and their speaker John Boehner," said Christie.
Hours later, Boehner scheduled the vote – and Jan. 4th, Congress approved New Jersey's aid. Amidst jokes about "throwing his weight around," the governor appeared on David Letterman early in February – and casually pulled a donut out of his pocket – even offered to share.
Three months later – looking a little leaner — Christie confirmed he'd undergone lap band surgery – to stay healthy for his family. Later that month, he played outraged parent and castigated Rutgers Athletic Director Mike Rice's brutal treatment of his players, caught on tape.
"To me, the conduct on that tape is unacceptable," said Christie.
While the governor roundly condemned Rice – who got fired — Christie expressed continued support for embattled Rutgers President Robert Barchi as the Rutgers crisis played out in one ugly story after another.
June brought tragedy to New Jersey.
Jersey native James Gandolfini died of a heart attack at only 51 years of age and New Jersey's senior U.S. senator, Frank Lautenberg, died of pneumonia at age 89.
Lautenberg left a rich legislative legacy that included setting a federal minimum drinking age of 21, and banning smoking on domestic flights…
"In his heart and for his lifetime – he was a man from Paterson – a kid from New Jersey," said William Menen.
The first post-Sandy summer down the Shore featured the controversial ad campaign designed to bring tourists back to the beaches and boardwalks.
It didn't work. In September, a fire sparked by a suspected electrical short roared down the newly-rebuilt boardwalk in Seaside Park and Seaside Heights, devouring businesses and bringing disaster-weary residents to tears.
"Everything u worked so hard for is gone, I have no insurance, everything is gone – the summer was bad – Ive got two babies at home," said Nick Dionisio, owner of the Park Seaford .
And in the streets of Newark, Camden and Trenton, bullets flew, gunning down a record number of victims in Trenton. Its mayor – facing federal indictment – didn't want to face the media.
"Some of the people here and some council members aren't supporting you. Next question, please?" said Trenton mayor Tony Mack.
State troopers started patrolling several cities, to help keep the peace.
"If you want to continue to wage war on the streets of Trenton, we will come at you with everything we've got," said Acting Attorney General John Hoffman.
Meanwhile, the special Senate election rolled on. Tea Party candidate Steve Lonegan ran a scrappy race – he got Christie's endorsement — but lost to Newark Mayor Cory Booker by ten points.
When the U.S. Supreme Court struck down parts of the Defense of Marriage Act, Booker's political ally, Gov. Christie, dropped the state's case against same-sex marriage – happy couples wed Oct.21.
"By the power vested in me I declare you joined in marriage cheers," said Jersey City Mayor Steve Fulop.
2013 also saw the DREAM Act become law in New Jersey – giving undocumented residents tuition equality but no financial aid for college. A compromise.
"We are New Jerseyans – We call this our home – this was the best bill for New Jersey and we're only getting half of it," said Anna Bonilla.
"To me the most important part is – the governor will sign today – making this legislation effective immediately," said Senate President Steve Sweeney.
But politics finally caught up to Christie at year's end, the Bridge-gate controversy put him on the defensive and forced him to except the resignation of of two personal friends he'd appointed to the Port Authority. With more hearing scheduled and subpoenas served, it's a scandal that will continue to dog the governor well into 2014.


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Hitachi Floats Idea of Helium-Filled Hard Drive
The only problem with HGST's helium-filled disk drive is that any audio ends up sounding like this.
Just kidding.
The company — formerly known as Hitachi Global Storage Technologies, and now a Western Digital company — has announced a helium-filled hard disk platform, scheduled to ship next year for an undetermined price without specifications, all of which are supposed to be announced when it ships. The technology was demonstrated at a recent Western Digital investor event.
Okay, so why helium? Said the company:
The density of helium is one-seventh that of air, delivering significant advantages to HGST's sealed-drive platform. The lower density means dramatically less drag force acting on the spinning disk stack so that mechanical power into the motor is substantially reduced. The lower helium density also means that the fluid flow forces buffeting the disks and the arms, which position the heads over the data tracks, are substantially reduced allowing for disks to be placed closer together (i.e., seven disks in the same enclosure) and to place data tracks closer together (i.e., allowing continued scaling in data density). The lower shear forces and more efficient thermal conduction of helium also mean the drive will run cooler and will emit less acoustic noise.
That's seven platters as opposed to the current five, though HGST didn't specify how much more dense the data could be nor would this could mean in terms of improved disk capacity. However, storage analyst Tom Coughlin wrote in Forbes that this means "HGST could ship close to 6 TB drives in 2013 and even 10 TB drives with 7 platters could be possible within two years after that."
The company did say, however, that the helium-filled drive used 23 percent less power, for a 45 percent improvement in watts-per-TB. In addition to consuming less power, the drive operates four degrees Celsius cooler, requiring less cooling in the system rack and data center, the company said.
HGST has been working on the technology — the operative part of which is designing a leakproof case — for six years, before Western Digital bought it in March, 2011, and took possession in March, 2012.
What the companies didn't mention, however, is how they might deal with a worldwide shortage of helium that is causing a ballooning of the price, literally — helium balloons now cost three times as much as they did just six months ago. As it turns out, the gas is heavily used in the computer industry.
"Helium is usually generated as a byproduct of natural gas mining, and we're currently in the middle of a shortage of helium, due partly because the recession has slowed natural gas production," wrote Brad Tuttle in Time. "About three-quarters of the world's helium is produced in the U.S., according to the Kansas City Star, and while production is supposed to be increased by the end of the year in spots ranging from Wyoming to Russia, the element is expected to be in short supply for months, if not years."


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Cycling Weekly reports that Wiggles yearly sales have soared 19% in 2013 which increases their turnover from £141 million in 2012 to £168 million.
In our early reports on the turnover of Wiggle and Chain Reaction Cycles we noted that CRC reports a 2012 turnover of £170 million and while their 2013 profits have risen, their turnover has dropped 6% to £145 million.
CRC turnover discrepency in reports
The BBC article also note sa CRC 2012 turnover of £156 million, lower than we have originally reported, but confirmed by other media such as bikebiz. Our original source for the reported £170 million is a 3rd party service provider called Export Technologies who reported in a Chain Reaction Cycles Case Study:
From 2008 to 2012, Chain Reaction Cycles tripled its online revenue, finally reaching over £170m in annual turnover by the end of 2012. Roughly two thirds of these sales came from outside the UK.
Wiggle is now the number 1
But the good news for Chain Reaction Cycles is that it has increased on it's 2012 profit £861,000 with a healthier 2013 pre-tax profit of £4.8 million which the company attribute to "improved sales margins and 'significant overhead cost savings'".
The 2013 profit for Wiggle is not yet available however in 2012 they recorded a pre-tax profit of £12.3 million and have noted that they have strong investments (costs) as the Team Wiggle Honda sponsor and overseas investment such as their first overseas office in Sydney, Australia.


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St.Clair Insurance Agency
2920 Second St.
Norco, Ca. 92860
St.Clair Insurance Agency is a family owned and operated independant agency with over 25 years experience liscenced in Ca/Az./Nv./Colo.
We write all lines of coverage including Business, Auto, Home, and specailize in Coverage for your Toys such as collector autos, r.v.'s, motorcycles, boats, and off road vehicles. Service and proper coverage along with great rates is our priority once you become our customer we do our best to make it a long term relationship.
We do the shopping for you, having appointments with many companies such as Hagerty, Chubb, Hartford/AARP, Safeco, Kemper preffered, Mapfre, Travelers and many more. Give us a call for a complete insurance review.
Ca. lic #0B09985


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This article celebrates International Mother Language Day, 21 February, 2015.
International Mother Language Day is celebrated every year on February 21, and is officially recognized and organized by UNESCO. This year's theme is "Inclusion in and through education: Language counts." The goal is to help create inclusion and equality between cultures that speak different languages, and also promote multilingualism.
This is considered a goal by UNESCO because "linguistic minorities are often among the most marginalized populations, with little or poor access to quality education. When they do have access to education, learners from these communities are often either excluded from opportunities to pursue their educational career beyond primary or pushed out of education because the language of instruction is not their own."[1]
International Mother Language Day was first created and announced on November 17, 1999, and observed for the first time on February 21, 2000. This is the anniversary of a shooting at Dhaka, Bangladesh, in 1952. This occurred during the Bengali Language Movement, which called for their native language to be recognized as one of the national languages of East Pakistan (now Bangladesh). Today, the Language Martyr's Monument is located at Dhaka University, where people pay their respects to the students who died.
Old Stories, New Delivery
Organizations worldwide, including video game developers, are working to find innovative ways to promote and preserve indigenous languages.
On November 18, 2015, Upper One Games and E-Line Media released a game titled Kisima Innitchuna, or "Never Alone" in English. The game is organized as a story and divided into eight chapters. Players solve puzzles to move forward. You play as a young Iñupiat girl and an arctic fox who are looking for the source of a blizzard that is threatening their community. The story of Nuna originates from the Iñupiat people of Alaska. Their name for this story is Kunuuksaauyka.
Upper One Games is the first video game company owned solely by indigenous peoples. To make Never Alone, they partnered with Cook Intel Tribal Council (CITC), which is a nonprofit based in Anchorage, Alaska, and also works with indigenous peoples. To ensure the storyline is accurate, they partnered with 40 elder storytellers, who worked with the game developers to contribute their knowledge, culture and language to the game.
Some of the stories told in the game include the Sky People, the Blizzard Man, and Manslayer, relate to the blizzard that is devastating Nuna's village.
Never Alone explores the folklore of the Iñupiat people to present a game that teaches and celebrates their unique culture and language. The game is also "narrated by a master storyteller in the spoken Iñupiat language."[2] There are subtitles in English, which allow non-Iñupiat players to understand the story. The narration exposes the player to this unique language and some of the stories that form an important aspect of their culture.
Unlockable features include video interviews with both the game developers and elders, and additional stories of the Iñupiat people.
Never Alone is the first of E-Line Media's series of World Games. The goal of this series, which will focus on several cultures, is to "empower indigenous communities around the world to share their stories in an authentic, engaging, and entertaining way."[3] It is available for PC, PlayStation 4 and Xbox One, and is set to expand to more systems, and with more languages, in spring of 2015.
Watch the promotional video for Never Alone here.
[1] http://en.unesco.org/events/international-mother-language-day-celebration-2015
[2] http://neveralonegame.com/game/
[3] http://neveralonegame.com/game/


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Whether you are looking for general dental, cosmetic, or advanced restorative and implant dentistry, their skilled and compassionate team are dedicated to providing the quality, comprehensive care you deserve in a friendly, safe environment. Founded in 1970 by the late Morris Ostrach, Light & Conforti, D.M.D.S.' dental practice has long been the home for excellent dentistry on Providence's East Side. Through the years they have maintained a commitment to quality care while staying on the cutting edge of advancing innovations and techniques.
The doctors at Light & Conforti, D.M.D.S. wanted to present a friendly and welcoming atmosphere for their dental website by using light colors. The main slideshow displays pictures of their practice and staff to provide a comfortable setting for visitors to their site. Featured images located below the main slideshow illustrate four of the major services offered at their practice. The menu at the top uses bold colors against the light background to draw attention to easily accessible information about Light & Conforti, D.M.D.S.