text:
Henry Bond
Henry Bond
Bond photographed on Kensington High Street, London, September 2010
|Goldsmiths, University of London
|Known for
Notable work
|Documents Series
26 October 1993
|Young British Artists
Relational Aesthetics
Henry Bond, FHEA (born 13 June 1966) is an English writer, photographer, and visual artist. In his Lacan at the Scene (2009), Bond made contributions to theoretical psychoanalysis and forensics.
In 1990, with Sarah Lucas, Bond organised the art exhibition East Country Yard Show, which was influential in the formation and development of the Young British Artists movement; together with Damien Hirst, Angela Bulloch, and Liam Gillick, the two were "the earliest of the YBAs."[1]
Bond's visual art tends to appropriation and pastiche; he has exhibited work made collaboratively with YBA artists including a photograph made with Sam Taylor-Wood and the Documents Series, made with Liam Gillick. In the 1990s, Bond was a photojournalist working for British fashion, music, and youth culture magazine The Face. In 1998, his photobook of street fashions in London The Cult of the Street was published. His Point and Shoot (Cantz, 2000), explored the photo-genres of surveillance, voyeurism and paparazzi photojournalism.
In 2007, Bond completed his doctoral research; in 2009, he was appointed Senior Lecturer in Photography at Kingston University.
Life and career[edit]
Early life and education[edit]
Henry Bond was born in Upton Park, in East London in 1966.[2] He attended Goldsmiths at the University of London, graduating in 1988, from the Department of Art,[3] with fellow alumni Angela Bulloch, Ian Davenport, Anya Gallaccio, Gary Hume, and Michael Landy—each of whom was to participate in the YBA art scene.
Bond attended Middlesex University in Hendon[4] studying for an MA in Psychoanalysis, where he was taught by Lacan scholar Bernard Burgoyne.[5] Bond was a research student at the University of Gloucestershire in Cheltenham Spa between 2004–2007; he received a doctorate in 2007.[6]
Bond teaches postgraduate photography, in the Faculty of Art, Design & Architecture, at Kingston University;[7] he is a Senior Lecturer in Photography, in the School of Fine Art.[8]
Critical writing[edit]
Lacan at the Scene[edit]
Lacan at the Scene is a work of non-fiction by Bond, published in 2009 by MIT Press. The book consists of interpretations of forensic photographs from twenty-one crime scenes from 1950s and 1960s England.[9] The thesis put forward in the book is that homicide can be considered in terms of Jacques Lacan's tripartite psychological model, thus any murder can be classified as either neurotic, psychotic, or perverse.[10] Bond's approach is closely linked to Walter Benjamin's assertion that, "photography, with its devices of slow motion and enlargement, reveals the secret. It is through photography that we first discover the existence of the optical unconscious, just as we discover the instinctual unconscious through psychoanalysis."[11]
Lacan at the Scene is an interdisciplinary study which is simultaneously an application of the theories of Jacques Lacan in relation to offender profiling and an inquiry into the nature and essence of photography.[12]
Bond's book considers the effects of photography on the spectator, the photographer and the photographic subject. He refers to a wide range of contextual material including "J.G. Ballard, William Burroughs, Friedrich Nietzsche, Jean-Paul Sartre and Slavoj Žižek ... and the films of Alfred Hitchcock, Michael Powell, Michelangelo Antonioni, David Lynch and Christopher Nolan, among many others."[13] The book contains a foreword essay The Camera's Posthuman Eye by the Slovenian philosopher and critical theorist Slavoj Žižek.
Many of the photographs reproduced in the book are sexually explicit—they depict murder victims who were raped or tortured before the killing.[14]
Describing his research, in a 2007 interview, Bond said, "the press reporter's access to a crime scene is restricted, it is literally blocked by the ubiquitous black and yellow tape emblazoned with the exhortation: CRIME SCENE DO NOT CROSS. The photographs that I have worked with are documents made in a place that the press photographer or reporter cannot go."[15]
Critical reception[edit]
The critical reception of Lacan at the Scene was positive including reviewers commending the book as 'insightful', 'ground-breaking', 'audacious' and 'enthralling' – writing in the peer-reviewed journal The European Legacy, Viola Brisolin said, ''Lacan at the Scene is a brilliant, ground-breaking work that will appeal to cultural practitioners and theorists, and to everybody interested in the dialogue between psychoanalysis and visual studies."[16] Writing in the peer-reviewed academic journal Philosophy of Photography, Margaret Kinsman said "Bond's exploration ... reminds us of just how used to order we are and how shocking and easy its dissolution is ... his approach evokes a kind of aesthetic pleasure, which unsettles even as it satisfies."[17]
Emily Nonko's review said, "Lacan at the Scene ultimately presents a complex dynamic between both psychoanalysis and medium of the camera, the way that photography permits the viewer to delve into both the murder's mind and the victim's corpse, the psychological as well as the corporeal."[18]
Reviewing the book for Time Out New York Parul Sehgal said: "While Bond's interpretations occasionally strain credulity, his sensibility enthralls. His goal isn't police work per se, but to reveal how humble objects at the margins of crime scenes become powerfully allusive and lend themselves to a narrative."[19]
Daniel Hourigan, writing for Metapsychology Online Reviews said, "for the vast majority of the discussions in the more applied third, fourth, and fifth chapters, Lacan at the Scene enjoys a lucid and precise execution. The early chapters help to bring together the theoretical, discursive, and political elements that make these later chapters capable of pursuing such a rigorous and insightful project."[20]
The Gaze of the Lens[edit]
In July 2011, Bond's second book on the theory and philosophy of photography, The Gaze of the Lens, was self-published using the Kindle direct publishing format; the book consists of one hundred "concise observations and statements on photography."[21] In the book, Bond "activates, reconfigures, qualifies, and occasionally contradicts assertions made a diverse range of thinkers and practitioners including Rankin, Stieg Larsson, Antonioni, Charles Baudelaire, J.G. Ballard, Raymond Chandler, Walter Benjamin, Jacques Lacan, Georg Hegel and Slavoj Žižek."[21]
Street photography[edit]
A characteristic of Bond's style is his pastiche and appropriation of familiar types of photograph, for example, writing in Frieze, Ben Seymour said, "Bond carries on producing images of a homogenised, outside-less culture in a perpetual present of consumption which may be just ahead of, or self-consciously behind – but always deliberately in between – the conventions of advertising, fashion, surveillance or family photographs."[22] Bond has also considered his work in relation to the dérive – literally: "drifting" – theorised by Guy Debord and the city walks of the flâneur or psychogeographer.[23]
Characterizing his conception of street photography, in a 1998 interview, Bond said: "[For me street photography] is parallel to the psychoanalytic session, in that anything can be mentioned."[23] Bond began his street photography in the late-1990s and continued for approximately ten years concluding with his Interiors in 2005. Monograph books of Bond's street photography include two published in Germany – Point and Shoot (Ostfildern: Cantz) and La vie quotidienne (Essen: 20/21).
The Cult of the Street[edit]
Bond's large book, The Cult of the Street, was published in 1998 by "posh West End gallery,"[24] Emily Tsingou Gallery, London. The 274 photographs included in the book depict daily life in London in the mid-1990s. Many of the photographs included in the book were originally taken by Bond whilst shooting commissioned features for the style and culture monthly The Face—during the period that the magazine was art directed by Lee Swillingham and Stuart Spalding, 1995–1999.[25] The book includes a foreword essay, "A Response to the Photographs," by psychoanalyst and author Darian Leader. It has been suggested that the title of the book is a reference to the 1926 Siegfried Kracauer essay The Cult of Distraction.[26]
In 2002, a group of large-scale printed examples from The Cult of the Street were included in the Barbican Centre survey Rapture: Art's Seduction by Fashion Since 1970[27] and these were shown again, in 2004, at the Museum of London, in an exhibition titled, The London Look: Fashion from Street to Catwalk.[28]
Critical response[edit]
Reviewing the book for the British newspaper The Independent, fashion writer Tamsin Blanchard described the book as, "a rich social document of the way we dress—rather than the way fashion designers like to imagine we dress".[29]
Writing in his commentary on the influence of the Young British Artists, High Art Lite, the art historian Julian Stallabrass said, "The Cult of the Street is telling of many characteristics of High Art Lite and its engagement with mass culture and the media. It takes as its subject not just the conventions of the street but youth and their modes of display in shops, clubs, parties, restaurants and even private homes ... they don't do much, Bond's people; they shop, of course, persistently, and present themselves to each other and the camera, dance sometimes, but the book is composed above all of an intricate fabric of exchanged glances and gazes."[30]
Writing in the British contemporary art journal Art Monthly, critic David Barrett said, "[In The Cult of the Street] values and meanings are constantly on the slide, be they the meaning of wearing brown instead of black, Airwalk instead of Airmax or including the subject's shoes in full-length photographs instead of cropping them. Bond sets out to document these fleeting social codes while also attempting to ride roughshod over the accepted conventions of photography."[31]
Point and Shoot[edit]
Bond's book of street photography Point and Shoot, was published by German fine arts publisher Hatje Cantz Verlag, in 2000; many of the images included imitate forms of photography that are derided or taboo, such as voyeurism and paparazzi photojournalism; other images are grainy and suggest surveillance or CCTV images—the photographer is either an intrusive, prying, nuisance, or else reduced to an automaton-like spectator on daily life.
Printed examples from the book were exhibited in both commercial and museum gallery exhibitions, including a survey—selected and organised by curator Eric Troncy—which was on display at the contemporary arts centre Le Consortium in Dijon, France, March through May 1999.[32]
Critical response[edit]
Writing in The Japan Times, in 2000, journalist Jennifer Purvis said, "Bond elicits a film noir quality from a city that prides itself on the worst side of its nature. It is contemporary London in all its banality and beauty, portrayed in heavy, highly contrasted black-and-white photographs that evoke nostalgia more keenly than an old movie ... the images all speak of the life, London life, captured by a peering, voyeuristic Londoner."[33]
Reviewing the book in Frieze, the critic Benedict Seymour said, "Bond jumbles up his subjects—street scenes, shop windows, night-clubs, posh parties, backstage fashion shows, intimate portraits and sex club sybaritics—as well as the composition, with the apparent intention of throwing our will to categorise, and so comprehend the image, into disarray."[34]
In Germany, the book was awarded a Kodak Deutscher Fotobuchpreis in 2000.[35][36]
Interiors Series[edit]
Bond's follow up to Point and Shoot, Interiors Series was published in Belgium, in 2005, by Fotomuseum Antwerp. The photographs included in the book appear to explicitly and deliberately invade the privacy of the subjects, who are captured—unaware of the presence of a photographer—at leisure, in their private dwellings. Writing in an essay accompanying the photographs, Bond said, "for me voyeuristic 'fixation' and the 'photographic act' have become inseparable. It is the sense of 'the illicit' that these photographs are leveraging. I must not be caught taking them, and in a way, the viewer of the photograph is included in my anti-social activity, they too are looking when they should not be."[37]
Exhibition organiser[edit]
East Country Yard Show[edit]
In 1990, working together with Sarah Lucas, Bond organised the "seminal"[38] Docklands warehouse exhibition of contemporary art East Country Yard Show which was influential in the formation and development of the YBA art movement.[39]
Critical reception[edit]
In July 1990, reflecting on the East Country Yard Show and Gambler—a concurrent Goldsmiths-oriented warehouse show—in The Independent, art critic Andrew Graham-Dixon said, "over the past few months ... in terms of ambition, attention to display and sheer bravado there has been little to match such shows in the country's established contemporary art institutions."[40]
Writing in Artforum, art critic and curator Kate Bush said, "[Hirst's] Freeze anticipated a spate of do-it-yourself group shows staged in cheap, sprawling, ex-industrial spaces in recession-hit East London. Bond and Sarah Lucas's East Country Yard Show as well as Carl Freedman and Billee Sellman's Modern Medicine and Gambler, all in 1990, were, with Freeze, the shows that fuelled the myth of YBA as, paradoxically, both oppositional and entrepreneurial.[39]
Author Keith Patrick said, "[Following Freeze] many of the same artists showed again two years later in four artist-led exhibitions Modern Medicine, Gambler, the East Country Yard Show and Market ... although Freeze had been poorly attended and barely reviewed, these shows together became a symbol of a new artist-led entrepreneurship, a combination of calculated anarchy and an astute reading of the changing relationship of the artist to the market.[41]
Exhibit A[edit]
In 1991, Bond was invited by Julia Peyton-Jones to select an exhibition for the Serpentine Gallery; a curatorial project that became the 7 May – 7 June 1992, exhibition Exhibit A—a show on the theme of evidence and the scene-of-the-crime.[42] One of the works on view was a slide-installation, shown in a darkened room, by artist Mat Collishaw, which presented the viewer with a rapid-fire sequence of stills of Jodie Foster dancing as she appeared in the "rape scene", in Jonathan Kaplan's 1988 movie The Accused.[43] Writing in Volume II of the exhibition catalogue, art historian Ian Jeffrey said, "Exhibit A crystallises a turning in the art world away from the egotistical celebrity mode towards impersonality ... its premises are anonymous, fluent, vertiginous, wary of values."[44]
Selector and screenings[edit]
In 1990, Bond and fashion photographer Richard Burbridge guest edited a double issue of Creative Camera showcasing emerging British photographers—"The New New" issue, October–November 1990; the selection they made included the first published examples of photo-based artworks by Sarah Lucas, Damien Hirst and Angus Fairhurst.[45][46] Bond's collaboration with the magazine continued as an ongoing series of artists' pages that ran as "openers"—appearing on the inside front cover and contents page. One spread, created by Hirst, depicted the mutilated corpse of a young man with wounds to the eyes, and was captioned 'Damien Hirst: Fig. 60 Self-inflicted injuries...'; another introduced Fairhurst's self-portrait 'Man Abandoned by Colour.'[47][48]
In 1993 through 1995, Bond organised a series of screenings of experimental film and video, Omron TV. The screenings were presented in bookable-by-the-hour Soho film preview theatres—including De Lane Lea (Dean Street) and The Soho Screening Rooms (D'Arblay Street); the project included presentations of works by Merlin Carpenter, the German artist Lothar Hempel, and the Slovenians Aina Smid and Marina Grzinic.[49]
Visual art practice[edit]
During the 1990s, Bond made numerous artworks which used appropriated visual material; in particular a series titled One Hour Photo which presented typical snapshots collected from wastebins of High Street photo-processing labs, across London.[50][51]
Bond also exhibited a collaboration with artist Sam Taylor-Wood, titled 26 October 1993, in which he pastiched the role of John Lennon as he had appeared naked, in a photo-portrait with Yoko Ono—shot by photographer Annie Leibovitz—a few hours before he was assassinated.
Writing on Bond's art practice, artist and critic Liam Gillick said: "Bond's art is fundamentally negotiated. No apparently given element of his subject at hand is allowed to proceed while maintaining any sense of an essentialist value. While on the surface his production may appear to re-present lucidly some chosen images of the world around us, it does so with a sceptical relationship to the way meaning is encoded and interpreted by us every day."[52]
In the early-1990s, Bond's work was included in two international survey exhibitions of contemporary art at Villa Arson, in Nice, France, No Man's Time in 1991, and Le Principe de réalité in 1993.[53]
In 1995, Bond was included in a group exhibition at the ICA, in London, titled Institute of Cultural Anxiety,[54] in which he presented archival material from the vaults concerning the events at an experimental gig by Einstürzende Neubauten which had taken place at the ICA in January 1984, and during which the group used jackhammers to drill into the stage.[55]
In the mid-1990s, examples of Bond's work were included in Brilliant! a survey of YBA art held at the Walker Art Center, Minneapolis, in 1995, and Traffic, an exhibition introducing the Relational Aesthetics tendency, which took place at musée d'art contemporain de Bordeaux, France, through February and March 1996.
Other Men's Flowers[edit]
In 1994, Bond made a work using a letterpress printing press for a portfolio commissioned by Joshua Compston. The portfolio also included works by Gary Hume, Sam Taylor-Wood, and Gavin Turk. The title of the portfolio drew on a quote by the philosopher Montaigne ("I have gathered a garland of other men's flowers and nothing is mine but the cord that binds them."). For his part, Bond supplied a text which describes a series of views in Monaco, written in the style of a tourist guidebook. The portfolio was later acquired by Tate.[56] In 2010, the portfolio was exhibited at the Courtauld Institute.[57] Historian Elizabeth Manchester describes Bond's text as, "a page entirely filled with text apparently taken from a travel brochure or guide. It describes a fashionable and star-encrusted area in the south of France starting from the peninsula Cap Martin and including the Monte Carlo beach and the Riviera. Names of famous people, places and events, as well as geographical features, are capitalised for emphasis. The amenities provided by hotels, night clubs, casinos, museums and beaches, as well as a fish farm out at sea (producing the luxury fish, sea bass), are all named and occasionally described for the wealthy visitor."[58]
Documents Series with Liam Gillick[edit]
Between 1990 and 1994, Bond collaborated with artist Liam Gillick on their Documents Series a group of eighty-three fine art works which appropriated the modus operandi of a news gathering team, to produce relational art.[59] To make the work the duo posed as a news reporting team—i.e., a photographer and a journalist—often attending events scheduled in the Press Association's Gazette—a list of potentially newsworthy events in London. Bond worked as if a typical photojournalist, joining the other press photographers present; whilst Gillick operated as the journalist, first collecting the ubiquitous Press kit before preparing his audio recording device.[59]
Exhibition and collection[edit]
The series was first shown commercially in 1991, at Karsten Schubert Limited[60] and then, in 1992, at Maureen Paley's Interim Art[61] —two of the galleries that were pioneers in the development of the YBA art movement.
The duo's series was subsequently exhibited at Tate Modern, in the show Century City held in 2001,[62] and at the Hayward Gallery, in the exhibition How to Improve the World, in 2006.[63]
One example from the series, held in the Arts Council Collection, titled 14 February 1992, documents an auction of the contents of Robert Maxwell's London home at Sotheby's.[64] A further example records the former Governor of Hong Kong, Chris Patten, addressing the Tory Reform Group.[65]
Video works[edit]
Bond's videos are documents of action and events. Writing in his 1998 book Relational Aesthetics, Nicolas Bourriaud said, "video, for example, is nowadays becoming a predominant medium. But if Peter Land, Gillian Wearing and Henry Bond, to name just three artists, have a preference for video recording, they are still not 'video artists'. This medium merely turns out to be the one best suited to the formalisation of certain activities and projects."[66]
In 1993, Bond's short video work OTB was included in Aperto '93 at the Venice Biennale—a survey of international contemporary art.[67] The short—which was looped and shown on a multi-screen system—showed grainy black-and-white footage documenting a flâneur's-eye-view of the day-to-day coming and going aboard the plethora of crowded Vaporetto, the waterbuses, in Venice; Bond's deliberately down-to-earth perspective depicting humdrum daily life in the city was intended to oppose the iconic glamorised images of gondolas, etc.[68]
Between 1993 and 1994, "Bond made eight hours of video footage documenting his walks along the river Thames, resulting in a 26-minute film shown at the Design Museum, reformatted as inserts on Channel One, and finally as a book of stills, Deep, Dark Water."[69][70]
From July through September 1994, Bond's video works were showcased in an eponymous four-person exhibition at De Appel an art centre in Amsterdam—i.e., Deep, Dark Water (1994), Torch (1993), On the Buses (1993), Hôtel Occidental (1993), Big Shout (1993), The Burglars (1992/4), The Softly Softly (1994), Walked (1994)[71][72]—which was selected and organised by curator and theorist Saskia Bos (Dean of The School of Art at The Cooper Union, in New York).[73]
In 1995, Bond's video works were included in the Biennale de Lyon survey exhibition.[74]
Fashion photography[edit]
In the late-1990s and early-2000s, Bond contributed fashion editorial stories to The Face,[29] i-D,[75] Self Service,[76] Purple[77] and the now defunct Nova.[78]
One fashion photograph made by Bond, originally published in the March 2000 issue of The Face, depicted the model Kirsten Owen revealing her panties in a manner typical of the derided and recently criminalised (e.g., in the United States and Australia) voyeuristic "Uppie" or Upskirter.[79] In 2001, Bond was chosen by company director Roger Saul to photograph the commercial advertising campaign for a brand relaunch of Mulberry, a leather goods company—for which he used actors and celebrity couple David Thewlis and Anna Friel, as models.[80][81] Thewlis and Friel were reported to have been paid £50,000 to appear in the campaign.[82]
In 2008, examples of Bond's fashion photographs from this period were included in an international survey exhibition of contemporary photography selected by Urs Stahel, Darkside: Photographic Desire and Sexuality Photographed, held at Fotomuseum Winterthur—the Swiss national museum and collection of photography.[83]
Asperger's diagnosis[edit]
Bond has stated that he is a person with autism – specifically Asperger's Syndrome. He has had both Cognitive Behavioral Therapy and psychoanalysis for this condition.[84] In an article in The Guardian in 2012, Bond questioned the use of psychoanalysis with autistic children in France.[84]
Personal life[edit]
Bond is married to art dealer Emily Tsingou. He lives in Kensington, London.[citation needed]
Published works[edit]
- The Gaze of the Lens (Seattle: Amazon KDP, 2011)
- Lacan at the Scene (Slavoj Žižek, series ed., Short Circuits; Cambridge, MA: MIT Press, 2009)
Photography monographs
- Interiors Series (Antwerp: Fotomuseum, 2005)
- What gets you through the day (London: Art Data/Lavie, 2002)
- Point and Shoot (Ostfildern: Cantz, 2000)
- La vie quotidienne (Essen: 20/21, 1999)
- The Cult of the Street (London: Emily Tsingou Gallery, 1998)
- Documents (London: APAC/Karsten Schubert Limited, 1991)
- 100 Photographs (Farnham, Surrey: James Hockey Gallery, 1990)
Documentation of video works
- Safe Surfer (Lyon, France: Biennale de Lyon, 1995)
- Deep, Dark Water (London: Public Art Development Trust, 1994)
- Hôtel Occidental (Nice, France: Villa Arson, 1993)
Edited books
- Henry Bond and Sarah Lucas, East Country Yard Show (London: East Country Yard, 1990)
- Henry Bond and Andrea Schlieker, Exhibit A (London: Serpentine Gallery, 1992)
Essays in edited books
- "The Hysterical Hystery of Photography." In Urs Stahel (ed.), Darkside I: Photographic Desire and Sexuality Photographed, (Göttingen, Germany: Steidl, 2008)
- "Comments on this Series." In Christoph Ruys (ed.), Henry Bond: Interiors Series (Antwerp, Belgium: Fotomuseum, 2005)
- "Montage My Fine Care: Five Themes with Examples." In Henry Bond & Andrea Schlieker (ed.), Exhibit A (London: Serpentine Gallery, 1992)
See also[edit]
- ^ Archer, Michael, "Overlapping Figures. " In How To Improve the World: 60 Years of British Art, London: Hayward Gallery, 2006, p. 50, i.e., "Then later still there is the generation of Damien Hirst, Sarah Lucas, Angela Bulloch, Henry Bond and Liam Gillick, the earliest of the yBas (young British artists)."
- ^ Henry Bond The Cult of the Street (London: Emily Tsingou Gallery, 1998) Unpag.
- ^ Ana Finel Honigman "Henry Bond in Conversation with Ana Finel Honigman," Archived 27 September 2013 at the Wayback Machine Saatchi Gallery, 10 July 2007.
- ^ "Middlesex University: MA Psychoanalysis". Mdx.ac.uk. 19 May 2009. Retrieved 12 April 2010.
- ^ Henry Bond, Lacan at the Scene (Cambridge, Mass. : The MIT Press, 2009), p. 200, footnote 31; p.220. footnote 20. A snippet view is available on Google books.
- ^ Ana Finel Honigman "Henry Bond in Conversation with Ana Finel Honigman," Archived 27 September 2013 at the Wayback Machine Saatchi Gallery, 10 July 2007. To wit: "These relationships are discussed in detail in the text of my PhD thesis. They don't really function as brief anecdotes. If your interest is aroused, then please refer to the complete text."
- ^ Kingston University Kingston University: Photography MA: Who teaches this course, accessed, 31 October 2010.
- ^ Kingston University Staff Directory, retrieved 09 04 2011.
- ^ Andrea Walker Jacques Lacan: Detective and Cyborg The New Yorker, 19 June 2009.
- ^ Henry Bond, Introduction to Lacan at the Scene (Cambridge: MIT, 2009) p. 1.pdf available[permanent dead link] from MIT. Retrieved, 13 January 2012.
- ^ Henry Bond, 'Hard Evidence' in Lacan at the Scene (Cambridge: MIT, 2009) p. 23 pdf available[permanent dead link] from MIT.
- ^ Emily Nonko The Exquisite Corpse? Bomblog, 5 February 2010.
- ^ Josej Braun, Hop Scotch: CSI: Photography," Vue Weekly, Issue 745, 28 January 2010.
- ^ Parul Sehgal "Book Review: Lacan at the Scene," Time Out New York, Issue 738, 19–25 Nov 2009
- ^ Ana Finel Honigman, "Henry Bond in Conversation with Ana Finel Honigman," Archived 27 September 2013 at the Wayback Machine Saatchi Online, 10 July 2007
- ^ Viola Brisolin, "Lacan at the Scene" in The European Legacy, Volume 16, Issue 5, August 2011.
- ^ Margaret Kinsman, "The lure of the crime scene," Philosophy of Photography, London, Volume 1. Number 1, 2010., p. 116.
- ^ Emily Nonko "the Exquisite Corpse?" Bomb Magazine/Bomblog, 5 February 2010
- ^ Parul Sehgal, "Book review: Lacan at the Scene," Time Out New York, Issue 738, 19–25 November 2009.
- ^ Daniel Hourigan "Henry Bond: Lacan at the Scene," Metapsychology Online Reviews, posted 2 March 2010.
- ^ a b Unattributed, "MIT Published Author Switches to Kindle Direct Publishing-Platform," Artdaily, 19 August 2011.
- ^ Ben Seymour, "Review: Henry Bond" Archived 22 November 2008 at the Wayback Machine Frieze, Issue 54, October 2000
- ^ a b Stephan Schmidt-Wulffen, Henry Bond in Conversation with Museum Director Stephan Schmidt-Wulffen. In, Henry Bond: The Cult of the Street. London: Emily Tsingou Gallery, 1998, unpaginated.
- ^ Jonathan Jones, Keith Coventry: Emily Tsingou Gallery, The Guardian, 26 September 2000.
- ^ See, for example: Tony Naylor, "Thieves Like Us," [a story on anarchist group Decadent Action] The Face, 9/1997, p. 124–28. Facsimile available of p. 124–25; Siân Pattenden, "Fitter, happier, more productive?" The Face, 3/1998, p. 170–74. Facsimile available of p. 170–71.
- ^ Stallabrass (1999)p.134.
- ^ Chris Townsend (ed.) Rapture: Art's Seduction by Fashion Since 1970 (London: Barbican Art Gallery/Thames and Hudson, 2002). Overview on Google books
- ^ Chris Breward & Edwina Ehrman (ed.) The London Look: Fashion from Street to Catwalk (Newhaven: Yale University Press, 2004); Overview on Google books
- ^ a b "Tamsin Blanchard, "Everyday people." In ''The Independent'', May 16, 1998". London: Independent.co.uk. 16 May 1998. Retrieved 12 April 2010.
- ^ Julian Stallabrass, High Art Lite (London: Verso, 1999), p.133. The complete section in Stallabrass is on Google Books here [1]
- ^ "David Barrett, "Henry Bond at Emily Tsingou Gallery," ''Art Monthly'', June 1998, p.33". Royaljellyfactory.com. Archived from the original on 15 July 2011. Retrieved 12 April 2010.
- ^ Le consortium Exhibitions archive
- ^ Jennifer Purvis, "Capturing private moments of a gritty London," The Japan Times, 11 November 2000
- ^ Benedict Seymour, "Review: Henry Bond" Archived 22 November 2008 at the Wayback Machine Frieze, Issue 54, October 2000
- ^ Photonews: Zeitung für Fotografie, Hamburg, Germany, May 2000.
- ^ "Hatje Cantz Verlag Prämierte Büche, retrieved, 28 March 2010". Hatjecantz.de. Retrieved 12 April 2010.
- ^ Henry Bond "Comments on this Series," in Christoph Ruys (ed.) Henry Bond: Interiors Series (Antwerp: Fotomuseum, 2005), p. 6.
- ^ "Anya Gallaccio" Archived 7 August 2011 at the Wayback Machine, The British Council. Retrieved 14 March 10.
- ^ a b Bush, Kate. "Young British art: the YBA sensation", Artforum, June 2004, p. 91. Retrieved from findarticles.com, 14 March 2010.
- ^ Andrew Graham-Dixon, "The Midas Touch?: Graduates of Goldsmiths' School of Art dominate the current British art scene," The Independent, 31 July 1990, p. 13.
- ^ Patrick, Keith (2000). "Foreword" in Sarah Bennett and John Butler (ed.), Locality, Regeneration & Divers[c]ities, Bristol: Intellect Books, 2000, p. 9
- ^ Andrea Schlieker, "Preface." In Bond and Schlieker (ed.), Exhibit A (London, Serpentine Gallery, 1992), p. 7.
- ^ Kate Bush, "Exhibit A," Art Monthly, June 1992, pp. 15–16.
- ^ Ian Jeffrey, "Exhibit A and the Everyday." In Henry Bond and Andrea Schlieker (ed.) Exhibit A, Vol. II, (London: Serpentine Gallery, 1992), p. 17.
- ^ See artists' pages, pp. 2–3; 16–45; and images accompanying scholarly essay, Andrew Renton, "Disfiguring: Certain New Photographers and Uncertain Images," pp. 16–21.
- ^ Also see the comments on that issue made by David Brittain in his Obituary of fellow Creative Camera editor, i.e., David Brittain, "Peter Turner 1947–2005," Afterimage, Sept–Oct 2005.
- ^ See: Creative Camera issues 309/310/311/312. A comprehensive database of the magazine contents on hwwilsonweb.com (athens signin required).
- ^ Facsimiles of the pages on Bond's archive, i.e., Hirst (Issue 309, April–May 1991, pp. 2–3); Fairhurst (Issue 312, October–November 1991, pp. 2–3).
- ^ See the material held on Bond at the Artist's Film and Video Study Collection which includes printed examples of the original flyers to the screenings. The project was also presented at Moderna galerija, Ljubljana—Slovenia's national museum of modern art—in 1994.
- ^ Carolyn Christov-Bakargiev, "Someone Everywhere," Flash Art, Summer 1991. pp. 106–110. In particular, Christov-Bakargiev states, "The pictures were not taken by Bond himself, and were instead collected by him at photo labs from among those rejected or never picked up by the shops' clients." (p. 106).
- ^ Tony White, "East Country Yard Show," Performance, September 1990, p. 60; White states, "...snap-shots from the dustbins of 24-hour processing labs."
- ^ Liam Gillick, "Keeping the River in Mind." In Henry Bond/Angela Bulloch, Documentary Notes (London: Public Art Development Trust, 1996), p. 6.
- ^ Bond Villa Arson Archive. Retrieved, 24 January 2012
- ^ "Arts for All," The Independent, 3 February 1995.
- ^ Stuart Morgan, "Stuart Morgan visits the Institute of Cultural Anxiety," Frieze, Issue 21, March 1995, p. 35. Also see: Alexander Hacke, "How to destroy the ICA with drills," The Guardian, Friday, 16 February 2007.
- ^ Tate collection: Henry Bond. Accessed, 27 November 2010.
- ^ Courtauld Institute Press: Exhibitionism: The Art of Display Archived 21 September 2010 at the Wayback Machine. Accessed, 27 November 2010.
- ^ Elizabeth Manchester "Tate: Other Men's Flowers, Accessed, 13 November 2011
- ^ a b Henry Bond & Liam Gillick, "Press Kitsch," Flash Art International, Issue 165, July/August 1992, pp. 65–66.
- ^ Karsten Schubert (ed) Henry Bond and Liam Gillick: Documents (London: Karsten Schbert Limited, 1991.)
- ^ Maureen Paley (ed.) On: Henry Bond, Angela Bulloch, Liam Gillick, Graham Gussin, Markus Hansen (London and Plymouth: Interim Art/Plymouth Arts Centre, 1992); also see Interim Art timeline Archived 11 October 2007 at the Wayback Machine
- ^ Emma Dexter, "London 1990–2001." In, Iwona Blazwick (ed.) Century City: Art and Culture in the Modern Metropolis (London: Tate, 2001), p. 84. Snippet view available on Google books.
- ^ "Tate Modern | Past Exhibitions | Century City Exhibition". Tate.org.uk. Retrieved 12 April 2010.
- ^ Bond and Liam Gillick (Bond (b. 1966), Gillick (b. 1964))&searchParameter2=487 Arts Council Collection Archived 14 May 2012 at the Wayback Machine Accessed 21 November 2011
- ^ FRAC Poitou-Charentes Collection Accessed 21 November 2011
- ^ Nicolas Bourriaud, Relational Aesthetics (Dijon, France: les Presses du réel, 1998), p. 46. A pdf of relevant extract is available at Hints.hu
- ^ "The British Council's Venice Biennale Timeline". Venicebiennale.britishcouncil.org. Archived from the original on 13 April 2010. Retrieved 12 April 2010.
- ^ Benjamin Weil, "Emergency." In Achille Bonito Oliva and Helena Kontova (eds.) XLV [45th] Biennale di Venezia: Aperto '93, Emergency/Emergenza (Milan: Giancarlo Politi Editore, 1993), ISBN 88-7816-053-9.
- ^ Jane Rendell, Art and Architecture: a place between (London: I.B. Tauris, 2006), p. 64. Snippet view available on Google Books.
- ^ Henry Bond, Deep, Dark Water (London: Public Art Development Trust, 1994).
- ^ "De Appel exhibition archive, retrieved 25 March 2010". Deappel.nl. 10 September 1994. Archived from the original on 18 July 2011. Retrieved 12 April 2010.
- ^ See the partial Filmography/Biographical CV held in the British Artists' Film and Video Study Collection.
- ^ http://www.allbusiness.com/finance-insurance-real-estate/real-estate/4410847-1.html All Business [unattributed] "The Cooper Union Appoints Saskia Bos Museum Director and Noted Curator to Head School of Art," 15 July 2005
- ^ Thierry Raspail (ed.) 3e Biennale de Lyon: installation, cinéma, vidéo, informatique (Paris: Seuil, 1995) p. 1950. Snippet view available on Google Books.
- ^ See, for example, the Bond spread in i-D, June 2006 ("The Horror Issue") captioned, "Armani modelled by contemporary art collector Helen Thorpe."
- ^ See, for example: "The Obsessions" in Self Service, Spring/Summer 2003, p. 62-79.
- ^ "Purple Archive (Issue#2 Cover story was photographed by Bond)". Purple.fr. Archived from the original on 5 October 2009. Retrieved 12 April 2010.
- ^ See, for example: "Sloane Square," [Photographer: Henry Bond; Stylist: Nancy Rohde] Nova, Sept 2000
- ^ "Next Style/Fashion: We're Infatuated with it...," The Face, March 2000. p.156.
- ^ Tamsin Blanchard (28 October 2001). "Tamsin Blanchard, "Brand New Brand," ''The Observer'', 28 October 2001". London: Guardian. Retrieved 12 April 2010.
- ^ Photos from Bond's Mulberry campaign Archived 13 March 2012 at the Wayback Machine on Anna Friel official website.
- ^ Vogue.co.uk
- ^ "Exhibition information on e-flux". E-flux.com. 5 September 2008. Archived from the original on 17 April 2010. Retrieved 12 April 2010.
- ^ a b Henry Bond "What autism can teach us about psychoanalysis,", The Guardian, 16 April 2012, accessed 17 April 2012.
External links[edit]
- List of books by Henry Bond held at the National Art Library, England.
- Artist's personal website: Henry Bond
- Tamsin Blanchard article
- Interview on Saatchi Blog with Anna Honigman
- Walker Art Center press release
- Facsimile invitation card to The Cult of the Street exhibition at Emily Tsingou Gallery, 13 May – 27 June 1998.
- Example from The Cult of the Street in the Swiss national photography collection at Fotomuseum, Winterthur.
- Frieze review
- Facsimile of invitation card to Point and Shoot exhibition at Emily Tsingou Gallery, 9 May to 30 June 2000.
- Lacan at the Scene
- 1966 births
- Academics of Kingston University
- Alumni of Goldsmiths, University of London
- Alumni of Middlesex University
- Alumni of the University of Gloucestershire
- Art curators
- British conceptual artists
- English art critics
- English contemporary artists
- English male non-fiction writers
- English non-fiction writers
- English photographers
- Living people
- People from Upton Park, London
- People with Asperger syndrome
- Street fashion
- Young British Artists


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There is far more water used in the preparation and curing process than in the mix itself. If you have a limited water supply, be sure to account for this extra water requirement. Follow these steps to make sure you have the best plaster job available. Be sure to protect your walls from wind, rain, and direct sun by hanging tarps.
Tag Archives | strawbale
Unique Straw Bale Home For Sale in Mt. Shasta, CA
This unique home was built in 2008 using passive solar and straw-bale construction techniques (the entire south wall of the house is glass, and the home's post and beam constructed walls are insulated with straw-bales).
Straw Bale and Steel Framing
Special care must be taken to protect straw bales from condensation when using steel framing in a straw bale house. Without isolating the steel from the bales, the risk of long term damage to the structure is high. Don't take that risk. Instead, follow some simple work arounds to protect your bales and your investment.
Too Many Plaster Failures
Over the years I have spoken many times about the importance of a quality plastering job. That importance has not waned, and I am unfortunately hearing more and more stories about failed plaster jobs around the world. A large percentage of the consulting work I do is helping clients deal with these plastering issues. There are two common themes, or dare I say causes for the failures. If you avoid these two approaches to plastering your home, your plaster should provide you with a very long life.
Plumbing Details in Straw Bale Construction
You have likely heard me say this before, but it is worth saying again: keep your plumbing out of your bales. Of course, it's not as simple as that when it comes to adding plumbing to a straw bale house. There are obviously more details to consider in order to ensure that the straw bale walls are not damaged by water infiltration. The good news is that there are a limited number of locations to consider in terms of potential water damage from plumbing in a straw bale home so managing the installation is easier than you may think. In this article, we will look at the major areas of concern and I'll show you my preferred solution for each location.
Incredible Piece of Heaven For Sale
This incredible piece of property is where I used to live and where I raised my kids for 11 years. It is one of the most incredible pieces of land I know of. I am sad to see it go; however, I understand that it is too much for one person (my mother-in-law) to manage on her own. It is time for the next adventure for her and so the land must find a new partner to inspire. Maybe it will be you.
CASBA Spring Conference April 12-14, 2013
For those of you looking to connect with other like minded folks in the straw baling world, the CASBA Spring Conference is coming up April 12-14.
A Review of Electrical Installations in Straw Bale Houses
In this post, I will teach you the most up to date and highest quality installation techniques for installing electrical service in your straw bale home. Knowing these techniques is important whether you plan to do the work yourself or hire a subcontractor to do it for you. Chances are that any electrical subcontractor you hire will have very little experience in straw bale installations, and may have never seen the new techniques I have created for simplifying and improving the installation of electrical services in your straw bale house.
Three Year Old Slaked Lime Putty For Sale
I recently received an email from a gentleman in Kansas who has literally 10,000 gallons of lime putty he is looking to sell. They are currently selling the putty at $2 per gallon which is a very good price for such yummy lime putty.
Spring is Coming…Straw Bale Plans to Speed Things Up!
We have recently added a bunch of construction drawings of straw bale houses (full sets of plans) to our website bringing the total to nineteen sets. We have several different architects represented with several different styles. Everything from simple to elaborate is available.

subset: commoncrawl


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For those of you who don't know me in the real life. I am married with 4 children and I drive a hellish commute to work daily. With that said it should be obvious that my free time is very limited and my ability to play games is even more limited. I try to play lots of games; Warhammer 40,000, Magic: The Gathering, World of Warcraft, League of Legends, WarMachine, various board games and other internet bullshit games I come across. I like to think I play these games to a degree of skill and with an ability to win, but this all takes time. Reading, planning, plotting, listening to podcasts, painting, tournaments, it's all a massive time sink and let me tell you all, time is something you never have when you have 2 babies and a teenager. Football practice, homework help, diapers, bottles, cleaning, cleaning, oh and did I mention cleaning?!?! Sooo, why the fuck am I saying this?
Well the demand of it all is pretty overwhelming. I am not a fan of bitching to bitch so I do not want or expect any sympathy. I knew what I was getting myself into when it was all happening, I just did not understand what it all meant at the time. I can attribute it to lifting lots and lots of weight. I know I can hold 80 lbs in my right hand, 80 lbs in my left hand, I can squat 300 lbs and legs press 800 lbs, but can I do all this at the same time? FUCK NO!!! Damn. This is where I fucked up! Fortunately, like with weights, its a simple solution. I need to put stuff down and stop trying to do so much! I think that is what growing up is about. When I was younger (Not that I am super old now at 30) I notoriously burned the candle at both ends. Running a raiding EQ guild, managing a Sizzler, going to college and DMing a super awesome D&D campaign. The difference of now and then though is simple. No one depended on me for anything. The factor that has changed in my life is responsibility. I now have a full plate of adult responsibilities on top of trying to be a top(ish) level gamer and all the effort and responsibility that involves its just a lot to bear. Again, the easiest responsibility to alleviate is the gaming. So what am I getting at?
Increases of responsibility, unbearable stress from all angles and not enough time to do anything with life, the simplest solution is to give up gaming for a while. The truth is, that is what I was leaning towards, but in reality the easy road is not the one I ever take. I am inclined to challenge myself to accomplish great things, like be a great father and husband and a great gamer all at the same time. Growing up, in my opinion is learning how to cope with the challenges life throws at us and becoming a stronger person for doing it, and never letting a challenge get in our way. Overcoming obstacles are moments that I cherish and I am looking forward to trying to make it all work.
I also want to take this opportunity to thank my Wife for reminding me that I do have other things to consider in life and for helping me better handle the expectations set before me. I love you Sendi. I will be home soon.
Thursday, September 8, 2011
The Truth as it Applies to Me: Growing up.
Posted by Blood Lord Soldado at 4:25 AM
2 comments:
Worst. Gaming. Blog. Ever!ReplyDelete
Best wishes to you, Blood Lord. Sorry to hear that you have to give gaming a pass for the time being, I hope you're able to get back to the things you enjoy doing soon. If you like to paint perhaps you could keep that going a little when life allows for it, though I understand how frustrating it can be when you feel like you don't even have time for that. Good luck!ReplyDelete
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I hate being fat
I am sure that no one wants to be fat. There are enough medical reasons to put anyone off for life. However, the fact is, some of us are, and we hate it. Some people are fat and like it that way. I for one wish them luck and hope they enjoy their life. Nevertheless, I hate being fat and here is a list of the reasons I hate being fat:
- When I walk, the tops of my thighs stick together and rub. Very uncomfortable and sometimes the rub together and bleed. Not nice at all.
- Clothes shopping, it is just a nightmare. I am convinced that clothes makers only make clothes for thin people. I am sure they believe that anyone over a size 16 just shouldn't be allowed out of the house let alone wear clothes. Guess what, we are allowed out of the house, and we like to look nice.
- I was playing with my dog and had to bend down and pick up a toy, it had rolled under a table, and it was so uncomfortable to get down on the floor and then get up. My weight is just in the way.
- To stop snoring, although I do snore in a very lady like way.
- I cannot get on the ground and then get up in a dignified way.
- Fed up of feeling heavy and out of sorts.
- Always worrying about the fit of my clothes "Does this make me look fat".
- Feeling tired all the time, even after a good nights sleep.
- Stop looking at my larger clothes and thinking, can I get into those tents today.
- Having to cover up in the summer. I dream of a pair of shorts and a t-shirt.
This list is in no particular order, but the list is growing.
- Not having the confidence to wear a swimsuit at the beach or the swimming pool.
- Having to buy a track suit instead of a pair of jeans. Levi – oh those were the days.
- Pondering how big a muffin top I can get away with!
- Reaching over to clean me after my ablutions
- Not being able to tie my shoe laces or putting on socks without heaving my leg up and placing it on my knee.
- Looking at a hill and thinking, where's the car.
- Getting rid of the double-boob, although sometimes this is OK as the double-boob is very soft.
- I have done it before; I can do it again, one last time.
- To stop people looking at me and thinking that I am thick and stupid.
- Being accused of being pregnant.
- To wear a crisp white cotton shirt that is tucked into a pair of blue jeans.
- Nice to walk into a shop and buy off the peg.
- To look in a mirror and be happy with the reflection.
The I hate being Fat list will grow
- My fingers have grown so much, that I can no longer wear my rings
- Turning over in bed means that I have to grab hold of the bedstead to give me that little extra support.
Buying a pair of ladies plus size trousers is hard, especially if most of the shops just don't cater for you or your size. When you do find a pair of ladies plus size trousers to try on, then your troubles really start. I discovered moon sized craters in my dressing room...
Standing up is hard when you're fat and an adult, but when did this happen to ME? As a child, I remember, I use to run into the living room, slide along the carpet and end up sitting in front of the Television. I would end up sitting the lotus position...


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|The Sims 2 Apartment Life - Trascrizione della chat dal sito ufficiale
|Friday, 29 August 2008 00:00
Page 2 of 2
Apartment Life chat by Paperpin!
As it usually happens everytime a new EP is released, The Sims 2 producers meet players on the official website's chatline, and for about two hours they answer every question the useres ask.
Buy & Build Mode
There are many new things in these areas: first of all, producers said they're proud of the introduction of ceilings, that finally will be visible in every lot of the 'hood, both residential and community ones. To enable the visualization of ceilings you will have to select the related option in the UI, but as for the walls, in every game mode we could choose to show ceilings or not.
About roommates..it has also been stated that in every apartment we can move up to 8 playable Sims and 2 pets. Well yes, we can have a total amount of 32 playable Sims and 8 pets!
Another interesting new object is the bookcase/trap-door: it looks like an ordinary bookcase but if we choose a specific book, it will turn and open a passage; thus, we can create some kind of secret room or enter other parts of our house in a ..."different" way!
We can also characterize more the various parts of the 'hood, for example with the neighborhoods decorations that will differentiate high-class places from slumps.
Once the apartment is rented, it will not be possible to modify the structure of the house, nor to add or take off doors: the only things your Sims will be able to customize are wallpapers, floors, ceilings and furnishing; notice that objects can be placed freely on the wall!
In apartment lots, however, it will not be possibile to create shops and commercial activities.
Some details of the apartment life: Sims can share their apartments with a roommate (one for each family), that will be like a pet, that is, we can see his/her needs and features but we cannot control him/her (unless we use the same cheat we use to make pets selectable!); obviously, we can decide to make him/her part of our family by marrying him/her. The roommate will pay his part of the rent according to how many people are there in the apartment (if there are only two Sims, s/he will pay a half, and so on), and basically s/he will be a quiet and helpful one. In some cases we may have noisy and chaotic mates, but we can kick them out whenever we want to. Obviously, roommates cannot kick us out.
Living in the apartment
Every apartment is owned by a NPC-Landlord, who arrives in the lot in the morning and leaves in the evening, spending his/her time taking care of the garden, of the trashcans and stuff. Since it is an NPC, we can marry him/her, kill him/her and so on, but the game will re-create another one. It will not be possible to own a condo, however, bestfriending with the landlord will allow us to have little discounts on the rent.
Neighbors, instead of roommates, can be a trouble for you (and you can be for them!): if your apartment is next to the one of noisy and messy characters, you may need to scream and shout to sleep, or knock on the wall or again enter your neighbors' home and tell them to quit the noise. However, you won't need to call the police!
With Apartment Life you can also visit other people's apartments, as it happens in dorms, by knocking on neighbor's doors and making friends. In this way you can also see their house furniture and structure.
Sims can also earn some benefits building their own positive reputation and being welcomed by everybody. Instead, if Sims are rude and noisy the will be hated by the world!
Children and teens
Finally, little ones will have new activities to do: babies will have a new toy to play with, while toddlers and children can enjoy the new playground. Parents will also be able to read their children to sleep and swing them around by the arms.
A new feature for teens: if they miss the bus they will be able to walk to school, without sulking at home the whole day!
Players who own Pets can take with them up to 2 pets, but also those who do not have this EP can have a four-legged friend: there will be lap dogs with their own pens, that can be cuddled as we like.
Butlers and NPCs
As already stated, Sims can hire a butler that works for them 24/7 and takes care of the house, repairs broken things, looks after children, cooks and opens the door when someone knocks.
Other NPCS you will find are Sims belonging to several social categories, that we'll be able to recognize from the way they are dressed and greet; it is important to notice that according to the kind of condo or area of the 'hood, there will be a different social group. We won't find high-class Sims in slumps or suburbs.
Witches and wizards
And here we are to the most expected feature of this EP: witches! Witches are a new category of Sims, and as stated previously, can be of three kinds: evil, good and neutral (this worth also for wizards). In every neighborhood we'll find two rival High Witches, the one of the light and the one of the dark, and by bestfriending with them we can become one of them.
Witches and wizards obviously create filters and potions, and ingredients can be bought or made, and if you own EP like Nightlife or Seasons, witches can also create potions to cure vampirism or plantsimism, and so forth.
We only have to wait until August 29th, which should be the European release date of the game!
|Last Updated on Sunday, 01 May 2011 02:08


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Definition - What does Desa-Kala-Patra mean?
Desa-kala-patra is a Balinese life doctrine that explores the relationship and dynamics of where one lives, when one lives and the circumstances in which one lives. The words translate as desa, meaning "place"; kala, meaning "time," and patra, meaning "individual." Desa-kala-patra recognizes that all aspects of life are influenced by these factors and can determine the circumstances that an individual can and cannot control.
Yogapedia explains Desa-Kala-Patra
The concept of desa-kala-patra helps yogis put their life and circumstances into perspective based on what they can and cannot control while helping them make the best decision to meet goals that work in harmony with these elements. An individual can change many approaches from small to large based on understanding these concepts, while also understanding throughout the course of their life how they have experienced these elements has also changed.
The dynamic modern world is based on a yogi's perception of time, place and who they are; but, yogis are often limited by those very same variables. The recognition that place, time and circumstance can be different in all situations, allows the yogi to expand their understanding of other yogis as well as of themselves. While a yogi cannot control the time, the geography or climate of where they were born or live, they can create awareness of how those things affect their lives.


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Perhaps more than any other position group on the team, the Seattle Seahawks' defensive line underwent massive changes in the months following their Super Bowl XLVIII victory.
Seahawks fans shouldn't take that lightly. The incredibly deep D-line group used a heavy rotation in 2013, harassing opposing quarterbacks and playing a huge role in Seattle's No. 1-ranked pass defense.
Gone are longtime contributors like fan-favorite Red Bryant and pass-rusher extraordinaire Chris Clemons — both of whom joined former Hawks defensive coordinator Gus Bradley in Jacksonville, aka "Seattle East" — as well as underrated defensive tackle Clinton McDonald, who signed with Tampa Bay after a standout season for the Super Bowl champs.
In their place, GM John Schneider, head coach Pete Carroll and defensive coordinator Dan Quinn will likely shorten up the D-line rotation, relying on a couple of young, untested players as well as one key veteran addition for depth.
Will that be enough to repeat their stellar performance from last year?
Roster locks
DE Cliff Avril (seventh season, Purdue)
Avril gambled and lost in 2012 entering the final year of his previous contract, turning down a three-year, $30 million extension offer from the Detroit Lions — where he was a third-round pick in 2008 — and settling in the following offseason for a $12 million deal for two seasons with Seattle. But his play during the Seahawks' Super Bowl campaign should mean a lucrative deal ahead for the pass-rushing veteran.
After missing the 2013 season opener at Carolina, Avril played in the rest of the Seahawks' regular-season and playoff games as the "Leo" rush end, ranking second on the team with eight sacks and leading the squad with six forced fumbles. The 28-year-old played big in Super Bowl XLVIII, racking up six hurries and three hits on Broncos quarterback Peyton Manning.
DE Michael Bennett (sixth season, Texas A&M)
Perhaps no player in the NFL outplayed expectations last season more than Bennett, who signed an oh-by-the-way one year, $5 million deal with the Seahawks for 2013 after generating lackluster interest on the open market. All he did afterward was lead Seattle with 8.5 sacks and perform just as well in run defense, routinely penetrating into the opposing backfield while displaying a relentless motor when lined up outside at end or inside during passing downs.
After publicly stating he wouldn't take a "hometown discount" to remain with the Hawks, the 28-year-old did just that, agreeing to a four-year, $28.5 million contract at the beginning of free agency. With Clemons and Bryant gone, Bennett has already stepped into a leadership role on the Seahawks' defense and should see an increase from the 619 snaps he played in 2013.
DT Brandon Mebane (eighth season, California)
After toiling in relative obscurity for most of his career, Mebane is suddenly one of the most talked-about defenders in the league.
OK, that might be a stretch, but the 6-foot-1, 311-pound run-stuffer has seemingly gotten his due after being named the most underrated player in the NFL in June. The longest-tenured current Hawks player has been a stalwart in the middle of the line for years, plugging gaps and taking on blockers to allow his defensive teammates to make plays.
Mebane has also made a lot of plays on his own, averaging over 52 tackles per season since 2011. The 29-year-old will be entering the last year of his five-year, $25 million contract in 2015, so his performance this season will likely go a long way in determining his long-term future with the team.
DT Tony McDaniel (ninth season, Tennessee)
After starting just five games in his first seven NFL seasons, McDaniel signed a one-year deal with the Seahawks prior to last year and proved to be another savvy free-agent addition for Seattle's Super Bowl season. The 6-foot-7, 305-pounder proved he was more than just a run-stopper, starting 15 games inside while piling up 53 total tackles, two sacks and 15 quarterback hurries.
An unrestricted free agent after the season, McDaniel re-signed with the Seahawks on a two-year deal worth $6.3 million. The 29-year-old will likely start at defensive tackle again this season, but with Bryant's departure, he could also see some time at defensive end in the team's jumbo packages.
DT Kevin Williams (12th season, Oklahoma State)
The Seahawks waited a long time to make a splashy move in free agency in 2014, signing Williams in June, just before the team opened up its mandatory minicamp. The six-time Pro Bowler and five-time first-team All-Pro has been one of the most dominant defensive linemen in the last decade. And though his production slipped the last couple of seasons, Seattle is betting the 11-year veteran has enough left in the tank to be an impactful rotational player.
Williams won't be asked to be on the field nearly as much as he was in Minnesota — his career-low 733 snaps in 2013 was nearly 200 more than the highest total for a Seahawks interior lineman last season — and that's part of the reason he signed with the defending champs.
DE Greg Scruggs (third season, Louisville)
After picking up a pair of sacks in his rookie season in Seattle, the 2012 seventh-round pick seemed poised to be a big contributor for the Hawks' defense in 2013. But Scruggs tore his ACL prior to the 2013 draft and landed on injured reserve.
Now healthy and having bulked up to 310 pounds on his 6-foot-3 frame, the 24-yeard-old will be counted upon to help fill the role of Bryant. Like Bryant, Scruggs is a tackle-sized body playing end in the Hawks' base 4-3. Scruggs is also athletic enough to play inside in the team's nickel package.
Scruggs has impressed in the offseason and is one of the key youngsters being counted upon to make a big contribution in the Seahawks' title defense.
DE Cassius Marsh (rookie, UCLA)
When the Seahawks took Marsh with the first of three fourth-round picks in May's NFL draft, they hoped they'd grabbed another player with Bennett's versatility and high-effort playing style. Through offseason workouts, training camp and a couple preseason games, it looks like that just might be the case.
After playing his first two college seasons inside at nearly 300 pounds, Marsh cut weight to emerge as a starting end in UCLA's 3-4 scheme the past two seasons. He'll be asked to bulk up to play around 275 pounds for the Hawks, who believe he'll be able to play on the outside and rush from the interior of the line on passing downs, like Bennett.
Marsh has been a standout during training camp and dodged serious injury after going down in practice last week. He should see a good deal of work in his rookie season.
On the bubble
DE O'Brien Schofield (fifth season, Wisconsin)
The Hawks thought they lost Schofield after he signed a two-year, $8 million contract with the New York Giants in March. But the deal fell through after the 27-year-old reportedly failed his physical with the Giants due to a knee issue. Eventually, Schofield settled for a one-year deal worth $730,000 to return to Seattle.
The Giants might want a do-over.
Schofield has been a terror this summer, with a sack, four quarterback hurries and three quarterback hits through the first two preseason games. A year after the Seahawks claimed him off waivers from Arizona, Schofield looks like a near certainty to make the roster as a key reserve.
DT Jordan Hill (second season, Penn State)
Hill, Seattle's third-rounder last season, was supposed to battle with fellow 2013 draft pick Jesse Williams for a spot as a reserve in the middle of the Hawks line. But after a knee injury knocked Williams out for the second year in a row, Hill became the odds-on favorite to join the rotation in 2014.
Injuries limited Hill to just four games last season, but he showed flashes in very limited action and could contribute right away as an interior pass-rusher.
DE Benson Mayowa (second season, Idaho)
The second-year pro earned a spot on the 213 active roster as an undrafted free agent and impressing during a standout preseason. But after gaining some weight to compete for a job as a Leo end behind Avril, Mayowa has been relatively quiet in the run-up to 2014. With Schofield's strong showing this summer, 23-year-old Mayowa may be destined for a spot on the practice squad.
Likely Cuts
DT Andru Pulu (rookie, Eastern Washington)
The former Washington Huskies player finished his career with the Eastern Washington Eagles, and could possibly land on the practice squad as a developmental prospect.
DT Michael Brooks (second season, East Carolina)
The 6-foot-3, 276-pounder split last season between the Hawks' practice squad and active roster, and could do the same again this year.
DT D'Anthony Smith (fifth season, Louisiana Tech)
A third-round pick of the Jaguars in the 2010 draft, Smith needs a strong couple of weeks to prove he deserves a reserve role on the Seahawks.
DT Jimmy Staten (rookie, Middle Tennessee State)
The fifth-round pick struggled with injuries in training camp and looks like a candidate for the practice squad.
Visit seattlepi.com for more Seattle Seahawks news. Contact sports reporter Stephen Cohen at firstname.lastname@example.com or @scohenPI.


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Bilingual Chamber Music New Zealand brand refresh
VOICE Brand Agency puts language partnership at heart of Chamber Music New Zealand brand refresh
VOICE Brand Agency (Auckland, Melbourne) has launched a refreshed, dual brand for Chamber Music New Zealand (CMNZ) as part of its creative partnership with CMNZ.
While Chamber Music New Zealand remains the presenting organisation, Music Up Close and Puoro Taupiri are the new consumer-facing sister brands used to engage audiences.
VOICE and Chamber Music New Zealand have worked closely with Te Haumihiata Mason, former Kaitiaki Reo (language guardian) of Te Taura Whiri i te Reo Māori (Māori Language Commission) to select Puoro Taupiri – 'puoro' meaning music and 'taupiri' meaning intimacy or closeness in an intimate sense from a range of options presented as the partner phrase for Music Up Close.
"Our approach was to develop two sister logos in English and Te Reo that had a similar word structure for visual balance," says VOICE's Principal Jonathan Sagar, "but they also had to mean the same thing and have the same benefits. That wasn't a straightforward task but it was very important that it was correct. We are really pleased with the result."
"We are a uniquely New Zealand organisation, a genuine champion of this country's multicultural society," says CMNZ CEO Peter Walls. "We needed to communicate our respect and eagerness to engage with our developing cultural landscape, starting with our indigenous heritage. By creating a duo logo identity and integrating Te Reo Māori we hope to illustrate our commitment to treasuring Māori culture and Te Reo Māori as our taonga and connecting with communities across Aotearoa."
"We have been working with Chamber Music New Zealand for a year after they initially approached us to work with them to grow and develop their connection with their existing and new audiences," says Sagar. "The launch of Puoro Taupiri | Music Up Close is a significant step forward and the first tangible manifestation of our creative collaboration."
"The refreshed brand also uses typography designed to reflect the lyricism and essential nature of music itself," says VOICE's Creative Director, Sean McGarry.
"It's important to us that the look of the new name, logo and associated brand materials communicates the very essence of what Puoro Taiwhanga Aotearoa | Chamber Music New Zealand delivers to its audiences, namely an intimate, personal experience of high-quality music," says McGarry.
In addition to VOICE's part-sponsorship for its services to Puoro Taiwhanga Aotearoa | Chamber Music New Zealand it is also tour partner for CMNZ's 2018 season opening concert tour, the Anderson & Roe Piano Duo. The duo are performing around New Zealand until 23 March.
"What excites me most about the brand refresh that has just been launched is that it's a good example of Aotearoa/New Zealand growing up," says Sagar. "The dual logo and branding featuring the two languages side by side, with neither as the lead language, that's a true partnership – which is as it should be."
About VOICE Brand Agency:
Formed in 1993, VOICE Brand Agency is known for the clarity and creativity of its work and its pragmatic, problem-solving abilities. In December 2017 VOICE won three gold, a silver and a bronze award at the Transform Awards Asia-Pacific 2017 held in Hong Kong. Voice were the only New Zealand agency and one of only two agencies in Australasia shortlisted in the awards alongside brands such as Hyundai, HSBC, Amnesty International, Unilever and Konica Minolta.
VOICE believes in creating difference for brands in a world where consumers are overwhelmed with choice. With offices in Auckland and Melbourne, VOICE's depth of capability and experience in regional and global markets coupled with its irrepressible passion for great work is what separates it from the rest.
For more information about VOICE Brand Agency go to: www.voice.co.nz
For more information
about Puoro Taiwhanga Aotearoa | Chamber Music New Zealand


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by Molly Green, American Exchange Student, Master of Public Health Candidate, The University of Michigan School of Public Health
First comes the look of surprise, then the inevitable question: "so how do you like it?" After I tell people that I am spending my summer in Bayreuth for an internship for my master's program, they are always very interested in how I feel about it. From the start of my time here, I have been able to respond with how much I am enjoying Bayreuth.
The city can really only be described as quaint-there are cobblestone streets, cafes, old buildings and huge parks. There is a train station and a central marketplace. There are many museums, two opera houses (because, you know, one just isn't enough), clock towers and palaces. There are wonderful public gardens, and the surrounding countryside is covered in sloping fields and dark forests. Before my arrival, I had been told that Bayreuth was small, tiny even. I would very much disagree. With nearly 70,000 people and 13,000 students at the University, the town is thriving and diverse. "From Michigan to Bayreuth – Impressions of a Summer Internship" weiterlesen


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Cruise to enchanting destinations with Viking River Cruises
Danube Waltz Sail through Germany, Austria, Slovakia and Hungary. Explore Budapest's imperial delights, take in Bratislava's baroque wonders and admire Passau's ancient fortress. Discover why Austria's Vienna is the "Waltz Capital" and the spectacular Wachau Valley is a wine lover's dream. You'll enjoy an included visit to magnificent Melk Abbey and complimentary city tours at every … More Cruise to enchanting destinations with Viking River Cruises


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Donald R. Draughon Jr.
Chairman of the Board of Directors & CEO
Real estate experience for over 30 years:
- Bought or sold over 600 convenience stores as broker or owner.
- Bought and sold 10 NNN lease properties (3 C-stores, 5 Jiffy Lubes, 2 Dollar Generals).
- Development team Robert Trent Jones Golf Club clubhouse at Manassas, VA.
- Worked on development team for 250,000 SF Erwin Square office tower at Durham, NC.
- Developed $23MM charter school, Voyager Academy, for grades K-12 in Durham, NC.
Previous experience includes:
- Founder, CEO of Fuel USA, LLC that owned 65 convenience stores (Jan 2015 – Mar 2016)
- Founder, President and CEO of KeySource Commercial Bank (Jun 2006 – Dec 2014)
- Managing Director at Anderson & Strudwick, Inc. (Jan 2002 – May 2006)
- Founder, Chairman and CEO of Convenience USA, Inc. (Feb 1998 – Dec 2001)
- Managing Director at Baxter Fentriss (Oct 1993 – Jan 1998)
- Senior Financial Analyst for Montrose Capital (Sep 1989 – Sep 1993)
- AVP Wachovia Bank (May 1984 – Aug 1989)
- Board Member of The Pantry, Inc.
Education and industry credentials:
- Brigham Young University (received BA in 1982)
- Wake Forest University (received MBA in 1984)
J.D. Dykstra
Vice Chairman of the Board of Directors & President
Real estate and convenience store (C&G) industry experience over 25 years:
- Involved in +$3 billion of transactions in real estate and C&G as investor, lender, advisor.
- Placed $150 million of debt and equity investments in JV with Silver Point Capital.
- Participated in origination of $293 million of debt/equity investments at Lehman Brothers.
- Originated $665 million of debt and equity investments at Credit Suisse First Boston.
- Coordinated new business efforts for L.A. office of Lennar Partners in acquisition of billions of dollars of non-performing real estate loans.
- Key involvement in $1.6 billion recapitalization of Maguire Thomas Partners.
Companies formed to make investments in convenience store industry:
- Co-founder and President of Fuel USA, LLC, formed in 2015
- Founder of CNG Capital, LLC, an investment firm formed in September 2011
- Founder of StarNet Capital, LLC, formed in 2005 with $5 billion hedge fund.
- Co-founder of Credit Suisse First Boston Specialty Finance making loans to mid-sized C&G and franchise restaurant operators from 1996 to 2000.
Previous real estate experience:
- VP at Lehman Brothers investing through securitized lending, sale-leaseback (2000-2001)
- VP of acquisitions at Lennar Partners (partnership Morgan Stanley RE Fund) (1995-1996)
- Associate at Maguire Partners, a real estate development company (1990-1994)
Education and industry credentials:
- Western Illinois University (BA with major in History and minor in Political Science in 1985)
- University of Denver (MBA with concentration in Real Estate in 1990)
Craig A. Coss
Real estate experience over 30 years:
- Accounting setup and monthly closings for several real estate firms including a publicly held office REIT.
- Proficient with YARDI Accounting Software, JD Edwards and MRI
- Experienced in Real Estate Valuation Software: Argus, Realm, Dyna
Previous experience includes:
- Plant Controller at Sapheon/Covidien/Medtronic (2013 – 2016)
- CFO/Controller at Coldwell Banker Commercial TradeMark Properties (2007 – 2011)
- Director of Accounting/Regional Controller at Highwoods Properties, Inc. Office building REIT (1996 – 2007)
- Towson University (received BS in Business Administration with concentration in Accounting)
Mark A. MacDonald
Real estate experience over 25 years:
- Advised institutional owners in over $5 billion of real estate investment transactions.
- Assisted in raising $850 million of equity in four land Investment funds.
- Led origination, negotiation and closing of five complex institutional joint ventures with a total value of over $1 billion.
- Leased over 750,000 square feet of Class A commercial office space and co-brokered Richmond's largest office lease transaction of the year in 1994.
- Agent and consultant for banks and several charter schools.
Previous experience includes:
Founder and CEO of Arcadia Real Estate Advisors (Mar 2012 – 2017)
- Managing Director of Investments for Stratford Land Fund (Dec 2005 – Mar 2012)
- Managing Director of Investments for Highwoods Properties (June 1997- Dec 2005)
- Summer Intern for Mercer Investment Consulting (May 1996 – Aug 1996)
- Marketing Representative for Robinson & Wetmore (now CBRE) (May 1990 – Aug 1995)
- Summer Intern for Heilig-Meyers as an Internal Auditor (May 1989 – Aug 1989)
Education and industry credentials:
- James Madison University (received BA with major in Economics in May 1991)
- Duke University (received MBA with concentration in Finance in May 1997)
Mack D. Pridgen III
Legal, Tax, and Accounting experience in REIT industry over 27 years:
- Currently serving on Board of Directors of Independence Realty Trust, Inc., since 2015, an apartment REIT listed on NYSE, after Trade Street Residential merged into IRT.
- Served on Board of Directors of Trade Street Residential, Inc. from 2012 to 2015, an apartment REIT listed on NYSE; served as Chairman and chairman of Audit Committee.
- Served on Board of Directors of AMREIT from 2007 to 2015, a shopping center REIT listed on NYSE; served as chairman of Audit Committee.
Previous experience includes:
- Served as General Counsel, Vice President and Secretary of Highwoods Properties, Inc., a $4.5 billion NYSE REIT which primarily owned suburban office properties. Responsibilities included: transactional planning, tax planning, corporate governance and SOX compliance, risk management, securities matters, executive compensation and managing litigation.
- Served as Partner with the law firm of Smith, Helms, Mulliss & Moore, LLP, practicing in tax and corporate matters, primarily REIT formation and REIT transactions.
- Served as Tax Partner with Arthur Andersen and Company.
Education and industry credentials:
- Certified Public Accountant
- UCLA School of Law (received JD in 1974)
- University of North Carolina at Chapel Hill (received BS in Business Administration in 1971)
Nick C. Fugh
Real estate experience over 15 years:
- Participated in raising $500 million of equity in two urban mixed-use development funds.
- Led origination/negotiation of 2 complex overseas M&A deals worth over $1.5 billion.
- Participated Yuzhou Properties (HKSE:01628) IPO/bonds at Hong Kong Stock Exchange.
- Originated and facilitated international acquisition of two Hong Kong listed companies.
- Led design/planning of 5.16 million SF of residential and mixed-use projects in China.
Previous experience includes:
- Founder and President of Silver Harbor Group, LLC (2014 – 2017)
- Chief Investment Officer of TIMU Group (2014 – 2016)
- Vice General Manager of Liying Capital (2011 – 2013)
- Assistant to Chairman and GM of Design Center for Yuzhou Properties (2009 – 2011)
Education and industry credentials:
- Tongji University (received BE with major in Urban Planning in 1989)
- North Carolina State University (received MS with major in Computer Engineering in 2001 and Masters of Architecture in 1999)
- Duke University (received MBA in 2007)


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Richard Clough, Sustainable Indiana
Just a block off Main St. in Madison, Indiana is a 1950 building that once housed a car dealership. You can't buy a car there anymore but if you're unemployed or underemployed, you can get an enormous variety of help. It's called the Clearinghouse and it has provided a path to a good, satisfying job for a great many people over the years.
The Clearinghouse is a child of River Valley Resources, which since 1990 has sought to develop a trained and competitive workforce in the 12 county area of southeast and central Indiana. The non-profit has impacted the lives of over 115,000 dislocated workers, disadvantaged youths, people with disabilities and ex-offenders.
In 2007, the Clearinghouse was opened in the former car dealership building to provide a wide range of services under one roof. The impetus came from a group of area clergy, and churches continue to be partners in the endeavor. Various agencies have offices there and work together to support one another and become a pipeline to the workforce. The needs of individuals coming to the Clearinghouse are assessed and every effort is made to overcome any obstacle to full employment. GED classes are offered. Childcare vouchers can be obtained. Ex-offenders find a place where they can re-enter the workforce. Job training programs are made available. The Clearinghouse hosts a free legal clinic and there is an extensive food pantry. The Clearinghouse tackles whatever barriers stand between the individual and a good job.
Over 100 partner organizations have ties to the project. These include social service agencies, government agencies, churches and an assortment of non-profits. More than three hundred volunteers work at the center. This is an indication of the strong local support that has made the Clearinghouse so effective.
A strong local economy is one of the keys to sustainability. And that requires a strong, well-trained workforce. The Clearinghouse and River Valley Resources has worked hard to strengthen, support and encourage the workforce.


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X-Rite i1Display Pro Colorimeter & Display Calibrator for $139.95 (Today Only)
$139.95 Expired
B&H Photo is having a one-day sale on X's-Rite i1Display Pro calibration and profiling system for a displays & projectors that drops the price to from $249.95 to $199. However, AppleInsider readers can use this special link that drops the price to $139.95. Offer expires at 8:30PM ET Friday. Tax-free outside NY. "X-Rite i1Display Pro helps to make sure that the colors on your display match those in your original picture or file. The i1Display features i1Profiler software for calibrating and profiling all modern display and projector technologies, including LED and Wide Gamut LCDs. It's also spectrally calibrated, which makes it field-upgradeable to support future display technologies!"


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If you are an event manager or are looking for a themed production or circus show to match your function or event
If you would like to see our shows that are touring or want information on how to book tickets
If you are a producer or venue manager and would like to see our productions in repertoire
If you are looking for a little wow factor for a celebration, party or function
Whether you are an event manager for a roadshow gala or a venue producer looking for an edgy show to book, look no further. After Dark Theatre are continuously collaborating and creating new productions with our design partners. we have a large amount of circus shows available for hire, or straight purchase. We have done all of the hard work to create the shows, so you can focus on your event or tour without the need to get your creative on.
We are able to sit down with you and create a custom production to tailor your needs. We can walk you through the entire process; from budgeting, to concept development, through to creativity. We can also provide the technical know-how of how the circus industry works, guiding you through all of the technical requirements to make your dream production come to life.
No problem! We are able to supply a team of designers to create the production, and a database of the world's leading circus artists to populate your show. If this is what you need help with, contact us or CLICK HERE.
Looking to take home a little something from one of our shows? Well now you can! look at our ADT Marketplace! If saw a show and liked it, you can search on our online store to see if there is merchandise. CLICK HERE to go to the ADT Marketplace


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Selling your house and trying to decide what needs to be done before listing it? Consider updating your paint color. This is an easy cosmetic fix, so we often assume buyers won't mind making the changes themselves. Yet, the right colors have a powerful implication for buyers. So much so, that Zillow's 2017 Paint Color Analysis actually puts monetary figures behind the color choices home buyers make.
Here's some quick dos and don'ts based on the Zillow analysis:
- Paint your bathrooms powder blue to periwinkle and not white to increase value.
- Kitchens in light blues and grays sell higher than those in yellow
- Dining rooms in slate blues, navy, or gray/blues sell more than those in red and copper colors
- Go back to the blues for bedrooms, because a calming blue color will bring in more money
- We still like our beige or taupes for our living rooms.
Take the guesswork out of your color choices by following these great color suggestions from Home Staging Resources:


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Jimmy Buffett has opened up about his stage fall in January, insisting he wasn't drunk when he took a tumble.
The "Margaritaville" singer admits he thought he'd suffered a heart attack when he blacked out during a show in
Australia at the beginning of the year.
He tells Rolling Stone magazine, "I wasn't drunk and there wasn't a beautiful girl in the audience that caused me to walk off.
"When I woke up, I said, 'Was it a heart attack or stroke?' I was very happy when they said, 'No, you had a concussion, you just walked offstage like a Miss America contestant.'
"Weirdly, my tennis game got better afterward."


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Server time: 2020-05-31 09:11:06
by Saad Khan on 19th February, 2010 at 5:13 PM CEST
This is the third instalment of the climate report on Pakistan by C:F member Saad Khan. Previously, we have featured David and Jake stories on Australia and UK. - C:F Team
Pakistan is a forefront state, coming to grips with stern concerns of atmospheric changes. Although Pakistan emits a small fraction of world's total green house gases, it is being significantly affected by global warming. Noting more recurrent and extreme climatic events along with hotter summers and warmer winters, coastal populace have now become more susceptible to coastal rainfalls, flooding in some areas and drought in others. It is also expected that glaciers in the Hindukush and Karakoram mountain ranges are also expected to melt at an increasing rate in the years to come. All this has impacted deeply on the country's crop production. Although all this is expected the current and the previous year saw no rainfall in the last six months. Asia's largest wheat producer, Pakistan, is likely to miss its target production for the current year due to such dry weather conditions prevailing in the country.
The environmental degradation is estimated to hit the GDP with a loss of 5 to 6 percent in coming years. For this reason a Center to study Climatic changes has also been setup recently to minimize losses inflicted by weather changes.
The country is witnessing severe pressures on natural resources and environment. Citizens on the other hand are perturbed by the epidemics spreading due to the dry spell. Cities near the port are more vulnerable to such diseases and there is nothing that can be done about it. The climate professionals in the nation are indicating harsh water scarcity saying that water supply, already a major distress in many parts of the country, will decline radically, disturbing food production.
In nutshell climate change is posing a lot of issues for the country's environmental sustainably. Much of this damage has come in the form of severe economic shocks. In addition, the intensity of climate change is intensifying social and environmental problems on hand.
Thanks for this story, Saad. I hope your country finds the right solutions, although it's quite clear that climate change and taking care of the environment isn't something just one country can solve. Instead, we should try harder to find solutions that will benefit all and implement them together.
19th February, 2010 @ 10:30 PM CEST
Saad Khan | Action team | CF Chapters
indeed you are right Alja :) I suggest that we all start thinking now as day by day we are pushing ourselves to the edge without even realizing that we are making way of our destruction ourselves
20th February, 2010 @ 6:32 PM CEST
Saad, I agree with you. Although South Asia did not play a role in causing this we will one of the worst hit being agrarian economies and being located in the foothills of the Himalayas. The global community needs to understand the situation and do something before its too late
21st February, 2010 @ 8:56 AM CEST
i completely agree with you my friend... its WE who have bought this onto ourselves ! and its a global issue ... everyone needs to unite together and do something !
1st April, 2011 @ 10:06 PM CEST


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by Robert
(Phoenix, Arizona )
If you are only getting paid mileage and leave because a load will not be ready for another 4 - 5 hours you have not signed for it and has not left terminal. Is it still abandon and can it be held against me?
Join in and write your own page! It's easy to do. How? Simply click here to return to Ask A Trucker.


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Our friend Mick Lacy joins as we talk about our least favorite jobs, including the one that almost got Justin molested in a grocery store parking lot.
Listen here to Episode Thirty Three: "That Guy Is Back?!"
Follow us on Twitter and "Like" our show page on Facebook
** Leave us a comment below with your worst job experience! **


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Professional Oven Cleaning Services
With an extensive knowledge of the oven cleaning industry, Ultra clean ovens are able to provide a service, over and above that expected from our customers. With industry leading chemicals, and the highest oven cleaning technology, you can be sure we will give your oven an ultra clean look when we are finished!
We offer many different oven cleaning services, from single and double oven cleaning, to specialty services such as cleaning range cookers, extractor hoods, oven hobs, microwaves and barbecues too. Using industry leading chemicals that are non-caustic and odourless ensures that when we leave, you can use your oven straight away!
Ultra Domestic Oven Cleaning
When it comes to domestic oven cleaning, nobody can beat our ultra high level of service. On every job we attend we show an equal amount of care and attention, making sure that when we leave we can, hand on heart, say we've carried out the job to the best of our ability, which, is generally, over and above the expectations of any customer we serve. With many satisfied customers, backed up by our extensive array of customer feedback we know our service is next to none.
We will convert your oven from being dirty, greasy and grimy, into an ultra clean, show room condition cooker you can be proud of.


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Marketing and Branding for law firms: Beyond Positioning
The positioning strategy
Branding: the "house of brands" versus "the branded house"
Branding the law firm through media exposure
Most business law firms try to differentiate themselves on client benefits that do not differentiate them from the competition. "Positioning" law firms is therefore not the most succesful strategy in the current landscape. Law firms are starting to see the need for branding efforts, although most law firms are locked into a "house of brands" strategy rather than a "branded house" strategy. The author enumerates why more efforts should go to branding law firms through media exposure.
The positioning strategy
Many managing partners at business law firms today are faced with the difficult question of how to market their firm effectively. After all, most top tier firms offer the same range of services, at more or less the same internationally accepted price points. The in house talent is perceived as superior to that of competing law firms, but then again marketing is not always about delivering superior quality. It is about convincing prospects and clients of the superior quality that is on offer.
On top of that, the business law firm market has been in a state of constant turmoil over the last two decades. Partners have moved in and out of firms, started new firms with old rivals, merged firms with up and coming players. One could forgive clients who think that there shouldn't be too much different between law firms.
Unfortunately they would be strengthened in this belief when taking a look at the majority of the marketing communication of business law firms. Most, if not all of them try to differentiate themselves on these client benefits (opzoeken):
"technical" know how
business acumen
full service
The overall tone of lawyer marketing communication, either as a result of a clear strategy or the lack of a real strategy, is subdued and careful, as if the foremost principle guiding the communication was: thou shalt not offend.
Sadly little or no differentiation is actually taking place. For the prospect, all these firms look alike. Choosing a law firm (or, on the other end of the spectrum, promoting the law firm) becomes a game of networking, of knowing the right players. In the end, it may happen that a large corporation chooses Firm A for their litigation, Firm B for a merger deal and yet another Firm C for handling their IP.
For the managing partner interested in cross selling services of different departments, this is the fundamental dilemma he is faced with. On the one hand, he wishes all of his partners to enjoy an excellent reputation as a lawyer and a healthy dose of commercial flair. On the other hand, he can feel the vulnerability of the firm in having to rely on the reputation of individuals. Individuals who might decide to join another firm, or start their own firm.
The effects of this lack of clear positioning has far reaching effects on the other type of "clients" that law firms depend on for their sustainability: recruits. A young lawyer will choose a firm on the basis of his specialty, and the name of an individual partner who enjoys a solid reputation in this chosen specialty. Again, the firm is vulnerable here. It will prove impossible to retain top talent if young recruits choose to work for a particular partner rather than a firm, a "brand".
Branding: the "house of brands" vs. the "branded house"
A name, sign or symbol used to identify items or services of the seller(s) and to differentiate them from goods of competitors. (Dictionary of business and management)
In recent years, law firms have begun to understand the need for branding, hence the arrival of the "fantasy" name in law circles like Altius, Elegis, Eubelius and more recently, Lydian. Unfortunately, having a brand is not the same as having brand equity ("a measure of the influence that a brand exerts on the buying behaviour of customers").
Law firms are still, for the most part, "houses of brands" instead of a "branded houses". The archetypical house of brands in consumer markets is Procter&Gamble. P&G is relatively unknown to supermarket shoppers, but currently holds 24 billion dollar brands like Tide, Duracell, Gilette, Vicks, Pampers, Pantene etc. No consumer chooses Pampers based on the fact that it is a Procter&Gamble brand. Few consumers even realise that by buying Gilette and Pampers, they are actually buying products from the same company.
Opposed to this is the so called "branded house", which chooses to sell all its products under the same name, like Nivea. It sells shaving cream, skin lotion, sunscreen, etc. Here, shoppers do choose Nivea products because of the Nivea brand, which has succesfully positioned itself to signify 'skin care'.
In Belgian law firms, the predominant model is still that of the house of brands, where partners attract clients based on their individual reputation. The name of the firm is of little or no importance to the client.
Partly, this strategy is understandable and even unavoidable: the "house of brands" strategy is especially useful when trying to dominate niche segments of the market, especially in a market as specialised as lawyering. A partner's name might well be a 'billion dollar brand' in his chosen specialty.
But for the managing partner interested in cross selling and in making the tide rise for all the ships, there is a clear need to move towards more of a "branded house" position. This need not be disadvantageous for the individual partners. Consider: a strong niche specialty will, when handled correctly, translate into a stronger firm name or brand. A stronger brand, will attract top talent and retain them better. This in turn will strengthen the other departments. For a successful law firm, a common ground will have to be found between the "branded house" strategy and the "house of brands" strategy. The question is: how?
Branding the law firm through media exposure
One area that is consistently overlooked in the branding efforts of many firms: consistent, strategically embedded media exposure. Sometimes because lawyers are suspicious of journalists or media. Sometimes because they don't know how to approach media. Sometimes because they misunderstand the needs of media outlets: a 'radical' ruling by a judge is met with indifference, while a legal triviality can suddenly appear in bold uppercases on the front pages of newspapers.
And yet it is the experience of the author that media exposure is probably one of the most cost effective means of branding a law firm currently available. Due to the nature of the law firm, it is also ideally suited to make regular appearances in the business and financial press.
Lawyers are experts. Law is difficult, and it changes often. Journalists have too much work to understand and digest all changes themselves - few journalists have a law degree. They need a reliable guide. In return, they will give the guide exposure. They will also invariably mention the firm brand. This status as "expert" will empower both the partner who is mentioned, and the firm. The "expert" status will attract new clients and convince recruits to apply for a position at your firm.
Law firms are confronted with the public interest on a daily basis. Law is (mostly) made on the basis of policy choices, and policy is made for the public interest, "the greater good". In a way, everytime a lawyer gets involved, some principle of the legal system, the democracy, is being put to a miniature 'stress test'. The lawyer is in the unique position of seeing our system probed continually for weaknesses and fault lines. These are also matters that the media are naturally interested in.
This does not in any way mean that the firm brand must become a synonym for controversy and conflict. Rather, what should be highlighted in media communication is the ability of lawyers to rise above the "stress test" and make rational and reasonable assessments of the problem, to propose avenues for resolving common types of problems.
This can easily be done because law firms are, above all, centers of learning and expertise. As we said, the goal for the managing partner is to have as many of his partners considered experts by leading journalists. That way, the firm is continually in the news.
CASE: In one case, the author worked together with a lawyer who had done extensive research on rulings in matters of automobile concessions. An article was written and released to coincide with a large automobile trade show. Result: the article was not only picked up by a business newspaper, but the firm was mentioned on the front page. Media exposure is about knowing what to tell, how to tell it, and when to tell it.
Law firms are divided into departments, and so are media. This provides a tactical advantage to the law firm. The fact that a HR lawyer of Firm A appeared in the jobs section of a large business paper, is not likely to dissuade a journalist specialised in mergers and acquisitions to call a lawyer of Firm A the same week to ask his or her opinion on a certain merger. For the media outlet, two specialists gave their opinion on two unrelated matters. For the managing partner, the firm brand was mentioned twice in one week in the same newspaper.
Copyright: Kristien Vermoesen, 2009
Contact the author: firstname.lastname@example.com
Download this paper in PDF at: www.finn.be/knowledge