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- j
- jadednostalgia Oct 13, 2010 08:58 AM
We are looking to get married in the next year and are really looking for a venue to fit our budget and needs. We are only planning on having approximately 60-70 people so it does not have to be a huge place. I do prefer there being a patio... perhaps a garden area?? The biggest problem is I need it to be in close proximity to a garden area for photos and ceremony. I haven't found a lot of this in the GTA. Our budget for the meal and venue cannot be anything over $10K which sounds like very little but can get us a lot if we aren't dead set on a large hotel etc. I do not like any sort of banquet halls --- again, I would like it to have a nice outdoor area. Also it does not have to be in the GTA as long as it is not past Milton area on the West.
Does ANYONE know of a good affordable place we can try?? Please not all the general venues... I've seen them all --- Grand, Hart House, Patella Mansion, anything like this. I need some outside-the-box thinking.
Please help...
re: JennaBean
Oh and one place I forgot that may be suitable (but requires a catering) is The Richmond. They seat about 80 ppl for sit-down and can hold about 120 for a cocktail reception. Right downtown and a space that a lot of ppl don't really know about. I only remembered it b/c of an email I got today.
re: JBmaxx
Give Le Select Bistro a call. They might just be the right size for you. I believe there is a patio. I can't comment on the price, but a restaurant is definitely the way to go if you don't want to spend $$$. I'm throwing a party at Cava soon (max. 53 seats) and the buyout is about $6,000 before taxes and gratuities. 50 of us can eat our way through the menu and have lots to spare for drinks/wine. Consider a medium-sized restaurant, but not one that is super high profile. By the way, I called Origin as well, and the space is too large for my group. The buyout is $10,000 before taxes and gratuities, but with 70 people it might work for you.
Le Select
432 Wellington St W, Toronto, ON M5V1E3, CA
1560 Yonge St., Toronto, ON M4T 2S9, CA
it is more west than you'd like, but the Ancaster old mill has a beautiful space with great food...and if you hold it on a Sunday-even cheaper
There are lots of options - plenty of small restaurants would be happy to work with you. One of my faves for this type of thing: Pallucci (www.pallucci.ca) on Mount pleasant (at Davisville). Talk to Chris - he's great. It's right across the street from the park and close enough to the Belt line - could make for some cool pics.
Or....what about a cooking school? I once held a party at Cirillo's (www.cirillosacademy.com). It was fun, delicious, and very reasonably priced. The space is beautiful, but I'm not terribly familiar with the area so I don't know about parks. Work with Margit, she's amazing.
Relax, there are plenty of options. Be open and enjoy it!
523 Mt Pleasant Rd, Toronto, ON M4S, CA
We got married at Oakham House - part of the Ryerson campus, and it was AMAZING.
We had the run of the place - three different rooms -one for ceremony, cocktail and dinner (and even rooms to hang out in before the ceremony). The room costs, linens etc were all included in the per person price.
Don't let the pics on the website fool you, it's much nicer in person. There are exposed brick walls and wood beam ceilings. With some simple decor, table cloths, chair covers, flowers and candle-light it totally gets 'wedding-ed' up very nicely.
For a downtown Toronto wedding, it has to be the best value. Our guests still rave about the venue, food and service.
Menus are here: http://ryersonstudentcentre.ca/sectio...
Seriously, name me any other place in Toronto where you get decor, open bar, DELICIOUS three course meal, cocktail reception, room fees, chair covers, for $75 pp??!!
re: AstridG
AstridG- anything else you can tell me about that venue? Can you post any pics? $75 pp sounds about right!
re: AstridG
I can name you a couple of other places that don't feel like you're getting married in a classroom? We found the venue to be completely opposite of what a "wedding venue" should be, but that was us and to each their own.
I second the recommendation for Le Select Bistro. Other venues that could meet your criteria are:
The Arts and Letters Club
The Argonaut Rowing Club (you would need to hire a caterer
The Rectory Cafe (Toronto Island
The Island Yacht Club
Good Luck!
Check out Caffino Ristorante - http://www.caffino.ca/ .
My sister had her wedding there with 65 guests. The food was great and the staff was amazing to work with. You have the run of the entire dining room, bar, courtyard and patio.
I highly recommend it.
1185 King St W, Toronto, ON M6K3C5, CA
re: KiWe Kid
Kiwe Kid,
Thanks to you I have a wedding venue and reception! Cheers!
re: specialdiablo
You're very welcome! You're going to love it...and surrounding area is great for pictures too. The carpet factory area is reminiscent of the Distillery District back drop.
Distillery District
55 Mill St, Toronto, ON M5A, CA
re: KiWe Kid
That's two weddings at Caffino from your recommendation. We got married there in June of this year and it was fabulous, we got a lot of compliments. Not only is the food/service great, but the restaurant's decor is to die for. I didn't have to do a thing;).
1185 King St W, Toronto, ON M6K3C5, CA
re: Taliba
I am so happy that it worked out! Congrats on the wedding!
re: KiWe Kid
thanks so much KiWi! I too am considering Caffino. Im wondering what your cost ended up being per person? Was it a seated dinner?
1185 King St W, Toronto, ON M6K3C5, CA
re: evanna
hello evanna just wondering if you ever got a response on what the cost ended up being per person @ Caffino. I too am looking to have my wedding here, and got some quotes from the owner, however based on consumption bar which worries me a little. Any additional info anyone could add would be great
You want outside of the box? How about the Brickworks? It's not a formal garden but you could have the outdoor ceremony in the natural gardens/ponds behind the buildings. They are ramping up to start doing events and the like, they have a catering kitchen up and running. Don't know if they would hit your price target though.
I realize I probably missed your deadline but I hope this review helps others. We got married at the top of the CN Tower (70ppl) last summer and it was surprisingly affordable. I only reached out to the Tower after some surprising quotes from vendors and caterors. I didn't even think for a second it would be in our budget. The venue was perfect as over half of our guests were from out of town so it was nice to give them a tourist attraction to thank them for travelling.
We reserved a section of the Horizon's restaurant for $1500 which included tables, linens, cutlery, EXCELLENT Scenary of course, and everyone's ride up the tower, where all my guests were treated like royality bypassing the lines. There are a few food options from 80-35 p/p. They were not very flexiable on the menu though. I personally didn't think the food was amazing, it was decent for wedding food and my guests got a choices of main courses and we had passed apps for the cocktail hour. Please note: I am very judgemental on food though! We did an open bar and the drinks were on par (even cheaper than a hotel or the distillery) with Toronto. The wine was rather expensive though. Our total bill for 70 guests was around 11K, with the upgraded menu, passed apps and friends & family that drank A LOT!!! Ugh.
There was room for a dance floor and overall the staff was great and we now have a place for our anniversary dinners.
re: marissamcd
I'd like to add some information as well to hopefully help other brides as I have just finished visiting lots of unique venues for a wedding reception for 60-80 guests in Toronto on a Saturday evening and I had trouble finding price points on-line.
Atlantis Pavillions - the event would have been held in the skyline room which had fairly low ceilings and a banquet hall type feel imo. the cool thing about this room was that the dance floor overlooks the water. the prices for the packages were pretty good ranging from $90 pp to $105.95 pp. it says on the website that you need a minimum of 75 people for the room in order for the $1500 venue fee to be waived, but the coordinator we met with said that she could make the minimum number for fee waiver to be 60 people. the package prices were non-negotiable on a saturday night, but I got the sense that there was negotiating room on Friday or Sunday receptions
The Faculty Club - its located on the U of T campus. this venue was absolutely gorgeous and the manager was amazing to deal with. She is an expert in etiquette and this really shows in the way that she runs the Club. The staff is incredibly polite and efficient, the food is phenomenal (we had lunch in the bar downstairs) and the decor is beautiful and elegant. we would have booked this venue except that it was out of our price range by a couple thousand dollars. the prices are online, but the minimum on a Saturday is 75 people at $75 pp. there is a room rental charge depending on how many rooms in the house you use. there is one wedding on-site at a time. http://www.facultyclub.utoronto.ca/
The University Club of Toronto - its located on University Avenue, but you can't hear any noise from the street inside. it is also a beautiful building and there is only one wedding at a time. packages range from $65 pp - $100 pp for food. the bar is charged by consumption. there is a venue fee of $2,000 if you are not a member and the minimum food and beverage spend is $4,500.
Estates of Sunnybrook - McLean House - beautiful venue, but the space seemed to be very tight for our number of guests and the dining area had an odd L shape which made placement of the head table a little difficult. Also there can be two weddings in the same house on one day (so afternoon reception and then an evening one). And we were told that if we had the evening reception we couldn't come any earlier than 6:00 pm to take pictures, even if there was no afternoon reception. The rental fee on a Saturday is $2,500 and the minimum spend is around $7,000 or $8,000. On the phone the coordinator said she could discount the rental fee by $500 but by the time of the meeting she seemed very reluctant to give the discount. Also, there are no package prices - the prices that they have online are "suggested packages" that they have really just made up from their a la carte prices.
Old Mill Inn - this venue was really pretty but it had too much of a banquet hall type feel for us. the coordinator was great to work with and she was flexible on prices. a wedding reception of our size could be held in either the Humber Room, Balmoral Room or West Minster. the package prices were entirely reasonable from $92.75 to $129.75 pp. The room rental fees are around $150. But the idea of having a large number of wedding receptions being held at the same time didn't appeal to us.
Weston Golf and Country Club - this is located in the west end of Toronto. it is a really pretty venue with the reception area overlooking flowers and the first hole. There is only one venue on-site and the rental fee is $750. The coordinator is great to deal with and the packages are $48 or $56 for food and $40 - $46 pp for the bar. I've been to a wedding reception there and the food was great.
Black Creek Pioneer Village - this is a really unique venue with no rental fee. packages are a $100 pp and there is quite a variety of choice in the entrees. there are only two weddings on-site at a time - one is "outdoors" and the other "indoors". and guests receive free passes to the village which is a bonus if there is time to kill between the ceremony and the reception.
Old Mill
21 Old Mill Road, Toronto, ON M8X 1G5, CA


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Get ready for Thanksgiving with these handy kitchen tips:
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Peel and slice potatoes up to one day in advance – keep them submerged in cold water so they don't discolor. Unless they're being boiled, remember to pat dry before using.


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<3<3<3<3 xoxoxoxo
If this isn't nice, I don't know what is.
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this is one of my favorite things to say.
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I would like for Lee Pace to pour my coffee for me. xoxoxo
Jules, I've noticed that Ned the Pie Maker has been pouring a lot of coffee for you lately, I think he might be an enabler.
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this is actually true of all group binocular activities.
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Assaggio Ristorante MenuItalian | Belltown Dinner Menu
cured italian meats, olives, cheese.
calamari sauteed with capers, calamata olives, fresh tomato.
sauteed spinach, onion, lemon, pine nuts, dijon mustard.
prosciutto, arugula, parmigiano reggiano.
tomato, fresh mozzarella, basil.
thinly sliced raw beef tenderloin, parmigiano reggiano, capers, dijon mustard.
baked flat bread, olive oil, pecorino romano.
fried green olives stuffed with ground chicken and pork.
rice balls filled with prosciutto, peas and fontina cheese.
grilled prawns dipped in a goat cheese sauce.
seared sea scallops.
grilled marinated portobello mushroom, gorgonzola, walnuts.
sauteed local mussels, garlic, white wine, tomatoes.
sauteed manilla clams, garlic, white wine.
"the classic" with fresh tomatoes, garlic, basil.
sauteed brussels sprouts, garlic, bread crumbs, pecorino romano.
mixed seafood saffron cream soup.
tuscan style white bean soup with prosciutto.
classic italian vegetable soup.
creamy leek and potato soup with pancetta and truffle oil.
field greens, apples, pears, gorgonzola, candied pistachios, vinaigrette.
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classic caesar salad.
fennel, green apples, and parmigiano reggiano dusted with truffle salt and truffle oil.
mixed greens, roasted beets, toasted almonds, goat cheese.
marinara, basil, fresh mozzarrella.
italian sausage, mushrooms, olives, artichoke hearts.
cambozola cheese, speck, pear.
mozzarella, prosciutto, arugula, truffle oil.
parmigiano reggiano, gorgonzola, ricotta, mozzarella.
spaghetti with a classic meat sauce.
linguine, fresh seafood, marinara.
ricotta gnocchi, brown butter and sage.
gemelli, prosciutto, peas, gorgonzola cream.
pappardelle with wild boar ragu.
rigatoni, italian sausage, roaseted red peppers, tomato cream.
linguine, manilla clams, garlic, lemon, white wine.
spiral pasta, italian sausage, currants, pine nuts, arugula, saffron cream.
penne, pancetta, peppercorns, green onions, vodka tomato cream.
spaghetti, local mussels, italian sausage, fresh tomato, garlic, white wine.
linguine, prawns, eggplant, tomato cream.
ravioli, seared sea scallops, green onions, saffron cream.
baked eggplant with bread crumbs and parmigiano reggiano.
braised beef short ribs over creamy polenta.
roasted half chicken with fresh herbs.
grilled beef tenderloin, gorgonzola, red wine sauce.
braised lamb shank, fresh herbs, italian plum tomatoes.
veal shank braised with finely chopped aromatic vegetables.
sauteed veal, prosciutto, sage, white wine and butter sauce.
pork chop, portobello mushrooms, marsala cream sauce.
sauteed chicken breast, mushrooms, cognac dijon cream sauce.
classic veal parmesan.
chantilly cream filled puff pastries covered with chocolate.
classic italian pastry shells filled with whipped ricotta and almond cream.
espresso soaked ladyfingers layered with marscapone cream, topped with cocoa powder.
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zabaione cream center surrounded by chocolate gelato and caramelized hazelnuts, topped with cocoa powder
lemon gelato with a heart of limoncello, covered with meringue sprinkles.
ny cheesecake made in-house.
italian cookies paired with vin santo dessert wine for dipping.
(choose 2 flavors) vanilla, chocolate, pistachio, hazelnut, chocolate chip, coconut.
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a shot of espresso poured over a scoop of vanilla gelato.
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Big thanks to Kelly for sending in the following news.
I am not able to watch it myself but please, check it out and let me know what you think! I am very excited by the news! It has been a while since Scarlett did a music video and Bob Dylan — wow!
• Posted by Riikka • Filed In: Movies • Leave a Comment
Scarlett Johansson will be a guest on NBC's The Tonight Show with Jay Leno on Tuesday, 5th September 2006 to promote The Black Dahlia.
On 20th September, the first unofficial biography about Scarlett will be published. It is written by Brandon Hurst. You can pre-order it at Amazon. Thanks to Maria for the heads up.
• Posted by Riikka • Filed In: Media Alerts • Leave a Comment
I attended a 'Reel Life' interview with Brian De Palma yesterday at the Edinburgh Film Festival here in Scotland. De Palma spoke a little bit about The Black Dahlia too, though the focus of the event was mainly the New American Cinema. When asked about his favorite actors (whom De Palma has worked with), he mentioned that he worked with several talented British actors on The Black Dahlia, most notably Fiona Shaw, whom he thinks "can do anything". De Palma said that he originally read The Black Dahlia about 15 years ago and thought it was a very good novel but would also be very difficult to adapt to the big screen. After seeing L.A. Confidential and how well James Ellroy's novel was adapted to a script, he regained hope and when he read the script of Dahlia, he thought it was quite good. He mentioned that David Fincher (who was originally supposed to direct Dahlia) and Ellroy worked on the picture for nearly a decade and by the time De Palma got on board, Ellroy was not so involved with the project anymore. But De Palma has the utmost respect for the writer and how multi-layered his stories are.
Over all, Brian De Palma came off as a very confident filmmaker and he was not shy to voice his opinion on the state of contemporary American cinema. He mentioned that he loves to go out and see films and often when he does, he is reminded to go back to work to be able to deliver something good for the audience. But he is very much inspired by film festivals and thinks today's independent cinema has a lot to offer. He did not mentioned Scarlett Johansson in this interview but a funny co-incidence, he did mentioned a couple of things indirectly related to her. When asked what he thought about Mission: Impossible 3 (a film that Scarlett was supposed to do), De Palma rolled his eyes furiously (he was not shy on mentioning his thoughts on Tom Cruise either and the fact that he did Mission: Impossible for commercial reasons). He also mentioned that he dislikes filmmakers like Michael Bay (director of The Island) and how they shoot action scenes by cutting so fast that you can hardly understand the big picture and the physique of the characters at all.
• Posted by Riikka • Filed In: Movies,Site News • Leave a Comment
I am leaving for the Venice Film Festival in about a week from now to attend the world premiere of Scarlett's latest film, The Black Dahlia on 30th August. If other fans are planning to attend and would like to meet up for the red carpet ceremony, feel free to email me at email@example.com and we'll chat more. I will also try to come by to post my review of the film the next day!
• Posted by Riikka • Filed In: Site News • Leave a Comment
As some of the fans are already aware, Esquire magazine is running a story where they partially reveal the identity of their Sexiest Woman Alive over the course of six months. Each month they have a partially revealling photo and a 20 question interview. The readers have made the guess in a poll that she is Renee Zellweger (53%) with Scarlett running right behind with 27%. The mystery lady sure does sound and look a lot like our Scarlett but I recommend for you to have a look and make up your own mind.
• Posted by Riikka • Filed In: Media Alerts,News & Rumors • Leave a Comment
Thanks to Peta informing me that Scarlett made a low-key visit to Auckland, New Zealand last week, which she spent supermarket shopping, buying take-aways and driving around town with Josh Hartnett in an environmentally friendly eco car. Josh is currently in town to film 30 Days of Night and Scarlett accompanied him on set.
• Posted by Riikka • Filed In: News & Rumors • Leave a Comment
Hello from the good ole rainy Scotland! Still no flat but I just had to come by to post this fabulous find!
One of my favorite websites, The Film Experience has been having a Scarlett Johansson week with lots of goss and chatter about our girl. Check out results of their poll here; the readers have voted Lost in Translation as Scarlett's best performance with 51% – Match Point and Girl with a Pearl Earring follow. The blog also has awesome musings on Scarlett and her career. They even voted Scarlett-Fan.com as the best Scarlett Johansson website!
I am blushing. Literally.
• Posted by Riikka • Filed In: Site News • Leave a Comment
Film siren Scarlett Johansson might be coming to Australia for a promotional tour later this year.
The star is in negotiations to attend a premiere for the film Black Dahlia, which is due for release in November.
A film insider has revealed Johansson and her co-star Josh Hartnett are likely to travel to Australia to promote the film, which has been chosen to open the Venice Film Festival.
• Posted by Riikka • Filed In: Movies,Public Events • Leave a Comment
The movie Scoop opens today. Woody Allen wrote, directed, ed ited, co-stars in it. Also probably sells popcorn for it, takes your tickets and acts as the pro in the men's room. In this thing, Scarlett Johansson's a college reporter who happens to accidentally happen upon a major scoop. And if you believe we weary old broads actually nail exclusives that way, then I have five miles of swampland in Jersey I want to unload on you.
Scarlett Johansson, whom I've met before, is as saucy, sassy, gorgeous, fun, talented and bright in real life as in reel life. Our reunion Wednesday was on an escalator. Traveling downstairs to the theater in MoMA for the screening.
"I've been working nonstop," she said, "And I think it's time I treated myself to a little vacation. What I'm planning to do is go with a couple of my girlfriends to the Caribbean. I have decided I definitely need the Caribbean. I have a decent break right now. Like about six weeks because I don't start again until September. That's when we begin shooting The Other Burbleburble Girl. "
• Posted by Riikka • Filed In: 'The Other Boleyn Girl',Articles & Interview,Movies • Leave a Comment


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Such a simple, pretty concept to merely add red sprinkles and twigs to caramel apples, and look what you get. Darling apples. Find the how-tos HERE at Le Zoe Musings.
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I'm so tempted to write something extravagant here and stand out, but in an attempt to find TRUE compatibility, i guess id rather keep it real and simple.
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Africa, or Greater Libya
This map of Africa by Nicolas Sanson, royal geographer to Kings Louis XIII and XIV, and commonly known as the father of French cartography, was published by Sanson's own house in 1679 in Paris. The map was based, according to Sanson, on a composite of information drawn from other maps as well as "upon the observations of Samuel Blomart." It also may have drawn on the Dutch writer Olfert Dapper's work of 1668, Naukeurige Beschrijvingen der Afrikaensche gewesten (Description of Africa). The continent is presented as "Greater Libya ...


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Dornish bedroom in bright, youthful colors
Young human being making her way through life.
I wear Fezes now. Fezes are cool.
"People assume that time is a strict progression of cause to effect, but actually from a non-linear, non-subjective viewpoint - it's more like a big ball of wibbly wobbly... time-y wimey... stuff." - The Doctor
Sophia. 20 something, German and Dutch heritage, but grew up in Australia for more than 18 years of my 20 something years of life. I'm an arts/economics student, majoring in awesome majors.
Music. Nonviolence. Love. Compassion. Photography. Volunteering. Social Justice.
blistering barnicles
Dornish bedroom in bright, youthful colors
sneak peek: webb bland | Design*Sponge on We Heart It. http://weheartit.com/entry/23117156
Loving the mixture between brick (industrial) with the modern (plaster/sofa!)


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Fans meet challenge for Sonic All-Stars character suggestions
by Steve Watts, shacknews.com, Nov 29, 2012 8:00AM PST
Fans have organized a vote to present three character DLC suggestions for Sega & All Stars Racing Transformed, meeting a challenge from developer Sumo Digital. Read more
Sonic & All-Stars Racing Transformed trailer details Wii U features
by Steve Watts, shacknews.com, Nov 9, 2012 1:30PM PST
Sonic & All Stars Racing Transformed is a launch title for the Wii U, and Sega has released a new trailer showing off some of its unique features on the platform. Read more
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2 p.m. update: Earl O'Garro has been arrested on five counts of failure to pay wages (two felonies, three misdemeanors), authorities said. He was released on a $1,500 non-surety bond and is scheduled to appear in court on Jan. 23.
Two weeks ago, we reported that the state Attorney General's Office had obtained a court order to seize property from Earl O'Garro Jr., an insurance businessman under federal investigation.
Assets that the office was pursuing included a Maserati, two BMWs, a Range Rover and homes in Marlborough and Bloomfield.
Now, the AG's Office says it has a second court order, this time to go after O'Garro's bank accounts. The order applies to nine different banks — including Bank of America and Webster Bank, said Jaclyn Falkowski, a spokeswoman for the office. It's unclear if O'Garro has accounts at all of the banks named in the order.
The second court order also lists a Mercedes and another Range Rover as assets the office is seeking.
"The state marshal is actively in the process of executing those court orders," Falkowski said Monday. "The marshal is in possession of two automobiles and attachments on properties in Marlborough and Bloomfield have been executed. The marshal is in the process of executing attachments on any and all known bank accounts held by Mr. O'Garro."
The cars already seized by the office are a Range Rover and a Mercedes, Falkowski said.
O'Garro has defaulted on two state loans totaling more than $350,000. He received a $126,000 loan and grant package from the Department of Economic and Community Development in March 2012 to move his company, Hybrid Insurance Group, from a Windsor office park to a Hartford building owned by City Treasurer Adam Cloud and others in his family.
The Hybrid CEO then received state approval for a second, $500,000 loan last summer to expand his company — months after it had begun unraveling and just as it was about to collapse. O'Garro obtained the first $250,000 installment on that loan in early August and was in default for non-payment by late October. He never received the second $250,000 installment.
The money was supposed to allow him to hire 30 new, full-time employees for his insurance company.
Also, WNPR last week reported that the state labor department was seeking to bring criminal charges against O'Garro for non-payment of wages. We've also written about O'Garro's alleged non-payment to employees at Hybrid and at a restaurant he owed with his wife in Middletown, Us Restaurant & Lounge.
The labor department said Monday that it applied for an arrest warrant, which was signed by Judge Joan Alexander. The warrant is with state police Troop H in Hartford, said Gary Pechie, the director of wage and workplace standards.
State police said Monday that the warrant has not yet been served.
Pechie said the department was seeking charges of failure to pay wages, which may be class D felonies or misdemeanors depending on the amount owed. O'Garro owes $24,529.48 stemming from five complaints from former Hybrid employees, he said.
The department also has five complaints from employees of Us Restaurant. That case, which is separate, is pending, Pechie said.


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use the following search parameters to narrow your results:
e.g. subreddit:aww site:imgur.com dog
subreddit:aww site:imgur.com dog
see the search faq for details.
advanced search: by author, subreddit...
~0 users here now
I spend too much time in the LCBO website. Whenever I read the Hoarding Alert at the Grid I feel that a conversation of what's out there would be better than a weekly column.
the main focus of this subreddit is to encourage people to let others know of what seasonal/limited quantity product the LCBO might have, with a main focus on spirits, although any sort of alert for rare beers and wines is not discouraged at all.
Another area where something like reddit might come in handy is to get people to group-buy a private order of something, like Carpano Antica and Dolin vermouth as examples.
Rittenhouse (self.lcbo)
submitted 1 year ago by [deleted]
Available again, but almost 5 bucks more expensive. Still probably worth it, although maybe not as hoardable as it used to be.
there doesn't seem to be anything here
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and innovation, which will result in dramatic improvements in health, quality of life, and the economic well-being of our country. This nation can ill afford policies that discourage innovation in the pharmaceutical industry.
Those of us in the pharmaceutical industry frequently find ourselves having to develop a primer on the industry, its economics, and the nature of the discovery process. There is very little recognition, for example, that the R&D risk is enormous in our industry. Few people realize that it takes an average of 12 years and $230 million to develop a new drug (1). Nor do people realize that 7 of every 10 products that do reach the marketplace never recover the average cost of development. Most discouraging is that the message must be repeated in so many different ways. In the light of much-needed academic analyses—now planned or under way—of such subjects as the pharmaceutical industry's risks versus returns, I am hopeful that the economics of innovation in medicine will some day be better understood.
In the meantime, several broad-based initiatives are essential for drug innovation: we need increased government collaboration and support of basic biomedical research; we need better and broader science education at all levels; we need more equitable treatment for U.S. industry in world trade; and we need stronger worldwide protection of intellectual property—patents, copyrights, and trademarks. These are the specific issues of this paper.
Progress on these issues rests first on public policy, and any policy actions that affect the research-based pharmaceutical industry should be grounded firmly on an understanding of the economics of innovation in medicine. Merck & Co., Inc., the world's largest prescription drug company, is well positioned to contribute to such understanding. Merck has first-hand knowledge of the realities of the global marketplace, the challenges of research, and the economic policy environment that is conducive to success in business competition and in fighting disease.
Let us approach public policy in the context of a global pharmaceutical industry. Merck, for example, does business in nearly 200 countries, and about half of its sales are made outside the United States. The company is part of an enormous industry: annual sales of ethical drugs for human use by all pharmaceutical companies worldwide are estimated at $120 billion (2). The industry is highly competitive, with no company holding as much as 5 percent of the world market (2). Even though Merck ranks number one worldwide, with 1989 sales of approximately $6.6 billion, its market share is only 4.7 percent.
This competition forces those who want to succeed to be aggressive in the search for new drugs—a search that is increasingly expensive. In 1989 U.S.-based pharmaceutical companies spent $7.3 billion on R&D (3), ex


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Today's Insight - October 16, 2012
Wonderfully Made
by Charles R. Swindoll
I will give thanks to You, for I am fearfully
and wonderfully made; wonderful are Your works,
and my soul knows it very well
Psalm 139:14
The next time you pick up your little baby or grandbaby, look into the face of that marvelously made child and say, "You are fearfully and wonderfully made."
And it wouldn't hurt to repeat that statement throughout her childhood.
Children need to know how valuable they are in God's sight—and ours. Nothing gives them greater security than a strong sense of self-esteem.
Hear this well, busy parents—especially you who tend toward impatience, who are always on the run. . . . Your children have been put together in an altogether unique fashion, like no one else on earth. . . . They need you to help convince them they are unique persons, each one different, each one his or her own person.
Children arrive in our arms longing to be known, longing to accept themselves as they are, to be who they are. So when they wade into the swift current of their times, they will be able to stand firm, and won't depend on peer pressure to give them their standard.
Used with permission. All rights reserved.
Listen to today's broadcast of Insight for Living with Chuck Swindoll at OnePlace.com.
Visit the Bible-teaching ministry of Chuck Swindoll at www.insight.org.
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Useful work: the changing landscape of entrepreneurship
"Here, you see, are two kinds of work – one good, the other bad; one not far removed from a blessing, a lightening of life; the other a mere curse, a burden to life. What is the difference between them, then? This: one has hope in it, the other has not. It is manly to do the one kind of work, and manly also to refuse to do the other."
William Morris, Useful Work vs Useless Toil, 1884
Bill was right all along. The alienated useless toil necessitated by capitalism would eventually give way to more constructive, satisfying and useful work. It would take a great deal longer than he expected and involve far less chintz, but the landscape of work would – in the early twenty first century – begin to shift towards sustainable autonomous production involving considerable numbers of people. Perhaps not as part of the socialist utopia predicted by him, Marx and others – but more as a means by which people in advanced industrial economies could gain flexibility and satisfaction, while coping with the erosion of the welfare state.
There are some profound shifts taking place in the landscape of entrepreneurship in the UK which educators and policy makers need to catch up on. Despite record numbers of new business start ups in Scotland, political debate has yet to seriously address issues that concern entrepreneurs or indeed the wider cultural and economic questions of entrepreneurship. This is regrettable because the latest research is providing some rich insights into why people go into business, what meaning it provides for them, and how working and creative practices are being transformed.
A recent report on microenterprise provides some fascinating insights: the RSA/Populus survey Salvation in a start-up? The origins and nature of the self-employment boom, produced in partnership with Etsy and authored by Benedict Dellot. Below I will pull out some themes from this report, link them to other recent research and identify some implications.
A cultural shift
Since the onset of the recession in 2008 we now have 600,000 more micro enterprises (firms with less than 10 employees) in the UK. Today, one in seven of the workforce are working for themselves, and this trend is clearly climbing. Just over the last year we have seen a 9% growth in new business in Scotland, and over the last five years the business start up rate for Scotland has been one of the highest in the UK. According to Entrepreneurial Spark founder Jim Duffy "Coming out of a recession, a new industrial revolution is starting in Scotland. So many people, who didn't think they were capable of turning their hand to entrepreneurship, are now doing it."
That much is certainly true. But they are not doing it because of the recession. They seem to be doing it because they want to: it is (to coin a perhaps overused phrase) a lifestyle choice. The RSA survey suggests that only 27% of startups had anything to do with escaping unemployment, and self-employment had in any case been on a steady climb all through the years of the economic boom. This is supported by other recent research including a survey conducted by Ipsos MORI for the Resolution Foundation, confirming that 73% of those who became self-employed since the recession "did so wholly or partly due to their personal preference for this way of working, and not solely due to a lack of better work alternatives". While the RSA report argues for evidence of structural social and economic change to account for this, I would suggest that there is a more deeper seated cultural shift that is behind the new 'start up tribes'.
The new tribes of enterprise
The report identifies six tribes of self-employment, each of which describes very diverse characteristics and motivations of entrepreneurship – shown in the figure below. Only 33% fall into categories that we associate with conventional business culture – driven by profit, a focussed sense of purpose and desire for growth. Virtually all business policy is predicated on the assumption that startups have the ambition to grow and take on employees. The reality – revealed by this research – is that most don't. Indeed, very few self-employed people who have started up in the last 5 years have taken on employees. There has also been a notable rise in part-time self-employment, suggesting that this can co-exist with part-time paid employment and other activities. Nearly half the rise in self-employment since 2000 is accounted for by part-timers, or nano businesses, as the report refers to them.
Poorer but happy
Many of those in the RSA survey see work as inherently enjoyable (in contrast to much of society) and 85% say "they are now more creative, autonomous and satisfied in their work" with key advantages being flexibility to deal with their own health and the welfare of family. In other words, autonomy, flexibility and happiness appear to be the qualities of self-employment that are most valued. On the downside, they are earning less money. As the report argues:
"Life for the self-employed presents a paradox: they appear to earn less, work harder and be more isolated, yet in the round are some of the happiest people. The reason seems to be because their work offers greater autonomy, a source of meaning and – perhaps surprisingly – a greater sense of security. All of which suggests that the draw of self-employment lies in what the Swiss economists Benz and Frey term 'procedural utility'. In other words, people who work for themselves gain more from the way something is done rather than the final outcome of that activity – namely money."
I would suggest that there is a genuine movement towards creating a culture of useful work and autonomous welfare. The two massive failures of the modern age are the alienation and inflexibilities created by work and the shortcomings of our welfare state, especially in terms of childcare and inadequate pensions. Much of the shift towards self-employment would appear to be driven by an impulse to create meaningful, flexible work rather than profit. This is not to deny the vital importance of the visionaries and the classicals to local and indeed national economic growth, but their needs and significance have to balanced by the very different needs (and contribution) of the remaining two thirds of the self-employed. I will briefly look at three issues below and pull in some additional evidence.
Self employment is about thinking.
The biggest increases in self-employment since 2008 have actually been in professional occupations. In a piece entitled How British workers are losing the power to think, Guardian correspondent Aditya Chakrabortty has drawn on research that strongly suggests an erosion of autonomy in many occupations. "Since the mid-80s, academics have been carrying out regular skills surveys, asking detailed questions of thousands of employees. In 1986… 72% of professionals felt they had a great deal of independence in doing their jobs. By 2006, that had plummeted to just 38%." Some researchers are suggesting a future workforce in which only 10-15% will have permission to think. "The rest of us will merely carry out their decisions; what the academics call 'digital Taylorism', in which graduates will end up on the white-collar equivalent of a factory line." This would suggest that self-employment is driven by a very basic human need: to use your brain creatively and fully.
Self-employment is family friendly.
The successive failures of UK and Scottish governments to provide adequate and affordable childcare – in contrast to many other European countries – is providing one major motivation for self-employment. One recent survey showed that 65% of mothers with children under ten years of age are considering starting a business from home in the next three years, and 49% "believe that they would be financially better off if they started a business from home". The rise of the 'mumpreneur' (a contentious term), of whom there are estimated to be 300,000, is part of a shift in self-employment away from its historical tendency to be male dominated. Indeed, over the last two years the number of female entrepreneurs has increased by 9.6% in contrast to a 3.3% rise for men.
Make a job – don't take a pension.
The self-employed are getting older. Those aged 55–64 has risen by 40% since 2000, while the over-65s in self-employment have increased by 140%. The over 55s are now a significant start up demographic and we could perhaps see this group as shifting towards self-employment as a means of dealing with the pensions crisis that is otherwise undermining security into old age. This view is supported by the Resolution Foundation in their separate survey and report:
"28 per cent of the overall growth in self-employment is due to a decline in the rate at which people leave self-employment. Our view is that this is partly explained by the UK's expanding and ageing workforce. The raising of the retirement age, longer life expectancy and low levels of pension saving may have led to people remaining in employment for longer, and because self- employed people tend to be older than employees, this disproportionately affects this group. Self-employment might be growing as an alternative or complement to retirement, rather than as an alternative to being an employee."
A policy vacuum
The evidence suggests that this diverse and varied landscape of enterprise is simply not recognised as such by the state, and those public bodies there to support the self-employed. At least that is the view of those surveyed in the RSA report who "still largely feel as though they are overlooked by the state". More significantly "the vast majority believe the Conservatives have the best policies for their business". Worryingly, there is also widespread support for a cap on immigration. The Conservatives certainly have more policies and a clear ideological commitment to enterprise and self-employment. The left and the labour movement appears held back by long-established animosity. While the RSA report points out that the most obvious bodies to help provide the collective benefits and support needed by the self-employed are the trade unions, this is unlikely to happen any time soon as the unions "have been one of the most vocal in disapproving of the rise in self-employment, with the Trades Union Congress recently expressing its concern that this type of work is inherently insecure".
So perhaps in an independent Scotland the self-employed could be the driving force of a new economy, autonomy and community focused wealth generation and support? Best not hold our breath. In all of its 604 pages, the weighty tome that is Scotland's Future : Your Guide to an Independent Scotland contains only one reference to the self-employed.
What is clearly needed are conversations to help set a new agenda to support the forms of self-employment that are reshaping work, enterprise and welfare. These conversations should seek to focus around the question of how the UK's micro enterprises can be taken seriously and influence policy makers. A critical objective should also be to create a vision of how a world centred on useful work could develop and thrive.
Craft in Conversation: Added Value
Internationally renowned jeweller Jane Gowans and I would like you to join us in conversation about how craft adds value – and how to add value to your own creative practice – at an afternoon symposium in St Andrews, Fife on 1 March 2014
The symposium is a special event to accompany the exhibition Added Value – a British Crafts Council touring exhibition, presented by Fife Contemporary Art & Craft at St Andrews Gateway. The exhibition questions the value of high quality contemporary craft within the contexts of branding and luxury. Invited to conceive a symposium, Jane's vision was a creative response to the exhibition which complements its core theme. Craft in Conversation will discuss the ways in which craft can enhance industry, community and wellbeing alongside collective and individual creative practices.
Jane invited me to chair the event and work with her in developing a programme that is both inspiring and engaging. We have pulled together a programme that we believe will give you some vital insights into the value of craft, and some vital tools in adding value to your own practice. The afternoon is divided into three parts:
We begin the symposium with three expert speakers who each present perspectives of how craft adds value in different ways.
- Adding Value to Creative Wellbeing Dr Frances Stevenson – Head of Textile Design at Duncan of Jordanstone College of Art & Design – will present key findings from a 5 year research project on craft's contribution to creative wellbeing.
- Adding Value to Community Jill Skulina – Dundee based maker and artist – will draw on her extensive and diverse experience of using art, craft and creative practices in a community context.
- Adding Value to Industry Fi Scott – creator of Make Works – last year undertook a 3 month tour of 116 makers and manufacturers in Scotland and has unique insights to share on the future of craft in 21st century Scotland.
Following these presentations you have the opportunity to join three 20 minute conversations with individuals behind some significant new initiatives in Scottish craft and creative practice. These include:
- Richard Clifford – Director at MAKlab, Scotland's Digital Fabrication Studio in Glasgow
- Sarah Stewart – Designer at Scottish Linen, a new contemporary brand based on a traditional Fife manufacturer.
- Lisa Cresswell – Design researcher in the Design in Action team, University of Dundee.
Adding value to your practice
The final part of the afternoon provides a framework to develop a personal strategy that adds value to your creative practice.
- Lauren Currie is Director and co-founder of Snook, Scotland's leading service design consultancy. Lauren has run workshops all over the world, including an acclaimed session at Craft Scotland's inaugural conference.
Jane and I are confident that the event will be provocative and inspiring – but above all positive and constructive. And did I tell you it's free?
For the event to work as we hope, participant numbers are limited, so if you are interested please register at the Eventbrite page.
Achieving relevance
My lecture to First Year students at Duncan of Jordanstone College of Art & Design (DJCAD) on 2 October 2014 emphasised how the achievement of relevance is a fundamental aim to their four years of study. Find what is relevant to you and to the world around you; use this to guide your creative strategies and developing technical skills. The lecture wove together the themes of relevance, creativity and craft – and at the end of this post are resources to help you explore these themes in more detail.
But why listen to me about how you should be thinking about your next four years at Art School? I asked five remarkably talented individuals to give you their advice, all of whom studied at DJCAD. One graduated two years ago, while another graduated in 1993. Between them they embrace a range of creative disciplines. All of them are inspiring people, who needed no encouragement to share with you their advice on how to get the best from Art School.
James Donald is one of Scotland's most successful weavers, selling his work all over the world – particularly in the United States. Based in Edinburgh he allies his creative practice to being joint-owner of the successful Concrete Wardrobe retail outlet. Here is a message from James to you:
Johanna Basford is a remarkably versatile illustrator who studied printed textiles at DJCAD. Apart from designing the catalogue for the 2010 Edinburgh Fringe Festival, she has acquired an enviable client roster across many different industries from Channel 4 to Absolut Vodka. Her blog post 50 things I wish I'd known in art school is required reading. But below is her personal message to new DJCAD students:
Lauren Currie is co-founder of Snook – a social innovation and service design company based in Glasgow. Studying both Product Design and the Master of Design course at DJCAD, Lauren's career has begun with a remarkable start, and she is now running a company that has the Chinese Government among their clients.
Joanna Montgomery graduated in 2010 in Interactive Media Design, is Director of Little Riot whose Pillow Talk product has proved a viral sensation on YouTube, as we saw in the lecture. In exchange for her valuable advice, Joanna asks that you vote for Little Riot in a national competition, to make Pillow Talk a reality. I am sure you will support Joanna in this competition. It will take you a minute!
Kate Pickering studied Jewellery & Metal Design and the Master of Design at DJCAD. Since graduating she has established Vanilla Ink, a highly acclaimed initiative to bridge the gap for jewellery students into industry. Kate won funding from the NESTA Starter For Six scheme to launch her initiative. An accomplished teacher in jewellery and design, this is her advice to you:
Why not follow these designers on Twitter? This will help you keep up-to-date with their activities and give you more insights into their professional practices. All of them use Twitter as a key part of their professional practice. Click on their names to access their twitter stream: James Donald, Johanna Basford, Lauren Currie, Joanna Montgomery, Kate Pickering. You'll also find me on Twitter. Once you have set up a Twitter account, then you can follow them.
Achieving relevance referred to a number of artists, designers and events that you may wish to explore further.
- Brian Eno's oblique strategies are a proven method of introducing new elements of chance into the creative process. They are available as a box of cards, an app, and as a website.
- Tracey Emin was referred to in terms of her approach to craft and printmaking, views that were expressed in an interview with her in 2010 in The Independent.
- The late Richard Hamilton exemplifies the artist/designer who transcends boundaries, and maintained a highly political and critical approach to his practice.
The craft of design leadership
My post yesterday on design leadership attracted considerable positive interest, which was encouraging. However, I was aware that my developing ideas on design leadership required a more robust theoretical foundation. My friend and colleague Karen Yair suggested Richard Sennett. Great idea; I had not made the connection. Rather than rewrite the previous post, I now present this as a coda.
Antonio Stradivari was the Steve Jobs of his age: a hectoring obsessive, who ruled his Cremona violin workshop with a ruthless vision of perfectionism. The craftsmen he employed were chained to their work benches. No, they really were. When not crafting the finest violins and cellos the world has ever seen, the apprentices would sleep on bags of straw under their bench. It is a model of design leadership that many have emulated since.
But you do wonder why they bother. When the 93 year old Stradivari died in 1737, the quality of his workshop's musical instruments died with him. Despite the best efforts of his sons and master craftsmen to maintain the preeminent quality and reputation of the Stradivari name, the instruments they turned out were not a patch on those that had preceded them. Great efforts were made to analyse the pattern of the original instruments, the materials, even the precise formulation of the varnish, in a vain attempt to create a design template that could replicate his original genius. But these efforts fell flat, in every sense of the word.
According to Richard Sennett – Professor of Sociology at the London School of Economics – in his book The Craftsman, the dramatic collapse in quality can be attributed to Stradivari's very style of leadership. Antonio Stradivari, Sennett argues, was an antisocial expert. Antisocial expertise is driven by a competitive zeal which occludes the notion of co-operation, holding up world class excellence as the one goal, and based on a strict sense of hierarchy. The antisocial expert lacks essential skills required to ensure that the good work they do can live on after them; their unique expertise is held within the firewall of their own tacit knowledge. As Sennett explains:
"There is an inherent inequality of knowledge and skill between expert and nonexpert. Antisocial expertise emphasizes the sheer fact of invidious comparison. One obvious consequence of emphasizing inequality is the humiliation and resentment this expert can arouse in others; a more subtle consequence is to make the expert himself or herself feel embattled" (p. 249). It is of course precisely this form of expertise that the UK's Research Excellence Framework is seeking to encourage.
Sennett contrasts this with sociable expertise, making the case that "A well-crafted institution will favor the sociable expert; the isolated expert sends a warning signal that the organization is in trouble" (p. 246). Sociable expertise is the very essence of craftsmanship – a concept elaborated and explored so expertly by Sennett. The social expert relies on good work and transparent practices for the basis of their authority. Driven by a desire to improve one's own work, "the sociable experts tend to be good at explaining and giving advice to their customers. The sociable expert, that is, is comfortable with mentoring, the modern echo of medieval in loco parentis" (p. 248). According to Stephan Lorenz "The craftsmanship view means giving greater appreciation to the good work of the many compared to the promise of excellence by but a few, which, in a democratic sense, is ultimately also more conducive to the public interest."
Sennett's sociable craftsman "conducts a dialogue between concrete practices and thinking" and is in many senses crafting knowledge transfer. Karen Yair in Crafting Capital has described this 'craft thinking' which "enables innovation by working with – rather than against – the restrictions of a given situation. In this analysis, craft thinking applies both to engineering and to team working: Sennett describes the craftsperson as a 'sociable expert', able to facilitate innovation by stretching the competencies of others within reasonable parameters."
This is precisely the model of design leadership relevant for our age – an age of open design, ever-evolving collaborative partnerships between creative microbusinesses, social design, user-centredness, knowledge transfer, empowerment and inclusivity. Let me pull out three key arguments in favour of this as a far more useful and usable model of design leadership than the others on offer.
Co-designing with consumers
First, the rise of open design and innovation, linked to technologies that provide 'consumers' with potential to become creative 'prosumers' requires that designers need to shift to encouraging more creative and designerly self-reliance in others. I have written about this in my chapter for the Handbook of Design Management and say "the design manager is therefore critically the manager of the interfaces with the wider community of co-designers". Charles Leadbeater, in Production by the Masses, argues that professionals (designers, for example) "should educate us towards self-help and self-reliance as much as possible. Modern society trains us to be workers and consumers. Postindustrial institutions should train us for self-management and self-assessment" (p. 186). The design leader thus uses her or his social expertise to empower us as self-reliant prosumers.
Designing public services
Second, the design of new forms of public services demands a wholly new form of design practice, the success of which relies critically on the social expert model. In recent insightful research into the future of the UK design consultancy industry, Rachel Cooper, Martyn Evans and Alex Williams set out a number of likely future business models for design. One they entitle SIG (Special Interest Group) Niche Network and describe it thus: "'Facebook' social network approach: essentially a C2B2C model. The structure involves co-design/participation between design communities and special interest groups regional hubs. Designer's role is as facilitator and mediator. Fees would be based on scale of contribution and would be reliant on 'long tail' economics, outsourcing production and distribution. High public sector engagement such as the re-design of services. Other clients would include subgroups, empowered communities, and local authorities."
This would appear to describe much of the work undertaken by Taylor Haig, Snook, The Young Foundation and others. I am not wholly convinced that SIG (Special Interest Group) Niche Network trips off the tongue quite as well as my preferred Designers for Social Innovation, or even Social Designers but I will let history be the judge here. The design leader as social expert is clearly essential for such work.
Construction of social problems
Third, and intimately linked to the above argument, design provides the potential for people not just to co-design services, but to construct social problems. As such it offers potential to enable new forms of participatory democracy (an idea I will explore in a future post). I posted on this previously, but it seems appropriate to reiterate it here: The danger of service design for public services is that it becomes incorporated within the institutional paradigm that it has the potential to challenge, and thus becomes just another technocratic tool of the public sector. Simon Blyth and Lucy Kimbell have provided a vital analysis that comes out of service design practice, but which suggests a significant shift of emphasis:
"Rather than claiming to solve social problems, we want to argue for the relevance and value of Design in actively, critically and reflexively contributing to their construction… We want to invite designers to make this more clearly part of their practice. We think there are things about Design that make it particularly good at doing this, although the positioning of design-as- problem-solving tends to have ignored them." Blyth and Kimbell argue that there are five things that make Design particularly good at helping construct social problems:
- The first thing Design does well is rendering issues as something that other people can experience.
- The second thing Design expertise does well is creating artefacts around which people can gather to interpret and discuss the characteristics of a social issue.
- A third thing that is central to design expertise is staging an open-ended enquiry that actively avoids being closed down quickly in the form of a particular solution.
- A fourth aspect of Design is its role in making trouble and being open to the potentially disruptive side of creativity.
- A final part of contemporary Design expertise is opening up the conventions about who and what can be included in a design project.
Again, this help us in defining the challenges and practices of a design leader as social expert working in this field.
Resourceful social expertise
These three zones of new design practice – co-creative prosumption, design for public services, and the construction of social problems – will be critical for our future and design wholly new models of design leadership. He may have crafted damned fine fiddles, but I have my severe doubts that Antonio Stradivari would have been particularly good at facilitating workshops for co-designing new long-term care services for those with dementia. I may be wrong; he may have had more than one string to his bow.
But these zones in some cases lay far beyond the familiar and comfortable territories of design. That some designers have succeeded, in some cases spectacularly well, in rising to the challenges, suggests that we need to identify the essential characteristics of leadership that can ensure success. My 'feeling' for this (in the absence of any actual data) is that in addition to some of those qualities identified in the previous post on design leadership, a critical requirement is resourcefulness. Emily Campbell makes the following points with regard to resourcefulness and design: "Resourcefulness is ingenuity: the ability to think on your feet; the ability to adapt one solution to another problem; the ability to make something out of little or nothing. But resourcefulness is also the confidence that comes with knowledge: having a skill or a range of skills at your disposal; knowing enough to make a wise choice; having analogous experience; having connections to draw on and knowing how to collaborate.This knowledge feeds the ingenuity, and vice versa."
Tomorrow's design leader is a resourceful social expert, who crafts change co-operatively.
Crafting our future
An opportunity for Labour?
It's hard work being a Labour Party supporter. I suspect Obama supporters feel the same. Indeed, the failure of the left and the centre left (or in the US case, the liberals) to advance any credible progressive alternative is dispiriting in the extreme. What is all the more curious is that there IS the starting point of a progressive alternative staring them all in the face – but since it has not emerged from the increasingly insular world that party politics is now conducted in, then it has simply not been noticed.
The makings of an alternative are to be found in maker culture and active consumerism: in craft cafes, hacker spaces and especially in IKEA. It addresses some profound issues concerning how we innovate, how we create sustainable enterprise, and how we link this to a social agenda. It provides solutions for educational underachievement, models for urban and rural regeneration, and strategies to address critical skills shortages in fields as diverse as plumbing and programming. It demands that we rethink our conception of work, in order to make better use of the one vital resource that humans are provided with: our creativity. It connects with something very deep within us all: an inherent desire to make things for ourselves. And it requires that we ditch the one thing that ties us to redundant notions of our future: our labour. Perhaps that is the left's problem.
What is interesting and significant is that this 'new alternative' has in recent weeks been the subject of coverage in UK and US business media, national media in the US, New Scientist, together with the technology and eco-activist blogosphere – but aside from one or two pieces in The Guardian, the Left's media appears far more interested in the Occupy movement. Sorry, but I've spent time at St Paul's and all I see is yet another marginal protest that the Left is so fond of.
Below is a summarised commentary on some of this recent coverage, prior to working it up into a more resolved piece of writing. I have emphasised recent writing rather than more extensive academic literature, such as David Gauntlett's recent excellent book. The argument threading through it is that the emergent maker economy is of critical significance in the development of an alternative economic model that is capable of addressing economic regeneration, social renewal and individual fulfilment. While we have in the past been defined by our labours, in the future we will be defined by our works.
The indie capitalist revolution
In December 2011, The Economist reported on the significance of the maker movement under the headline "more than just digital quilting". It recognised that its roots lie in digital culture at the confluence of the open source movement and the new technologies such as Arduino and MakerBot's 3D printers. Setting its scene at the New York Maker Faire, The Economist explained how "this show and an even bigger one in Silicon Valley, held every May, are the most visible manifestations of what has come to be called the "maker" movement. It started on America's West Coast but is spreading around the globe: a Maker Faire was held in Cairo in October."
Physical spaces and tools are part of the maker movement's landscape, along with online communities. There is a rich pluralism as hackers and corporates coexist alongside business startups, social enterprises, hobbyists and venture capitalists. In its conclusion, The Economist draws a pertinent parallel:
"The parallel with the hobbyist computer movement of the 1970s is striking. In both cases enthusiastic tinkerers, many on America's West Coast, began playing with new technologies that had huge potential to disrupt business and society. Back then the machines manipulated bits; now the action is in atoms. This has prompted predictions of a new industrial revolution, in which more manufacturing is done by small firms or even by individuals. "The tools of factory production, from electronics assembly to 3D printing, are now available to individuals, in batches as small as a single unit," writes Chris Anderson, the editor of Wired magazine.
"It is easy to laugh at the idea that hobbyists with 3D printers will change the world. But the original industrial revolution grew out of piecework done at home, and look what became of the clunky computers of the 1970s. The maker movement is worth watching."
Also writing in December, Bruce Nussbaum – a former editor of Business Week – presents four reasons why the future of capitalism is homegrown, small scale, and independent. Indie capitalism, Nussbaum argues, is "a maker system of economics based on creating new value, not trading old value. It embraces all the strains of maker culture–food, indie music, DIY, craft, 3-D digital fabrication, bio-hacking, app enabling, CAD modeling, robotics, tinkering. Making is not a rare act performed by a few but a routine happening in which just about everyone participates."
In contrast to The Economist, Nussbaum differentiates the culture of this new movement from the West Coast start up scene of the 70s that spawned Apple and Microsoft. He favours the term indie capitalism "because it captures more of the social context and values of this new economy. I think it is sufficiently different from the entrepreneurial, startup culture of Stanford/Silicon Valley to warrant its own name. The term feels more 21st century, while 'startup' sounds, well, 20th century. It's socially focused, not technology focused, more designer/artist-centric than engineering-centric. I especially like 'indie' because the indie music scene reflects many of the distributive and social structures of this emergent form of capitalism. It's no accident that Portland and New York have vibrant indie music scenes and are the centers of a rising new indie capitalism." In Nussbaum's, view, the time is right for this indie capitalism to usher in an indie economics and indie politics given that – from Occupy to the Tea Party – finance or 'predatory' capitalism is under attack. And so is high street retail capitalism.
In a blogpost entitled why 2012 will be year of the artist-entrepreneur, Michael Wolf argues that with distribution chains collapsing vertically across video, music and books, as online storefronts become the entire distribution chain, so this expands the role of the artist-entrepreneur who distributes themselves. "No doubt, the vast majority of economic wealth is still distributed through large corporate media, but as new technologies enable artists to reach consumers directly through push-button creation and distribution, there is a movement afoot. Expect this movement to expand in 2012 as more artists take control of their own economic destinies and become part of the artist-entrepreneur generation."
Writing recently in the New York Times, William Deresiewicz frames this development even more profoundly: "The small business is the idealized social form of our time. Our culture hero is not the artist or reformer, not the saint or scientist, but the entrepreneur. (Think of Steve Jobs, our new deity.) Autonomy, adventure, imagination: entrepreneurship comprehends all this and more for us. The characteristic art form of our age may be the business plan."
The Left almost certainly has a problem with the maker movement because it is bound up with entrepreneurialism. Which is strange, because many of the new entrepreneurs seemingly have no problems with politically progressive concerns and ideals. Yes, this is is the age of the business plan and the start up. Young people especially are doing it for themselves in terms of employment creation. Now, in part this is because many have no other choice; around 30 percent of new entrepreneurs in the US go into business because there is no other option for work. But whether reluctant or willing, increasing numbers of entrepreneurs are doing it less for the money and more to make a difference.
Danny Alexander, a design entrepreneur writing in the Stanford Social Innovation Review, takes issue with those who see entrepreneurship as purely in terms of wealth creation: "For many of us, entrepreneurship is our anger, our edge, and our ego. It is our social movement… I'm an entrepreneur because I see fundamental problems with society and want to be active in creating solutions." Closer to home, there are dynamic new enterprises such as Snook which are pursuing a new politics and social vision through entrepreneurial action.
Labour isn't working – the value of doing it yourself
Throughout the world, there is a generation of highly educated, aspirational young people with a strong sense of a social vision who have been failed by both labour markets and labour parties. Put simply, there are no jobs and no political vision about how to change the world in a progressive direction. The only solution to both problems is to do it yourself. Entrepreneurialism also addresses a third problem: most jobs suck.
In a piece entitled How British workers are losing the power to think, Guardian correspondent Aditya Chakrabortty has drawn on research that strongly suggests an erosion of autonomy in many occupations. "Since the mid-80s, academics have been carrying out regular skills surveys, asking detailed questions of thousands of employees. In 1986… 72% of professionals felt they had a great deal of independence in doing their jobs. By 2006, that had plummeted to just 38%." Some researchers are suggesting a future workforce in which only 10-15% will have permission to think. "The rest of us will merely carry out their decisions; what the academics call 'digital Taylorism', in which graduates will end up on the white-collar equivalent of a factory line." The options appear to be useful work (through creative entrepreneurialism) versus useless toil (by selling our increasingly devalued labour power). Put simply, whether creating a livelihood or building bookcases, people value doing it themselves. If you want proof – go to IKEA.
The IKEA effect has been documented and argued by behavioural economist Michael Norton of the Harvard Business School. In this month's New Scientist, an article entitled The hard way: Our odd desire to do it ourselves explained how Norton and his colleagues set up experiments in which people were asked to assemble IKEA furniture or fold origami or build Lego sets. "The participants then had to bid small sums for the products of their labour, or for a custom- or expert-made equivalent. The results were impressive. People bid considerably more for their own creations, even when they were plain old IKEA boxes. When it came to origami, they stumped up nearly as much for their own forlorn frog or bird as for the same animal folded by an expert – even though other participants subsequently rated their efforts as 'nearly worthless crumpled paper'". The New Scientist piece describes other research that cumulatively demonstrates that the things we make we value far more – regardless of how well we make them.
Crafting the creative society
One of New Labour's many problems was the incredibly narrow way that it viewed creativity, reducing it to the questionable notion of creative industries. The whole point was that the UK was to build up a particular set of consumer industries that required specific skills and knowledge that would be supplied through the labour market. Built on a theoretical bedrock that drew heavily from Richard Florida's Creative Class thesis, this drove policy at both national and local government. There are three central problems with the creative industry emphasis. First, it is highly centralised: necessarily London will act as the key focus for such industries. Second, it is very fragile: the experience of the computer games industry in Dundee is evidence of that. Third, it is culturally defined by Florida's Creative Class: DIY culture in north Wales or knitting in Shetland does not feature in its metropolitan landscape. As such, the creative economy as defined is exclusive.
Crafting an inclusive creative society demands a wholescale rethinking of education, work and the processes of civic society. Libby Brooks, writing in The Guardian, makes the following case:
"A recession invites fundamental reassessment of the place of work – and leisure – in our lives. Practically, this means recognising that teaching a tradable, portable skill is one of the best ways to lift people out of poverty. Philosophically, it invites an acceptance that a trade-off between hamster-wheel presenteeism and mollifying consumption has never been good for us and is not feasible in this economic climate. Crucially, craft is egalitarian. While some in the Labour party appear bent on resuscitating the canard of meritocracy, which divides the gifted few from the unexceptional mass, craft reminds us of the significance of equality of outcome, rather than of opportunity. Everyone shares the capacity to develop a skill, based on decent teaching, application and time – not raw talent."
The question is, can Labour (or indeed The Left) envisage an egalitarian future in which people craft their own lives?
Why the Wedgwood Museum matters
The Wedgwood Museum faces selloff to pay £134m pension debt after court ruling
You don't need to have a passion for pots to appreciate why the Wedgwood Museum represents the crown jewels of our industrial heritage. Josiah Wedgwood was responsible for some of the key innovations that drove industrialisation and design, and whose vision for technological progress went hand-in-hand with social progress. His was a vision of socially responsible capitalism that we could benefit from revisiting today.
The Wedgwood Museum in Barlaston, Stoke-on-Trent is a unique factory-based collection and archive that tells the story of Wedgwood's contribution to our age. And what precisely is that contribution? Well, to get well made, durable, beautifully designed crockery onto tables Josiah Wedgwood undertook painstaking materials research into new ceramic bodies, he invented new decorative techniques, he created the profession of the designer, he built one of the world's first factories, he invented the idea of market segmentation and pioneered many of the essential principles of today's marketing. 'Buy one, get one free' was a Wedgwood innovation. Not many people know that. He brought science and art into industry in a unique, powerful and visionary way.
He invested his wealth in Britain's canal system, and built proper homes for the new working class he had created, driven by a paternalistic concern for his employees. A passionate slavery abolitionist, he produced cameos with an enslaved black figure on a white background above the legend "Am I Not A Man And A Brother?" Soon becoming the fashion of the day, Wedgwood was the first to enable us to wear our issue-based politics on our sleeves, or around our necks. After Josiah's death, his granddaughter married Charles Darwin – the Darwins being longstanding family friends – and the Wedgwood inheritance bought Darwin the time to write his theory of evolution.
His ambition, to give pottery "an elegance of form" embedded craft aesthetic and processes within the new technologies of his age – in much the same way as Steve Jobs achieved two centuries later. Like Jobs, but far more fundamentally, he redefined design and its management for a new age of change.
Today, every innovator, designer, industrialist, scientist, craft maker and entrepreneur is standing on the shoulders of this giant. His significance cannot be over-stated. To achieve his "elegance of form" required building a whole new infrastructure for manufacture, commerce and culture. "Father of English potters" is an epithet that tells only a fraction of his story and significance.
The company that bears his name went into administration in 2009, and the brand is today owned by a New York based private equity firm, with Wedgwood employing only a few hundred workers producing top-end products. This followed some catastrophically inept management in the company in its latter years. I should know: I spent an interesting lunchtime in the company of Wedgwood's Board. They hauled me in because I had said on BBC TV some fairly damning (but very true) things about the paucity of their design management, and how it was leading directly to factory closures. In short, Wedgwood's problems in the mid-1990s was nothing to do with cheap imports, rather its key challenge was with expensive imports. Analysis of trade statistics showed that they were losing market share in the top-end, design-led markets. This of course they denied. While they employed some exemplary designers, the skills of these talented individuals were being exercised in a strategic black hole. A passion for pots? It was my view that the bosses knew the meaning of neither.
I knew I was right when lunch was served. It was horrible; the kind of fare that even University caterers would avoid serving. Put simply, if you do not appreciate the joy of eating, how on earth can you create the world's best tableware to share that joy with others? Clearly the days when pottery managers were people with "clay running in their veins" were over. These people were accountants, and they didn't do that very well either.
Allowing Wedgwood to fold was above all damning to the generations of Stoke pottery workers and their families who had invested their working lives and their craft skills in the company. To be honest, the best pots in the world count for nothing if the people who make them, who believe in them, whose lives are defined by them, are simply thrown onto the industrial scrapheap. They deserve far better.
And that is the dilemma here. A blackhole in Wedgwood's pension fund has led to a court ruling yesterday that the Wedgwood Museum should be sold off to raise the £134 million needed for the former employees' pensions. Their jobs were taken away, and with it their dignity and self-worth. Their pension is all they have left.
But as important as their pensions, is our history. History only becomes meaningful if we study it, learn from it, draw lessons out from it to guide our future. It is the mark of a civilised society that we invest in understanding our past. The Wedgwood Museum is in UNESCO's UK Memory of the World Register as, according to UNESCO, it represents a vital and significant part of our documentary heritage. It enables us to better understand and appreciate, not only Josiah Wedgwood's remarkable innovations, but also those made by other potters and artists in creating an industry that defined its age and laid the ground for other industries to follow.
Without Josiah Wedgewood, it is doubtful that the UK ceramic and textile industries would have become the engines for industrialisation and world market dominance that they became. Without him, design would doubtless have gained a far lesser role in the UK economy, removing the foundations that today's creative industries are built on. Without him, all the tricks of retail marketing we use today would have been pioneered in other countries. Without Josiah Wedgwood, who knows how we would earn our living in today's world? I suppose we would always have slavery to fall back on.
THAT is why the Wedgwood Museum matters. And of course because it celebrates all those working people who gave their working lives to the pottery industry of Stoke-on-Trent.
As I'm not an accountant, I cannot answer the question of where the £134 million can be found to save the Museum and to pay the pensions. I understand such sums of money are trivial small change in the trading rooms of the City of London; perhaps it represents a couple of bankers' bonuses. Perhaps some of our iconoclastic entrepreneurs could dig deep for the Museum? Step forward Sir Richard Branson. Shelve the tourist spacecraft, we have a time machine for you that will tell you far more about the world than 10 minutes in outer space will.
But I can answer the question of what it means if we allow this Museum to dissolve into private collections worldwide. It means we don't really give a damn – about our history or the people who made it. I think we should. And we owe it to them to save it.
Steve Jobs
"In most people's vocabularies, design means veneer. It's interior decorating. It's the fabric of the curtains and the sofa. But to me, nothing could be further from the meaning of design. Design is the fundamental soul of a man-made creation that ends up expressing itself in successive outer layers of the product or service."
"Your time is limited, so don't waste it living someone else's life. Don't be trapped by dogma – which is living with the results of other people's thinking. Don't let the noise of others' opinions drown out your own inner voice."
"My model for business is The Beatles. They were four guys who kept each other's kind of negative tendencies in check. They balanced each other and the total was greater than the sum of the parts. That's how I see business: great things in business are never done by one person, they're done by a team of people."
"Your work is going to fill a large part of your life, and the only way to be truly satisfied is to do what you believe is great work. And the only way to do great work is to love what you do. If you haven't found it yet, keep looking. Don't settle. As with all matters of the heart, you'll know when you find it. And, like any great relationship, it just gets better and better as the years roll on. So keep looking until you find it. Don't settle."
"Because I had dropped out and didn't have to take the normal classes, I decided to take a calligraphy class to learn how to do this. I learned about serif and san serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating. None of this had even a hope of any practical application in my life. But ten years later, when we were designing the first Macintosh computer, it all came back to me. And we designed it all into the Mac. It was the first computer with beautiful typography."
"When you're a carpenter making a beautiful chest of drawers, you're not going to use a piece of plywood on the back, even though it faces the wall and nobody will ever see it. You'll know it's there, so you're going to use a beautiful piece of wood on the back. For you to sleep well at night, the aesthetic, the quality, has to be carried all the way through."


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Tombow Oceanic Fish Pen
Tombow Oceanic Fish Pen
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Sold Date: 02/20/2011
Channel: Online Auction
Source: eBay
Category: Tools
Type Ballpoint pen in the general shape of a fish. This pen won a few design awards. Product Name Tombow Oceanic Manufacturer and Year Tombow Length 5" Filling System takes Tombow refills Color black matte Condition New in box, never used.
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Men's Nike Vintage Windrunner Jacket
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First released in 1978, this updated running jacket is still a benchmark for style and running performance.
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Product Review (submitted on January 21, 2014):
Just got my clutch today and I love it...it's just the right size! If I'd change anything I'd stamp a logo on it for a bit of "local pride".


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