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October 29, 2018
Fix and Flip Investment Tips
Here's What To Know Before Investing In A Fix and flip property. Maybe it's your first fix and flip home, maybe you're looking for a new
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The indie rock collective Ra Ra Riot, described as the next Arcade Fire due to their use of the unconventional instrumentation found in many indie rock bands, met in 2006 at Syracuse University.
If you don't know what direction you want to take in college, and you're not sure if you want to dive into the daily grind of the real-world office-like environment when you graduate, you're left with few options. But if you're passionate about music, it only makes sense to give a shot at doing what you like.For six kids in upstate New York, music was the way to go.
The indie rock collective Ra Ra Riot, described as the next Arcade Fire due to their use of the unconventional instrumentation found in many indie rock bands, met in 2006 at Syracuse University.
"I think we might have started a little differently than other bands, meaning that we weren't a bunch of friends," violinist Rebecca Zeller said via phone from Holland, one of the countries the band stopped in on their fall European tour. "We came together for the purpose of creating a band and playing music, and then, from that, really blossomed our friendships."
When Ra Ra Riot formed, the band had six members; it still does, but it's missing one of its driving forces. The tragic loss of drummer John Ryan Pike – who is believed to have drowned in Buzzards Bay after a show in June 2007 – stunned the music community. It also left a gaping hole in the band. But in the weeks after Pike's death, the band wanted to continue. Zeller said Pike would've been devastated if the band ended what began turning into a flourishing career.
"Especially with a lot of the tough time that we've been through, I think it could be easy to possibly turn against each other, but instead it's really helped our relationship," Zeller said. "Obviously his death affects me differently now than it did right after it happened. (First), it was more recovering from a tragedy and the loss of a best friend. Now, when I think of him, it's happy memories and remembering all the positives. I think we use him as a source of inspiration. We try to go about it as if we'd think about things he would've wanted if he were still here."
One of the most essential parts of working on their first full-length album, "The Rhumb Line," was including as much as Pike as possible. He wasn't alive to see the release of the band's 2007 EP, but his contributions as the drummer and a songwriter were too much to ignore. He helped record the album when the band worked on it in early 2007.
"It was really important for us to finish "St. Peter's Day Festival," which is the last song he wrote, and finish that in a way we hoped he'd be happy and proud of it," Zeller said. "We wanted to include as much of him on the record as we could."
On "The Rhumb Line," released in August 2008 on Barsuk Records, Pike's influence is everywhere. Four songs from the band's self-released 2007 EP appear on its debut album, including "St. Peter's Day Festival," and are perhaps the most powerful and strongest tracks on the album. The melodic blend of Zeller's violin and Alexandra Lawn's cello playing with singer Wesley Miles' brilliant pitch-shifting vocals put a perfect finishing touch on the song Pike wrote. Pike also cowrote "Dying is Fine," with its lyrics bringing an eerie feel to the album.
Ra Ra Riot, which now has Gabriel Duquette on drums, has taken a short break after an extensive European tour. The band – Zeller, Miles, Lawn, Duquette, Milo Bonacci (guitar) and Mathieu Santos (bass) – has returned to the U.S. and gets set to embark on a mini tour before taking a break from touring.
"I'm sure if things we're quiet, yeah, that wouldn't be good," Zeller said. "We've been on the road for three and a half months. We're really excited to come back, but not because we dislike Europe. This is our first 10-day break since August. We're excited to do a short tour in December, see our families, and relax, and then take a month off for the holidays."
Zeller said the reception the band received overseas was overwhelming.
"Surprisingly, the feedback has been pretty fantastic," Zeller said. "The show attendance has been pretty incredible. Before the album was released, when there was no label backing us and really no one promoting us, and the attendance was pretty low. Coming to Europe, I was expecting the shows to be like they were during our first tour of the U.S., but we've had pretty good crowds. Overall, the shows have been great."
Ra Ra Riot's infectious indie-infused chamber rock keeps gaining more and more praise, and with the release of "The Rhumb Line," the band has started attracting more attention than ever before.
"We played Conan and Letterman. It felt pretty incredible to achieve that, but it definitely wasn't a 'we-made-it' moment," Zeller said. "I don't think I've had that moment yet, just because we're still struggling to make it. I think when this turns into a career that provides a comfortable lifestyle, and when we're able to support ourselves doing this, maybe that's when. But I feel really positive about things now, and I'm really happy with the direction things are going."
Now back in the states, Ra Ra Riot is about to embark on a short, U.S. tour, which begins Wednesday, Dec. 3 at Higher Ground in Burlington, Vt., and continues with shows at Valentines in Albany, N.Y. (Dec. 4), the Iron Horse Music Hall in Northampton, Mass. (Dec. 5), and Swarthmore College in Swarthmore, Pa. (Dec. 6). The full list of tour dates is at www.rarariot.com/shows.php.
"One of our favorite shows off the last tour was in Jamestown, N.Y. The crowd was just unbelievable, excited, and enthusiastic," Zeller said. "Sometimes those shows are much more exciting to play."
Ryan Wood is a freelance writer who has contributed to the Community Newspaper Company, Noize Makes Enemies, The Sun (London), The Weekly Dig, The Noise and Earlash. Send him an email at firstname.lastname@example.com. Visit his blog, Take Me to Your Music, at http://blogs.townonline.com/planetmusic.

subset: commoncrawl


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Lawrence Evans wrote in discussing the work of Lions fils that
there is in truth no central core theory of nonlinear partial differential equations, nor can there be. The sources of partial differential equations are so many - physical, probabilistic, geometric etc. - that the subject is a confederation of diverse subareas, each studying different phenomena for different nonlinear partial differential equation by utterly different methods.
To me the second part of Evans' quote does not necessarily imply the first. So my question is: why can't there be a core theory of nonlinear PDE?
More specifically it is not clear to me is why there cannot be a mechanical procedure (I am reminded here by [very] loose analogy of the Risch algorithm) for producing estimates or good numerical schemes or algorithmically determining existence and uniqueness results for "most" PDE. (Perhaps the h-principle has something to say about a general theory of nonlinear PDE, but I don't understand it.)
I realize this question is more vague than typically considered appropriate for MO, so I have made it CW in the hope that it will be speedily improved. Given the paucity of PDE questions on MO I would like to think that this can be forgiven in the meantime.


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On the next "Arrested Development," there is going to be a lot of "Arrested Development."
Vulture reports that all 10 episodes in the long-awaited return season of the cult comedy favorite will premiere on the same day on the program's new home, Netflix, next year – no doubt setting off a "Chicken Dance"-like frenzy among fans. The move, unlike a Gob Bluth magic trick, marks a crazy stroke of brilliance befitting a perversely great show.
Fans love "Arrested Development," in part, because it constantly broke the unwritten rules of TV comedy. Most of the characters run the spectrum from disturbingly eccentric to extremely unlikeable. An incestuous kissing-cousins plotline spurred uncomfortable laughs. Narrator Ron Howard's weekly intonation of "On the next 'Arrested Development'" invariably led to a scene that had nothing to do with the upcoming installment.
By the time the series returns, it will have been seven years since Fox cut off the Bluth family mid-dysfunction and more than a year since Netflix announced it would pick up the show. So why not flood the streaming service with a five-hour wave of new episodes?
That fits with the way many fans, original and latter day, experience the original 53 episodes – in marathon viewing sessions via Netflix or DVDs. Once you get watching – or re-watching – "Arrested Development," the show can become as hard to shake as a hankering for a frozen banana.
The marathon move also promises to fuel the hype for a program with a fan base that's active online, savoring and dissecting every nugget of new information about the comeback – and even starting an Internet campaign to bring back Steve Holt, a short-lived but pivotal character.
As for spoiler fears, chances are many viewers will be too busy glued to the new episodes to post or uncover hints of what's to come. After all, there's much catching up to do: Did Michael and George Michael (and George Sr.) ever make it to Cabo? Did George Michael ever make it with Maeby? Did Tobias ever make it out of his blue period?
Producer Mitch Hurwitz, speaking Tuesday at a Netflix event in Las Vegas, reportedly also suggested there could be additional seasons following next year's return and the planned reunion movie. He confirmed that Scott Baio would be back as word-and-tongue-twisting attorney Bob Loblaw, who, we hope, has been keeping up with the Bob Loblaw Law Blog.
No word yet on Steve Holt's fate, but we're awaiting more arresting developments. Unlike Gob's act, we're far from the final countdown.
Hester is founding director of the award-winning, multi-media NY City News Service at the City University of New York Graduate School of Journalism. He is the former City Editor of the New York Daily News, where he started as a reporter in 1992. Follow him on Twitter.


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They were actually born just 2 months apart. Can you tell?
I can't tell.
One totally looks 15, which is her age. The other close to 40.
Check it out – Dakota Fanning last night at the Hollywood premiere of Push, refreshingly fresh-faced and age appropriately pretty and then old hag Ali Lohan in Times Square for some kind of photo shoot looking more and more every day like a carbon copy of her wreck of a sister. On the way to join her too.
Most people would find it intimidating standing there, wearing a sheer dress on a cold day, trying to be distracted by the gawking passersby, the snickering, the eyeballing…
But Ali is a Lohan. She was born and bred to soak up the attention, to live off the paps, and she's already addicted to the life. She needs more of the life. Only a year to go before she makes like her sister and starts living at the Marmont full time by herself. It's a Dina Lohan rite of passage.
Photos from Flynetonline.com and Splashnewsonline.com and Wenn.com
15 and 40
They were actually born just 2 months apart. Can you tell?


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Natalie Barr in Uganda.
Below is a feature article written by Dwayne Groff, a graduate assistant in the Liberty University Athletics Communications Office on midfielder Natalie Barr, a freshman from Lurgan, Northern Ireland. The article first appeared in the Oct. 20 issue of Flames Illustrated, the official program for the Concord at Liberty football game.
Each one of us has been given opportunities to make a difference in the lives of those who are less fortunate than we are. What we do with those opportunities is up to us. Do we see needs, but look the other way and ignore them, or do we seek to use the gifts and resources we have been given to be ministers of Christ's love to those who are in need? In the case of Liberty field hockey standout Natalie Barr, she has chosen to make a difference.
Barr, a Lurgan, Northern Ireland native, has played an instrumental role in the Lady Flames' historic season thus far. Liberty finished the regular season with a 14-5 record overall (7-1 NorPac) and captured the NorPac East Division title in just its first season of competition in the conference. Barr concluded the regular season with a team-best 14 goals and seven assists. She earned the conference's Offensive Player of the Week honor on three separate occasions and the Rookie of the Week award once.
Not only is she making a difference on the field for the Lady Flames this season, but Barr's desire to be an agent of change also extends to the African country of Uganda. In 2008, Barr and her family traveled to Uganda, and what they witnessed there changed their lives.
"The trip really impacted us as a family as we saw the overwhelming need for health services and educational opportunities for children," commented Barr.
The trip had an especially big impact on Barr's late sister, Charlene. Charlene Barr was born with cystic fibrosis and was not able to compete in sports while growing up, but that didn't stop her from trying. She became an honorary member of her school's field hockey team and served as a great inspiration to her teammates. While in Uganda, Charlene saw children who would not have survived if they suffered from the same disease she did, let alone have the same opportunities to be around field hockey and attend school.
A few months after returning from Uganda, Charlene's health severely deteriorated and she had to drop out of her last year of school. She decided to devote the time that she would have spent in school to raising money to build a school in Uganda. This process started the charity Charlene's Project.
Since Charlene's passing, Barr and her family have carried on the vision of Charlene's Project. The charity raised enough money to build its first school, Hidden Treasure, which opened early in 2011. A second school is currently in the process of being built.
Since she was a child, Barr has wanted to become a teacher after completing school, but it was during her first trip to Uganda that she knew she was called to teach. "While I was in Uganda, I really felt that God was calling me to become an elementary teacher and to give back and help the people there," stated Barr. She saw the impact that education, health services and field hockey can have on children and even an entire community. The Barrs have been back to Hidden Treasure and have conducted field hockey camps and supplied a great deal of donated equipment to the children of the area.
Barr, in an effort to raise money for Hidden Treasure, entered a competition called "How to Make Your Mark on This World." The winner of the competition received a donation of 15,000 pounds toward their work. She submitted a 90-second video detailing the work that her sister had started and how she wanted to continue that work in Uganda. She also included how she wanted to become a teacher and how she planned to use field hockey as a way to make a difference in the community there.
Liberty Field Hockey Head Coach Jodi Murphy, who has also spent time in Uganda through her non-profit organization Pathfinder Hockey, saw the video and contacted Barr about coming to Lynchburg and joining the Lady Flames. "She told me that it was not only the shared love for God and field hockey that has brought us together, but also our love for Uganda," said Barr. "When I first heard about coming to America to play field hockey, I wasn't really interested in it because I knew that I wanted to go to Uganda and teach. It was Coach Murphy's link with Uganda that really got me interested in coming here."
Barr came on an official visit last Easter and enjoyed the atmosphere at Liberty. She committed to joining the Lady Flames over the summer and arrived in Lynchburg in August. "It's been amazing to see how everything has worked out and how God has orchestrated a plan for me to be here and also to have an impact in Uganda," commented Barr.
For the remainder of the 2012 field hockey season, Barr will continue to have an impact on the field for the Lady Flames as they compete in the NorPac tournament this weekend. She knows that she has been called to make a difference not only on the field hockey field at Liberty, but also to use her gifts and talents to help change the lives of children in Uganda.
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Tagged: John Lackey
And on the seventh game, the Red Sox wins. Finally.
It was home, sweet home
Boston for The Nation after having their first win of the season on April 8th. And winning
against great rival Yankees just made it sweeter.
Starting pitcher John
Lackey was no better that shaky Phil Hughes but was lucky enough to get the
win. Both have 6 ERs and gave 2 free pass to first base. Bartolo Colon, who has
been pitching the way he was expected to, took the lost.
Dustin Pedroia hit his
first home run of the season in the first inning but the damage started in the
second inning. J.D. Drew, who has always been a challenge to Phil Hughes,
hit a single followed by a base hit of catcher Jarrod Saltalamacchia. Jacoby
Ellsbury loaded the bases with his fly ball to right field.
Marco Scutaro's at-bat
ended to a force out but he sent Drew and Saltalamacchia home, giving the Red
Sox a 3-2 lead.
Still in the second
inning, Dustin Pedroia hit a 2-run single then advanced to second base on a throwing
error by Curtis Granderson. The Red Sox second baseman scored on Adrian
Gonzalez' soft ground ball to left field. David Ortiz hit a line drive single
to center field and cause Gonzalez to score the fifth run of the inning.
Those 5 runs in the second
gave pitching coach Larry Rothschild the green light to replace Hughes with
Bartolo Colon who played for the White Sox in the previous season.
A-Rod tied the game in
the top of the fifth, but Saltalamacchia's double in the bottom put the Yankees
behind the Red Sox.
J.D. Drew hit a 2-run
single in the seventh, giving his team a 9-6 lead. Daniel Bard in the eight and
Jonathan Papelbon in the ninth both needed just 11 pitches for 3-up, 3-down
stay on the mound.


text:
Ball Gag 1 1/4" Swirly Ball in Multiple Colors. We also make them with safety in mind. Just unsnap and the ball can be removed, you can change the balls without replacing the straps.
Our ball gags fit from 13 1/2" to 21" the straps are designed to go under the base of the skull on the back and around to the mouth. If you need a different size please let us know and we will be happy to make one for you.
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text:
Vijay K Pun
Aug. 8, 1046-Nov. 16, 2013
Dublin, California
Our beloved mother Vijay passed away peacefully in Pleasantan surrounded by family. She united with our father Sohan S Pun in heaven.
Our Mother was born in Amritsar, India and lived in New Delhi previously. She is survived by two sons, Mukesh (Mickey) and Rajesh Pun; and two daughters, Hemlata Pun and Meenu Saraf. She has six grandchildren; Varun and Dr. Siddarth Sehgal, Pallavi, Tulika and Sherwin Saraf, and Siya Pun. Funeral Services will be held at 1 p.m. on Saturday, Nov. 23 at Chapel of Chimes in Hayward,CA followed by Bhog at Gurdwara Sahib in Fremont.
Our mother will be missed dearly and may her soul rest in peace.


text:
I want to learn Japanese Language by myself.
I googled around and there are some resources but due to the fact that I have absolutely no idea what I could be missing, I was looking for some well thought out answers about what learning materials will be a good start.
I have no previous experience in Japanese. I need something that's based or feedback, has a relatively slow pace and includes exercise materials. I prefer very lengthy courses.
My native language is Bengali.


text:
Excessive heat continues in the West, where the added danger of monsoon flow can deliver dry lightning strikes. KNBC's Fritz Coleman reports.
The brutal heat wave baking much of the Southwest was bringing record-breaking temperatures Monday to traditionally cool parts of the Northwest where summer is more a state of mind than a season of sweat.
The oppressive heat — unusually high even for summer ovens like Death Valley, Calif., and Las Vegas — has immersed the western third of the country in dangerous conditions, feeding wildfires and droughts with little relief in sight. It has already killed at least one person, an elderly man who suffered cardiac arrest Saturday in an un-air-conditioned residence in Las Vegas, NBC station KSNV reported.
After setting records across the Southwest, the weather system — a smothering dome of high pressure stretching from Montana to Arizona — was starting to broil western areas of Washington and Oregon, where high temperatures might top out in the mid-80s once or twice a year, thanks to the cooling effects of the Oregon Coast Mountains and the Olympic Mountains in Washington.
But "right now, we're not feeling the cooling from the ocean at all," National Weather Service meteorologist Shawn Weagle told the Register-Guard of Eugene, Ore.
"It is just going to get hotter," said Mike Linden, a meteorologist for NBC station KNDU of Kennewick, Wash.
Heat advisories and warnings covered Washington, Oregon and Idaho through Tuesday evening.
Two guys from the National Weather Service harnessed the power of the sun and took advantage of the extreme heat wave scorching the Western U.S. to bake up some fresh cookies on the dashboard of their car. TODAY's Dylan Dreyer reports.
"The combination of hot temperatures and high humidity will combine to create a dangerous situation in which heat illnesses are likely," the National Weather Service said.
"Hot weather isn't frequent in Seattle," Mayor Mike McGinn said. While the high of 90 degrees Monday would be welcome relief for people in the Southwest, it broke Seattle's July 1 record of 87.
The city was closing the University Bridge, a major commuter passage, for 10 minutes every hour so it could be flushed to keep it from getting too hot, the Seattle Times reported. East of Renton, a southern suburb, work crews were trying Monday to repair a busy road that buckled in the heat — essentially melting open, the Seattle Post-Intelligencer reported.
McGinn noted that many homes don't have air conditioning, and he urged residents to use the 18 city library branches that do have it as cooling centers.
In other Northwest cities where the Pacific and the mountains have little effect, triple-digit temperatures were expected Tuesday. Yakima, Wash., was forecast to hit 106 degrees. Ashland, Ore., was forecast to hit 105. And Boise, Idaho, was expected to top out at 109 — 2 degrees below the all-time record, set on July 19, 1960.
"It's amazing how much we take for granted shade and cool weather until it gets really hot like this, and then you really realize it," Abby Sweet, who was outside watering plants Monday at CFW Earth and Wood Nursery in Missoula, Mont., told NBC station KECI.
Meanwhile, areas from the Carolinas to New England have experienced flooding because of a big, rain-producing weather system that has settled along the coastline. NBC's Brian Williams reports.
The Northwest was only going through what residents of the rest of the West have been experiencing since last week. How hot has it been? It even hit 83 degrees Sunday in Fairbanks, Alaska.
It's hard to set records for heat in the Southwest, but more fell Sunday. Las Vegas hit 117 degrees. Since record-keeping began there in 1937, the only other times the temperature reached 117 degrees were on July 19, 2005, and July 24, 1942, according to the National Weather Service.
In addition to the man who died, seven other people were hospitalized for heat-related illnesses Sunday, the Las Vegas Sun reported.
The mercury rocketed to 128 degrees Sunday in Death Valley National Park, the National Weather Service said, tying the record for the hottest June day anywhere in the country. But the Los Angeles Times reported that the National Park Service thermometer — 200 yards away — recorded a temperature of 129.9, which shatters the record for June.
The highest-ever recorded air temperature on the planet, according to the Weather Service, was 134 degrees on July 10, 1913, in Death Valley's Greenland Ranch.
Meanwhile, nearly half of Utah, where temperatures reached triple digits for the fifth straight day in Salt Lake City, was suffering a severe drought, NBC station KSL of Salt Lake City reported.
"We have a huge drought situation," Claudia Jarrett, chairwoman of the Sanpete County Commission, told KSL. "There's just been no rain. The streams are not filling and the ponds are not filling. It is a critical water situation."
The heat was also causing some Salt Lake City highways to buckle, the Utah Transportation Department told KSL.
Adan Carrillo, a spokesman for the department, said many highways have expansion joints designed to lessen contraction and expansion due to weather. But years of wear and tear have taken a toll.
"With the amount of heat we're experiencing, the joints are saturated with dirt and debris, leaving little to no room for these concrete panels to expand," he said.
Tracy Jarrett and Alastair Jamieson of NBC News contributed to this report.
Dozens of people have been hospitalized because of heat-related injuries in the high temperatures that are gripping the Western U.S. Some cities have seen temperatures soar far past the hundred-degree mark, while the heat continues. TODAY's Dylan Dreyer reports.
Health fears as more record temperatures forecast for heat-baked West
Extreme heat bakes West, Southwest


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You may have heard of the famed monkey waiters of The Kayabukiya Tavern north of Tokyo, but have you ever seen the monkeys don lifeless human masks? Writers of the blog Budget Trouble stopped by the restaurant last year and were sufficiently rattled by their masquerading attendant:
Tonight only Fukuchan was on duty. And let me tell you, the masked and wigged monkey in the mask was a very creepy sight. And if not for those monkeys, there would be no reason for Kayabuki [...] to be famous. It's a less-than-average izakaya. Somewhat dirty and grungy, but not enough to be a skanky dive. The food is OK, but just barely this side of OK. The service is non-existent. No wonder then that when a British TV crew visited Kayabuki some time ago, some customers said that the monkeys were actually better waiters. At least they brought you things, which cannot be said about the human staff.


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New York Yankees pitcher Mariano Rivera will surely be elected into the National Baseball Hall of Fame, but on Monday (May 13) he received recognition from another Hall of Fame organization — the Rock and Roll Hall of Fame.
Rivera has announced that this will retire after this season, and as has been customary of respected retiring superstars in recent years, the home teams have been doing something special to honor them as they make their final appearances in each of the cities. In Cleveland on Monday, Rivera was presented with a Metallica gold record for their hit song 'Enter Sandman.' The song has been the relief pitcher's walk-in theme as he's entered games from the bullpen throughout his career.
The New York Daily News reports that the plaque was presented by the nearby Rock and Roll Hall of Fame in Cleveland. A touched Rivera told the paper, "I've got a gold record, brother. Without even singing, I have a gold record." The presentation was made by Indians team president Mark Shapiro and the Rock and Roll Hall of Fame president Greg Harris.
The pitcher told the paper, "I think it was well-done. Whoever thought of the idea of giving me a gold record with the song 'Sandman,' it was great. I appreciate that and I know it will have a special place in my house." Speaking about the gifts given as he makes the rounds of stadiums this year, Rivera added, "It shows a lot of respect. To me, that's priceless."


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Meet Kendall and Kylie Jenner at Roosevelt Field
Feb. 5
UJA FEDERATION OF NEW YORK hosts a multi-designer trunk show with women's, men's and children's clothing, accessories and more, 10 a.m.-5 p.m., 130 E. 59th St., 7th floor, Manhattan. Admission is free; 20 percent of all sales to benefit UJA Federation of New York; ujafedny.org
Feb. 5-6
RALPH LAUREN TRUNK SHOW, women's spring 2013 collection, at Americana Manhasset, appointments suggested; 516-365-9595
Feb. 7 and 8-10
AT BLOOMINGDALE'S, Roosevelt Field, treat yourself to a mini-reflexology treatment, noon-5 p.m. Feb. 7, while you check out the sales in the women's shoe department; 516-873-2904. Feb. 8-10, spend $100 on women's intimates and get a Valentine's Day-inspired votive candle; in Huntington Station (631-425-6700) and Roosevelt Field (516-873-2700)
Feb. 7-9
SKINZ TRUNK SHOW, hostess and evening gowns and cocktail ensembles in laces and textured fabrics, 9:30 a.m.-5:30 p.m., at Filly's, 1065 Willis Ave., Albertson; 516-739-9090. Designer visit Saturday
Feb. 8
MEET KENDALL AND KYLIE JENNER, 5-7 p.m., at PacSun in Roosevelt Field. The TV reality show sisters are introducing their casual style clothing line for young women and signing posters; 516-877-1323
Feb. 10
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Sample bridal gowns (sizes 10-28), headpieces, veils and accessories are up to 65 percent off, 3-7 p.m. Feb. 5, at 110 W. 20th St.; 646-633-4300. No appointment needed; one guest per bride.


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Teaching Baudelaire: Edward Kaplan's New Edition of Les Fleurs du Mal/Flowers of Evil
Charles Baudelaire's Les Fleurs du Mal/Flowers of Evil (1861) is known around the world as one of the most important collections of modern poetry. Influenced by Romanticism, Baudelaire (1821-1867) is not only an exquisite poet, but also one of the founders of modernism and the philosopher of modernity. Les Fleurs du Mal simultaneously evokes classic beauty and urban sensibility; true love and decadence; youth and decay; idealism and cynicism: all this and much more in one intoxicating bouquet of poems.
As contemporary as some these themes may be in the openness of our culture, Baudelaire's Fleurs du Mal can also seem daunting and distant to American students who may have little background in nineteenth-century French culture or may need some help decoding the nuances of Baudelaire's rich vocabulary.
Professor Edward K. Kaplan's new and exciting edition of Baudelaire's poems bridges the temporal and linguistic gap between American students today and nineteenth-century France. His European Masterpieces Edition of Les Fleurs du Mal (Newwark, Delaware: Lingua Text, Ltd., 2010) includes a biographical and cultural introduction to Baudelaire and his times; translations of terms that American students are not likely to know, supplemented by a French-English glossary that offers more helpful translations of key terms. This accessible yet erudite edition of Les Fleurs du Mal, by a leading Baudelaire scholar and translator, will make Francophiles out of new generations of American students.
Claudia Moscovici, literaturesalon
Romantic Aesthetics: Wordsworth and Baudelaire
Romanticism connected the sentiment of passionate love to artistic expression perhaps more closely than any other literary movement by describing both as the undistorted expression of intense and genuine emotion. Wordsworth's famous definition of poetry in the 1802 Preface to the Lyrical Ballads as "the spontaneous overflow of powerful feelings" applied not only to a new understanding of art, but also to a new understanding of human identity. In this succinct phrase, Wordsworth had challenged Neoclassical assumptions about the role of the artist and of art, the kind of audience art should affect and the values it should propose.
Each word chosen by Wordsworth is significant. If poetry is spontaneous, then it no longer needs to be guided by the rigid codes of Neoclassical art. If it's an overflow springing from the artist's imagination, then the artist is the most important part of the poetic process, since he's the source of the overflow. If poetry expresses powerful feelings, then its representations of how feelings are produced and of their contexts–in nature as well as in emotional bonds of friendship or love–will affect how society perceives emotion. If the object of poetry is to express the poet's powerful feelings, then the he or she is defined as someone with internal, psychological and emotive qualities rather than primarily in terms of his social position. If reality is conveyed through the poet's imagination–and transformed by the poetry–then what matters most is not how accurately the poet conveys that reality, but rather how he or she distills it through his or her style, rendering it evocative, interesting and moving. Literature and poetry become above all else an expression of human emotion, and that emotion connects the modern self to the artistic medium of expression.
Perhaps it is this causal link between art and human emotion that contributes both to the splendor of Romanticism and to its vulnerability. For Modernist and Postmodernist writers would attack precisely these intimate connections between human identity, emotions and their poetic and passionate expressions. They suggest that it's naïve and unfounded to assume that true emotions are the basis of human nature, that such a nature exists at all, that even if it exists, it can be communicated without distortion and, most importantly, that art should have anything to do with such lived experience. The Modernist valorization of women's fashion and of the dandy, for example, offers a striking example of the assumption that it may be, in fact, the artificial constructions of art that guide the conventions we assume to be natural in life. Once human identity becomes freed from our understanding of nature, the expression of emotion, poetic or not, can no longer make direct claims to sincerity and authenticity. The expression of emotion may be just rhetorical or imitative rather than conveying what we truly feel.
Yet should we be so thoroughly convinced of the way Modernism and postmodernism describe the connection between emotion and art as opposed to the models offered by Romanticism? Is the link between emotion and art necessarily unfounded and naïve? To begin exploring this question, I will examine briefly two bookmarks of the Romantic movements: Wordsworth's 1802 Preface to The Lyrical Ballads, the theoretical blueprint of Romanticism and excerpts from Baudelaire's Salon de 1846, which inaugurates the beginnings of modernity. In so doing, I will emphasize the relevance of Romantic aesthetics today, hinting at the hidden continuities between the Romantic movement and current intuitions about the connection between emotion and art.
In the Preface to the Lyrical Ballads, Wordsworth elaborates what would become known as the underlying premises of British Romanticism. Although not systematic enough to be called a theory or philosophy of Romanticism, and although it speaks primarily of Wordsworth's and Coleridge's own poetry, this preface nonetheless sets the tone, in an eloquent and thoughtful manner, for the vaster and diverse Romantic movements which would follow. Furthermore, if as readers seasoned by the postmodern critiques of Romanticism, we expect Wordsworth's aesthetics to be naïve, when reading the Preface we are pleasantly surprised. There's nothing simplistic about Wordsworth's model of artistic expression. At each step of describing the aesthetic process, Wordsworth is careful to emphasize its complexity. He does, indeed, mention not once, but twice that "all good poetry is the spontaneous overflow of powerful feelings," yet we must unpack this dense statement to see what it means. For not only does the author not assume art to spring directly from emotion, but also he does not conceive of its expression and impact upon readers in a naïve manner.
In the beginning of his essay, Wordsworth declares that "the principal object proposed myself in these Poems is to choose incidents and situations from common life" (392). His choice of subject is already original because it rejects the Neoclassical rule that poetry should focus primarily upon extraordinary events and characters. Wordsworth transforms not only the choice of subject of art, but also, and more fundamentally, the manner of its representation.
As we are aware, Neoclassical art had a mimetic orientation, in that it viewed art as an imitation of aspects of the universe. The key vehicle for this kind of imitation was visual: a picture was viewed as best approximating the object it imitated. Poetry was supposed to imitate painting by focusing upon visual imagery that produced a mental picture of the object it represented in the mind of the reader. Horace's Ars Poetica, written in the first century B.C., and particularly his phrase ut pictura poesis, was interpreted by seventeenth-century authors as establishing a parallel between the two arts. However, no matter how hard they artists tried and how they were, neither pictorial nor written art could perfectly reproduce its object. In fact, all that could be claimed was that the artistic representation was like its object, or an analogue of it.
As M. H. Abrams observes in The Mirror and the Lamp, Neoclassical defenders of art solved this problem (of the gap between image and reality) by arguing that art is not an imitation of nature, but rather a selective and improved representation of its real or ideal essence. The representation is not less than the object it is supposed to depict, but on the contrary, better: hence the French phrase, la belle nature or beautiful nature. The objects represented are improved by the artist's technique and craft, which in turn are perfected by the rules that govern his or her particular art form. In addition, the purpose of art as imitation was to elevate and instruct its readers; to please while also edifying them. Generally speaking, there are two kinds of objects represented by Neoclassical art: 1) objects of sense-perception (things we can see); and 2) objects of thought, such as the concepts of virtue and justice, whose representation was allegorical.
Wordsworth famously describes the radical transformation of both art and artist. He chooses as the object of art what he calls ordinary situations and men. Even more importantly, in his preface the artist takes on a new and more important role than ever before. In fact, the notion of the artist's special sensibility and extraordinary talent elaborated earlier by Kant and emphasized by Wordsworth would become one of the key features of Romanticism. Unlike in the Kantian elaboration of artistic genius, however, Wordsworth's description of the poet does not mystify the process of artistic creation. Wordsworth depicts that which has become a commonplace assumption about art ever since his Preface: namely, that the artist neither fully invents the fictional world he or she creates nor mirrors it exactly as is. Instead, artists and poets "throw over them [real people and events] a certain colouring of imagination, whereby ordinary things should be presented to the mind in an unusual way; and, further, and above all, to make these incidents and situations interesting by tracing in them, truly though not ostentatiously, the primary laws of our nature: chiefly as regards the manner in which we associate ideas in a state of excitement" (Preface, 392).
When art no longer serves the purpose of representing a world created by God and of conveying its meaning to others, the artist assumes a double nature. On the one hand, he's a created, fragile being in a world which appears to be forsaken by the divine. On the other hand, he's a creator of extraordinary beauty and true meaning. These paradoxical features would outlast the movement of Romanticism. The (post)romantic artist is therefore both infinitely small and infinitely powerful; a finitude aspiring to the infinite. It's no accident then that critics who study Romanticism speak of a ladder of love similar to the one we find in Platonic thought, especially in the Symposium. Romantic artists, poets and writers select details from ordinary life and infuse them with special significance, beauty and meaning. As in Plato's transcendental moves, Romantic artists and writers begin with the particular—contingent events and human beings—and aspire to render them universal or, in Wordsworth's own formulation, "interesting by tracing in them… the primary laws of our nature" (392).
Through his talent, the artist manages to convert a flood of accidental details into something readers will find essential; into some kind of lasting meaning. Wordsworth seems aware, however, that to speak of conveying an "essential nature" and meaning through art risks converting aesthetics into a form of rational knowledge. Although the Romantic poet may strive to capture some kind of truth about the human condition, as we have already observed, he does not aim at a strictly mimetic truth (where art strives, imperfectly, to imitate the universe as created by the divine) nor at a strictly rational one (whereby art provides knowledge in the same way that mathematical proofs or scientific experiments do). Which is why Wordsworth hastens to add that the source of creativity is not reason, but rather passion. Artists at once discover and create what he calls "the primary laws of our nature" by cultivating an emotive disposition "chiefly as regards the manner in which we associate ideas in a state of excitement" (392).
Wordsworth places emotion at the very center of human creativity. He places value not upon raw and immediate reactions to concrete circumstances, however, but upon feelings recalled and evoked in moments of quiet contemplation. As the contemporary writer Jean Rouaud would later say by way of analogy, the (post)romantic artist is not the being creating natural flowers, but rather the florist arranging them in an elegant vase, contemplating their beauty calmly in light of its aesthetic arrangement of forms and potential impact to move and please viewers. With this analogy in mind, we're now ready to consider Wordsworth's famous definition of the poetic process:
"For all good poetry is the spontaneous overflow of powerful feelings but though this be true, poems to which any value can be attached, were never produced on any variety of subjects but by a man, who being possessed of more than usual organic sensibility, had also thought long and deeply." (393)
We have already noted that if Romantic poetry aims to convey some kind of essential truth, it's an anthropocentric one, not one that mirrors a divine vision and creation. Furthermore, we have observed that this truth differs substantially from scientific claims. So what is the nature of specifically aesthetic knowledge? And what is the process of its transmission and verification, if it eludes scientific and even rational scrutiny? Given the fragility of aesthetic knowledge, and, furthermore, given its anthropocentric nature, Wordsworth and other Romantic poets and writers would attempt to establish its tenuous foundations upon aesthetic sensibility. The foundation of art is the exceptional talent of the artist to convey beautifully and movingly essential aspects of the human condition. In turn, its only measure of success is the attunement it finds in generations of readers. For as Wordsworth suggests, the poet "shall describe objects, and utter sentiments, of such a nature and in such connection with each other, that the understanding of the being to whom we address ourselves, if he be in a healthful state of association, must necessarily be in some degree enlightened, and his affections ameliorated" (400).
Art's truth—and power—consists of its ability to capture a contingent meaning which may not be everlasting, but which touches us with its very contingency. This truth emerges, on the side of the artist, in a kind of séance that combines what may be called, before its time, subconscious thought and what Wordsworth calls processes of volition. For Romantic writers, the poetic process entails a creative recollection of one's own feelings "So that it will be the wish of the Poet to bring his feelings near to those of the persons whose feelings he describes, nay, for short spaces of time perhaps, to let himself slip into an entire delusion, and even confound and identify his own feelings with theirs; modifying only the language which is thus suggested to him, by a consideration that he describes for a particular purpose, that of giving pleasure"(400).
Aesthetic emotion, or what could also be called passion, connects every point on the route to artistic creation. An intense yet calm contemplation, the evocation of feelings, ignites the creative process. Through carefully selected words, the poet must be able to move readers, but once again not to raw emotions, but to aesthetic sensibilities that give both purposeless pleasure and a sense of meaning. The power of art, in turn, is only tested by time. It has no other true standard, for only the accumulated responses of readers can give it lasting value. But the question still remains: If Wordsworth aims at a contagion of aesthetic feelings and sensibilities from poet to readers through poetry, then why must he appeal to a higher, universal standard of truth? In other words, if the goal of art is emotive and aesthetic—to move through beauty—then why does he insist that the poet must express a human essence and meaning? The poet addresses this question by connecting Romantic art to truth, or, more generally, aesthetics to epistemology:
"Aristotle, I have been told, hath said, that Poetry is the most philosophic of all writing: it is so: its object is truth, not individual and local, but general, and operative; not standing upon external testimony, but carried alone into the heart by passion; truth which is its own testimony, which gives strength and divinity to the tribunal to which it appeals, and receives them from the same tribunal. Poetry is the image of man and nature." (401)
As much as Wordsworth makes the power of Romantic art dependent upon the transmission of aesthetic emotion from real artist to real readers, he also wants to remove it from such sociohistorical contingencies by describing it as something that is measured by its own internal criteria and dependent upon nothing else. To do so, he depicts aesthetic truth in terms of the essence of the Romantic artist, a sensitive creator who captures "the beauty of the universe" and "the dignity of man" without any transcendental measure. He leaves us with a paradoxical vision of the artist which I call postromantic because we continue to find traces of it today: one aspiring to convey meaning without faith in either its objectivity or universality; one aspiring to move readers, but at the same time indifferent to the vicissitudes of their tastes; one which abandons the quest for an objectively verifiable truth only to engage in a process of intense contemplation of an elusive human essence which even the Romantic poet no longer fully believes exists.
Later Romantic writers and poets, including Charles Baudelaire, would realize how difficult it is to hold on to the epistemological rhetoric of truth when one is speaking of aesthetic beauty. For early Romanticism had presented more questions than it answered: In what ways can the truth of emotion and beauty be verified if not by generating a kind of consensus in viewers and readers? And even if, by a kind of magical Kantian subjective universal response, readers do indeed experience the same reaction to art and poetry, what does agreement have to do with truth? Can truth exist only in an anthropocentric context, without reference to higher standards? Couldn't human beings agree and still be wrong?
Sidestepping these problems, the late Romantic poet Charles Baudelaire returns art to the domain of aesthetics. Art, he suggests, is all about beauty, not truth. In the Salon of 1846, he declares:
"Each century, each people having possessed its own expression of beauty and morality – if we mean by Romanticism the most recent and modern expression of beauty – the great artist would therefore be –for the reasonable and passionate critic – the one that unites to the aforementioned condition, naiveté –the most Romanticism possible." (Salon de 1846, Oeuvres Complètes, 642).
So far it seems as if Baudelaire depicts beauty not as an attunement among author, text and implied reader, but rather as an attunement of poetry with its times. A work of art is one that best captures the feel of its epoch with elegance and pathos. The validation of art necessarily depends upon a social network of readers and critics who institutionalize that artistic perspective; who perceive it as in step with, and even ahead of, its times. Art is at once Romantic and modern, as Baudelaire puts it. While describing art as dependent upon the historical contingencies associated with artistic value, however, Baudelaire also agrees with earlier strands of Romanticism that the artist is the gifted creator of a timeless and abstract ideal:
"Romanticism lies neither in the choice of subjects nor in exact truth, but in the manner of feeling… For me, Romanticism is the most recent and up-to-date expression of beauty… The one who says Romanticism says modern art – which is to say intimacy, spirituality, color, aspiration towards the infinite — expressed by all the resources of art." (Salon de 1846)
Baudelaire thus returns to Wordsworth's image of the artist as a double figure: created in a world deprived of certainty; creator of beauty and meaning through art. External consecration does not suffice, however, to determine the quality of art. Like Wordsworth, Baudelaire is not fully prepared to abandon the artist to purely sociological standards. Hence his famous conception of art as doubled itself: as an intertwinement and juxtaposition of the ephemeral and the eternal, of passing fashion and timeless beauty:
"All forms of beauty contain, like all possible phenomena, something eternal and something ephemeral—the absolute and the particular. Absolute and eternal beauty doesn't exist, or rather it's nothing but an abstraction culled from the general surface of diverse forms of beauty. The particular element of each beauty comes from the passions, and as we have particular passions so we have our beauties." (Salon de 1846, 687)
In alluding to the eternal dimension of art, Baudelaire confronts the same problem as Wordsworth: by what standards can we judge an aesthetic object as eternal when we, ourselves, are only human; when the artist who created it, though perhaps more talented than ordinary human beings, is just as fallible and mortal as the rest of us? In "Notes nouvelles sur Edgar Poe," Baudelaire answers this question quite compellingly. He begins, like Wordsworth, by describing the creative origin and impact of poetry in a Platonic manner, as a "ravishment of the soul" (202). In other words, art is a process that transmits, by a kind of magical contagion or entrancement, the contemplation of passion rather than pure emotion itself. What is the aim of this aesthetic contagion? Nothing but the powerful feelings and impressions it provokes.
As we have seen, Baudelaire not only disassociates art from morality—as Wordsworth had in transforming the Neoclassical vision of art—but also from epistemology, or the discourse of truth. Poetry may make us more sensitive and sympathetic to other human beings, and it may even teach us something about human existence, but that is only incidental to it, not its central goal. "Poetry cannot," the author insists, "except at the price of death or decay, assume the mantle of science or morality; the pursuit of truth is not its aim, it has nothing outside itself" (204). So what is poetry then? Baudelaire responds:
"It's this admirable, this immortal instinct for Beauty that leads us to consider the earth and its spectacles as a correspondence with the Sky. The insatiable thirst for everything that is otherworldly and that reveals life is the living proof of our immortality." (Notes nouvelles sur Edgar Poe, 598).
Baudelaire's vision of poetry brings us to the threshold of what I call postromanticism: meaning a presentation of Romantic values and assumptions that remains plausible, and even intuitive, in modern times. Accepting the artist's double nature as creator of lasting beauty and created in a world without certainties, Baudelaire abandons the hope of proving the eternal value of art. Yet he still desires to claim it as an intuition, a hope. Baudelaire's modernist vision of Romanticism can be described as a powerful current that splits into two principal directions.
One direction would be pursued by Modernist and especially postmodernist artists and writers. This is the direction that postmodern theory has made most visible during the past thirty years. Beginning, as did Baudelaire, with the assumption that the beauty of art is not measured by any identifiable standard of truth or meaning, modernist and postmodernist authors would go so much further than the poet in dismantling –and showing the dangers of– all traces of the universal from aesthetics. Once such criteria are removed, drawing qualitative distinctions among artistic objects and even between artistic and utilitarian objects becomes a matter of purely socioeconomic considerations. Thus we reach, as many maintain, the death of beauty and the end of art.
By way of contrast, what I call postromantic writers and artists take late Romantic assumptions similar to Baudelaire's to a different conclusion. If there's no higher measure of art's beauty and illumination, then the creative endeavor is all the more challenging, titillating and despairingly powerful. Postromantic poetry and art plausibly intertwine a passionate longing for the absolute with a sense of skepticism, and even hopelessness, towards the possibility of ever grasping it.
Claudia Moscovici, from Romanticism and Postromanticism (Lexington Books, 2007)


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Mozillačanski profil
Matthew Willse
Code, Design, Products, Systems. Align gears.
Eksterne konta
- Twitter: mw
Adam Lofting
Matthew works at Mozilla Foundation. The list of places where his thoughtful approach to work has made Mozilla better is too long for this space, and right now I'm writing this note so he can get the necessary vouching rights, so he can continue being a thoughtful contributor to the project by showing appreciation for other contributors. Meta awesome.
Abigail Cabunoc Mayes
Matthew, the wearer of many hats, has been a great colleague at the Mozilla Foundation. From editing copy to strategic thinking around surfacing new projects in our communities, Matthew has been a huge help to me and the Science Lab.
Dino McVouch
An automatic vouch for being a Mozilla employee.


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Gilbert Highlands development, the first in Maryland to open after using funding from the American Recovery and Reinvestment Act of 2009 (ARRA), integrates many of Enterprise's Green Communities Criteria into the renovation.
The property now includes energy-efficient appliances, lighting, windows and doors, low-flow toilets and plumbing fixtures, environmentally friendly paints and floor coverings, and landscaping with native plants.
Montgomery Housing Partnership (MHP), a private nonprofit housing developer, recently completed the $5.34 million renovation, which began last November. The project created 28 jobs. According to Lesia R. Bullock of MHP, Gilbert Highlands received $1,175,255 from ARRA through the Tax Credit Exchange Program (Section 1602), which is administered by the Maryland State Department of Housing & Community Development in coordination with the Treasury Department. The facility also received an additional $52,500 from the new Maryland Multifamily Energy Efficiency and Housing Affordability Program, which is partially funded through ARRA and other state sources.
Gilbert Highlands is a 21-unit affordable rental community located at 8508-8510 Flower Avenue in Takoma Park, Md. It was built in 1953 and is within walking distance to stores, schools, county services, and the future Purple Line Metro. The property has an onsite rental office, and a new community room that will house a bilingual preschool and computer lab.
MHP purchased the formerly distressed building from private investors in 2007 with the help of Montgomery County and other partners.
"The preservation of Gilbert Highlands is a model of a successful public-private partnership that included federal, state and county financing focused on a community that desperately needs to remain affordable," said Robert Goldman, president of MHP. "We could not have acquired this development without the support of Montgomery County, and I'm very proud of the end result."
Gilbert Highlands was the first development in the state to receive funding from the Maryland Multifamily Energy Efficiency and Housing Affordability (MEEHA) Program, and also received $1.17 million from the federal stimulus through the tax credit exchange program. MHP's partners on the Gilbert Highlands project include: Montgomery County Department of Housing and Community Affairs; State of Maryland Department of Housing and Community Development; Citi Community Capital; City of Takoma Park; Community Housing Capital; NeighborWorks America; EDG Architects; RKR Construction; Building Consultants, Inc.; and Charles Tini & Associates.


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Police: Man killed girlfriend, later killed himself
Rebecca Coughenour found dead; Brandon Nowlin later found
A woman who was found fatally stabbed inside a southwest Baltimore home Thursday afternoon was killed by her boyfriend, who later killed himself, Baltimore City police said.
Police said they received an anonymous call telling them there was a body inside a home in the 200 of Atholgate Lane on Thursday afternoon. Officers went to the home and found the body of Rebecca Coughenour in the living room. Police said she had been stabbed.
Cathy McGowan told 11 News that the woman was her daughter. She was distraught and heartbroken over the 23-year-old's death.
"It's just so senseless. She had her whole life together," McGowan said. "I just saw she was at the front door. It looked like she crawled to the front door trying to get help."
Police said Coughenour had been in a relationship with 25-year-old Brandon Nowlin for years and that he was immediately named a suspect in the case. But shortly after Coughenour was found, Nowlin's body was found by Baltimore County police inside a vacant office building along the 5500 block of Baltimore National Pike in Catonsville.
Police said he killed himself.
Detectives said Coughenour and Nowlin have a history of domestic violence that had been reported to the agency.
"I have four daughters. I never dreamed I'd lose any of them, and now I just lost one. She should be burying me, not me burying her," McGowan said.
Police said they have closed the case.


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Automotive engineering is entering a new era of hybrid electric-drive vehicles that demand a special set of skills most automotive engineers didn't study when they went to college. To prepare engineers to thrive in this hybrid/electric world, Michigan Technological University is developing an interdisciplinary professional Master of Engineering program with graduate and undergraduate certification in propulsion technologies for hybrid and electric vehicles.
This curriculum development is supported by a three-year, $3 million grant from the Department of Energy under the Transportation Electrification Program. Michigan Tech will preview the new professional master's program at the North American International Auto Show in Detroit Jan. 11-24.
The Michigan Tech exhibit is part of the Michigan Economic Development Corporation (MEDC) EcoXperience Showcase at the Auto Show this year. Michigan Tech's booth will feature information about the new hybrid/electric graduate program.
"We were invited because we are leading the way in professional education in hybrid electric vehicles and battery technologies," said Carl L. Anderson, associate dean for research and graduate programs in Michigan Tech'sCollege of Engineering. Anderson and Michigan Tech engineering faculty Jeff Naber and Wayne Weaver are heading the development of the new graduate curriculum.
The exhibit will be in the MEDC Alternative Energy Showcase on the lower level of the Cobo Center in downtown Detroit, home to the annual Auto Show. EcoXperience will feature a quarter-mile indoor ride-and-drive test track surrounded by landscaped and forested terrain. MEDC is expecting at least 50,000 of the Auto Show's 650,000 visitors to see EcoXperience.
Representatives from Michigan Tech's College of Engineering and Michigan Tech alumni who work at General Motors will staff the exhibit to answer questions about the University's new professional Master of Engineering curriculum.
The pioneering professional master's curriculum is being developed in partnership with AVL and GM.
For the past two semesters, Naber and colleagues have collaborated with the Engineering Society of Detroit, the Michigan Academy for Green Mobility and Michigan Tech's industry partners to offer a pilot course for automotive engineers in the Detroit area. This course, including distance instruction and hands-on labs, attracted 100 graduate students each time it was taught
A fully outfitted mobile lab for the new curriculum is being built at Michigan Tech's Keweenaw Research Center, and the University's Husky Game Development Enterprise is developing computer software for student simulations in the lab. The mobile lab will also be used in outreach programs, including the US Department of Education's GEAR UP (Gaining Early Awareness and Readiness for Undergraduate Programs) at Michigan Tech and the University's Youth Programs, which bring hands-on engineering and science experiences to more than 1,000 middle and high-school students each year.
Youth Programs and Admissions representatives will be at the Michigan Tech booth on Automotive Education day, which is Jan. 20.
A press preview is scheduled for Jan. 11-12, followed by an industry preview Jan. 13-14. The Auto Show will open to the public at 9 a.m. Saturday, Jan. 16 and close at 7 p.m. Sunday, Jan. 24.


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By Patricia Yollin
At the UCSF School of Medicine commencement ceremony on May 16, Sam Hawgood quoted Nelson Mandela and then tailored his words to the occasion: "Today, what might have seemed impossible at times is done!"
With these words, the interim chancellor and dean of the school acknowledged the long road that had led the Class of 2014 to that moment in Davies Symphony Hall. Among the 159 graduates, there was a subgroup for whom the term "impossible" seemed particularly apt. Some of them wore pins, declaring themselves as the first generation in their family to go to college. Their path to graduation included hills even steeper than those their peers had to climb.
Among them was Eric Seymour, who grew up poor on the Mississippi Gulf Coast. He described first-generation students as an "invisible minority."
"I didn't even understand what residency was when I started med school," Seymour said. "I think about colleagues whose parents were physicians. They already had the vocabulary. I had to learn it. And people assume we all come from a particular background, and that our parents went to college. It's hard to speak up and say, 'My experience was different.' "
"These students have to bridge the culture of academic and professional aspirations and the culture of family and community," said Neesha Patel, PhD.
Patel is director of UCSF's First Generation Support Services, which took shape two years ago to address the needs of students who are pioneers in their families, navigating uncharted terrain.
"When you are first-generation college, what's missing is the map on how to get from point A to point B. Everyone needs the info on that map," Patel said. "You don't even know what you don't know. You don't even know what questions to ask."
To help students figure it out, Patel's program offers workshops, social events, discussion groups and mentoring — through faculty, postdocs, fellows, residents and alumni who are also first generation.
"There's something really powerful about knowing some of your professors have trod the same path you have," said Eric Seymour.
While acknowledging the challenges he faced as a "first gen" as well as being gay, Seymour is convinced that they will make him a better doctor, "It will help in the same way that being from any minority group gives you the capacity to see and feel differently — knowing that every patient's story is unique and deserves to be heard."
Like many first-generation students, the 31-year-old Seymour is a little older than the average graduate and didn't follow an uninterrupted academic trajectory. After graduating from Yale, he worked in the Mississippi Delta with Teach for America.
"I saw poverty in a way I hadn't seen it before," he said. "I came back to my old idea of being a doctor and a physician leader. It's terrible but, once you have MD behind your name, people listen to you."
Seymour, who also has an MPH degree, was drawn to UCSF because of the PRIME program, a five-year track for students committed to working with urban underserved communities. During a pediatric residency at Seattle Children's Hospital, he'll spend four months each year in Alaska, learning its public health system.
Patel said studies indicate that first-gen students often come from families that are low income, foreign born and/or minority.
JoJo Yang, a young graduate at 25, grew up in Irvine and went to UCLA. Her parents emigrated from mainland China in the late 1980s, and Mandarin was the main language in her home. Although her father is a chemical researcher who went to college, she strongly identifies as first generation, because she said she had to look beyond her family for support and direction after she entered medical school.
First Generation Support Services helped fill the void. Yang recalled a reception in the library with people from all professional schools at UCSF and at different levels of their careers. "It was nice to see that variety of backgrounds, to have exposure to it and know that they existed," she said. "It was really comforting and great to feel that kind of empathy."
The beginning of clinical rotations was especially daunting. "Going from the classroom to a hospital setting, from being in class to being dressed professionally, is difficult for all students," Yang said. "But we don't have that close family support of parents or older siblings who have specific suggestions about how to make that transition more gracefully."
Fortunately, she found a mentor who was also first generation and a year ahead of her. "It's been a huge asset," Yang said. "Patients in general are overwhelmed interfacing with the medical establishment, especially parents with a very sick child. My personal background helps me know where my patients are coming from, especially when they're confused trying to navigate the system and know who is doing what."
Next month, Yang begins a residency in pediatric neurology at Stanford.
On the home front, first-gen students say, it's almost impossible to convey what they're going through. And in the academic realm, dealing with medical school is something else entirely, way beyond what's involved in getting an undergraduate degree.
"The key difference is that you're being socialized into a professional culture," Patel said. "And it's an implicit culture. You're attending conferences, doing clinical rotations. How do you network? Do you hang around after a clinical rotation? Is that the norm? What's expected?"
As another first-gen graduate, San Francisco native Victor Laluz, put it, "I had to learn the culture from scratch. It starts with how you dress and how you look. I just felt like I was out of the loop. There were nuances and subtleties that I never picked up on."
Laluz, 29, lost his mother this spring. His father was a postal worker and Vietnam vet. He majored in psychology at UC Davis, but chose UCSF for medical school to stay close to his family.
"By the end, I think I figured it out," Laluz said. "But I've seen how breezy some people's paths have been. For those with doctors in their lives — roughly 50 percent of the class — things seem a lot easier. But a lot of them are very giving, and there's a good cooperative spirit."
He remembers the words of his surgical preceptor, Pierre Theodore, MD. "He said, 'You know, Victor, you're really a self-made man. You should be proud of that.' That was such a nice compliment. It summarizes how I feel in terms of being a first-generation med student."
Laluz will spend the next year working for Catherine Lucey, MD, vice dean for education, as an education fellow.
Backstage at Davies Hall, Jensara Clay looked cool and unruffled, but said she was actually frazzled. She'd gotten delayed in traffic returning from the airport after picking up friends and family who'd flown in from Los Angeles, Denver and Las Vegas. She had 18 guests at graduation.
The day before, she described the past four years. "It's a different world," said Clay, 30, who majored in biology at the University of Nevada, Las Vegas. "And until you find a mentor, you're kind of recreating the wheel. Learning how to accept help and be a mentee is also a difficult task."
Clay grew up in Denver and lost her father at age 3. She's worked since she was 14 — everywhere from Taco Bell at an amusement park to a dry cleanders and a call center.
"I think I've always felt out of place," said Clay, who is African American. "But being both first generation and a minority student, you have special experiences and struggles. It helps me even now connect with a lot of my patients and build rapport."
For the next four years, Clay will be an ob-gyn resident at UCSF. Her ultimate goal is to work with people from disadvantaged backgrounds.
Leila Yeh Beach, the student who was chosen by her class to give the senior address at graduation, succinctly recalled how all medical students, first-gen or otherwise, have their crises of insecurity and rely on the support of their peers. On her first day of clinical rotations, three hours into medicine rounds, she fainted. A classmate broke her fall.
"Knowing that you'll be there to catch me, literally and figuratively, is as comforting as it is cliché—and it is the one thing that gets me past the cynicism, anxiety, and crises of confidence," Beach told her fellow graduates.


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Tagged: Citizens Bank
What's New at Dodd in 2011
With the Home Opener tonight, the past few days have been spent putting the last minute touches on things.
The concourse was powerwashed.
The Tigers' Den was stocked with new merchandise,
and received a new coat of paint.
Beautiful flowers, donated from Hart's Greenhouse & Florist in Norwich, have been placed around the ballpark.
Staff has spent the majority of the past week hanging signage on:
While some members of the Tigers' Front Office answer ticket orders over the phone,
others store the 2011 Programs that were delivered on Friday.
Throughout the offseason, the Tigers' staff has been working hard to improve fans' experience at Dodd Stadium.
Here's a little preview of what's new this summer:
The biggest addition to Dodd Stadium is The Hole in the Wall.
Tigers' Front Office have been putting the finishing touches on the project, which began in early June, throughout the weekend.
Located down the rightfield line, the Hole in the Wall gives fans another great option to enjoy the game.
Fans can watch the game from an excellent view while having the choice of all 8 beers that the Tigers serve on tap.
New Logo Signs hang from the front of Dodd Stadium,
in close proximity to the Orange and Blue Flags,
the Tigers' colors, flying from the top of the Box Office and the Tigers Den.
Ben and Jerrys is a new vendor at the ballpark.
The Fan Information Booth is now sponsored by Citizens Bank.
The bunting has been hung up as the Tigers' Opening Homestand begins tonight.


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A DIY, Rustic-Chic Wedding at The Farm in Rome, Georgia
Emily Williams (24 and an insurance agent) always thought Austen Earp (23 and a musician) was cute when she would see him at church but spent years thinking he was out of her league. While she was studying abroad in Ireland, Emily sent Austen a Facebook message complementing his band and the pair began talking. Austen told his friend's after just their first date that Emily was the girl he was going to marry. It didn't take long before Austen asked Emily's parents for their blessing and he carried a custom ring with him everywhere for weeks before finding the perfect time to propose. "We went to the recreational fountain in the downtown area and decided to run through the fountain," says Emily. "We've done that occasionally, but this time he picked me up to carry me through and I knew something was up—the only other time he'd carried me through the fountain was our first kiss and the first time he told me he loved me. When we got to the other side, he got down on one knee and I lost it!" After falling in love in Rome, it felt natural for the couple to plan a local wedding at The Farm in Rome, Georgia. A lavender, cranberry and taupe color palette popped against the North Georgia mountain backdrop and DIY wheat grass arrangements enhanced the relaxed feel. "We got married at a beautiful, remote and rustic farm but our wedding was not the typical 'cowboy boots and hay barrels' type of wedding," says Emily. "With the venue's metal beams, the old English structure of the barns and the fields looking over the mountains, we knew instantly that this was the place where we would commit the rest of our lives to each other!" Emily and Austen settled on an "Italian countryside" theme and decorated their casual wedding similar to how they decorated their home—everything was DIY with neutral accents, rustic wood work and dried flowers. "We are pretty artistic people and it like we were serving our friends—we absolutely loved that!" says Emily.?We love lavender and wheat grass On a gorgeous April afternoon just outside a beautiful barn Emily and Austen said I do. They met at church- she was a barista at their little coffee shop and he would sometimes play in the worship band. He'd noticed her from a distance but it took him awhile to gain the courage to get the number from the girl whose smile absolutely captivated him... It didn't take long once Austen began to get to know Emily that he discovered that her beauty and sweetness radiated from the inside out and her heart was even more beautiful and before he knew it he'd fallen in love. She loves him for the way he supports her, stands beside her and showers her with unconditional love. He leads them together to strive for God's best and with him she finds herself trying to best the best person she can be. These two share a love that's undeniable and true. It was an absolute honor to be a part of their beautiful celebration of not only the love they share but to see the love they share with their family and friends as well.
Bussey's Flowers Gift...


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Snedeker has 7 birdies to lead at BMW Championship
Recommended Video:
LAKE FOREST, Ill. (AP) -- For all the improvements over the years in golf, from fitness to technology to better coaching, golf still comes down to makes the most putts. That explains why Brandt Snedeker was thrilled with his 8-under 63 in the BMW Championship.
And it explains why Tiger Woods was so perturbed with a 66.
Snedeker ran off seven straight birdies -- three of them from just off the green -- and felt so good that his final birdie in that streak from 18 feet looked like a tap-in. He wound up with a one-shot lead over Zach Johnson at Conway Farms.
Woods, meanwhile, was still bothered by missing three short putts on his back nine that ruined and otherwise good day in blustery conditions. He missed a pair of 3-footers for par (both of them turned into three-putt bogeys) and a 5-foot birdie putt.
This is the third of the four playoff events for the FedEx Cup, with the top 30 players in the standings advancing to the Tour Championship next week for a chance at the $10 million bonus. There is no cut at the BMW Championship, so all 70 players are guaranteed three more rounds.
Here are five things worth noting going into Friday's second round:
1. SNEDEKER ON A ROLL: Brandt Snedeker was one of the hottest players in golf at the start of the year before an old rib injury returned. He was runner-up in consecutive weeks to Woods (Torrey Pines) and Phil Mickelson (Phoenix) before winning Pebble Beach.
Maybe he's on the start of another roll. He certainly was on the golf course by running off seven straight birdies, starting at No. 13 and ending at No. 1.
"You get on runs like that, you get excited for the next hole because you know something good is going to happen, because you're in such a good frame of mind and everything is going in the right direction," Snedeker said.
In this case, everything was going in -- a 15-foot putt from the fringe on the 13th, another 15-footer on the next hole when he used the blade of his sand wedge to bump the ball out of the short rough, and a 40-footer from the fringe on the 17th stood out to him.
2. TRACKING TIGER: Woods opened with a 66, matching his lowest opening round on the PGA Tour this year. The other two times he shot 66 in the first round, he went on to win at Doral and Firestone. This one left him frustrated because of the three missed putts from short range over his last five holes.
"I'm not exactly real happy," Woods said. "I played well, and I just didn't get much out of that round. I missed three little short ones in there and then played the par 5s even par. That's just not very good."
He at least managed the low score in his group of the 1-2-3 players from the FedEx Cup standings. Deutsche Bank Championship winner Henrik Stenson shot a 72, while Barclays winner Adam Scott had a 67.
3. CONWAY FARMS: All eyes were mostly on Conway Farms, the Tom Fazio design north of Chicago hosting the world's best players for the first time. Everyone predicted low scoring, and there was plenty of evidence with Snedeker at 63 and 16 other rounds in the 60s. But the course is notorious for its wind, and it was plenty blustery in the opening round. Rory McIlroy had a 78, an injured Lee Westwood had an 80.
Just under half the field shot over par. The average score was 71.3, meaning Conway Farms acquitted itself just fine.
4. PHIL MICKELSON: Phil Mickelson stood on the first tee Thursday afternoon having never seen Conway Farms. He did not arrive until Wednesday night, excused from the pro-am because of personal reasons.
Mickelson chose not to share those reasons. When asked if it was a family matter, he said, "Everything is fine. I'm here now, I'm ready to play. But I just needed to be a little cautious this first round before I attack it tomorrow."
5. MOVING UP, MOVING DOWN: The top 30 players in the FedEx Cup advance to the Tour Championship, and it's not looking good for Rory McIlroy and Lee Westwood. McIlroy is at No. 41 and needs to finish about seventh. He made double bogey on his second hole -- his ninth double bogey of the FedEx Cup playoffs -- and then made a triple bogey after making the turn on his way to a 77.
Westwood is ailing, massaging his back and ribs on his way to an 80. He is No. 30 and mostly likely will be bumped.
There's still a long way to go, but John Merrick and Nick Watney got off to good starts with 67s. Both are outside the top 30.


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Music · Art · Underground · Pittsburgh // Figuring it out. One week at a time.
A wholesome-ass podcast highlighting Underground Arts, Entertainment & Culture. Join us for a deep dive into the minds of amazing creators and expand your perspective on the world around you!
Apr 14, 2020
A podcast about independent artists for independent artists. Each episode highlights different humans from all walks of life and their individual stories about inspiration, determination, struggle and so much more. Dive into the fantastic minds of these amazing people, absorb some useful knowledge and expand your perspective on the world around you! It's like, really important and stuff… or whatever.
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A Special Day For Me as Former Major Leaguers and Historians Make Minnie Minoso's Case for the Hall of Fame
Growing up in the 1950s, I lived and breathed the White Sox and their stars Nellie Fox, Billy Pierce, Luis Aparicio and, of course, Minnie Minoso.
So, it was an honor for me to participate in last week's "Minnie Minoso Hall of Fame Forum" at the Cell as historians and former major leaguers alike made the case for Minnie's Hall of Fame candidacy. The group of advocates included former teammates Pierce, Jim Landis and Jungle Jim Rivera plus Hall of Famer Tony Perez and Luis Tiant, who like Minoso will be considered for Hall of Fame election the first week in December by the 16-member Golden Era (1947-72) committee. Both Perez and Tiant, like Minoso natives of Cuba, grew up idolizing the man who would become the firat Black Latino in the major leagues.
Having grown up revering Minoso and now at a point in my life where I can play a small part in trying to help him reach baseball's highest plateau is very special to me. And it'll even be more special if I'm in Cooperstown next July celebrating Minnie's well-deserved induction into the Baseball Hall of Fame.
Note: The photo above shows Minnie and me after the Forum. We are standing in front of the spectacular display of memorabilia the White Sox put together for the event.


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The Accommodation
Select from our excellent Bed & Breakfast rooms, all en-suite, or our Self Catering accommodation offers. Enjoy panoramic sea views, a sparkling swimming pool & garden.
Grosvenor Guest House Simon's Town
The Grosvenor Guest House and Self Catering is run by owner Debbie Smuts and Sue who go the extra mile in ensuring that your stay is always a memorable and pleasant experience.
About Simon's Town
Officially called Simon's Town, home to South Africa'S Navy, is also known as Simonstown, as can be found in several print and film media.


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New Book Release
The Encyclopedia of Printing, Photographic and Photomechanical Processes, second edition.
"This extensive work continues the tradition of exhaustiveness Nadeau has staked out in earlier books ..."
— Print Collector's Newsletter
"Luis Nadeau has rendered a service to the international community of photohistorians. Indeed, no comparable guide through the terminological maze is now in existence, as far as is known."
— History of Photography
The Second Edition:
This encyclopedia is the culmination of over 30 years of research on Printing, Photographic and Photomechanical processes. It seeks to clarify the confusion which has resulted from the invention of several hundred such processes. Name any one of them then ask the following questions: WHAT is it? WHO invented it? WHEN? WHERE do you go to find full technical details about it? This encyclopedia, with nearly 2,000 entries and 6,000 references in six languages, provides the answers.
Here is a sample of the questions answered by this encyclopedia: What is the difference between a CALOTYPE and a COLLOTYPE? What are the most permanent color photographs ever produced? What technologies have been used to make fakes, facsimiles, and counterfeit money? Are INKJET prints real photographs?
About Luis Nadeau
Luis Nadeau became involved in the archival aspects of photography in the early 1970s.[i] Coming from a background in conventional photography, he took a course in the then new field of conservation and restoration of photographic materials, offered by the Visual Studies Workshops in collaboration with the George Eastman House, in Rochester, New York, U.S.A.
Rochester was a turning point for Nadeau, who quickly realized that the fields of conservation and restoration of photographic materials were in their infancy. The formal academic programs were not sufficient and only those comfortable with foreign languages and an autodidactic approach could eventually contribute to the advancement of this new discipline. This suited him perfectly. Born with an insatiable curiosity and unquenchable thirst for knowledge, he used to read over four hundred books a year, year after year.
During the 1970s he repeatedly went to Europe, researching in patent offices, museums, national libraries and the still mostly intact Alphonse Poitevin research laboratory, rue Saint-Jacques, in Paris. From 1976 to 1979 he was also the official Canadian delegate of NAPA (National Association for Photographic Art –now CAPA)[ii] at the Rencontres Internationales de la Photographie (RIP) in Arles in the south of France, and was a regular contributor to its quarterly, Camera Canada, then edited by well-known Canadian photographer, Freeman Patterson.
The Fresson Process
The Author's Fresson Coating Lab
The coater is in the background. The process requires several coatings, ranging from relatively thick to extremely thin. Shown here is the paper drying after the baryta coating operation. Note in the foreground on the floor, a roller-mill used to grind solid pigments. Unlike typical "pigment prints" made by PHOTOMECHANICAL inkjet printers which often rely on dyes, Fresson uses pure pigments resulting with permanent images that are not sensitive to the nature of the support.
This Fresson operation will be looking for a new home in the upcoming years.
After exposure the pigmented paper is 'developed' with an abrasive solution of water and sawdust. The operation takes place in white light, as shown here, and can last from 2 to 20 minutes. It can even be resumed after the print has dried, days later. No other photographic process offers this kind of control.
Collection Highlights
You will find more information on the reproduction technologies illustrated here in the galleries on this site. For extensive descriptions, essays and comprehensive references, the reader is invited to consult the latest edition of Luis Nadeau's The Encyclopedia of Printing, Photographic and Photomechanical Processes. For the identification of processes the reader should consult the author's upcoming Guide to the Identification of Prints, Photographs, and Documents. Featuring a Comprehensive Chronology of Reproduction Technologies.
The Research Library
The Nadeau collection includes a library of approximately 5,000 volumes, mostly in English, French and German, related to the history and conservation of printing and photographic materials. Among the most interesting items, is a comprehensive set of the Penrose Annual. A Review of the Graphic Arts (1895-1982). As of this writing, this is the only complete collection of the Penrose in Canada and one of two in North America. All 74 volumes (27,000 pp.) have been abstracted and indexed and will be the subject of an upcoming book in the near future: A Review of the Penrose Annual (A Review of the Graphic Arts).
Photographically Illustrated Books
Photographically Illustrated Books include a copy of John Borthwick's Montreal, its history, to which is added biographical sketches, with photographs, of many of its principal citizens.
This large quarto volume (29.5 x 24 cm) was published by Drysdale and Co., in 1875. The availability and suitability of photomechanical processes of the day left publishers with few options when it came to their use of illustrations for their éditions de luxe. The lithographic frontispiece of Sir George E. Cartier is followed by 188 albumen photographs (some are copies of earlier prints), mounted recto and verso of 52 leaves, from the Montreal studio of James Inglis. In 1875 Inglis had the second largest studio in Montreal, second only to William Notman.
Yahoo Group
Last Updated on Wednesday, 03 June 2015 18:28 Written by Administrator Thursday, 21 October 2010 21:48
A mailing list dedicated to the history and conservation of photographic materials.
What is welcome on the List: Anything related to the conservation and restoration of photographic materials, including discussions on technical provenance, authentication, dating, identification, history of reproduction technologies or products, and the chemical or physical treatments of artifacts.
Discussions of procedures (e.g., photomacrography) involving computers, films and digital cameras used in the identification and authentication of photographs are also welcome. This could also include announcements of meetings, conferences, courses, workshops, new books and book reviews.
What is Not welcome: Digital "restoration" and detailed how-to procedures of historic or "alt-photo" processes are better left to other lists.