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These are some of the remarkable oil paintings by Shawn Barber from his collection acclaimed as "Tattooed Portraits". He received his B.F.A. from the Ringling School of Art in Sarasota, FL.
These are some of the remarkable oil paintings by Shawn Barber from his collection acclaimed as "Tattooed Portraits". He received his B.F.A. from the Ringling School of Art in Sarasota, FL.
Illustration by Rik Lee, who lives and draws in Melbourne, Australia. He has worked for a range of clients including American Express, Nylon, Puma, Wired, Vodaphone, Air New Zealand, Virgin Australia, Telstra, Vibe, Vice, Dotti, Clandestine Industries, Hurley, Honour Over Glory and Stussy. He works with grey lead pencils, textas, watercolours and his computer. When he's not drawing Rik tries not to fall off his skateboard and enjoys talking in detail about the weather. Storms are his favourite. In the future he intends to draw more, travel more, get more tattoos, drive a '67 Chevy Impala and move down the coast with his girl and his dog.
Chaos Crew Tattoo Studio for many years of experience and provides services in the field of tattooing, permanent makeup and body piercing. There, a team of true professionals and fans of his works, which helps to realize their ideas at the highest level. To advertise your site and salon, creative director Mathias Nosel proposed to create an advertising poster from the skin and put on his tattoo. The poster shows the most significant events occurred in 2011.
giant swimmer sculpture on the South Bank of the River Thames in London, commissioned to promote "London Ink" a reality show on the Discovery Channel. The sculpture is made of reinforced polystyrene.
SHOHEI is an illustrator based in Tokyo. He mainly works with ballpoint pens and marker pens on illustration boards and often depics Japanese culture from his unique perspective.
With mind bending meticulous detail, Usugrow's work crosses the line between bad ass and refined elegance.While developing his vision and technique, Usugrow worked designing promotional graphics for Japan's punk and metal scenes, Usugrows unique, stylized combination of traditional Japanese artwork and punk iconography soon made him the visual identity of Tokyo's underground, but Usugrows' global notoriety begun when overseas brands saw the potential for collaborative projects, resulting in a series of collectable products and feature articles in leading counterculture and art publications. A global cult following quickly resulted.As a conscious leader of his community, Usugrow has been using his fame to organize and promote a new Japanese art movement consisting of a tribe of highly talented artists with roots in the metal, punk, hip hop and tattoos, all of whom share his elegant aesthetics.This group, known as The Shinganists (The Outsiders) consists of Usugrow, Mozyskey, Toshikazu Nozaka, Bene & Jun Kaneko and have exhibited collectively and individually across the globe, representing a true and revolutionary art movement.Motifs of skulls and death are commonly depicted Usugrows black and white artwork, however instead acting as reminders our own mortality, Usugrow endeavors to represent them as symbols of rebirth and beauty.


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We've gotten to the quarter-finals of the 2018 FIFA World Cup, there are eight teams left 2 from CONMEBOL (South America) and six from UEFA (Europe). Half of the teams have made it and won the World Cup at some point in history. The biggest favorite currently is Brazil to win a sixth title. There have been some surprising teams notably Russia which is 70 in the FIFA rankings as the beginning of the tournament. Some are hoping for an England-Brazil final but it could be the top two remaining teams Brazil (2) and Belgium (3). Belgium hasn't won much in their history but could this be their year. The Quarter-finals are 6 and 7 July this will leave 4 teams before the semi-finals on 10 and 11 July leaving two teams who will meet in the final match on 15 July.
Tag: England
Lady Chapels or Mary in the Anglican Church
In the Anglican Church the Lady chapel is a chapel which is to the east of the main altar in Cathedrals or the side altar in smaller church which is dedicated to Mary. Mary plays a unique role in the Anglican Church. Since England was a stronghold of Marian devotion before the reformation. It is here where the feast of the Assumption was first celebrated in 1060. The Carmelite Simon Stock is said to have received the brown scapular from Mary at Cambridge, England also is home to Richard of Chichester, Edmund of Canterbury, Thomas Becket as well as the great Anselm of Canterbury who all were devotees of Mary. Anselm wrote books and prayers about "the spotless Ever-Virgin Mother of Christ." England itself since the middle ages, roughly 1350 or so, has been called Mary's Dowry and even Pope Leo XIII noted this while he was addressing a group of pilgrims in 1893.
At the time of the English Reformation, devotion to Mary was still big although Mary was no longer a mediatrix with Jesus and overt devotion to Mary ended. However there were still five Marian feast (Conception of Mary, Nativity of Mary, Annunciation, Visitation, Purification/Presentation) on the calendar of the Church of England. In the 16th century the Magnificat was apart of Evening Prayer and lady chapels started appearing. As the 17th century came the writers took a look at the Catholic and Orthodox devotion of Mary and this sort of inspired the Oxford Movement, which saw the Anglican Church as a branch of the Catholic church with the other branches being the Roman Church and the Greek. One of the leaders of this movement was John Henry Newman. This movement lead to the revival of interest into pre-Reformation ideas like that of Our Lady of Walsingham, which has become quite the pilgrimage site for Anglicans, Catholics and Orthodox faithful. Currently, Mary holds a new prominent place as she is now name in the liturgy and even August 15 has become a feast day for Mary herself. Even some Marian devotions have crept back like the Rosary, Angelus and Regina Coeli.
Dunkirk (2017)
The latest Christopher Nolan film is about the battle of Dunkirk and evacuation. It looks amazing and it is nice to see that Hollywood is making other types of film instead of a remake, a Superhero movie, or sequels upon sequels. Give it a watch.
The Apparition
Since Halloween is in a couple of days I've decided to share one of the great poem beside The Raven that are great during this time of year. This one is a poem by John Donne, the metaphysical poet best known for "Death be not proud" or Holy Sonnet X.
The Apparition
When by thy scorn, O murd'ress, I am dead
And that thou think'st thee free
From all solicitation from me,
Then shall my ghost come to thy bed,
And thee, feign'd vestal, in worse arms shall see;
Then thy sick taper will begin to wink,
And he, whose thou art then, being tir'd before,
Will, if thou stir, or pinch to wake him, think
Thou call'st for more,
And in false sleep will from thee shrink;
And then, poor aspen wretch, neglected thou
Bath'd in a cold quicksilver sweat wilt lie
A verier ghost than I.
What I will say, I will not tell thee now,
Lest that preserve thee; and since my love is spent,
I'had rather thou shouldst painfully repent,
Than by my threat'nings rest still innocent.
On the Grasshopper and Cricket
It is officially summer so here is a poem by John Keats about the season.
The Poetry of earth is never dead:
When all the birds are faint with the hot sun,
And hide in cooling trees, a voice will run
From hedge to hedge about the new-mown mead;
That is the Grasshopper's—he takes the lead
In summer luxury,—he has never done
With his delights; for when tired out with fun
He rests at ease beneath some pleasant weed.
The poetry of earth is ceasing never:
On a lone winter evening, when the frost
Has wrought a silence, from the stove there shrills
The Cricket's song, in warmth increasing ever,
And seems to one in drowsiness half lost,
The Grasshopper's among some grassy hills.
Spectre (2015)
James Bond is at it again in the newest installment of the "rebooted" series. Daniel Craig's first film Casino Royale was a reboot of the series but doesn't precede or follow any of the other films. Spoilers to follow.
Spectre reintroduces the criminal organization Spectre, formerly stylized as SPECTRE and its leader Ernst Blofeld. It turns out that Blofeld is the real person behind Quantum as he tells James "You interfered in my world, I destroyed yours. Or did you think it was coincidence that all the women in your life ended up dead?" It was a fun James Bond film but it was just too long, and the whole first quarter of the film in Mexico nothing really happens. Also it was disappointing that so many people thought that the reappearance of Blofeld was that big of a surprise I mean the movie was named Spectre and Blofeld is the head of Spectre. All in all if you are a James Bond fan it is a decent addition and has some nice connective elements to the previous Craig films. Will Daniel Craig make another Bond film or will he be replaced before the next film. We only know for sure that James Bond will return.
Brideshead Revisited
I have been working on reading this book for awhile now. It is Evelyn Waugh's masterpiece which is considered by many to be one of the greatest book in the world. Waugh himself at one time called this his magnum opus, but after re-reading it he reconsidered and Waugh was appalled with what he wrote. In the revised edition of the book in the preface he explains how he came to write the book.
Brideshead Revisited, The Sacred & Profane Memories of Captain Charles Ryder is the written in three parts. We begin with a prologue in the 40s with Charles Ryder telling us how he is in the army and has just arrived at a new camp which he used to know Brideshead Castle. The story then moves back in time as Charles reminisces about how he once knew the people who lived here notably Sebastian Flyte. Charles met Sebastian back in 1923 while he was at Hertford College and Sebastian was at Christ Church both at Oxford. Charles lived on the first floor of his dormitory and one evening Sebastian was wandering around drunk and staggering around and threw up into Charles's room. After this Charles and Sebastian became fast friends, eventually Sebastian brings Charles to his house Brideshead Castle, while none of his family is there. From here Charles eventually meets the rest of the Flyte family, Lord and Lady Marchmain, Bridey, Julia and Cordelia. They are a deeply Catholic family who are flawed individuals and Charles is agnostic.
In the second book Sebastian has become a all out drunk, Julia has found a beau in Rex Mottram and there is talk about how to marry Julia he needs to become Catholic but things don't go as expected. Charles has all but blocked out the Marchmain's as he lives in France and only reunites with them as he learns that Lady Marchmain is dying and goes to find Sebastian. The third book skips a decade so it's about 1936, Charles has married (Celia) and has had two children but it rather unhappy with his life saying that the last time he was truly happy was back when Sebastian and the Marchmain's were in his life. He has been out of the country over in Latin America trying to rekindle his spark for architecture art it seems to as critics are all clamoring for Charles saying that these are amazing. Charles runs into Julia and as it turns out they are both in loveless marriages (Celia and Rex). There is a cool bit with King Lear too. Lord Marchmain remarries and is reinvigorated in the faith, Celia and Charles as well as Julia and Rex get divorced. There is the will they won't they between Julia and Charles but it end with Julia realizing that it would be a sinful marriage since they both are already married, just like Rex was earlier on. In the end we go back to the framing story with Charles in the army at Brideshead. Charles is "homeless, childless, middle-aged and loveless" but he goes and visits the chapel at Brideshead, a place he hadn't gone before, it is here that he comes to the realization that everything is there for a purpose. There is a glimmer of hope for everyone no matter how far we fall, look at Sebastian who ends up at a monastery where he lives in and out of the world with people who care about him, God is there offering us a hand. It was a nice book to finish during Lent.
News Roundup
Hamilton: This is some cool news as Hamilton the musical will be performing at the Grammy Awards. This marks the eighth time a musical has been featured on the Grammys. Hamilton is the front runner to take home the Grammy for Best Musical Theater Album. If you need an excuse to watch the Grammy Awards this seems like a good reason.
Henry VIII: Here is an interesting story researchers have been studying Henry VIII and have claimed that it is suggested that King Henry VIII might have suffered from CTE (Chronic traumatic encephalopathy) this is that thing that American Football players are getting. With the repeated head traumas that the players are taking over decades of playing it is no wonder why so many are being diagnosed with CTE, most recently Ken Stabler.
Lesser known…
Crispin and Crispinian (circa Third Century)
Most of us have heard of Saint Crispin, there's that famous speech from Shakespeare, but who exactly is Crispin. They, Crispin and Crispinian, are twin brothers who were born to a noble Roman family. They fled to Soissons to get away from persecution. In France they preached to the Gauls and made shoes at night. From their shoes they earned enough to live comfortably and aid the poor. The governor heard of them and had them tortured and thrown into a river with millstones around their necks. They both survived but were eventually beheaded by Diocletian. Or Crispin and Crispinian could have been from Kent somewhere near Canterbury, but after their father died for displeasing the Roman Emperor their mother persuaded that they flee to London. The brothers made their way but stumbled upon a shoemaker's workshop in Faversham and decided to stay there. The English version of the story has no information about how they were martyred.
Pope Evaristus (died c. 107)
Evaristus was the Fifth bishop of Rome. Evaristus was originally a Hellenistic Jew on his father's side from Bethlehem. He divided Rome up into titles, or parishes these have grown to the Titular Church that Cardinals are given when they become Cardinals. Evaristus also appointed priest to these Churches and appointed seven deacons for the city.
Chiara Badano (29 October 1971 – 7 October 1990)
Chiara is a member of Generation X and is proof that regular people can still become saints. I felt compelled to mention Chiara Luce, her nickname given by Chiara Lubich, even though she is only a blessed since a couple weeks ago I read about her and felt that her words are something that we need to hear in the world today. Chiara was born in a small village in Italy and her parents had waited and prayed for her to come for eleven years. Chiara got involved in the Focolare Movement in Italy at nine. The Focolare Movement was started by Chiara Lubich in 1943. In 1988 her life was changed dramatically as Chiara felt a twinge in her shoulder while playing tennis and it turned out to be osteogenic sarcoma, a rare and painful bone cancer. When Chiara heard this she simply declared, "It's for you, Jesus; if you want it, I want it, too." This is remarkable as all that Chiara wanted was to be married to Jesus, and at her funeral she got her wish. Before Chiara died she told her mother "the young people…young people…they are the future. You see, I can't run anymore, but how I would like to pass on to them the torch, like in the Olympics! Young people have only one life and it's worthwhile to spend it well." I hope that many young people take up the torch of Chiara and live always with a light that radiated from within from a heart full of the love of God.
Lesser known..
This week there is a cacophony of events on the 25th. Geek Pride Day is a simplification of the event as it honors the original release of Star Wars, is Towel Day, as well as the Glorious 25th of May. Towel Day is the day when fans of The Hitchhiker's Guide to the Galaxy carry around towels as they are of utmost importance in the world. It is also the Glorious revolution in the Discworld book by Pratchett. It is a unique day as it seems like everyone is in some sort of geek fandom. It's a catch all day to honor all of "geek culture" although in recent years it seems that has basically turned into mainstream culture. As if you've seen a movie recently it most likely was based on a comic book.
There are two interesting Saints this week was well.
Augustine of Canterbury (first third of the 6th century – probably 26 May 604)
Augustine is the guy who brought Christianity to England. Augustine was a Benedictine prior in Rome who was chosen by Pope Gregory the Great for a mission to make King Aethelberht of Kent who had just married a Christian princess a Christian. Augustine's mission was successful and Aethelberht converted many others were baptized en mass on Christmas in 597. In Canterbury, Aethelberht donated some land for a monastery and eventually a cathedral was built. This is why the Archbishop of Canterbury is the head of the Church of England, it was the first place established. Augustine would start two more diocese in England in London and Rochester all of these would eventually become a part of the Church of England. The Catholic Church main cathedral of England is in the Archdiocese of Westminster, roughly the same thing as the Diocese of London.
Quadratus of Athens (d. 129)
Quadratus is from Greece, the Eastern Church count him as one of the 70 apostles and is perhaps the first Apologists at least according to Eusebuis. That's about all that we known.

subset: commoncrawl


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Welcome. Whether I know you or don't, I hope to have interactions as you follow my blog. I am mainly doing this as a way of just writing and developing a habit of sharing versus storing my thoughts. While I am usually serious, you will find I sometimes have a lighter side.
Writing this on my home page is only to avoid having my blog just pop up in front of you with no warning. To read my blog, click on Thoughts.
Enjoy and Smiles~


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A wife asked her husband to describe her. He looked at her, then said, "You're A, B, C, D, E, F, G, H, I, J, K".
She asks, "What does that mean"? He said, "Adorable, Beautiful, Cute, Delightful, Elegant, Foxy, Gorgeous, Hot".
She smiled and said, "Oh, that's sweet, but what about 'I, J, K' "?
He said, "I'm Just Kidding' ".
His eye is still swollen, but it will get better …


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- 6.0 oz., pre-shrunk 100% cotton (Dark Heather, Heather Cardinal, Heather Indigo, Heather Navy, Heather Sapphire, Safety Green, S. Orange and Safety Pink are 50/50 cotton/polyester. Antique Cherry Red, Antique Irish Green, Antique Royal and Sport Grey are 90/10 cotton/polyester. Ash Grey is 99/1 cotton/polyester.)
- Double-needle stitched neckline, bottom hem and sleeves
- Quarter-turned
- Taped neck and shoulders
- Seamless seven-eighths inch collar
- Satin Label
Mask 1 T-Shirt
Do not dry clean.
Wash and dry garments inside out.
Choose cold or warm water temperature settings for the wash.
Use mild detergent.
Dry on a low/tumble setting or hang dry.
Do not iron or apply heat directly to design.


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*Originally published as introduction to Avant-Post: The Avant-Garde under "Post-" Conditions (Prague: Litteraria Pragensia, 2006) pp. 1-17
The day will come when one original carrot will be enough to start a revolution. —Cézanne
Is an avant-garde viable under the conditions of post-modernism? This question immediately gives rise to others, concerning the status of avant-gardes historical or conjectural, and concerning the various cognates of post-modernism and the numerous other post-s and isms that have populated critical discourse in literature and the arts during the latter half of the last century. Consequently our initial question may come to appear purely definitional, while any endeavour to respond to it programmatically will nevertheless remain ambiguous, eclectic, even contradictory. The reason for this has not to do simply with the diversity of possible positions vis-à-vis avant-gardism and post-modernity, nor with the ambivalences of historicity or interpretation, but with what has been called (in deference to the poetic legacy of the Russian poet Velimir Chlebnikov) "the discoveries of forgotten but never completely lost archaic resources of construing, which lead to unexpected significations of the language structure."[1]
It has been argued that all art worthy of the name is in some sense experimental, and that experimentation is inevitably bound to innovation by the same thread that binds the purportedly new to the idea of a tradition. Such a formulation reveals an inherent "referential indeterminacy," wherein words like experimental, avant-garde and tradition come to approximate "heterologous signs," without indicating whether they should be read literally or metaphorically, while demanding that we nevertheless interrogate their meaning within an increasingly conventionalised discipline. This "metacritical" dimension to the question at hand has in various quarters been perceived as bringing about something of a renewal of the trope of the "avant-garde," lending it a critical force which extends beyond the domain of aesthetics into the entire field of thought, sign systems and technology.
While today it might be possible to speak of avant-gardism with respect to cognitive science, for example, and quantum computing, this in itself may simply reflect that the history of avant-gardism has always in some way be bound up with the question of consciousness, its transformation and re-invention. Its proper domain, we might say, has increasingly tended to encompass the encyclopaedic "lifeworld of man" and the prospect of what humanity might yet become by grasping its own-most possibility in what "it is" and what "it has been." This curious temporal conjunction of the "avant" and the "post," mediated by the trope of experiment (or of experience), has a long historical genealogy that only in relatively recent times acquired the self-consciously aestheticised character that, in the twentieth century, became institutionalised as "the" avant-garde, and which is often said to have terminated in the discourse of post-modernism. At the beginning of the twenty-first century, this account of the "end of the avant-garde" is once again under contention, as the viability of a continuation, renewal or reinvention of avant-gardism—in tandem with the end, exhaustion, death of postmodernism—is raised by artists, critics, thinkers generally, unsatisfied with the pre-millennial wisdom that everything is permitted, hence nothing is any longer possible.
The promise of liberation is always a precarious one, and if the advent of the global economy, equal opportunity, the new media and communications technologies, and the end of the Cold War suggest—at the end of the twentieth century—a future world utopia, then this half-decade of the twenty-first century has violently dispelled that illusion. Beneath the guise of cultural pluralism and permissiveness, the hard edge of socio-economic ideology continues to give purchase to a critical engagement that previously (under post-modernism) was said to no longer be viable. And with it, the critical necessity of something "like" an avant-garde, not simply as a reaction or counter-action to a present state of affairs, but as an active intervention in futurity, in the very possibility of a future.
For these reasons, the title of this volume—Avant-Post—should not be taken as signalling a merely historical project, or one of cultural pessimism, but rather something like a call to order and a call to address the situation, today, of those outposts (avant-postes) that ensure a future for critical culture.
In his study of the New York school of poets—John Ashbery, Kenneth Koch, James Schuyler, and Frank O'Hara—improbably entitled The Last Avant-Garde (1999), American critic David Lehman (echoing Zygmunt Bauman, Jürgen Habermas, and others)[2] contends that: "the argument against the viability of the avant-garde today rests on the assumption that there is no real resistance to the new, no stable norm from which the defiant artist may depart." The contradictions of the "new," as a term largely inherited from Ezra Pound's injunction to "Make it New!" cedes here to the characteristic complaint that postmodernism in the 1970s and thereafter stole the carpet out from under critical experimentation. Moreover, having stolen the carpet, postmodernism then went about stealing the rest of the avant-gardist décor as well, which henceforth was reduced to a mere retro "style" or historical fetish. Thus Lehman writes, in the first person plural: "If we are all postmodernists, we are none of us avant-garde, for postmodernism is the institutionalisation of the avant-garde."[3]
Following the major ideological, technological and economic upheavals in the post-WWII American cultural landscape—mediated, in those eminent domains of literature and the fine arts, by the "scandalous" figure of Pound and by the predominance of what Clement Greenberg in 1955 felicitously termed "American-Type"[4] painting—the concept of the "present as a moment of revelation" (a time, according to Habermas, "in which splinters of a messianic presence are enmeshed"[5]) was sacrificed in the cause of a new historicism, from which avant-gardism succeeds modernity in the form of mass-media culture, "kitsch," neo-liberalism, and compulsory global democratisation. This sacrifice of "the tradition of modernity"—to what Harold Rosenberg termed the "Tradition of the New"—was repaid in the currency of historical tradition traded in a merely present time. Setting aside the problem of tradition and the present, or of a tradition of the present, Habermas's remarks, coupled with those of Lehman, draw attention to the particular politics of the institutions of literary and art history emerging from the 1970s, according to which the future of cultural production would for evermore assume the form of a repetition of the "end of culture," represented by the end of Flower-Power utopianism, the debacle of the Vietnam War, and the Watergate affair.
That this view of history could be described as specifically generational and local—for example, in terms of the post-Greenberg generation of art critics like Rosalind Krauss and Hal Foster, or in terms of American post-Cold War cultural arbitration—has not been sufficiently commented upon. The widely reported death of the avant-garde, on the contrary, has come to be attributed (within cultural studies, fine arts, and the literary critical media) a degree of universal social significance that, in life, it ("the avant-garde") could hardly have aspired to. Indeed, the death of one culture's avant-garde has acquired the status of a veritable end of history, characterised by a universal—so we are told—disillusionment of (primarily leftist) ideologies, a radical pluralism of style, the eschewal of any mainstream, and an overwhelming tendency to retrospection. It seems to matter little that this laissez-faire view of cultural history fails to account for the fact that large sections of the so-called avant-garde were dominated by conservatism or radical right-wing ideology, or that pluralism is an idea bound from the start to the myth of bourgeois liberalism "opposed" by successive avant-gardes; that its often revolutionary posture was orientated towards the establishment of a mainstream in its own image, and that even the least socially-engaged of avant-gardes were preoccupied with their own internal politico-aesthetic programmes.
In this sense, both Lehman and the generation of "1968" appear to succeed primarily in elevating their particular discursive paradigms, of modernity and postmodernism, to the unique status of a last call before historical closure, ideological futility, eternal repetition, self-parody, and the messianic promise of "no future." Thus we encounter the chiliastic echoes of Baudelaire's "Painter of Modern Life" (1863) and Nietzsche's critique of Cartesian modernity in Human, All too Human (1878), under conditions in which the death of the avant-garde is made to strangely resemble the conditions of its historical birth.
Something like paternity of the historical avant-garde (as viewed through western eyes) could arguably be said to belong to the otherwise unlikely figure of the Compte de Nieuwerkerke, Director-General of the Imperial Museums in Paris—whose interventions in the jury procedures for the 1863 Salon was the immediate cause of Napoleon III's inauguration of the Salon des Refusées, at which Édouard Manet's notorious Déjeuner sur l'herbe was first exhibited, thus indirectly ushering in Impressionism and the history of European "avant-gardism."[6]
Born of the institutions of Imperial French culture, the avant-garde has ever since maintained a type of parasitic relationship with the dominant apparatuses of official taste and of moral and intellectual permission—even if this relationship fashions itself as an "adversary relation," by which (as Roger Shattuck has argued) the avant-garde "gains its special status" through its critique of "the main body of the culture to which it is reacting."[7] Pound's self-promotion from the London drawing room circuit—as private lecturer on Provençal poetry—to harbinger of "the New," is indicative of the very character of the avant-garde's origins. Pound's career finds an immediate antecedent somewhere between that of Fillipo Marinetti—bourgeois media savant and sole inaugurator of Futurism—and that of Manet—covetous of success at the official Salons, yet driven by circumstance to assume the leadership of the "first coherent, organic, and consciously avant-garde movement in the history of modern art."[8] The curiosity is that it was the mechanisms of official culture itself that caused a significant number of such otherwise highly individualistic artists, writers, and thinkers (like Pound), to purvey ideas of collectivised action and to gather around themselves "consciously avant-garde movements." For Pound and Marinetti, such action arguably remained bound to personal prestige and, like Théophile Gautier before them, to claims of cultural arbitration, education, and social transformation.
More curious, then, that the failure of collective action has, particularly since 1968, became the primary criterion in judging the success or failure of the so-called avant-garde project. Aleš Debeljak, for example, has written that the failure of "the avant-garde effort to transcend the institution of autonomous art" and to "integrate art into everyday life in the name of utopian social change," can be attributed to the fact that the avant-garde project "ended in a collapse of the aesthetic and practical dimensions without liberating effect."[9] This view remains incomplete in many respects, not least because its failure is accounted one of modalities. This is similarly the case with Habermas's rejection of postmodernism on the grounds of an "incomplete project of modernity," linked to a critique of Enlightenment rationalism. As Lautréamont famously said: "Plagiarism is necessary; progress implies it." And if the work of the avant-garde—whatever, or whoever that is supposed to be—has been historically directed at the revelation of this seeming contradiction in the logic of progress, then the "collapse of the aesthetic and practical dimensions" is not an end of avant-garde history, but rather its condition as a "critical counterpart" of the very bourgeois system of values to which it is said to be opposed (and whose illusion it has nonetheless always functioned to sustain, as the very raison d'être of avant-gardism). In this way, progress retains a satirical dimension: a détournement of the very priniciple of origination and invention which has always been advertised as its summum bonum.
It seems to be no accident that the series of political, social and epistemological ruptures and recursions that had led up to the installation of Napoleon III should have found themselves mirrored in the revolutionary discourses of avant-gardism, in which the "new" has always, in some sense, affected itself by way of a détournement of the received tradition—but above all of the revolutionary tradition itself, born alongside eighteenth century Romanticism and the open-ended progressivism of the Enlightenment project. Likewise the ambivalent relationship of successive avant-gardes to industrialisation and the status of the machine in modern life. Successively an object of satire and utopianist praise, "the machine"—from Jonathan Swift and Jeremy Bentham, to Marinetti and Marcel Duchamp—has emblematised the inherent paradox of the avant-garde hypothesis. Moreover, in terms of a "programme," whose success or failure is necessarily measured in progressivist and socially redemptive terms, avant-gardism appears itself to be nothing more than a particular détournement of the very social ideologies that gave rise to it.
It is for this reason that the birth and presumed death of the avant-garde mirror one another in contemporary critical lamentations in such an uncanny way. After a century-and-a-half, the avant-garde's principle legacy, it seems, is its own disappearance: a vanishing act corresponding to a type of rectified perturbation in the system of western historical consciousness. Hence, Debeljak writes: "While liberal bourgeois individualism implied the provinces of privacy, self-development, dignity, and autonomy, the emerging form of the individual self in advanced capitalism is instead articulated in terms of fragmented and narcissistic consciousness."[10] And all of this not because the avant-garde was driven from the streets, like the once ubiquitous organ-grinder, but because it had long ago learned to convert its radical currency into a mix of public sinecure and private fund, and in the process turned from antitype of social conformity into one of conformity's very safe-guard.
Moreover, given the uneasy association of revolutionary "aesthetic practice" with politico-economic idealism over the course of the second half of the nineteenth century and the first half of the twentieth, it is hardly surprising that debate over the status of avant-gardism and of the various modernisms should come to mirror those about the necessary phases of Western industrial, liberal-democratic, industrial "evolution." According to such analogies, the history of avant-gardism commences with the "second phase" of the Industrial Revolution in France and ends with the media revolution following WWII and the advent of "globalisation" (previously anticipated by Marx), signalled in Guy Debord's Society of the Spectacle and elsewhere as a descent into pure simulationism—culminating "today" (in the shadow of "11 September 2001") in a mode of politico-economic avant-ism whose instrument is the affective contretemps of a globalised network of ethical inequivalence masked by a pseudo cultural uniformity and enforced by way of what Antonio Tabucchi has termed "that which arrives before Time and against Time," exemplified at the turn of the 21st century by the transformation and regulation of conflict as a social fact by the spectre of pre-emptive war, "des guerres faites avant."[11]
In many respects the prospect of the spectacle of a perpetually reiterating state of affairs must always have held perverse appeal to the sort of solipsistic/nihilistic temperament that views all of history as tending inexorably towards itself, as though "it" were its natural apotheosis and end-point—whether this be the revolution of Marx of the New World Order of the American neo-conservatives, viewed through the prism of a western cultural apparatus and media that has increasingly come to be characterised by a functional ambiguity: an ambiguity which anticipates and incorporates "in advance" its own critique and thereby affects a type of discursive law.
Antonin Artaud's excursus on Heliogabalus, or the Anarchist Crowned (1934) provides a paradigm case in the unmasking of precisely this type of aesthetico-moralistic ambiguity, one which always accompanied both judicial messianism and the counter-hegemonic claims of political anarchism, as well as their aestheticisation by way of "avant-gardist" theory and praxis. For Artaud, it is precisely in the body of the Law itself that the rule of order is overthrown, given over to the serial, almost mechanistic, iteration of its otherness in "deviance" and "perversion," and to the equating of these terms with the real politics of, for example, social justice.[12]
Like the anal-aggressive phase of infancy delineated by Freud, the historical avant-garde has acquired for itself something of the caché of the diminutive tyrant emblematised in Charles Fourier's "little hordes"—those anarchistic street urchins cum trash collectors in whom the work of social hygiene is transformed into endless play. It was Fourier's basic contention that it was not man but civilisation that needed reforming. And like Jarry's Ubu, Fourier's social monstrum posed a challenge to the moral dictatorship of utopianists and utilitarians like Robert Owen and Jeremy Bentham (just as it does to the present day ideologues of "democratisation"), exposing the fundamentalism of—and fundamentally normative distinction between—the role of social engineer and that of social "revolutionary."
Fourier's legacy has more recently been taken up by Guy Debord, in whom the "no-work" ethic functions as an uncanny counterpart to the social fictions of consumer culture; and by Peter Bürger, whose Theory of the Avant-Garde (1974) yokes together the systemic disorder of Dada with the disordered system of revolutionary praxis called Surrealism. In both cases, the logic of the "new," and the counter-logic of its resistance, are merely available stereotypes in the round of laissez-faire deregulation and re-appropriation. As Theodor Adorno says: "Even where art insists on the greatest degree of dissonance and disharmony, its elements are those of unity."[13] The dream of aesthetic social praxis has in this sense always served a homoeostatic function, in which the ruptures and discontinuities of avant-gardism have served more as a deflection from the fact that the idea of linear progressivist history was itself never more than a political expedience. The enervations of what is called postmodernity were thus forecast from the very outset of the modernist project.
"It is possible," Karl Mannheim wrote in Ideology and Utopia (1936), "that in the future, in a world in which there is never anything new, in which all is finished and each moment is a repetition of the past, there can exist a condition in which thought will be utterly devoid of all ideological and utopian elements."[14] Confronted with the redundancy of both traditional social taboos and the "novelty" of transgression, permissibility itself recedes from awareness as the sole universal actor in a social theatre devoid of a stage. The absence of ideology is perhaps, then, merely the latest manifestation of a hegemonic structure whose regulatory power seems to be everywhere visible, but nowhere verifiable. If such is the condition of the postmodern, then the decried lack of a point of critical "resistance"—of a critical object as such—is simply one more ruse in the aestheticisation, and consequent anestheticisation, of shock-value.
In any case, the necessary belatedness of postmodernism as a discourse carries with it the sort of historical stink that always accompanies the resurrection of old corpses to adjudicate on matters of social or cultural permissiveness. The trick has been for it to present itself as lacking any historical dimension at all—as though it were, in essence, a timeless mechanism arrived at through the technologising of all critical orientations towards a possible futurity. A purely disembodied stink. Hence, for Jean François Lyotard: "Post modern would have to be understood according to the paradox of the future (post) anterior (modo)."[15] Its status, as future-anterior, links it to a perpetual recursion in which everything is made to look and smell more or less "the same"—since what is being looked at or smelled is no thing but rather a kind of trope: the commodity relation according to which Coca Cola, the Mona Lisa and a sexagenarian Mick Jagger achieve a discursive, timeless equivalence.
The question that has consistently been raised over the last thirty years is: if the condition of criticism is continuous with that of modernity, is postmodernism thus predicated on a post-critical condition? Or, contrary to received wisdom, is the perceived ambivalence of criticality today due not to a lack of a "point of resistance," but rather to an oversubscription of antecedents; or else to the fact that criticism itself has become "mimeticised," as it were? That the criticality of the historical avant-garde, founded upon a supposed relation to the otherwise unpresentable, has ceded to representation as criticism, thus constituting itself as a post-effect? And if such is the case, is it inevitable that "criticism" be left with no other option than to adopt a strategy of "acceleration," in an effort to regain at least a nominal vantage point in this ever-shifting, virtualised terrain? This has been one of the conclusions put forward by contemporary media theorists like Vilém Flusser, Friedrich Kittler, Jean Baudrillard, Paul Virilio, Donna Haraway and Katherine Hayles, re-echoing the prescriptions of McLuhan thirty years earlier and Walter Benjamin thirty years before that—suggesting that the technical, mass reproduction and circulation of images does not serve to conceal a social reality, rather it reveals the inherently technological dimension of that reality.
If Habermas, to the contrary, identifies the radical phase of modernity with the Enlightenment and Industrial Revolution, this is because he perceives in its social orientation a criticality without direct antecedence, without a model. Modernity's attempt to come to terms with the unpresentable, as Lyotard likewise contends, is thus tied to a certain condition of crisis in the accession to an experience of discourse removed from one of epistemological foundations. Hence, a condition of crisis vis-à-vis the representable is taken as the condition of modernity as such. Nevertheless, as Bürger and numerous other commentators have pointed out, "when Duchamp puts his signature on mass-produced, randomly chosen objects and send them to art exhibits, this provocation of art presupposes a concept of what art is,"[16] just as Tristan Tzara's cut-ups presuppose an idea of what literature is. And indeed, just as Bruce Nauman's "Fountain" and John Ashbery's "Europe" presuppose an idea of avant-garde art and avant-garde literature. To paraphrase Marx, the conventions and clichés of all the dead avant-gardes weigh like a nightmare on the brain of the living.
In these terms, the application of electronic computing in contemporary poetics, with its explorations of hypertext, hypermedia and other aleatory mechanisms of inscription, has made only modest advances upon earlier forms of "avant-garde" writing—such as the algorithmic constraint-based poetics of Raymond Queneau and the Oulipo—other than in incorporating aleatory mechanisms directly into the "work itself," wherein the aesthetics of probability and chance operations become part of the textual edifice while their actual mechanics remain invisible. This is perhaps a condition of all forms of technical supersession, yet the ubiquity of techno-aesthetics accompanied by a too-discrete dependency upon a sublimated technics (exemplified by such things as operating code, as Kittler has long observed),[17] stands at odds with a certain "criticality" vested in the appropriations of an historical avant-gardism that today finds itself more properly expressed, we might say, by way of hacker subcultures than by the burgeoning institution of digital art.[18]
Consider, for example, the textual interventions, détournements and chance operations in now canonical work like John Cage's Roaratorio (1979), wherein the "operating code" is itself performed alongside the work's so-called content, and is endowed thereby with certain "metatextual" properties that assume for themselves the function of a conductor/composer, insofar as the rest of the performance (of which they assumes the role of metonymic counterpart) takes its cues from them: i.e. they produce instructions or recompose indexes of subsidiary operations performed by other instruments and so on. Which is to say that such performances comprise a diagrammatic field, indeed a schematisable sign system. Much of the new media, meanwhile, has been employed in the arts in a primarily imitative manner—either to automatise the type of work pioneered by Cage and others, by way of computer programmes, or to redploy such things as analogue video art within the digital field, or else to surmount the perceived limitations of print media's fixed typo/graphic distribution by way of the mutlilinear schematics and visual kinaesthetics of "electronic writing."
This, perhaps, remains today the proper "task" for an avant-garde, in overcoming the traps of analogical thought in the conception and supersession of the formerly "new" by way of a simple transition form one platform to another—regardless of which critical domain we choose to speak of. Gene Youngblood, author of Expanded Cinema (1970), has made similar remarks concerning the status of "new media" within the discipline of the arts, arguing that video art, for example, "can only have a formalist reference—the graphic properties of the image." For Youngblood, "the new avant-garde is about creating autonomous social worlds that people can live in. Art is central to that, but the art is not what's avant-garde. What's avant-garde is metadesign, the creation of context."[19] The notion of context as content is born of the very idea of communications technologies, from McLuhan to cyberculture, in the re-appropriation of corporate media space, through public access cable TV, satellite, internet, GPS and WiFi.[20] A critical, ecological mode of thought—networked, transverse, topological—here assumes the practical function of "avant-gardism" in effecting the structure of how things come to mean, and how meaning is lived.
We know that the history of experimentation did not commence with the "avant-garde." Nor has social transformation always accompanied a project of aesthetic transformation, even if the term "culture," for example, implies it. The experimental viewpoint—from John Dewey, Gregory Bateson, Buckminster Fuller, Louis Pouzin and Ted Nelson to the contemporary "technopoetics," "codework" and "meta-design" of the likes of Metz, Stelarc, Kenneth Goldsmith, Kit Galloway and Sherrie Rabinowitz—necessarily holds that avant-gardism is first and foremost an attitude towards life if it is to be anything at all. This raises the question of whether the long-standing debate over "the avant-garde" and its various manifestations is simply a contest over terminologies or whether it is tied-in to a broader aestheticisation of ideology and of ideological purchase upon critical "praxis" and upon the "real."
Louis Armand
Prague, May, 2006
[1] Jan van der Eng, "Introduction," Avant Garde 5.6 (1991) 3.
[2] David Lehman, The Last Avant-Garde: The Making of the New York School of Poets (New York: Anchor, 1999); Zygmunt Bauman, "Postmodern Art, or the Impossibility of the Avant-Garde," Postmodernity and Its Discontents (London: Polity, 1997) 95-104; Jürgen Habermas, "Modernity—An Incomplete Project," The Anti–Aesthetic: Essays in Post–Modern Culture, ed. Hal Foster (New York: The New Press, 1983) 3-15.
[3] Lehman, The Last Avant Garde, 11.
[4] Clement Greenberg, Art and Culture: Critical Essays (Boston: Beacon, 1961) 208-229.
[5] Jürgen Habermas, The Philosophical Discourse of Modernity, trans. Frederick Lawrence (Cambridge, Mass.: MIT Press, 1990) 6.
[6] Ian Dunlop, The Shock of the New: Seven Historical Exhibitions of Modern Art (London: Weidenfeld and Nicolson, 1972) 10-53.
[7] Roger Shattuck, The Innocent Eye: On Modern Literature and the Arts (New York: Farrar, Strauss, and Giroux, 1984) 74.
[8] Renato Poggioli, The Theory of the Avant-Garde, trans. Gerald Fitzgerald (New York: Harper & Row, 1971) 132.
[9] Aleš Debeljak, Reluctant Modernity: The Institution of Art and Its Historical Forms New York: Roweman and Littlefield, 1998) 128.
[10] Debeljak, Reluctant Modernity, 128.
[11] Antonio Tabucchi, Au pas de l'oie: Chroniques de nos temps obscurs, trans. Judith Rosa (Paris: Seuil, 2006).
[12] Antonin Artaud, Selected Writings, ed. Susan Sontag (Berkeley: University of California Press, 1998) 317-36.
[13] Theodor W. Adorno, Ästhetische Theorie (Frankfurt: Suhrkramp, 1970) 235: cited in Peter Bürger, Theory of the Avant-Garde, trans. Michael Shaw (Minneapolis: University of Minnesota Press, 1984) 56.
[14] Karl Mannheim, Ideology and Utopia: An Introduction to the Sociology of Knowledge, trans. Louis Wirth and Edward Shils (New York: Harcourt, Brace & World, 1968 [1936]).
[15] Jean-François Lyotard, The Postmodern Condition: A Report on Knowledge, trans. Geoff Bennington and Brian Massumi (Manchester: Manchester University Press, 1991) 81.
[16] Bürger, Theory of the Avant-Garde, 56.
[17] Friedrich Kittler, "Protected Mode," Literature, Media, Information Systems, ed. John Johnston (Amsterdam: OPA, 1997) 156ff.
[18] Cf. Thomas Foster, "The Rhetoric of Cyberspace: Ideology or Utopia?" Contemporary Literature XL.1 (1999): 144-160.
[19] Gene Youngblood, "Life in Counterculture," Umělec 2 (2006): 13.
[20] Cf. Prefiguring Cyberspace: An Intellectual History, eds. Darren Tofts, Annemarie Jonson, and Alessio Cavallaro (Cambridge, Mass.: MIT Press, 2002); also Virtual Realities and their Discontents, ed. Robert Markley (Baltimore: Johns Hopkins University Press, 1996); and Cyberspace/Cyberbodies/Cyberpunk: Cultures of Technological Embodiment, eds. Mike Featherstone and Roger Burrows (London: SAGE, 1995).


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I found this blue bird while stopping at garage sales
along State Road 101 yesterday.
along State Road 101 yesterday.
He will take his place among the other shapes and forms
that adorn our "blue tree"!
It seems I've lost one or two.
We've had some strong winds this summer.
No telling WHERE they ended up!


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Other common names: Tanzanian Blue Legged Centipede; Tanzanian Blue Ringed Centipede; Tanzanian Giant Yellowleg Centipede
Scientific name: Ethmostigmus trigonopodus
The basics:
The Tanzanian Blue Leg Centipede is native to the eastern African nations of Ethiopia, Sudan and Tanzania. They are an aggressive species and reach an adult length of 4 - 6 inches (12 to 15 cm.).
Ugly but neat
HANDS OFF! They may not bite and it may not hurt but do you really want to find out. Keep the humidity up with these ones. Probably the creepiest of crawlies I recommend these for adults only (JUST IN CASE). I just witnessed these guys eating their shed skin and it blew my mind. Very cool looking pedes if you are into that sort of thing..
From Alan Jose Fleming Jul 21 2013 11:08PM


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It Is Not Over Yet
View from halfway up Mount Moosilauke
With everyone getting excited about the recent surge of spring-like weather, many of my friends found themselves hanging up the down jackets and putting the skis away, while starting preparation for the impending spring season. Despite my friends' assumptions that spring was here to stay Mother Nature had other plans, hitting us with her own version of an April Fool's joke that dumped anywhere from eight to twelve inches of snow in New Hampshire.
Doug and Mickey in the skin track
With news of the storm and Saturday off from work, Doug, Mickey, and I headed north in search of some late season freshies. Our original plan was to either hit Tecumseh or venture further north to Cannon to skin the mountain's backside and ski the resort side. However, with warmish temperatures predicted, and not wanting to share the potential last freshies of the season, we headed to Mount Moosilauke for some backcountry skiing.
Doug and Mickey enjoying pleasant conditions below tree line
We parked our car at the beginning of Mount Moosilauke's Carriage Road, applied skins to our skis, and set off with the sun shining and the temperatures hovering in the low to mid forties. We made fast time up the trail, thanks to comfortable temperatures, an impressive eight inches of snow, and the desire to make some turns. The only drawback of the morning was that we were following in someone else's tracks. Unless we were extremely fast, it did not look like we would be getting first turns. Times like this make you wish you had sacrificed a little sleep for an earlier start to the day…it also makes you wish you lived a little closer than two and half hours away (we later learned that the two groups in front of us were from the Concord area of New Hampshire).
Heading toward the summit
About half of the way on our ascent of Mount Moosilauke we met the group that was out in front of us. They were on their descent and enjoying the late season fresh. Speaking with them, we learned that they had chosen to skip summiting the mountain, informing us of high winds and low visibility above tree line. While we were anxious to lay some tracks, we were also excited to see what conditions above tree line looked like for ourselves, and began to anticipate some harsh conditions in front of us if we hoped to summit the mountain.
Doug and Mickey skiing from the summit
We then met another group who confirmed the above tree line conditions for us, which caused us to pause and discuss our options. We all agreed that summiting was important for us, and that despite the high winds and poor visibility we would be within our comfort level. As we gained the ridge and approached tree line, you could feel the wind pick up and see the heavy cloud cover. We took the opportunity to add layers, goggles, and heavy gloves in preparation of entering the weather.
Skiing toward the trees
Stepping out of the protection of the trees, we quickly realized the full force of the wind as it – on more than a few occasions – attempted to knock me off my feet, gusting consistently between fifty and sixty miles per hour. We found the visibility better than the previous parties and did our best to ignore the wind as we forged ahead to the summit. At the summit, we spent little time celebrating our success and quickly skied toward the protection of the trees and the soft, fresh snow hidden in them.
Looking across the ridge
After gaining the protection of the trees, we de-skinned our skis, reflected upon the summit for a moment, and sought after the real purpose of the trip: freshies. Despite being beaten to the snow, there was plenty left to go around and we enjoyed Mother Nature's late season gift as we swiftly descended the terrain that we labored up not long ago. The snow was beautiful, soft, and light on the first half of the descent, getting stickier and heavier on the descent. About halfway through our descent, it even decided to start snowing again, giving the day a distinctly wintry feel. Every turn we made increased the smiles on our faces as we quickly approached the car and the end of run.
Moosilauke was the right choice for the day and proved to be a fascinating trip as we encountered every type of condition, from sunny skies on the approach to full winter conditions above tree line. While we did not get first tracks, we took satisfaction in being the first party to reach the summit that day and ski down.


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- Design principles of legendary architect will be showcased in unique 'Diamond Line' car
- Car deemed too radical for production in 1953, but ideas would prove fundamental to future cars
- Brought to life at inaugural Grand Basel show to celebrate Ponti's genius and foresight
- Grand Basel will set a new benchmark for quality and content of automotive shows
This September's inaugural Grand Basel show for automotive masterpieces will play host to a fascinating motor car design debut, as the 1953 'Linea Diamante' car by legendary architect and industrial designer Gio Ponti is finally brought to life, 65 years after it was designed.
Gio Ponti (1891-1979) created numerous icons, such as the 32-storey Pirelli Tower in Milan – regarded as one of the most elegant skyscrapers in the world – and the famous 'Superleggera' chair, which embodied lightness in both aesthetic and physical terms. In 1928, he co-founded the influential architecture and design magazine, Domus, which celebrates its 90th anniversary in 2018 and supports Grand Basel as a cultural partner.
The revolutionary 'Diamond Line' car
In 1953, Ponti – aided by his colleague Alberto Rosselli – conceived a car that was developed to design principles not yet applied in the automotive industry. Their starting point was an aerodynamic teardrop shape, but this soon developed into the more angular 'Linea Diamante' (Diamond Line).
Ponti saw his new design as a necessary reaction to the staid automobile styling of the time, which was characterised by large, swollen shapes with small windows and dark interiors. By comparison, his vision was a more architectural car with flat-form body panels and windows, and a substantial glass area that would flood the cabin with light.
The clever packaging would enhance the utilitarian aspect of the car, enabling a generously-proportioned cabin and a spacious boot. Furthermore, the neat innovation of a rubber bumper running the full circumference of the car – with spring-mounted 'buffers' at the front and rear – was to be a special collaboration with the Pirelli tyre company.
Originally conceived to be bodied on the chassis of an Alfa Romeo 1900 saloon car, Ponti first sought a partnership with Milan based Carrozzeria Touring and then turned to Fiat for production of a subcompact model, but the design was rebuffed. Two decades later, many cars would have caught up with the principles embodied in Ponti's automobile, highlighting his genius and foresight. Until now, Ponti's car was never progressed beyond 1:10 scale models.
The Automobile by Ponti project
This fascinating car has been brought to life in 2018, 65 years after Gio Ponti first envisaged its shape, thanks to efforts of the 'The Automobile by Ponti' project.
As a fitting tribute to the remarkable design talent of Gio Ponti, the 'Linea Diamante' car revealed at Grand Basel will be a full-size mock-up, modeled by a design team directed by Roberto Giolito, Head of FCA Heritage, upon specifications outlined on Ponti's original drawings. In a nod to its original collaboration with Ponti in 1953, Pirelli supplied period tyres of the correct specification for an Alfa Romeo 1900.
"Grand Basel is not just another car show – it is a unique opportunity to start a discourse about everything artistic and inspirational that goes together with cars," says Prof. Paolo Tumminelli, chairman of Grand Basel's Advisory Board.
"Throughout history, the automobile has influenced – and has been influenced by – design, architecture and the arts and 'The Automobile by Ponti' is an archetype of this interconnected relationship," explains Prof. Tumminelli, who initiated the project in 2017.
"We are incredibly excited to show Ponti's 'Linea Diamante' car as a full-size model for the first time at Grand Basel. This is exactly the type of exhibit that we have promised to offer our visitors – something unexpected, which they have never seen before," said Mark Backé, Global Director of Grand Basel.
Salvatore Licitra, representative of the Gio Ponti Archives and grandson of Gio Ponti, adds: "To see this design come to life for the first time, 65 years after the original drawings were created, will be truly remarkable. The car was thought to be too radical at the time, but many of its features would prove fundamental in the two decades of car design that followed."
"When we were approached with an idea of constructing Gio Ponti's visionary car, we enthusiastically endorsed the project. The collaboration links perfectly to Domus, now 90 years young and founded by Gio Ponti in 1928," says Maria Giovanna Mazzocchi, President of Editoriale Domus. "We rose to this tough challenge with enthusiasm, and we take pride and satisfaction in the results."
Exceptional designs showcased at Grand Basel
Grand Basel's unique independent Advisory Board comprises leading cultural and design authorities, architectural experts and artists.
It is therefore highly appropriate that 'The Automobile by Ponti' makes its global debut at the show, where enthusiasts and experts from all these disciplines can come together to discuss the cultural and historical reference points for its design.
An exhibition format inspired by architecture
Exceptional automobiles will be presented in an exceptional setting at Grand Basel, thanks to a bold exhibition concept. Its homogeneous design, inspired by contemporary architecture, forgoes the often-nostalgic ambience of established car shows, instead allowing the motor cars to be admired in a surrounding reminiscent of modern museums.
The inaugural Grand Basel show, which will take place from 6 to 9 September 2018 in Basel, Switzerland, leads the way for upcoming shows in Miami Beach, from 22 to 24 February 2019, and Hong Kong in May 2019.


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The rise in amateur beekeepers keeping hives on roofs and gardens is contributing to the decline of wild bees, Cambridge University has claimed.
Experts at the Department of Zoology said the growth in urban keeping was leaving wild bees struggling to gather enough pollen and nectar.
Urban beekeeping has flourished in recent years, with many museums, charities and businesses creating colonies on their roofs.
"Keeping honeybees is an extractive activity. It removes pollen and nectar from the environment, which are natural resources needed by many wild species of bee and other pollinators," said González-Varo, also Cambridge's Zoology Department.
"Honeybees are artificially-bred agricultural animals similar to livestock such as pigs and cows. But this livestock can roam beyond any enclosures to disrupt local ecosystems through competition and disease."
The conservationists argue there is a "lack of distinction" in public understanding – fuelled by misguided charity campaigns - between an agricultural problem and an urgent biodiversity issue.


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So here we are in week three of Lent, and I'm, uh, still deciding on a penance.
Whew! Did anyone else feel that lightning bolt strike? It seemed so... close. Like it was... right beside me.
Maybe "still deciding" is a little strong. I've pretty much, like 95% of the time, except in times of extreme duress, given up pop. Or soda. If you narrow that down to "cola," my success rate goes up to 98%. It feels like a hollow victory, though, because cutting out pop would have been my New Years' resolution, if I made resolutions. Which I don't.
At Cathecism class I announced my plan to quit swearing. Unfortunately, for this to be possible I'd have to give up driving. And cooking. And my accounting class. And, well, pretty much everything.
The problem is that everything I consider as a penance either has unintended consequences, or isn't much of a sacrifice.
His Royal Highness, the King Husband, has suggested I give up coffee. I tried to explain that if this were to happen I would also have to give up the Prince and Princess as they wouldn't be allowed to visit me in the Big House which is where I would be after I killed someone (most likely him) in a rage created by caffeine withdrawal.
I could give up TV, but I never get to pick the shows anyway. I'm not sure giving up Disney Channel would count as a sacrifice.
I could give up being a smart ass. Ha! Oh, that was a good one! Woo hoo hoo! But seriously. No.
I could give up being right all the time. But that's not really a sacrifice on my behalf. It's not like I enjoy being right. It's a burden.
I could stop giving other drivers advice, but they don't seem to take it anyway. And they really, really need it.
I suppose at this late date, I should stick with giving up pop. Besides, drinking a Coke is soooo much more tempting when I think of it as a sacrifice, instead of just something to avoid.
And Lent is all about sacrifice and temptation, right?
And I'm all about the loopholes. St. Peter's going to have to meet me at the Pearly Gates with a squadron of lawyer angels. Of course, if the jokes are true, the lawyers will be stationed elsewhere.
Was that thunder I heard?
Wednesday, March 11, 2009
"Lightning" Up for Lent
Posted by J Salemink at 7:43 PM
Labels: Lent
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In materials science, wear is erosion or sideways displacement of material from its "derivative" and original position on a solid surface performed by the action of another surface.
Wear is related to interactions between surfaces and more specifically the removal and deformation of material on a surface as a result of mechanical action of the opposite surface. The need for relative motion between two surfaces and initial mechanical contact between asperities is an important distinction between mechanical wear compared to other processes with similar outcomes.
The definition of wear may include loss of dimension from plastic deformation if it is originated at the interface between two sliding surfaces.
However, plastic deformation such as yield stress is excluded from the wear definition if it doesn't incorporates a relative sliding motion and contact against another surface despite the possibility for material removal, because it then lacks the relative sliding action of another surface.
Impact wear is in reality a short sliding motion where two solid bodies interact at an exceptional short time interval. Previously due to the fast execution, the contact found in impact wear was referred to as an impulse contact by the nomenclature. Impulse can be described as a mathematical model of a synthesised average on the energy transport between two travelling solids in opposite converging contact.
Cavitation wear is a form of wear where the erosive medium or counter-body is a fluid.
Corrosion may be included in wear phenomenons, but the damage is amplified and performed by chemical reactions rather than mechanical action.
Wear can also be defined as a process where interaction between two surfaces or bounding faces of solids within the working environment results in dimensional loss of one solid, with or without any actual decoupling and loss of material. Aspects of the working environment which affect wear include loads and features such as unidirectional sliding, reciprocating, rolling, and impact loads, speed, temperature, but also different types of counter-bodies such as solid, liquid or gas and type of contact ranging between single phase or multiphase, in which the last multiphase may combine liquid with solid particles and gas bubbles.
Read more about Wear: Measurement, Stages of Wear, Types
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... Erosive wear can be described as an extremely short sliding motion and is executed within a short time interval ... Erosive wear is caused by the impact of particles of solid or liquid against the surface of an object ... A common example is the erosive wear associated with the movement of slurries through piping and pumping equipment ...
... Due to this, practitioners often wear a dobok modeled after the Korean hanbok ... Traditional taekwondo practitioners may wear dobok that are identical or very similar to gi, with a cross-over jacket front, while International Taekwon-Do Federation-style taekwondo practitioners ... Practitioners of Korean sword arts like kumdo usually wear wider pants, called chima baji (치마바지 literally, "skirt-pants") ...
... Other success, included when the book What Not to Wear gained Trinny and Susannah a British Book Award in 2003 for "The TV Film Book of the Year" ... Books by Trinny and Susannah linked with What Not to Wear include What Not to Wear (2002) What Not to Wear 2 For Every Occasion (2003) What Not to Wear The Rules (2004) What Not to ...
... also called ghillies, that are tied in the same way but have thin soles for indoor wear and dancing ... Traditionally, women and girls do not wear kilts but may wear ankle-length tartan skirts ... Women may also wear dress tartans which are modified versions which include white in place of a more prominent colour ...
... Witton-le-Wear is a small village in County Durham, England ... It is situated on the north bank of the River Wear, 6 km (3.7 mi) to the north-west of Bishop Auckland ...
Famous quotes containing the word wear:
"They wear their godhead lightly.
They look out from their hill and say,
To themselves, We have nowhere to go but down;
The great destination is to stay."
—William Dewitt Snodgrass (b. 1926)
"O I forbid you, maidens a
That wear gowd on your hair,
To come, or gae by Carterhaugh,
For young Tom-lin is there."
—Unknown. Tam Lin (l. 14)
"When I was growing up I used to think that the best thing about coming from Des Moines was that it meant you didnt come from anywhere else in Iowa. By Iowa standards, Des Moines is a mecca of cosmopolitanism, a dynamic hub of wealth and education, where people wear three-piece suits and dark socks, often simultaneously."
—Bill Bryson (b. 1951)


text:
- Description
DetailsThe Simms Guide Vest is the ultimate wearable storage solution when fishing from dawn until dusk and is incredibly spacious with 26 pockets to fit all your tackle and more.
Made from a 100% Cordura rip-stop nylon fabric with a Teflon water resistant finish this vest boasts high durability and comfort. The zippers throughout are reliable and corrosion-proof YKK branded and the shoulders are cushioned with stretch mesh and a ventilated, padded rib knit collar for total comfort.
The storage on the vest is impressive with 2 stretch mesh zippered chest pockets, 2 cargo chest pockets, 4 waist pockets, 4 large zipped horizontal waist pockets, 2 stretch-mesh dry shake/floatant pockets, 4 interior pockets, 2 interior large horizontal and 2 vertical zipped pockets. There is also 1 horizontal water bottle pocket and 1 horizontal large back pocket.
There are 4 tool attachment D-rings fitted onto the vest and there are built in retractors featured on the front chest to keep your tools handy. There is also a third-hand rod holder that frees a hand when you need to release that wriggling two-footer.
The Simms Guide Vest is available in various colours and sizes for you to select from our drop down menu.
Improved 100% Cordura rip-stop nylon fabric with Teflon water-resistant finish
Corrosion-proof, reliable 100% YKK zippers
2 patented and improved built‐in retractors keep tools handy
26 pockets:
2 stretch mesh zippered chest pockets
2 cargo chest pockets and 4 waist pockets
4 large, zippered horizontal waist pockets
2 stretch-mesh dry shake/floatant pockets
4 interior pockets
2 interior large horizontal and 2 vertical zippered pockets
1 horizontal water bottle pocket and 1 horizontal large back pocket
4 tool attachment D-rings
Cushioned, stretch mesh shoulders with padded rib knit collar
Fabric Tech: 100% Nylon fabric with DWR finish
Approx Weight: 19oz
- Size Charts
Garment Size Chest Neck Sleeve Length Waist Inseam S 36"-38" 14.5"-15" 33"-34" 31"-32" 30" M 39"-41" 15.5"-16" 34"-35" 33"-34" 31" L 42"-45" 16.5"-17" 35"-36" 35"-36" 32" XL 46"-48" 17.5"-18" 36"-37" 37"-38" 33" XXL 49"-51" 18.5"-19" 37"-38" 39"-40" 33" XXXL 52"-54" 19"-20" 37"-38" 44"-47" 33" XXXXL 55"-57" 20"-21" 37"-38" 48"-50" 33"
- Specifications
Additional Information
Gender Male Brand Simms Stock Location L
- Reviews
What our customers say..
1 reviews written by our visitors
- This was bought for me for a birthday present. At the time it probably would not have been my first choice, but after using it , well it is great. Along with this quality vest comes an abundance of pockets and 2 hidden robust retractors. For me it has all the bells and whistles that you need for a fishing vest, but, it comes with the usual Simms Price Tag, but you do get what you pay for! Review by Ally (Created 22/06/2016)
- Why Shop With Us?


text:
A good day was had by all -
A forecast of fine weather encouraged a small but keen group of members to turn out and enjoy some pleasant flying both winch and aerotows in the bright crisp winter sunshine. The field remains quite soft and it is very easy to break the surface.
|Say no to wheel brakes
A number of flights allowed certain pilots to demonstrate their skills at 'sniffing out' the parts of the sky which offered reduced sink and/or pre frontal wave.
|K13 over the green and pleasant land
Longest flights from the winch were by Pete St in Junior and Guy in K13 at 18mins. Oh and Matt W with 26 min in the Jr.
|Off into the blue
Good team work all round ensured that by the time the hangar doors were closed a total of 39 flights had been completed for the day and that everyone who wanted to fly had flown. Congratulations to Gordon H who has flown in the back seat for the first time and been accepted for Instructor training. - MS


text:
BELLEVILLE, NJ – Despite a tough 1-4 start to the season, the Belleville High School girls' varsity volleyball team is optimistic for a successful campaign.
The returning players for head coach John Spina's team are senior outside hitter Cheryl Ann Nicosia, senior middle hitter Natalia Peralta, junior middle hitter Angela Diaz, and juniors Asmaa Embaby and Fiorella Samaniego.
Spina commented on those returnees.
Nicosia is a four-year starter who is a powerful hitter and server.
Peralta, who has one year of varsity experience, is a great blocker.
Diaz, a second-year player, has a ton of potential and great height.
Embaby and Samaniego are the team's best defenders and will alternate as libero and defensive specialist.
The key newcomers are senior middle hitters Mishelle Sanchez and Marlene Fernandez; sophomore middle hitter Cybel Cobbinah; junior setter Alethea Cruz; freshman setter Danielle San Juan; junior defender Natalie Marquez, senior defender Emily Fontana, and freshman right defensive specialist Gabriella Rojas.
Juniors Sasha Rosario and Ruquaya Embaby and sophomore Lauryn Cook also play varsity outside hitter and opposite.
"The team has a good attitude and keeps it positive on the court," said Spina, noting that communication and experience will prove to be the keys to success.
The Bucs, said Spina, hope to "rebuild what we once had a few years ago."
Spina, in his eighth year, added, "I look forward to growing with a young inexperienced team. I hope to have a stronger team come October."
The Bucs started 0-4 before earning their first win of the season with a 20-25, 25-22, 25-22 victory over Payne Tech Sept. 13 in Newark.
Remaining schedule
Sept. 14, vs. Newark Tech
Sept. 17, at Columbia
Sept. 19, vs. Garfield
Sept.20, at Technology
Sept. 21, vs. University
Sept. 24, at Irvington
Sept. 26, at West Essex
Sept.28, vs. Payne Tech
Sept. 29, Belleville Invitational, 8 p.m.
Oct. 3, at Newark Tech
Oct. 5, at Barringer
Oct. 9, vs. Columbia
Oct. 11, at University
Oct. 12, vs. Lyndhurst
Oct. 15, vs. Abundant Life Academy
Oct. 16, vs. Irvington (Senior Day)
Oct. 18, at Immaculate Conception
Oct. 19, at Rutherford
Oct. 22, at Cedar Grove
Oct. 24, vs. Hackensack
Oct. 26, at Clifton
Matches at 4 p.m. unless otherwise noted
Editor's note: This article was updated to include the result against Payne Tech.


text:
The modes of presentation must be in oral presentation or poster presentation.
(1) Oral presentation
- Presentation time must be within 15 minutes, including question period.
- Oral presentations will be conducted on September 3rd, September 4thor September 6th. Presenter cannot choose the date by them self. Participants will be informed later by the organizing committee.
- Presentation must be in English.
- Some of the applicants for oral presentations may be asked to give poster presentations instead.
(2) Poster presentation
- The size of the poster must be within 90 cm (height) × 70 cm (width).
- Poster presentation will be conducted on September 3rd - 4th. Presenter cannot choose the time of presentation. Participants will be informed later by the organizing committee.
- Posters must be written and presented in English.
Submitting abstract
Participants who will make an oral presentation/poster presentation must submit an abstract and note the following items:
- The abstract must be written in English.
- Participants who will make an oral presentation/poster presentation must choose their session topic.
- The initial of each abstract and main topic must be in capital letters, and within 100 letters.
- The abstract must be in English and within 250 words.
- Do not use diagrams, pictures, or photographs.
- The due date of the abstract is 30 June 2019
- If you submit an abstract, you must also complete registration by July 15th 2019.
- If you submit an abstract and do not complete the registration, you will not be entitled to make a presentation.
Revision of abstracts
Revision before due date
- Applicants can revise their abstract by the due date (20 May) even after the submission.
- If obvious spelling or grammatical mistakes are found, Organization Committee may correct them. Please make sure to confirm that the abstract is written correctly before submitting.
Revision after due date
- Some applicants may be asked to revise their abstract according to the experts' advice after the deadline of abstract submission.
Notification of review results
- Abstracts will be selected after they have been reviewed by scientific committee.
- Those who have submitted an abstract will be notifiedthe result via the E-mail (primary author) address provided in the abstract.
- Applicants will be notified the results by the middle of June 2019.
Important Dates
- Due date of oral presentation/poster session abstracts: 30 June 2019
- Early due date of registration: 30 April 2019
- Regular due date of registration: 15 July 2019 and late registration: 15 August 2019


text:
NEM Cryptocurrency Review
NEM is a young cryptocurrency that stands out favorably against other altcoins. It is most common in Asia. Now there is a rapid increase in the capitalization of the currency. This is of interest to traders and investors. We offer to understand the advantages and prospects of this currency. Distinctive features of the NEM platform are:
· Unique blockchain algorithm with a stable system for automatic generation of new blocks;
· Ease of operation. The software can be downloaded on the official website of the project;
· There is an algorithm to protect against hacker attacks;
· Fast transactions;
· The total amount of tokens is 9 billion.
Cryptocurrency NEM value
The purpose of the NEM platform is to create a digital asset for effective use in all areas of the economy. Platform release was in 2015. Currency is spreading rapidly in Asian countries and emerging into new horizons.
Are you thinking about buying currency for profitable trading or investment? Our site provides detailed reviews of cryptocurrency. This information will allow you to understand the prospects of investments and not to miss your profits. Most analysts are positive about the NEM platform. This is a good way to instantly transfer money. Positive characteristics of the currency are confirmed by interest from Japanese banks. Experts believe that over time, this coin will be able to significantly change the situation on the foreign exchange market.
Currency prices are gradually increasing, and this trend is expected to continue. The rapid appreciation was associated with the interest of Japanese banks. They tested the NEM platform for loads. The results were positive - the network stood firmly over two million operations per day and did not lose its stability.
Latest news on the cryptocurrency market
For a greater understanding of the value of cryptocurrency, we propose to consider the factors of its prospects:
· Use of innovative technologies for equitable distribution of remuneration among network users;
· Focus on serving the real sector;
· Interaction with well-known cryptocurrency and financial institutions;
· Great functionality for quick operations;
· Plans to open a large research lab for the coworking center.
Are you want to know about current currency rates and forecasts of analysts? Watch out for our site. We have only reliable and new information.


text:
Across the world, there are various countries that are making efforts to cut down the tipping component while dining or availing similar services. Tipping contradicts certain minimum wages acts and is not always in the interest of national economies. However, you would still find most of the diners and service takers tipping their servers. Let us see some of the reasons behind our continuing tipping habit.
To maintain social image
Many people feel that it is a matter of their image in public and they should pay tips to display a positive image. For example, people pay tips to their waiters when they go out dining. They assume that a person who can afford to dine well can also tip well. Thus, a general perception of a similar kind makes almost everybody pay tips at their restaurant dining tables.
To fulfill server's needs
Another prevalent thought suggests that waiters and servers do not generally receive their minimum wages and require to be tipped. Thus, customers offer tips when they feel that a server might need it. Although this assumption might not be true always, they feel that they are compensating for a waiter's quick and friendly service.
To appreciate the service
Many people also pay tips, as they really want to appreciate the service they receive. When they find the service quick, efficient, fast or friendly, they appreciate it by tipping the responsible server. However, this reason may involve the emotional role played by a server. For example, a particular waiter may treat customers affectionately and say some emotional sentences to attract their attention. This may melt the hearts of those customers who end up paying a higher tip rather than not paying a tip at all.
Thus, people should gain a good understanding of the situation and the need to tip someone before actually tipping them for their service.
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Thanks! It helped me a lot and The language skills are excellent.
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I prefer living on the ground and where it's not so dense and loud lik


text:
Found for sale on eBay is an excerpt from Fire Engineering, about a pair of "auxiliary trucks" (my words) added in Durham during the war years. These were a pair of one-ton trucks that were placed in service to handle "small fires in residential areas." Such as car fires, chimney fires, and grass fires. Run cards were updated for "straight fire alarms." Instead of two "big pumpers" and a ladder truck, they'd dispatch one pumper, one ladder truck, and one "small truck."
The change was made after they analyzed their runs for 1941. They found that "ninety-eight percent of fires in Durham could've been handled adequately with the ladder truck, one small truck, and ten men." Sound familiar, anyone? Such as the midi-pumper concept of a few decades later? (The war also likely inspired the program. Material restrictions prevented many fire departments from adding or replacing apparatus. This placed a premium on existing trucks. Using "auxiliary trucks" such as this, departments saved wear and tear on the larger and often older rigs.)
Here's what they carried:
The Durham Fire Department might've been the first in the state to implement this concept. Greensboro, Raleigh, and Wilmington also operated "squad trucks." Read prior blog posting. See also another posting with a vintage ad about the Durham truck.
As for Durham's trucks, one was sold to Garner in 1952
as their first fire truck. Then the thing was sold to Harrells Fire Department
in Sampson County. Here are
pictures of mine from 2004, of the truck at the Harrells fire station. (What sort of modifications might've been made to the truck, while it served in Garner and/or Harrells? Don't know.) Click to
Now, notice the top two photos. Upper left is 1942, upper right is 1945. Same truck, but with front pump added? Or two different trucks? To be determined!
Meanwhile, enjoy the full article. Click once or twice to enlarge:
The biggest change I have seen from DFD to GVFD to HVFD is the movement of the Sireno siren to the oppisite fender and the placement of a siren-light on the left one. I saw this truck in Garner at a fireman's day parade many, many years ago. Both sirens were functional. A close review of the pictures does not reveal any other changes, aside form the lettering.


text:
Peak performers...see in their mind's eye the results they want and the actions leading to it. -- Charles Garfield, psychology professor, founder of The Shanti Project.
In my mind's eye, I'm turning cartwheels on the smooth grass at the top of a small hill in Eden Park in Cincinnati. I'm 13 years old and nearly as limber as an acrobat. Turning ten cartwheels in a row is easy for me. (Come to think of it, I also had a thing for cartwheel hats -- so romantic, so adventurous ...) Later that afternoon, I strapped on my roller skates (used a key to lock them), and flew down the street near where my parents and I were living. Free as a bird, up and down hills, rolling along through the neighborhood, taking in the scenery.
Fast forward to college: In my 20s I loved folk dancing, and learning music and dance from various countries -- England, Russia, Italy. I also liked the gracefulness of ballroom dancing. Modern dance? Not so much, but any dance that involved interesting music with a solid jazz or Latin beat -- yes.
Then in my 30s, 40s, and 50s, I seemed to keep in shape without too much effort, just because I was so incredibly busy. In my 60s, I ought to have been involved in a regular workout program, but wasn't. The bod beautiful was morphing into the bod-that-needed-an-exercise-program.
Now, I'm starting to go to my neighborhood gym (see my post Shaping Up) on a regular basis, and will even work with a trainer for a while, to get back in shape.
Maybe I'll never again be as agile as I was in my 20s, but I can surely be my sassy best self in my early 70s! My role model? Someone who's just eight months younger than I -- the one and only Tina Turner, a ball of fire and incredible energy and sexiness.
So while I may only turn cartwheels in my mind at this point, I am ready to see what I can do physically, at this point. Dance, yoga, swimming, walking -- they all hold appeal. Up and at 'em!
Linda Jay Geldens, www.LindaJayGeldens.com
Click here for more of Linda's posts.


text: Open year-round, dawn to dusk. The Middlesex Fells Reservation's 2,575 acres offer a welcome retreat for city dwellers and a suitable terrain for hikers, horseback riders, rock climbers, cross-country skiers and picnickers as well as natural and cultural history buffs. "Fells" is the Saxon word for rocky, hilly tracts of land - an apt name for this scenic area which is rich in local history. This picturesque area was once favored for timber, granite quarrying, ice industry, and water power for the many mills including one that manufactured some of the first vulcanized rubber products. The Botume House at 4 Woodland Road is the Middlesex Fells Headquarters and will soon house the Middlesex Fells Visitor Center. Special features for visitors include the Sheepfold picnic area, Bellevue Pond, Virginia Wood, and Spot Pond. The Sheepfold is 10 acres of open field, ideal for picnics, frisbee playing and informal games. Bellevue Pond is a seasonal pond surrounded by trails and wide fire roads, some leading up to Wrights Tower which looks out over the Boston Basin. Virginia Wood, the site of a vanished mill village called "Haywardville" is now a dense hemlock enclave.


text:
Find out how your child can fill up his/her bucket with daily awareness practices and mindfulness-based techniques used to regulate emotions and manage moods with healthy energy channeling. Through games and fun activities, your child can experience the energy of chakras, color, and sound. Use affirmations, breath work, balancing exercises, short meditations, and exercises to build a solid foundation for kids to manage their own stress levels. A fun token keepsake will keep their hearts wide open to be positive lights shining bright as a conscious kid. Appropriate for children ages five to 10 years old. It is optional whether a parent, grandparent, or caregiver wants to accompany and participate with their child.
Course 202143Date Saturday, AugustTime 1:30 - 3:30 PMCost $35/30 payment 10 days in advance per family


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Community Package Repository Notification
Your use of the packages on this site means you understand they are not supported or guaranteed in any way. Due to the nature of a public repository and unreliability due to distribution rights, these packages should not be used as is for organizational purposes either. Learn more.
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Tftpd32 is a free, opensource IPv6 ready application which includes DHCP, TFTP, DNS, SNTP and Syslog servers as well as a TFTP client.
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Celiac.com 10/07/2008 - Even though nearly 1 out of every 100 people in the world suffers from celiac disease, proper celiac diagnosis can be difficult to diagnose based on symptoms alone, an is often delayed for years. In fact, in the U.S., the average amount of time from first onset of celiac symptoms to a diagnosis for celiac disease is 10 years.
Currently, the only accepted treatment for celiac disease is a life-long gluten-free diet. However, gluten is present in many processed foods, and many patients with celiac disease are regularly exposed to trace amounts of gluten via contamination and other means.
Following a "strict" gluten-free diet is no guarantee against mucosal damage associated with celiac disease. In two different studies of gluten-free diets, nearly half of the subjects showed villous atrophy. However, the precise level of gluten in each diet was not measured.
The World Health Organization (WHO) defines naturally gluten-free foods as those with 20 parts of gluten per million (PPM) or less, whereas foods that have been artificially rendered gluten-free must have no more than 200 PPM of gluten. Now, this standard is not universally accepted, in part because of the difficulty of precisely determining the amount of gluten present in different foods. Still, it is obvious that a large number of patients with celiac disease can tolerate foods with minimal amounts of gluten.
Researchers A. K. Akobeng, and A. G. Thomas recently set out to examine the threshold for gluten consumption among patients with celiac disease by reviewing the results of a number of previous studies.
In one previous study, researchers examined 4,126 asymptomatic individuals, and found celiac disease in about 1 of 133 of them. The rate for patients with gastrointestinal (GI) symptoms was 1 in 56 subjects. For first-degree relatives of patients with celiac disease, the rate jumped to 1 in 22, while 1 in 39 second-degree relatives tested positive for celiac disease. These figures reflect the existence of a genetic predisposition for the development of celiac disease, as most patients who have celiac disease expressing human leukocyte antigen DQ2 or DQ8 haplotypes.
One population-based study of 1,612 patients with celiac disease that sheds some light on the demographics and symptoms of the disease shows that nearly three times as many women as men develop celiac disease, while about a third of celiac sufferers had seen 2 or more gastroenterologists. In that study, symptoms persisted for an average of 11 years before a diagnosis of celiac disease.
Often, such delays are due to the fact that symptoms of celiac disease are similar to many common GI disorders. In addition to the diarrhea experienced by 85% of celiac sufferers, other common symptoms are abdominal pain and distension, Borborygmi, flatulence, and weight loss. Because celiac disease is tied to numerous medical conditions outside of the GI tract, including osteoporosis, iron-deficiency anemia, neuropathy, asthma, and dermatitis herpetiformis, early and accurate diagnosis is important.
When people with celiac disease eat wheat, rye, or barley, the gluten proteins in these grains sparks inflammation in a part of the small intestine called the lamina propria, which brings about symptoms of the disease.
In 2007, clinicians proposed new diagnostic guidelines to help doctors diagnose celiac disease more accurately. Under these guidelines, the gliadin antibodies previously used to test for celiac disease have been abandoned because of poor sensitivity and specificity. Serologic testing that focuses on immunoglobulin (Ig)A endomysial antibody, or IgA tissue transglutaminase (tTG) antibody, has been shown to have sensitivity and specificity values above 95% for celiac disease.
The Review
Researchers examined electronic databases using a broad search strategy that included randomized controlled trials, cohort studies, case control studies, and cross-sectional studies. In all cases, celiac disease was clinically confirmed through small intestinal histology.
Initial research uncovered 35 studies, but only 13 were included for analysis. Most studies were excluded because they were reviews of the diet in celiac disease. Of the studies included in the full analysis, 7 were cross-sectional in design and 3 were randomized controlled trials. The research team gauged the cross-sectional studies to be at moderate risk for bias. Because of the varied nature of the results of the many studies, it was not possible to conduct a pooled statistical analysis of the results. The studies tended to focus more on histologic changes instead of patient symptoms of celiac disease. The review indicated that the total amount of gluten consumed, as opposed to the levels of gluten in individual foods, is the key factor connected with histologic abnormalities in the small intestine. Consumption of gluten at levels of 200 mg/day or more was clearly tied to the development of intestinal abnormalities. Whereas these changes usually show up within a few weeks, one trial that looked at different levels of gluten consumption showed differences in villous height/crypt depth ratio within just one week.
The results of research evaluating consumption of lower levels of gluten have been more uneven. In one study, more than half of subjects consuming only 10 mg of gluten per day experienced worsening of their villous height/crypt ratio. However, another study showed no histologic abnormalities among patients who ingested an average of 34 mg of gluten per day.
The current study basically confirms other recent examinations of the limits of gluten consumption in celiac disease, including one study that recommended a daily gluten consumption limit between 10 mg and 100 mg, and another, based on just 83 subjects, that indicated that the mucosa of the small intestine showed no negative long-term changes when subjects consumed up to 80mg of gluten a day.
While it's tough to draw specific conclusions from the current study, it seems clear that the standard of 200 PPM or less of gluten in some foods labeled as gluten-free will not protect most celiac disease patients. Instead, the study suggests that a new standard set at a maximum of 20 PPM of gluten will equate to an approximate daily gluten consumption of 6 mg. The body of science suggests that consuming 6mg per day of gluten intake would not promote mucosal abnormalities among most people with celiac disease.
While more conservative, the 6mg per day figure seems to offer the best assurance of avoiding intestinal damage of any kind. Still, the researchers noted the need for more research on the threshold of gluten consumption for people with celiac disease. They specifically noted that standardization of outcomes along with trials to compare particular concentrations of dietary gluten would be helpful.
Until the results of such research, this review offers a reasonable guideline as the threshold gluten consumption for people with celiac disease.
1. Lo W, Sano K, Lebwohl B, Diamond B, Green PH. Changing presentation of adult celiac disease. Dig Dis Sci 2003; 48:395-8.
Aliment Pharmacol Ther. 2008; 27:1044-1052. Epub 2008 February 29.