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10 works found
'They call me niigarr'
They call me niigarr was Riley's last exhibition at the Hogarth Galleries. His most overtly political exhibition, it was also his least successful in terms of the public's response. The series was also included in Abstracts: new Aboriginalities, which was exhibited at Spacex Gallery, Exeter, and undertook a regional tour in Britain in 1996–97. The exhibition's title, They call me niigarr, was a pun on the language group, Niigarr, of the subject – David Prosser, dressed in a suit and bow tie. The artist's statement accompanying the work was Riley at his most outspoken:
The exhibition is about racism. Racism comes in many forms. It can be blatant, it can be hidden, patronising, and plain demoralising. For many Aboriginal people the result of racism has been all these things. Names such as these are not intentionally meant to be offensive. Non-Aboriginal people joke as they use these words. The words and images of this exhibition come from my childhood experiences with racism – experiences shared by my people.
Art films'Empire' 1997
In 2003 cloud and Empire were selected for Poetic justice: 8th international Istanbul biennale. It was a career highlight that secured Riley's international reputation. The universality of his imagery in Empire was something everyone could relate to. Empire was commissioned by Rhoda Roberts for 1997's Festival of the Dreaming program of 2000 Sydney Olympic Games Organising Committee (SOCOG). Arguably, it can be considered as the final work in a series comprising Poison, Quest for country, Eora and Empire. Poison and Eora comment on the losses and dreams of urban-based Indigenous people, and Quest and Empire trace the connections with Indigenous peoples traditional lands.
Empire shows scenes of a decayed, overworked and desolated landscape that seems both parched and scarred. The harshness of this environment is multiple. At one level it must contend with the extremes of nature, the ease with which fire spreads through the bush, or the tendency for drought to be followed by flood. Overlaying the signs of natural tension in the landscape are the scars that have followed the paths of Western colonisation.
By focusing on the ecological damage that went hand-in-hand with the frontier myth of settlement and which was paralleled by the drive to civilise and convert the Indigenous peoples to Christianity, Riley was able to highlight the stunning contradictions of contemporary Aboriginal experience. Riley's subtle juxtapositions between the ruins of the land and fragments of both Christian and Indigenous cultures suggest the need for a new way of thinking about reconciliation. Rather than rejecting Christianity, he makes us think about the gap between Christian values and the legacy it produced, or rather in the social and political whirlwind in which it was embroiled.
The complexity of Riley's approach is made more evident when you consider the relationship between the music and the images in his video Empire. Images of the landscape range between intense close-ups and wide, open horizon shots that seem to be taken from the sky. The viewer is taken from an insect's perspective to the bird's-eye view. This gives the video a sublime and omniscient gaze. The music is also a contemporary variation of elegiac church music. Together they lift us into the realm of the gods but also drop us into the despair of mortal tragedy.The tone of Empire encompasses a love of the landscape, a respect for its harshness, a mistrust of colonial influences and an ambivalence towards Christianity.
'Poison' 1991
Prior to the 1980s, alcohol and cannabis were the most insidious drugs affecting Indigenous communities. A cannabis shortage, coupled with the decreasing cost of 'smack', opened up horrible new tracks – literally – to personal oblivion and cultural destruction for the lost kids of urban-based Aboriginal communities. The demographics had changed: when Riley took the journey from Dubbo to Sydney, it was an optimistic pathway, one where you were meeting up with and being joined by your mob, achieving things together. You might not finish that apprenticeship but there were other options and people willing to take a chance on you, support you and encourage you.
By the time of Poison these possibilities seemed to have vanished: the roads were now dead-ends for those young kids whose lives should have mirrored ours.
The 'poison' referred to in the title of Riley's film is not only the consequence of drug and alcohol abuse, but also the ways in which Western society has failed Aboriginal people. Poison has no dialogue: the entire film relies on sound, movement and a shift between black and white, and colour for meaning. The film oscillates between a high-key colour stage set, where Aboriginal men, women and children sit by a lagoon, in harmony and visual symmetry, and black-and-white sequences in a bar and its urban, gritty surrounds. The same characters occupy both places. There is a contrast between an atmosphere of celebration and joyousness in the Indigenous landscape, and the sense of loss, lack of control, and hopelessness in the urban environment. In this place of confusion and substance abuse there is no guidance from the elders, no familial connections, no love, no belief. The Christian cross and Bible appear in momentary flashes throughout the film.
Opinions were divided about the influence on Poison of Tracey Moffatt's Night cries: a rural tragedy, made in 1989, and tensions existed between the two artists for some time. The irony was that Riley and Joe were far more influenced by 1960s sci-fi television series, particularly Star Trek, but given the social intimacies of urban-based Indigenous artists throughout the 1980s and 1990s, it was not surprising that ideas and influences were subliminally shared and exchanged, rejected and consumed by many of us.
Riley's work at this point developed ideas he initiated with Poison, crossing into the ethereal, bringing his fascination with Christianity and symbolism to the fore, and letting any overt Indigenous reference sink into the layering effect of a potent body of work. There is timelessness to the images or, perhaps, a hint of the earliest representations of the photographic process, a tinge of gothic gloom and universality that could place them as being from anywhere. Yet they are rooted in the Aboriginal history of this country.
[Poison] deals with substance abuse, like heroin and alcohol, and also with self-abuse. It also deals with Aboriginal people dealing with 20th century White Australia, and with the hypocrisies of religion, of Catholicism. It follows the lives of four young Aboriginal people, drug addicts, who live in a squat. The film follows them around for twenty-four hours looking at what they went through, how they got to being drug addicts … It's a range of images. I experimented with manipulating images and seeing how they transferred to a screen, like still photographs in a movie situation with the story put to it. The film is a visual film, there's about four lines of dialogue at the beginning, the rest is all visual and sound effects. I'm more of a visual person than a writer. I think Aboriginal people are basically visual people … a lot of people were fascinated by [the film], a lot of people really liked it, some didn't understand
at all.
Joe Hurst: [Michael]'d come up to Dangar Island [on the Hawkesbury River, north of Sydney] and he'd talk about, he'd be working on some thing. He'd say, 'Oh, I'm working on this thing', you know. 'What is it?' 'I can't tell you', which means he doesn't know yet. Anyhow, he came up and he goes, 'I've got it, I've written it, I've got this thing'. I said, 'Show me the script'. 'Oh, it's not written'. 'What is it?' 'Oh, it's this thing. Just come, turn up, Joe'. I had to design this thing for him and it was Poison.
I said, 'What do you want me to do?' He said, 'Just paint me some pictures … So I just painted some pictures … Me and Michael, we'd fire off each other … We'd go to rehearsals with the actors and he'd just choose, I don't know, people who had … worked with him. 'Why'd you choose these people for?' He goes, 'Oh'. He had this thing about choosing friends to act for him. Like I suppose like there's iconic photographs and a lot of iconic faces in his movies. I went, 'Oh, look, I can't work with them people' …
He expected everybody to do their job without him telling them. He thought it was intuitive but they wanted a director to direct them. So they had to figure out that he was a non-directing director. He thought that he was an intuitive director. But he's like Elvis, a real faker, you know, and he was faking it.
Yes, so he could be intuitive with them. He'd talk to them and then go, 'What do you think the character is from the script?' and they'd say, 'Oh, this is what I think it is' and he'd go, 'Oh, right'. Even though he couldn't say, 'Tone it down, become this person'. He'd say to the actor, 'What do you think the character should be and should do?' 'Oh, she should have a really nice dress and my hair should be beautiful and have big red lips and go "That's life"'. Because it was easier for him to say yes than to say no …
Alternatives, he never had an alternative because he didn't direct people. He directed the image as a photographer. Then he said to me one day, 'Oh, I wish I could direct people'. I go, 'Look, these photographs, why don't you make moving pictures?' 'Oh, yeah, all right' … His had a story directly related to the heroin and the drug abuse of Sydney Aboriginal people … His was a direct relationship to people he knew and a situation that was happening about heroin abuse in Sydney at the time … I don't know if he's seen what happened years later as the heroin got really bad and a lot of people died. I don't know if he could see it but he sensed it, he sensed that he had to make a film about heroin abuse right there and then …
I moved back to Sydney and he turns up and he turns up with 50 lines of words on a page and 50 numbers on it, 52 numbers or 55 numbers, and he goes, 'Here, Joe, here's the script. I want you to draw this and this'll be a storyboard to my new film'. I went, 'Alright' … Anyhow, one day he turns up for one of my salads with this 50, 52 line, 52 numbers with words saying 'mountain', 'fish', 'dead cat' or something. He said, 'This is my script to my new film Empire'. I went, 'Oh, yeah, all right'. He didn't even have a name, he sort of went something like Empire or Britannia or something. So I had this really nice Stonehenge paper, so I drew up these things I call flashcards. Once I painted them all … I really love it because what you can do is you can shuffle up like a deck of tarot cards and you can make different movies because of the different order you watch them in.
So a year or two went by and he rings me up and he says, 'Look, you've got to come to the Dendy Theatre, my film's on tonight at the Festival of the Dreaming', the film festival back then. I went, 'Alright'. So we turn up and there's all this film mob there and we sort of avoid the ones we want to avoid, which Michael's good at too, he's good at avoiding people, which I like because if he was avoiding them then I'm avoiding them too, you know. So we go and we sit down and we sit next to each other and we're sitting in the middle of the theatre, in the middle, in the middle of the picture theatre by ourselves and all these other people all around. This movie comes on and I just go, 'Oh'. He goes, 'What do you reckon?' It was fantastic on two points. It was fantastic as a film, it's fantastic that he didn't direct any people, it was iconic images, but I really like the DAP [Director of Art photography] and Michael. Some of my flashcards were identical to the shots in the film. So if I did 52 drawings, there could've been 12, 15, 18 shots in the film that were driven from my drawings, which I love. So I went, 'Great'. So he'd actually taken notice of my pictures. That's what I like about him. But I like it because it brought in everything … not what he talked about. He didn't talk about art, he talked about people, about what they did. So all the exhibitions that I never went to or have seen is what Empire was. Then from the still photos that he took on location, then that became the next exhibition … flyblown. So flyblown grew out of Empire. So that's Michael with his 120 Bronica on set. So when the DAP sets up a shot with the 16-millimetre camera, Michael's there with his Bronica taking the shot. So Empire comes out and flyblown comes out. It's the same thing. Well, to me it's the same thing because they come out in 1997–98.
'Quest for country' 1993
Quest for country was the most autobiographical of all Riley's work, and his quiet determination is evident as he is filmed driving through the countryside of New South Wales, travelling home from Sydney to Dubbo, through a desecrated landscape – power stations ominously spewing water vapour, clouds roiling in fast time-exposure, casting shadows over the land. The technical aspects of the film evoke US director Godfrey Reggio's QATSI trilogy (1975–82) – particularly the first film, Koyannisqatsi (a Hopi term meaning 'life out of balance') – and Francis Ford Coppola's urban dreamscape/nightmare, Rumble fish (1983).
In 1993 Riley and Rachel Perkins established an independent production company called Blackfella Films. Their first production through Blackfella Films was an international co-production by Indigenous filmmakers from Australia as well as Maori, Sami and Native Canadians. Riley's film was called Quest for country.
'Eora' 1995
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Kicking myself in the a$$ this morning. Why in the h#ll did I come to work today & turn down a ticket to watch the game???? I'm an idiot!!!!
In other news, I feel good about the game today. Wish I was there instead of this stupid plant. GEAUX TIGERS!!!!

subset: commoncrawl


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No Bake | Date & Prune Chocolate Truffles … truffles on a diet don't get better than this #festivefood
"Life is like a box of chocolates … You never know what you're gonna get." Forrest Gump
Date, Prune & Walnut Chocolate Truffles are something I never thought I'd make. Yet a chance FB update sighting a while ago set me on the track. And my, what a great idea. Healthy, delicious, a power house of energy and guilt free indulgence, truffles on a diet don't get better than this!These were fun to make, and so fast track! No bake, no cook, practically no work … almost like instant gratification! I got to step one in a matter of minutes but one bite into it was like, "Ummm nice, but something was missing, not indulgent enough". Into the fridge they went!They sat there bugging me the next morning. Thought of adding some dark chocolate to the truffles and running them in the processor again but the task of remaking the little balls bothered me! Seemed daunting for a fast track dessert.Next idea, and it turned out to be a good one. The dark couverture I had ordered reached that same morning. Melted some in the microwave and had such a great time dunking each little ball into luscious, thick, satiny melted dark chocolate.Melted ooeey gooey dark chocolate is strangely therapeutic. Is it just me? Whatever, but I really enjoyed this part and was rewarded in a while.These were GOOD! The teen loved them till the junior told her they had dates. "I don't like them", she declared, but soon was back digging into the bowl. 'These are really good," she declared. "Butter?" … the diet goes on, very conditional though!! {Note: Thank you Sangeeta for the wooden board above. I ♥ it!}These make for good gifts in the festive season. They were a great addition to the Porcelain Buono Decoration Plate Silver from Urban Dazzle. It's quite reasonably priced too. This was one of the many products I received for review which I shared when I made one bowl cocoa wholewheat almond brownies .About the truffles. They have a wonderful texture. You can play around with the combinations since both prunes and dates afford a good sticky base. Don't like walnuts, use almonds. Don't like nuts or are allergic to them, use dark chocolate, crystallised ginger, candied peel. Roll them in sprinkles after the dark chocolate has almost set; jazz them up if you like! Also, thank you Urban Dazzle for giving me a chance to review your Diwali range. I really love the variety and the quality of stoneware, ceramic, porcelain, drinkware and bakeware. You can see some of the range in my picture up there. I did wholewheat gingerbread men the other day and they looked so HAPPY on the platters, ornamental & ceramic.I also did a vanilla panna cotta in three flavours paired with three dessert sauces – coffee with a dark chocolate sauce, raspberry with a raspberry lime sauce, and saffron with salted caramel saffron sauce! Then did mini panna cotta in these tiny little white ceramic bowls, three on a plate {The honeycomb plate is from a set my sis sent me from the US. White love!}The bowls are really versatile. Dipping sauces look great served with them. Else a good extra virgin olive oil, sea salt and queen olives with a sour dough bread served on a matching Mediterranean inspired ceramic platter! So much inspiration …
[print_this]Recipe: Date & Prune Chocolate Truffles
Summary: Healthy, delicious, a power house of energy and guilt free indulgence, truffles on a diet can't get better than this!
Prep Time: 15 minutes Total Time: 40 minutes Ingredients:
- Truffles
- 100g dates {seedless}
- 100g sundried prunes
- 100g walnuts
- 20g cocoa powder {3 tbsp}
- 15g extra virgin olive oil {1tbsp}
- Chocolate coating
- 100g good quality dark chocolate melted {I used a 53%}
- Truffles
- Place dates, prunes and walnuts in bowl of processor and process for a minute or so until everything gets chopped fine. Taste and adjust sweetness if required adding more dates or prunes. {Thermomix: Speed 8, 30 seconds, repeat if necessary}
- Add the cocoa powder and olive oil and process briefly to mix. {Thermomix: Speed 8, 20 seconds}
- Roll into bite sized balls packing firmly.
- Dip into the melted chocolate and leave to set on a parchment lined tray in the fridge for 15-20 minutes.
Don't miss a post Also find me on The Rabid Baker, The Times of India


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Web Stories
Scholars gather to honor Nell Painter, April 2-3
Posted March 25, 2004; 04:48 p.m.
Leading African American studies and history scholars will participate in a conference, "Constructing the Past, Creating the Future: The Legacy of Nell Irvin Painter," on Friday and Saturday, April 2-3, in McCosh 10.
The conference is intended to honor Painter, the Edwards Professor of History, who is retiring at the end of the spring semester after 16 years on the Princeton faculty. Since earning her doctorate in American history from Harvard in 1974, Painter has become a distinguished scholar of the United States, specializing in American and African American art history and in race, class and gender.
The event will feature four panel discussions that will address changes in history education and women's and African American studies as well as Painter's influence on the fields. Following the first panel discussion at 3 p.m. Friday, Robin D.G. Kelley, professor of anthropology at Columbia University and a prominent African American studies scholar, will give the keynote address at 5:30 p.m.
The other panel discussions will run from 10 a.m. to 6:15 p.m. Saturday. A testimonial dinner will be held Saturday evening.
Other participants and speakers are expected to include: Evelyn Brooks Higginbotham, the Victor S. Thomas Professor of History and African American Studies at Harvard University; Colin Palmer, the Dodge Professor of History at Princeton; Jane Dailey, professor of history at Johns Hopkins University; Pulitzer Prize-winning biographer David Levering Lewis, the Silver Professor of History at New York University; and Glenda Gilmore, the Peter V. and C. Vann Woodward Professor of History at Yale University.
The conference is being sponsored by Princeton's Program in African American Studies , Department of History , Shelby Cullom Davis Center for Historical Studies and Program in the Study of Women and Gender .
Contact: Tom Bartus (609) 258-3601


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Image of the Day: Badr Hari Back in Training
- Written by Dave Walsh
Images say a thousand words, and in that case I'm going to post an image instead of a thousand words. Badr Hari was filming for a Dutch sports program which will air on Monday today in Mike's Gym, alongside Mike Passenier and Melvin Manhoef. Of course, there is a whole album full of awesome stuff, so get at it. [source]


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What happens when women, like men, can be parents without bearing children? Does one form of gestation become a status symbol? Another a stigma? Who decides which gestation environment is healthier or more economical? You? Your gamete-partner? Your priest? Your employer? Your insurance company? If we think we have a complicated debate now, just wait. The current War on Women pales in comparison to the potential impact that ectogenesis, a technology in which a human fetus gestates completely out of a mothers body, will have. It is, in its ultimate manifestation, qualitatively different from birth control or other assisted reproductive technologies. This change has the power to alter, in unprecedented ways, the interests, rights and responsibilities of women, men and the state.J.B.S. Haldane, a British scientist, who predicted that by 2074 live human births would make up less than 30 percent of all births, first coined the term ectogenesis in 1924. His prediction was ambitious, but not unrealistic. Despite the sci-fi horrors evoked by artificial wombs, this isnt the stuff of dark dystopias. It is a partially realized, life-saving technology. Since the 1920s, researchers have seen the development of artificial wombs as a final goal of assisted reproductive technologies. Research focuses variously on helping premature babies to survive to finding substitutes for womens bodies as baby machines. In the past 30 years, our reproductive technologies have achieved what would have previously been considered miraculous. Artificial wombs, a form of life support, are the logical conclusion of those efforts.Current ResearchThere are two commonly cited endeavors in progess. Focusing on finding ways to save premature babies, Japanese professor Dr. Yoshinori Kuwabara of Juntendo University, has successfully gestated goat embryos in a machine that holds amniotic fluid in tanks. On the other end of the process focusing on helping women unable to conceive and gestate babies, is Dr. Helen Hung-Ching Liu, Director of the Reproductive Endocrine Laboratory at the Center for Reproductive Medicine and Infertility at Cornell University. Quietly, in 2003, she and her team succeeded in growing a mouse embryo, almost to full term, by adding engineered endometrium tissue to a bio-engineered, extra-uterine scaffold. More recently, she grew a human embryo, for ten days in an artificial womb. Her work is limited by legislation that imposes a 14-day limit on research project of this nature. As complicated as it is, her goal is a functioning external womb.Predictions for the full realization of what scholars Scott Gelfand and John Shook call immaculate gestation* range from 10 to 60 years. However, it is already partially possible and entirely within the spectrum of acceptable practices. Even if it takes scientists several decades, medical advancements are steadily narrowing the gap between in vitro conception and fetal viability outside of the womb. When the gap closes then babies, navel-less, will no longer have to be born through women.Is that an advantageous human adaptation?Medical BenefitsThe medical benefits seem clearest the technology will help infertile couples, enable premature babies to survive, create an alternative to surrogacy when needed, and help women unable to carry their own babies. Ectogenesis can provide safe, healthy gestational environments free from drugs and alcohol. It will give gay couples new fertility options. Other benefits posited by advocates of the technology range from better-adjusted children, freed from mothers who are overly invested in them, to, although morally repugnant, the steady supply of spare parts that could be harvested from bottled embryos.Societal ConsequencesThe moral, ethical, legal and societal consequences are profound and we are unprepared for them. Definitions and distinctions, the meanings of words like life, human, embryo, natural, and even mother, that weve historically relied on to make ethical decisions, are dissolving faster than we are adapting. What happens when both men and women contribute equally by providing only gametes to reproduction? Do women have to carry human babies? What if they dont want to? Who decides? What does it mean to sever human birth from the human body? This connection, between women and babies, is one of the sole sources of power that women have in some societies.Abortion, Reproductive Rights and EqualityIn immediate terms, the foundations on which a womans rights to choose are predicated in Roe v. Wade, namely the issue of fetal viability and the right to privacy (the right not to be pregnant), will be rendered virtually meaningless. First, once a fetus can be safely and entirely gestated outside of a biological womb, it can be removed from its mother. Second, ectogenesis means that viability starts with conception. Both consequences radically alter the terms of the pro-choice debate as it is currently framed and understood. The tension inherent in the current debate, between the rights of the woman and the states interest in the fetus, disappears when the woman and the fetus can be safely and immediately made independent of one another. The reproductive choices of men and women become equal and women lose the primacy now conferred on them as a result of gestation. States could require women to have their fetuses extracted as an alternative to abortion, with serious long-term negative impacts. Reproductive rights and social justice issues will take on an even more surreal dimension.Feminists, not surprisingly, have extensively considered what ectogenesis could mean for womens rights, the structure of the family, class, and society. Right wing anti-choice activists, although perhaps initially delighted to have an alternative to abortion, will have to contend with a radical redefinition of motherhood and the hierarchical and gendered societal relationships for which it is an antecedent. There is no guarantee that these changes will be good for women who currently already struggle to defend reproductive freedoms. Feminist critique ranges from one extreme to the other in terms of whether ectogenesis will liberate or further oppress women.In her seminal work, The Dialectic of Sex, written in 1970, Shulamith Firestone argued that inequality between genders, and womens virtual imprisonment in the home, was the direct result of biological reproductive differences and womens correlating investments in mothering. For her, ectogenesis, accompanied by revolutionary social changes, was the way to free women from the tyranny of their own biology put in the employ of patriarchal structures, including the traditional family. She noted that, so far, these technical and social changes have been impeded by medicines domination by men, who have no vested interest in upsetting the traditional status quo. This same status quo has demonstrated the extent to which it is willing to view mothers as flesh and blood mother machines**. Ann Oakleys book The Captured Womb: A History of the Medical Care of Pregnant Women illustrates how ectogenesis would be part of a long-standing process by which virany attention to, for example, Rick Santorums antediluvian reproductive rightually all male and often misogynistic medical cultures have taken
control of birth and womens wombs in the name of science. In this
framework, ectogenesis will potentially exaggerate preexisting
inequities and biases. In this equation women arent liberated, they
are further subjugated and alienated from their own bodies and
abilities. This Handmaidens Tale scenario is fairly believable if you pay ts agenda and the number of people willing to vote for him. Prominent feminists and activists, including Andrea Dworkin and Janice Raymond, have concluded that not only will women be further marginalized and oppressed by this eventuality, but they will become obsolete.Fertility, and the ability to be the species reproductive engine, are virtually the only resources that women collectively control, they argue. And, although women do have other "value" in a patriarchal society--child rearing, for example--gestation remains, worldwide, the most important. Even in the most female-denigrating cultures women are prized, if only, for their childbearing. If you take that away, then what? This technology becomes another form of violence. Other feminist analyses takes into account the class and race implications of the enthusiastic adoption of assisted reproductive technologies by the wealthy. Some, eco-feminists, relate the eventuality to correlating a general campaign against nature. Ectogenesis also opens up the real possibility of men becoming mothers and primary care takers.***Who controls ectogenesis and how it is utilized is the key to whether or not it is a tool of liberation or oppression for women. Men rule, literally, and until we have more gender balanced representative leadership in all sectors of society, that has predictable consequences. Women are outnumbered as researchers and scientists in the field of reproductive technology, as opinion-shaping media commentators and pundits, as clerical and religious leaders, and as governmental policy makers and regulators. In this context, as with the current contraception/Catholic church debacle, is highly unlikely that woman-centered reproductive agendas, especially those that take into account the needs and health of poor women and women of color, will result. Bioethics and RegulationScientists are the first to admit the complexity of gestation. They dont understand the subtle interactions - everything from the nature of the mother-child bond to the necessary and ideal balance of temperature, sounds, fluids and hormones - between womens bodies and the bodies and development of fetuses. As with all new technologies, particularly biotechnological ones like in vitro and cloning, bioethicists are thinking about the social, legal and ethical implications. But, compared to other developed countries, the United States has very little regulation regarding assisted reproductive technology. And, although lots of people in Congress are eager to wax on about the moral status of embryos and the definition of personhood there are currently virtually no federal or state regulations regarding the impact of how we use gametes, embryos, artificial wombs and engineered birth to define those terms. A quick search of the Presidential Council on Bioethics' website for "artificial womb," "ectogenesis," "gestation," yielded only one result on the not-specific-to-reproduction moral science of limiting human subject research. A 2004 Presidential Commission on Regulation of New Biotechnologies was concerned with commercialization of ova and sperm donations, insurance coverage, truth in advertising and patent issues. The NIH is primarily in the business of monitoring stem cell research. The FDA with regulating substances used in IVF.Any integrated, comprehensive pragmatic and/or philosophical approaches are political nightmares in this country. However, not any longer in others. Britain, for example, established a Human Fertilization and Embryology Authority (HFEA) in 1990. HFEA has authority, independent from the health and research facilities and the government, to regulate assisted reproductions services and products. Decisions about reproductive technologies are more often then not made by doctors and individuals in the absence of a social justice framework. Progressive people, interested in equality and social justice, need to prepare for how rapidly evolving technology will shift reproductive rights and responsibilities. The real dystopian future is one where we look back with nostalgia at the brief period during which Roe vs. Wade had its fragile relevance and impact as a high point in womens reproductive freedom. It may sound alarmist, but really, we have time to consider the ethical, moral, societal ramifications of this technology and frame the arguments of the future before others do it for us. We have some time, but, not much.
Sources and Additional Reading* Scott Gelfand and Shook, John R., eds., Ectogeneis: Artificial Womb Technology and The Future of Human Reproduction, Editions Rodopi, B.V., 2006** Gena Corea, The Mother Machine: Reproductive Technologies From Artificial Insemination To Artificial Wombs, Harper Collins, 1985***Maureen Sander-Staudt, Of Machine Born?, Ectogeneis: Artificial Womb Technology and The Future of Human Reproduction,Editions Rodopi, B.V., 2006Richard T. Hull, Ethical Issues in the New Reproductive Technologies, Prometheus Books, 2007Christopher Kaczor, The Ethics of Abortion: Womens Rights, Human Life, and the Question of Justice, Routledge, 2011Jessica Pierce and Georgle Randels, Contemporary Bioethics: A Reader with Cases, Oxford University Press, 2010J.B.S. Haldane, Daedalus Revisited, Oxford University Press, 1995Shulamith Firestone, The Dialectic of Sex, 1970Ann Oakley, The Captured Womb: A History of the Medical Care of Pregnant Women, Blackwell Publishers, 1985
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text:
Earlier, I told you of my recent discovery of sheltered, well-lit bicycle parking in a Green P lot in Yorkville.
Yes, the Toronto Parking Authority is in fact also providing parking for bicycles.
Even better, there is absolutely no cost for using these spots. Simply lock and go.
I contacted the TPA and they've provided a list of all Green P lots that currently have bicycle parking. Click on the lot name for maps and more information from the Green P site:
Carpark 1 (20 Charles St.)
8 stands (16 spaces) at the West and NE part of the Garage
Carpark 5 (15 Wellesley St. E.)
2 stands (4 spaces) at the NW Walkway
Carpark 15 (37 Yorkville Ave.)
6 rings (12 spaces) at the west wall
Carpark 26 (37 Queen St. E.)
1 stand (2 spaces) adjacent to the NW elevators
Carpark 51 (365 Lippincott St.)
2 stands (4 spaces) near the SW corner of the parking lot
Carpark 52 (40 York St.)
1 rack (7 spaces) outside York St. entrance
Carpark 58 (9 Bedford Rd.)
2 stands (4 spaces) near the TTC generators, West edge of the carpark on Bedford Rd.
Carpark 68 (20 St. Andrew St.)
2 racks (14 spaces) outside southern entrance on St. Andrew St. – 7 stands (14 spaces) southern corner


text:
•"I look forward to being thrown into a situation with people I have never played with before, who may come from musical backgrounds other than my own. The potential to learn a lot is very great." _Katie Gilchrest, Arcane Lore
• "[I'm] looking to bury 80 percent of rock keyboard history in 20 minutes." _Jacob Cooley, Grupo Esperanza
• "Leif [Sherman Curtis] asked me to do it last year, but I couldn't find the time; seems interesting, but I haven't seen the movie." _Casey McCurry, Satellite Lot
In case you haven't seen the movie, or last year's inaugural 48 Hour Music Festival, let's start with the facts. On March 4, two-dozen-plus local musicians, many of whom have barely met, will gather in a room. Their names will be put in a hat. Their names will be pulled out of a hat. Every four (or five) names chosen, in sequence, will have to become a band for the weekend.
Hear more onlineFor a full taste of the fruits of last year's labor, head to 48hourmusicfestival.bandcamp.com, where you can download high-quality audio of last year's festival. You'll hear a smart pop band, some solid metal and dark-rock acts, and, in the form of the three-drummer sensory assault Vicious Blow, one of the best one-off performances in recent local music history.
Above all else, the 48 Hour Music Festival is — apart from an exciting evening of spontaneously created rock talent — an intriguing exercise in community building. What's even more interesting is the community it's building. The players participating in the event are, by and large, not members of the Portland Music Foundation or participants in the Clash of the Titans tribute night series, two of Portland's most prominent opportunities for musicians to network or collaborate. Most of them are disparate members of the thriving yet underexposed hard-rock scene in Portland, largely centered at clubs like Geno's or (more recently) Flask Lounge. The 48 Hour Music Festival is not just an opportunity for this diverse scene to coalesce; it's a chance for its participants to own the local spotlight for a night, and shed a deserved light on their craft.
• "I play music that's written with at least half a brain, and I write a lot of it. I wouldn't do it if I had a choice, maybe." _Caleb Coulthard, Big Meat Hammer
• "My purpose is to prevent a seven-car pileup on the pretentiousness turnpike through the use of Satanic hypnosis. I plan to use this opportunity to exalt myself and embarrass my children, and I will arrive armed with sarcasm, and also with muffins — you know, so I can play good cop/bad cop. I am going to have a killer time, make new friends, and be sure to keep my ego in check. I'm ready for anything! Let's Rock!" _Salli Wason, Hessian
See all articles by:
All Slideshows


text:
Press Center
Colorectal Cancer Screening and Prevention Should Be Central to Healthcare Reform, Experts Say at Olympus/C3 Forum
National Gathering Highlights Achievements in CRC Prevention and Identifies Opportunities to Expand Screening to Underserved PopulationsWashington, D.C., January 28, 2010 – With health reform legislation under intense debate and an increased focus on prevention, leaders from the administration and the gastroenterology and colorectal cancer (CRC) communities spoke today of the need to elevate CRC screening and prevention to a national policy priority. Olympus and C3: Colorectal Cancer Coalition brought together many of the nation's preeminent CRC experts for "The State of Colorectal Cancer Screening and Prevention Forum" to explore and discuss actionable next steps to expand access to screening for underserved populations.
"Now is the time to reaffirm our national commitment to CRC prevention which began in the 1990s during President Clinton's administration," said F. Mark Gumz, President and CEO of Olympus Corporation of the Americas. "We have the technology and expertise today to effectively prevent and treat CRC, but unfortunately, there are still close to 150,000 new cases and 50,000 deaths annually from this disease. CRC screening and prevention should be a central focus of reform implementation because it provides the high quality, cost effective health outcomes we all want from our healthcare system."
Support for improved CRC screening and prevention was echoed in President Obama's September 2009 healthcare reform address to a joint session of Congress, where he stated that colonoscopies should be covered universally "because there's no reason we shouldn't be catching diseases like … colon cancer before they get worse."
When CRC is detected early and treated, the five-year survival rate is 90 percent. However, less than 50 percent of U.S. adults aged 50 and older have been screened according to recommended guidelines. Due to low screening rates, less than 40 percent of colorectal cancers are found early.
The Forum featured two panels of CRC experts who discussed clinical trends, health system capacity and legislative solutions to make screening more accessible. Forum speakers and panelists included:
- Ms. Carlea Bauman, President, C3: Colorectal Cancer Coalition
- Dr. Gregory Ginsberg, MD, Professor of Medicine and Director of Endoscopy, University of Pennsylvania Health System
- Mr. F. Mark Gumz, President and CEO, Olympus Corporation of the Americas
- Dr. David Johnson, MD, Professor of Medicine and Chief of Gastroenterology, Eastern Virginia Medical School
- Ms. Catherine Knowles, Director of Policy, C3: Colorectal Cancer Coalition
- Dr. Ronald Myers, PhD, Professor and Director, Division of Population Science, Department of Medical Oncology, Thomas Jefferson University
- Dr. Patrick Okolo, MD, Chief of Endoscopy, Johns Hopkins Hospital
- Dr. Douglas Rex, MD, Director of Endoscopy at Indiana University Hospital and Professor of Medicine at Indiana University School of Medicine
- Dr. Laura Seeff, MD, Acting Branch Chief, Comprehensive Cancer Control Branch, Division of Cancer Prevention and Control, Centers for Disease Control and Prevention
- Mr. David Woodmansee, Senior Specialist for State and Local Campaigns, Colorectal Cancer, American Cancer Society
"Today's discussion showcased that while we have made important progress raising awareness about the need for CRC screening, there is more we must do to bring screening to all at-risk people," said Carlea Bauman, President of C3. "H.R. 1189 would make real progress in improving the nation's CRC screening rate."
Olympus, C3 and other Forum participants will continue throughout the year the important dialogue started at today's event. As the health reform discussion continues, it will be critical to drive action on CRC issues.
For more information on Olympus initiatives to raise awareness about CRC education, screening and prevention, visit www.crcawareness.com and www.crcadvocacy.com.
About Olympus
Olympus is a precision technology leader, designing and delivering innovative solutions in its core business areas: Medical and Surgical Products, Life Science Imaging Systems, Industrial Testing Instruments and Cameras and Audio Products.
Olympus works collaboratively with its customers and affiliates worldwide to leverage R&D investment in precision technology and manufacturing processes across diverse business lines. These include:
- Gastrointestinal endoscopes, accessories, and minimally invasive surgical products;
- Advanced research, clinical and educational microscopes and clinical digital imaging systems;
- Industrial research, engineering, test, inspection and measuring instrument; and
- Digital cameras and voice recorders.
Olympus serves the healthcare field with integrated product solutions and financial, educational and consulting services that help customers to efficiently, reliably and more easily achieve exceptional results. Olympus develops breakthrough technologies with revolutionary product design and functionality for the consumer and professional photography markets, and also is the leader in gastrointestinal endoscopy and clinical and educational microscopes. For more information, visit www.olympusamerica.com.
About C3
C3: Colorectal Cancer Coalition pushes for research to improve screening, diagnosis and treatment of colorectal cancer; for policy decisions that make the most effective prevention and treatment available to all; and for increased awareness that colorectal cancer is preventable, treatable and beatable. For more information, visit www.FightColorectalCancer.org.
Olympus Contact:
Megan Longenderfer
(484) 896-5579
GolinHarris Contact:
Shannon Varroney
(703) 741-7057
C3 Contact:
Catherine Knowles
(703) 548-1225 ext. 12


text:
Monday, June 18, 2012
Wholemeal Mantou
I like the fact that these mantous only require one time proofing and no baking powder. Not that i'm against using baking powder, not at all.. but just keen to make these because from the recipe, it sounds like pretty quick to make these. I remember i did some sweet potatoes pau long time ago without using any baking powder, also one time proofing and they were good so i had no doubts that these mantous will just be as good. Yeah, they were soft but not to that extreme fluffy but i tell you that i'm already glad with its outcome. I've made these 3 times for the last 2 weeks, they were my breakfast. I could have added in some double action baking powder which i guess will bring more fluffiness to its texture but like i told you, i'm already happy with these so it's not necessary for me to do so, i did however made little changes to its recipe.These mantous were inspired by Cass.
Recipe ( adapted from Cass@搵到食, with reference from Jane's corner )
with some changes
250gm cake flour/plain flour
80gm wholemeal flour
3gm instant yeast
25gm castor sugar
200gm milk
vegetable oil 10gm
black sesame seeds ( optional) for garnishing
1. Combine the flour, sugar, instant yeast and sugar together and using a fork, stir them till they are well mixed. On the machine on low speed with dough hook attached. Add the oil into the milk together in a small jug or glass and slowly pour in to the mixer bowl with machine running. You will see that it will form into a rough dough. Continue kneading till it becomes a smooth dough, i let the machine knead for about 10 minutes.
2.Remove from machine and let the dough rest for 5 minutes. Sprinkle some black sesame seeds on the working surface and roll out the dough to a square on the surface. Roll up the dough and pinch to seal the edges. Cut the dough into 8 pieces, put in on a greaseproof paper and let it proof in the steamer for 40 minutes.
3. Pour some water into your steamer and steam for 20-25 minutes. When time is up, open the lid of steamer a little to let steam escape and remove them from steamer after 5 minutes.
55 comments:
Looks great! And healthy!ReplyDelete
yeah, very healthy mantou and sprinkle some black sesame seeds make the mantou looks nice...ReplyDelete
Sound healthy and great!ReplyDelete
wow, will be great if I could have those for breakfast yeah .. LOLReplyDelete
Hi Lena,ReplyDelete
Lovely mantou! The texture looks so soft and moist! Perfect! Would be lovely with some pak kopi!
I want some too for breakfast, but lazy to make.ReplyDelete
I don't mind too, w/o baking powder, used to make pau w/o BP when i started.The only downside is smaller only, less airy.
But I always find underproofed pau to chee-nga like dimsum shop paus. Just a matter of preference.
They look light and delicious. Yum yum DianeReplyDelete
Beautiful mantous! I like the idea of using wheat flour. They look nicely puffed to me but I suppose some people might like it lighter on the inside. I think it's fine! ... a little more bite than the usual airy ones.ReplyDelete
The mantous looks really good and as u mention, soft enough... for me too. But I will eat them with something sinful.. hehehe.. chilli crab gravy... it's heavenly to always eat mantous with the gravy.. :)ReplyDelete
These look great. Love the black sesame on the top. Thrice in two weeks, now Lena nothing can say "a keeper recipe" better than those words of yours.ReplyDelete
Have a wonderful week!
Wow, can tell that you really like these mantou,hehe! I just finish my pumpkin dousa mantous, thinking to make another batch ;)ReplyDelete
Yours look very soft. I like the idea by using black sesame for topping. Must be very yummy!
Thanks for the mentioned :)
I'm interested in any mantou or steamed buns recipes. Yous look great! Definitely a keeper.ReplyDelete
- eileen@hundred eighty degreesJune 18, 2012 at 5:36 PM
I can tell that they look good! I've not been making bread, will consider mantou for the reason that it needs only one proofing. :)ReplyDelete
looks so great and so healthy that can consume everyday.ReplyDelete
Love the texture of this Mantou & so very healthy too! I've never make any mantao but would love to try your sweet potato pau! Is there a difference between mantao & pau? Or may be the texture is not the same?ReplyDelete
It's been a long time that I haven't eaten mantou ! :P I can see that it looks really good ! I want mine fried with condensed milk , please ?! lolReplyDelete
These wholewheat mantou looks mighty soft! Can definitely tell from the texture. Will try this, and fill it with red bean paste, heehee. ;)ReplyDelete
it looks very fluffy! I'm thinking of butter with it. LOL Or fresh on its own.ReplyDelete
Lena, these mantou look so cute & very healthy indeed! They look soft too!ReplyDelete
Love the presentation: simple yet elegant! Think the black sesame is a great idea to complement the wholemeal mantou!ReplyDelete
these look wonderful - lovely healthful ingredients - fantastic!ReplyDelete
Mary x
When I see mantou, I think of chili crab....hahaha!ReplyDelete
Your mantou is definitely healthy and wholesome.
I am also thinking of chilli crab when I saw this! hahahaha....ReplyDelete
they look so hearty and delicious. Love the shot of the inside of the bread and the extra color from the seeds. Another great oneReplyDelete
Totally agree with Edith that these will great with chilli crab...ReplyDelete
I always want to my own Mantou and these look really easy to make.
ni kalau makan untuk sahur, mau kenyang satu hari!
makan banyak2 tau! akak nak lena pun tembam macam mantou ni..boleh? nanti tunjuk gambar eh?
Love the idea of using wholemeal and sesame seeds... really different from the usual man tou.ReplyDelete
Eh... where did my earlier comment go??ReplyDelete
Anyway, I was saying this wholemeal mantau is just perfect to go with a cup of hot piping coffee~
Never heard of them but would definitely want to try them!Kisses,sweet Lena!ReplyDelete
I always want to make mantau, but i have no guts to make it still. I am scared, my mantau will become sek tau (hard rock). Your wholemeal mantau, healthy and fluffy, I sure like it.ReplyDelete
Oh these buns looks perfect! I have telling myself to make mantou for a longest time. And every time I see the recipe comes with baking powder, I skipped.... But yours is just what I wanted! Thanks for sharing!!ReplyDelete
Your buns always look so soft and fluffy! I wish mine always turned out like yours too! This one look lovely!ReplyDelete
Oh Lena, your whole wheat mantou looks delicious, light and so soft...I sure should bake/steam more using whole wheat :)ReplyDelete
Thanks for the recipe and hope you are having a great week!
Wow...love these! They look so soft and a healthier version mantou. Lena, you can open a pao shop! :D I need some pork belly stew to go with these.....mmmm. A friend gave me some meat pao and 1 small mantou today. She wanted me to try the mantou. But I can see that yours is much softer. I have to try and make one day. Thanks very much for sharing.ReplyDelete
Oh Lena, your buns are simply gorgeous!!! I didn't know they were called Mantou also. I love learning this stuff. I assure you, I will one day make Mantou, it's just a matter of time, and courage:)ReplyDelete
Another recipe to save for the file. At least I have the bread machine now, all I need is a steamer!!!
Thank you so much for sharing...
P.S. We're playing the Picnic Game over at my blog. We'd sure love for you to join us!!!
These I love. Everytime my family goes to the restaurant and order pork belly stew, we will fight over the mantou. I have a fear for making buns because so far not that successful.ReplyDelete
Healthy mantous! I'll like to add some nuts and seeds for more bite. Reckon this will come handy when I attempt my tomato curry in July.ReplyDelete
hanushi: hi, how are you, have you finished with your exams?ReplyDelete
sherleen: thanks..the black sesame seeds are just for garnishing:)
sonia: you're back from japan?
abby: can..if you come here.LOL!
joyce: they would be perfect with pak kopi!
wendy: yeah, less airy without baking powder. anyway, they rise up quite well..due to the yeast.
diane: thanks, they are good and actually just like bread..steamed bread!
ping: thank you! yeah, they are not too airy but still soft which i like..no complaints!
joyce@cc: chilli crab? yum, the mantous wld be great with the sauce. When i was little, we used to dip bread into the sauce!
anuja: yeah, 3times..mainly is becos they are quick to make and just enjoyed eating them! YOu have a good week too!
cass: pumpkin mantous? i've made them before but still keen to look at yours! thanks for sharing this wholemeal mantous of yours!
vivian: yeah, i know you like steamed buns and pau a lot..hope you will like this too!
eileen180: yeah, you can try making this..and hope you will like it. It's quite fast to make them.
eileenlee: yeah, 1 ate them almost everyday for the past 2 weeks!No meat but just spread with kaya and also some with butter :)
kit: to me, pau are usually more fluffy and chewy soft but some mantous can be quite fluffy too..depends on the recipe and plain mantous usually taste more bland compared to plain paus. The sweet potatoes pau are quite soft, hope you will like them!
anne: oh, i havnt heard of frying with condensed milk..what is that called?ReplyDelete
bee2: i know you hv a few mantous recipe..one day i would also like to try .
daphne: i think you are like me,,i actually spread them with butter, some with kaya and some just eat it plain!
jessie: thank you..i dont think they are cute..infact i want to make them smaller but each time i make them smaller, they dont seem to hold very nice on their own! i think got to do with my rolling steps..
lala: thank you..the black sesame seeds are mainly for decorating..doesnt bring fragrance at all as i never toast them!
mary: thank you for your kind words!
tigerfish: you are like joyce..she also mentioned about chilli crabs!
edith: hi, great to see you here, yeah...few of them already said it reminds them of chilli crabs..would be great to dip them in chilli crab sauce!
jessica: thank you! that's very encouraging!
zoe: i think you're the 4th one mentioning chilli crabs here. Zoe, you can make these, simpler than bread!
queenie: hohoho..ok..makan banyak2..i always try to makan banyak2, to balance up you and me, hope you're having a great day!
mich: have been wanting to make wholemeal mantous for some time until i see cass doing it last month and this recipe seems much quicker to make so got to make them!
yvonne: thanks, yvonne..maybe you can give it a try someday.
lenia: have you heard of paus or chinese steamed buns..they are quite like paus..or a little resembles a wholemeal bread minust the crust!
yan: hahaha..you really make me laugh reading your sek tau comment!
honeyboy: hi, nice to know you. I know what you mean about baking powder. I cant take full credit for this, these are from cass and jane's blog.Hope you will like this!
jeannie: thanks..and i hope when i make my pavlova one day, they will look as good as yours!!
juliana: thank very much..i like your steamed buns recipe recently..they look so pretty!
mary: yeah..a lot of people also like to hv meat stew with mantou. hope to see you making paus one day! Thanks so much for your compliments and hv a nice day! would be visiting you soon!
louise: thank you, infact these mantous are easier to make than breads. Oh, the picnic game..will be visiting you soon to chk that!
phong hong: next time you can make a lot yourself , then dont hv to fight! haha! try this recipe if you like..it's quite simple and fast!
missyblurkit: oh, i justread that you will be having a break in july! wah, sounds like you' re woking on a menu what to cook in july!
Hi Lena,ReplyDelete
I'm so sorry to tell you the letter R was taken about 15 minutes just before you requested it. The letters that are still available are: K, M, N, T, U, X, Y and Z I do hope you will find another letter you would like. I can't believe they've been going so quickly. It's going to be a fabulous Picnic!!! Just let me know which one you would like instead:)
I shouldn't have doubt about the one rise; your pictures suggest it makes a great texture too.ReplyDelete
T it is Lena! "See" you there!!!ReplyDelete
Lena, these look very good. I like to see recipes that one uses over and over again, you know that it is a recipe that works. Which is what I need being the non-baker that I am. I have been wanting to make some breads now that I have some time. I'll try this soon!ReplyDelete
These look incredible! I just ate, and I'm already wanting some of these!ReplyDelete
Lena, I've never tried these lovely and totally delicious rolls...I need to make these, they areReplyDelete
so amazing, and look oh, so yummmy!
Hi Lena, Saw your comment at my blog... please teleport these mantou to us! LOL!ReplyDelete
Hi Lena, your mantou look good. Soft & fluffy.ReplyDelete
Got Ipoh white coffee, 1 cup please! LOL
Mantou looks so soft and fluffy. Am sure they are great eaten plain, with jam or gravy from any savoury dish!ReplyDelete
Whoa, this looks good my dear. Want to make so many dishes and bakes from your blog. How lah?? Where got so much time and space in my tummy ha? LOL!ReplyDelete
Oh Yum! Boleh order ke? Boleh buka kedai makan.ReplyDelete
Gorgeous! They are wholewheat, yet so soft and light. Love them!ReplyDelete
Beautiful & healthy buns! I love it too.ReplyDelete
Yumz! Hope to try this recipe soon!ReplyDelete
So healthy.....and that is perfect for a diabetic hubby...ReplyDelete
I made these but substitute the milk with soya milk cause my daughter is lactose intolerant....
just a question on the yeast part.....as I don't have a scale at home, I have to convert everything to cup and tablespoon or teaspoon....so when I convert using a cooking converter with specification for yeast, it says that 3gm of yeast is equivalent to almost 1/2 teaspoon....BUT I saw in your sweet potato recipe, it called for 3gm of yeast or 1 1/2 teaspoon
so I'm confused now....which amount should I use? My mantau was ok...but the texture is a little dense, not as fluffy as yours....could it be no enough of yeast?
hi yeong seong, i just weighed the yeast with my digital scale. 1/2 tsp is between 1-2 gms, 1 tsp is between 2-3 gms, here you can use slightly more than 1 tsp. yea, too little yeast will result in your mantous rising very little, did your mantous rise up nicely? if not, they will turn out quite dense. If comparison to the sweet potato pau, that texture is more fluffy. The pumpkin mantous are also quite fluffy, with some baking powder added.ReplyDelete


text:
Got Something to Say? The LCA 2013 CFP Opens Soon!
The call for presentations opens on 1 June, which is only 11 days away! So if you're thinking of speaking at the conference (a presentation, tutorial, or miniconference), now would be a good time to start thinking about what you're going to say. While you're thinking, please spare a thought for our web team, who are bringing up the entire zookeepr instance so that the CFP will work properly.
We've been getting heaps of stuff done over the past few months. We've had a "ghosts" meeting (a meeting with former LCA directors), found conference and social venues, and are gearing up for the Call For Presentations.
We've signed a contract for the keynote venue, which I think you will all really enjoy. We have also locked in our booking for the lecture theatres, which is now working its way through the ANU process. For social events, we've got a great venue for the penguin dinner, and have shortlisted venues for the speakers' dinner and the professional delegates' networking session. We're taking a bit of extra time here because we want venues that are special, and not just the ones which first came to mind.
The ghosts meeting went really well and I think we learnt some important things. The LCA 2013 team is a bit unusual, because so many of us have been on a LCA core team before, but that gave us a chance to dig into things which deserved more attention and skip over the things which are self-evident. We want to take the opportunity in 2013 to have the most accessible, diverse and technically deep conference that we possibly can, and there was a lot of discussion around those issues. We've also had it drummed into us that communications with delegates is vitally important and you should expect our attempts to communicate to ramp up as the conference approaches.
I'm really excited about the progress we've made so far, and I feel like we're in a really good state right now. As always, please feel free to contact the LCA2013 team at email@example.com if you have any questions.
Tags for this post: conference lca2013 cfp canonical
Related posts: Call for papers opens soon; Taking over a launch pad project; LCA 2006: CFP closes today; Slow git review uploads?; Further adventures with base images in OpenStack; Wow, qemu-img is fast; Reflecting on Essex; Are you in a LUG? Do you want some promotional materials for LCA 2013?; Announcement video; linux.conf.au Returns to Canberra in 2013; The next thing; Folsom Dev Summit sessions; Openstack compute node cleanup
Syndicated 2012-05-20 19:35:00 (Updated 2012-05-21 04:07:55) from stillhq.com : Mikal, a geek from Canberra living in Silicon Valley (no blather posts)


text:
I'm a San Diegan, so I have to comment
While I went to school in Orange County back in those Miami Vice days, I have pictures of me dressed like that, LOL. (They're at my grandparents so I don't have them here to scan them in) but I totally did a wardrobe like Don Johnson and dressed that way to Junior High School. (I started my own business when I was very young - mostly to buy Star Wars toys for myself and get my father off my case about how much money I spent) But even as a kid, I had thousands every month to spend on clothes and my early dates in limosuines (there was no way I'd let my parents drive me!) So I lived like a drug dealer, but in reality I mowed lawns, washed cars, and cleaned swimming pools around baseball practice to get the money. I actually love outdoor yard work. Anyway, I had so much business, I employed my friends. We were even cheaper than day-laborers, were too young to owe taxes or require a business license, and had no cost-of-living expenses since we all lived at home with our parents.I remember living in SD and the fashions people (we) wore in the eighties. Linen dinner jackets, thin pastel colored ties, grey shoes. All heavily influenced by MV.
But I looked like something else wearing expensive leisure suits to Jr. high school.
But while I'm sure some hated me for my style, it DID get the women
Since when did I really care about anything else?
Oh man, LOL, my parents did not know what to make of me. And my father created the monster I became by cutting out my allowance and telling me to work if I wanted spending money. While I resented him and we fought a lot, I took that lesson much further than he ever anticipated and was making over $2,000 a month by the time I was an 11 or 12-year old. I would NEVER let my parents control me!
It's Todai, an Asian restaurant / night club now. I've never been in there. If you mean where the 805 goes by bridge over the I-8? Never sounded like my scene really. Now Dave & Buster's is on the north side of all that - and I love their bar-burgers and frequent there maybe once a week. I don't really play video games, so unless I go with a friend, I usually stay in the bar and make new friends. The staff recognizes me as a regular and knows what I'm going to order when I walk in the door.Getting all dressed up for a night on the town. Going to a bar (I can't remember the name) just below the 805 interchange by North Park.
North Park off the 805 really doesn't have a club scene that I'm aware of. The exits are (I think) Adams, El Cajon Blvd., and North Park Ave. There's mostly gas stations and pharmacies off those exits.
I had a friend I grew up with on my home street (his parents hired me as my clients) who played in Spyro Gyra - or they were a New Wave tribute band who also used that name.Dancing to a "New Wave" cover band. Or going to Humphreys on the bay to see Spyro Gyra (Progressive Jazz)
I just stayed in the Half-Moon Bay Inn Resort with my high school girlfriend I flew in from Chicago. That's the lodging that goes with Humphrey's By The Bay. We went to the Queensryche show and had 3rd row! It was so awesome. Tiffany is still the little hottie (SirSteve met her and will tell you a funny story about the time she came to stay with me when he also was, and Comic Con was on.) But I had to take Tiff to this show because the young girls I like to date now don't know or appreciate the good 'ol days of '80's heavy metal (not that Queensryche didn't just put out a brand new CD last June with all new (and great) material for their Mindcrime sequel!) But these 21 year old girls I like listen to rap music and lame Justin Timberlake junk. The funny thing was that I coincidentally met up with another girl I knew and lived with my first 2 years of college (not a girlfriend, but in those days I wished!) She's the same age as me and there she was at the concert. It was great catching up. (She's married now so I didn't try to find out if she'd be down for a 3-some).
91X is still around and still popular. They're more alternative now, but you can pick up Nickelback on their channel, etc. Still, ROCK 105.3 is my station for head-banging here (and more Nickelback than 91X plays, plus "Mandatory Metallica" - though I have all the big M's CDs and thus don't really want to listen to them on the radio. What sort of sucks is that Queensryche has thier audience and doesn't choose to pay off the radio stations to play their stuff - so it's not the popular thing on the radio, in spite of being better than the stuff on the radio. Music is so commercial. I didn't know it then, but that's what Miami Vice was doing as well. I'm not sure if Phil Collins paid off Michael Mann to use his music, or if Mann was just a fan - but I'm glad it worked out that way as I appreciate Collins and Peter Gabriel and Genesis through Miami Vice connections.91X was the hot station then. Playing all those hits from Miami Vice etc.
Wow. What a bit of a jog down memory lane! Thanks Blue2th.


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elago E7 ARMATURE In-Ear Noise-Reducing Earphones (Compatible iPhone 4, 1G/3GS; Control-Talk with Built In Microphone)
elago E7 ARMATURE In-Ear Earphones, Enjoy the deep bass and high definition sound quality that is pure elago, E7 Control - talk has a built in. feature for use with music phones and newer iPhone. The control talk cable has a call answer button and microphone so you can easily switch between listening to music asn talking on your iPhone.
In-ear Color-match Headphones
The SHE2637 in-ear headphones give you a perfectly balanced and natural sound. Specially designed vents that channel the air balance the high tones and bass give a more rounded listening experience. The special shape and luxurious materials used for the ear cushions ensure a perfect fit for maximum comfort. They prevent audio leakage and enhance bass performance too. The ear cushions are shaped...


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Web Stories
Opera Theater presents 'La Calisto,' Jan. 10-11
Posted January 7, 2003; 09:52 a.m.
The Princeton University Opera Theater will perform Francesco Cavalli's opera "La Calisto" at 8 p.m. Friday and Saturday, Jan. 10-11, in Richardson Auditorium , Alexander Hall.
The performances will be sung by students enrolled in the music course "Projects in Vocal Performance." Michael Pratt, conductor of the University Orchestra and director of the University Opera Theater, will conduct the performances.
The production will be staged by guest director Christopher Mattaliano, whose work as a director has been seen in major international houses including the Metropolitan Opera and San Francisco Opera.Admission to the performances is free. No tickets are required.
Contact: Eric Quinones (609) 258-3601


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4000 Series Stainless Steel Rotisserie
Description & Highlights
Ronco 4000 Series Stainless Steel Rotisserie - Stainless Steel
Cook your chicken and other poultry and healthy foods with the Ronco 4000 Series Stainless Steel Rotisserie (ST4023SSGEN). This compact countertop oven is perfect for cooking healthy meals and snacks, and the polished stainless steel exterior will make this cooker look great in your kitchen. Including a non-stick drip tray and grate cover, you can rest assured that there will be fewer spills and messes to clean up in the cooker or on your countertop. This rotisserie is able to cook up to a 15 lb turkey, a 10 lb ham, four (4) salmon steaks, fifteen (15) Italian sausages, two (2) 5 lb chickens, up to nine (9) 1/4 lb burgers, and much more!
The three (3) way rotisserie controls allow you to put your desired food on normal rotation, letting you cook all sides of the food for even cooking. Other settings include a no-heat rotation and a "pause to sear" option, which allows you to perfectly sear an food to your desired flavor. Because the rotisserie baskets, spit rods, and glass door are dishwasher-safe, cleanup has never been easier. All you have to do is pop them in the dishwasher and you'll have clean utensils in absolutely no time at all. Perfect for any kitchen, your family will be happy and well fed when you use your Ronco rotisserie.
Automatic Timer:A built-in three (3) hour automatic timer allows you to step away from the oven while it cooks your food
Easy to Use:The easy loading base and spit holder allows you to easily set your food into the rotisserie and begin cooking
Accessories Included:Accessories included with this unit are BBQ gloves, rotisserie & BBQ video, and an instruction booklet w/ recipes
- Model: ST4023SSGENRonco 4000 Series Stainless Steel Rotisserie
- Brand: RoncoDrip tray and grate cover included
- Compact countertop ovenThree (3) hour dial timer
- Easy to prepare healthy foodDishwasher-safe parts
- Rotisserie controlsIncludes rotisserie spit
- Non-stick rotisserie basketBonus instruction manual w/ recipes
- Spit loading/carving baseInput voltage: 120 V/60 Hz
- Made in: ChinaWeight: 24.6 lbs
- Warranty: 6 months limitedDimensions: 18" H x 15" W x 13" D
- Height: 18"
- Width: 15"
- Depth: 13"