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Edgar Degas
Edgar Degas | |
Self-portrait (Degas au porte-fusain), 1855
Birth name | Hilaire-Germain-Edgar De Gas |
Born | Paris, France |
19 July 1834
Died | 27 September 1917 Paris, France |
(aged 83)
Nationality | French |
Field | Painting, sculpture, drawing |
Movement | Impressionism |
Works | The Bellelli Family (1858–1867) Woman with Chrysanthemums (1865) Chanteuse de Café (c.1878) At the Milliner's (1882) |
Edgar Degas (French: [ilɛʁ ʒɛʁmɛ̃ ɛdɡɑʁ dəɡɑ]; US /deɪˈɡɑː/ or UK /ˈdeɪɡɑː/); born Hilaire-Germain-Edgar De Gas; (19 July 1834 – 27 September 1917) was a French artist famous for his paintings, sculptures, prints, and drawings. He is especially identified with the subject of dance; more than half of his works depict dancers. He is regarded as one of the founders of Impressionism, although he rejected the term, and preferred to be called a realist.[1] He was a superb draftsman, and particularly masterly in depicting movement, as can be seen in his renditions of dancers, racecourse subjects and female nudes. His portraits are notable for their psychological complexity and for their portrayal of human isolation.[2]
At the beginning of his career, he wanted to be a history painter, a calling for which he was well prepared by his rigorous academic training and close study of classic art. In his early thirties, he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life.[3]
Early life[edit]
Degas was born in Paris, France, into a moderately wealthy family. He was the eldest of five children of Célestine Musson De Gas, a Creole from New Orleans, and Augustin De Gas, a banker. Degas (he adopted this less grandiose spelling of his family name when he became an adult)[4] began his schooling at age eleven, enrolling in the Lycée Louis-le-Grand. His mother died when he was thirteen, and his father and grandfather became the main influences on him for the remainder of his youth.
Degas began to paint early in life. By the time he graduated from the Lycée in 1853, at age 18, with a baccalauréat in literature, he had turned a room in his home into an artist's studio. Upon graduating, he registered as a copyist in the Louvre Museum, but his father expected him to go to law school. Degas duly enrolled at the Faculty of Law of the University of Paris, in November 1853, but applied little effort to his studies. In 1855, Degas met Jean Auguste Dominique Ingres, whom he revered, and whose advice he never forgot: "Draw lines, young man, and still more lines, both from life and from memory, and you will become a good artist."[5] In April of that year, Degas was admitted to the École des Beaux-Arts. He studied drawing there with Louis Lamothe, under whose guidance he flourished, following the style of Ingres.[6] In July 1856, Degas traveled to Italy, where he would remain for the next three years. In 1858, while staying with his aunt's family in Naples, he made the first studies for his early masterpiece The Bellelli Family. He also drew and painted numerous copies of works by Michelangelo, Raphael, Titian, and other Renaissance artists, but—contrary to conventional practice—he usually selected from an altarpiece a detail that had caught his attention—a secondary figure, or a head which he treated as a portrait.[7]
Artistic career[edit]
Upon his return to France in 1859, Degas moved into a Paris studio large enough to permit him to begin painting The Bellelli Family—an imposing canvas he intended for exhibition in the Salon, although it remained unfinished until 1867. He also began work on several history paintings: Alexander and Bucephalus and The Daughter of Jephthah in 1859–60; Sémiramis Building Babylon in 1860; and Young Spartans around 1860.[8] In 1861, Degas visited his childhood friend Paul Valpinçon in Normandy, and made the earliest of his many studies of horses. He exhibited at the Salon for the first time in 1865, when the jury accepted his painting Scene of War in the Middle Ages, which attracted little attention.[9] Although he exhibited annually in the Salon during the next five years, he submitted no more history paintings, and his Steeplechase—The Fallen Jockey (Salon of 1866) signaled his growing commitment to contemporary subject matter. The change in his art was influenced primarily by the example of Édouard Manet, whom Degas had met in 1864 (while both were copying the same Velázquez portrait in the Louvre, according to a story that may be apocryphal).[10]
Upon the outbreak of the Franco-Prussian War in 1870, Degas enlisted in the National Guard, where his defense of Paris left him little time for painting. During rifle training his eyesight was found to be defective, and for the rest of his life his eye problems were a constant worry to him.[11]
After the war, in 1872, Degas began an extended stay in New Orleans, Louisiana, where his brother René and a number of other relatives lived. Staying at the home of his Creole uncle, Michel Musson, on Esplanade Avenue,[12] Degas produced a number of works, many depicting family members. One of Degas's New Orleans works, A Cotton Office in New Orleans, garnered favorable attention back in France, and was his only work purchased by a museum (the Pau) during his lifetime.
Degas returned to Paris in 1873, and his father died the following year, whereupon Degas learned that his brother René had amassed enormous business debts. To preserve his family's reputation, Degas sold his house and an art collection he had inherited, and used the money to pay off his brother's debts. Dependent for the first time in his life on sales of his artwork for income, he produced much of his greatest work during the decade beginning in 1874.[13] Disenchanted by now with the Salon, he instead joined a group of young artists who were organizing an independent exhibiting society. The group soon became known as the Impressionists. Between 1874 and 1886, they mounted eight art shows, known as the Impressionist Exhibitions. Degas took a leading role in organizing the exhibitions, and showed his work in all but one of them, despite his persistent conflicts with others in the group. He had little in common with Monet and the other landscape painters in the group, whom he mocked for painting outdoors. Conservative in his social attitudes, he abhorred the scandal created by the exhibitions, as well as the publicity and advertising that his colleagues sought.[1] He also deeply disliked being associated with the term "Impressionist," which the press had coined and popularized, and insisted on including non-Impressionist artists such as Jean-Louis Forain and Jean-François Raffaëlli in the group's exhibitions. The resulting rancor within the group contributed to its disbanding in 1886.[14]
As his financial situation improved through sales of his own work, he was able to indulge his passion for collecting works by artists he admired: old masters such as El Greco and such contemporaries as Manet, Pissarro, Cézanne, Gauguin, and Van Gogh. Three artists he idolized, Ingres, Delacroix, and Daumier, were especially well represented in his collection.[15]
In the late 1880s, Degas also developed a passion for photography.[16] He photographed many of his friends, often by lamplight, as in his double portrait of Renoir and Mallarmé. Other photographs, depicting dancers and nudes, were used for reference in some of Degas's drawings and paintings.[17]
As the years passed, Degas became isolated, due in part to his belief that a painter could have no personal life.[18] The Dreyfus Affair controversy brought his anti-Semitic leanings to the fore and he broke with all his Jewish friends.[19] His argumentative nature was deplored by Renoir, who said of him: "What a creature he was, that Degas! All his friends had to leave him; I was one of the last to go, but even I couldn't stay till the end."[20]
Although he is known to have been working in pastel as late as the end of 1907, and is believed to have continued making sculpture as late as 1910, he apparently ceased working in 1912, when the impending demolition of his longtime residence on the rue Victor Massé forced him to move to quarters on the boulevard de Clichy.[21] He never married and spent the last years of his life, nearly blind, restlessly wandering the streets of Paris before dying in September 1917.[22]
Artistic style[edit]
Degas is often identified as an Impressionist, an understandable but insufficient description. Impressionism originated in the 1860s and 1870s and grew, in part, from the realism of such painters as Courbet and Corot. The Impressionists painted the realities of the world around them using bright, "dazzling" colors, concentrating primarily on the effects of light, and hoping to infuse their scenes with immediacy.
Technically, Degas differs from the Impressionists in that he "never adopted the Impressionist color fleck",[23] and he continually belittled their practice of painting en plein air.[24] "He was often as anti-impressionist as the critics who reviewed the shows", according to art historian Carol Armstrong; as Degas himself explained, "no art was ever less spontaneous than mine. What I do is the result of reflection and of the study of the great masters; of inspiration, spontaneity, temperament, I know nothing."[25] Nonetheless, he is described more accurately as an Impressionist than as a member of any other movement. His scenes of Parisian life, his off-center compositions, his experiments with color and form, and his friendship with several key Impressionist artists—most notably Mary Cassatt and Édouard Manet—all relate him intimately to the Impressionist movement.[26]
Degas's style reflects his deep respect for the old masters (he was an enthusiastic copyist well into middle age)[27] and his great admiration for Jean Auguste Dominique Ingres and Eugène Delacroix. He was also a collector of Japanese prints, whose compositional principles influenced his work, as did the vigorous realism of popular illustrators such as Daumier and Gavarni. Although famous for horses and dancers, Degas began with conventional historical paintings such as The Daughter of Jephthah (c.1859–61) and The Young Spartans (c.1860–62), in which his gradual progress toward a less idealized treatment of the figure is already apparent. During his early career, Degas also painted portraits of individuals and groups; an example of the latter is The Bellelli Family (c.1858–67), a brilliantly composed and psychologically poignant portrayal of his aunt, her husband, and their children. In this painting, as in The Young Spartans and many later works, Degas was drawn to the tensions present between men and women. In his early paintings, Degas already evidenced the mature style that he would later develop more fully by cropping subjects awkwardly and by choosing unusual viewpoints.
By the late 1860s, Degas had shifted from his initial forays into history painting to an original observation of contemporary life. Racecourse scenes provided an opportunity to depict horses and their riders in a modern context. He began to paint women at work, milliners and laundresses. Mlle. Fiocre in the Ballet La Source, exhibited in the Salon of 1868, was his first major work to introduce a subject with which he would become especially identified, dancers.[28]
In many subsequent paintings dancers were shown backstage or in rehearsal, emphasizing their status as professionals doing a job. From 1870 Degas increasingly painted ballet subjects, partly because they sold well and provided him with needed income after his brother's debts had left the family bankrupt.[29] Degas began to paint café life as well, in works such as L'Absinthe and Singer with a Glove. His paintings often hinted at narrative content in a way that was highly ambiguous; for example, Interior (which has also been called The Rape) has presented a conundrum to art historians in search of a literary source—Thérèse Raquin has been suggested[30]—but it may be a depiction of prostitution.[31]
As his subject matter changed, so, too, did Degas's technique. The dark palette that bore the influence of Dutch painting gave way to the use of vivid colors and bold brushstrokes. Paintings such as Place de la Concorde read as "snapshots," freezing moments of time to portray them accurately, imparting a sense of movement. The lack of color in the 1874 Ballet Rehearsal on Stage and the 1876 The Ballet Instructor can be said to link with his interest in the new technique of photography. The changes to his palette, brushwork, and sense of composition all evidence the influence that both the Impressionist movement and modern photography, with its spontaneous images and off-kilter angles, had on his work.[26]
Blurring the distinction between portraiture and genre pieces, he painted his bassoonist friend, Désiré Dihau, in The Orchestra of the Opera (1868–69) as one of fourteen musicians in an orchestra pit, viewed as though by a member of the audience. Above the musicians can be seen only the legs and tutus of the dancers onstage, their figures cropped by the edge of the painting. Art historian Charles Stuckey has compared the viewpoint to that of a distracted spectator at a ballet, and says that "it is Degas' fascination with the depiction of movement, including the movement of a spectator's eyes as during a random glance, that is properly speaking 'Impressionist'."[32]
Degas's mature style is distinguished by conspicuously unfinished passages, even in otherwise tightly rendered paintings. He frequently blamed his eye troubles for his inability to finish, an explanation that met with some skepticism from colleagues and collectors who reasoned, as Stuckey explains, that "his pictures could hardly have been executed by anyone with inadequate vision".[33] The artist provided another clue when he described his predilection "to begin a hundred things and not finish one of them",[34] and was in any case notoriously reluctant to consider a painting complete.
His interest in portraiture led Degas to study carefully the ways in which a person's social stature or form of employment may be revealed by their physiognomy, posture, dress, and other attributes. In his 1879 Portraits, At the Stock Exchange, he portrayed a group of Jewish businessmen with a hint of anti-Semitism. In 1881 he exhibited two pastels, Criminal Physiognomies, that depicted juvenile gang members recently convicted of murder in the "Abadie Affair". Degas had attended their trial with sketchbook in hand, and his numerous drawings of the defendants reveal his interest in the atavistic features thought by some 19th-century scientists to be evidence of innate criminality.[35][36] In his paintings of dancers and laundresses, he reveals their occupations not only by their dress and activities but also by their body type: his ballerinas exhibit an athletic physicality, while his laundresses are heavy and solid.[37]
By the later 1870s Degas had mastered not only the traditional medium of oil on canvas, but pastel as well. The dry medium, which he applied in complex layers and textures, enabled him more easily to reconcile his facility for line with a growing interest in expressive color.
In the mid-1870s he also returned to the medium of etching, which he had neglected for ten years. At first he was guided in this by his old friend Ludovic-Napoléon Lepic, himself an innovator in its use, and began experimenting with lithography and monotype.[38] He was especially fascinated by the effects produced by monotype and frequently reworked the printed images with pastel.[38] By 1880, sculpture had become one more strand to Degas's continuing endeavor to explore different media, although the artist displayed only one sculpture publicly during his lifetime.
These changes in media engendered the paintings that Degas would produce in later life. Degas began to draw and paint women drying themselves with towels, combing their hair, and bathing (see: After the Bath). The strokes that model the form are scribbled more freely than before; backgrounds are simplified.
The meticulous naturalism of his youth gave way to an increasing abstraction of form. Except for his characteristically brilliant draftsmanship and obsession with the figure, the pictures created in this late period of his life bear little superficial resemblance to his early paintings. Ironically, it is these paintings, created late in his life, and after the heyday of the Impressionist movement, that most obviously use the coloristic techniques of Impressionism.[39]
For all the stylistic evolution, certain features of Degas's work remained the same throughout his life. He always painted indoors, preferring to work in his studio, either from memory, photographs, or live models.[40] The figure remained his primary subject; his few landscapes were produced from memory or imagination. It was not unusual for him to repeat a subject many times, varying the composition or treatment. He was a deliberative artist whose works, as Andrew Forge has written, "were prepared, calculated, practiced, developed in stages. They were made up of parts. The adjustment of each part to the whole, their linear arrangement, was the occasion for infinite reflection and experiment."[41] Degas himself explained, "In art, nothing should look like chance, not even movement".[29]
Edgar Degas's Studies of Circus Performer, Miss Lala, Getty Museum | |
Degas' The Dance Class, Smarthistory | |
Video Postcard: The Millinery Shop (1879/86), Art Institute of Chicago |
Degas's only showing of sculpture during his life took place in 1881 when he exhibited The Little Dancer of Fourteen Years, only shown again in 1920; the rest of the sculptural works remained private until a posthumous exhibition in 1918. Degas scholars have agreed that the sculptures were not created as aids to painting, although the artist habitually explored ways of linking graphic art and oil painting, drawing and pastel, sculpture and photography. Degas assigned the same significance to sculpture as to drawing: "Drawing is a way of thinking, modelling another".[29]
After Degas's death, his heirs found in his studio 150 wax sculptures, many in disrepair. They consulted foundry owner Adrien Hébrard, who concluded that 74 of the waxes could be cast in bronze. It is assumed that, except for the Little Dancer Aged Fourteen, all Degas bronzes worldwide are cast from surmoulages (fr) (i.e., cast from bronze masters). A surmoulage bronze is a bit smaller, and shows less surface detail, than its original bronze mold. The Hébrard Foundry cast the bronzes from 1919–1936, and closed down in 1937, shortly before Hébrard's death.
In 2004, a little-known group of 73 plaster casts, more or less closely resembling Degas's original wax sculptures, was presented as having been discovered among the materials bought by the Airaindor Foundry (now known as Airaindor-Valsuani) from Hébrard's descendants. Bronzes cast from these plasters have been issued by Airaindor-Valsuani in editions inconsistently marked and thus of unknown size. There has been substantial controversy concerning the authenticity of these plasters as well as the circumstances and date of their creation as proposed by their promoters. While several museum and academic professionals accept them as presented, most of the recognized Degas scholars have declined to comment.[42]
Personality and politics[edit]
Degas, who believed that "the artist must live alone, and his private life must remain unknown",[43] lived an outwardly uneventful life. In company he was known for his wit, which could often be cruel. He was characterized as an "old curmudgeon" by the novelist George Moore,[43] and he deliberately cultivated his reputation as a misanthropic bachelor.[20] Profoundly conservative in his political opinions, he opposed all social reforms and found little to admire in such technological advances as the telephone.[43] He fired a model upon learning she was Protestant.[43] Although Degas painted a number of Jewish subjects from 1865 to 1870, his anti-Semitism became apparent by the mid-1870s. His 1879 painting At The Bourse is widely regarded as strongly anti-Semitic, with the facial features of the banker taken directly from the anti-Semitic cartoons rampant in Paris at the time.[44]
The Dreyfus Affair, which divided Paris from the 1890s to the early 1900s, further intensified his anti-Semitism. By the mid-1890s, he had broken off relations with all of his Jewish friends,[19] publicly disavowed his previous friendships with Jewish artists, and refused to use models who he believed might be Jewish. He remained an outspoken anti-Semite and member of the anti-Semitic "Anti-Dreyfusards" until his death.[45]
During his life, public reception of Degas's work ranged from admiration to contempt. As a promising artist in the conventional mode, Degas had a number of paintings accepted in the Salon between 1865 and 1870. These works received praise from Pierre Puvis de Chavannes and the critic Jules-Antoine Castagnary.[46] He soon joined forces with the Impressionists, however, and rejected the rigid rules, judgements, and elitism of the Salon—just as the Salon and general public initially rejected the experimentalism of the Impressionists.
Degas's work was controversial, but was generally admired for its draftsmanship. His La Petite Danseuse de Quatorze Ans, or Little Dancer of Fourteen Years, which he displayed at the sixth Impressionist exhibition in 1881, was probably his most controversial piece; some critics decried what they thought its "appalling ugliness" while others saw in it a "blossoming".[47]
In part Degas' originality consisted in disregarding the smooth, full surfaces and contours of classical sculpture ... [and] in garnishing his little statue with real hair and clothing made to scale like the accoutrements for a doll. These relatively "real" additions heightened the illusion, but they also posed searching questions, such as what can be referred to as "real" when art is concerned.[48]
The suite of pastels depicting nudes that Degas exhibited in the eighth Impressionist Exhibition in 1886 produced "the most concentrated body of critical writing on the artist during his lifetime ... The overall reaction was positive and laudatory".[49]
Recognized as an important artist in his lifetime, Degas is now considered "one of the founders of Impressionism".[50] Though his work crossed many stylistic boundaries, his involvement with the other major figures of Impressionism and their exhibitions, his dynamic paintings and sketches of everyday life and activities, and his bold color experiments, served to finally tie him to the Impressionist movement as one of its greatest artists.
His paintings, pastels, drawings, and sculptures are on prominent display in many museums.
Although Degas had no formal pupils, he greatly influenced several important painters, most notably Jean-Louis Forain, Mary Cassatt, and Walter Sickert;[51] his greatest admirer may have been Henri de Toulouse-Lautrec.[52]
"Everyone has talent at twenty-five. The difficulty is to have it at fifty." (Auden & Kronenberger 1966)
"In painting you must give the idea of the true by means of the false." (Auden & Kronenberger 1966)
Achille De Gas in the Uniform of a Cadet, 1856/57, National Gallery of Art, Washington D.C.
The Bellelli Family, 1858–1867, Musée d'Orsay, Paris
Young Spartans Exercising, c. 1860–62, National Gallery, London
Woman Seated beside a Vase of Flowers, 1865, oil on canvas, Metropolitan Museum of Art, New York City
The Amateur, 1866, The Metropolitan Museum of Art, New York City
Édouard Manet and Mme. Manet, 1868–1869, Kitakyushu Municipal Museum of Art, Japan
Ballet Rehearsal, 1873, The Fogg Art Museum, Cambridge, Massachusetts
Portrait of Miss Cassatt, Seated, Holding Cards, 1876–1878
Fin d'Arabesque, with ballerina Rosita Mauri, 1877, Musée d'Orsay.
The Singer with the Glove, 1878, The Fogg Art Museum, Cambridge, Massachusetts
Dancer with a Bouquet of Flowers (Star of the Ballet) (with also ballerina Rosita Mauri), 1878
Stage Rehearsal, 1878–1879, The Metropolitan Museum of Art, New York City
Waiting, pastel on paper, 1880-82.
Before the Race, 1882–84, oil on panel, The Walters Art Museum, Baltimore
The Millinery Shop, 1885, The Art Institute of Chicago
Dancers at The Bar, 1888, The Phillips Collection, Washington, DC
Woman in the Bath, 1886, Hill-Stead Museum, Farmington, Connecticut
The Tub, 1886, Musée d'Orsay, Paris, France
The Bath: Woman Supporting her Back, c. 1887, pastel on paper, Honolulu Museum of Art
Kneeling Woman, 1884, Pushkin Museum, Moscow
Three Dancers in Yellow Skirts, circa 1891, oil on canvas, The Detroit Institute of Arts
After the Bath, Woman Drying her Nape, pastel on paper, 1898, Musée d'Orsay, Paris
The Spanish Dance, c. 1885 (bronze cast 1921), bronze, 46.3 x 14.3 cm, Ackland Art Museum, Chapel Hill, North Carolina
Little Dancer of Fourteen Years, cast in 1922 from a mixed-media sculpture modeled ca. 1879–80, Bronze, partly tinted, with cotton skirt and satin hair ribbon, on a wooden base, Metropolitan Museum of Art, New York City
- ^ a b Gordon and Forge 1988, p. 31
- ^ Brown 1994, p. 11
- ^ Turner 2000, p. 139
- ^ The family's ancestral name was Degas. Jean Sutherland Boggs explains that De Gas was the spelling, "with some pretentions, used by the artist's father when he moved to Paris to establish a French branch of his father's Neopolitan bank." While Edgar Degas's brother René adopted the still more aristocratic de Gas, the artist reverted to the original spelling, Degas, by age thirty. Baumann, et al. 1994, p. 98.
- ^ Werner 1969, p. 14
- ^ Canaday 1969, p. 930-931
- ^ Dunlop 1979, p. 19
- ^ Gordon and Forge 1988, p. 43
- ^ Thomson 1988, p. 48
- ^ Gordon and Forge 1988, p. 23
- ^ Guillaud and Guillaud 1985, p.29
- ^ "Michael Musson and Odile Longer: Degas' aunt and uncle in New Orleans". Degaslegacy.com. 1973-03-30. Retrieved 2013-03-18.
- ^ Guillaud and Guillaud 1985, p.33
- ^ Armstrong 1991, p. 25
- ^ "In the final inventory of his collection, there were twenty paintings and eighty-eight drawings by Ingres, thirteen paintings and almost two hundred drawings by Delacroix. There were hundreds of lithographs by Daumier. His contemporaries were well represented—with the exception of Monet, by whom he had nothing." Gordon and Forge 1988, p. 37
- ^ Gordon and Forge 1988, p. 26
- ^ Gordon and Forge 1988, p. 34
- ^ Canaday 1969, p. 929
- ^ a b Guillaud and Guillaud 1985, p. 56
- ^ a b Bade and Degas 1992, p. 6
- ^ Thomson 1988, p. 211
- ^ Gordon and Forge 1988, p. 41
- ^ Hartt 1976, p. 365
- ^ Gordon and Forge 1988, p. 11
- ^ Armstrong 1991, p. 22
- ^ a b Roskill 1983, p.33
- ^ Baumann, et al. 1994, p. 151
- ^ Dumas 1988, p. 9.
- ^ a b c Growe 1992
- ^ Reff 1976, pp. 200–204
- ^ Krämer 2007
- ^ Guillaud and Guillaud 1985, p.28
- ^ Guillaud and Guillaud 1985, p. 29
- ^ Guillaud and Guillaud 1985, p.50
- ^ Kendall, et al., Richard (1998). Degas and The Little Dancer. Yale University Press. pp. 78–85.
- ^ http://discovermagazine.com/photos/12-darwins-dystopias-ghastly-visions-inspired-by-the-theory-of-evolution
- ^ Muehlig 1979, p. 6
- ^ a b Thomson 1988, p. 75
- ^ Mannering 1994, pp. 70–77
- ^ Benedek "Style."
- ^ Gordon and Forge 1988, p. 9
- ^ "Bailey, Martin, "Degas bronzes controversy leads to scholars' boycott", ''The Art Newspaper'', 31 May 2012. Retrieved January 4, 2013". Theartnewspaper.com. Retrieved 2013-03-18.
- ^ a b c d Werner 1969, p. 11
- ^ [1][dead link]
- ^ Nochlin, Linda (1989). Politics of Vision: Essays on 19th Century Art And Society. Harper & Row. Retrieved 2013-03-18.
- ^ Bowness 1965, pp. 41–42
- ^ Muehlig 1979, p.7
- ^ Guillaud and Guillaud 1985, p.46
- ^ Thomson 1988, p. 135
- ^ Mannering 1994, p. 6-7
- ^ J. Paul Getty Trust
- ^ Guillaud and Guillaud 1985, p. 48
- Armstrong, Carol (1991). Odd Man Out: Readings of the Work and Reputation of Edgar Degas. Chicago and London: University of Chicago Press. ISBN 0-226-02695-7
- Auden, W.H.; Kronenberger, Louis (1966), The Viking Book of Aphorisms, New York: Viking Press
- Bade, Patrick; Degas, Edgar (1992). Degas. London: Studio Editions. ISBN 1-85170-845-6
- Baumann, Felix; Karabelnik, Marianne, et al. (1994). Degas Portraits. London: Merrell Holberton. ISBN 1-85894-014-1
- Benedek, Nelly S. "Chronology of the Artist's Life." Degas. 2004. 21 May 2004.
- Benedek, Nelly S. "Degas's Artistic Style." Degas. 2004. 21 March 2004.
- Bowness, Alan. ed. (1965) "Edgar Degas." The Book of Art Volume 7. New York: Grolier Incorporated :41.
- Brettell, Richard R.; McCullagh, Suzanne Folds (1984). Degas in The Art Institute of Chicago. New York: The Art Institute of Chicago and Harry N. Abrams, Inc. ISBN 0-86559-058-3
- Brown, Marilyn (1994). Degas and the Business of Art: a Cotton Office in New Orleans. Pennsylvania State University Press. ISBN 0-271-00944-6
- Canaday, John (1969). The Lives of the Painters Volume 3. New York: W.W. Norton and Company Inc.
- Dorra, Henri. Art in Perspective New York: Harcourt Brace Jovanovich, Inc.:208
- Dumas, Ann (1988). Degas's Mlle. Fiocre in Context. Brooklyn: The Brooklyn Museum. ISBN 0-87273-116-2
- Dunlop, Ian (1979). Degas. New York, N.Y: Harper & Row. OCLC 5583005
- "Edgar Degas, 1834–1917." The Book of Art Volume III (1976). New York: Grolier Incorporated:4.
- Gordon, Robert; Forge, Andrew (1988). Degas. New York: Harry N. Abrams. ISBN 0-8109-1142-6
- Growe, Bernd; Edgar Degas (1992). Edgar Degas, 1834–1917. Cologne: Benedikt Taschen. ISBN 3-8228-0560-2
- Guillaud, Jaqueline; Guillaud, Maurice (editors) (1985). Degas: Form and Space. New York: Rizzoli. ISBN 0-8478-5407-8
- Hartt, Frederick (1976). "Degas" Art Volume 2. Englewood Cliffs, NJ: Prentice-Hall Inc.: 365.
- "Impressionism." Praeger Encyclopedia of Art Volume 3 (1967). New York: Praeger Publishers: 952.
- J. Paul Getty Trust "Walter Richard Sickert." 2003. 11 May 2004.
- Kendall, Richard; Degas, Edgar; Druick, Douglas W.; Beale, Arthur (1998). Degas and The Little Dancer. New Haven: Yale University Press. ISBN 0-300-07497-2
- Krämer, Felix (May 2007). "'Mon tableau de genre': Degas's 'Le Viol' and Gavarni's 'Lorette'". The Burlington Magazine 149 (1250).
- Mannering, Douglas (1994). The Life and Works of Degas. Great Britain: Parragon Book Service Limited.
- Muehlig, Linda D. (1979). Degas and the Dance, 5–27 April May 1979. Northampton, Mass.: Smith College Museum of Art.
- Peugeot, Catherine, Sellier, Marie (2001). A Trip to the Orsay Museum. Paris: ADAGP: 39.
- Reff, Theodore (1976). Degas: the artist's mind. [New York]: Metropolitan Museum of Art. ISBN 0-87099-146-9
- Roskill, Mark W. (1983). "Edgar Degas." Collier's Encyclopedia.
- Thomson, Richard (1988). Degas: The Nudes. London: Thames and Hudson Ltd. ISBN 0-500-23509-0
- Tinterow, Gary (1988). Degas. New York: The Metropolitan Museum of Art and National Gallery of Canada.
- Turner, J. (2000). From Monet to Cézanne: late 19th-century French artists. Grove Art. New York: St Martin's Press. ISBN 0-312-22971-2
- Werner, Alfred (1969) Degas Pastels. New York: Watson-Guptill. ISBN 0-8230-1276-X
- Coverage of the Degas debate By Martin Bailey. News, Issue 236, June 2012
Further reading[edit]
- Capriati, Elio; I Segreti di Degas (2009). Milano: Mjm Editore. ISBN 978-88-95682-68-6
- Valery, Paul; "Degas, Manet, Morisot" Princeton University Press, 1989.
External links[edit]
Wikimedia Commons has media related to Edgar Degas. |
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- Edgar Degas at Hill-Stead Museum, Farmington, Connecticut
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- Union List of Artist Names, Getty Vocabularies. ULAN Full Record Display for Edgar Degas. Getty Vocabulary Program, Getty Research Institute. Los Angeles, California.
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January 6, 2014 at 6:01PM BMW unveils prototype self-driving car platform, i Remote app for Samsung Galaxy Gear and driver assistance technology
October 3, 2013 at 7:27PM BMW M Laptimer goes live in iOS App Store, tracks your run to the grocery store
September 10, 2013 at 11:49AM BMW's i8 plug-in hybrid unveiled at Frankfurt Motor Show, headed to US next spring for $135,925 and up
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June 6, 2013 at 11:38PM BMW expanding ConnectedDrive with web browsing, Siri, S Voice and Android support
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March 27, 2013 at 12:01AM BMW and Mini cars add iOS integration for Audible, Glympse, Rhapsody and TuneIn
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November 2, 2012 at 9:51AM Korean Audi and BMW drivers can relax, LG v. Osram LED patent dispute settled
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August 22, 2012 at 1:53PM BMW DriveNow EV car sharing comes to San Francisco Bay Area, ParkNow follows suit
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July 11, 2012 at 11:22PM BMW brings iDrive Touch, 3D maps to ConnectedDrive, LTE integration coming soon
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subset: commoncrawl


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- Report: #806821
Complaint Review: extra space storage
extra space storage route 209 @Jay Park
marshalls creek, Pennsylvania United States of America |
extra space storage lost everything I owned in a storage unit~ marshalls creek, Pennsylvania
*Author of original report: washed me under the rug
*Author of original report: pass the buck
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9/25/07 $15.00 again 9/26/07 $34.46 for the balance of the month and not even sure why 9/26/07 $12.71
That weekend I had friends move the balance of my things into the new unit. I was given the keys and the code to get into the gate of Jay Park. I still had keys to the old unit which was Frankstor. I never looked back...headed to NJ. My mom passed and I was ready to start my life again. I had paid since 2007 for the unit with the money taken directly out each month. I have not gone back until Saturday, December 3, 2011. Much to my shock, as I started to head to the new building they asked me "where are you going" He said my things are in a different unit...We headed there and all that was in that old unit were the same old things I had started to put in there and apparently NEVER removed. Apparently, my name was NEVER put into the system for that new unit...but where was my furniture my life? They claim without my original unit # I was out of luck...NO! I have paid over $6,000 for junk? I called that Monday and spoke to Kevin again and was told "He was looking" and would have the manager call the next day. He did not, so I called myself. He advised he was aware of the wrong doings of the previous owners Sharon and Corrine, and that a few years ago changed to codes because of homeless living in that old unit. I understand that this place changed owners 3 times??? So, they take over without knowing who ownes what unit #..what kind of system is this? The manager said he would get back to me...he needed to talk to the distract manager...of course no call, so I called again yesterday....and I got Kevin again! He said the manager was not there and "you know what you have to do for me to help" and HUNG UP WITH have a good day Bonnie I am sick over this. My daughter told me that the receipts were prob put into my file cabinet...but the file cabinet was stored in that unit.
I now have no beds, no chairs, no dining room, NOTHING..my kids bikes, I can go on and on what was in there. I am sick over this. I cannot afford to go out and buy all this stuff again! It took years to even get it! I wasted over $6,000 in the past 6 years for boxes of christmas decorations? and boxes of junk that my garage had held...I want these people to figure out where my things are~I have a friend who worked at a storage place and said even if they broke open my lock and sold my things since they "had no record of me" they have to keep records WHAT was in that unit! And, when it was removed. They have produced nothing. I either want my things back or them to repay me for my things.
This report was posted on Ripoff Report on 12/08/2011 03:57 PM and is a permanent record located here: http://www.ripoffreport.com/r/extra-space-storage/marshalls-creek-Pennsylvania-/extra-space-storage-lost-everything-I-owned-in-a-storage-unit-marshalls-creek-Pennsylva-806821. The posting time indicated is Arizona local time. Arizona does not observe daylight savings so the post time may be Mountain or Pacific depending on the time of year.
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Search Tips#1 Author of original report
washed me under the rug
AUTHOR: lost my whole life with crooks - (USA)
SUBMITTED: Sunday, April 01, 2012
#2 Author of original report
pass the buck
AUTHOR: lost my whole life with crooks - (USA)
SUBMITTED: Monday, December 19, 2011
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EAN: 4895119713561 Tommy Hilfiger Men's Black Leather Strap Chrono Dial Watch If he's into effortless urban style, he'll love this Tommy Hilfiger men's black leather strap watch. With its chunky stainless steel bezel, textured face, and advanced chronograph functionality, this Tommy Hilfiger timepiece ticks every style box. Silver 'T' hour markers highlight every hour, whilst at 3 Tommy Hilfiger's classic logo sits proudly. There's also a handy window, so he can keep track of the date too. This Tommy Hilfiger black leather strap watch is also water resistant to 5ATM. Useful info:
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A beautiful sunny day in Central Illinois turns into a stormy evening. I live in a rural area about 5 miles east of Bloomington. This picture was taken from a bean field as a thunderstorm was rolling into the area at sunset. The colors in the sky were amazing!
Storm at Sunset
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Zotac GTX 570
Amplify your gaming experience by adding stunning visual realism and clarity with the ZOTAC GeForce GTX 570 AMP! Edition graphics card powered by NVIDIA Fermi architecture. The card delivers a phenomenal gaming experience with Microsoft DirectX 11 technology for unprecedented immersion. Gamers ready to step into the third-dimension can combine the card with NVIDIA 3D Vision technology, 3D ready displays and eyewear for eye-popping stereoscopic 3D effects.


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The Archaeogenetics of Europe Current Biology, Volume 20, Issue 4, 23 February 2010, Pages R174-R183 Pedro Soares, Alessandro Achilli, Ornella Semino, William Davies, Vincent Macaulay, Hans-Jürgen Bandelt, Antonio Torroni and Martin B. Richards Summary A new timescale has recently been established for human mitochondrial DNA (mtDNA) lineages, making mtDNA at present the most informative genetic marker system for studying European prehistory. Here, we review the new chronology and compare mtDNA with Y-chromosome patterns, in order to summarize what we have learnt from archaeogenetics concerning five episodes over the past 50,000 years which significantly contributed to the settlement history of Europe: the pioneer colonisation of the Upper Palaeolithic, the Late Glacial re-colonisation of the continent from southern refugia after the Last Glacial Maximum, the postglacial re-colonization of deserted areas after the Younger Dryas cold snap, the arrival of Near Easterners with an incipient Neolithic package, and the small-scale migrations along continent-wide economic exchange networks beginning with the Copper Age. The available data from uniparental genetic systems have already transformed our view of the prehistory of Europe, but our knowledge of these processes remains limited. Nevertheless, their legacy remains as sedimentary layers in the gene pool of modern Europeans, and our understanding of them will improve substantially when more mtDNAs are completely sequenced, the Y chromosome more thoroughly analysed, and haplotype blocks of the autosomal genome become amenable to phylogeographic studies. Summary | Full Text | PDF (454 kb) |
Distinctive Paleo-Indian Migration Routes from Beringia Marked by Two Rare mtDNA Haplogroups Current Biology, Volume 19, Issue 1, 13 January 2009, Pages 1-8 Ugo A. Perego, Alessandro Achilli, Norman Angerhofer, Matteo Accetturo, Maria Pala, Anna Olivieri, Baharak Hooshiar Kashani, Kathleen H. Ritchie, Rosaria Scozzari, Qing-Peng Kong, Natalie M. Myres, Antonio Salas, Ornella Semino, Hans-Jürgen Bandelt, Scott R. Woodward and Antonio Torroni Summary Background It is widely accepted that the ancestors of Native Americans arrived in the New World via Beringia approximately 10 to 30 thousand years ago (kya). However, the arrival time(s), number of expansion events, and migration routes into the Western Hemisphere remain controversial because linguistic, archaeological, and genetic evidence have not yet provided coherent answers. Notably, most of the genetic evidence has been acquired from the analysis of the common pan-American mitochondrial DNA (mtDNA) haplogroups. In this study, we have instead identified and analyzed mtDNAs belonging to two rare Native American haplogroups named D4h3 and X2a. Results Phylogeographic analyses at the highest level of molecular resolution (69 entire mitochondrial genomes) reveal that two almost concomitant paths of migration from Beringia led to the Paleo-Indian dispersal approximately 15–17 kya. Haplogroup D4h3 spread into the Americas along the Pacific coast, whereas X2a entered through the ice-free corridor between the Laurentide and Cordilleran ice sheets. The examination of an additional 276 entire mtDNA sequences provides similar entry times for all common Native American haplogroups, thus indicating at least a dual origin for Paleo-Indians. Conclusions A dual origin for the first Americans is a striking novelty from the genetic point of view, and it makes plausible a scenario positing that within a rather short period of time, there may have been several entries into the Americas from a dynamically changing Beringian source. Moreover, this implies that most probably more than one language family was carried along with the Paleo-Indians. Summary | Full Text | PDF (705 kb) |
Mitochondrial Haplogroup U5b3: A Distant Echo of the Epipaleolithic in Italy and the Legacy of the Early Sardinians The American Journal of Human Genetics, Volume 84, Issue 6, 12 June 2009, Pages 814-821 Maria Pala, Alessandro Achilli, Anna Olivieri, Baharak Hooshiar Kashani, Ugo A. Perego, Daria Sanna, Ene Metspalu, Kristiina Tambets, Erika Tamm, Matteo Accetturo, Valeria Carossa, Hovirag Lancioni, Fausto Panara, Bettina Zimmermann, Gabriela Huber, Nadia Al-Zahery, Francesca Brisighelli, Scott R. Woodward, Paolo Francalacci, Walther Parson, Antonio Salas, Doron M. Behar, Richard Villems, Ornella Semino, Hans-Jürgen Bandelt and Antonio Torroni Abstract There are extensive data indicating that some glacial refuge zones of southern Europe (Franco-Cantabria, Balkans, and Ukraine) were major genetic sources for the human recolonization of the continent at the beginning of the Holocene. Intriguingly, there is no genetic evidence that the refuge area located in the Italian Peninsula contributed to this process. Here we show, through phylogeographic analyses of mitochondrial DNA (mtDNA) variation performed at the highest level of molecular resolution (52 entire mitochondrial genomes), that the most likely homeland for U5b3—a haplogroup present at a very low frequency across Europe—was the Italian Peninsula. In contrast to mtDNA haplogroups that expanded from other refugia, the Holocene expansion of haplogroup U5b3 toward the North was restricted by the Alps and occurred only along the Mediterranean coasts, mainly toward nearby Provence (southern France). From there, ∼7,000–9,000 years ago, a subclade of this haplogroup moved to Sardinia, possibly as a result of the obsidian trade that linked the two regions, leaving a distinctive signature in the modern people of the island. This scenario strikingly matches the age, distribution, and postulated geographic source of a Sardinian Y chromosome haplogroup (I2a2-M26), a paradigmatic case in the European context of a founder event marking both female and male lineages. Abstract | Full Text | PDF (722 kb) |
Copyright © 2009 The American Society of Human Genetics All rights reserved.
The American Journal of Human Genetics, Volume 84, Issue 6, 740-759, 04 June 2009
Pedro Soares1, Luca Ermini1, 2, Noel Thomson3, Maru Mormina1, 4, Teresa Rito5, Arne Röhl6, Antonio Salas7, Stephen Oppenheimer8, Vincent Macaulay3 and Martin B. Richards1, ,
1 Institute of Integrative and Comparative Biology, Faculty of Biological Sciences, University of Leeds, Leeds LS2 9JT, UK
2 Laboratorio di Archeo-Antropologia molecolare/DNA antico, Università di Camerino, Camerino 62032, Italy
3 Department of Statistics, University of Glasgow, Glasgow G12 8QQ, UK
4 Leverhulme Centre for Human Evolutionary Studies, University of Cambridge, Cambridge CB2 1QH, UK
5 Liverpool School of Tropical Medicine, University of Liverpool, Liverpool L3 5QA, UK
6 Fluxus Technology, Clare, Suffolk CO10 8NN, UK
7 Unidade de Xenética, Instituto de Medicina Legal, and Departamento de Anatomía Patológica y Ciencias Forenses, Facultad de Medicina de la Universidad de Santiago de Compostela, A Coruña, Santiago de Compostela 15782, Galicia, Spain
8 School of Anthropology, University of Oxford, Oxford OX2 6PN, UK
There is currently no calibration available for the whole human mtDNA genome, incorporating both coding and control regions. Furthermore, as several authors have pointed out recently, linear molecular clocks that incorporate selectable characters are in any case problematic. We here confirm a modest effect of purifying selection on the mtDNA coding region and propose an improved molecular clock for dating human mtDNA, based on a worldwide phylogeny of > 2000 complete mtDNA genomes and calibrating against recent evidence for the divergence time of humans and chimpanzees. We focus on a time-dependent mutation rate based on the entire mtDNA genome and supported by a neutral clock based on synonymous mutations alone. We show that the corrected rate is further corroborated by archaeological dating for the settlement of the Canary Islands and Remote Oceania and also, given certain phylogeographic assumptions, by the timing of the first modern human settlement of Europe and resettlement after the Last Glacial Maximum. The corrected rate yields an age of modern human expansion in the Americas at ∼15 kya that—unlike the uncorrected clock—matches the archaeological evidence, but continues to indicate an out-of-Africa dispersal at around 55–70 kya, 5–20 ky before any clear archaeological record, suggesting the need for archaeological research efforts focusing on this time window. We also present improved rates for the mtDNA control region, and the first comprehensive estimates of positional mutation rates for human mtDNA, which are essential for defining mutation models in phylogenetic analyses.


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Fanny Ardant | Catherine |
Emmanuelle Béart | Nathalie/Marlène |
Gérard Depardieu | Bernard |
Judith Magre | La mère de Catherine |
Wladimir Yordanoff | François |
Rodolphe Pauly | Le fils |
Idit Cebula | Ghislaine |
Evelyne Dandry | La patronne du bar |
Christian Aaron Boulogne | L'homme d'un soir |
Aurore Auteuil | La patiente de Catherine |
Sasha Rucavina | Marianne (as Sacha Rukavina) |
Macha Polikarpova | Ingrid |
Paris doctor Catherine starts to think her husband, Bernard, is having an affair when she hears an unfamiliar woman's message on his voice mail. Hoping to learn more about his extramarital activities, Catherine heads to a strip club, where she hires call girl Nathalie to have a fling with Gerard. As the affair progresses, Nathalie gives Catherine regular status reports, and the relationship between the women evolves from business to personal.
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Want to celebrate a special occasion or give a shoutout to a friend? Create a lasting memory by displaying your personalized message on our new high definition video boards at Stanford Stadium.
You will be contacted by an athletic department staff member if your desired message is approved. At that time your credit /debit card will be charged.
Disclaimer: Stanford Athletics reserves the right to edit any message as necessary. Messages that are obscene, offensive, and deemed inappropriate by Stanford Athletics will not be accepted. Messages are not to be used for commercial purposes, however you may recognize a group or company that is in attendance on game day.
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There are park alerts in effect.
show Alerts »
Park Highway Closed for Winter Season
Lassen National Park Highway is closed to through traffic for the winter season. The highway will remain open to the the Kohm Yah-mah-nee Visitor Center (1 mile from the SW entrance) and Manzanita Lake (1 mile inside the NW entrance). More »
Mill Creek Falls Trail
Did You Know?
On the evening of May 14, 1915, incandescant blocks of lava could be seen bouncing down the flanks of Lassen Peak from as far away as the town of Manton, 20 miles to the west.


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DUMBO Arts Center
Brooklyn – multiple locations
- related content/
DUMBO Arts Center
111 Front St., ste. 212 (Washington St/Water St)
Brooklyn, NY 11201
- phone: 718-694-0831 | fax: 718-694-0678
- website: www.dumboartscenter.org
- twitter: @dumboartscenter
- Visit this member's Facebook page
- get directions
The Dumbo Arts Center—a nonprofit contemporary arts organization—aims to create interaction between visual artists, the local community and the wider public in order to preserve the neighborhood of Dumbo as a springboard for new art. DAC produces the annual multi-site D.U.M.B.O. Art Under the Bridge Festival, presents a year-round program of new exhibitions in its gallery, commissions site-specific art and provides educational programs for artists, college and high-school students. Founded by artists in the wake of the first festival in 1997, DAC's role has been pivotal in the establishment of Dumbo, Brooklyn, as a recognized neighborhood and cultural destination.


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Cedar Rapids Weather
One Teen, One Thousand Shoe Boxes for Children in NeedBy Jill Kasparie, Reporter
CEDAR RAPIDS, Iowa - A Cedar Rapids teen is setting his sights high to help children around the globe who are living in poverty.
It all started with one shoe box, which he packed years ago for Operation Christmas Child. That's an organization that sends shoe boxes filled with small gifts to children living in impoverished countries who wouldn't get a gift for the holidays. "The first shoe box I packed, I packed ten or eleven years ago and it was just, we did one box as a family," said Stephen Carrick, 15, of Cedar Rapids. Now, the teen's goal is one thousand shoe boxes. Without any suggestions from his parents, Carrick set out on a mission at the beginning of the year to collect all those boxes and the small gifts to fill them. He wants to finish by the deadline set for the Operation Christmas Child collection, which is Monday, Nov. 19. "It's kind of scary," Carrick said. "That's a lot of responsibility to try to do a thousand boxes." The Cedar Rapids Collection Site Coordinator John Zamastil has been working with the teen throughout the process and watching his progress. "It's quite the thing he has going on this year … It's amazing," Zamastil said. Stephen contacted local shoe stores to collect boxes and asked people from his church, where his dad is the pastor, to donate toys, candy and school supplies. "They say every day they go over to the church and there are shoe boxes or stuff to put in shoe boxes, so people are reaching out to him," Zamastil said. Carrick even has shipping pretty much covered. The 15-year-old did what you couldn't force some teens to do. He cleaned the entire church for a whole year to raise money for postage. "It entails vacuuming everything, cleaning the restrooms, doing the windows," Carrick said. Despite all the work, Carrick said it has been worth it. "Something as small as a shoe box is a major gift to many of the kids who receive it," Carrick said. The teen is currently short of his goal. Right now he has 635 boxes filled with gifts. He's collected more than a thousand shoe boxes, but doesn't have enough to fill them all. Carrick also has raised about $4,000 to give to Operation Christmas Child for shipping. If you want to help him reach his goal, you can email him at firstname.lastname@example.com Carrick plans to deliver all of his gift-filled boxes to the collection site on the final day of this year's collection on Monday. This week is a national collection week for Operation Christmas. The Cedar Rapids site has a goal of sending 8,000 shoe boxes to several countries. They'll get quite a boost from Carrick's donation. Conversation GuidelinesBe KindDon't use abusive, offensive, threatening, racist, vulgar or sexually-oriented language. Share KnowledgeBe truthful. Share what you know and what you are passionate about. Stay focusedPromote lively and healthy debate. Stay on topic. Ask questions and give feedback on the story's topic. Report TroubleHelp us maintain a quality comment section by reporting comments that are offensive. If you see a comment that is offensive, or you feel violates our guidelines, simply click on the "x" to the far right of the comment to report it. read the full guidelines here » Commenting will be disabled on stories dealing with the following subject matter: Crime, sexual abuse, property fires, automobile accidents, Amber Alerts, Operation Quickfinds and suicides. |
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MSC Lirica
Launched in March of 2003, MSC's new Lirica adds a new dimension to the MSC fleet.
Professional Reviews
User Reviews
- Name Age # of Cruises Desitination
9 users found this review helpful.
My wife and I joined MSC Lirica in Port Everglades on January 13th 2005 and were very impressed with the ship. The ship is beautiful and our suite on deck 10 was superb with a bathroom...read more
24 users found this review helpful.
It ain't Carnival but it ain't Holland America either. This is a wonderful ship with a wonderful staff but it isn't quite tuned to what American cruisers are used to. Think of it as a...read more
7 users found this review helpful.
"We are very proud of the record of excellence that the MSC Lirica and MSC Opera have established in their inaugural Caribbean seasons," says Richard E. Sasso, president and CEO of MSC...read more
9 users found this review helpful.
I went on my first cruise with MSC. This was the worst experience ever. My husband and I went on a vacation without our daughter and had no expectations since it was our first cruise and just...read more
9 users found this review helpful.
What a great time we had on this beautiful two year old ship! MSC was a different experience for us and we loved it! I warn you now that this review will be long since everything I had read prior...read more
5 users found this review helpful.
• The ship was very nice and very clean • The staff was pretty good, sometimes excellent, our waiter (Agung), helper (Budy) and supervisor (Ivan) were excellent. • The animation team...read more
9 users found this review helpful.
We sailed the MSC Lirica (Mediterranean Shipping Cruises) for their 11 night Deep Caribbean on March 31st and absolutely loved it ! (My husband Dennis and I....our two teenagers---one boy 16, one...read more
8 users found this review helpful.
Embarkation Port Everglades, Fort Lauderdale Access road construction is complete at the FLL airport easing traffic congestion. The new construction helps immensely. We routinely fly in,...read more
1 users found this review helpful.
MSC had an offer almost to good to be true! An 11-night cruise on the Lirica over the holidays. Adults, regular price and 3rd or 4th person in cabin "Free"! However, 3rd and 4th were responsible...read more
13 users found this review helpful.
We chose the Lirica based on three criteria: ports of call, particularly the Panama Canal, price, and our available dates. The Western Caribbean itinerary out of Ft Lauderdale consisted of stops...read more


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wpjohn2 - 2/27/2007
Former Hofstra defenseman Nick Colleluori passed away in November, but his legacy lives on through his brother, Mike, a sophomore Pride midfielder
Note: This story aired on Inside Lacrosse TV, a one-hour special on ESPN2.
Though he passed in November, for those that knew him, Colleluori's message continues to live on. "Make use of the time you have and don't stress the little things," he once said. "Have a smile and enjoy what you can get out of life." |
A group of 10 people sits piled into the living room of the Colleluori family on a snowy late-January Sunday in Ridley, Pa., a close-knit, blue-collar suburb of Philadelphia. It's two months to the day that 21-year-old Nick Colleluori passed away after a 14-month battle with cancer, and friends, family members and former coaches are enthusiastically telling Nick's story, reveling in his heart, spirit and attitude.
Like the one night in the hospital when they had to be told to quiet down while watching one of Nick's high school football highlight tapes, it's clear that talking about the feats of his galvanizing athletic career and the poise and maturity that characterized the later chapter of his life inspires everyone that knows him.
There's the two 250-pound monsters Nick, a 5-8, 165-pound nose guard, once took out on a kickoff for Ridley High. His brazen leaps off the high dive as a three-year-old, as his quivering eight-year-old brother Pat stood by, too afraid to jump. His spirited workouts last summer in an effort to return to the Hofstra Pride defense this spring. His animated discussions of group tattoos and skydiving during his final hours.
The fact that he never complained throughout the hellish radiation process (when he was basically screwed to a board for seven weeks), that he was almost solely concerned with his friends and family and fiancée Jordan, that he smiled and told jokes and rehashed stories whenever anyone came by.
"Cancer is the only thing that ever stopped him," says Chris Bryan, the defense coach at Ridley High that has known Nick and little bro Michael (a sophomore middie for Hofstra) since they were in elementary school.
That's where Nick's story could take a disheartening turn. But middle brother Dan hops in at the perfect moment to put it all in perspective. "I don't even think that stopped him," he says.
It's true. Why else would Bryan and neighbor Mike Hagan, who introduced the two youngest Colleluori boys to the sport when they were in the third and fourth grades, be running a charity-first U-18 club lacrosse team for Nick's HEADstrong Foundation? Why else would there be scholarship funds set up at Ridley High and Hofstra? Why else would a locker with his No. 27 jersey, and the mask he wore for during radiation, be set up smack in the middle of Hofstra's locker room, between Michael's and childhood friend Vinnie D'Angelo's? Why else would Michael describe the final five weeks of his brother/best friend/roommate/teammate's life, when he cared for Nick 24 hours a day, as "awesome"? Why else would 5,000 people have showed up for his funeral? Why else would Jordan have given Nick a wedding band shortly before he passed?
This is only the beginning.
Like the giant "RELENTLESS" tattoo Michael had etched into his back over three and a half hours on Jan. 19, Nick's message will live forever.
"Selflessness is the first word that comes to mind," says his mother Cheryl. "Nick was the type of person that always put others before himself. I'm in awe of him: his maturity, his relentlessness, his determination, his attitude, his spirit. I couldn't be more proud of how he lived his life."
As Hofstra coach Seth Tierney said at Nick's eulogy — one that drew a standing ovation and led the funeral director to say it was the best he'd heard in more than 25 years in the business — "What Nick accomplished in his 21 years dwarfs what some do in a century."
Tierney says he was surprised the family asked him to give the eulogy, considering he'd only met Nick a few times. But he knew the only answer was yes.
The experience will clearly affect him forever, and it typifies Nick's impact on people.
"I was sitting next to Coach [Joe] Amplo at the service and he asked if I was okay," says the former Hopkins assistant. "I just said, 'I'm going to go rock this church right now because that's what Nick would want me to do.' I don't really remember it after that, just sitting back down. I'm shaking right now just talking about it.
"I've stood out on a field with 50,000 people in the stands and was embraced by a coaching staff and got a Gatorade bath. I was in the White House to receive a national championship ring. That moment on the stage in the church was unbelievable."
The stories could easily fill a book — and they just might some day. His freshman year during a groundball drill at Ridley, a 150-pound Nick drew the biggest guy on the varsity team, and blasted him out of the circle. That same year he dislocated his shoulder diving for the finish line during sprints.
His brothers, Dan and Pat, talk about having to carry Nick off the field because he was so dehydrated — more than once. In football and in lacrosse he'd frequently hurt himself laying out players nearly twice his size. He wound up with a concussion after one such hit in a summer league game before high school ("He was lucky to be conscious," says coach Matt Flynn), and all he talked about at the hospital afterward was whether the team won and how he was going to play in the following day's game.
"He'd run through a brick wall if you told him it would help his team," says Bryan.
His brothers still laugh at the image of the undersized Nick standing on stage at the All-Delaware County football awards, looking like a rowhouse on a block of skyscrapers.
Hofstra coach Joe Amplo first saw Nick while he was recruiting Michael. Nick only first picked up a longstick as a junior in high school; Amplo liked the kid's toughness, though he admits expectations were "very low".
Not in Nick's mind. Amplo remembers Nick sitting in the Colleluori living room telling him he was going to be an All-America.
"One thing that Nick left me with, I truly believe that he taught me how to love," says Amplo. "He never had any fear of anybody telling him, 'That's not the way to do things.' He did what he felt was right, with every relationship. For that, I'm eternally grateful. He'll be with me every time I introduce myself to somebody new. I will treat that person with respect and honor and love."
Love isn't quite as relevant a word to describe Nick on the field: according to his family, "kamikaze", "warrior", "gladiator", "animal" and "crazy" are more accurate. After demolishing a UNC middie for a 50-50 groundball in his first college scrimmage, Nick clawed his way onto the team's man-down unit as a freshman in 2005.
That's an abridged version of the first part of Nick's story. The second began that fall when he found out he had non-Hodgkin's Lymphoma.
Nick wasted no time getting to work on something that defined the final 14 months of his life. "I want to address the team," he immediately told then-coach John Danowski. So later the same day he imparted the message that he would be fine, the cancer had no chance and his boys had nothing to worry about. Danowski and Amplo had to leave the room for fear of their players seeing them cry.
Nick had to return to Philly for treatment, but once the 2006 season began he was back nearly every weekend, making all but three games.
Sometimes he'd be in so much pain he'd cry the entire way. Once, the family had to stop at a car wash to clean off all the vomit.
Nothing changed his attitude upon arrival, though. No matter how cold it was, whenever Amplo asked if he needed a seat or an extra coat the answer was the same: "I'm fine Coach." Nick was his old self once he was around the team, encouraging with slaps on the back and motivating words. He bounced around the locker room like a victorious politician on election night.
"The atmosphere would change the second he walked into the locker room," says Michael. "Everyone knew it was game time."
After every game, Nick gave out the Fathead Awards to whoever he felt gave the best overall performance. (His nickname was Head because, as Dan says, "When he was born, this was his bean," holding his hands a foot apart, "And this was his body," shrinking the gap to two inches.) The games Nick couldn't make, he watched the film and sent up his analysis.
Colelluori had prepared for a return to the field this season before receiving word that the cancer had returned. |
How much did he have to do with Hofstra's magical 17-2 run to the NCAA Quarterfinals?
"We don't get that far without Nick's speeches and motivation," says D'Angelo.
It worked both ways. In a stirring letter that hangs in Hofstra's locker room (and in Duke's), Nick detailed how Hofstra's playoff run, "woke [his] ass the f--- up" and pulled him out of a black hole. Things even began looking up last summer when the family thought Nick was clear. He went to Jamaica with Jordan and both their families. He was riding his bike 6-10 miles a day, and running with Jordan on the track at Swarthmore College. He even convinced his dad to let him play in a club lacrosse game.
He was going to play for the Pride this season.
"If the cancer took a hold of him, that was going to be the cancer beating him," says Jordan. "That's not what he wanted. If it made him change his life in a negative way he was going to feel like it beat him."
That fall, however, he got news that would cripple most people: the cancer was back.
It was a devastating blow, but it failed to dilute Nick's attitude. He began helping out other cancer patients, getting them through the same horrific chemo treatments he was suffering through. His parents say he saved the life of a young girl named Kara, who was close to giving up but is now thriving.
Even the nurses were falling for him: Some had to be moved to other floors because they were too emotionally attached to Nick to do their jobs.
"He had a mystical aura around him," says his father, Pat.
Around Thanksgiving, word came that Nick didn't have much time left. Michael called Tierney, and the next day the entire Pride team showed up on a bus. Everyone filed into the living room unsure of what to expect; Tierney says the first five minutes felt like hours. Until Nick took over, emceeing the next two and a half hours with jokes, stories and impersonations. There was plenty of laughing, and plenty of crying. But Nick accomplished his goal: to make everyone else feel better.
"He was in so much pain and dealing with so much but he was able to escape from that," says Michael. "He made everyone else happy. He was just being himself."
Says Amplo, "Everybody walked out of that house feeling that Nick gave it his all. He wasn't giving up; there was just nothing left in the tank. He was okay with going because he fought his tail off till the end."
The following day Nick passed away in his father's arms. Michael felt his last heartbeat.
One of Nick's final messages to Michael was that he didn't want to see his little brother cry. And at Nick's funeral he didn't. He couldn't: nothing came out.
Despite taking the end of the semester to be with his brother, Michael (known affectionately as "Worm", though no one seems to be sure why), got a 3.4 GPA. He took winter classes at Hofstra and should be a major factor on the Pride's offense this year.
It's a lot to handle — Ridley and Hofstra grad Bret Moyer describes them as twin brothers — and he's got plenty of people worried about him.
"He appears strong but I think he's burning on the inside," says Amplo.
Sitting at his locker before a late January practice, right next to his brother's likeness, Worm bobs his head to the "Brown-Eyed Girl" cover blaring over the speakers. Shouts of, "Let's go Worm" and "Come on now Worm-O", greet him every time he comes up in a groundball drill that afternoon.
The day before, back home in Ridley, his family worried about how he'd handle TV cameras and a prying reporter, but he never hesitated: he was strong, insightful, engaging, cooperative. He seemed to enjoy telling his brother's tale, and he never shied from detailing their tight relationship.
Cheryl says Michael had a tough time keeping his composure in Hofstra's first scrimmage, at Syracuse on Feb. 4, but he bounced right back with two goals and two assists later that day.
The shaggy-haired sophomore clearly is on a mission.
"Everything I do, I do it for Nick," Michael says. "I want to live my life the way he lived his. I think he's still here, right by my side."
Hofstra has dedicated its season to Nick and will wear a patch with his No. 27. Back in Ridley, assistant coach Doug Ellers says No. 27 stickers will be everywhere. And Nick's friends and family are running HEADstrong (Headstronglax.com) to raise money, promote blood drives and spread his word.
They've already got a good start. Nick's story has drawn contact from Joe Paterno at Penn State and Sidney Crosby in Pittsburgh and the New York Jets. A runner in Honolulu wrote a letter saying he had run a marathon in Nick's honor.
Nick's message will live on forever.
"Make use of the time you have and don't stress the little things," he once said. "Have a smile and enjoy what you can get out of life."
Naturally, his family still struggles with the reality of it all. The first time his mother saw the mask and jersey in his locker, during a recent trip to Nassau Coliseum to watch Blake Miller wear Nick's number for the NLL's New York Titans, she says she cried for about eight hours. "You can't replace the greatness and amazement he gave us," she says.
Her and her husband Pat break down intermittently while talking to the cameras, but they also make sure everyone is comfortable and fed on that Sunday afternoon: lobster ravioli, shrimp, garlic bread and Nick's favorite food, a deep-fried delicacy called "inside outs" from nearby Double Decker Pizza.
It's not easy. But as much as Nick's death brings sadness, his life brings inspiration.
His dad tells one last story. The iPod next to Nick's bed was stuck on his favorite song, "Breakdown" by Jack Johnson, for about five days following his passing. Other songs would play but the readout eerily never changed from Breakdown. Then, fittingly, Jordan came in, hit a button and it moved on.
It might just have been Nick sending yet another message, underlining Johnson's lyrics:
"I need this here old train to breakdown
Oh please just let me please just breakdown
I got to break on down
But I can't stop now"


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by Kevin Rudd
November 2008—CHALLENGES AND OPPORTUNITIES IN COMPUTER ARCHITECTURE
Computer architecture is no different from any other subject area—there are successes and failures, ongoing research, and challenges and opportunities. This month in Computing Now, the focus is on challenges and opportunities in computer architecture and, as you might imagine, there are many. In many ways, Moore's Law, which characterized the growth rate in transistor count over time, has been the driving force behind many of the advances in computer architecture since it was originally stated in 1965. It has motivated many businesses and many talented engineers in a wide range of disciplines to continue to improve both the fundamental technologies involved and our ability to take advantage of those improvements. Today, we have gotten to the point where our computing devices have unprecedented power, often through the availability of multiple cores per chip. The challenge to architects as well as users is to use this power for good and not for evil.
The articles in this month's theme discuss these challenges and opportunities from several perspectives. "Some Computer Science Issues in Creating a Sustainable World" addresses some environmental challenges and opportunities and issues both "mitigating the direct negative impact of computers ... and the indirect positive impact of computers." "Education, Outreach, and Training for High-Performance Computing" discusses some education, outreach, and training challenges and opportunities in high-performance computing. "The Concurrency Challenge" covers some of the challenges and opportunities associated with the current state of the art of parallel programming. "Using Asymmetric Single-ISA CMPs to Save Energy on Operating Systems" addresses the challenges and opportunities of balancing useful performance with energy consumption with the asymmetric requirements of applications and operating systems. "Virtualization Sparks Security Concerns" discusses the challenges and opportunities of securing virtual machines, given that such systems can't always be secured in the same way that physical systems can. And the three-part article "Why Computer Architecture Matters" provides a hands-on demonstration of "several aspects of computer architecture that scientific computer programmers should bear in mind when execution speed is important."
These articles provide a snapshot of many of the challenges and opportunities in computer architecture and, as an added bonus, a demonstration of why computer architecture matters. I hope that you enjoy them!
Kevin W. Rudd is a computer architect at Intel Corporation and is currently on sabbatical at Technische Universiteit Delft as a visiting professor. He's on the IEEE Micro editorial board. Contact him at ke6fzi at gmail dot com.
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Some Computer Science Issues in Creating a Sustainable World by Jennifer Mankoff, Robin Kravets, and Eli BlevisFrom the August 2008 issue of Computer Among the biggest challenges the world faces today are the climate crisis and the broader issues of environmental sustainability raised in books such as Jared Diamond's Collapse: How Societies Choose to Fail or Succeed (Viking, 2004). Part of the solution to this problem depends on climate science, breakthrough technologies, and policy changes. Education, Outreach, and Training for High-Performance Computing by David Joiner, Charles Peck, Thomas Murphy, and Paul GrayFrom the September/October 2008 issue of Computing in Science & Engineering In the many-core future, parallel computing will be available for everyone, as processors with 16 or more cores run people's favorite applications and virtualization spreads from the data center to the entertainment center. There will be a great need for powerful high-performance computing (HPC)-enabled tools and curricula. (For an example, see "Applying Computational Science to Education: The Molecular Workbench Paradigm.") by Wen-mei Hwu, Kurt Keutzer, and Timothy G. Mattso From the July/August 2008 issue of IEEE Design & Test of Computers The semiconductor industry has settled on two main trajectories for designing microprocessors. The multicore trajectory began with two-core processors, with the number of cores doubling with each semiconductor process generation. A current exemplar is the recent Intel Core 2 Extreme microprocessor with four processor cores, each of which is an out-of-order, multiple-instruction-issue processor supporting the full X86 instruction set. The many-core trajectory begins with a large number of far smaller cores and, once again, the number of cores doubles with each generation. A current example is the Nvidia GeForce 8800 GTX graphics processing unit (GPU) with 128 cores, each of which is a heavily multithreaded, single-instruction-issue, in-order processor that shares its control and instruction cache with seven other cores. Using Asymmetric Single-ISA CMPs to Save Energy on Operating Systems by Jeffrey C. Mogul, Jayaram Mudigonda, Nathan Binkert, Parthasarathy Ranganathan, and Vanish TalwarFrom the May/June 2008 issue of IEEE Micro Our computer systems need to do better at balancing useful performance with energy consumption. In a recent paper, Barroso and Hölzle pointed out that most servers operate most of the time at relatively modest utilizations-seldom entirely idle, and seldom fully utilized. However, typical servers consume almost as much energy when idle as they do when fully loaded, so their energy efficiency (useful work per joule) suffers in their normal operating region. Barroso and Hölzle argued that designers should "develop machines that consume energy in proportion to the amount of work performed." Virtualization Sparks Security Concerns by Steven J. Vaughan-NicholsFrom the August 2008 issue of Computer Virtualization is rapidly becoming a standard technology for businesses. The technology lets a single PC or server simultaneously run multiple operating systems or multiple sessions of a single OS. This lets users put numerous applications and functions on a PC or server, instead of having to run them on separate machines as in the past. Why Computer Architecture Matters by Cosmin Pancratov, Jacob M. Kurzer, Kelly A. Shaw, and Matthew L. TrawickFrom the May/June 2008, July/August 2008, and September/October 2008 issues of Computing in Science & Engineering When we write computer programs for data analysis or simulations, we typically translate the relevant mathematical algorithm into computer code as directly as possible, with little regard for how the computer will actually perform the computations. We choose to ignore such details as how individual calculations are divided among the several arithmetic and floating-point units (FPUs) on the CPU, how data is shuttled between the CPU and the main memory, and how recently used data is temporarily stored in the computer's various levels of memory caches. These questions fall under the broad heading of "computer architecture," and in many cases, our intentional ignorance serves us well. A compiler can usually translate our programs into reasonably efficient machine code quite effectively—and for many short calculations, modern computers are already many times faster than they need to be. For longer computations, however, programming with a little bit of attention to the architecture can sometimes produce gains in execution speed that are significant enough to make the extra effort worthwhile. |
What's New | |
by Philippe Kruchten From the November/December 2008 issue of IEEE Software In your trajectory to further your professional development, should you aim to become a licensed professional software engineer? Before I can answer this question, I must clarify what this really means. Moving Scientific Codes to Multicore Microprocessor CPUs by Paul R. Woodward, Jagan Jayaraj, Pei-Hung Lin, and Pen-Chung YewFrom the November/December 2008 issue of Computing in Science & Engineering The IBM Cell processor represents the first and most extreme of a new generation of multicore CPUs. For scientific codes that can be formulated in terms of vector computing concepts, as far as we know, the Cell is the most rewarding. In this article, our team at the University of Minnesota presents a method for implementing numerical algorithms for scientific computing so that they run efficiently on the Cell processor and other multicore CPUs. We present our method using the Piecewise-Parabolic Method (PPM) gas dynamics algorithm but believe that many other algorithms could benefit from our approach. Nevertheless, the code transformations are difficult to perform manually, so we're undertaking an effort to build simplified tools to assist in at least the most tedious of the code transformations involved. by Phillip A. Laplante From the November/December 2008 issue of IT Professional Earlier this year, I made a set of predictions ("IT Predictions for 2008," IT Professional, vol. 10, no. 1, 2008, pp. 62–64) that involved various scenarios of interest to the IT professional and were intended to remain valid for the next couple of years. It seems appropriate, then, to close the year out by seeing how accurate I've been so far and to formulate an updated forecast for 2009. The Creation Process of Chinese Calligraphy and Emulation of Imagery Thinking by Jun Dong, Miao Xu, Xian-jun Zhang, Yan-qing Gao, and Yun-he PanFrom the November/December 2008 issue of IEEE Intelligent Systems Chinese calligraphy is a unique shape-based form of written expression used continuously for several thousand years. Examples of this renowned art form survive in various tablets and documents preserved throughout history. Today, professional calligraphers reference these materials in advertising, documents, processing environments, and the generation of new calligraphic styles. Experiencing the Past through the Senses: An M-Learning Game at Archaeological Parks by Carmelo Ardito, Paolo Buono, Maria F. Costabile, Rosa Lanzilotti, Thomas Pederson, and Antonio PiccinnoFrom the October–December 2008 issue of IEEE MultiMedia M-learning—the combination of e-learning with mobile technologies—captures the very nature of e-learning by providing users with independence from the constraints of time and location. To exploit the potential of mobile technologies for learning, researchers must define new teaching and learning techniques. The Explore! m-learning system implements an excursion-game technique to help middle school students (ages 11 through 13) acquire historic knowledge while playing in an archaeological park. Financial Crisis and the Role of Risk-Management Software by Greg GothFrom the November 2008 issue of IEEE Distributed Systems Online The global financial services industry, perhaps more than any other, illustrates the overwhelming power and egalitarian nature of modern telecommunications. Anyone with an Internet connection and a cash account can buy and sell any number of financial instruments online. They can transfer assets from bank to bank in the blink of an eye. In an ad for a large US-based online trading firm, a customer extols his ability to sit in his home at midnight and trade shares on the Hang Seng exchange in Hong Kong. From Cells to Cell Processors: The Integration of Health and Video Games by Ben SawyerFrom the November/December 2008 issue of IEEE Computer Graphics and Applications Too often, conventional wisdom states that video and computer games offer no educational benefit, waste time, and, worst of all, are inherently unhealthy. As games have become more powerful, providing exciting input methods and pushing out more graphical richness and realism, the chorus of naysayers has increased in volume, if not numbers. Thankfully, the curves provided by Moore's law and Metcalfe's law (a communication network's value is proportional to the square of the number of its users) are accompanied by growing appreciation for video and computer games beyond their entertainment underpinnings. The combined growth in the power of games and the wider understanding of their potential impact is creating a proper rebuttal to the conventional wisdom that games are simple stuff for kids. by James Figueroa Computing Now Exclusive Content — November 2008 It won't be easy for students to create a new clustering algorithm for FPGA CAD tools, but some ambitious minds are certain to try. Accomplishing that task would give the winning team bragging rights for the first design competition at the International Conference on Field-Programmable Technology (http://vda.ee.nctu.edu.tw/ICFPT/FPT08.htm) in December, along with the opportunity to have their algorithm published. More than that, such an accomplishment would illustrate just how far the world of reconfigurable computing has come and show what's possible in the future. Slouching Toward a Dystopian Internet by Shane GreensteinFrom the September/October 2008 issue of IEEE Micro Despite the long-term success of the commercial Internet, or perhaps because of its success, there is a vigorous and ongoing discussion about avoiding a dystopian future. Cross-Border Data Flows and Increased Enforcement by Peter McLaughlinFrom the November/December 2008 issue of IEEE Security & Privacy The term "privacy" is subject to many definitions and descriptions. According to Jim Harper of the Cato Institute, "Properly defined, privacy is the subjective condition people experience when they have the power to control information about themselves and when they exercise that power consistent with their interests and values." Regardless of whether we agree with Harper about the precise phrasing, the definition he posits reflects internationally accepted ideas that the collection, use, sharing, and protection of personal information should be subject to some degree of informed notice to and consent from the affected individual. (For more on this, see the "For further reading" sidebar.) The EU Data Protection Directive takes a somewhat different tack and defines personal data as data relating to an identified or identifiable individual, and then allocates a series of rights to the individual regarding the data, particularly regarding notice, consent, and other principles intended to grant an individual reasonable control over the data relating to him or her. (For more on the directive, see http://ec.europa.eu/justice_home/fsj/privacy/index_en.htm.) The Dea[r]th of Human Understanding by Neville HolmesFrom the October 2008 issue of Computer Three years ago in this column I expressed concerns about the personal effects of videogaming (Nov. 2005, pp. 116, 114–115). Since then, those concerns have grown. Recent reading suggests that my previously described concerns are too narrow and that the increasing use of digital technology is having a widespread and degrading influence on humanity. Telework: A Productivity Paradox? by Stephen Ruth and Imran ChaudhryFrom the November/December 2008 issue of IEEE Internet Computing Is it a solution to our reliance on foreign oil? A reversal of the trend toward outsourcing US jobs overseas? A technology fix that will change the way we live? The subject is telework, and a growing number of advocates feel that it's an underreported answer to several major challenges. Telework — moving the work to the workers instead of the workers to work — is a term originated by researcher Jack Niles more 30 years ago (http://jala.com/definitions.php). Also known as telecommuting, it's widely used in the private sector and is gaining popularity in the public sector, as more government branches mandate its implementation. A Washington state senator, noting that the average commute in his Central Puget Sound constituency had risen significantly in three years, said "I can't tell you the number of people who told me if they could just work from home, they wouldn't have to get on the road every day." The senator believes that telecommuting is a better solution than building new roads. OCP-IP NoC Benchmarking WG Activities by Ian R. MackintoshFrom the September/October 2008 issue of IEEE Design & Test of Computers The Open Core Protocol (OCP) standard addresses the world of heterogeneous processor, multicore SoC development. Since the announcement of the OCP-IP organization in December 2001, eight technical working groups (WGs) have emerged to address activities on developing tools, technologies, and products supporting the OCP standard, with valuable deliverables available free to members. by Alice Angus, Dikaios Papadogkonas, George Papamarkos, George Roussos, Giles Lane, Karen Martin, Nick West, Sarah Thelwall, Zoetanya Sujon, and Roger Silverstone From the October–December 2008 issue of IEEE Pervasive Computing Urban Tapestries (UT) is an exploration into the potential costs and benefits of public authoring—that is, mapping and sharing local knowledge, memories, stories, sensed information, and experiences. It aims to reveal the potential of pervasive computing to create and support relationships that surpass established social and cultural boundaries and enable new practices around place, identity, and community. Proboscis, an artist-led studio, conceived and initiated UT in 2002, and since then, has further developed the concept in collaboration with several technical, academic, and civil society partner organizations. The core enabler is a pervasive computing platform developed specifically to support public authoring in its many expressions. |


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The featured pendant light from the Doppia Collection by Estiluz features a stainless-steel finish for an exquisite look. The pendant has the option three shades, including black translucent, grey translucent, and white translucent. Measuring 19.125'' x 19.125'' x 13'', the Doppia pendant is designed with modern aesthetics in mind. This is the perfect lighting accessory to beautifully brighten any home.
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