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New Works
Day 100 – CNF by Lizzie Olesker w/Art by Robert Frede Kenter
James Knight – CELLS 2 & 7 (Visual Poems)
Two Poems – Tom Burgess
Two Poems – Imogen Forster
Two Micro Poems – Shira Dentz
A Poem by David Hay
Three Visual Poems – Brian J. Alvarado
2021.06, 2022.01, 2022.05 – Bradley J. Fest
Rain God – A Prose Poem by Frances Klein w/a Painting by Cathy Daley
Three Prose Poems & Art – Nikki Reimer
Vilomah – Poem & Voice by Fatihah Quadri Eniola
Self Isolation: 3, 6 & 10 – Three Found Prose Poems – Mike Ferguson
Two Poems by Abdulrazaq salihu
Four Visual Poems by Laszlo Aranyi (Frater Azmon)
Three Poems – Joan Michelson
A Whisper From Inside the Box – Prose and Voice by Colin Dardis
Two Poems – Luis Cuauhtémoc Berriozábal
Three Haiga – Jerome Berglund
Arden Hunter – SEVEN PIECES (made during the pandemic)
excerpts from SCARLET – Digital Glitch Poetry by Francesco Levato
Three Prose Poems by Howie Good Art by Sonia Murray
A Prose Poem by Lamia Hamdan
Barbie Coroner – A Sonnet with Image by Kristin Garth
25 Seconds with Covid – A Glitch Film & 7 Images by Maggs Vibo
from The Lockdown Elegies – Poems by Monty Reid
Three Poems by Ronna Bloom
Two Poems w/voicings by Catrice Greer and w/images by Robert Frede Kenter
Anchored (for my mother Diane) and Day Residue – A Poem/Photo Hybrid by Lynne Sachs
Two Poems by Anna Saunders
Two Works: A Poem and A Collage – Marvyne Jenoff
Pandemic Paintings – Works by Cathy Daley (2020-2021)
A Poem By Peach Delphine
Two Poems – David L. O' Nan
Counter-Narrative Against Hindutva Terror: A ghazalesque
– Nabina Das
Two Poems – Geraldine Clarkson
Two Poems – Clair Tierney
Two Poems – Agunbiade Kehinde
Two Poems by Chelsea Dingman
Skin – A Video by Julie Easley
An old quarantine – A Poem by Suchi Govindarajan
Three Poems by Twila Newey
fold/ – A Visual Poem by K. Eltinaé
Dwelling – A Poem by Marcelle Newbold
One – A Poem by Andres Rojas
A Love Letter to Me – A VISPO by Maggs Vibo
Two Poems by Bola Opaleke
Three Poems by Catherine Graham
Loss – A Poem and Drawings by Moira J. Saucer
Excerpts from Pandemic Party – Moira J. Saucer
Two Poems by Kari Flickinger w/ Four Art Works by M.S. Evans
Two Prose Poems by Hasan Namir
Seven Poems from New Disease Streets by David L O'Nan w/a Digital Collage by Robert Frede Kenter
Two Poems: Loop Year, Postmarked, "Plague" and an Image by Kushal Poddar
When Aurelia-Noa Learned to Sing — Two Poems by Kushal Poddar
Kushal Poddar – The Traffic of the Demised. Five Poems Five Images
Kushal Poddar – Quarantine Diaries (Part One – The First 31 Days in Lockdown)
Kushal Poddar's Quarantine Diaries: Day Thirty-Two to Day Thirty-Six: The Birth of Aurelia-Noa
Three Poems by Fizza Abbas
Pandemic Politics – Poems and Images by M.S. Evans
Trailer Poems and Photographs from RV Parks and Politics – Constance Bacchus
Burnt Terrains – A Poem Suite by Onan Wright with Digital Collages by Upfromsumdirt
Born in a Pandemic- A Digital Chapbook by Eliot North
Three Poems – Peach Delphine
Impressions, Dreams, Prayers, Dread & Blessings – A Pandemic Compendium
New International Voices – An Ice Floe Press Series
Liberia – A Poem by Ayouba Toure
Oddballs – A Poem by Hassan A. Usman (Billiospeaks) w/ Love, A Visual Poem by Sonia Murray
A Poem by Chinedu Gospel
The rape corridor where everybody knows your name – Prose by Barbara Genova
Two Poems by David Solomon, Two Images by Josie Vie
Counting alphabets of ash at home – a poem by Amina Akinola
A Poem by Abdulrazaq Salihu
a poem by Shitta Faruq Adémólá
Two Poems by Philip Chijioke Abonyi
The Man Who Could See the Future – Prose by Solomon Timothy Hamza
Two Poems by Haneefah Bello
2 Poems – Stephen Oladayo Oladokun
Displacement – A Poem by Abioye Samuel Akorede
On transit, I keep turning at the mention of a double dozen names because – A Poem by Muiz Opeyemi Ajayi
Two Poems by Ariyo Ahmad
His Turn – A Flash Fiction by Alimatu Azungah
every poet writes in my country to stay happy – a poem by Eniola Abdulroqeeb Arówólò
Bio: "I Always Knew?"- A Poem by Purvomaya Aleksandrova
Understanding leukemia – A Prose Poem by Ayobami Kayode
Be Free – Flash Fiction by Ubong Johnson
what i remember of my father – a poem by Olaewe David Opeyemi
Two Poems by Blessing Omeiza Ojo
Burrows – A Poem by Abdulkareem Abdulkareem
The meaningless life of a poem – Osahon Oka
Preacher Man Knows My Name – A Poem by Bryan Obinna Joseph Okwesili
Two Poems by Zaynab Bobi
Change Your Style – CNF by lanaire aderemi
"(Not) Enough" – A Poem by Busamoya Phodiso Modirwa
musings before a wake – A Poem by Michael Emmanuel
A Poem by Ayomide Micheal Bayowa
Two Poems by Tares Oburumu
Two Poems – Muiz Opeyemi Ajayi
Two Poems by Olumide Manuel
in a starless sky / i find memories out of a cancerous moon – A prose poem by Sodiq Oyekanmi
A Race I Have Yet to Finish – A Poem by Omodero David Oghenekaro. Art by Josie Vie.
Three Poems – Ifenaike Michael Ayomipo. Art – Josie Vie.
Three Poems by Abdulkareem Abdulkareem
Two Poems -Ayomide Festus
SURVIVAL FROM THE RUINS OF ASHES – A Prose Poem by Ariyo Ahmad
Three Poems – Rose Knapp
For the Foreign Friend Who Asked Me Why Africans Write Sad Poems – A Poem by Idowu Odeyemi
Four Works by Danielle P. Williams
Shaping Grief – A Prose Poem by Olabisi Abiodun Akinwale
A Poem After Lana Del Rey's Cinnamon Girl – A Poem by Adeola Juwon
Two Poems by Ogunkoya Samuel
Brown Paper – A Poem by Sadiq Abdulsalam Adeiza
Two Poems by Taiwo Hassan
ambivalent wonder – A Hybrid by David Agyei-Yeboah
Nostalgia – A Poem By Ọbáfẹ́mi Thanni
Owele – CNF by Sihle Ntuli
Supplication In A Large Body Of Water – A Poem by Agunbiade Kehinde
An Approach to Helping Build a Modern-day Nigerian Poetry Anthology – An Essay by Michael Akuchie
a failed attempt at undoing memories – A Poem by Dare Tunmise
On Processing Grief: A Review of Nome Patrick's "The Body Walks Through Grief Towards God" – A Review Essay by Adedayo Agarau w/ A Digital Collage by Robert Frede Kenter
survive if you can, die if you must – A Poem by Ugwu Erochukwu Shedrach
Afterschool Special – A Prose Poem by Charley Flyte
Purple Ode to Madness, Love and Grief – An Essay by Ernest Ògúnyẹmí
Grief, here is a song – Shitta Faruq Adémólá
Knowing: The Cursed Blessing of Being a Poet – (A Meditation) by Ernest O. Ògúnyẹmí
So Long, Marianne, and Good Riddance: Bitter, Biased Thoughts on Art, Romance and Portrait of a Lady on Fire – An Essay by Kaye Nash
The Fabrication of Presence by Mofiyinfoluwa Okupe
Contentment by Busamoya Phodiso Modirwa
Nothing but a history of anatomy – A Poem by Kei Vough Korede
Today I will write a poem and name it after your beads – an essay/poem by Henneh Kyereh Kwaku
Navigating Anhedonia and There's No Methodology to Grieving – Two CNF by Jerry Chiemeke
Modern African Poetics: A Study of the Use of Ifa Corpus in Kolawole Samuel Adebayo's Poems – An Essay by O-Jeremiah Agbaakin
Broda – A Poem by Omodero David Oghenekaro
WHAT WORK/WORLD OF WORK/WORK AND THE ANTHROPOCENE – An Ice Floe Project
Seven Work Poems – Ernie Brill. Art – Robert Frede Kenter
Three Poems – Eva Lewis
Two Tales from Manhattan – Steve Turtell
displaced – a video poem collaboration by Sarah-Jane Crowson w/music by Jesse Anger
Rattlesnakes – A Story by David L. O'Nan
Two Poems – Geraldine Clarkson
Five Poems by James Diaz
Five Poems – Si Griffiths, Art – Robert Frede Kenter.
My Ex-Coworker's Obsession With Oreos, Online Dating, Photoshop, Blocking, Christianity, and Toilet Paper – A Hybrid by Charles March III
Weight, Loss – A Poem by Gaynor Kane
Three Poems – Eric Weil
Labor Shortage – A Poem by D. L. Lang
A Woman's Work – A Poem by Kathleen Herrmann
The Night Step – CNF by Matthew M C Smith
The stuff of dreams 1970 – A Poem by Kathryn Southworth
Order a Coke in Baton Rouge – A Poem by Lynne Jensen Lampe
After Birth – A Poem by Emma Filtness
Five Poems – Rose Knapp
'Paris enchanted me…' – A Poem by Sharon Philips
Two Poems – ROGER HARE
(from) Becoming Honeycomb Mesh – A Poem by Anindita Sengupta
Smells – A Poem by Annie Ellis
A Poem by Sue Chenette. Art by Cathy Daley
Mother Earth Died Long Ago – A Poem by Prosper Ifeanyi
A Poem & A Poster-Art Work by Neha Misra
Full-time Leg – A Hybrid by Kate Dowling
Three Poems – Danny P. Barbare
The Woodward Bus Poem – James Schwartz
Touch, Stones – A Poem by Lauren Scharhag. Art – Cathy Daley.
Three Poems – Chiwenite Onyekwelu
Five Poems, A Photo & Two Videos — Barnaby Ashton-Bullock. Three Art Works — Cathy Daley
40+ years of work: A reflection – Spangle McQueen
Two Poems – Hilary Otto
Gwenllian on a Payfreeze – A Sonnet by Sam Egelstaff
Two Poems — Anna Chorlton
Two Poems – Jude Marr
from Hold On: A Novel in Six Stories of a Six-Story Building – Emily Rubin
Two Poems – Tonya Lailey
Metal Town – Tim Evans w/ Art – M.S. Evans
Stephanie C. Smith: 'A Xerox Machine Took a Bullet Once' & 'Plan A' w/ 2 Collage Works by Sonia Murray
A Poem by Norbert Góra
Two Poems – Stuart McPherson
Three Poems – Kerry Darbishire
Two Poems – Ivor Daniel
Grass – A Poem Suite by Ronald Tobey
A Poem – Jared Beloff
Two Poems – Julie Stevens
Two Poems – Violeta Orozco
A Visual Work Poem by Maggs Vibo
Three Poems and A Drawing – Sam Strathman
Two Poems – Dee Allen / A Collage – James Diaz
from 'conjure' – a work-in-progress by Kate Siklosi (on process & completed work)
Seven days – A Ballad Poem by Julie Easley & Three Words – A Linocut by M.S. Evans
3 Poems and 4 Images – Constance Bacchus
A Brief Career, Redacted and Erased – Anonymous & Anonymous
ARE YOU A GOOD CHILD? – A Poem by Salami Alimot Temitope
Two Poems by Beth Brooke w/Art by Sonia Murray
Poems, Image and Voice: Rawley Grau
Stint To A Subway – A Poem by Sunday T. Saheed
GREENLIGHT – Prose by Matthew Walsh
Four Poems by Karol Nielsen
Leg Work – A Visual Poem by Sacha Archer
Panegyric: the work of trees – A Poem by Gayle J. Greenlea
the Invention of me – A Poem by Sloane Angelou
Man of Few Words – A Poem by Jenny Mitchell
Imagination – A Video Poem w/ text version by Dane Ince
urban drift – a poem by Sarah Dawson
Three Poems & Three Paintings – Henry L. Jones
CASSANDRA/CHORALE – A Subterraean Chatter Project
Lycoris Radiata – A Short Story by hiromi suzuki
Two Poems and Spoken Word – Lesley Curwen
Three Poems – Bisola Bada. Art – Oladosu Michael Emerald
Sir Gareth's Wandering Eyelids: Sound & Text – Mark Goodwin
Three Poems & Spoken Word – Michael Trocchia
Three Poems, An Image, Two Voicings – Susan Haldane
Medusa Browses the Beauty Aisle – Lauren Scharhag
ARRANGED WOMEN – A Collaboration Texts: Amantine Brodeur / Art: Davor Rapaić
Poems and Images: A Hybrid Sequence – Russell Carisse
Three Visual Poems – Arden Hunter
A Suite: 2 Poems, 3 Visual Poems – Louise Mather
Hitchcock's Birds – A Story by Mehreen Ahmed
The woman who stared at the sun. A story-poem with voice by Anuradha Vijayakrishnan
Three Hybrid Poems – L. Kiew
Five Poems and A Sound Recording by Joseph Fasano w/art by Robert Frede Kenter
Laura Kerr – The Fisherman and His Wife
SHOOT THE MOON (for Sue Finch) – A Hybrid Collaboration by Robert Frede Kenter w/a Night Club Reading by Sue Finch and Kath Andrews
DIDO & AENEAS – Concrete Poetry by Rawley Grau
The Tie-dyed Angel Sings Her Bruise – A Long Poem w/Images by Jaclyn Piudik
5 Poems & Music – A Rose Knapp Project with Art by Robert Frede Kenter
Subterranean Chatter – A Series of Experiments
circle games – a visual poem by lanaire aderemi
A Mother of Poetry – An Elegy by Suzi X
Centos after Robin Blaser – Jaclyn Piudik, Sue Chenette, Maureen Hynes and Steven Carter and a VISPO by Robert Frede Kenter
Loss +
a review of Zoe Imani Sharpe's Loss + by Khashayar Mohammadi
On 'As A Child' by Stevie Howell – em/ilie kneifel
A poetic review of Ashley Hynd's "as seen by the broken heart" from Entropy (Gap Riot Press, 2020)
– Ellen Chang-Richardson
Ice Floe Press Store
Talk Smack to a Hurricane – Lynne Jensen Lampe
Pandemic Love and other Affinities – An Ice Floe Press Anthology
the adventures of char vol. #1 – Whiskey Radish
Postmarked – Quarantine – A Book of Poems by Kushal Poddar
Kyla Houbolt's Dawn's Fool
Kyla Houbolt Reads from Dawn's Fool
Miggy Angel's Boy, Bestiary
Bola Opeleke's Skeleton Of A Ruined Song
Robert Frede Kenter's Audacity of Form
Open Call – Pandemic Love, An Anthology – NOW CLOSED
Open Submission Call for Mother / Service / Voice – An Ice Floe New Works Project Developed by Jenny Mitchell & Guest Edited by Jakky Bankong-Obi
June 5, 2023
Four Poems – Tim Moder
May 1, 2023
May 1, 2023
Two Eco-Poems with Spoken Word by JP Seabright. Art by Moira J. Saucer
April 10, 2023
Two Poems – Sam Egelstaff
April 3, 2023
Seven Visual Poems – Matthew Klane
March 27, 2023
Tape Hiss Penumbra – Nathan Anderson
March 13, 2023
Before bleeding a sea brokenness – a poem by wisdom adediji
March 6, 2023
ORBITS – A Hybrid Poem by M.P. Pratheesh
February 20, 2023
Four Poems – Susan Haldane
February 7, 2023
February 7, 2023
Religion – A Poem w/voice by Tom Lagasse. Art by Josie Vie.
January 30, 2023
Zwischen II and Zwischen III – Amaleena Damlé
January 23, 2023
Sinners in the Hands of an Angry Planet – A Poem & Voice by Jude Marr
January 2, 2023
January 2, 2023
Five Poems / Five VISPO – A Collaboration by Samuel Strathman and Michael Orr
November 22, 2022
Four Poems – Gerry Stewart
November 14, 2022
Three Poems – Joseph Fasano
October 24, 2022
Writing by
Mykyta Ryzhykh
December 7, 2020
1 Comment
on Poem for a Russian Grandmother in Exile by Robert Frede Kenter w/ A Painting by Moira J. Saucer
Poem for a Russian Grandmother in Exile by Robert Frede Kenter w/ A Painting by Moira J. Saucer
December 3, 2020
Two Poems by Tryphena Yeboah w/an image by Robynne Limoges
December 1, 2020
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on I Am Care – A Poem by Linnet Macintyre w/ a painting by M.S. Evans
I Am Care – A Poem by Linnet Macintyre w/ a painting by M.S. Evans
November 25, 2020
Factory Floor – a poem by Emma Filtness with a mixed-media collage by M.S. Evans
November 12, 2020
your daughter is in the cup – A Prose Poem by Bobbi Lurie w/ an image by Robynne Limoges
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text:
Saint Helena Island, South Carolina
June 22, 2013
The Gullah/Geechee people, descendants of enslaved Africans captured in Angola and other parts of the Western Seaboard of Africa who now stretch from Jacksonville, North Carolina to Jacksonville, Florida, do not have a word for "adaptation" or "resiliency" in their Creole language. And yet, as Queen Quet, the elected head-of-state for the Gullah/Geechee, explains in the (unedited) clip above, the Gullah/Geechee are an incredibly resilient people: they maintained their culture through slavery and today continue traditional farming practices on family compounds.
"What we understand, or overstand as I like to say—that's what others call adapting," Queen Quet said. "We call it living."

subset: commoncrawl


text:
A Lilly Drug Logs Success and Risks in Heart Trial
ORLANDO, Fla., Nov. 4 — An experimental anticlotting drug from Eli Lilly reduced heart attacks in patients with heart disease by 24 percent compared with Plavix, the current standard treatment, according to a report released Sunday in The New England Journal of Medicine.
The experimental treatment also increased the risk of severe bleeding compared with Plavix, and quadrupled the risk of fatal bleeding, though the risk was still relatively small.
Still, Lilly and Daiichi Sankyo, the drug's co-developer, said they were pleased with the trial results. They noted that patients taking prasugrel, the new drug, reduced their overall cardiovascular risk by 13 percent even given the extra bleeding.
The companies said they planned to apply as early as the end of 2007 to the Food and Drug Administration for approval. If the F.D.A. approves the drug, it could be on the market by the end of 2008.
Both Plavix — the world's second-best selling drug after Lipitor — and prasugrel work in the same way, by preventing platelets in the blood from forming clots. But prasugrel is more potent, according to the results of the trial, which involved 13,000 patients who had heart disease and were receiving angioplasty.
The trial's results are promising and could clear the way for prasugrel to gain regulatory approval, according to Dr. Steven Nissen, the chairman of cardiovascular medicine at the Cleveland Clinic, who said he had been a consultant to Lilly on other drugs but not on prasugrel.
"There is a safety price to be paid," Dr. Nissen said, "but I think for the majority of our patients, the benefits look like they're going to exceed the increased risk."
But Dr. Tim Anderson, a former emergency room doctor who is now a drug industry analyst for Sanford C. Bernstein & Company, said he thought that regulators and doctors would be skeptical of prasugrel.
"Prasugrel might get approved, but I see it as more of a niche-type product," he said. "Better efficacy and higher bleeding, including fatal bleeding — it's a question mark, a serious question mark, both regulatory and commercial."
If prasugrel is approved, worldwide sales may reach about $1.6 billion a year by 2012, Dr. Anderson said. Lilly's share of that would be about $800 million, which would represent about 5 percent of the company's annual sales. With or without prasugrel, Lilly's near-term drug pipeline is relatively weak, although the company recently reported positive trial results from a long-acting version of Byetta, its injectable diabetes treatment.
Lilly and Daiichi Sankyo also said Sunday that they will begin a new clinical trial for prasugrel next year. The trial will compare prasugrel and Plavix in 10,000 patients who have heart disease but are not receiving angioplasty.
Before the report in The New England Journal, some industry analysts and scientists had anticipated that prasugrel would fail the trial, in part because Lilly halted two other small trials of the drug last month with only a vague explanation.
The journal released the results to coincide with a presentation at a conference of the American Heart Association, which began here on Sunday.
Like Plavix, which has annual sales of $7 billion, prasugrel blocks the ability of platelets in the blood to form clumps that can cause heart attacks. But that benefit comes with a side effect. Both drugs can also increase the risk of bleeding, causing problems from nosebleeds to fatal strokes.
The trial showed that younger, healthier patients seemed to benefit most from prasugrel. Older and sicker patients were more likely to have severe bleeding while taking the drug.
Because there was a clear split between the two groups, doctors will have a relatively good idea of which patients should receive prasugrel, Dr. Nissen said.
"You can't give this drug to older, frail individuals, and you shouldn't," he said.
In an editorial in the journal accompanying the findings, Dr. Deepak L. Bhatt wrote that "in carefully selected patients, prasugrel may be an advance in the treatment of patients with acute coronary syndrome."
But Lilly and Sankyo have known for years that prasugrel faces commercial hurdles, because Plavix will lose patent protection in the United States as early as 2011 and in most of Europe by 2013. That would open the door to low-price generic versions of Plavix, and make sales potentially more difficult for the Lilly-Sankyo drug. Insurers and patients are increasingly resisting new and expensive drugs unless they show meaningful health advantages over generics.
As a result, Lilly set a high bar in the trial's design, trying to prove that prasugrel could reduce cardiac deaths, heart attacks and strokes compared with Plavix. And prasugrel succeeded.
Patients who received it had a 10 percent chance of having one of those problems, compared with a 12 percent chance if they received Plavix — a risk reduction of 19 percent, the study said. That difference was statistically significant, meaning it was not due to chance but to a real difference between the drugs.
For heart attacks alone, the difference was even greater, with prasugrel patients 24 percent less likely to suffer a heart attack. Over all, patients taking prasugrel had 138 fewer cardiac problems than those on Plavix.
But patients also had a 2.4 percent chance of having a major bleeding episode on prasugrel, compared with 1.8 percent chance on Plavix —a 32 percent difference against prasugrel. And they had a 0.4 percent chance of suffering fatal bleeding on prasugrel, compared with a 0.1 percent chance on Plavix. Over all, 35 additional patients taking prasugrel suffered from severe bleeding compared with those taking Plavix.
Looking at patients' deaths alone, the higher bleeding deaths and reduction in cardiac deaths almost exactly canceled each other out, Dr. Bhatt wrote. He compared the risk of bleeding and heart attack to the perils of Scylla and Charybdis, the legendary monsters who threatened sailors in Greek mythology.
"There is a price to pay for greater platelet inhibition," he wrote.


text:
Support & Training
Course Detail
Commodity Hedge Accounting in Practice
This intensive and interactive 2-day course presented by ICE and d-fine Group will provide in-depth methodological knowledge as well as hands-on experience regarding the application of Hedge Accounting according to the International Financial Reporting Standards (IFRS) in energy and commodity markets.
For a full course overview, email us on the link below and we'll get a detailed PDF document across to you.
Course Information
|2 days
|Available Dates
Who Should Attend
- Procurement, planning, trading, risk management, controlling, finance and accounting departments of consumers, producers, refiners, and suppliers active in physical energy and commodity markets
- Trading, risk management, controlling, finance and accounting departments in banks, asset managers and others associated with financial energy and commodity markets
- Energy- and commodity-related government departments and regulators
- Publishers covering energy and commodity markets
Booking Information
Tel: +44 (0) 20 7065 7706
Email: [email protected]
Course Content
This course will cover:
- The link between economic hedging along the physical supply chain and Hedge Accounting for energy and commodity markets.
- A detailed understanding of the essential Hedge Accounting requirements
- Overview & analysis of changes in Hedge Accounting related to the replacement of IAS 39 by IFRS 9
- Tailoring of Hedge Accounting methodologies and processes for industrial value chains
- The roles and responsibilities of all business departments involved in the Hedge Accounting process
- Hands-on experience: execution of all Hedge Accounting process steps based on practical industry cases
- The road towards implementation - vendor system or bespoke solution?


text:
~Rough Edges
Kyle has an unwelcome crush on his nemesis Brent. Brent has a welcome crush on his friend Kyle. As it turns out, the line between a friend and an enemy doesn't have to be a line at all.
Born on the wrong side of the tracks to the wrong family, Kyle Potter has spent his life clawing his way toward a better future. When he gets the perfect job at the perfect firm in perfect Los Angeles, Kyle is sure there are only blue skies ahead. And then he meets perfect Brent Haralson.
Born with a silver spoon to a well-established family, Brent Haralson has never been interested in leveraging his connections. Friends, success, and dates come easily to Brent and rejection isn't something he has to deal with in life. And then he meets perfect Kyle Potter.
Kyle despises his unwelcome crush on his lazy, arrogant nemesis. Brent welcomes his feelings for his stubborn, brilliant friend. As it turns out, the line between a friend and an enemy doesn't have to be a line at all.
This is a 2nd edition without substantive changes from the 1st edition, which was part of the It Was Always You anthology.
Read Chapter 1 Here - http://cardenoc.com/en/book/rough-edges/excerpt
~Jumping In
When love's on the line, the brave jump in with both feet...
Small town cop Clint Rivera can't catch a break. His ex of two weeks is suddenly getting married, his dogs tore up his furniture, he's getting evicted, and he's out of beer. When he decides to solve his alcohol shortage by going to his ex's engagement party, Clint winds up too drunk to drive himself home. Enter gorgeous deputy mayor Hawk Black, the man who constantly shows up unexpectedly and sends Clint's body and mind into a tailspin with nothing but his whiskey voice and blue eyes.
After months of patience, Hawk can finally seduce the man he's been craving. Clint's day might not have started out well, but Hawk's going to make sure it ends with a bang, preferably in bed. He'll show Clint some rewards are worth the risk.
With love on the line, Clint will need to decide if he can open his heart, tear down his shields, and jump in with both feet.
This is a 2nd edition without substantive changes from the 1st edition.
Read Chapter 1 Here - http://cardenoc.com/en/book/jumpingin/excerpt
Cardeno C. - CC to friends - is a hopeless romantic who wants to add a lot of happiness and a few "awwws" into a reader's day. Writing is a nice break from real life as a corporate type and volunteer work with gay rights organizations. Cardeno's stories range from sweet to intense, contemporary to paranormal, long to short, but they always include strong relationships and walks into the happily-ever- after sunset.
Cardeno's Home, Family, and Mates series have received awards from Love Romances and More Golden Roses, Rainbow Awards, the Goodreads M/M Romance Group, and various reviewers. But even more special to CC are heartfelt reactions from readers, like, "You bring joy and love and make it part of the every day."
presented by WLKBookPromotions.com


text:
Just Finished My latest, "Sunday Sauce" When Italian-Americans Cook, "Yee-Haa" !!! Always a great feeling. The next great feeling is the day it's published. It's coming soon. Everything is in place, and with the technology and the way they do things these days, it might be up and running and available on Amazon by December 7, 2013, Just In Time for CHRISTMAS … It was another labor of love that I hope people will enjoy. It's centered around Sunday Sauce, the "Suprem Dish" of Italian-America's … And it's not just Sunday Sauce, recipes for all of Italian-America's Favorite dishes are in there, and as per usual with my cookbooks, it's not just recipes, but all sorts of wonderful stories to boot. I hope everyone will enjoy it.
Thanks, Daniel
Daniel Bellino-Zwicke
Learn How to Make SUNDAY SAUCE alla SINATRA


text:
Various - Underground Sweden
The first release on Dan Johansson's Harsh Head Rituals from 2005.
C40 featuring Ochu, Sewer Election, Treriksröset and Regim.
Underground Sweden
The intention is to promote people who make beautiful music.
The intention is to introduce you to the people who have been carving their own path...with no care for what anybody thinks.
We try not to post things that are still for sale but sometimes post things that are not easily available. If you like what you hear, then find these people and tell them how great they are.
Better still, tell them and then seek out their new releases and buy them. We add links, when they are reliable and active, so that you can keep track if you so wish.
Always go straight to the artist or the label where possible. That way, the money goes straight to the people responsible for this art. These people rely on our support to keep going and make more quality releases!
Please feel free to leave comments as you go along...at least then we know you appreciate this stuff (or otherwise) and you're not just a bunch of freeloading file collectors.
If you made this music and we have pissed you off by posting any of this, please leave a comment in the post and the offending articles will be removed.
Så mycket fint på denna blogg! Tack så mycket igen.
Alla sätt är bra utom de dåliga :-)
too much power electronics,
but sewer election are great as usual!


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Apple now has more than 320 retail stores around the world, and today marks the 10th anniversary of Apple's first two. CNET takes a look at some of Apple's most iconic retail spots.
Apple's retail stores turn 10 years old today. To mark the occasion, CNET is taking a look at some of the company's most iconic or otherwise noteworthy stores around the world.
Apple now has more than 320 stores, with most of those in the U.S. The company plans to build 40 more this year, with 30 of those being international.
Pictured here is the company's iconic Fifth Avenue store in New York. The store is actually underground. According to a study by Cornell in 2009, this location is one of the most photographed places in the city, as well as one of the most visited by tourists and locals alike.
Apple's retail store in Sanlitun village in the Chaoyang district of Beijing stretches across a walkway, creating a covering for pedestrians to pass through.
Apple's multi-level retail store on London's busy Regent Street drew 11,000 visitors on its opening day. The store continues to be one of the company's busiest in the world.
Not to be outdone by the Fifth Avenue "cube" location, Apple's store in the Pudong district of Shanghai is a massive cylinder of glass that stretches up out of the ground. Visitors descend into Apple's retail store, which features 16,000 square feet of space. The store was Apple's second in China, with the first being in Beijing.
Apple's store on the Upper West Side of New York is almost entirely glass, held up by supporting walls made of marble.
Apple's flagship retail store in Boston does a good job at not blending in with its surroundings. The store, which opened up in early 2008, was Apple's largest in the U.S., and featured three levels connected by an elevator and a glass, spiral staircase.
Apple's Covent Garden store in London was one of the company's biggest, and most expensive undertakings, completely renovating an 1870s building to turn it into a large retail space. The store scales three levels, with Apple managing to retain much of the original building's materials and aesthetic.
Apple's Ginza store in Tokyo is one of the company's flagship retail locations. Following the earthquake and tsunami that hit the region earlier this year, Apple's retail stores reportedly became a news source for locals to check e-mail and keep up with new reports.
This store in Chicago's Lincoln Park has a rather unique look shared by only a few other Apple stores, including the Bondi location in Australia.
Similar to the Covent Garden store in London, the Apple Opera store in Paris retains much of the same architecture that was there before Apple moved in, including columns that stretch up to the vaulted ceilings.
Apple's store at the bottom of the famous Louvre museum in Paris can be found just below the iconic glass pyramid that juts up outside.
While on the inside this looks much like any other Apple store, the outside of the Perth City, Australia, retail location has lots of charm.
Right near CNET's home base in San Francisco, the downtown Apple store features two levels, joined by a glass staircase. There's a large Genius Bar as well as a theater for demos, classes, and speaker events.
Apple's Shinsaibashi store in Osaka, Japan, is rather unique in that its entrance is the corner of a much larger building. Visitors filter in from the adjacent crosswalk.
Apple's two-level store in Montreal has a single glass window that lets outsiders view both levels.
Apple's Rosenstrase store in Munich was its first retail store in Germany.
Apple's Rue De Rive store in Switzerland features a distinct ceiling with rolling arches bathed in uplighting.
Apple's three-floor retail store in Sydney, Australia, takes up nearly 15,000 square feet and features a glass staircase that runs the length of the store. Apple opened this location in 2008.


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In fact, in the world of leggings, if Oonapants are at one (wild, crazy) end of the spectrum, these leggings are at the other. The sober, staid, boring end. But, I needed black leggings for a dance performance last night, and I've had this fabric earmarked for something of the sort for well over a year now, so leggings it was.
This has to be one of the fastest pattern-purchase-to-wearable-clothing projects I've done in a LONG time. The Crafty Sister-in-Law enticed me out in the morning with a jaunt to Value Village (a whole 'nother sad tale of enablement, to be related at a future date…), and we decided on a whim to check out the next in our grand tour of the Saskatoon Garment District,* a humble little shop with the rather grand title of "Academy of Fashion Design."
This shop is one I've been meaning to check out for several years, since my mom nosed them out as retailers of Jalie patterns. They are also, as the name suggests, a design school, as well as a Singer retailer/repair shop. They seem to specialize in dance/figure-skating and rodeo fabrics, although they have a little bit of everything. Behind the doors is a long, narrow cavern of fabrics, dotted with treadle sewing machines and French mannequins. I have to say, this is the most at home I've felt in a fabric shop, maybe ever. Maybe the prodigious mess reminded me of my own sewing room, or maybe it was the old machines dotting the place, usually half-buried in drifts of fabric. They have a little bit of everything, including the only stretch denim I've seen in person outside of Fabricland. And the girl minding the shop… well, I don't know if she HAS a sewing blog, but peeps, she totally has the vibe. She felt like one of us.
Anyway, I picked up Jalie 2920, a pattern for leggings and stirrup tights. The more
obsessive keen-memoried among you may recall that I already have a leggings pattern or two, including one traced out in my size, which I've teased you with glimpses of in the past. But, well, I confess shortly after I cut out the blue (as yet un-blogged) leggings, I lost the pattern piece; presumably it got folded up and stuffed in an envelope with something else, because I sure as hell can't find it. And I have the Kwik Sew ones around Syo's size, but, well, I was craving more variety in sizes, in particular a size that could be adapted for the Waif, who is nearing five but still has the width of a rather slender toddler. And, well, Jalie.
So I bought the pattern, scurried home, and, after a minor panic when my tracing paper went missing, traced it out. I'm either a size R or S in Jalie sizing, but I went with the S, thinking that over-stretched leggings are not a good look for anyone. Having worn them for a couple of days, this may not have been the best idea… there's a touch of looseness in the thigh that isn't quite right.
As I traced, though, confusion set in. I added about three inches to the length (towards the low end for me and Jalie, but when I measured out the inseam of the pattern, I was alarmed to discover it still measured a measly 26″. I don't do less than 32″, peeps. But then I spied a second pattern piece, meant to be combined with the end of the leg. I had ignored it, thinking it was just for the stirrup version, but maybe it was required for both? I don't know. I was confused. Anyway, I added it on, roughly seven inches. That seemed to bring things into about the right ball park, right?
Erm, not so right. Those four-way stretch fabrics that stretch in length as well as width. Hrmph. So I will have to cut some off, although figuring out how much to cut off will be the trick. Still, too long is ever so much better than too short. Ever so much.
I had to cut out both legs separately as my previous leggings for Syo had whittled my good jersey into some rather peculiar shapes. I was meticulous about flipping the pattern so that both sides would be mirror image… unfortunately I apparently also flipped my fabric when I was moving it, because both legs wound up cut out with the right side of the fabric on the same side. Fortunately for me, on this particular knit it's almost impossible to tell the difference… anyone who can is, ah, WAY too close.
I made a slight adjustment to the rise, which may be typical of me and Jalie patterns, lowering the front by about an inch but keeping the back as is. I know the rest of you are all over the high-waisted leggings… Not that I have any intention of sharing my leggings waistband with the public, but I'll still take hip bulges (which I have anyway) over waist-bulges.
And really, that's a lot more talking about a terribly boring pair of black leggings than is really merited.
*New Yorkers and other people from real cities with real garment districts, you can snicker politely into your sleeves. The "Saskatoon Garment District" is three smallish fabric shops (and a thrift shop that carries fabric and patterns) that happen to be located within a few blocks of each other downtown.


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Pop Art is not exactly a neglected movement. As recently as two years ago the Barbican hosted a comprehensive exhibition of Pop Design while at the same time Tate Modern was hosting a vast Roy Lichtenstein retrospective. In the spring of 2014 Tate Modern did a big Richard Hamilton show and earlier this year the Barbican's exhibition about artists' personal collections devoted a room each to the artifacts hoarded by Andy Warhol and Peter Blake. Who hasn't heard of Warhol, seen the Elvis or Marilyn silk screen paintings or doesn't know about Peter Blake's Sergeant Pepper cover?
In this blockbuster show, The EY Exhibition: The World Goes Pop, Tate Modern turns its back on these well-worn artists and familiar images to examine the impact of pop everywhere outside the bubble of Britain and America, taking a comprehensive look at Pop Art from around the world. Thus the show brings together over 100 colourful, exuberant works from Latin America and Asia, from Europe and the Middle East.
Art in the USA and Britain was essentially free, artists could more or less say or do anything and had the machinery of pop music and consumer adverts to play off against, to incorporate into their work and (the Beatles, the Velvet Underground) to help propagate their images.
If the exhibition says one thing it is how untrue this was of most of the rest of the world, where whole populations and their artists languished under all manner of dictatorships and repression: the entire communist bloc frozen by Soviet domination, southern Europe and a lot of Latin American nations ruled by traditionalist military juntas, African nations torn by civil wars (Biafra 1967 to 1970), Pakistan heading towards the catastrophic Bangladesh genocide (1971), China about to experience the persecution and chaos of the Cultural Revolution (1966 to 1976), the war in Vietnam spilling over into neighbouring Cambodia and Laos. And looming behind it all, the ongoing Cold War confrontation between the superpowers with the ever-present threat of nuclear apocalypse.
Pop offered a new idiom with which to capture the absurdity of living in a society increasingly dominated by adverts for glossy lifestyle products while the whole world could be blown up at any moment.
Thus the global Pop Art the curators have gathered here is far more confrontational, troubled and often explicitly political than the Campbell soup tins and dated album covers of the Anglo-Saxon tradition. If Pop was an orgiastic celebration of the fabulousness of consumer culture here in the West, in most other places it was a language of protest, using the language and imagery of consumer goods and popular culture to satirise the repressive regimes of the artist's homeland, to ironically comment on the shallow values of the fabulous West, which very often shaded into mild or not so mild anti-American sentiment.
The 100+ works are packed with ideas and references, but several themes emerge strongly:
- Satirising American consumerism The basic premise of Pop Art is its re-use of the explosion of new consumer products, advertising and popular culture in the post-war USA, seen at its most fatuous in the 1950s, and satirised and mocked from the mid-1950s onwards. The early 1960s saw the creation of several iconic pop images including Warhol's Marilyn silks and Lichtenstein's Wham. The effects of the post-war boom and the use of imagery from popular culture – cartoons, film posters, adverts, TV stills – to celebrate and/or undercut it ripple outwards from the Anglo heartland: what is loving homage in the States (cans and cartoons) becomes mild mockery in England, and turns to satire, scorn and sometimes overtly anti-American feeling, in further flung countries, typified by French artist Bernard Rancillac's savege At Last, a Silhouette Slimmed to the Waist.
- Pro-revolution pro-communist imagery, texts, works, ideas – power to the people, Maoism, the cult of Che Guevara, exemplified here by Henri Cueco's Large Protest, a room-sized sculpture using comic-strip silhouettes cast in metal of figures enacting the glorious Revolution.
- Anti-communist works voicing rebellion against the dead hand of actual communist regimes in the countries of the Eastern bloc eg Jerzy Zielinski's Without Rebellion or Sanja Iveković's Sweet violence.
- Feminism 1960s-style, for example, Judy Chicago, Evelyne Axell, Ángela García, Mari Chordà, Jana Želibská.
- The Triumph of Youth
1. The Revolution
Revolutionary sentiment was in the air throughout the 1960s, leading up to the strikes and civil disorder across much of Europe which climaxed in 'events' in Paris in May 1968, when students joined with striking workers to create a crisis which came close to overthrowing the government. Throughout the 60s and well into the 1970s, the rhetoric of revolution dominated the thinking of many writers and artists.
The wall labels and the audioguide reflect this, echoing the rhetoric of the time and reiterating the rather samey sentiments about this or that 'radical' artwork 'subverting' or 'engaging with' or 'ironising' the values of 'patriarchal', 'capitalist' or 'consumer' culture. Each time I read another label about a work which encouraged the overthrow of capitalism, supported the Revolution, heralded the dawn of a classless society, romanticised guerilla fighters and marching strikers and the May 1968 événements, I thought how very, very old all this now sounds and how completely these attitudes and approaches have been vanquished.
In our time, from China to Brazil, hyper-consumer capitalism rules the world, underpinned by the all-powerful banks, implemented by the all-pervading digital culture which most of us have voluntarily signed up to. Instead of overthrowing American corporations, we have welcomed them into every aspect of our lives (Google est.1998, turnover $66 billion, Facebook est. 2004, 1.5 billion users, Twitter 300 million users). The often fading paintings, creaking sculptures and flickery videos on display here come from a distant time when people thought there was an alternative to the finance capitalism and all-encompassing American corporations which now dominate our lives.
2. Communist oppression
Looking back, one of the massive contradictions or ironies of the period was that all the radical artists in the West wanted a communist revolution to overthrow beastly American capitalism, while all the dissidents in the East wanted to escape from the stifling straitjacket of inefficient, repressive, brutal and philistine communist regimes to the wonderful freedom of the West.
The exhibition displays works from the two halves of Europe (and the world) next to each other as if they were both the same kind of 'subversion' and criticism, but I don't think they were: the conditions of their production and the mindsets of their producers were drastically different.
Anti-capitalist movements linger on into our day as ineffectual student-style groups like the Occupy movement; 'third wave' feminism endures in all sorts of forms; but the struggles of dissident artists and samizdat writers under communist regimes have completely disappeared and it's hard to now recall what that world was like.
I can discuss feminism with my teenage daughter because she is learning about the exploitation of women at school, I can discuss the power of multinational banks and corporations with my teenage son because he's got accounts with some of them and reads about their tax avoidance, criminal miss-selling of products etc on a daily basis.
But if I try to explain that when I was growing up all of Eastern Europe was under Russian communist control, and enormous fences topped with barbed wire formed the border between capitalism and communism, that anyone trying to escape over them was blown up by the landmines or shot dead by the guards, that artists and writers who protested against the state were locked up in psychiatric institutions or disappeared into prison camps, they look at me as if I'm mad.
There are plenty of artists from the Eastern bloc in this show – one even has a room dedicated to him, the Romanian Cornel Brudaşcu. But I felt the extremely difficult, often dangerous, conditions of producing any kind of art in the Eastern Bloc could well have justified a room to itself, a space which really tried to recreate the terrible claustrophobia and fear of the time. This could have described and examined the situations in the different countries (Poland, East Germany, Slovakia etc), whose regimes and cultural traditions were often quite different. This would have given much more depth when it came to describing the strategies specific artists adopted to circumvent the censors and the authorities.
Maybe there are the seeds of an entirely different exhibition here: 'The Art of the Eastern Bloc 1945 to 1990'.
3. Feminism
Feminism, the women's movement, women's liberation, is a very big presence in the show, with three of the ten rooms dedicated to women's issues, women making up about 26 of the 60 or so artists, and a lot, if not all, the women artists, 'engaging' one way or another with the problems of gender.
In the 1960s women intellectuals and artists began to rebel against all kinds of constraints society placed on them: against the way advertising used women's bodies to sell products, against the way society confined women to stereotyped gender roles – having to be 'the mother', 'the good housewife', 'the perfect hostess' and so on – while depriving them of involvement in a great swathe of social activity, from business to politics. Society was dominated by all-male establishments which women challenged in all manner of ways, from the courts to the classroom.
What emerges from this exhibition is that many of the women artists featured here seemed to think that merely being more forthright about the reality of women's bodies was a kind of 'subversive' and liberating act – that if women themselves created, controlled and published images of the female body, it would liberate them from the prison-house of the 'male gaze' and assert the autonomy of female sexuality and therefore of the female subject.
For example, according to the wall label, Evelyne Axell (Belgian, 1935 to 1972), thought that 'Space represented an emancipation site for women'. Her striking work, Valentine, represents Russian cosmonaut Valentina Tereshkova, who on June 16, 1963, became the first woman in space. The helmet taped to the screen represents the space part, the stripper-style silhouette with the fabric rising up off the picture as it comes unzipped to reveal her breasts and pubic hair beneath, represent her female sexuality. She is, according to the commentary, 'a feminist heroine and a monument to female eroticism'.
I understand celebrating a woman pioneer. I understand and like the helmet tacked to the canvas. But I didn't so much understand why the outline of a sexy woman whose zipper is coming undone Austen Powers-style is liberating. To me, it conforms to all the sexist stereotypes of the era, precisely the commodification of an absurdly idealised woman-as-sex-object which I thought we were meant to disapprove of.
Fifty years later any sense of irony or empowerment at the display of naked women has surely long vanished. Instead of the 'subversion' and 'irony' which the commentary and labels attributed to much of this imagery, I just registered lots of female artists depicting the female body, legs, thighs, breasts and a number of vulvas, in photos, silhouettes, realistic or abstract painting, in satirical videos and even – strikingly – in mirrors (see Jana Želibská below).
Presumably, at some point, it dawned on women artists and women more generally, that displaying images of naked or semi-naked women in 'art' really just amounts to displaying naked or semi-naked women. The particular audience who view them ('art lovers') are just a tiny, statistically insignificant, sub-set of the great naked-women-viewing public, who don't get the joke. It doesn't change anything. In fact, surely it's just another way of packaging and commodifying the female body.
4. Young and old
The exhibition's achievement in including women artists and foregrounding women's issues tends to mask another 1960s theme, maybe the theme of the 1960s, so that it goes strangely unremarked. It was the decade of Youth. In all spheres the 1960s saw the rebellion of the young against the old. 'Hope I die before I get old' and 'Don't trust anyone over 30' were the catch phrases of the time. So for me the striking thing isn't that there were lots of breasts, bellies, thighs, vulvas, sexy silhouettes and licking lips on show – it is that they are all young, fit and nubile breasts and hips etc.
Dorothée Selz could create a series of photos of herself copying the poses of scantily-clad glamour models from magazines because she herself looks like a model. The outlines of women which dominate Jana Želibská's feminist work Kandarya-Mahadeva look like they're from the title sequence of a James Bond movie.
A lot of the dolly bird nudity on show here doesn't make much sense if viewed through a feminist paradigm because it seems so obviously self-defeating: but it does make sense if seen as part of the overthrow of the Fat and Old by the Young and Beautiful. In this context, taking off your clothes proves you are on the right side, immediately shows you are on the side of the young and beautiful, man, we're going to get rid of war and capitalism and all that bourgeois crap, man, and all those creepy sexual hangups our parents had, we're going to get naked and get high and come together and create world peace.
Thus Evelyne Axell's work The Pretty Month of May in which she paints herself naked, is surely a failure if it's seen as a 'feminist' work, seeking to 'subvert the male gaze', since all I can see is a young naked woman whose patch of black pubic hair deliberately emphasises her sexuality. But it does make sense if we recapture the spirit of 1968 and see it as a typical gesture of openness and honesty and frankness about sexual pleasure, all of which (at the time) put her on the side of the angels against the stuffy, repressive older generation.
(For the attitude to parents, to businessmen, to accountants in bowler hats, see The Beatles track The Piggies ('Everywhere there's little piggies, leading piggy lives/You can see them out to dinner with their piggy wives.'). For the attitude of the cool sexual revolutionaries, listen to Come Together, which ends, as so many songs from this time, in a simulated orgasm. The orgasm was a political gesture, symbolising the overthrow of capitalism/the old/the bourgeoisie and all their controlling repression of sexuality, which should be free and unfettered, shared and liberating.)
5. The missing black artists
The three women curators have included lots of women artists and lengthy explanations of women's issues throughout. This is a striking achievement and an enjoyable introduction to many artists who were new to me. In fact, all the works I liked best were by women artists eg Judy Chicago, Evelyne Axell, Dorothée Selz, Eulàlia Grau to name a few.
But towards the end of the show I realised I hadn't seen a single black Pop artist. Maybe there weren't any. And I don't think there was a single artist from Africa, 10% of the global population in 1970, in a show which is meant to be about global art. a) In the industrialised West, especially America, were there really no black artists who could have been included? b) Was there really no African art which could have been included, especially considering this period saw a large number of independence struggles/civil wars across the continent which would surely have fit into the Mao and Che-themed revolution sections?
If all this sounds a bit earnest, it is and the wall labels do tend to be full of 'issues' and 'concerns'.
But most of the works themselves are lots of fun – bright, confident, experimental, exuberant – men and women from around the world playing with a western idiom and transmuting it for their own purposes. Some pieces seemed to me weak (I didn't like the folk art room, the works of Beatriz González, Parviz Tanavoli or Raúl Martinez – details below – seemed to me drab and dull); lots of others are great or great fun, for example, the strikingly clear and bold 'American interiors' of Icelandic artist Erró – American Interior 1; and much I couldn't quite decide what I thought, leaving me puzzled or thoughtful. Altogether there is plenty here to discuss and mull over.
Some reviews have criticised the curators' decision to paint the walls of each room bright primary colours, but I thought it was funky and accurately reflects the dayglo, plastic world of Pop: it is entirely fitting that the final room is completely covered in a tongue-in-cheek 'subversion' of consumer capitalism, Le Vache Qui Rit wallpaper by Thomas Bayrle, made up of multiple copies of the famous cheese logo. As subversion it scores 0 – as funky wallpaper, 10.
And then the shop…
And if you had any lingering doubt about art's complete inability to change society, you emerge from the last room ('Consuming Pop', full of works 'subverting' consumer capitalism) into the exhibition shop! Here you can purchase a whole range of desirable consumer products – Pop mugs, Pop posters, Pop tea towels, Pop books, Pop cushions, Pop scarves and Pop bags – to adorn your dream home and impress your friends.
List of artworks
Room 1. Introduction
- Equipo Crónica (Spain) Socialist Realism against the backdrop of Rosseau's primitive jungle American pop art images (Warhol's soup, Lichtenstein's Wham) and communist guerrilla and socialist realism images clash.
- Jerzy Zielinski (1943 to 1980, Poland) Without Rebellion the eyes are a satirical reference to the Polish eagle ie to the repressive communist state.
- Shinkichi Tajiri (1923 to 2009, USA) Machine 7: Japan's leading Pop artist.
- Erró (1932-, Iceland) Big tears for two, cartoonishly poking fun at overblown Picasso.
- Anna Maiolino (1942-, Italy-Brazil) Glu Glu Glu showing 'the effect of mass consumer culture on a woman's subjectivity'.
- Antonio Dias (1944-, Brazil) Blood of the Game
- Uwe Lausen (1941 to 1970, Germany)
- Tadanori Yokoo (1936-, Japan) Kiss Kiss Kiss a video mixing a Dean Martin track with Lichtenstein comic-strip imagery.
Room 2. Eulàlia Grau (1946-, Spain) and Joe Tilson (English)
- Eulàlia Grau: Ethnographies (1972 to 1973) denouncing the repressiveness of General Franco's Spain.
- Nixon: three images in a vertical triptych, the lower ones subverting the upper, official one.
- Office
- Rich and Famous
- Panic
- Misses and Gangster
- Chicks and cops
- Vacuum cleaner 'subverting' traditional notions of woman as houseworker.
- Joe Tilson: used the pages of radical periodicals Black Dwarf and International Times to create collages which incorporated quilt-like pillows sewn by his wife, Morton.
Room 3. Pop politics
- Marcello Nitsche (1942-, Brazil)
- Kill Kill (1967) a giant hand holding a fly swat, a satirical reference to the newly established Brazilian military dictatorship.
- I Want You a 'subversive' reference to the Kitchener recruitment poster. Or is it just a visual gag?
- Equipo Realidad (Spain) Divine Proportion good visual gag
- Rafael Canogar (1935-, Spain) The Punishment
- Jerzy Zielinski – The Smile (1974) 'captures the ambiguities and contradictions in consumer capitalism'.
- Antonio Dias (1944-, Brazil) Note on the unforeseen death
- Colin Self (1941-, England) Leopardskin nuclear bomber 2 (1963) same year as the Cuban Missile Crisis, not as brash as Machine 7 and Pop is all about brashness.
- Raimo Reinikainen (1939-, Finland) Sketches for the US flag 1, 2, 3, 4
- Joav BarEl (1933 to 1977, Israel) Kennedy Assassination The audioguide tells us BarEl organised a group of young rebellious artists in Israel. Is there any other kind?
- Joe Overstreet (1933-, USA) The New Jemima
- Bernard Rancillac (1931-, France) At Last, a Silhouette Slimmed to the Waist (to be hung either way) – the artist pointing out that America's consumer paradise has a dark underbelly, the ongoing violence and torture in Vietnam.
- Ulrike Ottinger (1942-, Germany) God of War mostly a 'transgressive' film-maker, Ottinger made this spoof pinball structure, featuring contemporary media figures, celebrities and the compulsory image of a woman modelling a bra and girdle.
- Kiki Kogelnik (1935 to 1997, Austria) Bombs in Love (see above)
- Teresinha Soares (1927-, Brazil)
Room 4. Cornel Brudaşcu (1937-, Romania)
It was good to have a room devoted to the enormous subject of art in the communist bloc but I'm not sure the four or five big paintings by Brudaşcu could quite carry that much burden. They are coloured solarisations of images mined from pop sources eg newspaper photos, album covers.
- Youth on building yard (1970) 'engages' with the proletcult propaganda of the time.
- Composition (1970)
- Guitarist (1970)
- Portrait (1970)
Room 5. Pop at home
- Bernard Rancillac (1931-, France) Pilules capsules conciliabules (1966)
- Evelyne Axell (Belgian, 1935 to 1972) Licensed in both ways
- Nicola L (1937-, France) Woman sofa – I've seen better Pop sofas, like Studio 65's 1970 Lips Sofa.
- Ruth Francken (1924 to 2006, Czechoslovakia): Man chair (1971) bears comparison with the jokey chairs featuring in the Charles and Ray Eames show at the Barbican.
- Ángela García (1944-, Spain) Her work, according to the commentary, is about 'women's struggle for autonomy':
- Divertiments
- Breathing out (1973)
- Self distraction
- Mari Chordà (1942-, Spain)
- The Great Vagina showing the 'great taboo subject' of the vagina/vulva, in pop style.
- Coitus pop (1968) that other great 'taboo' subject, sex. Not in the liberated West, where the musical Hair opened on Broadway and in the West End in 1968. In General Franco's Catholic Spain, very possibly unmentionable.
- Marta Minujín (1943-, Argentina) Mattress
- Isabel Oliver (1946-, Spain) represented by her series The Woman, 'a subversive comment on the repression of women':
- Happy reunion
- Surgery
- Beauty products
- The Family
- It's a Girl
- Teresa Burga (1935-, Peru)
- Erró (1932-, Iceland) Funky big bright cartoon-like interiors of American dream homes with raging revolutionaries bursting in through the windows.
- American Interior 1 (1968)
- American Interior 5
- American Interior 9
- Martha Rosler (America) extracts from her series The Body Beautiful (1967 to 1972): satirical photomontages highlighting repressive images of women in American culture.
- Vacuuming Pop Art
- Cold Meat 1
- Cold meat II
- Damp Meat
- Martha Rosler photomontage website
Room 6. Pop bodies
- Dorothée Selz (1946-, France) a series of herself posing half-naked in magazine postures to subvert them, and very sexy too.
- Delia Cancela (1940-, Argentina) Broken Heart (1964) (Tate Interview)
- Jana Želibská (1941-, Czechoslovakia) Of her early shows, 'viewers could manipulate elements of the exhibited paintings and assemblages, featuring fragments of female bodies, divided by sheer curtains.'
- Breasts
- Noise I, II
- Object II
- Renate Bertlmann (1943-, Austria)
- Exhibitionism 'explores issues around the representation of sexuality and eroticism within a social context'.
- Kiki Kogelnik (1935 to 1997) 'targets the deadly serious male arrogance'.
Room 7. devoted to one work by Jana Želibská (1941-, Czechoslovakia)
- Kandarya-Mahadeva: based on a temple in India, consists of a massive rectangular pillar constructed of 48 panels, each one depicting the silhouette of a woman's body in a Bond girl pose, clad in the outline of skimpy bra and panties. BUT the subversive thing is that at the crotch of each woman is embedded a mirror! Ha, gotcha, male gaze! According to the audioguide, the mirrors 'virtually put a woman's sexuality right in your face!!!' Take that, male chauvinist pigs!!
- The room itself is lined with swags of orange and white paper flowers and the walls painted with enormous baby pink silhouettes of naked women also with big mirrors in the crotch.
I like breasts and vulvas as much as the next man but by this stage I'd seen quite a few, and occasionally it's nice to think about something else, so it was a relief to walk into a room which was not dominated by images of women's bodies.
Room 8. Pop crowd
- Claudio Tozzi (1944-, Brazil) Multitude (Tate interview)
- Jozef Jankovič (1937-, Slovakia) Private manifestation
- Equipo Crónica (Spain) Quantity becomes quality
- Gérard Fromanger (1939-, France) Album the red (1968 t o1970: a series of 21 blood-stained images)
- Henri Cueco (1929-, France)
- The Red Man
- Large Protest – 'Revolution is close at hand'
- Nicola L (1937-, France)
- Red coat – going to the Isle of Wight festival (in 1970, remember that?) Nicola made a raincoat to fit 11 people: they 'performed' in it and then went on tour round the world trying to persuade people 'the same skin for everyone'.
- Red coat film
- Öyvind Fahlström (1928 to 1976, Sweden) Hope-Mao March (stills) (1966) Hope-Mao March (video clip)
- Sergio Lombardo (1939-, Italy)
- John F Kennedy and Nikita Kruschev
- Kiki Kogelnik (1935 to 1997, Austria) Friends
- Mario Schifano (1934 to 1998, Italy) Comrades, comrades (1968) He stopped the van on the way to the exhibition and insisted these Banksy-style, agit-prop slogan paintings were displayed in the street. Subversive. Here they are 50 years later in a clean, air-conditioned gallery, though.
- Evelyne Axell (Belgian, 1935 to 1972) The Pretty Month of May (1970) The revolutionary spirit of 1968 softened into a large image of naked young people waving a flag; the figure at left is a well-known French male critic; the figure at right is a self-portrait of the artist naked.
Room 9. Folk Pop
- Judy Chicago (1939-, USA) She adopted the name of her birth city, discarding the patriarchal name of her father. 'The unifying goal of her work is to make a place for female-centred imagery and to overcome the erasure of women's achievements in art and society.' She painted a series of car bonnets in a bid to reclaim this symbol of masculinity. 'The pattern and colouring evoke both male and female forms, in her effort to both "feminise" a traditional icon of masculinity and establish a gender balance in the work.' Did she manage to 'feminise' the car? Who cares, the art, as art, is bright, colourful, a still novel adornment to the right kind of rich collectors' house.
- Beatriz González (1938-, Colombia)
- The Suicides of Sisga I (1965) a set of three primitivist paintings based on a newspaper photo of a couple who committed suicide to 'protect' the woman's 'virtue'. Dull.
- The Last Table
- Parviz Tanavoli (1937-, Iran). He had a wall of t his room but I'm afraid I didn't like the work:
- Raúl Martinez (1927 to 1995, Cuba) Listen America!
Room 10. Consuming Pop
All the walls of this room are covered with the Le Vache Qui Rit wallpaper by Thomas Bayrle. That's sticking it to international brands! I wonder if Vache qui rit ever approached him to use it.
- Komer and Melamid (Russia) They took Pop icons from the fabulous West and burned them:
- Glauco Rodrigues (1929 to 2004, Brazil) The Song of Solomon
- Chryssa Vardea (1933-, Greece) Study for Gates number 4
- Raymundo Colares (1944 to 1986, Brazil) Untitled
- Dušan Otašević (1940-, Serbia) Towards communism on Lenin's course
- Romanita Disconzi (1940-, Brazil) Interpretation Totem
- Natalia Lach-Lachowicz (Natalia LL) (1937-, Poland) Consumer Art (1974) About ten minutes uncut, close-up shot of a young woman licking sausages, dribbling ice cream, sucking sweets and generally oozing soft porn imagery. A good example of art which sets out to 'subvert' sexualised imagery of women but ends up reproducing it. Very sexy.
- Boris Bućan (1947-, Croatia) Bućan Art: a series of images spelling ART in the styles of various corporate brands. It 'denounces consumerism and global brands'. a) nice idea, quite funny, though zero impact on brands (unless they rip the idea off for publicity) b) note the Vache qui rit wallpaper in the background.
- Sanja Iveković (1949-, Croatia) Sweet violence (1974) This five-minute, black-and-white video stitched together adverts from communist Yugoslavia and superimposed prison bars over them, a brave thing to do at the time.
- Toshio Matsumoto (1932-, Japan) Mona Lisa, experimental 3-minute video using then-revolutionary techniques to phase and overcolour the image.
The final taboo
Trawling through the biographies to create the list above, I came across several women artists saying, sadly and alas, that their work 'subverting the patriarchy' and 'exploring issues of gender and femininity' are just as relevant – as necessary – today as they were 50 years ago. The rather tiresome quote from Einstein comes to mind: 'Insanity is doing the same thing over and over again and expecting different results.'
If some of the women artists 'exploring issues' around the 'representation of sexuality and eroticism within a social context' genuinely think little has changed in 50 years, maybe they should consider changing their tactics. Or consider that there might be some kind of biological basis for the social structures and attitudes they have spent 50 years failing to alter.
Their comments tie up with one of the main learnings from the show, which is the complete failure of all the revolutionary hopes of the majority of the artists. Capitalism wasn't overthrown. It has a stronger, more pervasive grip on all aspects of our lives than ever before. Everything is being monetised.
Which prompts a further uncomfortable thought: maybe the ultimate taboo in art is not (as one of the wall labels asserts) creating images of the vulva, or of the penis or of shit (Gilbert and George have made some very nice images of shit) or any other bodily parts or functions, come to that.
Maybe the ultimate taboo, the dirty little secret that artists and curators dare not mention, is that art subverts nothing. You can assert that it 'questions' and 'engages with' and 'interrogates' whatever you fancy, till the cows come home – the result is nothing. Nothing except more exhibitions, more commentaries and more audioguides, more subject matter for the ever-increasing numbers of people doing MAs and PhDs in art criticism. A small clique of art professionals who have a vested interest in believing – or persuading or reassuring themselves – that art plays a critical role in society, and isn't – as all the evidence suggests, as the Tate shop suggests – just a decorative hobby and shopping opportunity for the well-heeled middle classes.
Could it be that there is nothing 'revolutionary' or 'radical' about art, not today? Soviet art, communist art, conceptual art, dada, surrealism, stuckist art, shit art, minimal art, heads made of blood and handprints of child murderers, piles of bricks and sharks cut in half, all these were done years ago, some over a century ago.
Instead, the audio commentary and wall labels of this show come close to proving that art and art criticism today merely play with ageing tropes of 'revolutionary' politics or feminist 'subversion', talking a special language to itself about 'engagement' and 'questioning' and 'situating issues' and 'negotiating paradigms' – while leaving the actual power structures of society, the economic constraints we all live by, the concentration of money into fewer and fewer hands, the infiltration of every aspect of our lives by surveilling digital technology, the indignities of ageing, the difficulties of earning enough money to pay for rent, heat and food, completely unchanged.
In the commentary of this and other shows about twentieth century art, I get the feeling the curators are nostalgic for a time when art did have some kind of impact, when artists really did suffer for their art, when they genuinely risked being arrest and imprisoned, when art genuinely did 'subvert' various forms of authority, patriarchy, western consumerism etc.
Now you'd be hard pressed to create a work of art which won't be bought up by Russian billionaires or sovereign wealth funds looking to diversify their investment portfolio. Very difficult to escape form the process whereby everything becomes an investment, everything is monetised.
Art's irrelevance
According to a press release, all the Tate locations had a total 7 million visitors in 2013/14. This is an extremely impressive achievement – especially the standout fact that Tate Modern is the most visited gallery of modern art in the world. Respect to the enormous achievements of Tate's leadership and staff in reaching out to more people than ever before.
But I also read in today's paper that Snapchat reported 6 billion views of videos on its digital platform, every day. It is sneaking up on Facebook which claims some 8 billion video views per day, and that some 500 million people use its video app every day. When I told my teenage son, he said had I read Pornhub's results (much shared among his mates, apparently)?
Pornhub claims to be the world's number one porn website and allows users to upload and share pornographic videos. In 2014 about 50 gigabytes of porn video was uploaded to the site every second. Over the course of the year 78.9 billion videos were viewed, 11 for every man, woman and child on the planet. The top two search terms were 'teen' and 'lesbian'.
I love art and will continue to go to art galleries and support artists. I love the space, the quiet, the opportunity to admire beauty and reflect on interesting ideas. But when you situate traditional 'art' – small paintings and silent sculptures – in the context of this unprecedented tsunami of images, an unparalleled explosion of imagery flooding out of every screen into everyone's faces all across the planet, the art of all of these artists doesn't just not seem subversive: statistically, it doesn't exist. Its impact is immeasurably tiny.
Judy Chicago's funky car hoods, Jana Želibská's dolly birds with mirror crotches, Dorothée Selz's small photos of herself adopting glamour model poses – I like them: they're funny, attractive to look at, inventive, cheeky, maybe they played their part in changing attitudes for the better. But to imagine that they are subverting anything in our time seems to me the height of self-delusion.
Related links
- The World Goes Pop @ Tate Modern continues until 24 January 2016
- BBC review
- Guardian review by Adrian Searle
- Guardian review by Jason Farago
- Telegraph review by Alastair Sooke
- Excellent collection of images of the exhibition


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In a few short hours my daughter will officially turn 16 years old. As I have felt with increasing intensity for the past 15.9 years — time goes by so quickly!
Perhaps as nod to the compressed time I'm feeling, my daughter decided to have a time-travel-themed birthday party. It includes dinosaurs, space travel, swords, 50s-style diner baskets, and medieval goblets. Things you might encounter if you trapesed across time and space collecting random bits.
She and a group of friends have been stuffing themselves full of gummy dinosaurs, Star-shaped fruit, aged cheese and a classic dinner of baked descendant of dinosaur (aka chicken) with assorted side dishes. There's astronaut ice cream. And banana split birthday cake! They'll enjoy games and time-travel-themed movies as they discuss the thrills of starting their junior year of high school. And I overheard mention of the wonders and problems of thawing permafrost. Ancient viruses have been released.
School began about two weeks ago. Like a broken record, I wonder where the time went?
The summer flew by!
I feel like it just began. I would like more!
I grew peppers, tomatoes, and lots of basil in a balcony garden. I may have been visited by a ghost … at least twice. And I did a few things I haven't done in years.
This summer my daughter relaxed or studied instead of being carted to or from camps. We hung out, watched a few movies, played fun games including a great assortment of video games and pinball at ReplayFx in Pittsburgh. Talk about a blast from the past.
ReplayFx is a classic video game and pinball festival held at the David L. Lawrence convention center in the heart of Pittsburgh. I got to play hours and days of some of my favorite games, a few of which I haven't played in forever (or in many cases since the last ReplyFx). And my daughter got to enjoy pinball and games like Centipede, Rampart, and Time Crisis that I played when I was her age or a little older. We even played a new board game.
I stayed up late. Got up early. And basically ran myself ragged in the most enjoyable way possible.
We ate Thai, assorted meatballs, fresh seafood, and some of the best tacos ever. We saw friends, family, and parts of Pittsburgh that were new to us like The Strip and Carnegie Mellon University. We stayed at a hotel that was once a federal reserve where we were offered complementary breakfast as well as evening drinks and dinner. There was a pool, a hot tub, and a rooftop terrace with a fantastic view of the sunset behind the city. Can I just stay there? Forever? Okay, no.
Closer to home, we spent a weekend at the beach where we got to play in the sun, sand, and ocean. Zillions of baby jellyfish swam past us as we marveled at their clear bodies. Too young to sting, we caught a few of the strange critters in our hands and examined them close up.
We spent time with friends and stuffed ourselves full of yummy food. I was especially happy to visit one of my favorite restaurants, the Hobbit, where we had delicious dip, exquisite entrees, and a dessert called Merry's Delight. Next we scarfed down crispy Thrashers fries with vinegar — so yummy. Once again, can I just stay there? I would like to.
For all these reasons and more, there are most definitely days I would like a time machine. I could visit my favorite times and spots again and again. But now summer is winding down. High School is spinning up. And my little girl will be sweet 16. Happy birthday!
We will have all-new good times ahead.


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Course Search
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Waterbury & Danbury
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For data requests:Please fill out an OIRE Service Request Form
Questions about conducting research on human subjects?
The OIRE collects, analyzes, and maintains data to support the planning, assessment, and decision-making activities of the college community. If you're a member of our community and in need of our help, please provide as much detail as possible when you submit your OIRE Service Request Form. If you have any questions, see our frequently asked questions (FAQs) below first for more information. Specifically, we need to know:
Requests for data or research assistance are processed by the director of institutional research in consultation with college administrators. Please allow a minimum of two weeks for processing. On a case-by-case basis, a determination will be made about the feasibility and appropriateness of requests. Once accepted, data requests and research projects are prioritized in accordance with the college's strategic plan. Placing requests early will help with prioritization. Submit your request via the OIRE Service Request Form.
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Please use the OIRE Service Request Form for all data requests.
Once OIRE receives your service request, we will contact you by e-mail if additional information is needed. We make every attempt to complete requests within time frames indicated on the request; however, data availability and mandated reporting may cause a delay.
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For program reviews: OIRE has on file the most current template and can assist with required data.
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We ask that you initiate your request by submitting an OIRE Service Request Form. OIRE will then contact you to coordinate specifics.
Colleges and universities throughout the United States report data to the federal government's National Center for Education Statistics (NCES) using the Integrated Postsecondary Education Data System (IPEDS). To promote consistency in reporting, colleges and universities freeze or lock their data on or about the third week of the fall and spring semesters. This provides a snapshot of student enrollments at a specific point in time.
Although daily changes are made to the Banner record keeping system both before and after the freeze, as students enroll and change courses: NVCC and all the colleges in the CSCU system use this "frozen data" for the purposes of reporting. The snapshot taken at the "freeze" provides a census for the student population throughout the nation and is therefore referred to as the "census date." The fall semester is most commonly used for federal reporting.
To maintain consistency with NVCC's federal reporting, OIRE has a policy to use this frozen census data from the fall semester for all requests unless otherwise specified by the requester.
The OIRE maintains a SurveyMonkey account for use by NVCC faculty and staff. For more information about utilizing SurveyMonkey for institutional purposes, please e-mail us.
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The Center for Early Childhood Education at NVCC, which was then Mattatuck Community College, opened its doors in January 1977 to provide a training laboratory for early childhood education majors at the college as well as a quality educational environment for young children ages 3 - 6.
The initial set-up of the center included one large preschool and a toddler classroom. Today there are three classrooms, including two preschools, one with an integrated Kindergarten component, a toddler class.
The enrollment of the center includes children of staff, faculty, students and the local community.
In 1998, the Center for Early Childhood Education at NVCC received a school readiness grant from the state of Connecticut, expanding it's role in the community through collaboration with the Waterbury School System. There are currently 20 full-time slots and two part-time slots designated under the umbrella of Waterbury School Readiness.
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High-interest, in-depth studies that encompass a variety of learning and embedded curriculum and assessment are considered the Project Approach.
Reggio Emilia Italia
No Way. The hundred is there.*
The child
is made of one hundred.
The child has a hundred languages
a hundred hands
a hundred thoughts
a hundred ways of thinking
of playing, of speaking.
A hundred always a hundred
ways of listening
of marveling of loving
a hundred joys
for singing and understanding
a hundred worlds
to discover
a hundred wolds
to invent
to dream.
The child has
a hundred languages
(and a hundred, hundred, hundred more)
but they steal ninety-nine.
The school and the culture
separate the head from the body.
They tell the child:
to think without hands
to do without head
to listen and not to speak
to understand without joy
to love and to marvel
only at Easter and Christmas.
to discover the world already there
and of the hundred
they steal ninety-nine.
that work and play
reality and fantasy
science and imagination
sky and earth
reason and dream
are things
that do not belong together.
And thus they tell the child
that the hundred is not there.
The child says:
No way. The hundred is there.
-Loris Malaguzzi
*Translated by Lella Gandini


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Liaison Technologies cures supply chain data headache for Orion
SummaryNext time you pop a pill from a packet, spare a thought about how it got to you.
Next time you pop a pill from a packet, spare a thought about how it got to you.
The process for manufacturing, packaging and delivering pharmaceuticals to pharmacies, surgeries and hospitals around the world is a complex one. It involves integrating information from hundreds of different organisations, each with a varying role in the overall process. To make things run smoothly and efficiently, each of these organisations needs the ability to easily share data with the pharmaceutical company making the product.
This is particularly true for the Orion Corporation, a globally operating Finnish company developing pharmaceuticals and diagnostic tests − a builder of well-being. Orion (based in Espoo) develops, manufactures and markets human and veterinary pharmaceuticals, active pharmaceutical ingredients and diagnostic tests.
In any month, Orion's IT systems process over 12,000 instances of data from partners, suppliers and customers. Keeping sense of this data as it flows between Orion and these organisations requires an electronic data interchange (EDI) capability that can cope seamlessly with whatever these different systems throw at it.
Jari Seppänen, application technology manager at Orion, is responsible for making all this happen so that customers, whether big or small, can rely on accurate and efficient order processing. Seppänen's team is also responsible, from an IT point of view, ensuring that partners are integrated into Orion's own supply chain to optimise availability of raw materials for product manufacturing and packaging.
Outsourcing to Liaison
Because this is a complicated, time-consuming issue, Orion has outsourced a part of these data integration requirements to Liaison Technologies. Explaining the decision to outsource, Seppänen said: "To simplify a very complex supply chain is a huge job and clearly requires a team with specialist capabilities and a robust, proven technology platform to do it. By shifting part of this responsibility to Liaison the IT department at Orion can remain focused on supporting more business operations."
Typically, orders come in from different partners across Europe. Orion sells to many wholesalers who distribute its products to pharmacies, surgeries and hospitals globally.
Keeping things simple
Whatever the size of the customer order, Orion relies on Liaison Technologies to make sure that the ordering process is simple, and that data from every order is dynamically integrated into Orion's SAP system. This is done using two integration platforms from Liaison.
The majority of Orion's partners (around 50) use Liaison's SupplierWeb platform, a web-based portal that enables companies and their suppliers to automate manual processes and electronically trade with each other in an efficient, consistent manner regardless of size, time zone, language or geographic location. Any trading partner only requires a web browser and Internet connection to access SupplierWeb.
For its biggest customers with the most complex data integration needs, Orion relies on Liaison's B2B integration platform, a service orientated architecture-based solution designed to meet the most demanding B2B integration needs. Some 15-20 customers, currently use this platform to deliver messages, documents and other content directly into Orion's SAP platform.
Seppänen claims that both options on offer make life easier for Orion's partners and customers because they can be more flexible with their own data integration standards. He said: "Liaison connects everything and seamlessly feeds the data into our SAP system. When adding new partners to existing integration scenarios, no one has to configure or manage anything manually; it works regardless of the protocols being used."
Optimising stock levels
Integrating customers and partners with SAP through Liaison offers several advantages to all parties. Once customer orders are processed, the impact of that order on existing stocks of ingredients and materials is shared immediately with the relevant supplier.
As Seppänen explains: "We can tell in advance if we're going to run out of something by a particular week, and the system automatically alerts the supplier to deliver new supplies ahead of any potential shortage. By optimising stock levels this way, Orion can keep very tight control over how much is stocked at any given time. This means that we hold only the stock we need to keep production running in line with ongoing customer demand, and are not locking up capital by holding too much unused stock in our warehouse."
LENS keeps a close eye on things
Seppänen and his team recognise that providing accurate, timely and detailed information is critical to the business, especially since they are responsible for managing the critical messages and documents that make the supply chain operate every day. Liaison's Enterprise Navigation System™ (LENS), a cloud-based, end-to-end Business Activity Monitoring (BAM) solution, gives complete visibility into everything that's being integrated. It enables Orion to review and monitor performance against service level agreements and pro-actively manage its trading partners. "It also helps us identify any transaction errors so we can resolve them quickly," added Seppänen.
There are other different trading relationships that also benefit from Orion's flexibility. For example, integration with an e-commerce site run by one of Orion's partners which sells self-care products directly to healthcare professionals in Finland. Or if a customer wants product marketing materials as well as actual products, the customer simply puts in the request for what they need and Liaison helps ensure the order components are consolidated and fulfilled together.
Seppänen concludes: "As a pharmaceutical company, we're experts at making our products – our focus is not on data integration. It is why we rely on Liaison to handle this for us, our customers and our partners. Orion now has a better ability to make strategic business decisions based on what a customer or partner brings to Orion, regardless of their technology infrastructure or ours."


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