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Strange: Most gun violence occurs in liberal hotbeds – so the solution is to just take guns from Liberals. Oh, wait, those areas tend to have the most restrictive gun laws. Maybe the solution is to give guns to Liberals.
Are you a Christian woman who has had an abortion? – a very important message for anyone involved in the abortion process (or any other sin, for that matter). One of the most important things that Pregnancy Resource Centers do is to offer post-abortion counseling. Contrary to the myths of the world, they are full of grace and good news.
New York Fires Auditor Who Found Abuse of Federal Hurricane Sandy Funds – your leaders at work.
Pro-choice or pro-abortion?
I used to say "pro-choice" to be charitable to them, even though they would call me "anti-abortion" instead of "pro-life." (Why yes, I am anti-abortion! Thanks for noticing. I think everyone should oppose killing innocent but unwanted human beings).
But now I just call them pro-abortion. Why? Because the Democrats' platform is specifically pro-taxpayer-funded abortions. If you force pro-lifers to pay for abortions then you aren't pro-choice, you are pro-abortion. If you think one of the problems in society is that there aren't enough abortions and we must pay for more with taxes, then you are pro-abortion.
The Democratic Party strongly and unequivocally supports Roe v. Wade and a woman's right to make decisions regarding her pregnancy, including a safe and legal abortion, regardless of ability to pay. We oppose any and all efforts to weaken or undermine that right.
Shameful United Methodism — The UMC Board of Church and Society and the United Methodist Women's Division issued a rah-rah celebration memo about Roe v Wade. If John Wesley were here he would never stop throwing up. If I had known their history ahead of time I would never have joined the UMC, and I am so glad I finally left after 16 yrs. I applaud those who stay and fight for the truth. But if you are there and not fighting, you are part of the problem.
One positive bit of news: they got hammered on their own blog with 9 out of 10 comments strongly criticizing the post. They had to shut down the comments! If you are so inclined, go there and "vote up" the 9 pro-life comments to help send a message.
They bizarrely referred to "reproductive justice" when rationalizing the crushing and dismembering of innocent human beings. If abortion isn't unjust then nothing is. Reproductive justice is when you don't kill the unwanted unborn child who has already been reproduced.
They hypocritically pretended to care for the health issues of blacks when they are aborted at a rate 3x that of whites.
They have the nerve to say, "Conduct careful analysis of the church's support for crisis pregnancy centers that may not offer all options of counseling," which is code for "don't support pregnancy centers because they won't recommend abortions." But CPCs share the Gospel and help women in need – for free! Only those on the side of Satan could oppose those. And there was no mention of the horrors found at countless abortion clinics – and I'm not even talking about the dead babies. If they are really about helping women and not just pro-abortion shills, why not demand "safer" abortions?
They aren't even trying to hide their bias any longer. If you only consume the mainstream media then you are part of the problem and almost surely misinformed.
The president who came into office speaking in lofty terms about bipartisanship and cooperation can only cement his legacy if he destroys the GOP. If he wants to transform American politics, he must go for the throat. …
Obama's only remaining option is to pulverize. Whether he succeeds in passing legislation or not, given his ambitions, his goal should be to delegitimize his opponents. Through a series of clarifying fights over controversial issues, he can force Republicans to either side with their coalition's most extreme elements or cause a rift in the party that will leave it, at least temporarily, in disarray.
The author of this bellicose, hyperpartisan diatribe is John Dickerson, political director for CBS News.
Woman Behind Roe v. Wade: "I'm Dedicating My Life to Overturning It" — I saw her speak once at a Care Net pregnancy center banquet. Very enlightening and quite a character! The abortionists just used her for their agenda then discarded her.
You Can Change Our Culture's Mind on Abortion – It takes work, but there are lots of great resources out there.


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5 comments:
Girl! We will be in that movie in a few years ;) hahaReplyDelete
Beautiful blog & mission Karen.ReplyDelete
If hope is alive (which it is!:-), it's manifested through our ability to unite to aid others.
Thank you so much for the kind words Luckie! I really appreciate it!ReplyDelete
I completely agree with you! Even the smallest acts of kindness/aid/compassion can show that there is hope in the world, even in the most dismal situations.
Hello there! Thanks for reading my blog and leaving a comment! I moderate and approve all comments just to make sure they aren't spam, because let's face it, we get enough spam in our lives as it is. So as long as you're a human being, you should see your comment up here in a few hours along with a response. Cheers!

subset: commoncrawl


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About Evergreen Enterprises, your supplier of wholesale gifts, wholesale home decor and wholesale garden decor
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Evergreen Garden continues to make a mark with its wide selection of kinetic garden art. Our spinning, spiraling, and tumbling garden stakes simulate movement found in nature and add visual interest to yards and gardens.
We offer many different sizes of kinetic garden art, with certain items over 6 feet tall. Our beautiful large sculptures make a bold statement in any garden, and ship KD for convenience. Our charming and versatile mini kinetics are 18" tall, ship in CDUs, and look great in planters and make great additions to gardens or mini-gardens.
Our kinetic garden stakes and sculptures are mesmerizing showstoppers and it's truly difficult to look away. Fill out any garden with the classic feel of our antique bronze kinetics or build out a specific garden theme.
We also offer an exclusive display solution for our some of our kinetic garden stakes that lets customers assemble their own pieces. Simply pick the 14" topper and add the universal h-shaped stake to piece together a kinetic garden sculpture. After this simple assembly, these sculptures measure four feet in height.
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Reading is as important to the development and expansion of the mind as food and water are to the body. in fact, the ability to read is every child's birthright. Through reading, a child grows both in mind and in imagination developing esteem, academic prowess, critical thinking, and creative thinking. Through reading, a child learns to make meaning of the world and to communicate and act on that meaning.
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Thursday, 26 February 2015
Well, well, well......
11 comments:
Gorgeous stitching. I have been stuck in the position when I've changed fabrics but I just pick a colour that is close.ReplyDelete
Love this stitching! You've done a great job, and I think you are now a Prairie Schooler lover, too!!!ReplyDelete
It looks great! I'd say go with a color just a shade darker (or two depending on how close it is). Can't wait for the new project!!ReplyDelete
I use a shade chart and go for one in the same family but just a little darker.ReplyDelete
You've been amazingly fast with this one, it looks lovely.
This is such a great piece :) I'd say pick another thread colour, something that's a few shades darker :)ReplyDelete
I agree with the great advice you've already been given! I've had to do this on a project of mine recently (Singing in the Rain by Madame Chantilly) which now has a brown hen instead of a cream one. As long as you stick to a similar shade it should be fine.ReplyDelete
Good advice already given, I would choose a shade slightly darker to is shows up.ReplyDelete
Yep, I would definitely opt for a slightly darker shade :)ReplyDelete
It looks so good! Now I definitely have to dig mine out and work on it! Yes, I agree with the previous commenters -- just use a color a shade or two darker.ReplyDelete
I would also go for a darker floss .ReplyDelete
So you end!ReplyDelete
Very nice!
I wonder for a new start:-)
How wonderful that you have popped in to visit me.
Thank You so much for taking time to leave a comment.
Smiles :)


text: Mary J Blige is one woman I have always admired. She is a true style icon. She looks good every time I see her on or off the red carpet. She dresses to suit her body shape, she does not follow trends but sticks to her own personal style which is so chic and sophisticated. Check out her pictures below and be inspired.


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You only use ten percent of your brain.FACT: The 10 percent myth is an old legend, given new life by the plot of the 2011 movie Limitless, which pivoted around a wonder drug that endowed the protagonist with prodigious memory and analytical powers. In truth, the brain is highly active across its entirety just about all the time, even when we are spacing out or sleeping.
"Left Brain" and "Right Brain" people are different.
FACT: The contention that we have a rational left brain and an intuitive, artistic right side is fable: humans use both hemispheres of the brain for all cognitive functions. The left brain/right brain notion originated from the realization that many (though not all) people process language more in the left hemisphere and spatial abilities and emotional expression more in the right. Psychologists have used the idea to explain distinctions between different personality types. But, recent brain-imaging studies show no evidence of the right hemisphere as a locus of creativity. And the brain recruits both left and right sides for both reading and math.
Brain damage is always permanent.
FACT: The brain can repair or compensate for certain losses, and even generate new cells.
People once believed that we were born with a finite number of brain cells, and that was it for life; if you damaged any of them you could never get them back. Similarly, many scientists believed that the brain was unalterable; once it was "broken," it could not be fixed. Now we know that the brain remains plastic throughout life, and can rewire itself in response to learning. It can also generate new brain cells under the right circumstance.
Mental capacity is hereditary and cannot be changed by environment or experience.FACT: Mental abilities do have a genetic component, but they are also heavily influenced by environmental factors, and rely on adequate experience in order to develop.
Your brain stops growing as you age. FACT: For many years it was believed that once the brain fully matured by 30 years of age, there is no more brain growth. This led to the old adage "you can't teach an old dog new tricks". False! One of the biggest discoveries in neuroscience in the 21stcentury was the fact that our brains can grow new neurons at old age. Many factors assist in nerve cell growth. Picking up challenging tasks, taking up new hobbies, novel experiences – all stimulate new nerve cells. Exercise increases blood flow to the brain and aids in neurogenesis. Why is this important? Because the formation of new nerve cells and new nerve connections keeps the brain young and active. This protects against memory problems, cognitive decline, dementia, and the dreaded Alzheimer's disease.
B is for Brain! Post to of the A-to-Z April Blogging Challenge


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Micro and nano-electro-mechanical system (M/NEMS) devices constitute key technological building blocks to enable increased additional functionalities within Integrated Circuits (ICs) in the More-Than-Moore era, as described in the International Technology Roadmap for Semiconductors. The CMOS ICs and M/NEMS dies can be combined in the same package (SiP), or integrated within a single chip (SoC). In the SoC approach the M/NEMS devices are monolithically integrated together with CMOS circuitry allowing the development of compact and low-cost CMOS-M/NEMS devices for multiple applications (physical sensors, chemical sensors, biosensors, actuators, energy actuators, filters, mechanical relays, and others). On-chip CMOS electronics integration can overcome limitations related to the extremely low-level signals in sub-micrometer and nanometer scale electromechanical transducers enabling novel breakthrough applications. This Special Issue aims to gather high quality research contributions dealing with MEMS and NEMS devices monolithically integrated with CMOS, independently of the final application and fabrication approach adopted (MEMS-first, interleaved MEMS, MEMS-last or others).]
MEMS --- interface circuit --- chopper instrumentation amplifier --- Sigma-Delta --- CMOS–NEMS --- NEMS --- NEM memory switch --- encapsulation --- M3D --- micro-electro-mechanical systems (MEMS) sensors --- MEMS modelling --- capacitive pressure sensor --- MEMS characterization --- atomic force microscope --- stent --- micro sensor --- Hall effect --- magnetic field --- magnetotransistor --- nano resonator --- nano-system array --- uncooled IR-bolometer --- MEMS resonators --- mass sensors --- CMOS-MEMS --- pierce oscillator --- gas sensor --- metal oxide (MOX) sensor --- micro-electro-mechanical system (MEMS) --- microhotplate --- oscillator --- resonator --- micro/nanoelectromechanical systems (MEMS/NEMS) --- application-specific integrated circuit (ASIC) --- MEMS-ASIC integration --- programmable sustaining amplifier --- single-crystal silicon (SC-Si) --- silicon-on-insulator (SOI) --- real-time temperature compensation loop --- MEMS relays --- MEMS switches --- mechanical relays --- CMOS-MEMS --- MEMS --- MEMS --- interface circuit --- high-Q capacitive accelerometer --- Sigma-Delta --- CMOS --- MEMS --- microresonators --- microelectromechanical systems --- thermal detector --- temperature sensor --- infrared sensor --- microbolometer --- n/a
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Paths are made by walking.
Who knew you could "lease a llama" for 4-H?!
The kids have been crazy about llamas for quite some time, so we joined a 4-H club that's also a llama farm. The farm allows 4-H kids to take care of a llama, learn about him/her, and train together for the fair.
While Little Man is too young to "officially" be a part of 4-H, he's tagging along as Sweet Girl has been hard at work learning to sheer and groom her llama, practicing on obstacle courses, and prepping for showmanship.


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How do decision makers manage the deluge of information generated by accelerated digitization, automation, and computational simulation? Moreover, how are novel algorithms and analyses thoughtfully integrated into existing institutional mechanisms? Stakeholder collaboration technology may expand the number of stakeholders at the table, but how can disparate views be reconciled under such complexity?
Ira Winder, the Department of Urban Studies and Planning's new Technical Instructor of Urban Science and Planning, sees a future where real-time interactive simulations of complex systems are common tools for debating meaningful topics at the intersection of society and technology. While working as a Research Scientist at the MIT Media Lab's Changing Places Group, Ira invented the Tactile Matrix, an open source technology that uses Lego bricks paired with digital simulation to help stakeholders rapidly prototype and evaluate development scenarios. This technology embodies simultaneous innovations in real-time simulation, decision science, user experience, industrial design, projection mapping, and computer vision. His research has become a platform for research and engagement for projects around the world, notably the Media Lab's CityScope project.
Winder is the first faculty member to join DUSP specifically for the new 11-6 undergraduate major, Urban Science and Planning with Computer Science. He is no stranger to the MIT ecosystem, as he is an alumnus of both the MCP and BSAD degree programs. Over the years, Ira has also built research collaborations with MIT's Strategic Engineering Research Group (SERG), Sociotechnical Systems Research Center (SSRC), Systems Design and Management (SDM), and the Institute for Data, Systems, and Society (IDSS). To learn more about his work before joining DUSP, visit his website, here.
Why did you choose to pursue a BSAD and then an MCP at MIT? How have your experiences at DUSP and MIT shaped your research?
Ira: One of the absolute weirdest things you can do as an MIT undergrad is major in Architecture (BSAD). It was exactly the type of education I needed. I had already developed mathematical and technical prowess at that point, but the BSAD program taught intuition-based design skills and human-centered values. That program rocked my soul, and those lessons uniquely permeate my work to this day. Now-retired Prof. Jan Wampler, who was head of the undergraduate Architecture program at the time, influenced my education and his legacy is still apparent in my work.
It turns out my personality didn't quite mesh with the architectural industry. I was drawn toward big, hairy, nuanced, and complex problems - so I found myself applying to grad school for a Master in City Planning (MCP) at MIT. As a grad student, I had some very formative experiences working with Dennis Frenchman and Chris Zegras to develop algorithms to predict and evaluate the energy consumption of entire city blocks in China. Eventually, it became clear that I was pushing my usual tools (GIS, CAD, Rhino, and Grasshopper) to their limits, so I needed to learn something more powerful to achieve the sort of impact I wanted to see. It was about this time that I crossed over into the Media Lab and started to use the toolkit of a Course 6 person - picking up skills that made me feel like a true computational urbanist. I'm very grateful to Kent Larson of the City Science Group, who gave me the time and space to learn and practice those skills.
Much of your work builds a bridge between the physical and the digital realms – making data physically tangible and real-objects digital – how did that interaction impact decision-making processes?
Ira: I was first introduced to the concept of "tangible bits" by Hiroshi Ishii's Tangible Media Group. It seems futuristic, but it's fun to remember that some of the first digital-tangible tools were being used for urbanism classes taught by Prof. Eran Ben-Joseph as far back as 2000. The basic theory is that human cognition and learning is reinforced when abstract concepts are simultaneously represented by physical objects that you can touch and manipulate. When a decision-making process depends on a simple and shared understanding of an abstract system, tangibility has the potential to make information more accessible to any given individual in a stakeholder group.
The framework of "tangible bits" has also lowered the barrier for model-based collaboration among researchers in academia. For example, an architect with a physical model of a building's form and a developer with a financial model of the same building can theoretically collaborate to build a physical-digital artifact that embodies the knowledge of both the architect and the developer. I hope for a future where such artifacts play a very prominent role in all manner of decision-making.
How do you envision the new 11-6 major helping MIT undergraduates achieve positive change in the world?
Ira: I joined the 11-6 faculty because it is exactly major that I wish existed when I was an undergraduate student at MIT. I want to ensure that our graduates not only have the wisdom to thoughtfully frame complex problems, but also the capability to implement new tools for addressing those problems. We should settle for nothing less than a cohort of brilliant, strong-minded students who relish human complexity and systems thinking. To that end, I will be working with my faculty colleagues to oversee and develop curriculum content, retrofit existing courses, advise students, develop outreach mechanisms, and maintain a network of alumni and industry partners who support students and cutting-edge research.


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0.12cts Men's 4 Stone Diamond Set Wedding Ring
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Kyrgyzstan: Not Washington's Crisis
The scenes are sadly predictable. Ethnic conflict. Murdered innocents. Distressed refugees.
We have seen them all many times before around the world. But despite heart‐felt pleas for Washington to do something, the Obama administration should keep the troops at home. The U.S. cannot afford another lengthy deployment in another distant and unstable client state.
Kyrgyzstan is one of the Central Asian Soviet republics that won independence when the Soviet Union dissolved. Kyrgyzstan's president, Kurmanbek Bakiyev, was overthrown in a popular uprising in early April. Some 84 people died in the violence and Bakiyev first fled south, where he retained political support, before going into exile in Belarus.
Bakiyev was an opposition leader when he led a similar uprising against his authoritarian predecessor Askar Akayev, tagged the "tulip revolution." Unfortunately, the tulips soon wilted. A month before he was forced from office the State Department reported:
[R]estrictions on citizens' right to change their government; arbitrary killing, torture, and abuse by law enforcement officials; impunity; poor prison conditions; arbitrary arrest and detention; lack of judicial independence; pressure on nongovernmental organizations (NGOs) and opposition leaders, including government harassment; pressure on independent media; government detention of assembly organizers; authorities' failure to protect refugees adequately; pervasive corruption.
Few in the West mourned Bakiyev's ouster, though both the Bush and Obama administrations had generally overlooked his flaws in return for access to Manas airbase. Some American defenders of the Afghanistan war spoke darkly of Russian involvement in his overthrow, but the Kyrgyz people had ample reason to dump him.
Since then hope built that the interim administration of Roza Otunbayeva would adopt liberal reforms. A new constitution was to be voted on later in June and a parliamentary election was supposed to take place under that constitution in October.
Now all bets are off. After the uprising there were a series of violent incidents across the country, many Kyrgyz versus Uzbek. Last week in Osh, Kyrgyzstan's second‐largest city, the "violence escalated into more extensive fighting, burning, killing, and expulsions," according to journalist Vicken Cheterian.
Officially nearly 200 are dead and 1,600 injured, though unofficial estimates run higher. Uzbeks have been the principal victims, though Tartars and ethnic Russians also have been targeted. Some 80,000 or so people fled across the border into neighboring Uzbekistan before that government closed the border. Thousands more have been prevented from crossing.
The police have been unable to contain the violence; in fact, in some towns Uzbeks accused the security forces of joining in the killing. So the government has mobilized the army. Unfortunately, that force has received no training in dealing with civil strife and there is no guarantee that, if deployed, it would escape ethnic division as well. Mobilization, warned Paul Quinn‐Judge of the International Crisis Group, "seems to be another indication that the interim government is running short on options."
The government in Bishkek appealed to the U.S. for military aid, including rubber bullets and by some accounts, denied by the American embassy in Bishkek, troops. Then the Kyrgyz authorities asked Russia for peacekeeping troops. Interim president Otunbayeva said: "we need the arrival of outside forces to calm the situation down." Ousted President Bakiyev seemed to agree, telling a press conference that international peacekeepers were necessary to "bring the situation back to normal."
Both Washington and Moscow said no. Russian President Dmitry Medvedev called the atmosphere in Kyrgyzstan "intolerable" but referred the issue to members of the Collective Security Treaty Organization, made up of seven former Soviet states. The initial CSTO answer was to offer "comprehensive assistance," including military equipment, but not troops. However, Russian Nikolai Patrushev said that the meeting "did not rule out the use of any means that the CSTO has at its potential, depending on how the situation evolves."
The drumbeat immediately started for intervention. For example, Human Rights Watch proposed a UN‐sponsored force, which almost certainly would include U.S. troops.
James Collins and Matthew Rojansky of the Carnegie Endowment for International Peace want a joint NATO, CSTO, and Organization for Security and Cooperation in Europe (OSCE) force: "NATO and the U.S. must immediately engage with regional partners to help restore security." Moreover, "By holding out a hand not only to the Kyrgyz authorities, but to national regional partners, including the CSTO, and the OSCE, the United States and NATO can demonstrate the sincerity of their interest in regional security."
So far the Obama administration has said little. State Department spokesman Philip Crowley endorsed humanitarian assistance and said that "we seek a coordinated international response to the ongoing violence there."
However, the administration hasn't closed the door to military intervention. An unnamed administration official was quoted as saying: "if we get to the moment that unavoidably there has to be troops, we will be doing it in a cooperative way, not a zero‐sum way. We'd like the international community to be fully invested and supportive if military intervention happens."
The question, of course, is why anyone in Washington would want to make such an investment.
The violence has at least temporarily ebbed, and Bishkek has withdrawn its request for foreign troops. But no one knows if this is the end of or merely a pause in the violence. Osh is now divided ethnically, as well‐armed groups have fortified their respective enclaves. All the causes of the violent spasm remain.
Observers fear that the violence could spread to both Uzbekistan and Tajikistan. Cheterian calls the stakes "very high, for the country and the region alike." Carnegie's Collins and Rojansky go so far as to claim that the recent events in Kyrgyzstan "pose a defining challenge for mutual security in the Eurasian region as a whole."
Yet the strife, though ugly, is little different from that which routinely breaks out in unstable, divided countries around the world. And there are many potential sparks for violence in the region: drug trafficking, gang disputes, the activity of Islamic militants, squabbles over land or water rights, resistance to other authoritarian regimes, and arbitrary boundaries dividing ethnic groups.
So far the fighting is contained in Kyrgyzstan. Uzbekistan has given no indication that it is inclined to intervene to aid Kyrgyzstan's Uzbeks, which could lead to efforts to create a "greater Uzbekistan." Chaos in Kyrgyzstan could aid Islamic extremists, but all of the region's governments have trained all of their many tools of repression on this movement.
The fighting would have to be truly exceptional to threaten the stability of nearby states. And even if their stability was at risk, that would be of only modest geopolitical interest to major nations, most notably China (which Kyrgyzstan borders), Russia, and the far more distant U.S.
Collins and Rojansky suggest that neither Russia nor the U.S. "can afford to allow the violence there to destroy the vulnerable Kyrgyz state or plunge the region into a wider ethnic war." Yet America's only interest, other than humanitarian, in this obviously vulnerable state is the use of Manas airbase for supplying Afghanistan.
In fact, Manas sits in the north, well away from the fighting. Moreover, Washington knows that the facility, in operation in 2002, is vulnerable to local and regional politics. Last year the Bakiyev government announced that it planned to close the facility after the Russians increased their aid; Bishkek reversed itself after the U.S. agreed to treble its rental payments. Although the interim government said it planned no changes, there are no guarantees for the future. Intervening to save the base would be penny‐wise and pound‐foolish, especially since the unexpected and unpredictable consequences of acting also could threaten access to Manas.
History and geography give Moscow a much greater interest in Kyrgyzstan. It was part of the Soviet Union, is located close to Russia today, and contains some 750,000 ethnic Russians. Yet despite fears that Moscow is intent on reasserting its authority over the former constituent parts of the Soviet Union, there appears to be no enthusiasm in Moscow for intervening. "This is the last thing that Russia wants to do, get involved in a civil war in a failed state," said Sergei Karaganov, head of the Council for Foreign and Defense Policy in Moscow. A long‐term force commitment there also would drain funds from a military modernization program already clipped by lower energy prices.
Washington should stay out of Kyrgyzstan, whether or not Kyrgyzstan's government renews its request for foreign troops. If all that was needed was a temporary garrison to separate potential combatants, then other nations could provide the personnel. The U.S. military is very busy elsewhere.
Unfortunately, a passive occupation probably wouldn't be enough. It would be necessary to resolve numerous deep‐seated divisions to prevent a recurrence of violence. And that's not something Washington likely could do. As Russian President Medvedev noted, "all the problems of Kyrgyzstan have internal roots."
Strife between Uzbek and Kyrgyz killed hundreds in 1990 and was only put down with Soviet troops. But abstract ethnic differences were not the only spark for violence. Both Kyrgyz and Uzbeks are largely Muslim and speak a mutually understood Turkic language. Alexander A. Cooley of Columbia dismisses the "narrative of long‐simmering ethnic tension."
Kyrgyz tend to be nomads, many of whom lack property while Uzbeks were farmers who have moved into a wider variety of commercial activities. Kyrgyz resentment against the more economically successful Uzbeks is high.
These divisions have spilled over into the political sphere. Many Uzbeks complain of discrimination and are pushing for broader political and cultural rights. Some members of the interim government blame local Uzbek extremists, including leader Kadyrzhan Batyrov, for their inflammatory rhetoric.
Many Uzbeks helped oust Bakiyev, who had used Kyrgyz nationalism to build support. But Bakiyev retained particularly strong support in the south among ethnic Kyrgyz. The interim government accuses him of stoking the violence, which he denies, but there is evidence of his son's involvement, and Bishkek is seeking the latter's extradition from Great Britain.
In short, if Washington intervened, it would have to assume complex nation‐building as well as peacekeeping duties. And there is nothing to suggest that its occupation would be short. More than a decade later the U.S. still has troops in Kosovo, which remains a failed state‐wannabe. Iraq's future is very much in doubt and American forces remain on station. No one would point to the Karzai government in Afghanistan as a model for anything.
And some people would have the Obama administration now try to fix Kyrgyzstan?


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Will McCain Talk Straight?
John McCain has once again boarded the Straight Talk Express. You might recall that his bus trips and cozy conversations with the media brought victory in the New Hampshire primary in 2000, though not ultimately the Republican nomination for president that year. The bus symbolized that McCain was "a different kind of politician" and all the other cliches that have come to denote his public persona.
McCain's back on the bus because his campaign for the GOP nomination has stumbled. Rudolph Guiliani leads in the polls, and McCain appears on the cusp of a death spiral. Politicians have long appealed to popular sentiment to attain power. The Straight Talk Express continues that tradition.
But how straight will McCain's talk be? In 2000 in New Hampshire, he talked mostly about campaign finance restrictions. McCain's current political problem comes in part from that "straight talk." Republican primary voters don't much support campaign finance restrictions. They understand correctly that the dominant purpose of such restrictions has long been to limit the speech and political activity of anyone who is not a liberal, a group that includes almost all of the Republican primary electorate.
So will McCain talk straight at his moment of greatest need? Will we once again hear of the corruption brought to politics by Big Money? Will he speak straight and forcefully against the Swift Boat ads in 2004?
This is a crucial moment for Senator McCain. He must talk incessantly about his support for restricting political speech. If he does not, Republican primary voters might conclude that McCain is just another ambitious, opportunistic politician who will say anything to gain power equal to desire.
And we know that is incorrect in his case, don't we? After all, he talks straight.


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Hello blog friends near and far! I have a card to share with you all today using one of the adorable bears stamps from the latest release. This one is called 'Christmas Bears Mistletoe'.
I colored them with Copic markers. I went through my DP stash and found an old favorite, Stampin Up's Wintergreen designer series paper. I can't tell you how much of this paper I hoarded, that's how much I love it.
I kept digging through my stash of embellishments as well, and came across this felt adhesive backed snowflake border from K & Co. I think. It's a bear to get down straight and even, but looks really pretty don't you think?
If you click on the pictures you might be able to see how I created a 'snowfall' effect on the green label layer behind the oval. This is an old trick I used often when I did a lot of decorative painting with acrylics. I added a dab of white acrylic paint to a palette, added a few drops of water to thin it down, then tapped an old toothbrush into it. I ran my finger over the toothbrush to create a fine splatter across the paper. I love this technique. Give it a try on your snowy cards!
Hope I've tickled your creative funny bone a little, get inky!
Stamps: Lili of the Valley 'Bears Christmas Mistletoe', 'Christmas Circular Sentiments'
Ink: Memento, SU
Paper: PTI, Stampin Up, Hammermill
Tools & Accessories: Nestabilities, Spellbinders Labels, Copics, Souffle pen, SU ribbon, jump ring, tiny jingle bells, snowflake charm, acrylic paint, Glimmer Mist, Spellbinders Parisian accents die, SU Northern Frost die, Pearl, K & Co felt snowflake border


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CHEYENNE, WYOMING – August 6, 2013 – Green House Data, a leading provider of cloud hosting, colocation, and a VMware vCloud powered partner, today announced that it has ranked among the world's Top 100 Cloud Service Providers (CSPs), according to Nine Lives Media's third-annual Talkin' Cloud 100 report. The Top 100 CSPs generated more than $15.7 billion in combined cloud services revenues in 2012, up nearly 37 percent, ac-cording to the report, which is available now by visiting http://www.talkincloud.com/tc100.
In addition to honoring Green House Data, this year's Talkin' Cloud 100 report profiles:
"This is our debut on the Talkin' Cloud 100 list," said Shawn Mills, President, Green House Data. "We are honored to be in the company of global brands like SAP, Microsoft, and Ora-cle."
The Talkin' Cloud 100 report is based on data from Talkin' Cloud's online survey, conducted January through May 2013. The Talkin' Cloud 100 report recognizes top cloud service pro-viders based on such metrics as annual cloud services revenue growth (both in actual dollars and in percentage growth rates).
"Nine Lives Media and Talkin' Cloud congratulate Green House Data," said Amy Katz, pres-ident of Nine Lives Media, a division of Penton. "The Talkin' Cloud 100 honor arrives amid a land grab in the cloud computing market. And the Talkin' Cloud 100 companies are leading that land grab."
Talkin' Cloud, produced by Nine Lives Media, is the go-to resource for CSPs, VARs and MSPs profiting from cloud computing. Talkin' Cloud features a daily blog, research, Channel Expert Hour Webcasts and FastChat videos. It is the first online media destination for chan-nel partners working in the cloud.
About Green House Data
Green House Data is a cloud hosting and colocation services provider with highly en-ergy efficient, green data centers located across the country. The company helps its clients reduce the pressure that comes with lower IT budgets and increasingly high demands. Green House Data is a certified VMware service provider, SSAE 16 Type II and HIPAA compliant, as well as an EPA Green Power Partner. Visit the website, www.GreenHouseData.com, to learn more, view demos, or request a free cloud trial.
About Nine Lives Media
Nine Lives Media, a division of Penton (www.penton.com), defines emerging IT markets and disrupts established IT markets. The company's IT channel-centric online communities include MSPmentor (www.MSPmentor.net), The VAR Guy (www.TheVARguy.com) and Talkin' Cloud (www.TalkinCloud.com).
About Penton
For millions of business owners and decision-makers, Penton makes the difference every day. We engage our professional users by providing actionable ideas and insights, data and workflow tools, community and networking, both in person and virtually, all with deep rele-vance to their specific industries. We then activate this engagement by connecting users with tens of thousands of targeted providers of products and services to help drive business growth. Learn more about our company at www.penton.com.
Penton is a privately held company owned by MidOcean Partners and U.S. Equity Partners II, an investment fund sponsored by Wasserstein & Co., LP.
Green House Data
Wendy Fox, Marketing Director
866-995.3282 or firstname.lastname@example.com
Nine Lives Media:
Joe Panettieri, Editorial Director
212-204-4206 or email@example.com


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Source http://feedproxy.google.com/~r/allfacebook/~3/9YjJtLeFnkc/613826
All estimates going into Q4 showed that ad spend on Facebook would rise. Facebook validated this belief Wednesday, showing that the company reaped its all-time high in quarterly ad revenue — $3.59 billion.
Of that figure, 69 percent of Facebook's ad revenue came via mobile.
Here are some major stats from Facebook, summing up 2014:
- Revenue for the full year 2014 was $12.47 billion, an increase of 58 percent year-over-year.
- Income from operations for the full year 2014 was $4.99 billion.
- Net income for the full year 2014 was $2.94 billion.
- Free cash flow for the full year 2014 was $3.63 billion.
- Daily active users (DAUs) were 890 million on average for December 2014, an increase of 18 percent year-over-year.
- Mobile DAUs were 745 million on average for December 2014, an increase of 34 percent year-over-year.
- Monthly active users (MAUs) were 1.39 billion as of December 31, 2014, an increase of 13 percent year-over-year.
- Mobile MAUs were 1.19 billion as of December 31, 2014, an increase of 26 percent year-over-year.
- 64 percent of Facebook's monthly active users visit Facebook every day.
- Instagram, Messenger and WhatsApp recently crossed 300M, 500M and 700M MAUs, respectively
Facebook was also able to beat analyst predictions:
- Q4 Revenue: $3.85 billion, up 49 percent from $2.59B last year, and ahead of analyst consensus of $3.77 billion.
- Revenue for the full year: $12.47 billion up 58 percent from last year, and ahead of analyst consensus of $12.39 billion.
- Non-GAAP Q4 earnings per share: $0.54 up from $0.32 during the same quarter last year, beating consensus of $0.49.
To put that into perspective, here are some key charts highlighting Facebook's Q4 performance:


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After spending at least $800 on textbooks and other supplies for 1st semester (including any prerequisites for the course such as first aid certification, police check etc) I am needing to remind myself that university is an investment!
As I stood in the university's bookshop handing over way too much money for a bunch of books (see photo above), which at this stage I have no idea what half of them are on about, I found it difficult to see the bigger picture.
Once I got home, had a flick through these dense and physically heavy textbooks, I was able to reflect on the situation and even begin to get excited about what these expensive books mean to me. Although there will be times that I will complain about the financial cost involved with studying nursing, it is an investment that I am lucky to be making!
This pile of books, full of facts and procedures, represent a valuable opportunity at this stage in my life. I have been given a place, as a mature age student, in a course that will allow me to gain a qualification which will give me good employment opportunities throughout my working life. As a nurse I will be able to help other people in a time of need and have a rewarding career as well.
Thankfully in Australia we have FEE-HELP* to help cover the cost of university course fees, so you don't have to pay upfront for your course. I am benefiting from this and am grateful for this opportunity. However, I am also aware that not everyone chooses, or has, this opportunity to defer their course fees and do work very hard to pay their fees upfront.
*"FEE-HELP is a loan scheme that assists eligible fee paying students pay all or part of their tuition fees. It cannot be used for additional study costs such as accommodation or text books."


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Nestled on a quiet East Wash Park block, surrounded by mature trees and beautiful homes, is 945 South Race, custom built by Chalet Builders and the perfect blend of a traditional exterior and transitional design aesthetic. Architecturally and thoughtfully designed to maximize the enjoyment of the indoor and outdoor spaces. Open floor plan, well-appointed chef's kitchen, useful custom built-ins, hidden pantry spaces, and formal dining room. A desirable floor plan features three en-suite beds/baths on second floor including a spacious master suite with vaulted ceilings, gas fireplace, and bath with marble counters and floors. Finished basement with large guest suite, 5th bedroom/office/gym, family room, half bath, and abundant storage. Welcoming front and back patios, outdoor fireplace, custom woodwork and wainscoting throughout, two car attached garage, and lovely yard. Just two blocks to the shops and restaurants of Old South Gaylord Street.
Courtesy of Perry & Co. Realtors Cherry Creek NorthSelling Office: Brixton Real Estate.
The content relating to real estate for sale in this Web site comes in part from the Internet Data eXchange ("IDX") program of METROLIST, INC., DBA RECOLORADO® Real estate listings held by brokers other than GarlandThurman.com are marked with the IDX Logo. This information is being provided for the consumers' personal, non-commercial use and may not be used for any other purpose. All information subject to change and should be independently verified. IDX Terms and Conditions


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Regular price
This haori features a full ivory satin lining, with affixed haori himo (ties) behind the lapels (inner bust).
Excellent vintage condition with no visible signs of staining or wear.
Haori is a versatile garment that you can dress up with an evening gown, or wear casually as a cardigan around the office. It is worn open (small gap, with or without ties), and loosely with the lapels hanging straight down the chest, and collar lowered to slightly expose the back of the neck.
Recommended care: professional dry cleaning, and regular steaming
Actual measurements:
Measurements are taken along one side of garment lying flat and are best compared against a similar item of clothing rather than against your body.


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List My Home
Common Q & A…
I want to sell my home. What do I do first?
What is the difference between a real estate agent and a real estate broker?
How will you market my home?
How long does it take to get my home on the market?
My friend is a licensed Real Estate Agent, should I list with them?
I want to sell my home. What do I do first?
The first thing to do is set an appointment with me to preview your home and give you the approximate value. I will also provide you with a net sheet which will outline all of the costs of selling and give you a dollar amount you can expect to net from the sale of your home. At this appointment, I can make recommendations to you to prepare your home for sale in the most cost effective way. Don't wait until you are ready to list to speak to me because I may save you thousands of dollars in preparation alone!
What is the difference between a real estate agent and a real estate broker?
As a broker, I have taken the time to complete additional education and experience requirements which are not required of licensed salespeople. Although I do, I am not required to work with a brokerage. I have also been certified by NAR as a Short Sale and Foreclosure Resource and HAFA Specialist.
How will you market my home?
My marketing plan consists of a specific set of tasks which I have spent the last decade perfecting. The most important thing I do to market your home is partner with professional photographers and internet specialists to create a high quality media marketing package for your property. I have always had a commitment to providing the best quality services available and I am constantly evaluating new means of marketing homes to potential buyers. The MLS and the internet are the most effective ways to get your home sold and I combine them with traditional methods as well.
How long does it take to get my home on the market?
I can have your home on the market and people showing it within hours if it is an urgent situation. Of course the more time you give me, the more I can do to ensure your listing is properly market and exposed to the marketplace in the best possible way. My full listing plan takes a few days to plan and execute including photos and preparation of marketing materials.
My friend is a licensed Real Estate Agent, should I list with them?
Everyone has a friend in real estate and many of them are part time or inexperienced agents. Would you trust a part time attorney to represent you in a lawsuit for hundreds of thousands of dollars because they are a friend? When hire me to sell your home, you can be confident that I will optimize the purchase or sale of what is likely your largest investment. Mistakes and inexperience can lead to the loss of small percentages which equals thousands of dollars on a home. This can also end friendships. I will use my knowledge and experience to negotiate what you want and often times friends are just not capable of doing that.


text: KursadA Posted November 15, 2019 (edited) CD48170 will be part of the next batch of releases, and will feature markings for AH-64D Longbow Apache & AH-64E Guardian Apache attack helicopters. Sized to fit the 1/48 scale Hasegawa kit. Bunch of interesting US Army and foreign options with colorful schemes on this one - I will start posting profiles tonight. Like most of my latest releases, I will release this in 1/72 in the batch after the next one. The options on the sheet are: US Army (7 options) United Kingdom ("Gunship 1" ZJ184 and "Gunship 2" ZJ205 of the Attack Helicopter Display Team) Greece India Indonesia (TNI-AD) Qatar Republic of China (Taiwan) Singapore Edited November 15, 2019 by KursadA Quote Share this post Link to post Share on other sites


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Gearing up for the Manchester Irish Festival
The Manchester Irish Festival will take place this year from Friday, 4th March till Saturday, 18th March. Manchester is set to be turned into a sea of green as we celebrate the contribution that the Irish have made to Manchester and it's surrounding areas.
This year, the famous parade will take place on Sunday, 12th March. Starting with a mass at the Irish World Heritage Centre at 11.30am - tens of thousands of people are expected to line the route as it winds its way to Albert Square, Manchester.
Have you got an event you would like to see listed on this site? Whether it be a live music night, a comedy evening or celebrating Ireland's great culinary tradition (It's more than bacon and cabbage you know) This site is the one of the most visited sites in the country during March. If you would like an article to be published or would like to advertise an event - then please email email@example.com with a photo attached.
Everyone knows the vast contribution the Irish and its Diaspora have made to Greater Manchester. Manchester's Irish connection goes further than the thousands who travel across the Irish Sea every other week to watch their beloved Manchester United. Indeed it goes deeper than the thousands of Irish Mancunians who live in Levenshulme and throughout the city. The annual Manchester Irish Festival is the largest in the UK and one of the biggest in the world.


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The Theatre of Memory (Symposium), Abbey Theatre, Dublin
January 13, 2014 § Leave a comment
Unlocking the myths of our past to understand the present.
The symposium takes place at the Abbey Theatre, Dublin January 16-18, 2014
In this time of historical centenaries, Ireland's national theatre presents a three-day symposium to debate the role of theatre in commemoration. Leading Irish playwrights, actors, directors and academics will come together to discuss the role of memory in making theatre and the challenges of commemorating historical events. This symposium will be a major event in Irish theatre and is an essential occasion for theatre enthusiasts and the general public. Symposium speakers:
President Michael D. Higgins
Tom Clonan
Peter Crawley
Catriona Crowe
Mark Curran
Mairead Delaney
Roddy Doyle
Colin Dunne
Grace Dyas
Lisa Farrelly
Jimmy Fay
Gerard Mannix Flynn
Stacey Gregg
Wayne Jordan
Richard Kearney (The Charles Seelig Professor in Philosophy, Boston College)
Declan Kiberd (Donald and Marilyn Keough Professor of Irish Studies, Notre Dame University)
Thomas Kilroy
Dr. Cathy Leeney (Lecturer in Drama Studies, University College Dublin)
Conor Linehan
Patrick Lonergan (Professor of Drama and Theatre Studies, NUI Galway)
Louise Lowe
Patrick Mason
Dr. Fearghal McGarry (Lecturer in History and Anthropology, Queens University)
Frank McGuinness (Professor of Creative Writing, School of English, Drama and Film, University College Dublin)
Eleanor Methven
Carl O'Brien
Emer O'Kelly
Fintan O'Toole
Dr. Rebecca Pelan
Dr. Emilie Pine (Lecturer in Modern Drama and Irish Studies, University College Dublin)
Stephen Rea
Declan Smyth
Prof. Kevin Whelan (Director, Keough Naughton Notre Dame Centre, Dublin)
Symposium Committee:
Fiach MacConghail (Director of the Abbey Theatre)
Aideen Howard (Literary Director of the Abbey Theatre)
Kelly Phelan (Convenor)
Full programme is available here.
A 'Very Modern Struggle': Allan Sekula
December 3, 2013 § 4 Comments
In August of this year, the artist, activist, writer and educator Allan Sekula passed away following illness. The subject matter of the majority of his project work was framed by the relationship between capital and labour. The following is a reflection on his project, Freeway to China (Version 2, for Liverpool).
One thing that struck me strongly in Liverpool and it was certainly present in some of the fiction I'd read was this sense of generational rupture and continuity within working class families. That the sea itself was a kind of thread of escape and becoming.*
In May 2003 at the Generali Foundation in Vienna, Austria, an installation opened with accompanying publication of the same name, Performance Under Working Conditions. This was the first major retrospective of the work by Allan Sekula. It is a section of this exhibition titled, Freeway to China (Version 2, for Liverpool) which is the focus for my discussion to follow – embodying what I would identify as the working methods, re-presentational strategies and central themes addressed in his practice.
'Our readings of past culture', wrote Sekula, 'are subject to the covert demands of the historical present' (1978: 118). While addressing the re-invention of a documentary photographic practice which acknowledged its modernist underpinnings and role in ideological construction, Sekula was further critical of the role of art and photography in advanced capitalism and its commodification, becoming a 'specialised colony of the monopoly of capitalist media' (ibid.: 120). Nonetheless, having become familiar with critical documentary photographic practice, Sekula ascribed that there remained the potential, through a reflexive awareness, to usurp what he would define as the solely aesthetic distractions of modernist visual practices, thereby re-inscribing photography's critical potentialities that remained.
In a similar vein and with reference to the agency of the image archive (which he defined as 'elements in a unified symbolic economy' (2003a: 450)), Sekula questioned the value of such sites due to their 'depoliticisation of photographic meaning' (ibid.: 444), where such meanings were 'up for grabs' (ibid.: 444). Significantly, these observations alert us to both the implications through the continued application of the photograph and the political potentialities within the meaning of photographs produced – potentials in specific critical contexts which produce meaning whilst simultaneously alerting us to the role of photographic representation and its functioning in the formation of ideological histories. These themes continued to define Sekula's practice in the critical application of the still and moving image, illustrated further in relation to the archive and the function of context in the reading of the photograph. As Sekula wrote:
[It] is clear that photographic meaning depends largely on context. Despite the powerful impression of reality…photographs, in themselves, are fragmentary and incomplete utterances. Meaning is always directed by layout; captions, text, and site and mode of presentation…thus, since photographic archives tend to suspend meaning and use, within the archive meaning exists in a state that is both residual and potential. The suggestion of the past uses coexists with a plentitude of possibilities. (2003a: 445)
These defining characteristics, regarding the representation of the image archive and their construction in meaning, continued to define his representational strategies. We can now recognise such approaches as emblematic of late-modern photographic practice, 'principally residing in its dismantling of reified, idealist conceptions enshrined in modernist aesthetics – issues devolving on presence, subjectivity, and aura' (Solomon- Godeau 1999: 249).
With a continuing focus upon the high seas, his project, Freeway to China documented the changes resulting from globalisation in world ports and dockland areas, specifically Los Angeles, Sydney and Liverpool. While acknowledging the predatory impact of global capital,
Sekula identified the potential for solidarity between workers. As Zanny Begg observes, 'the sea is embedded with the memory of earlier pre-industrial and industrial phases of capitalism which haunt Sekula's critique of globalisation' (2005). Economy had been a central theme for Sekula and in particular, the subject of the maritime, which he described as 'an obsessive interest' (1997: 59) since the 1980s:
First, '"the economy"' is widely regarded as unrepresentable within the field of culture, its abstraction and complexity defy translation. Second, '"the economy"' is not a fashionable topic, nor has it been one….[The] economy is culture's imaginary bad object, even as culture in reality submits to market forces. (1997: 50)
Repeatedly, he addressed the seminal role of labour, proffering representational strategies primarily through the incorporation of text and image. In late 1999, Sekula was invited to participate in the Liverpool Biennale resulting in Freeway to China (Version 2, for Liverpool).
Building on existing work produced in collaboration with the longshore men and women of the port of Los Angeles, he was struck by the historic and contemporary role of unionised labour in Liverpool's docklands. Particularly, Sekula noted the immediacy of the 'neglected two-year struggle against a mass sacking', which he identified as embodying, 'many of the key issues of the battle against neoliberalism and globalisation.' (2003b: 278). Having been introduced to the Dockers and their families, Sekula befriended them and subsequently enlisted their assistance and complicity in the formulation of this piece of work. Besides the photographs produced, he wrote an extended piece of text which was published, and for the exhibition, images were presented alongside, anecdotal and descriptive passages:
[To] insist that language is an integral element of the work itself, and not a supplement, is to hope for an end to the institutional automatism of the bureaucratic hierarchy and division of labor that leads us from the '"visual"' artist to the "verbal" critic. (1997: 58)
In the image above, Mason Davis, a welder in the port of Los Angeles, stares directly into the camera, somewhat passively yet somewhere else in his engagement, out towards the viewer and then beyond, somewhere. Sekula documented this moment and recalled how it was Mason's 'first job in a year' and then embellished the encounter, recalling how when he returned to give him a copy of the photograph, Mason had moved on to New York in search of work. This image formed part of the installation at the Open Eye Gallery in Liverpool. Sekula invited local photographer, Dave Sinclair, to share the exhibition space as a means for 'dialogue between, what he decribed as 'my more "global" take on maritime struggles and his intimate and "local" engagement with Liverpool history and the fight as it unfolded' (2003b: 278).
Three women sit, engrossed, concerned (Image above), nails chewed – a black and white portrait. Below eye level, a glass is risen partially obscuring the right hand side near the viewer's point of view. In the intimate and familiar surroundings of the local pub, the cultural meeting point, a place of exchange in this time of crisis – the latest news is awaited, possibly a decision that will shape futures, perhaps their own. The women portrayed display no awareness of the photographer, the image emblematic of a 'documentary style', their lack of awareness evidencing trust at this most pivotal of times. A counterpoint to the image of Mason, in format and style, however, struggles linked through a dependency concerning dockworker futures and how photography, critically has a role, albeit with caution, to bear witness.
'But awareness of history', Sekula observed, 'as an interpretation of the past succumbs to a faith in history as a representation. The viewer is confronted, not by historical-writing, but by the appearance of history itself' (original italics 2003a: 447). The constructed nature of such historical knowledge and photography's role in its ideological grounding remained relevant throughout. Repeatedly, one is made aware not only of the subject matter of Sekula's project work but of the critical reading of the media employed. Referencing the observation of Bertolt Brecht concerning the photographs of the Krupp Factory Works and how something must be 'constructed' (Sekula 1997), Sekula discussed its impact on the installation of his work:
In an exhibition space, of course, this requires more than the turning of pages, but an act of walking. Both allow the viewer to come to initial terms with the image without the benefit of the caption's gesture of semantic anchorage. Thus also the overall picture sequence is afforded a certain visual autonomy. Overall my aim is to construct an open invitation for desultory movement between the photographically- produced text panels in black and white and the sequences of colour photographs: a kind of meandering voyage of reading and looking. (1997: 58)
Amidst the installation, Mickey Tighe and Marty Size gaze through upright rusting metal bars (image above), hands grasping, grasped – the images of them, the left part of a diptych. The image to the right is their view and now the viewers, looking out and beyond. Both have been replaced and so they, and the viewer look towards the site of their former employment, bars impeding, obscuring, an empty space and beyond and in the distance, the docklands of Liverpool. They note the workers presently employed, describing them as 'scabs' – non-unionised labour brought in to replace those who once worked there – Mickey asks, 'Marty, isn't that your machine?'
'Freeway to China (Version 2, for Liverpool)', stated the accompanying press release, 'reminds us both of the distance and proximity of space in the globalised world…and the physical necessity of transport and therefore labour'. However, as evidenced in the aforementioned exchange between the two dockworkers and their grammatical adoption of the possessive article, the project further and critically challenged any all- encompassing assumptions concerning a uniformity of the impact of globalisation:
The Liverpool dockers and their wives, their families insist that theirs has been a very "modern struggle", refuting the smug neoliberal dismissal of dock labor as an atavistic throwback to an earlier mercantile age. Postmodernists, who fantasize a world of purely electronic and instantaneous contacts, blind to the slow movement of heavy and necessary things, may indeed find this insistence on mere modernity quaint….[But] against the pernicious idealist abstraction termed "globalism", dockers enact an international solidarity based on intricate physical, intellectual, and above all social relationships to the flow of material goods. (Sekula 2003b: 297)
Sources quoted:
Begg, Z. (2005) 'Photography and the Multitude: Recasting Subjectivity in a Globalised World', Borderlands E-Journal, Volume 14, 1, <http://www.borderlands.net.au/vol4no1_2005/begg_art.htm> [Accessed 24 June 2009].
Sekula, A. (1978) 'Dismantling Modernism, Reinventing Documentary (notes on the Politics of Representation)' in (1999) Dismal Science, Photo Works 1972 – 1996, University Galleries of Illinois State University, Chicago, 118–138.
–––––––– (1997) 'On "Fish Story": The Coffin Learns to Dance' in Camera Austria, Camera Austria, Graz, Issue 59/60, 49–59.
–––––––– (2003a) 'Reading the Archive: Photography Between Labour and Capital' in Wells, L. (ed.) (2003) The Photography Reader, Routledge, London, 443–452.
–––––––– (2003b) Allan Sekula: Performance Under Working Conditions, Wien: Generali Foundation & Hatje Cantz.
Solomon-Godeau, A (1999) 'Living with Contradictions: Critical Practices in the Age of Supply-Side Aestheticss' in Squiers, C. (ed.) Overexposed: Essays on Contemporary Photography, The New Press, New York, pp. 247 – 268.
*From interview with Sekula on the occasion of the 'Contemporary Documentary Exhibition' at the Victoria & Albert Museum, London, September 2002 to January 2003.
A version of this text was included as part of my practice-led doctorate thesis, the abstract of which can be viewed here.
Land │Labour │Capital
September 23, 2013 § Leave a comment
Future State, in partnership with Limerick City Gallery of Art (LCGA) and Goldsmiths, University of London, is an interdisciplinary and collaborative conference at LCGA on 26-28 September and is taking place during Labour and Lockout, an exhibition to mark the centenary of the 1913 Dublin Lockout, a key moment in Ireland's industrial history when employers refused to recognize workers in an attempt to break worker solidarity and the trade union movement.
Land│Labour│Capital will reflect on the relevance of 1913 for the contemporary moment and seek, through dialogue, to foreground radical and alternative narratives for future history-making.
Invited speakers include Dr. Mark Curran, Dr Angela Dimitrakaki, Professor Nicholas Mirzoeff and Dr. Deirdre O'Mahony among a host of other academic and artist participants.
The full programme including screenings, events and presentations can be found here.
UPDATE (October 2013)
Founding member of Future State and central organiser, Stephanie Feeney, offers some rich reflection and insight on the conference events which can be read here.
August 12, 2013 § Leave a comment
An artist, writer and educator of great conviction, it is very sad to hear of the passing of the remarkable Allan Sekula.
Here are some links (here and here) to words and images in relation to an individual, whose relevance as a practitioner seems more significant as ever, particularly for dealing with subjects like labour, global capital and economy when, as he stated, 'they weren't sexy'. He will be greatly missed.
Beyond Control
July 18, 2013 § Leave a comment
There have been longer gaps between recent posts than would be liked, in the preparation for installations and events regarding the project in August & September in Ireland. However, a significant reference for this project and its undertaking has been the UK newspaper, The Guardian-supported, The Joris Luyendijk Banking Blog: Going Native In The World Of Finance. Luyendijk, a Dutch-born Anthropologist and journalist, has based himself in London for the last two years undertaking research, similar to the thematic concerns of this project, to understand how the financial world operates and who are those working within this sphere. There are a substantial and rich array of interviews and articles available on the blog here, which form an invaluable resource.
However, I wish to briefly highlight a recent commentary piece by Luyendijk, titled, Our banks are not merely out of control. They're beyond control. The full text can be read here. At the heart of the article is the realisation of the profound dysfunctional nature and structure of this sphere and as Luyendijk also observes, the market as construct being a central source of that dysfunctionality:
The reality is that global high finance is de facto a set of interlocking cartels that divide the market among themselves and use their advantages to keep out competitors.
In spite of the devastating global economic circumstance, it would seem to be business as usual. Just over 4 weeks ago, I recorded a conversation with a banker working in The City, who forthrightly stated, 'the market has a history, but very little, if any memory'. As this project has evolved with resonances of Luyendijk observations, we may need to remember.
No Longer Indifferent: The Photography of Milton Rogovin
May 1, 2013 § 3 Comments
He is dangerous to the internal security because of his strong adherence to Marxist-Leninist principles (internal FBI memo dated April 8, 1968)
In 1909, five years after Lewis Hine had made his first journey to Ellis Island to document mass migration, another American photographer, Milton Rogovin, was born in New York City. The son of Jewish migrants, he would, like Hine, have another career before making photographs, experiencing a significant upheaval in his life when everything would change. Having graduated from Columbia University and subsequently practicing as an optometrist, Rogovin moved to Buffalo, upstate New York in the 1930s. This was at the height of the Great Depression, and coupled with living in an area defined as socially deprived, Rogovin became politically active. As he comments; 'this catastrophe had a profound effect on my thinking, on my relationship to other people. No longer could I be indifferent to the problems of people' (1974: 12).
He became an outspoken critic of government social policies and became involved in the establishment of a union of optometrists and optical workers. He subsequently volunteered with the local branch of the communist party, a decision which would result in a call in 1957 to appear before Senator Joseph McCarthy's travelling House Committee on Un-American Activites. In this era of Cold-War politics, such an appearance would cost him and his family their livelihood but would ultimately change the course of his life. Rogovin had an existing interest in photography, which he recalls in a radio interview:
When the McCarthy committee got after me, my practice kind of fell pretty low…my voice was essentially silenced, so I thought that by photographing people…I would be able to speak out about the problems of people, this time through photography*.
Influenced through his friendships with the photographers Minor White and Paul Strand, he would subsequently photograph in many countries around the world, from Mexico and Chile to Zimbabwe, always drawn to critically addressing social and political-based issues. Concerned with all forms of disenfranchisement, but primarily the role of labour, he quotes directly the words of the German artist Kathe Kollwitz to describe this motivation:
My real motive for choosing my subjects almost exclusively from the life of the workers was that only such subjects gave in a direct and unqualified way what I felt to be beautiful…Middle-class people held no appeal for me at all. Bourgeois life as a whole seemed to me pedantic…much later on, when I became acquainted with the difficulties and tragedies underlying proletarian life…I was gripped by the full force of the proletarian's fate. (1974: 12)
Rogovin's reasons may appear somewhat dated and naïve even politically incorrect in terms of contemporary discourse surrounding class, but the motivation to photograph those who he described as 'the forgotten ones' (ibid.: 12) underlines his profound sense of social and political responsibility to bring critical attention to both their situation and the circumstances.
From the 1970s, Rogovin began to focus on his home borough of Buffalo and its inhabitants – a survey of miners and their families, steelworkers before and after plant closings, Native Americans on reservations in the state and a local Yemeni community, among others. The work lies within a humanist documentary tradition, evidenced in part by his application of black and white film, long associated with and evoking traditional photojournalism and reportage. However, what distinguishes Rogovin's visual approach is his consistant and primary use of the portrait**. Acknowledging the work of Hine (Rogovin 1974) as an inspiration, many of the subjects within his images present themselves to the camera, facing forward looking and straight into the camera. As Rogovin describes:
I always asked permission before taking pictures. I wanted to get close and make people be the most important thing in the frame. I never directed them or told them how to stand, how to hold their hands, or what to wear. The only thing I asked them was to look at the camera. I liked it when I saw their eyes and that's when I knew I was ready to make their picture. Typically, I would make 2 or 3 exposures. When you look at these pictures, you know there was no monkey business, and that I was not sneaking around trying to steal pictures of people. (Hirsch 2004: 8)
Describing the process of gaining the trust of the individuals he photographed, Rogovin draws attention to an understanding concerning the role of visibility and, as a result, the necessity for trust and the significance of complicity:
At first I was regarded with great suspicion, people thought the authorities sent me to spy on them.…[In] those days, people in such areas were not used to being photographed, or indeed being given any attention at all. I showed an interest, was polite, and tried to put people at ease…I would come back and give anyone I photographed a copy of their picture a few weeks later. Gradually I became known and trusted, and eventually people began to ask if I would take their picture. I remained in the area for the next three years. (Hirsch 2004: 7)
Rogovin added time to this process, in the form of long-term relationships, revisiting individuals and their families, which became an integral and critical aspect of his practice. He produced portraits, therefore, that I would describe as 'over time' – transcending time and must be therefore viewed simultaneously as both a singular experience but also beyond that singular experience one usually associates with the photographic encounter. In the images above, for example, the Rodriguez's (images above and below), a couple and their family who lived not far from Rogovin, were first photographed in 1974, continuing to do so until 2002. Images such as these speak powerfully not only of the relationships and lives lived between the subjects portrayed but also of their intimate relationship with the photographer:
In Rogovin's work the subject of each photograph, commands equal strength. Whether because of his respect and empathy for his sitters or the sincerity of his humanism and politics, this seemingly simple concept re-addresses the delicate balance of power between the observer and the observed.***
This innovative and critical use of the portrait was extended in 1993, when in collaboration with the anthropologist Michael Frisch, they published the book Portraits in Steel. The modern world that Hine had previously documented was becoming the so-termed 'post-industrial' landscape of the late twentieth century. Rogovin had begun in the 1970s to make a series of portraits of workers in the steel foundries in Buffalo. As the American steel industry collapsed amidst the increasingly globalised market of the 1980s and the once 'Steel Belt' was transformed into the now termed, 'Rust Belt', he returned along with Frisch to document this change. The result was a monograph, where portraits spanning almost 15 years appeared alongside the extended narrative of the testimonies gathered by Frisch. One continues to sense the relationship established with Rogovin in the apparent openness of the individuals taking part. Without such complicity, such a project could not have been undertaken.
Joseph stands (image above) shovel in hand, bare-chested with a vertical scar. The obvious use of flash highlights it as an environment usually lit only by the fires of the furnace. Here in in the steel mill at Bethlehem, Rogovin provides the transparent means with which the physical nature of this particular form of labour is revealed. Joseph is complicit in this undertaking in his stance and thereby completes the two-dimensional part of this meaning process. Now, the final completion of meaning will be undertaken by, and involve the complicity of, the viewer. Originally from the southern United States, Joseph grew up on a farm, and was two years short of service at the mill when he lost a leg to medical complications. This resulted in him never receiving a company disability pension and shortly after his operation the mill closed. He remains stoic in his advice for future working generations:
Well, the only thing I can tell them: get you some education, try to learn you a skill, because you will never see this industrial movement no more…that's the reason I say the future is, they won't be using their muscles, they'll be using their brain (Rogovin and Frisch 1993: 312-313)
A significant undertaking, Portraits in Steel provides an extended visual and oral engagement with a changed industrial environment. The monograph is now a document to those who gave. In his discussion of the role of images and text, Rogovin's collaborator on the project, Frisch writes:
[T]he book proceeds from a belief that all portraiture involves, at its heart, a presentation of self. It also does not deny that artifice, interpretation and even manipulation are necessarily involved in arranging the portrait session, rendering the images presented, and conveying them to others in some form or other.…[But] portraits do represent and express a collaboration of their own between subject and image maker, a collaboration in which the subject is anything but mute or powerless, a mere object of study…Stories given, rather than taken. (ibid.: 2-3)
In 2003, a short documentary titled Milton Rogovin The Forgotten Ones by the filmmaker, Harvey Wang, was released. A celebration of the work of Rogovin, the film provides insight into the long-term relationships formed by the photographer and those he sought to portray.
In January 2011, Milton Rogovin passed away in Buffalo, New York, one month after celebrating his 101st birthday.
*As described by Milton Rogovin from an interview, 'Milton Rogovin, Photographing "The Forgotten Ones"' (2003), National Public Radio (NPR), broadcast 14 June 2003. Available here.
**Significantly, Rogovin's application of the portrait, was described by his collaborator, the Anthropologist, Michael Frisch, as 'pictures given, rather than taken' (1993: 3).
***Quote from press release that accompanied the exhibition, 'Milton Rogovin: Buffalo' (Danziger Projects Gallery, New York, USA, October 20 – November 24 2007). Available here.
Hirsch, R. (2004) 'Milton Rogovin: an activist photographer', Afterimage, September/October, 3–7.
Rogovin, M. (1974) 'Six Blocks Square', Image, Vol. 17/2, 10–22.
Rogovin, M. & Frisch, M. (1993) Portraits in Steel, Ithaca, New York: Cornell University Press.
A version of this text was included as part of my practice-led doctorate thesis, the abstract of which can be viewed here.
Lehman Brothers: Artwork & Ephemera
March 25, 2013 § Leave a comment
Christie's announce the auction of Lehman Brothers: Artwork and Ephemera which will take place at South Kensington on 29 September 2010 offering artworks and selected items of interest which once adorned the walls and offices of the British and European arms of the former banking powerhouse Lehman Brothers.
From the press release published in August 2010, under the direction of the administrators of the broke investment bank, once the fourth largest in the world, artefacts including the sign which had adorned the entrance to their offices in London's Canary Wharf (image above) and also the contents of the art collection which included works by Gary Hume, Lucien Freud and the photograph, New York Mercantile Exchange 1991, by Andreas Gursky, were to be auctioned at market.
The timing of the auction was also significant, coinciding with the second anniversary of when the company went into administration. Citing the experience of the dismantlement of Enron, one of the administrators observes:
The brothers Lehman collected artwork which adorned their offices since the 19th century. Over the subsequent years, of course, as the business expanded and the leadership changed, so did their corporate taste in art. We are excited to be working with Christies to offer the art collection owned by the companies in Administration. The auction date was selected to approximately coincide with the second anniversary of the Administrations. We think that there are many people around the world who would like to acquire some art with a Lehman connection, and we have therefore timed the sale to ensure that potential buyers can view and bid efficiently online. As with the Enron auction, some seven years ago, when we had bids from 43 countries, we expect internet bidding to be fast and furious – having the capacity to cope with a large volume of global bidding was one of the key reasons why we chose Christie's.
Recognised as one of the central pillars of the global market and subsequent architects of the global economic collapse, and mindful of the Gursky image, Lehman Brothers would appear to have been returned to the simultaneous site of its making and undoing.


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Spring has finally arrived (more or less) which means we can start prepping the garden and starting cool-weather crops, and start/continue the indoor seeds and seedlings. In my neck of the woods, the May long weekend is planting weekend. BUT – because mild weather typically starts in April, I can get started on preparing my garden beds and sow some seeds. Exciting!
Ever since I put my garden plan together early in the year, I've been closely watching important dates in my calendar.
- On Feb 10th I started mint seeds indoors
- On Mar 18th, I started marigolds indoors
- On March 30th, I transplanted my marigolds and mint into cups
- On Mar 31st, I started cherry tomato seeds indoors
- On April 21st, I (with the help of hubby) installed a new raised bed and filled it with triple mix and compost. I also added compost to my other 2 existing beds.
- On April 22nd I sowed seeds outside for peas, carrots, lettuce (2 types) and lemon balm. I also started seeds for basil and parsley indoors.
The next key dates will be 2 weekends in May once all risk of frost has passed, usually around the May long weekend and the one prior.
That's when I'll get everything outside and go buy some blueberry plants for my other new bed this year. I decided to dedicate a whole bed just for blueberries because of the different soil requirements (acidic) and the likelihood of needing to cover them with netting.
Meanwhile, the garlic I planted last fall is looking great!
Progress so far:
Cherry tomato seedlings
Marigold and mint seedlings
Growing… marigolds / mint on the left. Tomatoes (near window) on the right) and basil/parsley on the right / front)
My garlic is doing well (planted last fall). There are also seeds for lemon balm (above the garlic) and carrots (whole 3rd row) in here. Tomatoes will be along the fence. Chamomile will be the bottom/right 4 squares. This was taken 1 week ago:
This was taken today:
This bed already has seeds for lettuce (one variety in the bottom 3 squares on the left, with another column of another variety next to it, then beans (to be planted in May), and seeds for peas. Tomatoes will be along the top row along the fence. I tried lining this box with cardboard this time. For the other two I used weed fabric – just want to see how well the cardboard would work.
This one will have tomatoes along the back row and basil (genovese and thai) and parsley in the front.
Beds are ready for more planting in May. 🙂 The new bed will go the right of the one against the fence at the top of the photo.
I'm considering putting down cardboard/mulch between the beds and in the far corner to get rid of the grass and avoid complicated mowing.
So excited to be spending time out in the garden! 🙂