text:
Puppy Linux Discussion Forum
Puppy HOME page :
"THE" alternative forum :
Log in to check your private messages
Log in
The time now is Sat 19 Jan 2019, 23:11
All times are UTC - 4
Forum index
House Training
HOWTO ( Solutions )
Multi-booting from HDD with only grub4dos on USB.
View previous topic
View next topic
Page 1 of 1
[10 Posts]
Joined: 28 Oct 2008
Posts: 1561
Location: Brisbane, Australia
Posted: Wed 02 Oct 2013, 09:23
Post subject:
Multi-booting from HDD with only grub4dos on USB.
What's the wrinkle?
While the machine boots off a USB device, no Operating Systems are stored on the USB device.
All the Operating Sysems are stored on the internal HDD. Only grub4dos is installed on the USB device.
A significant advantage when we start with a Windows machine is that the Windows booting is never disturbed in any way.
And no part of this process needs to know how Windows boots.
The USB device is not required by any Operating System, so the port is available to be used by other devices if needed.
The USB device is not reformated, (use stock standard vfat).
Requires approximately 300KB on the USB device. So, old small devices will do.
1) Setup HDD with all Operating Systems in place.
2) Run Puppy Linux.
3) Insert USB device.
4) Install grub4dos on MBR of the USB device, using "Grub4Dos bootloader config".
5) Configure machine to boot from USB HDD as first priority.
That the machine can be configured to boot from a USB storage device, and you need to be able to do this.
A laptop with Windows 7 installed on the whole of the HDD. In this case this actually uses 3 partions, but it doesen't matter.
This is going to be dual booted with a frugal install of Puppy Linux, (I used "Dpup Expimo 5.X.3.4.12"), on the main NTFS partition.
In Windows:
1) Download a Puppy linux ISO file.
2) Burn it to a CD.
3) Create a directory called "puppy", (or whatever), on "C:\".
4) Re-insert the CD and copy "vmlinuz", "initrd.gz", and all ".sfs" files to "C:\puppy".
5) Re-boot the machine off the CD.
In Puppy Linux:
1) Insert your USB storage device, (I used an old 1GB SD card).
2) Run "Grub4Dos bootloader config" from the "System" menu.
3) Select your USB device to install bootup loader, (Mine was "sdb" "1019MB Multi Flash Reader").
4) Just click "OK" until it is finished.
(It may gve a warning that the "boot" flag is not set. My machine booted from the USB device anyway. But it may be necessary to use Gparted to set the "boot" flag on the partitiion.)
5) Unmount the USB device, (but leave it in the machine).
6) Re-boot then machine into the bios setup.
In Bios:
1) Configure the boot priority sequence so that USB HDD comes before the internal HDD.
(This means that if there is a bootable USB storage device, the machine will boot off that. If there is no bootable USB storage device, it will boot off the internal HDD.)
2) Save and exit Setup.
The machine should re-boot off the USB storage device and show a Grub4Dos boot menu.
If it does not, re-boot the machine off the CD, and use "GParted partition manager" from the "System" menu to set the "boot" flag on the USB partition, then re-boot.
At this point we have a dual booting machine.
To boot Puppy Linux, boot the machine with the USB device inserted.
To boot Windows, boot the machine without the USB device.
But, there is more.
The Grub4Dos menu, as defined in the "menu.lst" file on your USB device, may contain a "Windows" item.
(Mine did not, "Grub4Dos config" seemed unable to sortout the 3 partitions.)
Either way, it is possible to reliably boot Windows from Grub4Dos.
This requires editing the "menu.lst" file.
In Puppy Linux:
1) Mount the USB device.
2) Open "menu.lst".
3) If there is an existing "Windows" item, remove it.
4) Open "menu-advanced.lst"
5) Copy the "Bootup from HDD" item from "menu-advanced.lst" and paste it into "menu.lst" as a "Windows" item.
6) Save and close "menu.lst". Close "menu-advanced.lst"
7) Un-mount the USB device.
Now the USB device can be left inserted, and either Puppy Linux or Windows can be booted from the Grub4Dos menu.
(Of course if you are doing a lot of work on Windows, that might require a number of re-boots, it can be convenient to remove the USB device.)
Of course there can be more.
The setup on the internal HDD can be a lot more complex, with more installations.
The most obvious, is to add more frugal Puppy Linux installs, each in their own directory.
If you are into disk re-partitioning, then the Puppy Linux installs could be stored in a sizeable Linux partition. This has the added advantage that large applications can be stored in "/mnt/home".
(I did this on a Windows XP box, when I replaced the HDD.)
And of course there could be many more partitions with many more installs, provided Grub4Dos can boot them.
NOTE: Creating savefiles on NTFS partitions:
When Puppy Linux comes to create a savefile for a frugal install that resides on an NTFS partition, it gives a rather concerning warning message.
To avoid whatever problems this is supposed to cause; Create the savefile on the USB device. Re-boot into windows. Move the savefile into it's appropriate directory. Re-boot back to Puppy Linux.
An added side effect of this process is that resultant savefile on NTFS will usually be contiguous.
Last edited by gyro on Sat 19 Oct 2013, 08:54; edited 1 time in total
Back to top
Joined: 04 Jan 2009
Posts: 13362
Location: Gatineau (Qc), Canada
Posted: Wed 02 Oct 2013, 13:13
Post subject:
Hello, gyro.
Thanks for this tutorial.
Best regards.
Je suis né pour aimer et non pas pour haïr. (Sophocle) /
I was born to love and not to hate. (Sophocles)
Back to top
Joined: 28 Oct 2008
Posts: 1561
Location: Brisbane, Australia
Posted: Fri 04 Oct 2013, 00:10
Post subject:
You're welcome.
Just sharing something that I find quite useful.
Back to top
Joined: 29 Jun 2008
Posts: 10548
Location: SwedenEurope
Posted: Fri 04 Oct 2013, 02:54
Post subject:
gyro don't get me wrong now.
I love that you have described it in such detail.
I am too dense. What is the main practical positive thing about it?
That you can add puppy linux and other frugal installs
and never have to change any boot up boot.ini on that computer?
That sure is a good thing. I had to fight real hard for weeks
to find out how to boot on this Win Vista machine needing
a program from a commercial site that allowed such booting.
So your set up would have made that easier then.
But on the two Net tops with win 7 and win xp these had not
that problem unless me fail to remember.
I used grub4dosconfig instead on them.
Using your approach that would not be needed then.
Your way leave the computer as it is apart from the files
that you add and they are like any added files. nonintrusive
while grub4dosconfig make a backup of the mbr and create a new one?
Have I understood what is different now?
I use Google Search on Puppy Forum
not an ideal solution though
Back to top
Joined: 28 Oct 2008
Posts: 1561
Location: Brisbane, Australia
Posted: Mon 07 Oct 2013, 11:28
Post subject:
I think you have pretty much got it.
The main point is that the windows installation and booting are not disturbed. If the USB device is removed then it looks like a straight windows box, (with a few extra odd files.)
Back to top
Joined: 29 Jun 2008
Posts: 10548
Location: SwedenEurope
Posted: Mon 07 Oct 2013, 14:35
Post subject:
Gyro that certainty is a good thing.
People don't like changes they have no idea
what them are about. And doing frugal this way
only needs the three files from the iso
and these are easy to take away if one want to restore it completely.
what I may worry about may be the Firefox in Ms windows
and the Firefox in Puppy both wanting to have a .mozilla directory?
But I know too little. Did you notice any such complication?
thanks for sharing this method and the good description.
I use Google Search on Puppy Forum
not an ideal solution though
Back to top
Joined: 28 Oct 2008
Posts: 1561
Location: Brisbane, Australia
Posted: Wed 16 Oct 2013, 09:32
Post subject:
nooby wrote:
what I may worry about may be the Firefox in Ms windows and the Firefox in Puppy both wanting to have a .mozilla directory?
Firefox in Ms windows does not use a .mozilla directory. It stores it's data in a completely different path.
Even for multiple frugal Puppy installs, by default, the .mozilla directory is stored in the savefile, and so is unique to each install.
Like any multi-boot setup, by default, the applications in the various OS's do not interfere with each other.
Back to top
Joined: 03 Sep 2009
Posts: 2168
Location: Out wandering... maybe.
Posted: Thu 17 Oct 2013, 00:36
Post subject:
: Just in case you're wondering, here's a Mozillazine article that lists the locations where the profile folder is stored across the different versions of Windows, plus Linux and OS X:
(It technically hasn't been updated to specifically mention Windows 8, but Firefox will still store its profile folder in the same place as Vista, 7, etc.)
[ Puppy 4.3.1 JP, Frugal install | 1GB RAM | 1.3GB swap ] * [ Puppy Precise 5.7.1 JP, Frugal install ] * [XenialPup 64 7.5, Frugal install]
In memory of our beloved American Eskimo puppy (1995-2010) and black Lab puppy (1997-2011).
Back to top
Joined: 29 Jun 2008
Posts: 10548
Location: SwedenEurope
Posted: Thu 17 Oct 2013, 15:55
Post subject:
Thanks Makoto, could be good to know.
Sad that so few test out what Gyro came up with.
Seems to be a cool thing indeed.
I use Google Search on Puppy Forum
not an ideal solution though
Back to top
Joined: 28 Oct 2008
Posts: 1561
Location: Brisbane, Australia
Posted: Wed 23 Oct 2013, 04:50
Post subject: shrink ntfs with win7/8
If you want to go beyond storing frugal installs on the ntfs C: drive, you need some unallocated space on your hard drive.
In "Disk Management", windows 7 and windows 8 have a facility to "shrink" an ntfs partition, (Vista may have it, I don't know. I know xp did not.)
So, If your C: drive is the last partition on your hard drive, go to "Disk Management", click on the C: drive partition, then click on "Partition" -> "Actions" -> "Shrink".
I did this on a windows 7 machine, and ended up with over 300GB of space at the end of a 700GB disk.
I then booted into Puppy linux, formated the space as an ext4 partition, and copied my Puppy frugal install directories from the ntfs partition onto the ext4 one.
Then run grub4dos config onto the USB device again.
Boot into Windows and remove the Puppy directories on the C: drive.
Boot into a Puppy on the ext4 partition, and run grub4dos config onto the USB device again.
Back to top
Display posts from previous:
All Posts
1 Day
7 Days
2 Weeks
1 Month
3 Months
6 Months
1 Year
Sort by:
Post Time
Post Subject
Page 1 of 1
[10 Posts]
View previous topic
View next topic
Forum index
House Training
HOWTO ( Solutions )
Jump to:
Select a forum
Forum index
|___ House Training
| |___ Beginners Help ( Start Here)
| |___ Users ( For the regulars )
| | |___ Usuarios de habla Hispana
| | |___ Für deutschsprachige Anhänger
| | |___ Pour les francophones
| |
| |___ HOWTO ( Solutions )
| |___ Bugs ( Submit bugs )
|___ Advanced Topics
| |___ Additional Software (PETs, n' stuff)
| | |___ Package Collections / Repositories
| | |___ Browsers and Internet
| | |___ Business
| | |___ Compiling
| | |___ Desktop
| | |___ Documents
| | |___ Drivers
| | |___ Educational
| | |___ Engineering/Science/Simulation
| | |___ Eye Candy
| | |___ Filesystem
| | |___ Games
| | |___ Graphics
| | |___ Multimedia
| | |___ Network
| | |___ Security/Privacy
| | |___ System
| | |___ Utilities
| | |___ Virtualization
| | |___ Unsorted
| |
| |___ Cutting edge
| | |___ Multi-session live-CD/DVD
| |
| |___ Hardware
| | |___ Audio
| | |___ Networking
| | | |___ Dialup
| | | |___ Ethernet
| | | |___ Wireless
| | |
| | |___ Printers
| | |___ Video
| |
| |___ Puppy Derivatives
| |___ Puppy Projects
| |___ Next Puppy Development
| | |___ 4.x
| | | |___ Bugs (4.x dev)
| | | |___ Usability Issues (4.x dev)
| | |
| | |___ 5.x
| | |___ Bugs (5.x dev)
| | |___ Usability Issues (5.x dev)
| |
| |___ Localization Project
| |___ Documentation Project
|___ Taking the Puppy out for a walk
| |___ Announcements
| |___ Puppy Power
| |___ Suggestions
| |___ Misc
|___ Off-Topic Area
|___ Programming
|___ Security
post new topics in this forum
reply to topics in this forum
edit your posts in this forum
delete your posts in this forum
vote in polls in this forum
attach files in this forum
download files in this forum
Powered by
© 2001, 2005 phpBB Group
[ Time: 0.1129s ][ Queries: 14 (0.0073s) ][ GZIP on ]


text:
Hilarious: Kevin Hart On The George Lopez Show Talking About Viral Video Of Model's Hair Catching On Fire + More [1-24-11]
Posted by @mahad_worldstar
Please click the "Report" button below if the video on this page is not working properly.
Comments will only be displayed by verified emails. No Spamming or Racism.

subset: commoncrawl


text:
Today's Market Winners and Losers
The stock market is down Friday, with the Dow Jones Industrial Average down 0.01%, the Nasdaq down 0.51% and the S&P 500 down 0.27%. Today's winners include a technology company which has secured financing for a restructuring and a pharmaceutical company whose drug has received positive remarks from European regulators. Today's losers include a retailer whose ownership remains in limbo and another pharmaceutical company who is selling stock.
These are Friday's market winners and losers.
Biggest Winners
Shares of Alcatel-Lucent, S.A. (NYSE: ALU) is up 10.29% to $1.21 on trading volume of 9.9 million shares. The firm has secured $2.1 billion in financing for a restructuring plan. The 52-week high is $2.66.
Shares of Alexza Pharmaceuticals Inc. (NASDAQ: ALXA) are up 8.57% to $5.69 on trading volume of 1.9 million shares. European regulators have called for the approval of experimental drug Adasuve, which helps with schizophrenia and bipolar disorder. The 52-week high is $9.90.
Biggest Losers
Shares of Best Buy Co. Inc. (NYSE: BBY) are down 15.01% to $12.00 on trading volume of 19.1 million shares. The company has extended the deadline for founder Richard Schulze to make a bid for the company to Feb. 28. The 52-week low is $11.28.
Shares of Cytori Therapeutics, Inc. (NASDAQ: CYTX) are down 14.76% to $2.83 on trading volume of 2.4 million shares. The company said it will sell 7 million shares of stock at $2.85 a share. The 52-week low is $1.90.
Samuel Weigley
Follow him on Twitter: SWeigley
Filed under: 24/7 Wall St. Wire Tagged: ALU, ALXA, BBY, CYTX


text:
Happy song for holidays or children animations in a reggae way with a sweet whistle.
If you like this item you must listen also:
Please take the time to check out my portfolio where you will find a broad selection of styles or take a look at my collections. - http://audiojungle.net/user/migueljl/portfolio


text:
One Night With Joan (review). Superstar Joan Collins entertains her fans
The fabulous Joan Collins was welcomed back to the Leicester Square Theatre last night for a week-long residency.
The star of stage and screen was on top form regaling an audience packed with her fans, plus a few celebs, with stories about her life and loves.
Miss Collins is seriously old-school Hollywood. Immaculately groomed and refusing to accept that make-up adage of 'less is more'. She looks age-defying marvellous and must be the envy of every mature woman.
Joan's entrance dazzled the audience - literally. She was dressed in sequined trousers and slashed sleeved top in the first half and a knockout bling full-length gown in the second which wouldn't have been out of place in Dynasty. We would have expected nothing less.
But she started her two-hour show, One Night With Joan, with a note of sadness, breaking to the audience the sudden death of Oscar-winning actor Philip Seymour Hoffman and paying her own tribute.
"It is just such a loss to the profession. He was brilliant in everything he did."
Then it's back to the well-rehearsed script that starts with her birth into a show-biz family, her happy childhood, and onto her career.
A lot of the film clips, and her comments are self-deprecating. She's more than happy to have the audience laugh at some of the dud movies she's appeared in over the years but, as she says, some of them were so bad that they've become collector's items.
There's a run through of her marriages, her financial problems, and, of course, her successes. She name drops throughout for this RADA-trained actress and one-time RANK starlet, has worked with the best.
It's all presented with wit and searing honesty by a stylish and optimistic lady who has refused to be beaten by the Hollywood system (the casting couch was definitely not for her, she declares) or what life has thrown at her.
She talks with a disarming candour. It's no wonder the audience loves her.
At the end of the show she sits down for a quick Q & A session hosted by her husband and producer, Percy Gibson.
Joan, who was forced to diet by the studio system, admitted to one fan: "I don't think about my public image. I just do it. All the women in my life, my mother, grandmother, wore make-up and were very well groomed. I love clothes and looking as good as I can."
She also advised people not to think about the past or future but just to live for the moment and enjoy every second of it".
The remarkable Miss Collin ends her run at the Leicester Square Theatre on Sunday.
For tickets and info call the box office 08448 733433 or visit www.leicestersquaretheatre.com


text:
YOU CAN EDIT THIS PAGE! Just click any blue "Edit" link and start writing!
La Goulette
Earth : Africa : North Africa : Tunisia : Northern Tunisia : La Goulette
La Goulette is located on the beach just north of Tunis.
Get in[edit]
By taxi, the town is 15 minutes from Tunis and costs 15TND. There is a train station, some 200 meters from the town center.
La Goulette is a also a port for cruise ships.
Get around[edit]
See[edit][add listing]
Do[edit][add listing]
Buy[edit][add listing]
Eat[edit][add listing]
Drink[edit][add listing]
Sleep[edit][add listing]
Get out[edit]


text:
main: January 2006 Archives
Carolee Schneemann: Meat Joy, 1964
A Living Legend
Performance Art - that is, Performances, Events, Happenings, nonmatrixed artists' theater (in Michael Kirby's excellent term) - are not plays, dances, or operas, although they may partake of some characteristics of these, particularly in that they occur in time with a person or persons as the presenter(s). Like plays, dances, or operas, performances are very difficult to write about. There is usually not a script or much of one and, to recast Kirby, the performers are pretty much themselves (though types crop up, even gods and goddesses if the artist is not careful). The place is here, the time is now. Words may be spoken, but they are rarely central. Most often - and I think ideally - the artist is the "actor," but not necessarily the only one, and everyone isn't acting but being.
Performance-type art is almost impossible to write about because it is so -- well, I have to say it -- ephemeral. Unless we have actually seen the damned things and have very good memories to boot, what we write and say about Performance Art usually has to do with written and oral accounts and, of course, photography and movies. The latter, of course, is in itself also difficult to capture in words.
There are even some Performances or Performance-type artworks that dispense with the immediate audience entirely in favor of the one mediated by the camera. I am thinking of the many of the early street and body works of Vito Acconci and certainly most of the body works of Ana Mendieta. It is not that their bodies became sculptures, but that images of their bodies did. I don't want to be a purist, but there is some sense that if you know a Performance only through photos and maybe videos and/or film, you know only these photos, videos or films.
The recent efforts of Marina Abramovic to perform the Performances of others -- although I believe there is a Fluxus precedence for this -- is a partial solution. Fluxus events, like most of Yoko Ono's instruction pieces (but unlike her Cut, in which the audience is invited to cut off her clothing), do not rely on the artist's presence; theoretically they can be done by anyone. Also, in trying to imagine Abramovic's Entering the Other Side at the Guggenheim performed by someone else, I can only imagine a piece-about-a-piece, or else, like her version of Beuys' How to Explain Pictures to a Dead Hare, a farce.
I once perpetuated a series of performances (and related street works) myself, so as well as observing a number of these, I have an inside insight. And I have also been an actor in some small way (playing Vincent van Gogh on Dutch television). There is, I can attest, a difference between holding your own, becoming a living sculpture in front of an audience, and playing a role -- forgetting for the moment that being an artist (or a poet or an art critic) is also playing a role.
When, however, do you move from being yourself to being a type? More to the point: when do you move, if ever, from being a type or a personification to becoming an archetype?
I suspect you can tell when you are an archetype when people find meanings in everything you say, in every move and turn of events in your life, meanings you did not exactly intend. You become a mirror for the needs of others. The scary part is that it can happen without your knowing it. Here's an example. I remember that an older poet (Kenneth Koch) in a workshop I was taking stated very clearly that the whole universe was a vast machine for the creation of poems. I thought, as a young poet, that was the most inspiring thing I had ever heard. Years later I told him at a party that one statement of his had influenced me more than anything else. He said he had never said such a thing. Why on earth, he asserted, would he say such a thing that was so preposterous and pompous.
In her earth/merge body sculptures, Mendieta was, I think, consciously playing with archetypes. Andy Warhol, probably through no fault of his own, became one, at least in the eyes of Valerie Solanas, who shot him as the personification of the evil demiurge.
But let us just say that Schneemann, if not an archetype, is at least a living legend; this is primarily because of Meat Joy (1964) and Interior Scroll (1975).
* * *
Scheemann: Interior Scroll, 1975
Our Goddess?
Before there was Abramovic, before there was Hannah Wilke, before there was Mendieta, there was Carolee Schneemann. I know for a fact, having been a friend of hers (also her teacher in Iowa State University), that Mendieta acknowledged Schneemann's influence. Schneemann probably influenced some male artists: Acconci, in his classic Body Art phase, comes to mind. But who was an influence on Schneemann? Antonin Artaud! The collage paintings would indicate de Kooning and Rauschenberg. The performances might lead you to suspect Kaprow, Rauschenberg, and in some cases Hermann Nitsch. But who is to say? I mention these men because I can think of no woman artist that might have been an inspiration.
Schneemann herself has been under a kind of anti-essentialist feminist cloud: it is not exactly accidental that male artists within the Dada/ neo-Dada./post-Fluxus fold have referred to her as Our Goddess. Although her art and her writings are not directly essentialist, she has a Goddess aura. I can remember a time when anti-essentialists feminists disparaged both her and the late Wilke (another beauty) as pandering to the male gaze.
There is, however, not much to be served in re-rehearsing these now ancient feuds between the essentialists and social constructionists among us. If you are not a woman, the only way you can relate to the conflict is by translating it into another form. Is there an innate maleness to heterosexual males? A gay essential to gay males? No. Or is gender totally socially constructed, a product of the environment and culture? No. Language interferes with reality.
Well, that's all over. And we can begin to look at Schneemann neither as exclusively a Goddess nor as an art world pin-up, but as a serious artist. And although the line of expressionist, body-centered women's performance may have temporarily come to a halt, it will never be seen as merely a small incident in art history. If it takes a man to say it, then so be it. The conservatives in politics (and, alas, in art) may have gained some modicum of control, but we will not have women held back by fear of their own bodies.
If there is a level of the mythic in Schneemann's work and persona, then why can't we accept this in the same way we accept the mythic in Joseph Beuys? Men will just have to accept - and this is very difficult - that if you have to have a Goddess, she is also going to be poet Robert Graves' scary White Goddess. Sex is sacred. Well, sort of. In a world that is disastrously overpopulated, it is fortunately also entertainment.
Now on top of all of this, Schneemann has never been shy about the political, either. Her rage at the atrocities in Viet Nam was early: her film Viet Flakes (1965) is still powerful and, alas, pertinent.
* * *
Why She Reigns
Some of these thoughts are inspired by an exhibition of mostly photo-pieces by Schneemann now at P.P.O.W. (555 West 25th Street, to February 11). It is by no means a retrospective, but several pieces effectively recall Schneemann's import. There are no photos of her Kinetic Theater masterpiece Meat Joy (1964) that utilized nudity, paint, words, projections, songs and raw fish, chickens, and sausages. But a new edition of the photographs that compose the 1963 Eye Body: 36 Transformative Actions documents her seminal Body Art efforts. The photos were taken by Icelandic Pop artist Erró. Also, in the form of painted-over and scribbled stills of Interior Scroll (1975), that radical work is documented. In Interior Scroll, naked, she slowly pulled a long paper scroll from her vagina, reading the words: "if you are a woman (and things are not utterly changed/ they will almost never believe you really did it/(what you did do)/ they will worship you they will ignore you/ they will malign you they will pamper you/ they will try to take what you did as their own...." I am copying this from the text in Carolee Schneemann: Imaging Her Erotics (MIT Press).
Viet Flakes is also part of the exhibition, as are Hand/ Heart for Ana Mendieta (1986) based on a dream she had about Mendieta right after her death caused by "falling" from an apartment house window, and Terminal Velocity (2001), altered newspaper photos of bodies falling from the World Trade Towers. Difficult stuff.
Thanks to the Muse (God or Goddess) of art criticism, you can see the actual Schneemann Scroll as part of Carlo McCormick's jazzy and inclusive The Downtown Show (The New York Art Scene 1974-1984). Compare this if if you dare the New Museum East Village show in 2004. The new survey is through April 1, at NYU's Grey Art Gallery (100 Washington Square East) and the Fales Library, (70 Washington Square South) where there are works by Mendieta and Wilke. The Scroll is part of the Library branch of the exhibition. Be forewarned: both the Library wing of the exhibition and the piggy-backing design show called Anarchy to Affluence at Parsons/New School are not open on Saturdays. The NYU show received funding from the Andy Warhol and Robert Mapplethorpe Foundations and the New York State Council of the Arts; especially in light of the latter, shouldn't the Fales addendum be open to the public on Saturdays? Or is it only for students, who, I guess, disappear on weekends?
Superflex: Guarana Power (display of Guarana soda)
Riffs on a Global Groove
I was in Tennessee just recently to give a little talk at the brand new Art Gallery of Knoxville, where until the end of the month there's an exhibition called "Global Groove (Nation Building As Art)." It was curated by director Chris Molinsky. Molinsky, Leslie Starritt, and Bryan McCullough (all recent graduates of the Art Institute of Chicago) are cofounders of this bright new space, which opened in November. My theme, in honor of "Global Groove," was art globalization.
Internationalism is not new. There was Zurich Dada, Berlin Dada, Paris Dada, and New York Dada. According to situationist Vaoul Vaneigem (in his vituperative, mostly anti-Surrealist textbook called A Cavalier History of Surrealism, AK Press). there were surrealist groups in Romania, Yugoslavia, Czechoslovakia, Scandinavia, Belgium, Italy, South America, the Canary Islands, Mexico, Japan, Haiti and, of course, Paris, where it all started.
The New York School – i.e., Abstract Expressionism – included the Russian-born Mark Rothko, Hans Hofmann from Germany, Arshile Gorky from Armenia, Willem de Kooning from the Netherlands, and Matta from Chile.
But globalism is something more than internationalism or even cosmopolitanism. Even yours truly has traveled far and wide in the service of art: Australia, Brazil, Finland, Germany, Iceland, Israel, Italy, Japan, New Zealand, Norway, Ponape in Micronesia, Sweden, Tahiti. And as an artist I have recently exhibited work in Berlin, the United Arab Emirates and Beijing.
Artopia, of course, covers the world. And thus we get closer to globalism as a culture superimposed upon and perhaps superceding all national subcultures thanks to the internet, our new hope.
The title "Global Groove" comes from video pioneer Nam-Jun Paik, whose thoughts from way back at the beginning of McLuhan's Global Village – to which he opposes the Global Groove ---can be found on theArt Gallery of Knoxvillewebsite. You have to search for it a bit, but clicking on a rainbow of little buttons will yield Paik's essay and many other goodies, such as all you need to know about the kingdom of Elgaland -Vargaland, Superflex's Guarana project, etc. There is alsoa video podcast of my well-attended talk.
In the meantime, suffice it to say that in my talk I could not help but entertain the dark side of globalization, investigating if there is a connection between art globalization and corporate/pop culture globalization. There is, let it be said, the ever-present danger of global uniformity. After a while, one installation looks like any other; one motion picture projected on a gallery or museum wall is just a representation of other projected motion pictures. If art globalization must be separated from corporate globalization, perhaps this can be achieved by using art as immunization against globalization, or as an infection that is spread by economic globalization.
The way I see it, there are two parts to "Global Groove": representations of various global or borderland projects in the gallery itself, and a website manifestation that demonstrates global themes.
The official flag of Elgaland-Vargaland
How Global Is It?
As a critic, artist, and poet I have long been interested in borders, borderlands, or what could also be called thresholds: not only between nations, but between genres (poetry/prose, painting/sculpture, philosophy/dance) and between disciplines (poetry/criticism, art/philosophy).
As the ongoing Artopia text is to normal blogs, my more complicated investigations are to Artopia. I have been reading an extremely academic book called Ghazali and the Poetics of Imagination (University of North Carolina Press) in which author Ebrahim Moosa, who was born in South Africa but was impressed by a major text by al-Ghazali in his youth in Bombay, emphasizes the importance of the threshold (dihlîz) in Gahzali's thinking. This is perhaps best emblemized by the threshold between the oral and the written, between jurisprudence (of all things) and mysticism. Al-Ghazali (1059-1111) is by all accounts one of the great world-thinkers – he is sometimes considered the Thomas Aquinas of Islam, but in his later, post-Aristotle phase he became a Sufi giant.
The Art Gallery of Knoxville is itself a threshold, in that it occupies a borderland between physical gallery and website in much the same way that Philadelphia's Slought Foundation does. Slought, which we may visit at some other time, has been in existence since 2002 and consequently has a big archive of lectures and panel discussions on its website: Slought. But hold onto your hats; here comes Knoxville. Links become both the catalog of the physical exhibition and an online exhibition in itself.
Tennessee itself is a borderland occupying a new territory between the Southern and the postmodern. Knoxville is associated with the Tennessee Valley Authority. That huge project involving the damming of the Tennessee River and the sometimes needless destruction of farms, created cheap hydroelectric power. If that were not enough of modern culture, there is the "secret city" of the Oak Ridge Laboratories that had so much to do with the creation of the atomic bomb and atomic energy. Tourists can now take train rides through the Oak Ridge "secret city," but touristically it does not rival the nearby Dollywood (Dolly Parton's theme park. Oak Ridge may have slightly more significance. Maybe not.
Knoxville sports a huge university – sometimes referred to as The Fort (which tells it all) – and a downtown in the throes of revival. The handsome, compact Edward Larabee Barnes-designed Knoxville Art Museum, overlooks the site of the 1984 World's Fair – which is the border between the University and Downtown.
The Art Gallery of Knoxville is located in downtown Knoxville at the north end of Gay Street, the present art gallery row. Unfortunately, the month the Gallery opened, the city tore down the bridge connecting South and North Gay Street and spanning the freight-train tracks. Not to fear; the Gay Street Viaduct will be rebuilt. In the meantime, The Gallery, proudly proclaims cofounder Starritt, is in No Man's Land. It is even a number of block from the Old Town saloon scene, where many a country-music star had been known to drink to excess. There is a boulder by the Tennessee River, someone tells me after my lecture, with the ancient inscription: "now I know why the devil made Knoxville."
The Gallery is modest but elegant. One side of a double storefront houses the exhibition module, which is basically a freestanding, 15-foot plywood cube with the top and front removed. You can walk around the outside and see the beams and nails, but the inside is gallery-finished. If anyone wanted to book a show out of the Art Gallery of Knoxville, the exhibition space could be easily and precisely duplicated. The other half of the double storefront is used for Wednesday night public events and has a table with books for sale, paintings up on the wall, and a TV monitor.
There's a lot of video in Molinsky's complex, clever "Global Grove"; little screens on microphone stands in a forest of potted plants show, for instance, Valery Grancher's "The Shiwiars Project" documenting a remote Amazon village. A nearby wall-mounted monitor screens Phill Niblock's The Movement of People Working – no plot, no comment, but long takes of people making things in Mexico and Peru, with the composer's drone music as background. Also shown: Gordon Matta-Clark's (1974) video documentation of "gutterspace" in Queens, useless slivers of land put up for sale by the City of New York.
Having been to Brazil (only Rio and Sao Paulo), I was much taken with Superflex's Guarana Power: worker-harvested guarana, used in soda, bottled in Denmark. Guarana essence is the operative speed in the Brazilian national soda-pop . The "myth" I heard in Rio was that Coca-Cola was buying up the guarana plants to prevent it becoming a rival, since, as Cariocas can testify, guarana pop has a bigger buzz. And, from Sweden, CM von Hausswolff and Leif Elggren's Elgaland-Vargaland (represented by the Elgaland-Vargaland flag and a case full of stamps and other "ephemera") is droll indeed. Elgaland-Vargaland is made up of all the existing borders between countries; you can apply for citizenship online.
Here we must note that there is a long history of imaginary countries. The French critic Pierre Restany had his own nation, complete with postage stamps. Artopia, of course, is transnational, but not a country per se. It is instead a state of mind, an imaginal domain that supersedes lesser realities. No postage stamps or flags are necessary.
On The Art Gallery of Knoxville website you can find an essay from a recent issue of Cabinet magazine dedicated to "fictional" countries. This leads me to the website part of the exhibition. Beware. It fans out into enormous alleyways and pathways. The Superflex site is particularly seductive: there's more than soda and a lot of Fluxus and links to fascinating videos.
Are we therefore closer to website exhibitions without any physical manifestations? Not yet, but perhaps soon.
"Global Groove" video display (partial).
* * *
Thresholds of Past and Present
I gained a lot by traveling to Knoxville. Not only was I reminded about how annoying air travel can be, but I also got another glimpse of the Smoky Mountains. Ten years ago, involved in a project for the North Carolina State Arts Council, I visited the Smoky Mountains to visit the charming John C. Campbell Folk School near Brasstown, on the North Carolina side. Founded in 1925 by Yankee do-gooder Olive Dame, the John C. Campbell School (named after Dame's deceased husband) was one of several help-the-Anglo, help-the-Aryan, Elizabethan English-speaking, mountain-folk projects of the period. These were no doubt well meant but possibly a Wasp response to new waves of non-Wasp emigrations in big cities. Arrowmont, Penland, and the Southern Highland Craft Guild are others.
Promoted in tourist brochures as "the world's oldest mountains," The Smokies feel old and haunted; they certainly are worn-down and rolling. Walking along a misty, woodland trail (I kid you not) I heard a strange sound, neither thunder nor a hundred woodpeckers attacking plywood, but something in-between. I followed it off the path. It was not the ghosts of the Cherokees, on their ghostly Trail of Tears. There on a wooden platform were a score of mountain teenagers in pseudo, feed-bag calico and woolen plaid, going through their ancient Anglo-Irish clog dance numbers, all apace, all in sync, wooden soles in perfect time. It wasn't exactly a raga rhythm, but it wasn't simple marching time, either. It was the birth of tap.
Of course, Knoxville Gallery co-founder Starritt (the only Tennessee native of the founding threesome), whose family's farm was wiped out by the TVA, also spoke of the still existent poverty and cultural isolation of Appalachia.
Appalachia! Now there's another country; it snakes from the Smokies and the Blue Ridge Mountains to, if you are to believe the Appalachian Trail, the wilds of Maine. And it isn't a made-up place, although it may in part still be a fantasy. The gift shop in the Knoxville airport sells moonshine jam. But moonshine itself is now marketed nationally, in Mason jars.
For Artopia Alerts when new essays are posted
e-mail: firstname.lastname@example.com
Robert Rauschenberg: Monogram, 1955-59
The Poetry of Things
If you have never seen Robert Rauschenberg's iconic Bed (1955), Canyon (1959), or the free-standing Monogram (1955-59),or have some pressing need to see them together amid a number of lesser Combines, then you had better visit the current exhibition at the Metropolitan Museum of Art (until April 2).
You had also better see the exhibition if you really want to challenge yourself with questions of connoisseurship, art history and art criticism. The $45 paperback catalogue will no doubt explain the autobiographical and formal import of the artist's signature stuffed animals, paint splashes and slashes, news photos and poster lettering. That may get you out of Port Arthur, Texas (birthplace of both Rauschenberg and, a bit later, Janis Joplin), but it won't get you out of the good old days in Lower Manhattan, when Jasper Johns was Rauschenberg's neighbor, and more, when images from Life Magazine and Time became fair game, and when Abstract Expressionism, then in its woeful second generation, was faltering.
Complaining about the pomposity in sway at the Cedar Bar and The Club, Rauschenberg told Calvin Tomkins (Off the Wall, Doubleday, 1980):
"They even assigned seriousness to certain colors," and then, turning to the way the New York artists had infected Beat poetry: "I used to think of that line in Allen Ginsberg's Howl, about 'the sad cup of coffee.' I've had cold coffee and hot coffee, good coffee and lousy coffee, but I've never had a sad cup of coffee."
I have always found that a strange quote. Rauschenberg is known to be a generous man, not only to other artists, but to dancers and choreographers and even to poets. Heat one point turned over the chapel in his Lafayette Street building, once an orphanage, to John Giorno, Michael Benedikt and myself to produce one-night poetry performances. In the dark, taped poems booming, I inflated a giant weather balloon with helium so that it loomed above in the rafters; I also did my Whisper Event, whispering a one-line poem into individual ears of all and sundry.
I think there has always been a strain of poetry in Rauschenberg's art, maybe not the sad and mournful kind, but the exuberant, even prophetic kind. This is, after all, the man who spent a whole year making illustrations for Dante's Inferno. Is he against metaphor? Or against interpretation? Or just against bad poetry?
Robert Rauschenberg, Canyon, 1959
An American Picasso
Made from approximately 1954 to 1964, the Combines present mostly two-dimensional found materials held together with splashes and drips of paint, plus here and there the addition of 3-D objects. The bed that makes up Bed was Rauschenberg's own, complete with pillow and quilt; Canyon combines an eagle and a pillow; Monogram features an Angora goat with its head through a rubber tire. These are all masterpieces. What other artists were doing or would do to extend the collage tradition into three dimensions was called assemblage. But Rauschenberg likes the term Combine, which he himself coined. He claims he was inspired by Calder's use of the term mobile, invented to put people's minds at ease. If you can give something that warps categories a name, then you have dispelled fear and perception becomes possible. The mobiles, as we know, are hanging sculptures that move, and the principle and the name is now used for mass-produced Day-Glo toys for every crib.
The Combines are both painting and sculpture-- or, some purists would say, neither. They are best when they are least flat, which is why the silk-screen paintings that followed -- in some ways products of Rauschenberg's success, which allowed him to spend more money on materials -- are not as interesting. Whether carefully considered or spontaneous, the Combines profit by their ad hoc aura, their found-art, apparently free-wheeling joy. No art is worth much unless the first reaction is "anyone could do it." Well, as usual, it turned out that not anyone could make a successful Combine; in fact, many times -- as proved by this gathering of Combines -- even Rauschenberg couldn't.
This is where connoisseurship comes in, or even art criticism. What makes one Combine a masterpiece and another, in the same room, just some meaningless stuff? I became an art critic to find out how to be an artist and how to make art. One principle is that great artworks are iconic, and they begin that way. In an unguarded moment, an artist friend once blurted out that an artwork did not exist unless it could be photographed. My refinement would be: unless it is photogenic. But just so we don't get too wrapped up in media and Pop Art, let us finally say instead that an artwork has got to be memorable, which thereby allows conceptualist as well as predominantly visual artworks. Rauschenberg's prime Combines stick in the mind; they surprise and keep on surprising.
Alas, not many of the Combine paintings are particularly "photogenic." But they do that picture-plane trick that critic Rosalind Krauss tries to talk about in her essay for the 1997 Guggenheim retrospective, making Rauschenberg seem like a latter-day Hans Hofmann determined not to violate the picture-plane. She was right. He respects the picture plane, but by putting things in front of it.
The art criticism consensus has been that, no matter how much one might be attracted to this or that silk-screen painting or technological folly, the Combines are Rauschenberg's highest achievement, so I was excited about seeing a big batch of Combines all together. But the first thing I learned as I walked through is that Rauschenberg was as indiscriminate in his Combines as he was with his silk-screen paintings. However, when he hits with the Combines, he hits with a big bang. Maybe this is why we should not dismiss the silk-screen paintings, or the technological works, just yet.
Has anyone ever counted how many really boring or uninspired paintings Picasso made? Like Picasso, Rauschenberg has been an art machine; just keep the wheels rolling and sooner or later inspiration will strike. And it will probably take others to tell you when it's really happened. How unlike the Duchampian constipation-mode of creation. Another rule for art: You gotta have product; lots and lots of things to sell.
And then it dawns on you that the curatorial lack of discrimination mirrors Rauschenberg's own system. This is not good. The current exhibitionis an awfully expensive way of finding out that the Combines do not form a consistent body of work. But given Rauschenberg's wild manner of making art, should we have expected otherwise?
When confronted by so manyCombines all thrown together, the majority being more-or-less flat, the tiniest of squints will reveal that what you are really looking at is outsized Late Cubism. After all, assemblage is an offshoot of collage. But then you have to ask yourself, is Cubism wrong?
Rauschenberg's Combines and silk-screen paintings areas faceted as classic Cubism, presenting multiple points of views -- not of one still-life, but of life itself, through the use of photos, words, objects of differing scales and degrees of detail. There is no bowl of apples, no face, no café wine bottle, no pipe you need to decipher. It is perception itself (and its intermediaries) you need to read.
It may be too soon to judge Rauschenberg's silk-screen paintings, but I am not reluctant to announce that the all-white paintings of 1951, the 22-foot automobile-tire print of 1953, the erased de Kooning drawing of the same year, the Combines mentioned above, plus Factum I and II of 1957 (in which Rauschenberg duplicates a spontaneous Combine painting) are great artworks worth seeing and thinking about. Of the technological works, I'd vote for Soundings of 1968, and Mud Muse of '68-'71. And I am not the only one to think that the cardboard box wall-pieces will look better and better as the years go on.
But Rauschenberg's most lasting contribution may be his nerve. All-white paintings? You bet. Stuffed birds? Why not. Performances? Of course. Art and technology? Sure. He has never been embarrassed by his own lack of decorum.
* * *
To repeat the rules, you have to produce icons and you gotta have product; lots of it. But to become a successful artist, it also helps to invent a new term -- like Found Art, mobile, or Combine. Furthermore, you are required to produce at least one good quote, like Rauschenberg: "Painting relates to both art and life. Neither can be made (I try to act in that gap between the two)."
FORE-MAIL ARTOPIA ALERT WHEN A NEW ESSAY IS POSTED CONTACT: firstname.lastname@example.com
AJ Ads
AJ BlogsAJBlogCentral | rss
Terry Teachout on the arts in New York City
Andrew Taylor on the business of arts & culture
rock culture approximately
Laura Collins-Hughes on arts, culture and coverage
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:
Last week we had our nephew come to stay, whenever he visits he loves to bake some goodies with me, his favourite bakes are cookies and cupcakes. After choosing some sprinkles and decorations while at the supermarket we decided on these cupcakes which I have baked many times before. We both had an enjoyable afternoon in the kitchen and even more enjoyable time eating them!
Vanilla Cupcakes
Makes 12
175g (6 oz) self-raising flour
1½ level tsp baking powder
175g (6 oz) butter, softened
175g (6 oz) caster (superfine) sugar
3 large eggs
2 tbsp milk
1 tsp vanilla extract
Buttercream Icing
150g (5oz) butter, softened
300g (11 oz) icing (confectioners) sugar, sifted
1 tbsp milk
¼ tsp vanilla extract
Sprinkle(s) for decoration of choice
You will also require 12 holed muffin tin lined with 12 paper muffin cases
Preheat the oven to 180°C/Fan oven 160°C/350°F/Gas mark 4. Sift the self-raising flour and baking powder into a large bowl, and then add the butter, caster sugar, eggs, milk and vanilla extract. Beat together until well mixes, trying not to over mix the mixture. Spoon the mixture equally into the prepared paper cases and bake in the preheated oven for about 20 minutes or until the tops spring back when lightly pressed. Leave to cool in the tin for 5 minutes then turn out to completely cool on a wire rack.
To make the buttercream, beat the butter until soft. Add the icing sugar and stir until it's just mixed in, then add the milk and vanilla and beat until light and fluffy. Divide into as many bowls as you want different colour(s) and add edible food colouring (you only require a few drops). Spread the icing on thickly with a palette knife on top of each cupcake or put the icing into a piping back and make a large swirl on top of each cupcake. Decorate each cupcake with your chosen sprinkle(s).


text:
Texas style bike lanes are featured in the fifteenth episode of the Huggacast. I think this is a token bike lane painted to get federal funding. It's about 34 seconds long.
What's the most ridiculous bike lane you've ridden?
Bike Hugger was in San Antonio test riding the Modal, a travel bike concept that folds and toggles between single, fixed, and geared modes. Besides this ridiculously short lane, San Antonio did have a good system of paths and roads on the Mission to Mission ride.
Google Videos ongoing sketchiness results in sometimes the 34 second bike lane is available and sometimes not. You can download and view it from directly from our servers.


text:
Jacuzzi® Walk-in Tubs Lakewood, CO
Bathwraps by Jacuzzi transform your bath into a maintenance free, stunning, and affordable wetspace. Choose from an array of colors, patterns, and accessories to create a sophisticated and functional shower space.
Worried about the time associated with a bath remodel? Worry no more. One Day Bath by Colorado Living ensures a one day installation and lifetime warranties.
Love your bathtub? No problem, Colorado Living will do a Bathwraps transformation and replace your tub with a state of the art, mold resistance, and functional one.
Tub to Shower Conversion
- Safer Usable Environment
- Mold and Midlew Resistant
- Infused with Silver Shield
- Little or no Maintenance
- Fullly Customizable
- One Day Installation
Colorado Living of Lakewood is where the people of Lakewood shop for Tub to Shower Conversions, Walk-in Showers, Jacuzzi® products and Bathroom Redesigns. Our bathroom remodeling service in Lakewood create a more enjoyable, convenient, energy efficient and increased value home. Whether you're looking to convert a bath to a shower in one day or remodel your entire bathroom our team of design experts can customize the perfect bath project for your home.
If you live in Lakewood, then Colorado Living of Lakewood is your bath design headquarters.


text:
There are many myths surrounding the gaming industry. Don't be fooled into believing them!
Don't miss out on any of our other recent articles.
Modder. Many thanks to SetaKat and david.m.e for teaching me tricks to modding S.T.A.L.K.E.R. Games I play: Neverwinter Nights 2: Complete, Planescape: Torment Enhanced Edition, Arcanum, Vampire: The Masquerade - Bloodlines, Fallout series, The Elder Scrolls, KOTOR series, Dragon Age: Origins, Mass Effect trilogy, SOMA, Amnesia: The Dark Descent, Penumbra, Underhell, Cryostasis: Sleep of Reason, Anna: Extended Edition, Dishonored, classic Thief, Deus Ex series, Anachronox, S.T.A.L.K.E.R., Metro series, Arma 3, Rainbow Six 3: Gold, SWAT 4, Half-Life 2 Cinematic Mod, Garry's Mod, The Talos Principle, realMyst: Masterpiece Edition, Total War: WARHAMMER series, XCOM 2. But I'm always up for some Natural Selection 2, Crysis Wars, No More Room in Hell, Killing Floor 2, and Serious Sam Fusion 2017. I only play PAYDAY 2 and Arma 3 privately, join our community at GND-Tech.com if you'd like to play with us in any of these games/mods and perhaps others.
Posted by boredgunner on
There are many myths surrounding the gaming industry. Don't be fooled into believing them!
Don't miss out on any of our other recent articles.
Only registered members can share their thoughts. So come on! Join the community today (totally free - or sign in with your social account on the right) and join in the conversation.


text:
BERKELEY — On the University of California campus recently, a tour guide told a group of prospective students about the many opportunities open to those studying in the Bay Area — "like getting an internship at Pixar," she said.
The Emeryville animation studio is four miles away, but that day Pixar was even closer than the tour guide knew — director Dan Scanlon and three of his colleagues were walking right behind her, on their way to Sather Gate, a bit of Beaux-Arts architecture that had served as creative inspiration for Pixar's new film, "Monsters University," which opens Friday.
In 2001's "Monsters, Inc.," Mike, the one-eyed green orb voiced by Billy Crystal, and Sulley, his fluffy, blue brute of a buddy (John Goodman), were "scarers" in the city of Monstropolis, whose job is to frighten human children and collect their screams for use as fuel. In the new film, which is a prequel, Mike and Sulley meet for the first time as college freshmen enrolled in the rigorous scaring program at Monsters U.
Mike, who now wears a retainer, is a hard-working student without much innate talent. Sulley, slimmed down from his midlife self, is a legacy at Monsters U. who looks like he'll coast through without lifting a furry finger.
The computer-animated movie is heavy with undergraduate atmospherics — there's a perky R.A., pickup hacky sack games, an "undecided" oddball student named Art and a loser fraternity called Oozma Kappa, which Mike and Sulley join.
Creating an authentic collegiate vibe was a unique challenge for Pixar because Scanlon and many of his colleagues didn't attend traditional universities, but instead studied at art schools — in Scanlon's case the Columbus College of Art and Design in Ohio.
"We didn't have big old buildings and fraternities and sororities," Scanlon said. "Emotionally we all experienced college as far as the self-discovery and cold reality of, life is gonna be a lot harder than we thought, but physically, art school is a totally different experience."
In the film, the rival fraternity and sorority houses compete in "Scaring Games." At a critical point in the production, when the "Monsters University" crew hit a story snag, they engaged in some of their own Greek-system-inspired competitions — including dodgeball games, a tug of war and tricycle races.
"I remember feeling the scare games we were coming up with weren't as fun as the ones we were playing," Scanlon said. (Eventually they found the inspiration they needed, thanks in part to the mind-clearing experience of riding on giant tricycles.)
The idea to make a prequel to "Monsters, Inc." emerged out of what is known at Pixar as a "blue sky meeting" for discussing ideas, which Scanlon attended with Pixar Chief Creative Officer John Lasseter, "Monsters, Inc." director Pete Docter and several other filmmakers at the studio — almost all alumni of the California Institute of the Arts.
Twelve years would be an unusually long time to wait for a sequel at most studios, but at Pixar it follows logically from the overarching philosophy — wait until somebody has a compelling creative reason. In the case of "Monsters University," the notion was to tell a story about that moment when a monster finds the limits of his talents.
"We realized with Mike we could tell kind of a failure story," said Scanlon, 36, who is making his feature directing debut with "Monsters University." "So many movies tell us if we work hard and never give up, everything will work out great and that is a great message but it doesn't always work out that way. We thought, no one really makes movies for the rest of the population."
After years of almost impossibly glowing reviews from film critics, Pixar has suffered some of its own humbling moments, such as the critical reception for "Cars 2." Although its recent films continue to perform well at the box office and "Brave" won the animated feature Oscar last year, there is a perception that the studio is not producing sophisticated movies like the "Toy Story" franchise and "Up" that made its reputation.
Like most people who end up at Pixar, Scanlon's is not a failure story, but he had episodes of doubt. Growing up in Clawson, Mich., Scanlon was a doodler and a mediocre student until he got to art school and suddenly felt seized with purpose.
"When I went to college I thought, 'Oh, my drawings are up on my mom's refrigerator, I must be a genius,' and quickly realized that wasn't the case."
After graduation, when some of his friends got jobs at major animation studios, Scanlon stayed in Columbus and worked at a local shop. A few years later, a friend helped get his portfolio into the hands of someone at Pixar. Scanlon soon began working as a storyboard artist, and went on to co-direct the short film "Mater and the Ghostlight."
"Being able to go to an art college engaged me in what I really wanted to do and I … suddenly was a completely different student and was obsessed with doing the best I could. As a result I didn't really go party it up all that much."
To steep themselves in the collegiate experience, Scanlon and his team, including producer Kori Rae, associate producer Nicole Grindle and story supervisor Kelsey Mann, took several research trips to campuses around the country, starting in their back yard at Berkeley and also heading to Yale and the Massachusetts Institute of Technology.
"We were always looking for those touchstones that in your mind most colleges have, like a gate, an open quad," Scanlon said. "Our hope was that we'd go to enough places and research enough campuses that we could make an amalgam that was original to our school but people would think it was their school."
In the course of their research they visited frat houses — typically not during the parties — but the morning after, when the sticky floor smelled like bleach and worse.
"We'd go into a fraternity house, we'd be loud, taking pictures and then our tour guide would come in and be like, 'Uh, hey, so there's a guy asleep underneath that bunk,'" said Mann.
One of the chief challenges of the movie was finding a way to depict traditional undergraduate pastimes in a way that was appropriate for a G-rated movie. Instead of students making out on the quad — as a few couples were this morning at Berkeley — the affectionate monsters in "Monsters University" hold hands. Instead of booze-fueled ragers, the fraternity and sorority members are high on the fun of scaring.
"We realized that as long as people were being kind of rambunctious and wild, you could hang out of windows and break things and eat garbage and it felt like, that's a pretty crazy party but it still could happen at an 8-year-old's birthday party," Scanlon said.
While strolling at Berkeley, it was easy to get nostalgic about the college years, but Scanlon said he has no desire to go back.
"It's so romantic to be here on a campus," Scanlon said. "But I'm so glad I'm just going back to work to helm a massive movie with no stress compared to having to turn in term papers."


text:
Started this discussion. Last reply by Max Sherman Jun 8, 2012. 3 Replies 0 Likes
I am curious about the zone map developed by LBL that is used for calculating Building Tightness Limits (BTL) The map is ubiquitous, but pretty crude. It certainly doesn't correspond to avg wind…Continue
Hi Jim,
Welcome to Home Energy Pros! Feel free to join the conversation in the Forum and Groups. And share your energy efficiency photos, videos and upcoming events. If you're blogging about home performance, this is the place for you!
Don't forget to upload your profile photo. And add your location on our Member Map!
Diane, HEP Moderator
© 2019 Created by Home Performance Coalition (HPC) Powered by


text:
80,000 parents can't be wrong. Sign up for our free YMC newsletter now.
I have always been fascinated by competition. I especially love elite athletics. I love the Olympics! I'm astounded that some people choose to dedicate themselves to a pursuit and that among those people, some rise to the very top of their game. I'm amazed that some people have the drive to be the very best in the world at what they do.
Read the whole post


text:
I broke the model submission.
I'm somewhat proud. You might want to look into that. Remember IO, always validate your inputs.
The "Move Up" and "Move Down" buttons cause the series form to disappear, but submission still works.
Also, I see what you're trying to do with organizing things by series. At the same time, it's not often that people will upload things that need to be in a series.
Edit #1: 100 post get.
Edit #2: Being able to edit your submission details would also be nice.


text:
Need more information from the seller?View this product on the company site : Woven Labels
- Embroidered patchesWith 12+ years experience, we take both large and small orders. VIEW THE PRODUCT PAGE
- Embroidered PatchesHY-EP1032 VIEW THE PRODUCT PAGE
- Woven labelsWe can make different kinds of woven labels, woven tags, clothing labels. VIEW THE PRODUCT PAGE
- Embroidered PatchesHY-EP1035 VIEW THE PRODUCT PAGE
Need more information from the seller?
More information on the company's websitehttp://hygacn.com
Contact the seller
Woven Labels Send a message
See phone number
+86 75722159180
A similar page for your product? Sign up your company and create your own online product pages on EUROPAGES Sign up Already registered? Publish your products


text:
Selecting your vehicle's make, model, and year allows us to display only parts and items specific to your car's model and year.
Part# CH28918
2 Reviews
OPGI Price: $94.99
Part Type: (R) = Authentic reproduction of the original GM product
Years: 1965
Sold As: EACH
2018 El Camino Catalog Page: 257
Certain items which exceed standard size are exempt from free shipping promotions. These items are noted in your cart at checkout.
Any package that measures over 48" in length, and/or 30" in width or height, is subject to an additional handling surcharge of $15.95 per package. Unusually shaped packages such as cylinders or drums are also subject to this charge, as are unusual exterior packaging materials such as plastic or cloth.
These reproduction valance panels are manufactured to factory specifications and designed to fit directly behind the front bumper and between the front fenders. Panels for 1965 are available in your choice of fiberglass or stamped steel, while all other panels are available in stamped steel only. A durable EDP finish protects the steel panels from corrosion.


text:
This Fool Does Not Give AF About Getting Rejected: "Damn Girl You Sh*t With That Azz?"
How to Not Give a F*ck about Pickup Line Rejections by @htngaf
Please click the "Report" button below if the video on this page is not working properly.
Comments will only be displayed by verified emails. No Spamming or Racism.


text:
The Art of Narrative
Monday Jan 21, 2013
Additional Dates:
Stranger Factory
Albuquerque, NM
Phone: 508-3049
More events at Stranger Factory
A group exhibition showcasing narrative-based art and illustration from a group of critically acclaimed comic book and fine artists.
Guest curated by writer and inker Jimmy Palmiotti (Deadpool, Ghost Rider, Jonah Hex, Punisher, Painkiller Jane), this exhibition celebrates a cross-section of artists and illustrators in the comics industry that not only are masters of storytelling, but that push and elevate comic art into a higher form and move it beyond it's commercial graphics roots into pure art.
The exhibition will present original works by Gilbert Hernandez (Love and Rockets), Amanda Conner (Power Girl), Geoff Darrow (Shaolin Cowboy), Dave Taylor (Judge Dredd), Bill Ward (Torchy), Mike Mignola (Hellboy), Cliff Chiang (Wonder Woman), Brad Walker (Guardians of the Galaxy), John Buscema (Conan The Barbarian), Klaus Janson (Batman), Sanjulian (Devlin's Luck), Raffa Garres (Wolverine), J.G. Jones (Wanted), Chris Sprouse (Tom Strong), Eduardo Risso (100 Bullets), and more.


text:
Investors ignited a selloff in Boeing's (NYSE:BA) shares Tuesday after one of its 787 jets about to take off from Boston was forced back to the gate with a fuel leak just one day after a different plane caught fire on the tarmac.
Continue Reading Below
Both jets were operated by Japan Airlines.
Massport spokesman Richard Walsh confirmed the incident and said the status of the flight at this time is unknown.
While there was no fire, a fire official told Reuters that the leak cancelled the fully-loaded plane's scheduled takeoff to Tokyo.
The plane had left the gate in preparation for takeoff when the fuel spill of about 40 gallons was discovered, according to a source close to the matter who opted for anonymity. No fire or injuries occurred, and the passengers were taken off the plane.
The leak comes a day after the National Transportation Safety Board began investigating reports of smoke on a grounded Boeing 787 operated by Japan Airlines on Monday at Logan Airport.
While the plane had no passengers at the time of the incident, the fire prompted new concerns regarding the safety of Boeing's new fuel-efficient jet.
The NTSB will not be investigating the fuel leak as it is an accident-based agency, a spokesperson said. Requests to the FAA for comment were not immediately returned.
The Dreamliner, Boeing's new fuel-efficient, highly-desired jumbo jet that seats up to 290, has been plagued by problems since first launching in 2011, including an engine fire six months ago during a test flight.
Boeing on Tuesday said it was working with its customer, Japan Airlines, regarding the fuel leak but would not comment on the fire or NTSB investigation.
Shares of Boeing ended Tuesday's session 2.6% lower on the news.


text:
Like our products? We accept international orders! Delivery costs starting from 9,95 euros.
In stock
In production
Not Paris or New York, but Helsinki. We wanted to prove our love for Homeland, so we made this sweatshirt to show how proud we are of it. Made from quality cotton fabric that is knit and brushed in Finland.


text:
The mesa ProGO-26 Moveable Freestanding Acoustical Panel by Auralex is a sound absorber panel for use in studios, classrooms, home theaters, on stage, etc. The ProGO panel rests in the included floor stand, which can be fitted with rubber-isolated wheels for mobility (sold separately). It controls early reflections and is also effective as a bass trap when placed in the corner of a room.
The ProGO is a suitable solution for spaces where boundary-mounted acoustical treatments are not desirable. It can be used to minimize sound leakage between instruments, amplifiers, and vocalists during recording sessions or live performances while maintaining line of sight with performers. Musicians and recording engineers will be able to fine-tune the room ambiance by varying the position and number of ProGO panels, and can quickly put together an enclosed booth within a larger space by utilizing multiple ProGO panels in an array. The Auralex ProGO is a versatile, expandable acoustical tool for musicians, recording engineers, and audiophiles.
Panel: Fabric covered absorptive fiberglass core
Stand: Compressed fiberboard laminated in black veneer
|Panel Dimensions (W x H x D)
|24 x 72 x 4" (61 x 183 x 10.2 cm)
|Stand Dimensions (W x L)
|12 x 24" (30.5 x 61 cm)
|Panel: 22 lb (10 kg)
|Packaging Info
|Package Weight
|97.0 lb


text:
If John Scaletta had remembered his sleeping pills, none of this would have happened.
The Brookfield resident was on a nine-hour flight home from a job in Finland. The way there, he took the pills and slept peacefully. On the way back, though, he wasn't so lucky, having left them in his checked bag.
But that's where the story began. Scaletta, co-owner of Motion Source Video Productions in La Grange, with nothing but time on his hands started reading Steve Jobs' biography.
"I read the Apple 1 sold for a quarter of a million dollars," Scaletta said. "Another sold for $375,000."
That got Scaletta thinking about a time capsule his class buried back in 1976 when he was a kid. What if, buried among the trading cards and letters to older versions of themselves, there was an Apple 1 computer?
With that idea, the short film "iDig" was born.
Scaletta wrote the first draft on the plane and handed it over to Craig Bass, co-owner of Motion Source. Bass, a La Grange resident, worked with him on revising and rewriting.
The story centers around Doug, a down-and-out guy who just lost his job and had his car repossessed. While at a coffee house, filmed at Now Serving Cafe in La Grange, he realizes everyone around him is using some sort of Apple product.
That's when Doug remembers in grade school, 36 years ago, his class buried a time capsule, and in that time capsule was an Apple 1 computer.
"It's a treasure that can solve all of his problems," Scaletta said.
Doug enlists an old and nearly forgotten, socially inept friend Eric to find the capsule. But for Eric, the adventure is more about friendship, or those he lost, than it is about the financial award of the Apple 1.
"He's socially challenged — he's only gotten worse," Bass said. "He's still wearing a Members Only jacket."
Eric brings along Randy, the loose cannon of the bunch and the third piece to their grade school trifecta.
Together they head off into the woods next to Pleasantdale School in Burr Ridge — Scaletta's old school — in search of the time capsule. What they find, however, has to be seen as Bass and Scaletta refuse to reveal the ending.
"When John explained this story to me, I thought he was telling me a true story," Bass said. "And it is based on a true story, except for everything that happens in the movie."
The crew started filming the dig scene near Pleasantdale School in the first week of December when temperatures broke into the 50s.
"It was all night," Bass said. "It was one of the most hellish production nights of my life."
They continued filming throughout the area, including noticeable La Grange landmarks, such as Horton's and Now Serving Cafe.
"We're tapping into our resources and our friends," Scaletta said. "It seems like the businesses and people of La Grange really help each other out. It really has been receptive to us as a production company."
Bass said that's important because without the help of the community, there wouldn't be "iDig."
"Filmmaking is a collaborative art," Bass said. "You can't be a loner and make a film. It's a community effort."
That's why Bass tapped La Grange resident Angelo Manzoeillo to score the film. Bass had worked with Manzoeillo's band, Break Even, recording a music video in 2012.
"Angelo is such a great guy," Bass said. "I approached him and said, 'Look, I know you've never scored a film before, but do you want to do this?'"
Manzoeillo jumped at the opportunity.
"You've seen a thousand movies and you know how the music really drives the movie," Manzoeillo said. "There's pressure there. But it's good."
Bass and Scaletta are currently in the editing process, ambitiously shooting for a wrap-up date by the end of the month.
Once the film is done, the duo said they will enter it into the Waterfront Film Festival in South Haven, Mich.
And then, a La Grange premiere at the La Grange Theatre.
"It's unique," Bass said, "with such established members of the community putting together such a creative collaboration."
Local filmmakers bring search for Apple 1 to La Grange in short film 'iDig'
If John Scaletta had remembered his sleeping pills, none of this would have happened.


text:
Convey a traditional aura with this glass and synthetics outdoor light around the perimeters of your home. Available as post or wall models, they fit nicely into the natural environment of the garden and enhance its peace and serenity. See all benefits
Philips energy-saving light bulbs conserve energy compared to traditional light sources, helping you to save money on your electricity bills and do your bit for the environment.
Save up to 80% energy compared to your standard bulb. It pays for itself and saves you money year after year. So reduce your energy bill and start saving Now.


text:
WESTCONNect ID Card Comes to Waterbury!
To accommodate our Waterbury students, the WESTCONNect Card Office, in conjunction with the Western at Waterbury office, will provide Waterbury students a WESTCONNect card at the Waterbury campus that will provide the following services:
The WESTCONNECT Card will provide the students with a photo ID that shows they are a member of the Western Connecticut State University Community.
The card has swipe technology that will allow students to use the library services at the Danbury campuses of WCSU.
How do I obtain a Waterbury ID Card?
Students who have registered for classes may obtain their ID card in Waterbury. Contact Nicole Kulberg at email@example.com to arrange for a time to meet in Kinney Hall 519. Present your driver's license or other form of photo ID and your class schedule. Your photo will be taken. You will be notified via email that your card is available for pickup from the secretary in Ekstrom Hall 627 within 10-14 days.
What if I lose my card?
If you have lost the card issued to you from the Waterbury Campus, contact the Waterbury secretary at 203-596-8777 or email@example.com and bring a completed replacement form (download the replacement form here) to Ekstrom Hall 627.
Your university account will be charged a $5 replacement fee and you will then be contacted in 10-14 days to pick up your replacement card in Ekstrom Hall 627.
What if I want to use my ID card for other services at the Danbury campuses?
The WESTCONNect Card issued through Waterbury is designed for use by the Western at Waterbury students and does not have all the financial and access privileges available at the Danbury campuses. To obtain a full-service card, bring a valid photo ID AND your WESTCONNect ID to the WESTCONNect Card office, located at the rear of the Old Main Administrative Building at the Danbury midtown office. To learn about the many services attached to the WESTCONNect Card, please visit the website at: www.wcsu.edu/westconnect


text:
Rayna A. Anderson, career counselor, University of Houston
Twitter: @Rayna_Anderson
LinkedIn: www.LinkedIn.com/in/RaynaA
Blog: RaynaAnderson.wordpress.com
Blogs from Rayna Anderson
Many of today's college students are bold, hungry, and pressed for time. They have high expectations and want to be connected with the best opportunities in the fastest way possible. So is the traditional, one-hour appointment the most effective way for your staff to use its time? Not always.
You've seen it before: a student comes in for their scheduled appointment, but their cell phone keeps buzzing and they seem to be very preoccupied. They nod you along hurriedly as if to say, "Yeah, yeah. Just get to the good stuff already!" This behavior reflects several research findings that suggest that the average American attention span is getting shorter.
As professionals in a helping field, we get teased about the "fluffy" nature of our work and that we spend too much time on "touchy, feely" discussions. But in today's world of easy access and instant gratification, the reality is that not every student needs a hug.
(Find tips and best practices in career counseling and coaching on NACEWeb.)
So, is your staff able to shift gears based on students' needs? Are we acknowledging the difference between counseling and coaching and then adjusting our services accordingly? Or, have we made hour long appointments our standard? These longer appointments are great when a student has career concerns that require in-depth attention but in other cases, students just need quick and specific advice. Answer the poll and comment below; let us know your opinion on appointment duration and the need for a change of pace in career services!


text:
Advanced Search
Letters to Redmond
This month, readers weigh in on Vista, life as an IT consultant and the magic of the Unix "file" command.
I agree that the nomads make the most money. [It's important to] bill by the
hour; we also sell blocks of time at a discount to regular customers and --
last but best -- we sell monthly service contracts that include remote support
(preventive maintenance). You have to keep your eye on the billable hours or
you won't be in business very long.
John Eberhardt
Germantown, Wis.
Vista: Too Much, Too Late?
[In regard to Mary Jo's column ("Vista:
5 Reasons to Deploy, 5 to Delay," November 2006)], the trend of Microsoft
reducing compatibility between its operating systems will be its undoing. The
cost and licensing nightmares of Windows have become more of a fiasco for administrators
as anti-piracy becomes more of an added obstacle to deal with in daily operation.
We don't use XP as it wasn't worth a change from 2000. Vista won't be employed
as it currently stands; it has too much fluff and many things will require disabling
to provide the configurations we use. I'd suggest Microsoft lean toward a business
operating system instead of bloated resource hogs like XP and Vista. I'd also
suggest Microsoft look into enlisting security professionals from third parties
to help them. The fact that XP Professional installs by default with a user
account that's an admin for the system and that has no assigned password should
tell you something. The defaults also show lack of security basics.
All of these [factors] would contribute to some users migrating to a Linux-based
network. SuSE Linux comes to mind: With its GUI desktop (similar to Windows'),
re-training would be minor for end users. Training administrators would be cheaper
than deploying Microsoft operating systems.
All things considered, we've deployed some Linux boxes for file servers and
Web presence. The internal network remains Windows 2000/2003 with no reason
or plans to change.
On a positive note, Windows 2000/ 2003 work very well and third-party apps
have both provided security and made management easier.
Greg Beer
Cary, N.C.
[After reading Doug Barney's Redmond Report Newsletter, "Vista's
Low-Key Launch," Dec. 04, 2006], it amazes me that Microsoft didn't
introduce consumer Vista first. I believe it made a major blunder here. It doesn't
have to advertise the product -- all Microsoft needs to do is release it and
the consumers will stand in line. Secondly, Redmond missed the Christmas season.
Here's the real reason the company did this: It isn't ready either technically
or manufacturing-wise. Look for Vista Service Pack 1 in January '07. What a
way to run a company!
Mike McCullough
Mt. Carmel, Ill.
Unix Works Magic
I was reading Greg Shields' Windows
Insider column in the October issue of Redmond, and found the File
Storage Resource Manager (FSRM) tool to be pretty interesting. I particularly
liked FSRM's ability to scan for duplicate files -- I've yet to find a tool
that does this to my satisfaction, and it looks like FSRM might well fill that
bill for my Windows machines. The part of the article about how Windows still
relies on file-name extensions to identify file types got me thinking: I'm amazed
that, to this day, Microsoft has yet to discover the beauty of all file types
that the Unix "file" command has exploited for decades.
If Shields doesn't already know, the "file" command in Unix identifies
file types based on their content, not their name or extension. It does this
by checking for a "magic string" within the file. Nearly all file
types contain a sort of signature: a sequence of bytes unique to that file type
that can then be cross-referenced with a list of known signatures. For any given
file type, this signature is usually at the start of the file -- just a few
bytes is enough to positively identify the majority of file types out there,
so it's not a big deal to implement, performance-wise.
If Microsoft used something like this ages ago in Windows, file-name extensions
and the quirks that go with them would be a thing of the past, as they have
been for most other operating systems since their respective inceptions.
Dave "Dragon" Michaels
Aurora, Colo.
About the Author
This page is compiled by the editors of Redmond magazine from your letters. Write to us at firstname.lastname@example.com and if your letter is printed in the magazine, you'll be entered into a drawing for a free Redmond T-shirt.
Brien comes across a handy, but imperfect, feature in Outlook that lets you annotate specific e-mails. Its provenance is something of a mystery, though.
Microsoft on Wednesday once more resumed its general rollout of the Windows 10 version 1809 upgrade, also known as the "October 2018 Update."
Microsoft gave assurances this week that organizations adopting Windows 10 likely won't face application compatibility issues.
Microsoft plans to alter some of the tenant-level blocking capabilities that may have been set up by organizations and deliver its so-called "modern" user interface (UI) to Lists and Libraries for SharePoint Online users, starting in April.
More Tech Library
Sign up for our newsletter.
I agree to this site's Privacy Policy.
More Webcasts


text:
You don't need to love museum, you just need to go there.
- 32 Posts
I called this, a little research with a great conclusion; "You don't need to love museums, you just need to go there"
I'm living in Jakarta, the capital city of Indonesia (http://en.wikipedia.org/wiki/Jakarta) . The perfect delineation of big city with many people, rush and central of entertaiment. That's why people prefer to spend their holiday or weekend in a big mall or other entertainment places. But actually, Jakarta also has so many incredible museums with the beautiful view. Unfortunately the existence of a museum with so many knowledge inside it, sometimes be unattractive when compared with the existence of entertainment places that offer a lot of excitement. To find out how much people's interest in a museum, I decided to do a little research and met several groups of people who lives in Jakarta, especially the teenager.
The first day of my little research was so good to remember. I went to "Museum Nasional" at Central Jakarta (http://en.wikipedia.org/wiki/National_Museum_of_Indonesia) and I met 3 students of No. 97 Senior High School; Sheilla, Dian and Candra. They explained everything to me with a very excited face and sparkling eyes. They said that, spending time together with friends in the museum is a really good thing. Besides in addition to get lots of knowledge, to recall and adore the history they also don't need to spend a lot of money. They also said that sometimes the entertainment places like the mall is really cool for them. But since they realized that they wouldn't get any knowledge in there, the museum is always in the first place for them. From our conversation, it was very obvious that they prefer to hang out in the museums and they absolutely love it.
The second day, I went to "Museum Bank Indonesia" (http://www.bi.go.id/web/en/Tentang+BI/Museum/) and I met the group of kids. I took their picture and asked them about their feeling when visiting the museum. They answered me with their cute face and smile. "I love museums, I love the view, I love going here with my friends and I love the sculptures" almost every kid gave me those answers. Their answer is really simple and clearly showing their feelings.
The last day, I went to the Cilandak Town Square (https://foursquare.com/v/cilandak-town-square/4b6bbb92f964a520ff162ce3) and I met 3 young girls; Amelia, Dara and Fransiska. I asked them about their interest toward museums. Amelia explained it briefly, she said "I don't like museum because history is not my concern. I really positive about the future". The second girl is Dara, she told me that her dad is a lecture and her family loves to go to the museum but for her, nothing's interesting in there. "I don't even understand why they always show us the sculptures and statues. That's really boring ha-ha" said Dara and the last girl is Fransiska. Not much different with her friends' confessions, she's prefer to hang out in the mall or cafe than in the museum but she said the museum is a great place to visit. Something that makes me really interest with them is, they told me about the advantages of visiting the museums even they didn't love to go there.
Here's the advantages of visiting the museums for them:
1. It's really good to appreciate the history even when you didn't like it. You should remember, without the history there is no present, and without present there is no future. So, we have the responsibility to make a good history.
2.The museum is a bank of knowledge, you can't deny it. Not only the history to admire, the museum and the story inside it can be the source of our inspiration. We can learn how making the great decision in a hard time, we can learn how to face the world together, how to face and solve a conflict and the best is, learn from the past, learn from the experience.
Their answer is really awesome. It is explained everything that they feel when they visiting museums and their experience make me believe that actually, people don't need to love museums, just go there and grab the advantages. Because when you've gotten the advantages of visiting museums, automatically, the purpose of the existence of a museum has been reached. The museum is giving knowledge and experience through history. And it is enough to show that visiting museums are a good and precious thing. So, you don't need to think twice to go to the museum and you don't even need to love it, just go there and get the thrill.
You can go to this link to know the benefits of visiting a museum (http://colleendilen.com/2009/07/31/10-reasons-to-visit-a-museum/)


text:
Angelina Jolie: Back to Work on 'Unbroken' After Family Weekend!
Angelina Jolie calls out a direction while on the set of her upcoming film Unbroken on Monday (December 9) in Sydney, Australia.
The 38-year-old actress is back to work after spending the weekend with her very lovely children!
PHOTOS: Check out the latest pics of Angelina Jolie
The day before, Angelina took all of her kids – Maddox, 12, Pax, 10, Zahara, 8, Shiloh, 7, Knox, 5, and Vivienne, 5 – to see a showing of The Lion King.
Earlier in the weekend, Angelina spent some time with her four youngest at a book store.
20+ pictures inside of Angelina Jolie getting back to work on the set of Unbroken…


text:
Campus Map & Parking
Visitors, please review the campus map below. Each blue marker contains info on each building. You will also find parking information below. Please contact the admissions office if you have any questions at all.
Parking Information
Finding a place to park on a college campus is notoriously difficult. We want to make it as easy as possible for you. We offer visitor parking at the front of campus just off of N. Glenstone Ave. To find specific parking lots and locate visitor parking, please use the map below.


text:
Join me every week for Win-It Wednesday, with 24-hour giveaways just for you!
Have you had a chance to check out the 7 Meals for $7 menu at IHOP yet?. If not, I've got an awesome IHOP giveaway lined up for you. Today TEN (10) lucky Deal Seeking Mom readers will win a $25 IHOP Gift Card!
With their new 7 for $7 Menu and reasonably priced kids' meals, everyone can get their fill without straining their budget! To enter, just tell me which 7 for $7 meal offering you're most excited about trying.
Every reader has four methods available to enter this contest. Choose one each of any combination of method one, two, three, or four for up to a total of 4 entries!!!
If you are reading this in your email or feed reader, please CLICK HERE to visit the original blog post to enter. Email entries will not be counted.
Methods of entry:
1. Leave a comment. Share your which $7 menu item you want to try first!
2. Join the IHOP Community and the Deal Seeking Mom community on Facebook for more conversation, additional deals and a peek at the freebies I receive in the mail each week. Come back and leave a separate comment letting me know you've done so!
3. Follow @IHOP and @DealSeekingMom on Twitter and tweet the following. Be sure to come back and leave a separate comment with the link to your tweet!
Enter to win 1 of 10 @IHOP $25 gift cards on @DealSeekingMom: https://dealseekingmom.com/?p=120329
4. Subscribe to my feed via RSS or email. You must confirm your email subscription for it to be a valid entry! Leave a separate comment letting me know you have done so. If you're already a subscriber, simply leave a separate comment letting me know you're already subscribed. Lovin' my subscribers! You guys make this all possible.
10 IHOP $25 Gift Cards
This giveaway ends at 2:00 PM on Thursday, March 29, 2012 and is open to all U.S. residents 18 years or older. I'll use And the Winner Is to select the winning comment. Winner will be notified by email and listed on my Giveaway Winners page. Winners must respond within 48 hours of notification to claim their prize. Good luck!
While you're in a contest entering mood, don't forget to check out the Giveaway Gathering for a variety of contests being hosted on Deal Seeking Mom readers' blogs!


text:
OpenXava 4.2.2 released
OpenXava 5.6 released
November 2, 2016
In OpenXava 5.6 the list remembers filters and ordering done by user to be re-executed choosing from a combo, you can rename the filter/ordering configurations produced. With this you no longer need 'My reports' action, so we have removed it. Also this v5.6 includes the new stereotypes DISCUSSION and SIMPLE_HTML_TEXT, partial select in baseCondition of @Tab, and many more things.
We invite you to download it and upgrade your OpenXava applications. Look at the migration instructions.
List remembers filters and ordering
When the user does any filtering or ordering a new entry is added to a combo on top of the list:
Note that you can change the name of the filtering. Moreover, the columns configuration (that is if you add, remove or change the order of the columns) is remembered too. That is you can give a name to a filtering, ordering and column configuration, to restore it just with two clicks. These list configurations are stored by user.
Don't resign yourself with the above screenshot, try yourself this feature with the live demo.
'My reports' removed
My reports action si no longer available by default:
We have removed it because now practically all the features of My reports are available directly in the list, so we removed it as duplicated. Anyways, if your users do not like the direct manipulation paradigm but rather they still prefer to use cumbersome dialogs and wizards you can return to life My reports using the TypicalExtendedPrint controller instead of Typical, for example:
<controller name="Customer"> <!-- <extends controller="Typical"/> --> <!-- Remove this... --> <extends controller="TypicalExtendedPrint"/> <!-- ...and add this --> ... </controller>
DISCUSSION and SIMPLE_HTML_TEXT
Recently we have moved from color to monochrome. We did it for most of the user interface, but HTML_TEXT still was using colorful icons. To solve it we have upgraded to the latest CKEditor version and adapted it to be consistent with the rest of the user interface. By the way, we have create two new stereotypes based in CKEditor. The first is SIMPLE_HTML_TEXT:
That is, the classic HTML_TEXT editor but with less buttons. We also have a completely new stereotype, DISCUSSION. To use it just annotate a String property with the stereotype, thus:
@Stereotype("DISCUSSION") @Column(length=32) private String discussion;
And you'll get a complete discussion thread associated to your entity:
This allows you not just to create applications such as forums, blogs or trackers with OpenXava, but also adding some social flavor to your traditional business application.
Partial condition in baseCondition @Tab
Until now you had two options for baseCondition: putting the condition to put after the WHERE or writing the complete SELECT. The complete SELECT does not work very fine with user columns customizations and the condition after WHERE is very limiting. Since v5.6 you have a third option that is to write the JPQL sentence from the FROM clause. To do it just start the baseCondition from FROM, in this way:
@Tab(name="FromAlaska", baseCondition="from Customer e, in (e.states) s where s.id = 'AK'")
In this case states a @ManyToMany collection in Customer, and we select the customers with Alaska in any of their states.
Also available for base-condition of XML components.
Other improvements
We have done a lot of improvements in other areas:
- CKEditor look & feel adapted to NaviOX and Liferay 6.1 look & feels.
- CKEditor upgraded to 4.5.9.
- New indexExt.jsp in naviox/web to add elements to the main HTML page that wraps the application.
- The combination XML components + JPA persistence no longer supported.
- Main window is not refreshed when generating a SimpleHTMLReport.
- New helpAvailable property in xava.properties to enable/disable the help icon in modules.
- Eclipse workspace in distribution upgraded to Eclipse Neon, though it still works with all 4.x versions.
- MetaController.containsMetaAction() receives a not qualified action name as argument.
- New method validateViewValues() in ViewBaseAction.
- New WithRequiredLongName class for using as generic transient class for dialogs.
- New method move() in XArrays utility class.
- New booleanWithSuffixEditor.jsp editor that allows put a suffix label after the field checkbox.
- Some new common use labels to be used in applications.
- New toString(Object [] array) method in Strings utility class.
- ModuleTestBase.setLocale() no longer reset the module.
- New methods selectListConfiguration(), assertListSelectedConfiguration() and assertListAllConfigurations() in ModuleTestBase.
- New method clearCondition() in ModuleTestBase to simulate clicking on the clear list condition button.
- New method anyEqual() in Is utility class.
- New method naturalLabelToIdentifier() in Strings utility class.
- New methods assertDiscussionCommentText(), assertDiscussionCommentsCount() and postDiscussionComment() in ModuleTestBase.
- IExplicitModifyPersistenceProvider to define persistence providers that needs an explicit command to modify data.
- New property connectionRefinerClass in xava.properties for defining an IConnectionRefiner to refine JDBC connections.
- Each component type has its own IPersistenceProvider, there is no longer a unique IPersistenceProvider for the whole application.
- Properties jpaCodeInPOJOs and persistenceProviderClass in xava.properties no longer have effect.
- Methods isEJB2Persistence(), isJPAPersistence(), isJPACodeInPOJOs() and getPersistenceProviderClass() removed from XavaPreferences.
- Pluggable component parser by means of IComponentParser implementations declared in xava.properties.
- Improvements for English, German and French translations of labels and messages.
- New property smtpStartTLSEnable in xava.properties to configure the behavior of Emails.
- Servlet mapping to generate custom Excel files included by default in web.xml.
Bug fixes
Though this is not a maintenance version we have done some fixes:
- Fix: Labels.getQualified(String id) does not return the qualified label.
- Fix: Changes in custom.css lost when upgrading OpenXava version.
- Fix: On hover style for default action button does not work.
- Fix: Schema tool does not add schema for CREATE INDEX sentences.
- Fix: The order of subcontrollers in the user interface is not the declared one in controllers.xml.
- Fix: In a module with 'ListOnly' or 'Void' for mode-controller with subcontrollers but no actions, the subcontrollers are not displayed.