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At first sight, there's something inherently funny in a headline that claims: Warning as alien mussels found near Heathrow airport. But it turns out that these molluscs not only sit on top of native mussels and smother them to death, they also threaten thousands of other native animals and habitats. If that were not enough, they are also accused of disrupting water supplies by blocking pipes and causing flooding.
These mussels are only one of the many invasive species that are identified by environmental departments as posing danger to biodiversity. These invasive plants and animals are often eradicated using drastic measures. Authorities can infect them with a virus, for example. Or they can use chemicals, hunting, fires, birth control, etc. These measures are expensive and they also create a dilemma for citizens who are caught between a desire to preserve the eco-system and a reluctance to kill animals.
Lisa Ma identified and fleshed out this dilemma in her work Invasive. The project brought her to Ghent in meat-loving Belgium. Ghent is often called the "Vegetarian Capital of Europe." In 2009, it became the first city in the world to adopt a weekly vegetarian day. Restaurants now offer at least one vegetarian menu item, every Thursdays (the city "vegetarian day") schools serve entirely vegetarian meals and maps listing the places selling fries fried in vegetable oil circulate (that might not seem extraordinary to you but as a Belgian i grew up eating fries cooked in beef fat.)
Ghent prides itself on being animal-friendly thus. Yet, Lisa soon discovered that the city is spending tax payers' money to kill thousands of invasive Canadian geese every year. The animals have taken advantage of the well-preserved ecology of the city and of the absence of competition or predators. The heavy birds constantly push the soil into Ghent's canals and literally blocking a city already below the sea level.
The city deals with 'the problem' by eradicating the Canada geese at great cost. The animals are round up, individually injected with poison and incinerated. People would also take eggs from the nests and throw them in the river. They make sure to keep one egg though. They shake it and put it back in the nest, so that goose parents would continue to nest the 'dud' egg all summer instead of starting a new batch.
Collaborating with cultural organisations Timelab, FoAM, Vooruit, the newly formed food council and a series of local experts, Lisa Ma suggested that the citizens of Ghent ate the invasive animals, rather than leave them for governments to poison at huge public costs.
Unsurprisingly, the idea spurred an intense debate in the media. But it also led to some pretty unusual experiences: volunteers jumping into rivers to fish out freshly thrown eggs, vegetarian chefs crying when they cooked their first gosling pie, making feather plucking machines from cement mixers, etc.
The Invasive project also attempted to tackle the notoriously invasive Japanese Knotweed. A local cake store used the plant (which tastes like rhubarb 'without the laxative effects') to bake cheesecakes. Invasive grew into a real movement that even launched the first ever food council in the city.
These last two paragraphs which sum up some of the lessons learnt in the process were written by Lisa:
The project also addressed a new shift in our believes and values. Vegetarianism used to be a form of activism, what now when it's become a status quo and no longer addressing the dilemma between our believes and our values?
There is no such thing as perfect solutions, even this story of eating invasive animals has its potential pitfalls. Equilibrium doesn't last forever, so activism must be iterative to reassess it's relevance to the dilemma. This project is a real-life case of how even the most aspirational of political communities have a need to further challenge a status quo, even when it had become the pride of their own city.
Image on the homepage: Edward Vercruysse.
A few weeks ago, i visited the graduation show of The interactive Architecture Lab, a research group and Masters Programme at the Bartlett School of Architecture headed by Ruairi Glynn, Christopher Leung and William Bondin. And it was, just like last year (remember the Candy Cloud Machine and the architectural creatures that behave like slime mould?), packed with very good surprises. I'll report on a couple of them in the coming days.
I'll start nice and easy today with the Eye Catcher, by Lin Zhang and Ran Xie, because if you've missed the work at the Bartlett show, you'll get another chance to discover it from tomorrow on at the Kinetica Art Fair in London.
The most banal-looking wooden frame takes thus a life of its own as soon as you come near it. It quickly positions itself in front of you, spots your eyes and starts expressing 'emotions' based on your own. Eye Catcher uses the arm of an industrial robot, high power magnets, a hidden pinhole camera, ferrofluid and emotion recognition algorithms to explore novel interactive interfaces based on the mimicry and exchange of expressions.
A few words with Lin Zhang:
Hi Lin! I think what i like about the frame is that it is so discreet and unassuming. You can pass by it and not even notice it. So why did you chose to make it so quiet and 'normal' looking?
Yes exactly, it's a really normal static object, which exists in everyone's daily life, so the magic happens the moment it begins to move. I was inspired by my tutor's art work finding "life in motion" - not all motion can provide wonder and pleasure in the observer, but playing with the perception of animacy in objects often does. There are many digital interfaces that have the appearance of advanced technologies and compete for our attention, but I think it is better to develop interfaces that rather than standing out, can sit within our normal daily lives and then come to life at the right moment whether for functional or playful purposes.
How does the frame respond to and communicate emotions? How does it work?
To start with, the height of passers-by is calculated by ultrasonic Sensors embedded in the ceiling. This is remapped to the robotic arm (controlled using the Lab's opensource controller Scorpion) hidden behind the wall which magnetically drives the frame to align "face to face" with onlookers. A wireless pinhole camera in the frame transmits the video footage of onlookers back to our software (built in Processing and using face-OSC) which analyses 12 values of facial expression such as width of the mouth, the height of the eye-brow, the height of eye-ball etc. That information then drives the reciprocal expressions of the frames fluid "eyes", controlled by four servo/magnets manipulating ferrofluid.
Do you see The Eye Catcher is mainly a work that aims to entertain and amuse or is there something else behind the work? Some novel interfaces, interactions or mechanisms you wanted to explore?
The Eye Catcher project is a method to examine my research question, which is to explore the possibilities for building non-verbal interaction between observers and objects through mimicry of specific anthropomorphic characteristics. It asks to what extend can such mimicry be deployed, specifically utilising eye-like stimuli, for establishing novel expressive interactive interfaces. We found that humans perceive dots, specifically eye-like stimuli, automatically as almost a hardwired ability, which develops at a very early stage of human life. By the age of 2 months, infants show a preference for looking at the eyes over the rest of regions of the face, and by the age of 4 months, they get the ability to discriminate between direct and averted gaze. Therefore, the eye is the foundation of human interaction upon which we build more complex social interactions.
What was the biggest challenge(s) you encountered while developing the work?
The biggest challenge is how to make the frame and two dots more animate - to not appear robotic but rather more natural. So we were really exploring how long reactions should take, how to select a suitable behaviour in response to peoples expressions, and how to provide continual unpredictable interaction to keep observers' attention.There's still a lot of questions to be explored, and even though its only ultimately 2 dots we're animating, the limitations are a useful constraint to work within.
Will you modify or upgrade The Eye Catcher for Kinetica?
Yes, we're working on it now for Kinetica Art Fair. We've already built a new frame that moves faster and more quietly. We've updated it with new Wi-Fi camera which provides more reliable facial recognition and smoother behaviour on the wall. The film you've seen is really only a prototype so its exciting to see how the new iteration will perform. We've switched round some behaviour too, to see how the public reacts. For example, at Kinetica we've programmed it to prefer to interact with children which should get them excited when it drops down to see them. In the future we'd like to build a more permanent piece using a 2 axis rail system rather than a robot arm. In theory the frame could then work on a much longer wall which would allow all sorts of new types of interaction.
Thanks Lin!
Check out the Eye Catcher at the KINETICA ART FAIR on 16th - 19th October 2014 at the Old Truman Brewery in London.
I just spent a few days in Ljubljana for BIO 50. It's a design biennial and i know i keep shouting around that i often find design dull and pretentious but that particular biennial was anything but boring. Or pompous. But more about that in later posts.
The event positioned design as a space for collaboration, experimentation and enquiry. Nine themes were explored and the one that i -surprisingly- found most fascinating dealt with the future of transportation. Called Engine Blocks, the project was led by designers Gaspard Tiné-Berès and Tristan Kopp of Re-do Studio who chose to work with Tomos, a Slovenian manufacturer of mopeds.
The result of the collaboration focuses on the mechanical essence of vehicles and uses one Tomos engine as an ever-adaptable, hackable and interchangeable element that can be transferred to different vehicles, machines and contexts.
The Engine Block group envisions a not so distant-future when instead of buying the latest model of a vehicle or machine, people will be able to take (post-)post-industrialisation into their own hands and use a unique modular engine that they can re-purpose and customize to their specific needs.
Re-Do-Studio, Engine block
Engine Block is for me what design should be: it is imaginative, critical and down to earth. It doesn't pretend to change and save the world but that doesn't stop it from suggesting valid ideas, scenarios and models.
I asked the members of Re-do Studio more details about the project:
I found it amazing that one engine could end up being able to power so many different tools and vehicles. But was the whole process as easy as it sounds? Can you really plug one engine into different context and make it work? Is there really no limit to what this engine and a bit of imagination can do?
Well this particular engine is quite a simple one so it wasn't such a big problem to make it work on the different machines, but it obviously needs a bit of time to attach it properly before you can run the machines. And about the efficiency, it's an engine that has been design to power a small scooter so obviously it's not ideal for the other machines, but our intention was not to make the most efficient machine more to talk about how industrial product can always be used for a different purposes than what it was designed for.
What were the most challenging moments and steps in the Engine Block project?
So, the project started with a Slovenian industrial partner, TOMOS the brand that produced the engine, and about 2 month before the opening of the show they went bankrupt and told us that they was not allowed to give anything from the factory.... not even an engine ...
So that was quite challenging, but it actually triggered a larger reflection and debates with the participants that enriched the project and helped us push the statement further, we then decided to change the scenography and to make a sci-fi style movie, enlarged the group and everybody had a great time conceiving and shooting the movie so we think that everybody actually made an advantage out of this problem, so it was great...
Why did you decide to show the final works as museum pieces?
The project is showing a close and apocalyptic future where the economic crisis destroyed the local industry, and a guy fixes old tools by using a unique engine to run all of them. This idea of standardised components and especially energy source has been there for years in the industry and it is the most rational way to run a range of tools, but lately industrial product tend to produce more and more unaccessible, unfixable and unadaptable goods. We basically state that humans will always finds ways to hack and tweak even the most complex industrially-made product, to propose more rational and sensible way to use them.
So the idea of showing the product as archeological piece was to express this idea of a important shift in the design world when people had to go back to put their hand inside the goods and finds ways to fix them, stating that even if the industry would collapse the people will still go back to the most logical solutions...
So to try to make it clear; we are showing a near future but in the past tense, with archeological pieces that express the importance of a big change or rupture in the relationship people have with goods and the moment we might have to go back to fix and hack them again rather then buying the latest versions.
Thanks Gaspard and Tristan!
Engine Block.
BIO 50, the 24th Biennial of Design is open in various locations around Ljubljana until 7 December 2014.
Over the years, Burnham-on-Sea, a seaside resort in Somerset has been regularly affected by tidal flooding. As a response, a high wall was erected along the coastline, returning waves back to the sea. The 1.6 kilometres long and 3.2 metres high sea wall regulates access to the sea by a series of raised steps and vehicle access points which can be closed during storms.
As part of her BA Design course at Goldsmiths, designer Hannah Fasching decided to make use of that gigantic wall and reacquaint the inhabitants of the town with the intertidal zone, the space between the high and low tide. She organized a screening along the sea wall, using footage shot in the 1930s, before the wall was built. The films shows how people used to ride bicycles and do sport on the beach and how in the past, the seafront functioned as a vibrant cultural hub.
The project, called the Intertidal Cinema, established a conversation with this architecture of control and neutralization. It also looked at how new relationships can be established between humans and the temporary spaces provided by nature.
Can we continue to exist within an infrastructure that seeks to not only resist, but nullify natural forces? How might we approach increasingly fragile sites in a way that challenges the inherited attitude of conquering nature as though it were an opponent? Can the temporary spaces that occur naturally in the environment provide us with a new way in which design can operate?
Hannah has recently exported the project to London. For three nights, she turned the tidal beach of Deptford creek into a social space. I caught up with Hannah to have her talk about the project in general and about the film she projected in Deptford.
Hi Hannah! Could you first tell me again the story of that beautiful vintage cinema sign we see emerging from the water in Burnham-on-Sea?
The first Intertidal Cinema took place in Burnham-on-Sea's intertidal zone, between high and low tide. We stood the sign in the mudflats on the beach at low tide. What we didn't realise at the time was that the speed of the tide coming in depends mainly on the bank of the beach and that the flats being 'flat' submerge within minutes. Thinking we had time to play the film and collect it afterwards, at sunset, just as the film began playing we turned around just in time to see a wave sweep away the bottom rung of letters. And a few minutes later the whole sign was submerged; an unexpected but appropriate demise.
What made you chose Deptford Creek for the second edition of the IC, rather than any other area by the river bank?
Deptford is at a pivotal point in its history, the waterfront that I remember less than a year ago is now unrecognisable. As a former royal dock, it has evolved from an area defined by its natural topography into an area characterised by rapid urbanisation and gentrification.
In Deptford, much like in Burnham, there is an abrupt contrast between the natural and artificial landscape though the artificial is much more dominant here. The tidal river, Ravensbourne runs from the Thames through Deptford and creates an intertidal zone fluctuating 7m in the heart of Deptford.
As a project that explores this relationship by creating social spaces in temporary environments, taking the project to Deptford meant it developing in a new way.
I've never been there but i had a look on google image. It seems to be a radically different from Burnham. How is the tidal creek of Deptford used now? Is there any social activity there?
Things do happen here, but many are not specifically tied to the river. There is a big community of artists along this part of the river, with studio spaces and galleries as well The Laban Dance Centre, which was built 11 years ago.
The creek creates a unique wildlife area which the local authorities are keen to preserve. The creekside centre, an educational facility, provide tidal walks once a month on the creek. The ahoy centre, a charity in Deptford based on the waterfront, encourage water activities and sports on the river. The Ha'Penny hatch bridge, which can open to allow boats to pass, is a public walkway with many commuters passing over every day. The creek runs underneath this bridge.
How did you make the space more comfortable and enjoyable for people?
Holding a cinema in an area where it doesn't normally function instantly transforms it. Using the bridge as a watching platform, we projected onto structures which faced out onto the creek. One of the projections leaned out over the bridge, projecting vertically onto the water. The cinema took place as the tide was going out, as the water emptied from the creek the projection became clearer, until it eventually hit the rocks below the surface. The tide became the factor which focused the image.
Could you talk to us about the Deep Ford film? It seems to be very different from the film you showed in Burnham.
The film in Burnham consisted of archive footage, a window into the history of the seafront before the wall.
In Deptford it's more of a contemporary take on gentrification and how the area has developed relating back to the history of the dock.
The Deep Ford is a reference to the ford on which Deptford developed. The film shows historical architectures and landmarks around Deptford, many of which played an important part in the shipping industry. Voices of people who were interviewed as part of the project are used to animate these architectures, each voice representing a different place, as though the places are talking to you. These people are people who live, grew up and work in Deptford, but also people involved with how it's changing such as redevelopers. The physical space starts to take on the voice of the social.
Why do you think that it is important that humans (re)connect with natural forces?
To use a quote from Wendell Berry, a poet, environmental activist and cultural critic:
"The cities have forgot the earth and will rot at heart till they remember it again."
Wendell Berry, 1969
In its broadest context the project is about climate change, though it addresses in a different way than a project that might involve weather robots and cloud seeding. I think what is required is an increased understanding of the natural environment, but it seems to me that the well documented expansion of cities is fundamentally incompatible with this. A city is essentially a hardscape.
Using an extreme example; Tokyo as a city sitting on a tectonic boundary, is in permanent conflict with it's natural surroundings. The strict building codes in Tokyo mean that the architecture responds the the natural surroundings. Building foundations are built to move with seismic activity. If our natural environment is to be increasingly volatile, a failure to understand and act in relation to it will only ever cause problems.
The Intertidal cinema that took place in Deptford works in direction relation to the tide, using this force to focus the image of the projection.
Your project explores ways for people to "experience the extremes of the environmental conditions'. Is that out of concern for the future of a country threatened by sea rising?
It can't not be. The project began by documenting an area of land artificially lower than sea level, and suffers from flooding as a result (Somerset).
If the sea is rising what will our relationship with it be?
I think this is already happening, this relationship is being configured through sea wall's and flood defences. Whether it's on the coast in Burnham or in the city of London. They both dissolve the relationship with the water and are also potentially apocalyptic because of the risk of them failing.
What's next for the Intertidal Cinema?
Following on from the last answer, I see the project developing towards larger scale responses to the temporary spaces in the natural environment.
Thanks Hannah!
Data Cuisine goes against everything i've learnt as a child: Don't play with food! Don't mix meals with political discussions! In these workshops, participants experiment with the representation of data using culinary means. I suspect they are even allowed to put their elbows on the table.
The workshop invites participants to translate local data into culinary creations, turning arid numbers into sensually 'experienceable' matter.
Participants chose their topics, investigate related data, shop for comestible ingredients and under the guidance of chefs, they learn how to create dishes that will not only be delicious but also act as entry points to discussions about local issues that range from emigration to criminality, suicide rate, unemployment, sexuality or science funding.
There's been two editions so far. The first one was the Open Data Cooking Workshop in Helsinki. And the latest was a Data Cuisine Workshop that took place last month in Barcelona.
I had a quick online chat with the creators of the workshops, data visualizer Moritz Stefaner and curator Susanne Jaschko from prozessagenten, process by art and design.
Hi Susanne and Moritz! Seen from the outside, the idea is somewhat simple: just take some data and assemble them on a plate instead of a graph, use culinary ingredients instead of lines and block of colours. Yet, i suspect the process must be more complex than that. What are the challenges participants encounter when trying to turn numbers into dishes?
SJ: It might sound simple, but cooking and data visualisation or representation are two very different disciplines. Food is sensual, tangible, ephemeral, emotional and social. Data is not like this at all. This dialectics is the starting point of the Data Cuisine workshop and for someone who has never done it, it is already a challenge to think both together and to play with the various qualities of food such as its cultural connotations, colour, taste, shape, nutrition and the range of techniques to prepare food such as melting, freezing, boiling, baking, foaming...Not to speak of the various ways one can present and consume food.
Actually there are so many possibilities to explore on both ends, the data and the food, that most participants end-up with something relatively simple, because they are overwhelmed by the complexity. A translation of data into a visual edible diagram is relatively easy, but that's not what we are striking for, but for creations that work and communicate on both levels, visually and as regards taste.
One of the questions the workshop asks is "Have you ever tried to imagine how a fish soup tastes whose recipe is based on publicly available local fishing data?"
So does data affect taste and how? For example, do you have to make concession and be a bit less respectful of data to ensure that a dish is delicious?
MS: Generally, when it comes to tasting precise quantities and differences, of course, our taste organs are more limited than our visual system. It is simply much harder to determine what is "twice as sweet" as opposed to as twice as long line in a graphic. Then again, taste is a much more emotional and temporally complex experience that just looking at a dot on a screen. So, the mechanisms to encode information might be more fuzzy, but potentially much deeper.
Depending on the theme, there could also be a case to be made for dishes that don't taste all that well (like, e.g., the noise visualization through salt).
In the end, our goal is to create eating experiences that teach you something about the data, and taste is one dimension you can vary, but there is also temperature, texture, amounts, the plating, all the cultural connotations different dishes and ingredients have ... all this plays together in creating a successful dish. Here, precision of data readability is not of primary concern, but rather, the overall personal experience, and the dishes' concept.
Can any data be turned into something edible? Or did participants find themselves in front of data that when cooked together could only lead to unpleasant flavors?
SJ: We ask the participants to work with local data, ideally open data, and the experience from the two workshops shows that most people tend to pick data that reveal social and economic problems. This is not really surprising as we encourage people to pick a topic that they feel close to, that motivates them to work on, and to turn it into some kind of food experience. Creating a dish that tastes terrible is sometimes the best way to communicate a negative development or a problematic situation. Good examples for this are the 'Suicide Cocktail' that looks at the relation of alcohol consumption and suicide rates in Finland and 'Unemployed Pan con Tomate!' that visualises the drastic increase of unemployment among young people. We tell participants that they should decide early on, if they want to be that radical or if they want to try something that is more subtle and comparably more difficult to produce.
You work with chefs in each of these workshops. How do they intervene? What exactly is their role in each workshop?
SJ: The chefs are very important, when it comes to creating the dishes. In most cases, a 'data' dish is created by either remixing, altering or re-interpreting existing recipes. The group of participants is usually very heterogeneous and have different professional backgrounds. However, they all have an interest in cooking or at least in doing something with food, but some are knowledgeable than others. The chefs bring the real cooking expertise to the table. Usually our participants quickly develop ideas what they want to do and which dishes they want to create, and then it's the chef who -- with his or her experience and creativity -- pushes them to open up their mind, to try something new and unusual, such as trying out other techniques or ingredients. When we are in the kitchen, the chef is in high demand, not only for the preparation of dishes, but also for their final presentation on the plate.
So far you've organized 2 Data Cuisine workshops. One in Helsinki and one in Barcelona. These are two very different kind of countries in terms of cuisine. Do you feel that participants approached the idea of mixing data and food differently? Because i somehow feel that a lot of personal culture and subjectivity enters into account when dealing with food.
SJ: In Helsinki less of the dishes were local, maybe also due the fact that a lot of Helsinki workshop participants were either immigrants or just visiting. I remember that Moritz and I were wondering what constitutes Finnish cuisine before we had our first meeting with Antti Nurka, the Finnish chef. And it was particularly interesting to see how the shortage of vegetables that grow in Finland and the variety of local mushrooms, berries and fish influence the Finnish menu. But other than that I couldn't discover much differences in the general approach of the participants, maybe because the people who join the workshop are usually food-aficionados.
I think what i like about this workshop is that it breaks a taboo for me. I grew up being told that you don't mix politics and food, that you can't talk about sensitive or potentially divisive topics while having a meal. Yet, many of the projects were directly related to politics and social issues. Besides, one of the objectives of the workshops is precisely to merge food with data in order to "gain unexpected insights into both media and learn about their inner constructions and relations". So what have you learn so far about these constructions and relations?
MS: From a data visualization point of view, I found it really interesting to watch how deeply people meditate on very simple data points, when they think about turning them into food experiences. In a way, this is a very needed counterpoint to the current trend of consuming lots of data in a very quick and superficial way. As Jer Thorp said, "we are so used to flying at 10,000 feet that we forget what it is like to be on the ground" and both the preparation and consumption of the data dishes providesa very earthy, grounded way to connect with statistical information and the human stories behind the numbers.
From a food point of view, knowing how expressive food is as a medium, it is surprising to me by now, how little the intellectual side is stimulated in high-end cuisine. It is surely nice to just enjoy interesting tastes in good company, but it can also be quite enriching if there is a whole extra conceptual and intellectual dimension to the dining experience. I think this side has been quite neglected in the history of cuisine and we are hoping to provoke a few reactions in -- and hopefully some inspiration to -- the traditional cooking scene.
What's next for Data Cuisine?
MS: We aim for a few more editions of the workshop, in order to understand the local differences better and continue to explore the medium. We might also vary the format in the future - one format we were considering is a high-end "data dinner", which would put less emphasis on the collaborative workshop process, but more the final outcome and dining experience. And I would like to learn more about the science of cooking and the technological advances in the area - this field is buzzing right now!
Thanks Susanne and Moritz!
All images courtesy of Data Cuisine. More photos.
Last weekend was the Goldsmiths degree show at the Truman Brewery in London. There were quite a few interesting projects but the one that really stood out for its depth, coherence and reach is Tearlach Byford-Flockhart's The Social Mining Union (SUM.)
The BA Design project aims to reposition the role of the 'labour union' (and function of positive activism) within a globalized landscape of post-consumer society, examining the industrial mining industry and peripheral territories it is associated with.
Tearlach's adventures took him from scrapyard in south London to Glencore Xstrata's Annual General Meeting in Switzerland.
Metal scrapping, i learnt from my conversation with the designer is a a multi-million pound business. A documentary on Channel 4 revealed that the business of a yard owner in south London can turn over £7million a year while "scrappers", the men who scour the streets in the hope of turning trash into cash, can make up to £800 a day.
Trailer for documentary 'Getting Rich In The Recession - Scrappers'
Tearlach joined the scrappers and collected discarded objects from all over New Cross, a district in the London Borough of Lewisham. He also 'mined' websites like Gumtree and freecycle for discarded computers. He then sold his scrap in scrapyards and used the money to buy Glencore (a multinational commodity trading and mining company) shares. Being a shareholder, he somehow managed to infiltrate the annual general meeting of Glencore Xstrata last May when he took the opportunity of a Q&A session to suggest more positive economic, social and environmental impacts in the mining industry. His intervention might not have had much effect but imagine what would happen if whole communities of scrappers engaged in similar forms of activism!
The Social Mining Union project looks back at the Industrial Revolution when large-scale industries were centred around people and place. The paternalism of companies such as Cadbury's and Unilever ensured that communities flourished around places of work, sharing a common ground and an inherent sense of place. This affiliation between workers, industry and environment strengthened social and cultural values and cultivated prosperity at an individual level, and consequently this had a positive effect on the commercial output. The picture is obviously quite different in today's global context.
Extracts from my conversation with the designer:
Hi Tee! I'm very interested in your experience in scrapyards. Could you detail where you collected the scrap and how you turned it into money that you then used to buy some Glencore shares?
I collected old radiators, piping, cans which were often left in skips and on the side of the road. I then visited two different scrap yards - Sydenham scrap metals and Lewisham scrap metals ltd. When you arrive you weigh your van load for the cheaper scrap - iron and steel etc and then for the more valuable scrap such as copper you weigh it separately on smaller scales. Once the van has been weighed you then remove all the scrap and weigh it again working out how much scrap you had.
You then get payed by check, which I put strait into a bank account set up for the union - this then gets transferred into my Barclays stockbroker account where you can by any public companies shares, once bought you can request a proxy from to attend shareholders meetings and other events.
By the way, why did you chose Glencore rather than any other mining company? Any particular reason?
Glencore is the largest commodities and mining giant, from my research I was interested in the anonymity and secrecy they only recently become a public company so not many people know about their operations. I felt it was important to show some transparency and realised that whilst investigating them they were incredibly corrupt in a variety of ways.
One of the goals of your project is to question the role of the union and of activism nowadays. What is wrong with the way they function now?
Activism it seems still predominately relies on models such as protesting, embarrassment and sometimes aggression, these are important but outdated, as policing and government legislation has changed and evolved. The Battle of Orgreave is one of the signifiers to how policing was evolving to deal with large crowds with new techniques being used to control the people.
Unions have lost the strength they once held. Although in the past they did at times act like bullies, they have lost the sense of community connections and this is due to the combinations of small unions into larger ones. They are also stuck in a mentality that suits the past in terms of how they deal with gaining better paid employees based upon a time when striking had more of an impact.
During our conversation, you mentioned the industrial paternalism policy of Cadbury's and Unilever which 'facilitated social capital at a domestic level.' If i understood your project correctly, workers and unions would have to take matters into their own hands and recreate this social capital, instead of relying on corporate mining industries? Can you walk us through what you did once you owned some Glencore actions? And what you think could happen if other people did like you and the whole action was scaled up?
Once I bought the shares I was able to begin a dialogue with Glencore via emails, this enabled me to assess what was possible at the meeting I was planning to attend.
What I found from the meeting is that if we are to make a change within this centralised forum we need to one take matters into our own hands as management seem little concerned and two to speak through a collective voice, if we imagine The Social Mining Union with 1 million members each of these members holds a small amount of shares but collectively they hold a massive amount of shares then we collectively are a threat, as our voice is much louder than one. But I also think it is important to remember that this project is about access and navigation The Social Mining Union suggests a new way to engage with these global companies at a human level.
Thanks Tee Byford!


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subset: commoncrawl


text: Palace Guard Comics Flee Obama Over Health Care Debacle Print article Send a Tip by Christian Toto 17 Nov 2013 post a comment All it took was a political train wreck of gargantuan proportions for liberal comedians to turn on President Barack Obama. For five years most comedians treated Obama with care, avoiding punitive comedy memes, focusing on the GOP whenever possible and, in some instances, actively propping him up even when he fell. The Comedy Palace Guards stood their ground, in good times and in bad. Not anymore. Even sturdy Obama defenders like Bill Maher and Saturday Night Live can no longer hold back, and the result is the president's "signature" health care legislation becoming a super-sized punch line. On Friday, Maher cracked that basketball legend and noted ladies man Wilt Chamberlain "had sex with more people" than the number who successfully signed up at HealthCare.gov, the ObamaCare's clunky web portal. Last night, Saturday Night Live ran a mock commercial for an anti-depressant ideal for presidents going through a particularly rough second term. "It feels like even your friends have turned against you," the narrator says while the camera flashes to video of President Bill Clinton admonishing Obama for promising Americans could keep their old health care plans under ObamaCare. "It treats a whole range of symptoms, like Benghazi, the NSA scandal, the IRS scandal, the AP scandal, the Petraeus scandal ... and of course, ObamaCare web site problems. Warning: Paxil is not covered by ObamaCare. We promised that it would be, but it's not. For that we apologize." Just name checking many of the scandals SNL didn't feel merited attention when they initially broke is a turning point ... perhaps. The mainstream press has proven resilient in its defense of Obama, swallowing new lies whole while pressing the administration on existing ones. Will Maher and co. fall back in line soon enough? if the pain Americans feel over ObamaCare is just beginning, it's hard to see a return to the glory days of Palace Guard protection.


text:
I was on travel again, in Tolmezzo, in Friul, Italy. I was here, in that wonderful mountain region, every year since 2004, and always for project reasons. I like that region, the food and of course, I know some very friendly people there. It is always nice to come back to that place.
We started a European educational project last year and now we had our second project meeting. As so often, the project started with lot's of promises and expectations. Every partner seems to be very ambitious and motivated. In our case, we worked together before, we had a wonderful little learning partnership and as a result of that project, we created the idea for the current one. The application has got very high evaluation points, which made me proud, because I was working hard on that.
We changed the coordination for that big project to meet the reliability conditions of the European commission. That is sometimes something very formal and do not always met the capability of the choosen partner to lead the project. Anyway, they prefer big organisations and do not really trust small private enterprises having the management capabilities.
That impaires very often the quality of the project management and results.
Big organisations, with there big administration and huge hierarchies tend to ignore those kind of projects. At least, they would like to have the money, give no extra time to fulfill project activities to the involved staff and do not really support them. Sounds drastic, but it is like this. The promoters of those kind of European projects are usually (not all of them) very engaged, open minded people which want to change the world, at least Europa or the the way of cooperation between educational institutions. They are often thwarted by their own organisations.
Another important player in such projects are the learners. Ok,we are all learners at any time, but when we work in projects, we have a target group for whom we create such stuff. They are not always enthusiastic to be a part in such a project. Because, being involved means, they have to do something and be monitored- who wants to have that? Who wants to learn?
Sounds a bit frustrated?
Sometimes it is like this. But there are also gorgeous moments which pays off for everything. I had a lot in last years, thats why I am doing that.
What about our doing2learn project? I arrived very frustrated, disappointed and sad. Nothing really happened after our start, me and another partner were working on the tasks but ot no feedback from the others and we nearrly gave it up.
I was a long time thinking about of what I can do to change the situation. And made this presentation (60). With that we started our meeting, discussed in detail and very open the situation and decided not to give up the idea and turn our cooperation into a successful way. That is a promise, but every promise needs some control mechanism and consequencies. We defined all that!
We had a very good, inspiring working meeting from that time on.
Additional to that, we decided to add something what we did not promised in our project application and what is additonal work for all of us. That is really remarkable and certainly not usual in such projects: we start twittering- follow us at doing2learn- and develop our courses also for mobile phones.
Let's see how it will be on next meeting in September.
On the way back, I had half a day in Venice and I visited again the Guggenheim Museum. Few months ago I read the Peggy Guggenheim Biography and I was curious how I woudl see the collection after that. The museum was overcrowded, because it rained and all the tourists went into that museum.
However, I still have the same favourite pictures, the two Picasso's (here is the other)in the entrance hall and the a Victor Brauner in the next room. And I really like the Giacometti Sculpture in the garden as well as the bird from Brancusi. I added a new favourite, the silver bed head from Calder, made for Peggy Guggenheim. The museums seems to be smaller to me than before, like a small world. At Guggenheim's time it was probably one of the most exiting places in Italy or Europe. Now, we are use to have such places nearly everywhere.
But is beautiful and still inspiring there!
Flickr photos from the album Italy, Venice, Guggenheim by Christine und Hagen Graf


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and Communion
SCHEDULE9:30 - 10:45am
9:30 - 10:45am
Coffee Time
10:45 - 11:15am
Adult Forum
Kid's Sunday
After Lessons
and during sermon time, then the children come back in to church
for communion and sending with their families.
Sunday, June 22nd is Refugee Sunday in the ELCA.
We join the faithful across our country who will also observe this date. At Good Shepherd, we will focus our day on
the refugees from the conflict in Syria.
For over two years, ongoing violence in Syria has led to an increased
risk of a humanitarian crisis. Many Syrians have left their homes, choosing to escape the violence by relocating to more
stable areas of Syria or neighboring countries. Syrians are also now faced with decreasing levels of security, restricted
access to primary healthcare — jeopardizing child nutrition and health — and high levels of unemployment because
of displacement.
Among the 2.5 million people displaced, many have taken refuge in Za'atri refugee camp
in Jordan. Like Jordan, many of Syria's neighbors have opened their borders to receive refugees fleeing chaos and danger
in their home country. Receiving refugees is difficult work that can stretch resources and affect political dynamics in
the host countries. In these difficult times, groups already vulnerable in the region can be at even greater risk.
Our response:
From the early stages of this conflict the ELCA has been committed to standing
in solidarity with our companions in Syria. This support has stretched from (former) Presiding Bishop Mark Hanson's letters
to Christian church leaders in Syria, offering support of the churches' collective call for an end to violence and his
prayers for the people in the region, to our financial support of partners working within Syria.
through our local partners we are working to provide food and items such as hygiene kits, household items, bedding sets
and clothing for internally displaced Syrians. Our partners are also addressing healthcare awareness through psychosocial
care and training in nutritional support for mothers. Additionally, rental subsidies, tuition fees and classes will be available
to help alleviate some of the economic burdens faced by displaced families.
We have contributed over $1
million to the support of those affected by the conflict in Syria. Gifts have gone particularly to help mothers and children
and to support the Za'atri refugee camp. Your gifts can help make sure we continue our response to those most vulnerable.
Lord, make me an instrument of your peace;where there is hatred, let me sow love;where there
is injury, pardon:where there is doubt, faith ;where there is despair, hopewhere there is darkness, lightwhere there is sadness, joyO divine Master,grant that I may not so much seek to be consoled as to console;to be understood, as to understand;to be loved, as to love;for it is in giving that we receive,it is in
pardoning that we are pardoned,and it is in dying that we are born to Eternal Life.Amen.


text: I'm afraid I don't have any information on the embroidered crowns. But I, too, would love to find out more! Good luck, Ealasaid nic Suibhne Atenveldt ---- Janie <anasasia_orpett at yahoo.com> wrote: > I have forwarded this to one of our groups here in Atenveldt. Mistress Ealasaid received her Laurel in embroidery, therefore: I believe if anyone would know she might. > Anastasia > > Your life's outcome can only be determined by your choices, not those things that others choose for you. > Joy can be found all year round. You make the choice to live a joyful life. Joy is deep inside you. > > > > ----- Original Message ---- > From: Susan Farmer <sfarmer at goldsword.com> > To: Needlework List <h-needlework at ansteorra.org> > Sent: Friday, March 28, 2008 6:16:43 PM > Subject: [HNW] Embroidered Crowns > > I thought that it was in Digby ... > > There's a book that has a plate with 3 embroidered crowns > (Guild-Master Crowns IIRC), and I thought it was Digby. I just got a > copy through ILL (I know, bad Susan, no Digby) -- and it's not there. > There's a plate of *one* embroidered crown, but not the plate of the > *3* crowns (and oh, how I'd love to see those in color!) > > Does anybody remember the plate and/or the book? I'm searching print > references to Embroidered Regalia. And I know the crowns exist. > > Thanks, > Susan > ----- > Susan Farmer > sfarmer at goldsword.com > Abraham Baldwin Agricultural College > Division of Science and Math > http://www.goldsword.com/sfarmer/Trillium/ > > > > > > > ____________________________________________________________________________________ > Like movies? Here's a limited-time offer: Blockbuster Total Access for one month at no cost. > http://tc.deals.yahoo.com/tc/blockbuster/text4.com


text:
Text 94648 for JustWeather
Published On: Jan 30 2013 02:36:37 PM CST
Updated On: Jan 09 2013 03:21:07 PM CST
Updated On: Jan 09 2013 03:21:07 PM CST
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We Brits sure are a fashionable bunch! So excitement galore in the run up to the British Fashion Awards, which celebrates the breadth and depth of talent in the British fashion industry, from the emerging stars to the designer brands, models and style icons. Basically, it's the Oscars of Fash Land. A few weeks back we revealed who the nominees for this year's awards are (no prizes for guessing who's nominated for model of the year - Miss Delevingne, obvs!) and now it's been announced that Little Britain comedian aka Mr Lara Stone and London Collections: Men committee member David Walliams will be hosting the star studded affair.
'I'm thrilled to have been asked to present this year's British Fashion Awards,' said David. 'It's a wonderful way to recognise some of Britain's best talent and a night not to be missed!' Oh, David, we're thrilled too. We do love a man who can make us laugh, and he's got some serioush fash kudos - his wife is a supermodel, after all. Walliams follows in the footsteps of Gemma Arterton and Nick Grimshaw, who hosted last year's awards.
This year 300 members of the fashion industry voted for the winners who will be announced at the award ceremony, which takes place at the London Coliseum on Monday 2nd December. As in past years, it will be attended by the who's who in style - industry leaders, designers, models - all there to celebrate the best in Brit fash and Grazia Daily will be reporting live from the red carpet. We can hardly wait.
Check out this year's nominees in the gallery below and vote for your picks here...


text:
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text:
Call us a bunch of squares if you want, but Canton's Cube speakers are pretty dreamy.
The Movie 80 CX and Movie 120 MX are the latest in the Movie product line. Both have four compact satellite speakers that can crank 5.1-channel sound without hogging home theater space—which can often be at a premium.
Canton says the speakers were designed to match the big boys, but on a smaller scale. That way, you can still blow hair off your head without having to drop down to a smaller sized couch.
The cubes for the Movie 80 CX ($699) each measure 3.5 inches square and 4 inches deep. Inside you'll find a 3-inch polypropylene woofer, and a coaxially-mounted 1-inch aluminum tweeter. The 100-watt subwoofer uses a 6-inch long-throw cellulose/graphite driver for bass down to 38Hz.
The Movie 120 MX ($899) units are an inch higher, which promises better output in the midrange and mid-bass frequencies. It also has a slightly larger subwoofer, which can boom bass down to 33Hz.
Both of the new Movie systems are shipping now.
Read the Entire Press Release Here.Follow Electronic House on Facebook and Twitter.
The new smart home system allows you to monitor and control your yard's watering schedule.
Lutron lighting control and Crestron home automation bring light, entertainment and security to luxury home.
A look at the current and upcoming Blu-ray discs t that will support the new Dolby Atmos audio format.


text:
Porn merchants, freedom fighters, park advocates, and your waitress Tiffany
Dead Air
Guess what happens when an eccentric ecologist and a couple of feisty backwoods boys claim that a rare Florida panther is on the attack
Big dead cats in the middle of the road -- lots of them
Move over, Sasquatch. Beat it, Bigfoot. It's time you met South Florida's own: The great Skunk Ape.


text:
That's funny. Poor Quangers!
Braidwood – population 1100. Has a cinema (16mm, but still a cinema!).
Narooma – population 2400. Has a 'kinema'.
Cooma – population 6,300. Has a TWIN cinema!
Quangers – population 38,000. Pwaaaaahahahahaha!
Maybe the holdup is because Obeid's are expanding into movies now …
I would say there is one significant difference between Bathurst and Burnie compared to Queanbeyan. The distance between Queanbeyan and the nearest cinema is about 15 minutes by car, the distance between either of those and the next larger town (I have no idea if the next larger town has cinemas) is 40 minutes or so. For that matter there are 6 cinemas within about 35 minutes of Queanbeyan, most of those being about 20 minutes or so.
Personally I don't live in Queanbeyan and I only go to the cinema about once a year, so I have no feelings in regards to this.
The last thing we need is another derelict building in town. For the love of $DEITY, just find a field, put some gravel down, and put up a screen at each end. Maybe use the showgrounds, or that barely used land between the greek church and the riverside cemetary, or bulldoze a few warehouses in East or West Queanbeyan, or come to an MOU with the ACT for the land around the Sutton Road & Pialligo Avenue intersection, or put it in Googong.
A drive-in would get people into Queanbeyan, whereas one more boring multiplex within a few minutes drive of the existing multiplexes at Manuka, Civic, New Acton, Belconnen, Woden and Tuggeranong will fail dismally and will commit the council to a huge ongoing subsidy bill.
A drive-in would cost next to nothing to build, and if the takings from the admission and candy bar aren't enough to cover a couple of employees and the rights for the movies, we're not left with another white elephant derelict structure in town.
"A cinema is what Queanbeyanites really want"
Oh really, tell that to the owners of the Star and Nova cinemas which both went broke in the 1970s and 1980s. Also tell that to local entrepreneur John McCready who tried to reopen the Nova in 1993 but had to close it again within a year due to heavy losses and a lack of patrons. And that was before the Net and DVDs! What will happen when this new proposal inevitably closes down? Will Queanbeyan ratepayers be forced to foot the bill for this white elephant?
Looking from across the border, I'm doing my best to feel your pain (I truly am), but the question I can't get past is – can we please swap governments?
We have a government that can't seem to say no to big ticket proposals, but yours seems somewhat more cautious (or is there a conspiracy theory we need to know about?).
C'mon Man:
The Q building is haemorrhaging money. Qbn council ratepayers are on the hook to the tune of $1200 A DAY for this white elephant. What makes you think this new project will be any different? My own research into Queanbeyan for my small business resulted in some interesting facts. There's about 15,000 residential properties in town, and about 1500 Govt/community housing projects who wouldn't pay any rates at all or a reduced tariff…do the maths on your rate bill.
That said, I do think a small 20 or 30 seat cinema offering a Dendy Premium Lounge experience might work. Refer to other comments about uneconomic ventures floated previously … Better yet , have cinema experiences at The Q – make it pay for itself.
Good Day All
I heard about this via Facebook. Funny to read some of the comments as some are not the intended target market- not cinema goers, and well the usual anti-queanbeyan stereotypes.
I also find that comment from the small business owner quite humorous. I just finished ordering a set of double glazed windows from a business in Melbourne. I rang 4 businesses yesterday- 1 in Melbourne, 1 in Sydney and 2 in Canberra.
Both interstate businesses called me back with a quote. The other 2 here in Canberra I'm still waiting to call me back!!!
I guess they (the canberra businesses) assume I was just tyre-kicking for a quote. Well that assumption cost $$$ that I could have spent locally. Slam-dunk, measure & quote & paid by the end of the day.
Not sure what sort of small business you own buddy, but I don't see 3Seeds, Benedict House, the newly refurbished Royal Hotel complaining! And that new barber shop looks very cool!
We don't want another reject shop, op shop, or coffee lounge. But another quality cafe/ wood fire pizza place like 3 seeds to mix it up, an artisan bakery (Autolyse come to Queanbeyan!!) and wow a cinema!
The only white elephants are the dinosaurs who still think we're in 1993 that fail to realise the gentrification (slow but getting there) of Queanbeyan. And for that matter Canberra. Who would think with Lonsdale street!
C'mon, if you are going to try to get in on this debate, could you remove the ACT blinkers and see the population base outside your own borders??? What about places like Bungendore and Captains Flat and Wamboin and Sutton and soon to be Googong and Tralee. These are also who a cinema in Qbn would benefit.
Hey JBrow,
I'm assuming your talking about 4 seeds, the Crawford St brunch spot that opened 12 – 24 months ago? Guess what? Its for sale. $150k & it's all yours.
Benedictine House? Sold about 6 months ago. The law firms commercial rent is backstopping the coffee shop.
The Royal hotel? It's great now, post a $2-3 million dollar renovation in 2012. Oh but wait, oh guess what happened? That's right, they sold it…Don't get me started on the pokies…
If these are your best examples of thriving Queanbeyan businesses, why are they trading hands so quickly? Because they're marginal businesses. But I'm sure you can singlehandedly rejuvenate the Crawford St lifestyle precinct….
Reality check!
4th Seed has already sold – biz so good, new owners couldn't get in there quick enough.
BENEDICT House (not Benedictine – they're monks) didn't SELL, it's been leased and is about to reopen as an Arts Precinct.
The Royal, that's right, it SOLD, meaning other smart business operators also see the potential.
New Indian/Pizza restaurant in Monaro St; new gift-type shop in Crawford St; Furlong House apartments just about sold out. Oh yeh, and what about all that money being spent on those other pubs as well? Must be someone with their fingers and toes crossed just HOPING they won't go belly-up.
Don't let those blinkers poke you in the eye.


text:
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As snow ends in Buffalo, flooding and roof collapses are new threats; 12...
WWE competitor Sheamus wants to star in a reality show about his life as a...
Friday, Nov. 21 at 5:30 p.m. is the members' potluck.
MUSKOKA – Muskoka Algonquin Healthcare has spent both time and money...
SOUTH RIVER – There is no love lost as the school board discontinues its cafeteria service contract with Aramark.
"We knew before that we didn't like the company," said Near North District School Board Trustee Al Bottomley. "They were rip-off artists."
According to Bottomley, as the company's food prices went up, the quality went down, prompting area student senate representatives to conduct their own investigation in recent years.
"They did everything they could to gouge the kids and they didn't treat their employees very well, so I'm not upset that they're going," said Bottomley.
A call to Aramark Canada was forwarded to the voicemail of a media relations representative in the United States who failed to respond by press time.
The Board's contract with the company expires next month and the last day of food service at Almaguin Highlands Secondary School (AHSS) is Dec. 20.
Bottomley said new nutrition guidelines set out by the province made it difficult to provide healthier foods the students wanted to eat let alone pay a high price for. Bottomley said Aramark's practice of making the food ahead of time, sometimes the day before, made the dull menu even less appetizing. He said, being a rural school, AHSS students don't have the luxury of going to outside food sources and began bringing their lunches from home rather than eat high-priced, low-quality cafeteria fare.
"I will admit I haven't eaten in a school cafeteria in years, but the kids said the quality went down and I believe them," said Bottomley. "This is their world."
Under the new guidelines, schools are not permitted to offer foods high in fat, salt or sugar. Deep-fried cafeteria staples, like French fries, must now be baked instead, which Bottomley said is less profitable.
"It was those easy-to-cook foods that they made the most money on," he said.
Bottomley said schools were hit hard already when the Province ousted pop machines.
"Pop machines were how we made a lot of the money that funded sports teams, so we're in trouble there," he said. "I'm not advocating that we get the pop machines back, but now the students will have to pay."
For the time being, Bottomley said the Board has no official plans on how to replace the current food service.
"I don't know what's going through their heads, if anything," he said. "We can't find a group to take the whole thing over. When I first started teaching, (the cafeteria) was run by a group of women in the community. I was hoping the Board would allow a local group to come in. I'm not sure the principal will be allowed the freedom to do that, but if someone could run it and give themselves some extra cash and help get the kids some healthy food that would be great."
Another option that Bottomley said would be beneficial to the students would be to have the hospitality students run the cafeteria as part of their curriculum, which would give them more hands-on experience and cut out the cost of wages.
He said this practice has already seen success in other Ontario high schools, but would require some organization to make sure the hospitality program held it's class every day before the lunch break.
"There's a school down south that is able to make healthy food for about $3 a meal and they're making money," he said.
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