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October 2011 4xForward - EditorialPosted in Ultimate Adventure: 2011 on October 1, 2011
Some of our readers think that the Ultimate Adventure is a lot of hooey, with wallet-job readers and over-the-top sponsors just flashing their cash in pay-to-play rigs. They also think that the obstacles we encounter are nothing a regular rig could overcome and that the trip is just a whimped-out excuse to get away from home. The fact of the matter is totally the opposite. We do it for fun!
It is true that a lot of cash is dumped into this event from a variety of sources, but it's more of a three-month thrashfest as individual readers, sponsors, and staff pull out all the stops. At times we go without sleep, food, and even beer, while depleting the bank account (if you have one), begging, borrowing, and stealing parts and pieces off your buddies' rigs, and convincing the Significant Other to come along or let you break the piggy bank open, all the while holding down a job and playing with the kids. And don't forget convincing the boss that you need two weeks off in the summer to go play!
It's fascinating what some people can come up with on a budget, and how we can Krylon a 4x4 to give it a snazzy look for under 25 bucks. Sure, the transfer case gears weren't cheap, but you needed them anyway, right? And for that matter, we pick UA readers' rigs based on how they are at the time of the application, not what they plan to improve on their rigs. In fact, we tend to shy away from that, as all it generally does is reduce reliability, and the name of the UA game is reliability.
It may seem like we don't always hit the hardest obstacles and bash and thrash as some would like to see. The reason is that we are wheeling for the week, not the day. We have to make the obstacles, keep our rides in one piece, and then drive our 4x4s to the next park some 200 highway miles away—no trailering allowed. That means you live and wheel out of your 4x4 for a week, with the goal of simply completing the event. And as usual, this year we have the assortment of rocks, mud, dirt, heat, bugs, and general mayhem you've all grown to love and hate.
The goal of the Ultimate Adventure is simply to have fun. Naysayers simply haven't been on the trip, or think too much of themselves to listen to someone else. Know-it-alls usually spout off the loudest and confirm other people's suspicions on what they really know, or don't. If you don't like the UA, don't enter/come/watch/read. If something other than the normal whets your appetite, give it a chance—or better yet, apply! Your chances of getting chosen dramatically increase if you have an open mind and a desire to have fun, rather than being a whiner.


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Adjunct Faculty In Business Communications: Jack Welch Management Institute (Online)
- Employer
- Strayer University
- Location
- Herndon, VA
- Posted
- Apr 04, 2017
- Institution Type
- Four-Year Institution
The Jack Welch Management Institute at Strayer University is seeking adjunct faculty members in the area of Business Communication for the Summer term beginning July 03, 2017.
Provides the highest quality education and maintains high standards of academic excellence in teaching assigned courses in discipline. Conducts office hours as assigned.
Minimum Qualifications:
- Terminal degree (Doctorate Degree) in Business, Communications, Leadership Coaching or related field (with coursework in Business Communication) required with experience working in and teaching Business Communication.
- 7-10 years management/leadership experience required in the related field
- A deep understanding and an appreciation for Jack's management philosophy
- The ability to both coach and instruct adult learners in a an online environment
- Experience with the adoption of new technology and tools
- The ability to do occasional synchronous work with students
- Commitment to student success
Maintain smooth course operation and adherence to policies and procedures
- Attend faculty meetings and discipline workshops as required
- A terminal degree (Doctorate Degree) is required.
- Teaching experience at the college level
- Teaching experience at the college level
- Demonstrated mastery of academic administration
- Demonstrated mastery of academic technology
- Demonstrated mastery of academic evaluation
- Mastery in oral presentation skills, planning and organizing of course objectives
- Must have strong computer skills (Excel, PowerPoint, etc.)
- Outstanding oral and written communication skills
- Professional certification in discipline specialty (if applicable)
Certificates, licenses and registrations:
- None
- Must be able to travel 0 % of time
- Must be able to lift 2 lbs.
About our programs:
The Jack Welch Management Institute at Strayer University delivers an integrated 12-course MBA for working managers, along with non-degreed six-week Certificates in Leadership and Strategy. The Jack Welch Management Institute online MBA is designed to be completed in 18-24 months while working full time.
Our faculty team works together in delivering a high quality integrated curriculum. Monthly meetings and frequent professional development opportunities ensure we are coordinated and qualified to fully engage our students and help them earn meaningful degrees and change the trajectory of their business careers.
Working at Strayer is rewarding and each one of us is incredibly passionate about succeeding at our mission and that passion is contagious. With that in mind we are always in search of dedicated, talented individuals who want to be part of something that's enriching, challenging, and rewarding.
If you require a reasonable accommodation to complete our application process, please contact our Human Resources Department at [email protected].
Part time
Strayer University is an equal opportunity employer and employs qualified individuals regardless of race, religion, color, sex, national origin, age, disability, or any other classification proscribed under applicable law.

subset: commoncrawl


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Font size is controlled by the
font-size CSS property, like this:
h1 {
font-size: 30px;
Create a second
p element with the following kitty ipsum text:
Purr jump eat the grass rip the couch scratched sunbathe, shed everywhere rip the couch sleep in the sink fluffy fur catnip scratched.
Inside the same
<style> tag that contains your
red-text class, create an entry for
p elements and set the
font-size to 16 pixels (
Due to browser implementation differences, you may need to be at 100% zoom to pass the tests on this challenge.
Also, please do not add a class attribute to your new
p element.


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When connecting to port 995 (e-mail SSL accepted server) using a raw TCP connection, nothing will happen since it's expecting SSL "commands". So we could type anything we want after the connection is made, and nothing will happen. What we need to do is, encapsulate our "traffic" in SSL. This can be done using stunnel. Visit the author's site, and have a look around.
If it's not installed on your Linux distribution then I recommend doing so. There's also a Windows version as well which I also suggest getting if you want to test out creating a netcat session between 2 machines using an stunnel.
Let's see how we can go about creating a simple chat session between 2 machines with netcat and stunnel. First let's setup our listening machine to accept SSL connections on a specified port. Lets start by configuring our client machine to accept traffic on a given port, take that traffic and encapsulate it SSL and sent to socket accepting SSL connections.
First open up stunnel's config file (I'm my Linux machine as client) and add/modify the following:
client = yes
[netcat client]
accept = 5555
connect = -Listening IP-:4444
Any traffic entering port 5555 will be encapsulated and sent to port 4444 on the target IP as SSL traffic.
Now let's setup the stunnel service on our listening machine, in this case the Windows system.
client = no
[netcat server]
accept = 4444
connect = 7777
So now that we have stunnel setup on both machines, let's start the connection using netcat.
From our listening system, or serve:
C:\>nc -vlp 7777
And now, let's connect from our Linux system:
Linux~# nc -nv 127.0.0.1 5555
If everything went according to plan, the Linux box connects to local port 5555 which is then encapsulated and sent to the listening's IP address which is expecting an SSL conneciton. One should be able now to "chat" between the two systems. One can also receive a reverse-shell this way, or connect to a pop3 mail server which only accepts SSL connections on the default port 995.
Update 16-12-2011:
This was written some time ago, and things may have changed. Although everything is still relevant you may need to change or adjust your sTunnel settings on you Linux and Windows machine.
Update 16-07-2012:
Due to a change in ownership, the new hosting company uses content filtering for "security reasons". This means many of my previous posts can no longer be displayed. So I'm re-posting them avoiding the "bad" words..


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- Description
- Tasting Notes
- What's Inside
- Delivery
- Occasions
This basket is a delicious gift for any special occasion.
An experienced, local florist will specially prepare and deliver a fruit and gourmet basket with items that may include apples, bananas, pears, grapes, crackers, smoked sausage, nuts, cheeses, or candies.
Photo shown online is a representation only. Specific type of basket, fruit choices and gourmet items in the basket will vary due to local availability and designer's preference.
Each basket is a one-of-a-kind creation, prepared and delivered on your chosen date.
Gift Includes:
- Assorted Fresh Fruits.
- Assorted Gourmet Items.
- A free gift card with personal message.
- Arrives in a stylish wicker basket, ready to be displayed.
- Hand delivered to the recipient's home or office by experienced florists.
- A plush teddy bear, balloons, wine, champagne, or chocolates may be added to your order based on availability. Please contact customer service for more information.
During checkout, please be sure to indicate your preferred occasion when you choose a gift card.
Same day delivery is available if you place your order by 2pm in your recipient's time zone, M-F and by 1pm on Saturday. To see if Sunday delivery is available in your area please contact customer service.Gift #1351
Elite Gourmet Fruit Basket is a hand delivered gift. These gifts are delivered by one of our local design centers located throughout the United States and Canada.
Typically, standard deliveries are made between 9:00 AM and 6:00 PM, with business deliveries before 5:00 PM. Hours may be extended during holidays. Please note in some locations we may need an additional 24 hours for the delivery of exotic flowers, wine and fruit baskets.
Same day delivery is available for most gifts when ordered before the cutoff time. The cutoff time for Elite Gourmet Fruit Basket is 1 PM in the recipient's time zone.
Elite Gourmet Fruit Basket has been purchased most frequently by our customers for the following occasions:
- Get Well
- Sympathy
- Birthday
- Thank You
- Thinking of You
Average Rating:(37 reviews) write a review
Read More Reviews
JanWonderful Birthday GiftDecember 13, 2018
The basket was for a friend of mine in California. Being from Virginia, I have ordered from here before for far away gifts. Best way to send the perfect gift. It was delivered for her Birthday and she loved it. So thanks again for being so helpful.
Southern YankeeElite Gourmet Fruit BasketOctober 7, 2016
Delivery was as requested, my grandson said that he loved everything in the basket. He was thrilled to get fresh fruit. Thank you for you attention to this order.
NeeseGourmet Fruit BasketApril 6, 2016
My sister and my family loved the fruit basket!!!!!!!!
Thanks for doing such a great job!!!!!!
JoannaKRecipents raved about it!November 14, 2015
I ordered this for the parents (and big brother) of my brand new grandson! My son called and said the basket is amazing--lovely treats and beautiful fruits for the whole family to enjoy. This made my first experience with Gift Tree a good one--and I will surely be back!
healthy snacksPleasedSeptember 22, 2014
Impressed! Beautifully presented. My boss was surprised. He liked all of the items in basket.
My sister had knee surgery and was unable to move around to the refrigerator easily. Your gift basket of fruit was the perfect combination and solution to her inability to walk with crutches and prepare something to eat! Well done! Thank you!
crsGreat value, highly recommendMarch 17, 2014
I bought this as a get well gift. She loved it and commented that she could not believe how big it was and how beautiful. Will buy again.
crsGreat value, highly recommendMarch 17, 2014
I bought this as a get well gift. She loved it and commented that she could not believe how big it was and how beautiful. Will buy again.
PatsPlaceGreat SelctionFebruary 6, 2014
My Mother-in -law was delighted with this basket. The business that does her baskets do a very remarkable job.
1st time userWonderful giftJanuary 22, 2014
Had a friend whose father was in hospice at the time...I couldn't think of what to send him and his family. The staff at helped so much. They made my first order with them so easy and hassle free. The family said the basket was beautiful and all the fruit and nuts were great tasting. Thank you....thank you for making this a nice experience during a difficult time. I will use definitely use your service again!
swtroseLooked GreatDecember 3, 2013
Sent this to my son for his birthday, he was very delighted, and enjoyed it very much.
Very PleasedGreat assortment of items.October 26, 2013
Good size basket.
h.woWOWOctober 21, 2013
I sent this to my mother for her birthday as a "healthy alternative" to chocolates, cakes, etc. When she received it, she happily posted a photo and raved about the contents. If she's not able to eat all of the fresh fruit, she is an avid juicer, so nothing will go to waste.
KeokalakeWonderful GiftOctober 19, 2013
I ordered this basket in sympathy for a family who had lost it's husband/father. I didn't see the basket itself, but was told it was lovely and the family was thrilled
JunieLovely CenterpiecesOctober 8, 2013
I bought 6 of these wonderful fruit baskets as centerpieces for my son's wedding rehearsal dinner. It came out as a beautiful presentation for the tables, we opened each up and the fruit, sausage and cheese were enjoyed by all, The fruit was fresh and ready to eat. It had to delivered to a remote lodge tucked away in the Colorado mountains and we received them undamaged and looking and tasting superb. I would definately recommend it to my friends and family!
maddicatRecipient was ThrilledSeptember 28, 2013
I never saw it but from the expressions of the gift's recipient, I would definitely recommend it. My friend was blown away. Thank you!
SENIORPRESENTATION AND FRESHNESSSeptember 25, 2013
DesertNP5 yr old Grandson ecstatic over pineapple !September 19, 2013
The report from Grandson was a "PINEAPPLE, blueberries, lots of apples and those soft pears" . His mom, the recipient, reported 'very nice, and enough fruit for 4 of us for dinner, and snacks"
Good job!
debbieit was a gift and they said it was greatSeptember 17, 2013
Fruit loverExcellent looking basketSeptember 12, 2013
Everything was great!
Procrastinator!Perfect last minute gift!July 30, 2013
Thanks so much for deliveriing as scheduled. He enjoyed his basket and his birthday was just too soon!
Nothing like good fresh food!
camom9AppreciatedJune 24, 2013
Sent this to my son-in-law for his birthday. He said it
had great fruit. And the people in his office really enjoyed the cheese and crackers in the basket. I liked being able
to send him something different from the usual fruit bouquet that I have in the past.
mrssantafantastic basketJune 23, 2013
I ordered the basket for my dad on fathers day. It was delivered within a few hours of ordering. My father absolutely loved it. The contents of the basket was very pleasing. He enjoyed it all.
DonFruit Basket GiftJune 14, 2013
Our office wanted to recognize the 60th wedding anniversary of an office associate. We initially thought a flower center arrangement would be appropriate, but remembered the honoree has won numerous contests for her flowers.
We settled upon the fruit basket concept and could not have been more pleased. Guests helped themselves to the fruit and it was well received.
Thanks for your product and services!
TonyaTToken of AppreciationJune 6, 2013
My husband and I picked this basket as a token of thanks for our Pastor for the dedication of our babygirl. We had it delivered over night to the church office and it arrived on time just as we was told. Our pastor truly loved the presentation of the basket and enjoyed ALL the goodies inside. We will be ordering again!!! Oh, I forgot to mention the prices are GREAT!
Red ros??Awesome presentationMay 16, 2013
Really beautiful basket, was a Mother's Day surprise and she exclaimed at how beautiful it was. Thank you for making her day special.
katzOver flowing with goodnessMay 16, 2013
I had this back delivered to my mother for Mother's Day and she loved it. Not only the presentation, but the variety of contents.
JoanneExcellent ProductMay 14, 2013
I purchased the Elite Gourmet Fruit Basket for my son-in-laws parents after the passing of his grandfather. The choices of items/fruits were excellent. His mother used the word "awesome". I would definitely use your site to place another long distance order anytime. Thank you
First GrandchildAWESOME GIFT!April 23, 2013
I just ordered this basket for my daughter and son-in-law at the hospital craddling their newborn. 90 minutes later, my daughter called to thank me for the perfect gift. She was already nibbling on the fruit and her husband was devouring the meat and cheese!
LiliBeautifulFebruary 8, 2013
They beautiful n shipping is on time, but the basket is missing some item.
cookiegalGreat serviceFebruary 6, 2013
I was very pleased with the service from Gift Tree. I ordered 2 of these baskets and they were delivered the next day. The people were called ahead of time to insure that someone would be home, which I thought was excellent. Although I did not see the actual baskets, I heard they were very well done.
winelovernicely presentedJanuary 1, 2013
The item received differed to that shown on the web site. Never the less the contents matched equally with different products. It is understood that seasonal produce may vary, so no problems with that received.
Daddy CapoAmazing Delivery speedAugust 7, 2012
I have ordered this basket for my family who was spending a couple of days in Miami and the gift arrived to the place in less than 3 hours!!! I could not believe it. Congratulations GiftTree
Love to send giftsDelivery the same day !June 2, 2012
I was so happy that I could have a gift delivered the same day I ordered it !!! Don't know the details of the appearance and quality yet....but I am sure it was perfect ! Definitely will use Gift Tree again.....this was a wonderful first time experience....Thank you !
gift-giverLovely giftMarch 28, 2012
I needed a same day gift because my boyfriend was having a REALLY bad day. Thanks for the same day delivery option!
ChattyKathyOCBeautiful PresentationMarch 21, 2012
I did not purchase this basket for myself but for a friend who was celebrating a birthday. He and his wife said the basket was beautifully presented and had a lot of fruit and goodies in it. They were extremely pleased with the gift.
MacbradMother really loved itDecember 23, 2011
Tried this service for the first time, my mother said she loved the gift and it was just as described. It was delivered on time, and with a pretty wrap. Thank you Gifttree


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We were so focused on the all-dog men's final in NCAA basketball (UConn Huskies versus Butler Bulldogs), we overlooked a canine presence in the women's final on Tuesday night. The 2011 Women's Champion Texas A&M University Aggies are represented by a seemingly counterintuitive canine mascot, a Rough Collie named Reveille.
The tradition dates back to 1931, when a group of A&M cadets accidentally hit a small black and white stray. They brought her back to school to care for her. The next morning, when a bugler performed the morning wakeup call of "Reveille," she started barking and earned her name. She recovered from her injuries, and the next season she became the school mascot, leading the band onto the field for its half-time performance during football games. She served for more than a decade, and after her death in 1944, was given a formal military funeral on the gridiron, according to Texas A&M's website.
The most current Reveille is Reveille VIII, and she was officially introduced on August 30, 2008. She is revered. Cadets are expected to address her as "Miss Rev, m'am." If she is in class and barks while the professor is teaching, the class is to be immediately dismissed, also according to A&M tradition.
A love of dogs seems to run deep for the team. Here's how the coach, Gary Blair, framed the victory, according to The New York Times: "He talked about how much this championship meant to his family, to the families of his assistant coaches, to the pets of another assistant who has no family but does have dogs." I wish I read that sort of thing all the time.
Go Aggies! Go Reveille!


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Pentagon Yields on Wireless Spectrum
The Pentagon offered wireless carriers a compromise in a fight over spectrum now used for purposes like training pilots in the drone program, Ryan Knutson reports on digits. Photo: AP.
This transcript has been automatically generated and may not be 100% accurate.
... I ... the guy to offer a compromise over some valuable spectrum to greatly ... benefit ... the option of these viable wireless airwaves and what's the Journal's new Telecom reporter Ryan can use in ... the future talks about it will come in ... it's it's good to be here yet ... good content on the beach here yet and setting out from with this big nice too ... so what's going on or why it was TD DOD offerings of ... what the department offense is better lot of pressure from the White House and from people in Congress ... to include this spectrum in the next auction which is expected to happen next fall ... um in twenty twelve Congress passed a jobs bill were they included a line in there that said that they had to include ... its spectrum in the twenty one fifty five to twenty one duty spectrum bands ... the wireless carriers have said that's great but it's for useless to us must be compared with its other spectrum in the seventeen fifty five to seventeen eighty ... which is currently occupied by the DOD and about twenty other federal agencies that operate there ... so for the non geeks in the ... in the audience who don't know it's in the fifty five and twenty one eighty is what is the DOD currently use the spectrum ... so the DOD curling uses the spectrum for um it's drone program I which is the most interesting thing about this or when its training pilots ... on the United States for how to fly drones in Afghanistan to train and then a couple of basis throughout the United States ... so the user Spector from that and there's been a huge increase in drone years so just in the same way that wireless carriers and to have a bunch of ... data demands from their consumers in their smartphones the dude is gonna lot more drones ... on by a day when from just a few hundred in two thousand due to more than ... seven thousand in operation on his roof these are systems of the deity has a huge demand for spare can also throw in things so now that they're going to be able to we don't know what the outcome of this can be but that was that this is their opening move ... that could maybe it'll be sensitive ... to the successful auction ... and then how much money would bring it to ... where I could Diane Benson significant bomb from the original estimates I mean there is an estimate on ... by industry sponsored group it says that in their wireless spectrum could fetch about twelve billion dollars but ... the duty didn't include this stuff the next auction model in bringing about three point six billion dollars it's a huge increase over that ... on the DOD ... in its new proposal which it done ... submitted to the anti ads for them to the reeds there but I'm ... that they submitted last week says the ticket cost about three point five billion dollars to move off of the spectrum so that ... the government is obligated to collect more money in auctions ... of and it costs to relocate his otherwise it's for ... the trip ... is that governments can ... get one on this potentially ... on my question ... is this actually goes through an auction of spectrum when when consumers actually see the benefit of ... these bigger highways in the air that we use to surf the web on loan up to tablets dentist every several years and in because the duty actually has to get off the states ... that there's a lot of time they're gonna update their systems is talented in his turn the dial on the spectrum band and installing new hardware in ... twenty sixteen to twenty sixteen twenty seventeen or when something good that don't hold your breath yes ... why things are coming on tells about it talk and then we'll have to come back and use the updated when ... the resolution of them sure well thanks to ... pay if you want to learn more about stout wireless airwaves and how you're able to download all is


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READING ��The general purpose room at Reading High School was filled Saturday �with a wide variety of holiday gifts during the school�s Holiday Shopping Open House. The event, in its first year, was sponsored by the class of 2015. It was the idea of Reading High School teacher Karen Wiler. �The students quickly came aboard after coming up with the idea,� Wiler said. �Once we have an idea they are always willing to help.� Wiler came up with the idea as a way to raise money for the school�s class fund, which helps to pay for different activities at the school. Those activities include graduation expenses, the senior trip, prom and other events throughout the year. The event included over 20 vendors selling a wide variety of items. The Reading High School Athletic Department sold new and used jerseys and apparel. The class of 2015 held a bake sale and the seventh-graders sold apparel. �It was neat because other school organizations were able to raise profits as well,� said Wiler. Wiler said the event is just another way students can connect with the community while helping to fund events at the school. Fifteen to 20 sophomores helped make the event a success. �I think it was a win-win for our class and the community,� Wiler said. �Everyone was really positive and really liked the event. I hope to see it grow in the future. She said the class is looking to host a spaghetti dinner and silent auction this spring to help raise funds. �I want to thank all the local vendors and community members who came out to support Reading Schools and the class of 2015,� Wiler said.
Reading High School event supports students


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Michael Maryanoff dressed up as a drag queen to direct and act in a short video, "The Real Housewives of Chemotherapy."
He is not a cross-dresser, but — with his clip-on chandelier earrings and a matching turquoise necklace hanging over his hairy chest — he looked just like one. His blue maxi dress had a feminine curvy pattern in fuchsia that hugged his hairy legs. And he struggled to maintain his balance in glossy tangerine high-heels.
"I kill wrinkles with Botox and I kill cancer with the energy of my mind," he tells viewers as his on-air persona, Yesenia.
Some cancer patients like Maryanoff are gifted in finding humor during difficult times. Take the two bloggers who started "The Real Housewives of Chemotherapy."
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Comedian H. Alan Scott, who blogs for the Huffington Post about his testicular cancer diagnosis, wrote of the glamorous women with "pulled faces and beautiful wigs" at his oncologist's office in Beverly Hills.
Suleika Jaouad, who blogs for The New York Times about her experience with leukemia, and her friend Kristen Howard, 31, who has non-Hodgkin lymphoma, brought a few New York City snobs to life in a video they posted on YouTube. One character complained about not being able to get a "mani-pedi" because of her blood count and another complained about the nurse wearing "Crocs" and not fancy "Jimmy Choos."
The chemotherapy jokes were all too familiar for Christine Anderson. When she was 26, she was diagnosed with multiple myeloma, a cancer that starts in plasma cells in the bone marrow. She suggested we work on a Miami edition of the video, so we recruited Maryanoff and Jessica LaBonte, 34, who was diagnosed with breast cancer about a year ago.
"Making the video was therapy for me," LaBonte said. "It made me feel like I wasn't alone in this fight."
Maryanoff led the way. When he is up for it, he likes doing stand-up comedy at local bars in Miami. The hobby started after he was diagnosed with non-Hodgkin lymphoma at 23. He said his first thought after waking up from a 10-day coma after a biopsy, was, "I better get a good stand-up bit out of this."
He has been in treatment for three years.
"Cancer is not this enormous thing that consumes every fiber of my being. It's just something that happened to me, like an ex-girlfriend or a bad Mexican dinner," Maryanoff said. "I don't sequester it into some deep corner where no one can access it. I talk about it in the open. I'll even dress in drag and talk about it."
Coping with cancer in a positive manner is challenging. But studies show that negative thoughts manifest into stress, which can weaken the immune system. Meanwhile, laughing enhances intake of oxygen-rich air, increases heart rate and blood pressure, aids muscle relaxation and increases endorphins.
"I think you were really negative about everything at the beginning," Maryanoff, 26, said to me. "You were being crazy researching medications. That's because you were scared. I did make fun of you. I think that helped … No matter what happens you can't let any specific incident just destroy your life. You can't take yourself too seriously."
Working on an original script and editing the video took time. LaBonte and I — the more serious ones — had concerns about being insensitive and using expletives. Poking fun at religion, sex and alternative cancer treatments was not easy for us, but we compromised.
Maryanoff and Anderson, who don't take themselves too seriously, seemed to enjoy the process more.
The video "helped me to laugh at some awkward and sad situations," Anderson said. "And it felt good to know that others had similar experiences."
My friendship with Maryanoff has been a positive influence. I laugh more now than I did before the cancer. It turns out that laughing is a serious matter when it comes to maintaining a good quality of life.
Did you know that the study of the psychological and physiological effects of laughter is called Gelotology? Did you know that many doctors and nurses belong to the American Association for Therapeutic Humor and the International Society for Humor Studies?
It took guts to be frank about cancer, but we all agreed that it was cathartic and freeing.
"Comedy serves to cut the tension … The less you talk about something the more you feed the monster," Maryanoff said. "It becomes this big, horrible, dark thing that weighs you down. Making a joke is a way of saying 'I'm not afraid.'"


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Winners Hail from Rhode Island, Virginia and Wyoming
ST. LOUIS (May 22, 2012)—National Garden Clubs Inc. recently announced the winners of its highest honor: the 2012 Award of Excellence. The winners, who were recognized at NGC's annual convention May 19 in Buffalo, N.Y., include Southside Community Land Trust of Providence, R.I., Strange's Florists, Greenhouses and Garden Centers of Richmond, Va., and Shane Smith of Cheyenne, Wyo.
"The Award of Excellence program annually recognizes three truly exceptional individuals, organizations or institutions that have made significant contributions to their communities in such areas as environmental and civic responsibility, conservation, beautification and promoting the love of gardening," says Shirley Nicolai, president, National Garden Clubs. "By recognizing these deserving award recipients from different parts of the nation, NGC hopes to educate and inspire others in communities coast-to-coast." National Garden Clubs Inc. is recognized as the largest volunteer gardening organization in the world.
Nominated by Rhode Island Federation of Garden Clubs Inc., Southside Community Land Trust, www.southsideclt.org, is an organization that fosters awareness of urban and sustainable agriculture programs and provides land, education, tools and support to encourage people to grow food in Greater Providence. The organization was selected for the Award of Excellence based on its local efforts to provide ongoing gardening education and offer comprehensive urban agriculture programs. Among the many programs offered by Southside Community Land Trust are 13 neighborhood-based community gardens, a city farm located in the heart of Providence, and the Urban Edge Farm, a 50-acre business model farm that offers new area farmers a place to make the transition to commercial agriculture. Southside Community Land Trust also created an urban agriculture task force that brings together a coalition of growers, community professionals and environmentalists to collaborate with community development groups, farmers, chefs, policymakers and health care professionals to promote practices and policies that strengthen Providence's local food systems. Katherine Brown, executive director, Southside Community Land Trust, accepted the Award of Excellence from National Garden Clubs Inc.
Nominated by Virginia Federation of Garden Clubs Inc., Strange's Florists, Greenhouses and Garden Centers, www.stranges.com, is one of Virginia's largest greenhouse growers and one of the largest retail garden centers in the U.S. Strange's, which has been led by four generations of the Gouldin family, has been a fixture in the local Richmond and Virginia business community for 75 years. They are one of the state's largest greenhouse growers, as well as one of the largest retail/grower organizations and garden centers in the U.S., offering a wide variety of flowering and green plants to gardening enthusiasts as a viable alternative to "big box" greenhouse retailers. Strange's offers to the consumer gardening educational opportunities through in-house seminars and how-to instructional materials. As a retail florist, Strange's is a member of the Florist Transworld Delivery Association and is consistently ranked in the nation's top 40 FTD florists for wire orders. They also support the work of numerous civic and non-profit organizations through sponsorships and donations of plants and floral materials, including the Science Museum of Virginia, the Virginia Museum of Fine Arts and the Virginia Orchid Show. William J. Gouldin, Jr., president, Strange's Florists, Greenhouses and Garden Centers, accepted the Award of Excellence from National Garden Clubs Inc.
Shane Smith, who was nominated by Wyoming Federation of Garden Clubs Inc., is a noted garden author, consultant and the director and founder of the award-winning Cheyenne Botanic Gardens, www.botanic.org, Wyoming's only public botanical garden. This nationally recognized garden has been lauded for striving to promote the beautification and enrichment of the High Plains through gardening, volunteerism, education and stewardship. In the 1970s, Smith's vision was to create a non-profit botanic garden and sustainability center in Cheyenne—a city situated 6,000 feet above sea level renowned for its harsh weather conditions. As part of this vision, Smith also directed the area's efforts to construct one of the nation's first solar-heated greenhouses on the site. He also was instrumental in developing the Paul Smith Children's Village, the first public children's garden in the U.S. to earn a Leadership in Energy and Environmental Design (LEED) Platinum certification by the U.S. Green Building Council.
Smith is the author of the Greenhouse Gardener's Companion, the top-selling greenhouse book on Amazon.com. He serves coast-to-coast and internationally as a guest lecturer and consultant on greenhouse gardening, community greening, horticulture therapy and community-based botanic gardens.
Headquartered in St. Louis, National Garden Clubs Inc. (www.gardenclub.org) is comprised of nearly 190,000 members, 6,000 local clubs, eight regions, 50 state clubs, a National Capital Area club, and hundreds of international affiliates. NGC offers members extensive educational programs on topics of current interest such as plantings for public spaces, protecting aquatic ecosystems, greening and beautifying the community, conservation, recycling, floral design, flower shows, garden therapy, healing gardens and youth programs. Working in partnership with other organizations, NGC offers several projects, including Habitat for Humanity Landscaping and Penny Pines. Among NGC's most nationally honored projects are the Blue Star Memorial marker program and funding and support for the Butterfly Garden at the U.S. Botanic Garden.
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Agnes Denes: Photograph of Wheatfield -- A Confrontation , 1982
, 1982
What Do Women Want?
In Artopia, art is gender-neutral. This does not mean we deny that women, for one reason or another, cannot offer art that deals with what are sometimes called "women's issues." And men can deal with "women's issues" too, or for that matter, topics deemed male or manly by our weird little culture: sports, war, guns and cars (as if women were immune to these). Nor do we need to ban particularly womanly subjects such as birth or menopause. In fact, participant perspectives are always worth having, as I think Judy Chicago proved ages ago, with both her Dinner Party and The Birth Project.
The point is that unless you are ridiculous enough to hold to the old-fashioned notion that art itself is gender-specific (i.e., specific to males), it behooves us to look at the art itself. Some men have mothers, wives, daughters and want to know what goes on inside of their heads. If we need art at all -- and we do, now more than ever -- we cannot afford to avoid more than half of the art produced, simply because men have not produced it.
Statistically, more male than female artists are famous, but this is merely documentation of oppression, or at best the sociological facts. In our culture, little girls are expected to be "artistic." In spite of this, some of them go on to art school and actually develop the notion they can be full-fledged culturistadors, on a par with Michelangelo and van Gogh.
So the short answer to my question is that women artists want to be treated fairly as artists. Women want success.
Let us leave aside for the moment the definition of success that equates it with commerce. Even what we might call spiritual success in art is dependent upon support systems and supportive persons, but at this late date, when feminism is thought to have won out, there are few fully developed support systems and support persons for women artists, even among women. Show me the art dealer who represents more than one or two women artists; show me the art critic, male or female, who writes about more than one or two female art stars; show me the collector who puts her money where her gender is.
This fall I have been reluctant to venture into Chelsea, which seems more and more the art world's red-light district. Is it because I am afraid I will be knocked down by bodies falling out of penthouses? Oh, I'm sorry that was last week, when the stock market was still bottoming out and real estate and art sales were being left in the lurch. The reason I have been avoiding Chelsea is certainly not because I think auction houses are more important -- which is the insouciant thing to say. Nor is it because I spend all my time hanging out in museums, which as everyone knows, here and abroad are the handmaidens of the blue-chip galleries. This is not new; it is simply more transparent.
Instead, I am drawn to the unexpected.
Women in the Driver's Seat
For instance, who would have thought - way back when - that an all-woman co-op gallery would outlast most commercial gallery startups. A.I.R. is celebrating its 36th year, with the three-part "A.I.R. Gallery: The History Show." A.I.R. documents, now in the NYU library archive (70 Washington Square South, through December 12) are neatly on display on the third floor of Philip Johnson's oppressive Bobst Library through December 12.
Be forewarned, you must request a temporary pass, but that's easy enough. On your way to Special Collections, the exhibition starts as a long hallway, but, fear not, a turn at the end opens up into a real room with cases of A.I.R. documents. Every announcement ever mailed. Photos, programs.
A two-part exhibition of actual artworks is also on view in DUMBO, where A.I.R. is now ensconced (111 Front Street, Brooklyn; Part One to November 1, Part Two Nov. 6-29). It is in one of those big old warehouse buildings, the third floor of which is dedicated to modest but chic gallery spaces. The galleries are there to provide high-end real estate identity and customers for the double-latte outlets on the strip below. No, I'm only joking. Chelsea is too expensive. And you don't even have to say DUMBO is Brooklyn. You know you are in Brooklyn because you can glimpse Manhattan, if you peer down one of the narrow streets. It is not that far away. Up and down the street I see nannies pushing expensive baby carriages. When I look up, I see penthouses. And I suppose even here the bodies will be falling to the pavement unless we stop all of these automatic stock transactions, little-boy panics and out-of-control deals that even the dealers don't quite understand. What exactly are "credit default swaps" and "collateralized high-rated or BBB tranches"? And you used to think Dada was hard to define.
Just in case you wanted to know, DUMBO was not named after the Disney elephant.
Does anyone remember that SoHo means "south of Houston" or that TriBeCa means "triangle below Canal"? It used to be that if you could coin an acronym for any old neighbor and move the real estate.
To invent a new parlor game, DUMBO does not mean:
or DUST UPON MY BEAUTIFUL OPPORTUNITIES.
Anymore than TriBeCa means TRIUMPHANT BECKONING OF CARAVANS.
Because of the Manhattan Bridge Overpass and the Manhattan Bridge itself --glimpsed between film noir buildings on film noir streets -- DUMBO (Down Under Manhattan Bridge Overpass) looks like a movie set, even on a sweaty October afternoon. The wheels-on-metal traffic overhead adds punch to the Manhattan Bridge harp.
Here's some history: The A.I.R. all-woman gallery was founded by Barbara Zucker and Susan Williams, later joined by a host of others, and opened its doors in what was once called the Cast Iron District in 1972, before SoHo became the going term. "A.I.R." stands for the A.I.R. (Artist in Residence) sign that used to warn firefighters that artists were encamped in an otherwise industrial building -- and/or was meant to honor Jane Eyre. The all-woman co-op SoHo-20, it should be noted, was founded the following year, which leads me to suspect that by 1973 SoHo as a term had caught on.
Ghosts of the legendary East 10th Street co-ops, such as the Area, Brata, Camino, Hansa, James, March, Phoenix, and Tanager galleries, were still about. These artist-run venues had seeded the Abstract Expressionist aftermath and, it could be argued, the art world as we know it. Here are some artists that were co-op members or invited guests, many showing for the first time:
Brata Gallery (1957 - mid-'60s): Ronald Bladen, Al Held, Nicholas Krushenick, Kusama, George Sugarman.
Camino Gallery (1956 - 1963): Elaine de Kooning, Alice Neel.
Hansa Gallery (1952 -1959): Allan Kaprow, George Segal, Robert Whitman.
Tanager Gallery (1952 - 1962): Alex Katz, Alfred Jensen, Philip Pearlstein, Myron Stout, Tom Wesselmann.
[Source: "Tenth Street Days; The Co-ops of the '50s," 1977, curated by Dore Ashton and Joellen Bard. Catalog essays by Ashton and Lawrence Alloway.]
In the '50s, the East Village was just the Lower East Side, which included everything east of Broadway. That was before some bright person in a real estate office coined the new name to make some really tawdry brick apartment buildings on Second Avenue sound classy. It was hoped the area would be perceived as just the Eastern sector of The Village, famous far and wide as the capital of Bohemia, at least in the Big Apple, a.k.a. New York City or New Amsterdam.
Nevertheless, by 1972 co-op galleries, sometimes confused with vanity galleries, had a bad name -- as if artists-run art stores could be any worse than strictly commercial venues. In vanity galleries, you pays your money and you gets your show, no sweeping the floor required. If the truth be known, many less-than-blue-chip galleries expect artists to pay for announcements, receptions, framing shipping and various other extras.
Vis a vis, co-ops where artists call all the shots, some artists actually have better taste than art dealers. However, unless sufficiently motivated by poverty, anger, some ideal or pet peeve, artists find gallery-sitting, collector-courting and critic-chasing boring. They would rather be home painting, or whatever. Chefs do not make good waiters.
A.I.R. had a mission: to expose women artists, whom everyone knew even then are not well-represented by commercial venues. This was true in 1972 and, although things have improved a smidgeon, it is pretty much the case today.
If you go, do not expect a Chelsea megaspace. That this anniversary sampling has to take place in two parts should give you a clue that you are stepping into the past. Or stepping into the future? This may be the size of galleries to come.
And as disillusionment with the commercial art world spreads, as profits sink and inflated reputations tank, artists - male and female -- will once again create their own opportunities.
For me there is a certain déjà vu. I wrote about many of these artists years ago. So last week I revisited a larger-than-life hairy youth painted by Sylvia Sleigh (Annunciation, 1975); Patsy Norvell's Glass Garden (1979-1980), a tool shed-size greenhouse with engraved glass panes; Judith Bernstein's drawing of a gigantic screw (Bill Copley's Bedroom, 1977) which looks like a giant penis; a decorated "cake" by Pat Lasch; and, of course, Agnes Denes' classic Wheatfield, A Confrontation (1982), represented by a photo of the two-acre wheat field she planted in the landfill near the World Trade Center. But there are many artworks I haven't seen before. New to me, for instance, was Barbara Siegel's Sea Queen (2003), a beguiling and oddly moving fleet of paper boats. Still to come: Ana Mendieta and many others.
Barbara Siegel, Sea Queen, 2003
* * *
It's Only Words
John Perreault, Worker Putting Finishing Touches on Guggenheim Facade, 2008
Jenny Holzer is at it again. To celebrate the restoration of the Guggenheim façade, she is projecting gigantic rolling texts on that very surface every Friday evening through Dec. 31. That curvaceous monument still evokes some pre-World War II fairground or a sound-stage building in Things to Come -- so futuristic it is charming.
Holzer's dusk-to-11 p.m. projections are futuristic too as they scroll, in all caps, up the pregnant belly of Wright's masterpiece. They never come to rest and, depending where you stand, are distorted and sometimes partially concealed by the building-bulge. This adds a perhaps unintended mystery to the meaning of the texts, necessarily unattributed given the on-street, after-dark circumstances. One of my snapshots captures this meaningless string of words:
Or how about this text: I have a new insight into Holzer's logomania. Slogans, aphorisms and other texts are not so much about whatever meanings one can derive, but about the act of selection and the acts of presentation. Do not confuse her "signs" with concrete poetry, or with the words and word fragments in Cubist paintings or those of Stuart Davis or even Robert Indiana.
Or how about this text:
I have a new insight into Holzer's logomania. Slogans, aphorisms and other texts are not so much about whatever meanings one can derive, but about the act of selection and the acts of presentation. Do not confuse her "signs" with concrete poetry, or with the words and word fragments in Cubist paintings or those of Stuart Davis or even Robert Indiana.
More ambiguous, although completely legible on the Guggenheim website, is:
Here's the credits:
For the Guggenheim, 2008. Light projection. Guggenheim Museum, New York. Text (pictured): "Tortures," from View with a Grain of Sand by Wisława Szymborska, translated by Stanisław Barańczak and Clare Cavanagh. © 1993 by Wisława Szymborska. English translation copyright © 1995 by Harcourt, Inc. Used/reprinted with permission of the author. © 2008 Jenny Holzer, member Artists Rights Society (ARS), NY. Photo: Kristopher McKay
I guess somebody doesn't want to be sued.
Although she has appropriated more words than any other conceptualist, Holzer is an abstractionist. The texts are often obtuse (or painfully banal). Someday I may get around to comparing her use of language to Lawrence Weiner's or, further back, to the single-word poems of the young Aram Saroyan. You can see one of Holzer's most effective "Truism" pieces, styled for the internet, here.
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Hoofs Prints in the Dust
Can an artist be too original, too ambitious? Gillian Jagger, in my book, is truly an original, one of the most original artists I have ever come across. Her work is bigger than life in its homage to both beasts and geology, and her use of space. The problem is that she is difficult to classify: critics, curators and collectors want examples of categories, not precedent-breaking, back-breaking, space-claiming, raw sculptures.
Jagger makes casts of what appear to be heavily trafficked pastures, the mud around wilderness watering holes and the unsung trails of migrating herds. And these great chunks of plaster and latex are deployed within specific exhibition sites to exploit the drama and the grandeur of her themes.
You think at first you are looking at the crackled bed of a dried up lake or a marble quarry gone berserk, but then you see the hoof prints, at least in the present work, now at the Violet Ray Gallery, 727 Washington St. (at Bank) in Greenwich Village, to October 30. Many years ago, when visiting Africa, Jagger witnessed thundering herds in the wild. The image and the awe stuck with her, finally finding expression in these new works, under the title "In Between."
When Jagger uses plaster, you don't think of George Segal, you think of Nature. When she installs her gigantic flat (!) sculptures - whether as floor pieces, wall pieces, or something in between - she takes your breath away. Now, retired from teaching, she glories in her maturity. She is neither a Minimalist, anti-form artist, or Earth Artist. She is sui generis.
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John Perreault: Critical Mass Redux (1971-2008)
How History Is Rewritten
Yours truly has finally managed to get a few things off his chest. Or, more correctly, off his back. As keeper of the Street Works and Performance flame, I have carted around a burden these many years since the late '60s, waiting for someone, anyone, to delve into these phenomena.
Two-hundred-and-forty-two sheets of paper and various souvenirs are now on display in an experimental, au courant, witty art space called The Laboratory for Art and Ideas at Belmar. (For more images, go to The Antics, then Photo Album, and also click on The BLAB.) Humor plays a large part in its branding. Surprisingly, it's in a newly created, upscale satellite of Denver in Lakewood.
Belmar? Lakewood? These names are not strange to me: I spent an important part of my childhood in the New Jersey seaside resort town of Belmar. Inland, the mostly Jewish resort of Lakewood was a car ride away, where in all seasons one could see wizened old women with and without their mates, sunning and airing themselves on porches in the pine-scented air.
This Belmar and this Lakewood are very different. At an altitude of 5,000 feet, there is not a beach or a pine tree in sight. Where am I? Somewhere flat. Flying into Denver is like preparing to land on a big quilt. The squares are fields, some swiped with enormous circles created by the wands of irrigation's one-armed clocks; here and there, tractor-generated pillars of dust move slowly, slowly. And then you see the startling, stark-white "tents" of Curt Fentress' 1995 Denver International Airport, meant to rhyme with the distant Rockies, but imparting the odd feeling that you are about to touch down somewhere in the Arabian peninsula. Perhaps Dubai?
Curt Fentress: Denver Airport Terminal, 1995
Curt Fentress: Denver Airport Terminal, 1995
Later, Belmar itself turns out to be a nascent but flattened La Jolla, minus the beach. Or is everything around us one big beach?
Just as imagined, my 242 photocopies are stapled to the pristine walls of the Lab as part of an exhibition called "In Plain Sight: Street Works and Performances 1968-1971." They document now-ancient yet still relevant artworks initiated by an exceedingly and self-consciously avant-garde cadre consisting of Vito Acconci, Scott Burton (1939-1989), Eduardo Costa, Bernadette Mayer, Marjorie Strider, Hannah Weiner (1928-1997) and yours truly.
In Plain Sight (installation view)
We, the instigators/producers of Street Works and early Performances, were writers of one sort or another who suddenly proclaimed ourselves artists through our daring deeds, propaganda, and organizational skills. (The exception was Strider, who had already been inducted as an artist into the annals of Pop.)
Acconci, Mayer, Weiner, and I were already published poets. Acconci and Mayer edited the mimeographed magazine 0-9, now a treasury of poetry's next step after the New York School. The New York School of poetry (John Ashbery, Kenneth Koch, Frank O'Hara) were named after the New York School of art (Pollock, de Kooning) because of social, professional, and aesthetic correspondences.
Burton was a would-be playwright. Costa had studied with fabulist Jorge Luis Borges and was one of the authors of the Happening That Never Happened hoaxwork (in Buenos Aires). One of Costa's "Fashion Fictions" had even made the cover of Italian Vogue. Acconci, Burton, and I were also art critics.
"In Plain Sight" is in plain sight until Jan. 4, 2009. Art historian Judy Collischan and I are the curators.
Along with the photocopies of leaflets, flyers, press releases and press coverage (a small part provided by myself in the Village Voice, where I was the art critic at the time and such tactics were not forbidden) there are a number of choice souvenirs. Viewers are exposed to Strider's Frame Dress from the Fashion Show Poetry Event of 1968 held at the Center for Inter-American Relations in N.Y.C.; it was modeled by the naked dancer/choreographer Deborah Hay. Also on view is one unit of my Hair Piece, here displayed as a kind of apron to shield the privates of a female dummy, whereas in real life (i.e., the Fashion Show), the two-unit sculpture was a veil, skirt, arm- and leg-cuffs modeled by poet Anne Waldman.
And then there's Costa's gold ear-piece shown in a glamour photo by Richard Avedon and, from Street Works IV (sponsored by the Architectural League of New York in 1969), a "replica" of Weiner's Weiner's Wieners, which was a rented hot-dog stand that offered free hot dogs at the curb in front of the League's headquarters. At the Lab, the stand-in for the original stand is displayed inside the second-floor gallery space and, at the opening, offered free dogs too.
Hannah Weiner: Weiner's Wieners
Pictures of Acconci biting himself are up on the wall. And among the other mementos of our vital art movement, there's a large black letter A and 25 other objects, one for each of the remaining letters of the alphabet, all tied to a folding chair by black twine. This represents a performance I did at the Whitney Museum in 1971 called Critical Mass.
John Perreault: Critical Mass (props)
For the opening of "In Plain Sight," I once again tied the 26 things to myself and crawled out of the gallery space, but this time my hair was short and I wore a Brooks Brothers suit and a tie. Also, to celebrate the opening reception, I circumambulated a 10-ton, black-marble sphere imported from Russia that was sited behind the Lab in a little plaza, thus balancing the old with the new. Although the symbolism escapes me, when it is covered with and floating on a thin skin of flowing water, the sphere can be rotated with the touch of one finger.
John Perreault: Black Sphere Circumambulation, 2008
John Perreault: Black Sphere Circumambulation, 2008
Back inside, through examining the ephemera displayed, the patient viewer will discern that there were over 200 hundred artists, poets and critics involved in the various Street Works. Now being celebrated at long last, the seven-person cadre itself also produced and starred in over 20 performance evenings within a short period, in venues as various as the Wadsworth Atheneum in Hartford, Conn. (the debut site of Virgil Thompson's Four Saints in Three Acts), Hunter College, the Whitney and the 14th Street YMHA.
Marjorie Strider: Frame Dress; Perreault: Hair Apron, Fashion Show Poetry Event, 1968.
Marjorie Strider: Frame Dress; Perreault: Hair Apron, Fashion Show Poetry Event, 1968.
The first Street Work was initiated by Hannah Weiner in 1968; at that time she was a successful designer of women's underwear. The event occurred outside her loft on West 26th Street. She hired two off-duty but fully uniformed Coast Guards to signal each other from one end of the block to the other, using regulation flags and flag codes. Wearing a gas mask, this writer wheeled his bicycle slowly down the street.
Above the clean-cut Coast Guard guys madly waving -- and above an assembly of 50 or so invitees -- poet and Paris Review editor Michael Benedikt projected a pornographic movie onto Weiner's loft window.
This led to bigger Street Work jamborees, as mysterious as they were ephemeral, but aimed more at the general public than an exclusively art-world audience. The first of these was on the Ides of March, 1968. At a time before cell phones, I made calls from one phone booth to another in a proscribed midtown area, hanging up before anyone could answer. Acconci walked back and forth in front of St. Patrick's Cathedral. During another Street Works installment, Burton cruised the street in full drag and was not recognized by any of us. Costa claimed to have replaced missing street signs. Strider placed picture frames here and there. Critic Lucy Lippard drew chalk circles around each poet she came across. Avant-garde critic, artist and elder Lil Picard (who, like dance critic Edwin Denby, had survived the Weimar Republic) handed out art-world junk mail she had received the week before.
I have dedicated my "In Plain Sight" catalog essay to Picard and Denby. The catalog, in the spirit of Street Works, is a three-ring binder containing photocopies of all the photocopies stapled to the walls and slated for disposal.
I should note that Street Works were originally a response in part to Earth Works, which some of us considered elitist. It would take and still does take a considerable amount of cash to visit Robert Smithson's Spiral Jetty. Smithson was a friend and verbal sparring partner, so I couldn't help answering his own sarcasm with some of my own. I certainly didn't have the money to visit Utah.
It was also a time of social upheaval. The Vietnam war was not exactly popular. Assassinations seemed to be the order of the day: JFK in '63, Robert Kennedy and Martin Luther King, Jr., in '68. In 1969, the Stonewall riots upset quite a few people, and in 1970 the Kent State massacre earned big headlines. Civil-rights sit-downs and peace marches proliferated.
Black marble sphere, Belmar, Colorado
Inequality, visible as always, now seemed intolerable. Artists too protested against perceived ill-treatment at MoMA during the notorious Machine Art show. There was an art moratorium. Even art critics were in revolt, and I found myself elected president of the American Section of the International Association of Art Critics, a group that had become moribund under critic Rosalind Krauss.
The Absurdity of It All
Street Works attempted to make the cityscape visible again, with the added virtue of shaking up rigid career hierarchies and in so doing challenging institutional passivity and conservatism. Moving indoors, Performances were neo-Happenings constructed on a more conceptual basis. Both Street Works and Performances were firmly grounded in Futurism, Dada, Happenings and Fluxus -- with a dose of Situationism for good measure. Poets were, of course, well-read. And we knew about art.
As a viewer of as well as participant in Street Works, I can testify that once one was keyed up to search for artworks within a certain number of city blocks within a certain time, everything was vivified; everything was sculpture. Is the mother holding the hand of her child a dancer dancing? Are the scraps of paper in the gutter Schwitters-like collage? Is that billboard real or only an artwork? Is the panhandler who approaches you an artist? Are the products in the shop window sculptures-for-a-day? Why is that telephone in the booth ringing and ringing?
But other lessons can be learned.
At a time when commerce rules the arts, we need to be reminded that one can make art without a MFA and with little or no cash-outlay -- hors de commerce, as it were. One creates one's own venue; the arts do not have to be controlled by money interests. In Artopia, the definition of an artist is not an art-school graduate who makes his (yes, still usually his) living by selling art products. An artist is someone who makes us see.
Visual artists should look at poets. Was William Carlos Williams (Robert Smithson's baby doctor!) any less of a poet because he made his living by practicing medicine? Or T. S. Eliot less a poet because he was a banker? Was Hart Crane less a poet because he once worked in a bookstore? Am I any less an artist because I am a poet who has made his living as an art critic? Are there not clerical and factory-worker artists? Was Marcel Duchamp less an artist because he was in some ways Brancusi's New York art dealer?
Eduardo Costa: Ear (Fashion Fiction), 1968
The Crawl
Vito Acconci became the leading proponent of Body Art and now focuses on architectural projects. Bernadette Mayer became the director of the St. Mark's Poetry Project, Eduardo Costa eventually made sculptures out of solid paint. The late Hannah Weiner began to see words on people's foreheads and became a highly regarded avant-garde poet. The late Scott Burton evolved into an artist of note, specializing in furniture as sculpture. Along with writing poetry and fiction (Hotel Death, 1998), making toothpaste paintings, mending stones and working as an critic, curator and arts administrator, John Perreault just kept on being John Perreault. He kept on traveling.
Artopia on the Road
Daniel Libeskind: Denver Art Museum, 2006 Travel is a great way to unravel.
Daniel Libeskind: Denver Art Museum, 2006
Travel is a great way to unravel.
When in Denver, you can't miss Daniel Libeskind's Denver Art Museum (2006). It nearly blots out the once controversial museum building next door by Gio Ponti (1971) and, fortunately, the Michael Graves library. Libeskind's escapade is like his Jewish Museum in Berlin: all acute angles and lethal-looking triangles. I like the DAM -- at least the outside, because it screams "this is the place!" It doesn't look like a Greek temple or a bank or a fort (which Ponti's building does). If it is not a Greek temple or bank or fort, it must be ... an art museum.
The problem with the DAM is inside. How do you show paintings on walls that tilt? You have to build false walls and add all sorts of props and shims. My idea for an exhibition is to show a year's worth of shims in situ without the art they held up. Or better yet, mount the shims on normal walls and then affix blank canvases to reveal the angles and tilts they would have had to battle. Note too that whereas the angles and cul de sacs (symbolic!) inside of the Berlin museum are photogenic, it is the outside of the DAM that most pleases the camera.
Like his Jewish Museum, Libeskind's DAM building would be a great work of architecture if empty. Or could it be that we just have to get used to it? I remember the scandal of Frank Lloyd Wright's Guggenheim, now finally restored to its pale-beige glory. At first many opined that it looked like a gigantic washing machine, and even I thought that having to stick paintings onto dowels to compensate for the curved walls in each bay was a bit much.
How swiftly we have rewritten architecture. Michael Graves rapidly replaced Robert Venturi, and now neither seems to have much influence. Buildings as icons are the rage. All that matters is how they look. They can be impractical and loony, but as long as they are photogenic they will carry the day. At least for a while.
Hanging From the Cosmic Ceiling
Vance Kirkland: Explosions on a Sun 70 Billion Light Years from Earth, 1979 So Adam Lerner, the energetic director of the Lab -- the DAM was in some way the Lab's launching pad -- said there's one more place I have to see: the Kirkland Museum of Fine and Decorative Arts, named after painter and educator Vance Kirkland (1904-81), whose studio it had been.
Vance Kirkland: Explosions on a Sun 70 Billion Light Years from Earth, 1979
So Adam Lerner, the energetic director of the Lab -- the DAM was in some way the Lab's launching pad -- said there's one more place I have to see: the Kirkland Museum of Fine and Decorative Arts, named after painter and educator Vance Kirkland (1904-81), whose studio it had been.
This charming museum is dedicated to its former owner's paintings. But that's not all. Seeded by Kirkland's collecting mania, the cottage-like museum also houses a huge collection of American "decorative art" (here meaning design objects), most of it from the '50s: by Russel Wright, Eva Zeisel, the Eameses. Everything is crammed together. Looked like home to me, but I zoomed in on the paintings.
In one of the rooms we see Kirkland's painting apparatus: leather straps hanging from the ceiling in great, drooping arcs over a broad worktable displaying an unfinished painting. He was a small man (5'1") and increasingly frail as he aged, so in the last and most glorious period of his art, he placed his canvases horizontally and suspended himself over them via these straps. Hovering arm's length over his surfaces, using dowels, he laboriously applied the final dabs/dots of paint on top of his oil and water grounds. Yes, oil and water.
Kirkland was a successful watercolorist in the '30s and showed at Knoedler in New York. After the Surrealism that followed his American Scene phase, he began to use oil paint as a resist for water-soluble colors. Then, in about 1951, living, working and teaching in Denver, he became an Abstract Expressionist without portfolio, painting the cosmos as it might be seen by someone with supra-spectrum vision or synesthesia. He did, in fact, see sounds as colors and vice versa. His great swirls of color, eventually dappled with brilliant dots, don't have preferred tops or bottoms, and quirky Kirkland resisted signing his abstractions because he didn't want them limited to a single orientation (sometimes, though, he signed them on opposing edges). I thought of the cosmos, but also of those big rectangular fields you see from the air when you fly into Denver; neither has a top or bottom.
Kirkland,The Energy of Explosions 24 Billion Years BC, 1978 (partial view)
One cannot exactly call Kirkland an Outsider Artist, for he was obviously in touch with all the major trends in the art world; he was on the board of the Denver Art Museum and founded his own art school. As he matured, he spent more and more hours painting, often more than 12 hours a day every day for weeks on end, floating over his horizontal canvases, but selling less and less.
Kirkland was obviously talented, obviously charismatic, obviously capable of creating some astounding abstract paintings, obviously driven. But where shall we place him? In some cases, his dotting technique resulted in Op Art results, but he is primarily an Action Painting isolate, marching to his own drummer. A visionary of sorts, he synthesized opposites: oil and water, Op Art and AE.
Because Kirkland's paintings are displayed where he made them, sandwiched among piles and arrays of dishes, pots and furniture, visitors can enjoy them without the white-wall bracketing of most museums and galleries, and they sing. May they always be seen this way, and not removed to the slow death of standard display.
When art history is again rewritten, as it must be, there will be a special niche for Kirkland. But that art history will have to be of a new form created by those who can think outside the standard headings that slide lectures demand. How can we change the patterning of art history, the rote route, so it can allow the truth of an unofficial Abstract Expressionist making some of his best paintings -- and some of the best paintings of late-AE -- as late as 1980, in of all places Denver, Colorado, in a cottage, crammed with tchotchkas?
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rock culture approximately
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Richard Kessler on arts education
Douglas McLennan's blog
Dalouge Smith advocates for the Arts
Art from the American Outback
For immediate release: the arts are marketable
No genre is the new genre
David Jays on theatre and dance
Paul Levy measures the Angles
Judith H. Dobrzynski on Culture
John Rockwell on the arts
Jan Herman - arts, media & culture with 'tude
Apollinaire Scherr talks about dance
Tobi Tobias on dance et al...
Howard Mandel's freelance Urban Improvisation
Focus on New Orleans. Jazz and Other Sounds
Doug Ramsey on Jazz and other matters...
Jeff Weinstein's Cultural Mixology
Martha Bayles on Film...
classical music
Fresh ideas on building arts communities
Greg Sandow performs a book-in-progress
Exploring Orchestras w/ Henry Fogel
Harvey Sachs on music, and various digressions
Bruce Brubaker on all things Piano
Kyle Gann on music after the fact
Greg Sandow on the future of Classical Music
Norman Lebrecht on Shifting Sound Worlds
Jerome Weeks on Books
Scott McLemee on books, ideas & trash-culture ephemera
Wendy Rosenfield: covering drama, onstage and off
Chloe Veltman on how culture will save the world
Public Art, Public Space
Regina Hackett takes her Art To Go
John Perreault's art diary
Lee Rosenbaum's Cultural Commentary
Tyler Green's modern & contemporary art blog


text:
Dynamic instrumental ambient chill track featuring synth sounds and electronic drums, very suggestive and dreamy, great for any kind of video that needs an elegant electronic touch. Perfect for video games, documentaries and much more.
Zip file contains the following versions:
- Frozen (3:05)
- Frozen (40 sec) (0:39)
- Frozen (extended) (3:42)


text:
But we're in Norway now and other than the rain and the food, I'm getting used to it.
Rather than wait around to get motivated, I decided to start talking to people around here about film making and animation and doing a bit of research as to who's doing what.
My first visit was to a town called Tonsberg about 1.5 hours south west of Oslo on the coast. There I met a fantastic guy named Steinar Kaarstein who does special FX for movies here in Norway. It's a tough business he said but he's really getting his name out there.
The cool thing is Steinar is the go-to-man in my area for hard to get stuff like latex rubber and casting supplies. It's not like in the states where I can have everything shipped for cheap. Nope, this stuff can cost an arm and a leg getting it shipped over here and he's a distributor so that helps out a lot.
Steinar also was kind enough to give me an armature kit that he had purchased from England but said he probably wouldn't be using it any time soon. I've started to assemble it and it looks great!
We also went to look at my father in laws barn. Upstairs in the barn is a lot of unused space. This thing is just itching to have projects in it. We just have to put a floor down where the planks are, some insulation, some windows and away we go, instant studio!
On another note, I just decided also to start diving into learning animation on my own. I started looking up resources on Youtube and here's my first attempt at a biped walking, running, then jumping. Yeah, it sucks but it's a start for my first one so give me a break! Any tips for free animation resources are completely wanted!


text:
Full Member
I am not allowed to use the oven or stove for a week as my partner and I live with my dad and he has 3 friends staying with him for a week so he has asked us to leave the kitchen for them. I am only home in the evenings when they are making dinner so I am trying to find other alternatives for a week. I had sushi for lunch yesterday and nandos for dinner but what other options are there so i can stay on plan this week?


text:
Tech Grad Nate Wolters Makes NBA Debut Tuesday
St. Cloud Tech graduate Nate Wolters got his first taste of NBA action Tuesday night when the Milwaukee Bucks opened the preseason with a game at Cleveland.
Wolters, the 38th overall pick in the 2013 NBA Draft, played 12 minutes off the bench Tuesday night. He shot 0-3 from the floor including one three-point attempt, but was 2-2 from the free throw line and finished with two points.
Wolters added three assists and two rebounds while only turning the ball over once.
The Bucks play against the Timberwolves Thursday night at the Pentagon in Sioux Falls, South Dakota.


text:
As a youngster in his native Venezuela, Miguel Montero received instruction on fielding grounders from 11-time Gold Glove shortstop Omar Vizquel.
"I remember him telling us to keep our hands soft," Montero recalled of the clinic. "Keep your glove loose and catch the ball without effort."
Montero remembered those tips as he switched from the infield to catcher before joining the Diamondbacks organization in 2002. His development as a catcher has been enhanced by his ability to frame pitches — thanks in part to applying the knowledge Vizquel gave him.
That art isn't wasn't lost on the Cubs, who acquired Montero and the three years and $40 million left...


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IBus (Intelligent Input Bus) is an input method framework, a system for entering foreign characters. IBus functions similarly to Fcitx, SCIM and UIM.
- 1 Installation
- 2 Configuration
- 3 Tips and tricks
- 4 Troubleshooting
Install the ibus package from the official repositories.
Additionally, to enable IBus for Qt applications, install the ibus-qt library.
Input method engines
You will need at least one input method, corresponding to the language you wish to type. Available input methods include:
- ibus-anthy - Japanese IME, based on anthy.
ibus-pinyin - Intelligent Chinese Phonetic IME for Hanyu pinyin and Zhuyin (Bopomofo) users. Designed by IBus main author and has many advance features such as English spell checking.Package currently not maintained and partly broken with latest ibus base. Use ibus-libpinyin instead.
- ibus-rime - Powerful and smart Chinese input method for Chinese (pinyin, zhuyin, with or without tones, double pinyin, Jyutping, Wugniu, Cangjie5 and Wubi 86).
- ibus-chewing - Intelligent Chinese Phonetic IME for Zhuyin (Bopomofo) users, based on libchewing.
- ibus-hangul - Korean IME, based on libhangul.
- ibus-unikey - IME for typing Vietnamese characters.
- ibus-table - IME that accommodates table-based IMs.
- ibus-m17n - M17n IME which allows input of many languages using the input methods from m17n-db.
- ibus-mozc - Japanese IME, based on Mozc. Part of mozcAUR package.
- ibus-kkc - Japanese IME, based on libkkc.
To see all available input methods:
$ pacman -Ss ^ibus-*
Others packages are also available in the AUR.
Initial setup
Now, run
$ ibus-setup (as the user who will use IBus).
It will start the daemon and give you this message:
IBus has been started! If you cannot use IBus, please add below lines in
$HOME/.bashrc, and relogin your desktop.
export GTK_IM_MODULE=ibus
export XMODIFIERS=@im=ibus
export QT_IM_MODULE=ibus
- Although IBus uses a daemon, it is not the sort of daemon managed by systemd: it runs as an ordinary user and will be started for you when you login.
- If, however, IBus is not autostarted upon login, then move the "export …" lines above to
$HOME/.xprofileinstead, and append this line to the same file:
ibus-daemon -drx, and relogin your desktop. You can also try adding
ibus-daemon -drxafter the
export ...lines in
You will then see a configuration screen; you can access this screen whenever IBus is running by right-clicking the icon in the system tray and choosing Preferences. See Configuration.
If IBus doesn't work in Qt/KDE applications, ensure that the ibus-qt library is installed and define IBus as the default IME in the Qt configuration editor:
$ qtconfig-qt4
In Interface > Default Input Method, select ibus instead of xim.
GNOME includes IBus by default, so you should only need to install the package specific to your language. To enable input in your language, add it to the Input Sources section of the Region & Language settings. After you add your input sources, GNOME will show the input switcher icon in the tray. The default keyboard shortcut to switch to the next input method in GNOME is
Super+space; disregard the next input method shortcut set in ibus-setup.
The default General settings should be fine, but go to Input Methods and select your input method(s) in the drop down box, then press Add. You can use multiple input methods if you wish.
Once IBus is set up, you can press
Super+space to use it (multiple times to cycle through available input methods). IBus will remember which input method you are using in each window, so you will have to reactivate it for each new window. You can override this behavior by right clicking the system tray icon, selecting Preferences, and going to the Advanced tab.
If you have decided to use the great ibus-rime IME, here are some help to install it and to configure it.
In order to work, Rime is based on schemas that should be edited by the user. However, it comes installed with a default pinyin input schema so you can use it as it.
If you want it for another input method, here they are:
- Luna Pinyin (Standard Mandarin)
- Terra Pinyin (with tones)
- Bopomofo (Mandarin Phonetic Symbol)
- Double Pinyin (Ziranma, MSPY)
- Jyutping (Cantonese)
- Wugniu (Wuu)
- Cangjie5
- Wubi86
For example, if you want to be able to type pinyin with tones, you want to use the Terra Pinyin input method. To do so, you have to first create a directory:
$ mkdir ~/.config/ibus/rime
In this directory, create a file entitled
default.custom.yaml and add the following lines to it:
patch: schema_list: - schema: terra_pinyin
Note that the indentation level is important. Your file says to Rime to replace the schema list with a list that only contains Terra Pinyin.
Eventually, if the changes aren't taken automatically, run:
$ rm ~/.config/ibus/rime/default.yaml && ibus-daemon -drx
Note: Tones are optionals but you can type them to filter the list very well. Here are how to type them:
1st tone: - 2nd tone: / 3rd tone: < 4th tone: \
Example: if one wants to type
hǎo to display only Chinese characters that are pronounced this way, one must type
hao< and it will be automatically converted to hǎo.
Rime provides some great features that allow you to write good Chinese and all its punctuation.
Basic configuration access
At any time, while running Rime, you can access some basic options with
F4. The displayed options look like this:
1. Method name 2. 中文 -› 西文 3. 全角 -› 半角 4. 漢字 -› 汉字 etc.
The first one indicate the name of the method you can select (Ex: 地球拼音 for Terra Pinyin). If you want many methods, you'll have them in this menu.
The second one lets you select which language you want to type in.
The third one lets you select if you want to type the punctuation in full width (全角) or in half width (半角).
The last one allows you to type in traditional Chinese (漢字) or in simplified Chinese (汉字).
Chinese punctuation
You can access to all the Chinese punctuation thanks to Rime. Here is a little table showing you how to type some of them:
[ -> 「 【 〔 [ ] -> 」 】 〕 ] { -> 『 〖 { } -> 』 〗 } < -> 《 〈 « ‹ > -> 》 〉 » › @ -> @ @ ☯ / -> / / ÷ * -> * * ・ × ※ % -> % % ° ℃ $ -> ¥ $ € £ ¥ | -> ・ | | § ¦ _ -> —— \ -> 、 \ \ ^ -> …… ~ -> 〜 ~ ~ 〰
Rime allows you to change everything you can imagine and more examples are provided on the website of the project (in Chinese): https://code.google.com/p/rimeime/wiki/CustomizationGuide
Tips and tricks
Pinyin usage
When using ibus-pinyin,
- First type the pinyin (sans tones) for the characters you wish to enter.
- Press
Downrepeatedly to select a character (going on to the next page if necessary).
- Press
Spaceto use a character.
- You can also use
PageDownto scroll pages, and use the number keys 1-5 to select the character you need.
- You can enter multiple characters that form a word or phrase at a time (such as "zhongwen" to enter "中文"). ibus-pinyin will remember which characters you type most frequently and over time make suggestions that are more tuned to your typing profile.
IBus main interface is currently only available in GTK+, but Kimpanel provides a native Qt/KDE input interface. The package kdeplasma-addons-applets-kimpanel is compiled to support IBus, but IBus needs to be launched as following to be able to communicate with the panel:
$ ibus-daemon --xim --panel=/usr/lib/kde4/libexec/kimpanel-ibus-panel
To get a menu entry for launching ibus this way, save the following file to
[Desktop Entry] Encoding=UTF-8 Name=IBus (KIMPanel) GenericName=Input Method Framework Comment=Start IBus Input Method Framework Exec=ibus-daemon --xim --panel=/usr/lib/kde4/libexec/kimpanel-ibus-panel Icon=ibus Terminal=false Type=Application Categories=System;Utility; X-GNOME-Autostart-Phase=Applications X-GNOME-AutoRestart=false X-GNOME-Autostart-Notify=true X-KDE-autostart-after=panel
Then you can either let KDE autostart ibus, or set it as the input method application in Kimpanel, and manually click on the kimpanel icon to start it. In either case, choose Utility/Ibus (Kimpanel) in the Choose Application dialog.
If anyone has any issues with IBus and rxvt-unicode, the following steps should solve it.
Add the following to your
~/.Xdefaults (possibly not required, first try without):
URxvt.inputMethod: ibus URxvt.preeditType: OverTheSpot
And start IBus with:
$ ibus-daemon --xim
If you start ibus-daemon automatically (e.g. in
~/.xinitrc or
~/.xsession) but used to use
ibus-daemon & without the
--xim option, make sure to kill the existing process before testing the new command.
GTK+ applications
Some users have had problems using Input Methods with GTK applications, because it seems that the gtk.immodules file can't be found. Adding:
export GTK_IM_MODULE_FILE=/etc/gtk-2.0/gtk.immodules
for GTK+ 2, or:
export GTK_IM_MODULE_FILE=/usr/lib/gtk-3.0/3.0.0/immodules.cache
for GTK+ 3, in addition to the three lines above in your
$HOME/.bashrc seems to fix the problem.
Chinese input
If you encounter problems when using Chinese input, check your locale setting. For example in Hong Kong, export LANG=zh_HK.utf8.
To start ibus with GNOME, add this in
~/.profile and restart the GNOME.
export GTK_IM_MODULE=ibus export XMODIFIERS=@im=ibus export QT_IM_MODULE=ibus ibus-daemon -d -x
Chinese users can refer to this page for detailed solution concerning this bug.
If IBus does load but doesn't see LibreOffice as an input window, add this line to
export XMODIFIERS=@im=ibus
And then, you need to start ibus with
--xim -d, for example, add this line to
ibus-daemon --xim -d
But the horrible thing is that you need to start LibreOffice in terminal.
If you're using KDE and the above doesn't work, install libreoffice-gnome and add this line to
~/.xprofile if you don't mind running LibreOffice in GTK+ 2 mode:
export OOO_FORCE_DESKTOP="gnome"
That will make IBus work with LibreOffice, and you can start LibreOffice from anywhere, not just the terminal.


text:
Calavera Swimwear Giveaway! Enter Today For Your Chance To Win THE EVIE, A Limited Edition Suit By Calavera. Deadline To Enter Is Friday, December 7, 2012.
Three simple steps to enter…
1. Go to Jettygirl's Facebook page.
2. If you haven't already, give the page a "Like".
3. Look for the Calavera Swimwear Giveaway post and write a comment in the comment box or click the "Like" link under the post. Either method counts as an entry into the giveaway. Good luck!
Giveaway Notes: The giveaway deadline is Friday, December 7, 2012 at 11:59pm PST. The winner will be notified shortly thereafter for delivery details. One entry per person. No purchase necessary to play.
About Calavera Swimwear's Limited Edition Suit, "The Evie"
Swimwear brand Calavera is announcing the new, limited edition version of our best-selling Glam suit, the "Evie." Requested by and named for one of our fearless and feminine Calavera Team surfers, Evie Johnstone, this suit features a chic two-tone black and white twist top and a string bottom with interchangeable black and white strings.
"I love that the company really brings in its riders as part of the design and development process," said Evie of the new suit. "I actually got the idea of a two-toned suit while at my local beach in Costa Rica. Playa Hermosa's beaches have black sand, and when the white water from the waves washes up, it creates a strong visual contrast. I spend so much time in my Calavera suits, and I am beyond stoked to have one that is named after me!"
Inspired by the very beaches where Calavera suits are rigorously tested, the "Evie" will launch on the Calavera website in early November 2012. Customers can mix-and-match it with any top or bottom from the collection. This limited edition suit (only 50 pieces total) is available at the Glam line's regular MSRP.
http://www.calaveraswimwear.com/ | http://www.facebook.com/calavera.swimwear


text:
Michelle Jernstedt, a 2003 graduate of Hood River Valley High School from Parkdale, was one of two delegates selected to represent Oregon at the National Youth Science Camp.
The camp (NYSC) was held in the Monongahela National Forest in West Virginia this summer from June 26 to July 21. Jernstedt and 94 other high school graduates from across the country participated in the four-week program, which is in its 40th year.
The camp merges science, outdoors, arts, and music.
According to Jernstedt, "the lectures on chimps and bonobos were really good. For a few minutes I was thinking about switching my future career goals from veterinarian of exotics to purely studying different primates." Jernstedt is planning to study Animal Sciences at Cornell University.
Eminent scientists provided lectures and directed studies. Examples of this year's lecture topics included: biometrics, breast cancer, nanomiotechnology, fuel cells and forensics.
The directed studies provided extensive "hands-on" experience in specific fields.
Delegates dissected a human hand or brain, built their own computers, or planned a mission to Mars.
Delegates not only learned about ground-breaking scientific research, but also explored the surroundings offered through the extensive program of hiking, caving, mountain biking, and rock climbing.
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text:
Saturday, December 31, 2016
~ New Year 2017
Wishing You a
Very Healthy, Peaceful
Happy New Year!
Posted by
Donna, The Decorated House
No comments:
Sunday, December 4, 2016
~ Christmas - A Time of Giving
The Joy of Giving. This year more than ever, I hope that it is a time of giving and showing compassion. We can never really know what the next few years may hold for us, but we do know that when we open our hearts and give, it makes us feel wonderful too.
It becomes a bit of a countdown this time of year, finding the last gifts, wrapping presents, planning meals or trips. Maybe you research charities for a lovely end of the year gift where it is needed.
Whenever I see lots of presents all wrapped up, it makes me think of what a great time of the year it is to remember some of the best charities who depend on us to help them do their work.
Please consider checking
Charity Navigator
to see how a particular charity spends the money that is donated. You can check to see how the CEO of the organization is paid and if they are paying a good portion of the donations to professional fundraiser companies. Both are red flags that may make you give you money to a more worthy charity. Sometimes it might surprise you to see exactly where your money goes. Just because a group calls themselves a charity doesn't mean that they really are doing much charity work at all.
Most people who do the research will also tell you to look in your own home town, maybe first. The cancer centers, or centers for women and children in your area may have more need than the ones you see on TV all the time and may well make better use of your money and gifts. There are homeless shelters, pet rescue groups, charities that take care of those in need everyday, right where we live.
~ See Y'All Soon ~
Posted by
Donna, The Decorated House
1 comment:
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