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Risk Analysis Matrix
The Risk Analysis Matrix provides accurate guidance in the consideration of business ventures. Users may be confident in their decisions, which will be based on examining characteristics of the risks of each action.
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Risk Analysis Matrix info
- High Impact; Low Probability
- High Impact; High Probability
- Low Impact; Low Probability
- Low Impact; High Probability
Contains actions that involve high impact of risks but a low probability of those risks occurring.
Contains actions that involve high impact of risks with a high probability of those risks occurring.
Contains actions that involve low impact of risks with a low probability of those risks occurring.
Contains actions that involve low impact of risks but a high probability of those risks occurring.
Risk Analysis Matrix Template
In each and every decision, there are risks involved- factors that may threaten our confidence in those decisions. When considering business ventures, these risks could determine whether the business thrives or fails. Before making a choice that could have such an impact, it is important to analyze what could happen if the plan were to go wrong. The Risk Analysis Matrix allows the user to stop and think critically about these issues. The risks in each undertaking must not only be recognized, but the possible impact of those risks and the probability of them happening must also be found.
High Impact/Low Probability Risks and Low Impact/High Probability Risks: The actions in these quadrants may be valuable business ventures. However, the actions should be carefully taken into consideration, since issues could still arise. Although the actions in Quadrant 1 have a low probability, they would be very problematic if they were to occur; although the actions in Quadrant 4 are of a low impact, they will likely arise.
High Impact/High Probability Risks: There is no doubt about these actions- stay away from them. These are dangerous business ventures.
Low Impact/Low Probability Risks: These actions are valuable opportunities for your business. Go for it!
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It was a bright, warm, blue-skied December afternoon in Central City,
Though they weren't carrying around lights, two men of nearly 50 were on set, carrying on a conversation on a sunny street corner. One was David Mills, the writer credited with this episode and also a producer on "Treme." Big and tall with a boyish face, Mills worked on "ER" and "
On the sunny corner with Mills stood Simon, a bald, big-featured, unprepossessing man who looks more like hired muscle going gently to pot than the most critically acclaimed writer-producer working in television today. The two had just been across the street in a corner house that serves as the location for Poke's, a bar central to "Treme." Behind the building's flagrantly drooping corrugated-iron awning, inside the gutted space appointed with a bar and not much else, stood Simon and Mills, watching the director of the episode — the imposing, dreadlocked Ernest Dickerson, a veteran of "The Wire" and cinematographer of such
"Wasn't there a sentence in there somewhere that we don't have now," Simon asked Mills outside, "where he says — and this is a terrible sentence, but — 'I went over to the house, and I was hoping there would be a message there or something'? I feel there's an emotional bump between him talking about his father, which is real substantive stuff, to a moment of what sounds like, by comparison, almost petty practicality about, What I'm going to do with Dad's house? It goes from one to the other and there's no. . . ."
"There's no transition," Mills said, looking down at his script, shaking his head.
Continue reading the main story
"And he needs to say that literally?" Mills said.
"No, that would be a terrible line." Simon paused, regrouping. " 'I came back when they opened up the Lower Nine, hoping to find out what's up with Dad.' I agree that exposition here is more of a problem than a solution. But is there something that basically says: 'I came home trying to answer this riddle. I came back hoping Dad might've left word.' "
"Hold on," Mills said, writing, repeating the words softly aloud and then saying to Simon, "The thing I'm still resisting is him literally saying something about his dad there." Mills wrote a little more, paused, read aloud: " 'Came back now that they lettin' people in the Lower Nine to check. The house is messed up bad.' "
"That's it, that's it," Simon said, enthusiastic. "'Cause this can imply the father. . . ."
Mills nodded. "It's better than what it is now." Mills headed off to give Dickerson and the actors the changes.
I asked Simon how often they resort to 11th-hour rewrites.
"It's not an uncommon thing," he said. "The script is just the script. I can't walk around and show you" — Simon held up his script — "this was a good show we were going to make. You should read all the scripts, because it would have been great." Simon added later: "If the material itself proves to be ordinary and ineffectual at conveying what we want to convey, I don't care how you shoot it. I don't want to watch it, and I don't want to be a part of it. Either we have something to say or we don't."
THE STORY LINES IN "Treme" begin three months after Katrina, and they follow a diverse group of characters as they rebuild their lives in a city torn apart, a city in which tens of thousands of houses are abandoned, in which only 50 percent of the population remains, in which neighborhoods are still without power. The main characters in "Treme" aren't the overburdened cops, spiraling addicts, ruthless dealers, struggling dockworkers, corrupt politicians or compromised journalists of "The Wire." In their place, for the most part, are musicians, as the show's title sneakily suggests: "Treme" (pronounced trih-MAY) is the New Orleans neighborhood where jazz was born. And even though it adjoins the French Quarter, few tourists visit Treme, where generations of the city's musicians have lived.
As much as crime of every kind was central to "The Wire,"
Given the role in which Simon himself has lately been cast by critics and viewers, expectations for "Treme" couldn't be higher. By the time "The Wire" reached the end of its run, commentators went from posing the coy question, "Is 'The Wire' the best show on television?" to making the bold statement, " 'The Wire' is the best show on television"— boldness that soon seemed spineless once seemingly everyone defaulted to calling it simply, "The best show in television history." In the two years since "The Wire" concluded, a pitched battle of ongoing praise has upped the comparative ante. If likening Simon repeatedly to Dickens and Dreiser, Balzac and Tolstoy and
NONE OF THIS external praise, however suggestive of the merits of "The Wire" it surely is, would have been possible were it not for the unusual internal support the show received from HBO. Its ratings were always in the modest-to-poor range, low enough that it would have barely broken the Top 200 on broadcast television and by all conceivable measures would have been canceled before its first season was finished, but at the center of the show's fervent core audience were many of HBO's top people.
Even so, Simon's strategy for keeping his show going wasn't to make such admissions. The show's endurance ultimately had a very uncomplicated bottom line: Albrecht and Strauss wanted to see the end of the story Simon was telling, in large measure because, according to Albrecht, he was uncommonly persuasive. "He writes amazing letters when he's trying to get you to come around to his point of view," Albrecht told me. "Sometimes very angry, sometimes very cajoling, always brilliantly written and conceived." When a big one arrived, Albrecht and Strauss knew to brace themselves. "I remember one time when Carolyn came downstairs with one of David's letters in hand. She asked, 'Did you open it yet?' " Albrecht said, laughing. "I said, 'Nope.' " By the time Albrecht and Strauss left HBO, Simon had been given a chance to complete "The Wire." Under the pair's tenure but owing to Simon's industry, the culture at HBO had come to see itself in Simon, this when "The Sopranos" was pulling in about five times as many viewers.
Over the years, in scores of interviews, Simon has consistently made the point that "The Wire" was a show with an editorial agenda, a polemic about "the America that got left behind." As such, a potential viewer could be forgiven for leaping to some reflexive conclusions about why Simon might have chosen New Orleans as the setting for "Treme." Like Baltimore, New Orleans is an urban center with enormous economic disparity, violent crime, municipal corruption, infrastructural decay and racial polarization. Combine those increasingly routine urban shortfalls with the aftermath of a hurricane that revealed every kind of engineering failure, and the city would seem to give Simon an even more haunted urban theater where he can play out the theme upon which he has regularly soapboxed: "the decline of the American empire."
" 'Treme' is not 'The Wire,' " the show's co-creator, Eric Overmyer, who joined "The Wire" in Season 4, told me last December. "Those who are expecting 'The Wire' or wanting 'The Wire' may be frustrated." It's a disclaimer repeated nearly verbatim by so many members of the "Treme" production staff that it could sound like a talking point — until you actually watch the show. Whereas through its five seasons "The Wire" built a vivid portrait of urban America as seen through the prism of its institutions and professions — the police department, the drug trade, the dockworkers, the local government, the schools, the press — "Treme," though no less focused on the workings and failings of 21st-century American urban existence, tells its story not through a city's institutions but through its individuals. It isn't that "The Wire" lacked for distinctive characters: Omar, the homicidal ethicist; Bubbles, the embattled addict; D'Angelo Barksdale, the doomed-by-decency street dealer — there were scores of them. But because so many of the show's story lines dramatized the futility of any of these characters' attempts to break through social and economic ceilings, the image of contemporary urban America that the show offered was one in which character wasn't fate so much as a fait accompli: in the land of the free market, Simon was arguing, free will wasn't going to get you very far. In "Treme," Simon seems to be arguing for the very opposite idea: the triumph of the individual will despite all impediments, a show about people, artists for the most part, whose daily lives depend upon the free exercise of their wills to create — out of nothing, out of moments — something beautiful.
SIMON'S DESIRE TO do a show in New Orleans predates "The Wire." In the mid-'90s, he began writing regularly on
Years passed, and Simon went on to "The Wire." During preparation for Season 4, Katrina happened. Simon told me: "Eric was in Baltimore. We were in the writing stage before filming. And I remember in the office looking at the satellite photos on the Internet of his house. And him going: 'I think I'm O.K.; I think I'm dry.' " A few weeks later, Simon was reading the industry trades and saw that three or four New Orleans shows had suddenly appeared in development. There was "K-Ville," which had a brief run in 2007; a project Spike Lee was developing with NBC that didn't come to fruition; a few more. Simon knew they had to act quickly: "I said to Eric, 'We've got to go out right now.' So we flew out to L.A., and Carolyn Strauss bought the idea of us writing something, 'cause there's not that much money in the script, not a huge
"David and Eric were valiant in their attempt to explain their show to me," Strauss, now an independent executive producer on "Treme," told me in an e-mail message. "But I couldn't seem to get it at all. Because I have complete creative trust in David, I told them to write it." Simon and Overmyer began discussing possible ideas the following summer, but it wasn't until the next year that writing started. "David did most of the heavy lifting initially," Overmyer says. Simon sent him a draft of a pilot that had a provisional set of characters and was about 80 percent of a whole but missing scenes. "He did this on 'The Wire,' too," Overmyer says. "He said, 'I can't do the domestic scenes; you do the domestic scenes.' I always thought, He's giving me the girlie scenes," Overmyer says, laughing. "On 'The Wire,' he'd say to me, 'You write the scene when McNulty has dinner with his ex-wife.' Always the girlie scenes." Once Overmyer filled in the missing moments, the two began bouncing versions back and forth, revising repeatedly, until, organically, the balance of their contributions to the whole achieved parity. "David and I have a good dialectic," Overmyer says. "He's a journalist, and I'm a playwright by trade, so I think he tends to wanting to make larger statements about the city than I do, and I tend to resist that a little."
By spring 2008, two and a half years after the pilot was ordered, they agreed on a draft that they would take to HBO, beginning what tends to be a perilous stage in the development of a series, when the executives charged with paying for production have their say. "On one script," Overmyer says of an experience developing a show with a different network, "I counted it up: I actually got 72 separate sets of notes — from the production company, the studio, the network — many of them contradictory." The most memorable note Overmyer ever received was from an executive very high up at a network. "She said, 'They're being so unpleasant with each other.' And I said: 'Well, that's drama. That's conflict.' And she actually said, 'Could we have the drama . . . without the conflict?' "
Simon remembers many network notes when writing for "Homicide." "The notes felt like they were not serving the best possible story," Simon explained. "Jimmy Yoshimura — Eric worked as supervising producer with him, and I was a junior producer under them — Yosh used to do this notes meeting, call me in and say, 'Come on, let's do the antler dance.' And I said, 'What's the antler dance?' And I swear to God, he would put his phone on the floor, on speakerphone, so you'd hear the voice of the network exec. And with his voice, Jim would approximate a reasonable, 'Well, that's a very good note, but if we do that. . . .' But his body language would begin with his hands up above his head as if he were wearing antlers, like some sort of drum circle, and he would dance around the phone, gesturing obscenely to it, do a little more dancing, but all the while he would be saying, 'Oh, no, that's a really good note, we'll have to consider that. Let me talk to Tom [Fontana], because I think we're going to do something in another episode.' Meanwhile, he'd pull down his zipper and stick his thumb through it, and if the guy kept persisting on a note and he couldn't talk him out of it, Yosh would get down on the floor, close to the speakerphone and. . . ."
Yoshimura claims that there are limits to Simon's recall. "No, no, no, that was David!" Simon offered the following rebuttal via e-mail: "I will own the origin of this particular gesture if that is Jim's memory, but in the event that he is trying now these many years later to whitewash his authorship of the sacred ritual of the network-note antler dance, I can only quote 'The Man Who Shot Liberty Valance' and
AT THE CORPORATE headquarters of HBO in
"In David's case," Lombardo said, "he and Eric wrote a script, a very detailed synopsis of where they were taking the show. But it wasn't only a treatise: he made you read it while listening to a soundtrack. And David would ask you: 'Did you listen to the music while you were reading this? Because if you didn't, before we start. . . ?' And you'd go, 'Uhhhh. . . .' "
"The way David presented it," Plepler explained further, "was with a musical accompaniment and detailed instructions of what to listen to while you were reading it. It's an unusual request of an auteur to an executive."
So, Simon had notes for them. Any from them to him?
"I think we tend to be a fairly hands-off company creatively," Lombardo said.
"Once we get the shared vision understood, that's the case," Plepler said. "David has a vision, and once we understand it, you embrace that vision. We're not there to suggest that a character act in a different way or that we wish it had a different ending."
So, no notes?
Plepler paused. "If Mike or Sue Naegle" — president in charge of HBO series and specials — "had a note for somebody who was trying to get a pilot sold, the natural response of that person would be: 'You know, that's a good note. Let me take that back. That's a good insight. Thank you for that.' "
Lombardo added, "People want pilots made!"
Plepler continued: "And they're saying to themselves, 'All right, they clearly want a little more of this and a little less of that, and I'll give it to them.' David is not playing that game."
"He wrote me an e-mail years ago," Lombardo remembered, "in which he accused me of something, I didn't know what it meant. I had to go to the dictionary. He accused me of flummery."
"I don't know that word!" Plepler said.
"I clearly did not. . . ."
"What is flummery?" Plepler asked him. Lombardo did an I-have-no-idea shake of the head. Plepler looked at me. "Do you know what 'flummery' is?"
Empty speech, I said.
"Huh," Plepler said. "Very good."
What flummery, I asked Lombardo, had he been guilty of?
"It was part of an unhappy e-mail to me but, you know what, I don't even remember. Here's the thing: Before David knows you. . . . "
"That's right," Plepler said.
". . . he assumes that you're not going to understand what he has to say."
SIMON WORKS ON every script by every writer of every show he produces. On "Treme," he and Overmyer share the process equally, sending scripts back and forth, revising and polishing and revising again (Mills, too, is rewriting scripts by other staff writers). This process is common to episodic television, time constraints making it such that no single writer could generate a season. What is less common is how little
"He would take a script into his room when the deadline was that night," Pelecanos told me, "and he'd go in there and lock the door, and he'd redo the whole script." The novelist
One September morning, the writers convened around a table in the "Treme" production offices in the Lower Garden District to make some decisions about one of their key characters. Simon and Overmyer sat paterfamilially at either end of the table. To Simon's immediate left was Chris Yakaitis, a young Baltimorean who worked on "The Wire" as a researcher and is now "Treme's" script coordinator — a sort of editor and proofreader. Nina K. Noble sat at Simon's right hand where, figuratively, she has been sitting for more than a decade: Noble has produced all four of Simon's HBO series. ("My credibility is predicated on working with Nina," Simon says. "Nina makes us come in on budget all the time. Ask HBO how many shows they have that come in on budget.") Stationed at the table's flanks were the members of the writing staff: Mills, Pelecanos and two New Orleans-based writers as variedly accomplished in their fields as they are new to writing television: Lolis Eric Elie, whose family has lived for generations in New Orleans, is a former columnist for The Times-Picayune, author of "Smokestack Lightning," a book on the culture of barbecue, and maker of "Faubourg Treme," a documentary on the neighborhood where he lives; and a New Orleans transplant and longtime resident, Tom Piazza, a writer of nine books, including the post-Katrina nonfiction call-to-arms "Why New Orleans Matters" and the Katrina novel "City of Refuge." With "The Wire," Simon had two decades as a reporter and resident to draw upon, but both he and Overmyer, despite many years of experience with New Orleans, knew they couldn't begin to approximate the intimacy of locals in a city where, as Simon has put it, "even the nuances have nuances."
Also jammed into the cramped, amenity-free conference room that day were two Peabody Award-winning documentarians, Andrew Kolker and Louis Alvarez, who were making slow circles around the table, gathering footage for possible inclusion in "Getting Back to Abnormal," a documentary they're making with Peter Odabashian and Paul Stekler about life in post-Katrina New Orleans, to air later this year on
As Alvarez's boom mike bobbed over the table and Kolker padded around filming, the group discussed a character named Creighton Bernette, the novelist and professor to be played by John Goodman but who, at the time of this writers' meeting, had not been cast. Creighton was as yet a creature who existed only in the realm of ideas.
"I'd love to talk that particular story line through," Mills said. Previously, Simon and Overmyer decided that Creighton would be teaching at Tulane. Mills asked Piazza when he imagined Creighton, who they decided wouldn't be a native New Orleanean, came to the city and why.
"Probably in his late 20s," Piazza said. "He may have just gotten the teaching gig." Piazza paused. "There's a dimension of some departments, where at some places, they wish it was Harvard, so he may have ended up there and gotten tenure, and — especially if he was from the Northeast, let's say, he may have had some kind of. . . ."
"Oh, I got a. . . . This is interesting, keep going."
". . . idea of being a real academic star and ends up a biggish fish in what he considers to be a smallish academic pond and found himself in a certain life."
"What if," Simon said, "he had a decent showing on a first novel. And the first novel didn't have anything to do with New Orleans. It was written before he came here or when he was coming here and was writing off of life experiences that were more universal than New Orleans."
"And might have gotten the gig off it," Overmyer added.
"Then he comes here. And the second book is New Orleans-based, well received, but doesn't do as well in the world in the way that. . . ." Simon interrupted himself: "There's two things about New Orleans that are sort of counter to each other: it does create, at points,
The riffs continued, the conversation touching on the curious
"THIS GUY HAS the whole history of New Orleans music in his head," Simon told me between takes at a recording studio called the Living Room. The guy in question was Dr. John, the legendary New Orleans musician and bandleader. Dr. John, who also goes by Mac Rebennack, was sitting at a grand piano in gray ponytail and dark shades, surrounded by musicians, including his touring band — horns, bass, drums and guitar — each playing little snippets of this and that while the "Treme" crew prepared to shoot a brief conversation between Dr. John and the band and then a live performance of the standard "My Indian Red," a song of quasi-liturgical significance in the rich traditions of the Mardi Gras Indians. The scene was meant to take place in New York, a "rehearsal" for a
"Hey, Mac, you gonna call the Indians like you do on the album?" said a horn player, Ken Williams.
"Well, it might cause some serious confusementalism amongst the
"Confusementalism," it turned out, was Dr. John's coinage. "We were trying to write in Dr. John's unique voice, which is something of a fool's errand," Simon said. "I wrote the word 'confusement' in the script. Mac looked at the script and said, 'Y'all are trying to do Dr. John.' And then he said, 'I can do it your way; it is television so it can't be accurate'— he said 'ac-rit.' And I said, 'What the hell.' " Simon laughed. " 'Let it be accurate this one time.' "
The crew made quick work of shooting Dr. John's dialogue with the band, as if urgently trying to get to the real matter at hand: performance. Six takes of "My Indian Red" followed in short succession. Before Ernest Dickerson had even shouted,
"If we can't sell this," he said, "we can't sell nothin'."
IT WAS 5:30 P.M., and the sun had just set, and a grave blue twilight was settling in the streets that surround the loading dock of the "Treme" production offices. Clarke Peters was trying to get something right.
"I want to figure out how to make all of these feathers shake," he said.
Standing in the center of a large concrete void, bathed in fluorescent light, Peters, white-gloved hands balled into fists, held them before him as if bracing against what force you could not have said. You could see his fists shaking, though, which in turn were shaking his arms, but you could not see his arms or his chest or his legs. All of them, the whole of him with the exception of his white fists and the red toes of a pair of otherwise unseen boots, were obscured by an astonishing collision of feathers, a huge suit of canary yellow feathers, accented in red feathers and red patches inset with glittering silver and gold beads, arms hung with plumes, the rear tailed with a great puff of orange and crimson from which a few dark peacock feathers trailed. From the center of it all, Peters's dark brown face minutely peered.
That accomplished, Peters began to sing. His voice was deep, full of music, the singing a kind of chanting that never ceased to be song:
BARkin' out thunnnnnDER!
ROARrin' out lightNING!
KICKin' over tombSTONES!
WAKIN' up the DEAD!
If you've seen "The Corner," in which Peters — who was once a touring singer and has played Sky Masterson in
In contemporary New Orleans life, Mardi Gras Indians appear a few times a year, most notably at Mardi Gras in an elaborate feathered suit that, typically, they have spent the year designing and sewing, different every year, although no one seems to know exactly why. Some say that when the French controlled the slave trade and
Peters's Big Chief is beautiful in every earthly way: lovely and completely unnecessary and for its lack of necessity somehow all the more essential. Shortly after Peters finished confirming that his feathers quivered to his satisfaction, Donald Harrison Jr. swooped into the fluorescent space and greeted Peters warmly. The son of the late, great Big Chief Donald Harrison Sr., a legendary Mardi Gras chief, Harrison Jr. has carried on the tradition and become a chief himself. Peters and the production are consulting him to ensure that their portrayal of a chief is true to the truth of the thing — whatever word you can abide that means some equivalent of "mystical." That otherworldliness was apparent as Peters — who by that time was shedding the 58 pounds of feathers in big pieces (headdress, arm-plumes, the great orange and crimsoned rear end) — began dancing and singing antiphonally with Harrison, who had donned the great feathered rear and himself begun to dance and spin and chant with Peters, Peters's voice low and sweet, Harrison's higher and milder, the two singing at each other as blue twilight became black night.
"THERE'S A THING about being capable of a great moment," Simon told me on a break from shooting. "This city is capable of moments unlike any moments you'll ever experience in life. To see an Indian come down the street in full regalia on St. Joseph's Night on an unlit street of messed-up shotgun houses and one burned-out car, and he's the most beautiful thing on the planet, and everything around him is falling down. It's a glorious instant of human endeavor. It's duende from the Spanish, chills on the back of your neck, and then the next minute it's gone. Lots of American places used to make things.
It is odd to watch transcendence happen. Late in a long week of shooting, on a Friday in December, production was at an upscale house. A small scene. A character was listening to George Bush's post-Katrina "Jackson Square" speech: "The passionate soul of a great city will return," etc. The scene amounts to a long, slow, tight close-up on the character's face as he registers, with a mix of fury and enormous sadness, the insufficiency of what is being said. You could see his face on monitors in the next room, a large kitchen with nice woodwork and an island. Off to one side was the live feed from the camera in the small, adjoining room. Ernest Dickerson sat in his director's chair and watched takes on the screen, calling, "Cut!" asking for another, calling,
I can't say how many takes it took, but at a certain point during one of them, I looked away from the monitors and around the kitchen. It was full of people, its perimeter rung with standing bodies. Steve Zahn and Melissa Leo, David Simon and his assistant, the owner of the house and his pregnant fiancée, the first assistant director and the script supervisor, two stand-ins, a grip. Bush spoke, his voice loud, sure, echoing through the house. I looked at the faces around the kitchen and, to a one, all were staring down at the floor, all perfectly silent, perfectly still, utterly alone. Had anyone entered the kitchen at that moment, someone who hadn't known what was happening, the only conclusion anyone could have drawn was that something tremendous had just been lost.
Dickerson shouted, "Cut!"
Everyone looked up. And then went back to work.
An article on Page 26 this weekend about the filming of the HBO drama "Treme" reverses the roles of Andrew Kolker and Louis Alvarez, who are making a documentary titled "Getting Back to Abnormal," about life in post-Katrina New Orleans. Mr. Kolker is the cameraman and Mr. Alvarez handles the sound recording. The article also refers incorrectly to the creation of an unrelated documentary, "Faubourg Tremé." Dawn Logsdon is the director and an editor; Lolis Eric Elie is not the lone "maker" of the documentary. (He is Ms. Logsdon's co-director as well as the writer and a producer.)

subset: commoncrawl


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Cal Fish is a multi disciplinary artist who currently works in Brooklyn after studying in the Hudson Valley. His work is multi-disciplinary and immersive, often employing interactive sound tools with soft and socio sculpture themes. Cal has performed all over North America and in parts of Europe and often organizes events in New York. Recent projects have focused on making connections between ecologies, public spaces, and people audible via collaboration and public installation. He is currently in collaboration with Kyle Marshal Choreography and a resident artist at The Living Gallery, organizing events and making unique clothing.
Rebecca Siracusa and Jamie Kimak
Jamie Kimak is a Haverstraw NY-based multi-disciplinary Fiber Artist with professional industry experience in Textile Design, Graphic Design and Fashion Design.
With a BFA in Fiber Arts from the Maryland Institute College of Art (MICA), Jamie has experience in a wide range of traditional textile and surface design processes including traditional hand loom weaving, traditional Japanese surface printing methods and natural fabric dyeing methods.
Jamie's constant practice and exploration of both digital and fiber art design techniques influenced by her passion for textile design has allowed her to be actively teaching workshops in a variety of textile-based processes at the Garner Arts Center, in Haverstraw, NY.
Focusing on painting Rebecca Siracusa, a 26 year old artist from Stony Point, practices at her studio in a local artist community center. Her works include semi-abstracted local signage scenes and fully abstracted nature inspired drip paintings. Through these works she is trying to allude to the fact that quantum thoughts and happenings more obtainable then believed to be. Exploring the idea of time and space she creates works of all media to move you.
Teamwork Tango is an artist collective dedicated to blending performance art, structures and ecological concerns. The group is comprised of husband and wife team Kate Valentine and Dimitri Chatzipetros. Previous work The Hive was a recipient of a Brooklyn Arts Council Grant and presented at Galapagos Art Space.
For the first time this year Haverstraw Riverwide Arts & Music Festival will host, Projex: 5, where artists will present in the long tradition of "En Plein Air", or French for outdoor painting. Artists will set up their easels on-site at Emeline Park for the duration of the festival. The Hudson River Valley has long been noted for its natural light qualities. They will capture live, in front of the festival goers, the scenes, various light and weather conditions of Haverstraw. Aip, through the Palisades Interstate Park Commission, is an organization that promotes Artists in the Parks. This group of artists, faring from NYC and its surrounds, travel the world, "Capturing the moment and sharing it through art". A variety of mediums will be presented. Attendees will be given the opportunity to purchase completed paintings at the end of the festival. 11-5pm.
Suzanne Moreno Burgio
Faith Freedom
Robert J Gulick
Robert Hoover
Esther McHenry
Marge Morales
Crista Pisano
Jacqueline Schwab
Lance Johnson
Think...create...inspire. That's the motto mixed media artist Lance Johnson brings to every piece he creates. He sets out to create pieces that celebrate the beauty that thrives in urban settings. At an early age, Johnson was seduced by the process of creating something vibrant and thought provoking to share with the world. He has set out to not only celebrate the legacy of his African American heritage but add to it.
When Johnson was about 14 years old, his mother showed him a video tape of a documentary that would expose him to the rich legacy of African American art. He was particularly struck by the bold and vibrant artworks of collage artist Romare Bearden. It had a profound effect on him. Collage became his medium of choice because like jazz music, it allowed improvisation and the juxtaposition of unlikely parts combined to create familiar images. It fostered in him, the idea of combining random images and creating stories from the parts. Like, hip hop, Johnson's favorite mode of music, his work grabs from the past to decorate the present. Johnson has exhibited his art in various art shows throughout the boroughs of NYC as well as in South Carolina and Boston.
Mia de Bethune
Mia de Bethune is a multi media artist, writer and art therapist living in the lower Hudson River valley. Her work ranges from oil, pastel and encaustic painting to weavings in paper, plastic and natural fibers, to earthworks that engage the landscape. Her visual work informs her writings, which range from fictions to travel blogs to clinical and theoretical writings on creativity and psychology.
Louise Cadoux
Louise Cadoux studied art in Sweden, and has a degree in textile design from FIT.
Originally a painter, Louise has been sculpting in a variety of materials for the past 7 years.
She is a member of Upstream Gallery in Hastings on Hudson, and has shown her work in New York, Westchester, and Stockholm.
Louise lives in Hastings on Hudson.
Richard Vivenzio
Richard Vivenzio is a sculptor currently living and working in Brooklyn, NY. Vivenzio's work explores space by creating channels with different materials, using rope and gravity to create large-scale sculptures. His work has been described as three-dimensional renderings that create a solid form, despite being composed of separate, continuous, linear planes of string and shadow. Recently, Vivenzio has been exsploring work pertaining to gravity/levity, creating pieces that use the earths forces to create sculptures and experiences alike.
Vivenzio has exhibited with The Newhouse Center of Contemporary Art, Usagi NY, and The Hole Gallery. His work has been included in Flux and Pulse, art fairs, gaining him publication in Hyper Allergic, Art-Net, and The Gothamist, amongst others.
Isolde Kille
Isolde Kille studied Painting, Photography and Film at the Art academies in Berlin and Dresden, finishing her studies with a Master degree in fine arts at the University of Arts in Berlin, Germany.In Berlin, Kille organized several independent art projects such as the Bar/Gallery 241 as well as the art magazine 241 that connected her to the art market in the US. Therefore she moved in 1998 to New York City and started exhibiting her art works. Isolde has shown internationally at venues such as: Kunstwerke and Kunsthaus Bethanien in Berlin, Germany; John Gibson Gallery, John Weber Gallery; Lital Mehr Gallery, Chelsea, NY, Bass Museum, Miami Beach, Florida, OCAD Univerity Toronto, Canada, among others.
Since 2012 she lives and works in Santa Fe, NM
John Murray
Artist John Murray is from Manhattan, and these past eight years he has had a dedicated studio practice in Bushwick, Brooklyn. John graduated from the University of Michigan with a degree in Art History and is otherwise a self-taught artist.
John's metal shop has played a role in the Barneys New York flagship holiday window display these past three years, he has exhibited throughout New York City and New Jersey including installations in the administrative offices of PS1 MoMA, and he is also among the corporate collection of Rosetta Books Publishing House on Wall Street. Late Fall 2016, John will be launching an educational resource at his website designed to propel the technical development of artists interested in working with industrial materials.
Paula Madawick
Paula's formative years were spent in an avant-garde household in Pomona with cultural forces such as Jasper Johns, Robert Rauschenberg and John Cage. After graduating from Spring Valley High School as an art major she moved to New York City, attended then quit the School of Visual Arts, and became artist's assistant to Jasper Johns and Robert Rauschenberg and tended bar at Andy Warhol's parties in the Factory.
Paula is known for her detailed colored pencil drawings of realistic landscapes.
Paula has exhibited in museums and galleries across the country and locally including in New York City: Leo Castelli Gallery; Mathew Marks Gallery; National Arts Club; and in Rockland County: Blue Hill Arts and Cultural Center, Pearl River. Paula Madawick was the Executive Director of the Edward Hopper House, Gallery Director of the Zakin Gallery, Demarest, NJ and an art teacher at the Rockland Center for the Arts for more than 25 years where she continues to teach.
Jack Burger
Jack Burger is a published author working on his third book. With a B. A. in Geology from Columbia University and a Master's Degree in Geology from Michigan State University he worked as a geologist for 10 years. He then changed direction and became a reporter for business and technical magazines, retiring from McGraw-Hill Company as a Senior Editor.
Jack has collaborated on art projects including Bundled Conversations, an installation exhibited in Jersey City and The Bird Show, an installation at the Old Church Cultural Center, Demarest, NJ. He also produced three evenings of drama vignettes at the Edward Hopper House Art Center that were funded by the Arts Council of Rockland and was the recipient a grant from the Vermont Studio Center for the advancement of his second book.
Patricia Catanzaro is an award-wining artist whose art career spans a half a century. Her chosen medium is oil on canvas but she has been known to paint on chairs, shoes, doors and other media.
Her exhibition resume starts in 1968 with a juried NBC Art Show, she won a second place for her effort, and continues through into November 2016 when she will have a solo show at the Park Ridge, NJ Library. Between these dates she has concentrated on showing in the tri-state area. Patty has exhibited in group and solo shows, juried shows, at art centers, Rockland Center for the Arts and the Edward Hopper House; universities, Montclair State University, Fairleigh Dickenson University; and museums The Parrish Museum, The Bergen Museum and Montclair Art Museum. Her oil paintings are in collections across the US and in Italy.
Gabrielle is an artist and designer born in Rockland county, and currently resides across the Hudson River in Tarrytown, NY. Gabrielle attended SUNY Oneonta where she earned her degrees in studio art and graphic design. After graduation, Gabrielle quickly transitioned into a career as a full time web designer, while maintaining a freelance design business and creating her own works of art after hours.
Her paintings portray colorful and detailed floral arrangements in interior settings. Merging the natural world with fabricated settings, she finds balance in the opposition that is both realistic and imaginative.
In addition to working in art and design, Gabrielle and Jeff Dietz, collaborate on a series of sketchbooks and host community events in Tarrytown under the moniker "Brieff Studios."
Visit Gabrielle's website.
Jeff arrived in the Hudson River Valley by way of the small suburban town of Hudson, Massachusetts. He has infectiously made art for longer than he can remember. He is constantly carrying a camera and a sketchbook, searching for inspiration everywhere, with a strong connection to sunlight, trees, and the streets. Monday to Friday, nine to five, he works as a commercial photographer and videographer in White Plains.
Kerri grew up in Rockland and Bergen County and then studied art and art history at Vassar College. After graduating cum laude, she moved to Los Angeles, where she pursued a mix of artistic endeavors, including writing, filmmaking, and painting, while counseling homeless youth. She co-founded IWA, Independent Women Artists, a non-profit organization that paired professional women artists with at-risk youth to create original works of theater, film, and visual arts.
Now back on the East Coast, she has shown her paintings and painted objects for the past four years. In her first exhibition she was featured as the poster artist for the 2012 Nyack Art Walk. She has exhibited at the Hopper House, ROCA, The Amis Gallery in Nyack, and Ille Arts in East Hampton. Her work is in private collections across the U.S., Germany and Brazil.
Eileen is a local artist, art therapist and art teacher at The Blue Rock School in West Nyack Ny. She has a deep interest in the creative process and the myriad of ways in which it manifests in the individual and group art experience, and considers artistic expression to be an essential aspect of the human experience. Ms. Leith is inspired by natural and found objects and incorporates this into her sculptures and mixed media work. She has facilitated community art projects in Washington D.C, Manhattan and the Nyack area and has presented her art therapy work at conferences including The National Expressive Therapies Association and at John Hopkins University.
Gregory Moson
Gregory is an artist/sculptor currently working out of his studio at the Garner Arts Center in Garnerville, NY. Moson is a third generation resident of Haverstraw. Growing up on the shores of the Hudson River he has always appreciated the colors and abundance of bricks discarded by the old Brickyards. He has made several works out of brick including the one pictured. His work has been shown at the Piermont Flywheel Gallery in Piermont, NY. Gregory's work is often humorous and thought provoking of past times, present and future to come.
Rebecca Siracusa
Focusing on painting Rebecca Siracusa, a 26 year old artist from Stony Point, practices at her studio in a local artist community center. Her works include semi-abstracted local signage scenes and fully abstracted nature inspired drip paintings. Through these works she is trying to allude to the fact that quantum thoughts and happenings more obtainable then believed to be. Exploring the idea of time and space she creates works of all media to move you.
Richard Vivenzio
Richard Vivenzio is a sculptor currently residing in Brooklyn, NY. Spending time living on the coast and the city, his work takes on an influence from both the natural and industrial world.
Vivenzio's sculptures explore space by creating channels with different materials. He works primarily with string, rope, and shadow to create large-scale sculpture in space. These three-dimensional renderings create solid form despite being composed of separated, continuous, linear planes of string and shadow.
Richard Vivenzio has a site-specific installation currently being exhibited at The Newhouse Center of Contemporary Art at Snug Harbor, until October 15th, 2015.
Susan Luss
Susan Luss is a multi-media artist living and working in New York City. She considers the relationship between being in the work under construction and subsequently outside the work in reflection, leading to perspective differences that raise questions not only about process but also allows for a deeper understanding of the materiality of her work.
She has exhibited her work in group exhibitions in the New York, Manhattan, Brooklyn, Vermont, and France. She has curated for Artober Art Walk, Drawings on Myrtle. Ms. Luss participates with artist group "ArtShape Mammoth" as well as "Bushwick Art Crit Group" (BACG).
In 2009, she left the corporate world to attend Pratt Institute where she received her BFA in Studio Arts Painting (2013) and received the Award for Excellence in Academic Achievement.
Joan Harmon
Joan Harmon is a sculptor and installation artist currently living and working in New York City. She earned her MFA from Rutgers University and her BFA from the California College of Art. Harmon uses a variety of media from cast cement, fired clay, wax and mixed media and incorporates sound and light in her sculptural installations. Her work explores psychological journeys created by merging architecture, landscape and references to the human body.
Doris Laughton
As a professional artist, exhibiting internationally for more than 30 years, she has had major shows in New York, Chicago, Philadelphia, Washington DC, Denver and throughout Europe, including Milan, Rome, and many other important art centers of Italy.
Over these years she have utilized extreme color and an exaggerated full-volumed style to express many concepts in her art. This has forced her to work in an increasing diversity of mediums, from stone to light, with all the modern mediums in between.
James Tyler
The stone heads of the Olmecs, the fabled Colossus of Rhodes, Michelangelo's David, the masonry spires of Manhattan, whether the work of individuals or civilizations, it seems that we as a species are driven to make beautifully improbable objects. The Brickhead Sculptures and larger Colossus Project sculptures are inspired by my enduring fascination with the curious constructs of human kind.
Site specific interactive electronic components are incorporated into the artworks. Sound elements placed within the sculptures interject a narrative with the viewer. This is a mechanism with which I introduce the passage of time and attempt to hold the viewers attention for a moment longer.
The Brickhead Sculptures can be envisioned as the contemporary relics of our own civilization. Monumental personifications of place and entity, they are 'beautiful objects' that present us with a call for thoughtful reflection about the nature of contemporary society. At the same time, these sculptures are a celebration of the creative universality of humankind.
Eric David Laxman
Eric David Laxman is a multi-media artist who created a unique studio and showroom at the Garnerville art and Industrial Center near Haverstraw, NY and now works from his home studio in Valley Cottage, NY. He is very active in the Rockland artist community serving as a teacher, curator and gallerist. He has exhibited his diverse works throughout the metropolitan area and nationwide. Laxman is currently a member of the Sculptors Guild and is part of a large group exhibition on Governors Island, NYC. Laxman was awarded the County Executive Art Award for Visual Artist in 2007 and has been recognized by numerous local organizations for his community service. Laxman has completed numerous public sculpture commissions including City of Sculpture in Hamilton, Ohio; Greenwich Hospital in Connecticut and the Summit Medical Group in New Jersey. Laxman has also completed numerous sculpture memorials including: a memorial to Corporal Manny Lopez who was killed in action in Iraq, in Haverstraw and the JCC Munich 11 Memorial honoring the slain Olympic Athletes in West Nyack. At Rockland Community College's new 9-11 Memorial Garden, Laxman artfully combined parts of salvaged steel I-beams from the World Trade center Site with other steel and marble elements in "Spirit Rising". His custom furniture and sculptures have been featured in the The New York Times, The Journal News Home Design Magazine, The Artful Home, Hudson Valley Magazine, The Hook, Metrohouse Magazine, Rockland Magazine, Rivertown and others.
Bill Hochhausen
A longtime resident of New York Bill has maintained studios in Manhattan and Stony Point, Rockland County, New York. For the sculptor, and would-be-architect, the country life has had the greatest appeal. Several public projects are installed in Rockland County. He continues landscape painting and travel in the U.S.
Most painting projects center in the Hudson River Valley, northern Vermont and the 'Bay Area' in California. His daughter, Laila, is a psychologist.
Born in 1940, Uzbekistan (USSR), Bill came to the U.S. as a refugee in 1950 with his sister and parents. A graduate of The Cooper Union, Bill continued at the School of Art and Architecture at Yale University, where he earned BFA and MFA degrees.
Painter, sculptor and sometime architect; Bill has been supported by grants and commissions for public installations and is represented in many private collections. Lectures and teaching in many parts of the U.S. have been anchored by his teaching at Pratt Institute in Brooklyn, N.Y. Bill is a full professor in the School of Art and Design, assistant Chairperson and Coordinator of 3D.


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After Thursday's debate and aftermath, with the Donald loving on Scottish healthcare and ripping on that darned cute Megyn Kelly, it's hard to imagine what the man could say that would make a dent in his approval ratings. But there must be something. Would any of these ten things Donald Trump might say or do dim the affection of his followers?
10) "If elected, I'm bringing back New Coke."
9) "You know, Al Frankin really had a point about Rush Limbaugh."
8) He shaves his head to make room for a smiley face tattoo.
7) "If elected, I'm carving over those Presidents on Mt. Rushmore to honor the stars of that new Fantastic Four movie."
6) Going commando in the next debate.
5) Dating Honey B00-Boo.
4) Asks Bill Cosby to be his vice president.
3) "You know, I was wrong about Political Correctness. PC is awesome and if you disagree you're racist."
2) Kisses Jeb! full on the lips.
1) Telephones every supporter and says, "Your mother is a tramp". (Though you know they would probably brag about it on Twitter and Facebook.)
Would anything work?


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Black sticky rice, a delicious whole-grain alternative to white rice, is purplish black in color and has a chewy texture. This recipe gives you a simple method for how to make black sticky rice. Look for it in natural-foods stores in the bulk department or with other whole-grain rice.
Ready In


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2015 Convention Exclusive Friday the 13th 8″ Action Figure 2-Pack Reveal and Tribute by Ari Lehman!
"…and leave 'em writhing in the aisles!"
Ari Lehman, the actor who portrayed young Jason Voorhees in 1980's Friday the 13th revealed the 2015 convention exclusive 35th Anniversary Pamela Voorhees with Young Jason 8″ clothed action figure set today on Facebook!
Along with a brand new photo gallery from the NECA Studio, Ari posted up a loving tribute to the actress who portrayed his on-screen mother, Betsy Palmer, who recently passed at the end of May.
For the full gallery and a moving message from Mr. Lehman, click here: Ari Lehman on Facebook


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Men. They mess up. They break our hearts to only be filled with regret when we are sick and tired. And they sometimes want us back. Cause you don't know a good thing till it's gone, right fellas? Right.
I've had a guy "win me back." Or at least attempt to. Elijah and I had an off-and-on relationship for two years with a year-long break. I was over it, or so I thought. He wasn't. Elijah said he wanted to rekindle the flame. I wanted to start from scratch, build trust and intimacy and more trust. But Elijah wasn't into doing things my way. He wasn't putting in enough effort, and so our relationship was left on the cutting room floor. Only this time, it was I who shattered a heart.
This is exactly where Robin Thicke is headed with Paula Patton. He wants her back, y'all! His album, Paula, is even titled Paula so he can win her (Paula!!!) back. Will it work? We'll just have to wait and see. In the meantime, here are six of the worst ways that a guy can get a girl back.
1. A music video
Especially if it's a terrible one. And Robin Thicke's is bad. He's cut. He's hurt. He's a bad, bad man. He's drowning. Wait, she's drowning?! But come back to me, Paula! Yup. That won't work.
2. Demanding she take you back on your terms
This is what Elijah did. It was his way or no way, and he was the one who messed up in the first place. Men, if you follow his lead, you'll end up just like he did — without your former lady.
3. Not taking responsibility
If you messed up, admit to your mistakes. Sure, it takes two to tango, but don't expect her to share the blame when you are trying to win her back. Just take it like a man. Admit your wrongdoing and don't do it again. False promises will leave you in the outs. Again.
4. Stalker status
That's on Facebook, over text, on Twitter, and on Instagram. As Alan said, stay away from "constant text messaging, constant waiting-for-you-outside-of-your-home-or-job … stalking!" Cause it's kind of scary!
5. Groveling will get you nowhere
That's because women love men with confidence. Yes, admit that you are wrong but don't come at her like a puppy doll. Show your woman that you have changed. Don't beg for forgiveness and then repeat the same mistakes.
6. Asking mutual friends for help
Richard warned men not to "beg a mutual friend for info." Leave her girlfriends out of it. You messed up so you must do the work! Hopefully, you can get your lady back. If not, count your losses and stay way from musical instruments.
Read more by Sujeiry Gonzalez and get relationship advice on LoveSujeiry.com. Be sure to follow her on Facebook, Twitter and Instagram and Pinterest.
Photo Credit: Flickr.com/dip108.More On


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284 Elgin St, Ottawa – Website
Date of Visit: January, 2016
The Sir John A is named after Sir John A. MacDonald, Canada's first Prime Minister, and it is perhaps rather apt that a pub be named after him as he has gone down in history as something of a major tippler. I paid a visit to the place on a Thursday afternoon, to sample a few local ales and read, and I ended up staying for supper. Not only did I taste several beers that were new to me, I also got to try a dish I had never had before…
The interior of the pub is a pleasant, wood-paneled place and quite cozy. It probably seats over 100 but it is nicely laid out and not at all cramped. There were only a few patrons drinking at the bar when I arrived in mid-afternoon and it remained nice and quiet during my entire stay. The server, who was also tending bar, was very pleasant and chatty and made sure my glass didn't remain empty for long.
The bar serves quite a good number of local beers and there also a dozen single malts available, as well as the usual cocktails and 8 signature Martinis. The food menu runs mainly to burgers, sandwiches and pizza, but there is also a selection of entrees running an eclectic gamut from Fish and Chips to Guinness Peppercorn Steak. There are also 16 entries under the title 'Starters and Snacks' and these include Deep Fried Pickles and the interesting sounding Philly Beef Poutine. I almost chose the latter but then decided on the Boxty.
Beef Boxty – Boxty is an Irish dish that is essentially a potato pancake. I have read about it before, and seen recipes, but up until my visit to Sir John's I had never tried it. Sometimes it is served with just butter and maybe a little sugar, like the more common breakfast pancake, but it is also served folded over savory fillings as well. Here, the Sir John version is filled with grilled sirloin, onions, mushrooms and peppers, and topped with Guinness Peppercorn Gravy. The boxty itself was much lighter in texture than I expected and would probably have been almost spongy if thicker. The beef was just a little tough, but it was very tasty and the onions, while sweet from grilling, still retained a little crunch, which I very much liked. The gravy had a bit of a powdered mix taste to it but the peppercorns added a nice lively sparkle and I really enjoyed the dish as a whole. I rated it at a 4 out of 5.
Sir John A. is a very nice little pub. I can't see going back just for the food, by any means, but it has a great beer selection, reasonable prices, and is a pleasant place to while away an afternoon or evening. I give it a 5 out of 5.


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indicates every 2 miles
Dingwall to Inverness Cycle Route
|Cycle Route Details
|Route Name
|Dingwall to Inverness
|Distance : miles (km)
|13.8 (22.21)
|Posted By
|Calories Burned
|(login and provide your weight for more accurate calories burned)
|Cycle Steps
|This is a road route, mainly on A roads with bike routes.
Follow the bike route from Dingwall to Tore, then take first right after the A9 roundabout and Truck stop alongside A9. Follow this until you pick up the bike route again at Coldwell near Munlochy. This runs down the A9 and the A82 into Inverness.
|Landmarks/Pubs for lunch/Sites to see?
|Dingwall Bike Shop on Tulloch Street, Dingwall (Dryburgh Cycles)
Maryburgh Roundabout
Corntown/Alcaig Crossroads (Garage at Corntown)
Tore Roundabout - Truck Services and garage between Rbout and right handed junction on route
Caldwell Jnct
Kessock Bridge
Longman Roundabout
Clydesdale Bank on Longman Road
Roundabout at Halfords Bike Shop
Rose Street Roundabout and Multi-storey Car Park
TK Maxx/Inverness Bus Station
|Near By Cycle Shops
|Inverness Halfords
|Cycling Clubs located in this region
|Cairngorm Cycling Club
|West Highland Wheelers
|Your comments?
Go Back


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Blogtober is here! I am really excited for this month, there is lots going on. If you aren't aware, Blogtober is a challenge in which bloggers create new content everyday of October. If you aren't able to post new content everyday I still believe you can challenge yourself with a different goal. For example, commenting on more blogs and being more active within the blogging community.
As well as Blogtober, I have lots going on with my business that I am in the process of setting up. I have officially been self employed since the beginning of September. My store now exists on the internet and I have set up my social media accounts. I will announce more nearer the launch of the store. My website is currently protected by a password, so I won't share the name yet.
To kick off the month I want to share with you my goals. It is so important to set realistic goals, we can use them to measure what we need to do throughout the month. We can also then reflect at the end and decide if we exceeded our expectation or if things could be done differently next time. Read my post on why goals are important here. I have separated my goals into my three main focuses for the month:
- Drink at least 2L water – Daily
- Complete exercise routine – Read here
- Read more books – One per week
- Have a pamper night – At least once a week
- Complete Blogtober
- Join a Twitter Chat – Twice a week
- Double August views & exceed July views
- Exceed best overall day views
- Reach 750 Twitter followers
My Online Store
- Complete all styles of logo
- Get store ready for launch
- Order stock & packaging
- Product photography
- Add products to store
- Open store or set date
What are your goals for the month of October?
Let me know if you are doing Blogtober – I want to read as many posts as possible!


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Tips & Tricks
Photos Pages
Blog Pages
there's something about black dresses that I love. Not sure if it is the classic style or the slimming effect of black. But I keep finding black dresses I like. I guess it's a good excuse to find times and places to wear them all.


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is a great site to visit. It has a Naughty or Nice list which you can modify if you feel your child needs some incentive to be better behaved. The site also offers up plenty of games and fun facts that even parents will have a chuckle at.
This site adds a special touch to your child's Christmas experience. Order a personalised letter for your child from Santa himself. Based on the information you supply, Santa will know all about your little one's favourite things, their friends, teachers and, of course, what they would like for Christmas. A nice touch for younger kids.
The NorthPole.com is the website you can count on to get the kids out of your hair for a while. They can explore Santa's Secret Village, play fun games and read stories. The site is also great for teachers as it has a wealth of Christmas themed activities and educational games for young classes.
This site is just jam packed full of games, stories and little animations for kids to explore and discover. The shear amount of little details on this site will keep the kids entertained for hours. Claus.com's top attraction is its Naughty or Nice list, along with its sing-along songs which are scattered throughout the site
The Santa Spy
Cam App
We love this app and we're sure the kids will love it too! You can create a believable video of elves sneaking around the house which will have the kids quietly and patiently trying to catch one of these magical "elf sightings" for themselves. Well. the quiet part might not last but nevertheless, they will be completely amazed!
The Night Before Christmas
The classic Christmas tale has taken a modern twist through this highly anticipated interactive storybook. Watch the story come alive as your child explores each scene through touching and swiping certain objects to cause different actions and sounds. A great app which is well worth the price tag of €3.99.
Check out our other Christmas articles....
Gifts for Kids
2019 Ideas
Christmas Parties
Get the party started!
Merry Movies
Christmas Films
Christmas Markets
Fun Day Out
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To The Future You
You are the future, you are the present. I ask you to trust yourself to get to your next blessing. Life itself is not hard, we make it hard by getting stuck in our head. In our head we talk ourselves in and out of these blessing.
It's time to take the longest journey you will ever take in your life. It's only 18″ but could take a lifetime to travel. See this is the distance from you Head to your Heart, and when your in your heart you shall be led.
Live your life like a Kahuna, a life without Doubt. Free from fear and free from all that doubt. See it is from your heart that allows us to connect to the ultimate source of being.
Trust you are supported by everyone you encounter as well as the Source and Creator of all things.
Namaste (The Devine In Me Honors And Respects The Devine In You)


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HyPix-3000 is a next-generation two-dimensional semiconductor hybrid pixel array detector (HPAD), pixel size of 100 um², designed specifically to meet the needs of the home lab diffractionist.
>> See more
TXRF analysis can gauge contamination in all fab processes, including cleaning, litho, etch, ashing, films, etc. The TXRF-V310 can measure elements from Na through U with a single-target, 3-beam X-ray system and a liquid nitrogen-free detector system.
The TXRF-V310 includes Rigaku's patented XYθ sample stage system, an in-vacuum wafer robotic transfer system, and new user-friendly windows software. All of these contribute to higher throughput, higher accuracy and precision, and easy routine operation.
Integrated VPD capability enables automatic VPD preparation of one wafer while a TXRF measurement is made on another wafer for the highest sensitivity and high throughput. VPD-TXRF eliminates the operator variability that may occur with ICP-MS, and VPD-TXRF can be completely controlled via factory automation. VPD recovery from selected areas, including the bevel area, is available.
Optional Sweeping TXRF software enables mapping of the contaminant distribution over the wafer surface to identify "hot spots" that can be automatically re-measured at higher precision.
Optional ZEE-TXRF capability overcomes the historical 15mm edge exclusion of original TXRF designs, enabling measurements to be made with zero edge exclusion.
Optional BAC-TXRF capability enables fully-automated front-side and back-side TXRF measurements of 300mm wafers with non-contacting wafer flipping.
Fully-automated, high-sensitivity analysis in fab
Entire surface mapping of 300mm wafer with high throughput


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Our teams are building an accessible website. In the meantime, you can continue your experience on our Accorhotels website or contact us through the web accessibility page by email or phone.
As we're now part of AccorHotels with a unique customer online account, the authentification process has changed. Therefore you'll need to reset your password with the email address linked to your Fairmont account.
I forgot my email address
Our exclusive lifestyle hotel experience, designed to fulfill the needs of the discerning business executive and leisure traveler.
Our hotels offer a broad range of function rooms - from elegant boardrooms to banquet halls.
Whether on an epic journey or a weekend getaway, we make every child's stay magical.
These exquisite properties are the perfect vacation oasis for you and your loved ones.
Purchase a gift card or browse through our selection of quality bed linens, pillows and bathrobes or sample our premium teas.
After an invigorating day on the slopes, step into consummate luxury.
Our luxurious golf destinations include breathtaking mountains, stark deserts and warm tropical beaches.
Experience our growing collection of breathtakingly beautiful spas around the world.
View the latest issue of Fairmont Magazine.
Celebrate the beginning of your journey together at one of our landmark wedding resorts.
Fairmont Fit is your gateway to hundreds of well-being experiences, across the world.
Enjoy up to 25% off
As we're now part of AccorHotels with a unique customer online account, the authentification process has changed. Therefore you'll need to reset your password with the email address linked to your Fairmont account.
Fairmont's signature health and wellness brand; the award-winning Willow Stream Spa promises authentic experiences in a nurturing environment, taking guests on a guided journey of making them feel energized. Inspired by nature's elements of earth, air, fire, water and wood, experience the healing goodness of nature with signature treatments designed for living with abundant energy.
Fairmont Fujairah Beach Resort offers Willow Stream Spa, consisting of four single treatment rooms and two VIP suites, leave your cares behind as you step into a retreat of peace and tranquility. A design theme of rustic pure white resonates throughout, marrying driftwood beams perfectly with Arabesque lanterns and wall alcoves. Offering plenty of relaxation spots and lounges, the spa also features separate male and female wet facilities including traditional hammam, sauna and steam rooms, and experience showers. A retail space displays a select range of products designed to help you recreate the Willow Stream Spa environment at home, while a ladies beauty salon is on hand to offer nail care and maintenance services.
Opening hours:
Spa Facilities: 7am - 10pm, daily / Spa Treatments: 10am - 9pm, daily
For more information, call +971 9 204 1035 or email email@example.com.
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You might not believe this, but it's been suggested (more than once, actually, and sort of loudly) that I should Tweet.
Before I succumb to such a flight of fancy, I'd like you, Gentle Readers, to weigh in. See, my fear is that I will become one of those innocuous blatherers of insignificant non-news whom we all loathe and fear (like the members of Congress). "Buying shoes!" is just not newsworthy to anyone but the person selling me Danskos, no matter what the Twitter people would like us all to believe.
If I should agree to such madness (lesser ideas have gained me much, such as "why don't you start a blog?" and "you should write a book!"so I'm open to the possibilities), I'd like to know if any of you are interested in hearing from me in the short and sudden format? The good side is that however unimportant, my missives are guaranteed to be short. Kindly weigh in, dear friends. Would you enjoy the odd update, between posts?
Chirp Chirp.


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Motion Graphics often require unusual effects and animations. Todays example is one of them.
Created as a proof of concept, we have an animated rope being replaced with an animated gold chain.
This effect is very quick to produce and very easy to control, thanks to the power of Maya's MASH toolkit. For instance, we can quickly replace the gold chain with a chain of footballs.
This may not seem like much but the principle of it means we can cut down our animators workload and create 3D infographics much faster.
Thoughts by,


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You may as well know it, I'm on the slow-carb diet. The last year of glorious excess has been a blast, and I don't regret a single macaroon or triple pudding pie that went down my gullet. And I'm sure many of you thought along the way, what is the Bakery Babe's secret for staying healthy and slender whilst having daily treats fit for Buckingham Palace? The answer? The Babe's tush covers a lot of territory! And while that's never bothered me before, I'm starting to think about being a wee bit healthier. I know many of you fierce and awesome foodie bloggers out there run marathons in order to make up for all the fab food you eat. But the Babe is not putting on her jogging shoes unless Johnny Depp shows up in trainers on my doorstep and asks if I'd like to take a run with him. So, what's left? A diet. And I didn't pick just any diet. I picked the Queen Mary of diets. The Four Hour Body's slow-carb diet. Which pretty much means eating protein, vegetables, and beans. No more glorious piles of whipped cream on top of blackberry teacakes. No more icecream piled high as a beehive on top of warm apple pie. No more midnight runs on the oreo bag. And nix on that half cup of half n' half that normally goes in the coffee. Sigh.
So where is the solace for the slow-carb Bakery Babe? It's called Saturday. One day a week, the diet recommends glutonously and unabashedly feasting on anything and everything I want, in any quantity. There's scientific reasons for this that involves the metabolism, but I didn't make it past that first sentence informing me that Victorian sponge cake, caramels, and chocolate brownies can be consumed, en masse, on that one day a week. Indeed, why do you think I picked the diet?
So, let us not fear that the Bakery Babe will be blogging about celery parfait or turkey doughnuts anytime soon. Once a week, I intend to fit quite a few bakeries onto the menu, continuing with my wanton trail of sweet crumbs that wind around the entirety of Boston.
But should you hear me weeping during the weekdays about the lack of triple frosty blizzard bombs and deep-fried cupcakes, don't be alarmed, they're just the salty tears of a Babe who is down-sizing, big time.


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#OOTD: Snuggled Up in a Sweater: A SheIn Review (Feat. Rocksbox Jenny Bird Frida Collar)
In my opinion, there is no better fall item to have in your wardrobe other than a sweater. I mean they're comfy, cozy, and can be worn with just about damn near anything. Hence, why with my latest collaboration with SheIn I decided why not add yet another sweater to my closet, like I stated earlier, you can't go wrong with it!
First things first: What is "SheIn"?
Okay, puns aside, SheIn is an online boutique based in Hong Kong, China, specializing in trendy women's clothing. Though their products are sold at wholesale prices, their clothes are made exceptionally well, lets just say I was pleasantly surprised. Also just think wholesale prices for awesome clothing? What's not to love!?
I also have to say that the shipping was incredibly speedy (only took a week!) and also a special thanks to their marketing agent, Ms. Merry Evans, who reached out to me for this collaboration, SheIn was kind enough to give me this product for free just to give them some coverage, and needless to say I will now be shopping there for quite a bit of my wardrobe.
Sweater Weather
Firstly I have to say this knit charcoal sweater is gorgeous and comfy! The silk and cashmere blend of this piece is just so soft and smooth to the touch as well as keeping you warm and cozy.
This piece is perfect for an autumn stroll through the park or a nice evening bonfire filled with s'mores and fun.
Jenny Bird Frida Collar in Gold & Lapis
Just to dress my sweater up a bit I decided to use one of my freshly received pieces from my first ever Rocksbox set! I chose this necklace because the muted gold blends so nicely with the charcoal color of the sweater and the blue detailing gives this look just the right amount of color to make it pop (also it matches my mermaid hair, duh)!
Black Denim
I chose to pair my sweater with my black Juicy Couture skinnies for a darker and more muted look. Lately I've been loving monochromatic outfits, simply because it leaves me more room to play with different colors in jewelry, make-up, or even my hair for instance.
I Love My Chucks
One of my favorite shoe choices to wear in the fall are my classic black and white Converse. I don't know if it's because I miss the comfort of slipping on a nice pair of worn in sneakers after a summer full of open toed pumps and sandals, or if it's just the nostalgia of back when I was in high school and they were my one solid shoe choice to wear with everything (yes, even dresses--cringe). Either way I'm happy to have them on my feet once again.
One Last Look
Want to get a look similar to the one in this post? Just click the photo above for that exact sweater or if you want something different just click over to SheIn.
Wanna tell me about your foolproof fall item? Either sound off in the comment section below, tweet me at @StarkRavingChic , or like my Facebook page Stark Raving Chic and even post to my wall. Until next time, keep it chic!


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Arriving at the 75-year-old Vogue Theatre for a Black Mountain show is a lot like it was showing up at the now defunct Rumpus Room on Main Street for a Sunday brunch. The hair is greasy, the moustaches are ridiculous, and the clothing is pre-owned; which is not necessarily indicative of audience socioeconomic status. Many of the hats worn are reminiscent of an old-timey paper boy shilling the local rag outside of Music City on the corner of Sunset and Vine in the 1940's. By the 40's the newscap, much like the local paper competing against neighbouring NBC studios was thought to have summited its peak, but dammit if current day Mount Pleasant, New Westminster or any era Brian Johnson or Angus Young (AC/DC) aren't bent on bringing it back.
Reviving what was thought to be in the rear view mirror was a running theme the other night at 918 Granville Street. For starters, though Black Mountain is still technically playing in support of their 2016 release IV, the hometown boys and girl put a noticeable emphasis on the old material; notably 2008's In The Future. Starting the set with "Angels", "Queens Will Play", and "Tyrants" chronologically, the psychedelic rock group was sure to evoke audience enthusiasm by leaning heavily on the brawny second album in their catalogue. Later in the set, Stephen McBean and cohorts would go on to add "Wucan" rounding out the majority of the highlights (save for the 16+ minute track "Bright Lights") from the eye-opening Polaris Music Prize nominated LP.
The Vogue Theatre cooling system (which may be as advanced as opening the doors) was not done any favours Friday night, as the unusually warm evening outside coupled with a packed auditorium inside translated into a swelteringly hot concert venue.
Those who have seen Black Mountain live can attest to the voice of Amber Webber being even more incredible in person than recorded, and such was the case again on Friday night.
Having played just a handful of in-town shows as a full unit (Waldorf 2012, Malkin Bowl 2015, Commodore 2016) since the famed double-header Dropout Boogie Tour of 2010, fans of Black Mountain were appreciative from the first chord to the last. Needless to say, working one's way up to the front of the crowd was deceivingly more arduous of a task than it is during most contemporary shows.
Despite the immense heat and propensity for the five-piece to 'jam-out' a little more than some find constructive, the set did not feel drawn out or long in anyway. In fact, if anything the set-time felt just right even bordering on short.
As a testament to the staying power of the written word, Black Mountain is the first show attended in Vancouver since Puscifer in late 2015 at the Queen Elizabeth Theatre where spotting a cellphone became so challenging, it was almost a game. Despite McBean having a choice description of the cellphone camera using concert-goer ahead of their show in May 2016, there were still more phones in the air at the following Commodore show than there was during Friday night's Vogue Theatre performance. A clever ploy for an artist who understandably does not want his soul stripped of him by audience cameras, McBean's comment 'people getting their phones out at shows is now seen as kind of lame" noticeably resonated with the loyal fanbase. Those who dared attempt a photo with their phones received prompt glares and without a doubt viewed as 'lame' by the slow but sure to disseminate the singer's thoughts Black Mountain faithful. The now six-year resident of LA's opinion may have meandered to reach the masses due to the apparent options to communicate having been dwindled down to home telephones with plastic spring-like coil cords attached to them or long-form handwritten notes only. That said, there is now a certain irony to every concert shot found on the Black Mountain official Instagram account, of which there are a few.
Considering the array of other projects each member of the unit is part of it's tough to say whether the approaching 50-year-old McBean and company have lost their drive in the collective project. One can never tell if the hippie-rocker shoe-gazing demeanour stems from a lack of passion or is purely a necessity to achieve band aesthetic. Admittedly the set length was average, the material albeit strong leant on yesteryear, and the visible enthusiasm on stage was questionable. However, (and this is a big one) the sound of each and every player was dynamic and spot-on with the source material. The versatility of the three songs from IV showed elements of Lightning Dust and Pink Mountain Tops in them, but even more so the profound synth playing of keyboardist Jeremy Schmidt (Sinoia Caves).
The harmonies shared by Webber and McBean were as commendable and textured as they have ever been delivered. The guitars are heavier than last this reviewer witnessed the act live, and the bass was felt in the chest cavity regardless of where in the venue the show was being observed.
The full wall of sound Black Mountain projects live is considerably stronger in its delivery than ever before.
The industry could do well with several impassioned Black Mountain albums, especially given the current state of rock music. With the resurgence of the 90's currently taking its lap as the trend de'jour it could be interesting to see how Black Mountain fairs when in the blink of an eye the crawling king snake of the psychedelic 70's slithers its way back to being en vogue. If Black Mountain decides to hit the recording studio for a fifth LP it would be no surprise given the strength of Amber Webber's voice to see the serpent to not be king at all; rather more Freddie Mercury than Jim Morrison.
Black Mountain Setlist
Queens Will Play
You Can Dream
Line Them All Up
Mothers Of The Sun
Space To Bakersfield


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Above are some photos of our choristers presenting checks to the organizations for whom they sang! To see a full list of SFA Beneficiaries, go to our Beneficiaries Page.
Michael Campbell presenting a check to Todd Gates, President of the Sausalito Youth Sailing Foundation and Renee DeCurtis, head sailing instructor for Sausalito Yacht Club. Cliff Romig presenting a check to Youth Spirit Artworks. Diana Lydia Kehrig presenting a check to Paul Smith for Contemporary Opera Marin. Josephine Lucchesi presenting a check to benefit the West Portal Lutheran School's Music Program. Pedro Rodelas presenting check to Coronado Elementary Choral Program. Greg Lau presenting check to Major General Michael Myatt (ret) for the Marines' Memorial Restoration Fund. Rebecca Sparks presenting a check to benefit the Diablo Valley College Music Department.
Barbara Treadwell presented a check to benefit Rio Americano Band and the Sacramento Children's Chorus.


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There are four pages of spreadsheet analysis performed by the "Car Lease or Buy Analyzer". The first page is where you insert the data obtained from the dealer, lender and leasing company. The other three pages perform the actual analysis of the dat you inputted on the first page. The second page performs the calculation of the proposed lease by checking what the lease payments should be based on the input from the first page. This page compares and checks the validity of the dealer/leasing company. The third page performs the calculations to check and compare the dealer/lending company payments against the calculations for the loan and payment amounts. The fourth page compares the cost on a dollar for dollar basis and cost per mile basis for leasing and buying the same car. The following are the four pages taken from a sample analysis.
"Car Lease or Buy" – Input Page
"Car Lease or Buy" – Lease Analysis Page
"Car Lease or Buy" – Buy Page
"Car Lease or Buy" – Comparison Page


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There are a lot of non-obvious, but interesting phenomena that show up in aikido and judo. One such is this idea that you should not take a step while lifting or raising your arms. When you raise your arms, you are actually pressing your body downward into the ground, making your feet slightly stickier and potentially making your footwork clumsier.
The solution, which we drill over and over in the walking exercises - you have to either pick your arms up then drop-step, or else step then pick your arms up.
Try it and see what sort of mileage you get out of it.
[photo courtesy of Wilhelmja]
Patrick Parker


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|Report No. 065 - Management of Persons Accidentally Contaminated with Radionuclides (1980)
Price: $50 / $40 PDF (AAPM Members FREE)
Category: Reports
Report No. 65 results from recognition of the fact that the increasing use of radionuclides in research, medical applications, nuclear power, and industrial processes suggests that there is also a concomitant increase in the probability of accidental human exposures to internally deposited radionuclides. The review carried out during the preparation of the new Report made evident the fact that the literature on the medical management of such cases is scattered and sparse. Any individual physician or health physicist probably will have had experience with only a limited number of radionuclides and a limited variety of exposure conditions. Furthermore, the therapeutic effectiveness of some treatments has been tested only in animals. Other therapies may be thought to be useful but have not been evaluated for a particular radionuclide or accident situation. This Report is a collection of many of the data and ideas pertinent to accidental contamination into one document intended to aid those called upon to manage contaminated persons. An important part of the Report is a "quick reference section," written in such a way that useful advice can be rapidly obtained by consulting the tables set out in the section. In addition, the Report includes sections on initial management of the patient, diagnostic techniques to measure radioactive contamination, conceptual basis for treatment decisions, resume of experience with important radionuclides, and therapy procedures and drugs. Scientific Committee:
George L. Voelz, Chairman
H. David Bruner
Thomas A. Lincoln
Victor H. Smith
Herta Spencer
Niel Wald
John W. Healy, Consultant


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Unconditional Waiver on Partial Payment Form - Appanoose County
Fill in the blank form formatted to comply with all recording and content requirements.
Included document last updated 9/18/2019
Unconditional Waiver on Partial Payment Guide - Appanoose County
Line by line guide explaining every blank on the form.
Included document last updated 10/30/2019
Completed Example of the Unconditional Waiver on Partial Payment Document - Appanoose County
Example of a properly completed form for reference.
Included document last updated 10/31/2019
*The Following Iowa and Appanoose County supplemental forms are included as a courtesy with your order.
Real Estate Transfer Declaration of Value
According to Iowa law, a Declaration of Value, stating the full consideration paid in certain non-exempt real estate conveyances, must be submitted to the county recorder at the time a deed, contract, instrument, or other writing is presented for recording. A version to be filled in online as well as a print version of the form are available. Both include instructions, but make sure to consult the Detailed Filing Instructions as well.
Real Estate Transfer Groundwater Hazard Statement
This form must be presented to the county recorder when the document to be recorded is filed. The recorder shall forward the original to the transferee when the recorded instrument is returned.
Transfer Tax
This tax table lists transfer tax rates by amount of consideration.
Iowa Homestead Exemption
If you are an Iowa resident property owner and live in the property for 6 months or longer each year, you may qualify for a Homestead exempition. This can reduce your property taxes.
Notary Certificates
The supplemental forms in this section can be used as loose certificates by notaries in the state.
Mechanic's liens are governed under Chapter 572 of Iowa Code. A waiver is a conscious relinquishment of a right. In this case, the person granting the waiver is relinquishing the right to seek a mechanic's lien for all or part of the amount due. This assurance is usually enough to get the other party to pay. In Iowa, there are no statutory forms for waivers although according to the principles of contract law, the parties may agree to such modifications in writing.
Generally, waivers come in four varieties: conditional or unconditional, and based on a partial/progress or final payment. Conditional waivers only become effective after the responsible party's check clears the bank on which it was drawn, and provide more protection for the claimants. Unconditional waivers go into effect immediately, tend to favor the owners' interests, and should only be used after payment is confirmed. Waiving lien rights after a partial payment allows the claimant to retain some lien rights, but to release others based on the amount paid on the overall balance due. Waivers upon final payments remove the claimant's eligibility to place a lien because they state that the account is paid in full.
Regardless of the nature, waivers must identify the parties, the location of the project, relevant dates, and payments.
An unconditional waiver is effective when signed and given to the property owner, and waives part of the lien amount representing the partial payment made. Unconditional waivers are effective regardless if payment is actually made. So if accepting a payment via check, only use an unconditional waiver if there are no doubts about whether the check will clear the bank.
This article is provided for informational purposes only and should not be relied upon as a substitute for the advice from a legal professional. Please contact an Iowa attorney with any questions about sending notice to property owners or anything else with regard to mechanic's liens.
Get your Appanoose County Unconditional Waiver on Partial Payment form done right the first time with Deeds.com Uniform Conveyancing Blanks. At Deeds.com, we understand that your time and money are valuable resources, and we don't want you to face a penalty fee or rejection imposed by a county recorder for submitting nonstandard documents. We constantly review and update our forms to meet rapidly changing state and county recording requirements for roughly 3,500 counties.
The documents you receive here will meet, or exceed, the Appanoose County recording requirements for formatting. If there's an issue caused by our formatting, we'll make it right and refund your payment.
November 18th, 2019
Name: sakkubai p.
Review: It was easy to download and I love it.I am going to take them to our attorney. If she approve it I am going to print for other counties too, where we have other properties. thanks.
Reply from Staff on November 18th, 2019
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November 18th, 2019
Name: Delia C.
Review: Your service is a life saver! I'm a paralegal and new to lien releases especially in Platte Co., MO. The clerk was not helpful and I so appreciate your service in accomplishing this very important task!!
Reply from Staff on November 18th, 2019
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November 18th, 2019
Name: James G.
Review: Deed.com had some hard to find mineral interest deeds for Oklahoma.I'm an attorney in Texas with no Ok experience. The examples on Deed.com were very useful and saved me lots of time. James G.
Reply from Staff on November 18th, 2019
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November 18th, 2019
Name: Josephine R.
Review: Completed, notarized, and recorded with no issues.
Reply from Staff on November 18th, 2019
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November 18th, 2019
Name: LINDA J M.
Review: NO PROBLEMS. I LIKE THE DEED DOCUMENT AND INSTRUCTIONS. MADE IT EASY.
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November 17th, 2019
Name: Shirley C.
Review: I liked that the documents could be filled in on my computer. All the documents came out nice, better than I expected really.
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November 17th, 2019
Name: Jane R.
Review: Forms were easy to complete and print.
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November 17th, 2019
Name: Sandra M.
Review: The forms were easy to use but there was a software issue that made it impossible to get the county name to appear on the form in the correct place. It made the deed look a little sloppy
Reply from Staff on November 17th, 2019
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November 16th, 2019
Name: Sally Ann C.
Review: Thank you for your service. It seems to have worked, I printed a document purporting to be the Deed I needed. I was somewhat disappointed though - I was expecting something as impressive as the Title Search, which goes back to 1828 and includes Millard Fillmore, admittedly not one of our most celebrated Presidents. But I am happy to have what I have, and thank you again! peace - SAVC
Reply from Staff on November 17th, 2019
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November 16th, 2019
Name: LEON S.
Review: recorded deed space to small for corrective deed requirement
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Chair of Information Technologies in Architecture was created at Architectural Faculty in 2004.
The chair provides training of specialists of basic and full higher education. It trains bachelors of architecture, specialists and masters in the speciality of "Architecture of buildings and structures" (specialization – "Information technology in architecture"). It trains post-graduates, provides specific computer and information training in designing and optimization of architectural works treatment in "Architecture" (in the specialities of "Architecture of buildings and structures" , " Urban planning", "Design of architectural space") and "Art" (in the speciality of "Fine arts").
The head of the chair is candidate of technical science, Prof. Tovbych V.V.
Contact telephones:
The head of the chair
Tovbych Valery Vasiljovych