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By Glen Abbott
'tit Rəx bills itself as "New Orleans' First and Only MicroKrewe" ('tit is short for "petite").
This pint-size procession rolls through Faubourg Marigny at Carnival time each year with satirical, shoebox-size floats and tiny throws. The parade's theme this year was "Bare Minimum."
NolaVie contributor Glen Abbott offers a look at the sights and sounds of 'tit Rəx 2013, proving that bigger isn't always necessarily better:
Special thanks to Christopher Skinner for making this happen. Check out the official page on UStream


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And if so, how would you do it? We were thinking of overlaying this with a finish-in-place new hw floor, but this seems to be a good quality old growth pine. This part of the house is 150 years old so these boards are really old. There are some big gaps between the boards and a few split boards. It would definitely be a rustic look. |
Follow-Up Postings:
- Posted by heartygrain (My Page) on Wed, Oct 2, 13 at 7:50
Photo after a tiny bit of effort sanding. I should also note that we have two kids and a dog, so we are probably not going to be gentle on the floor. |
- Posted by millworkman (firstname.lastname@example.com) on Wed, Oct 2, 13 at 9:33
Are you sure that is pine? The part of the flooring in the center of the picture almost looks like D. Fir. |
- Posted by millworkman (email@example.com) on Wed, Oct 2, 13 at 9:49
dam duplicate post |
This post was edited by millworkman on Wed, Oct 2, 13 at 20:30
- Posted by heartygrain (My Page) on Wed, Oct 2, 13 at 13:04
It may well be fir. How do I tell the difference? Is fir better or worse? The part in the middle is where I went over it briefly with an orbital sander to see what it looked like cleaned up. Took very little time to do that. |
I would agree that it looks more like Fir or maybe Cypress. Both are softer than old Pine. They are both more likely to indent. How would I go about finishing it? I would call a few people who specializes in wood floor finishing and get a few quotes. |
- Posted by gregmills (firstname.lastname@example.com) on Wed, Oct 2, 13 at 18:19
Regardless if its fir or not it will dent and scratch eitherway. Both pine and fir are "soft". Im more concerned if that paint contains lead. Old house + pine or fir + paint makes my lead alarm go off. If it does contain lead you need to take the right precautions in removing it. If it does not contain lead you could continue to do what you are doing with the orbital. But its gonna take awhile. If doing the entire floor is too big of a job with the tools you do have then you could rent a drum sander. But with it being a "soft" species its going to be really easy to sand through the planks. If you want a professional look. Hire a professional. |
- Posted by heartygrain (My Page) on Thu, Oct 3, 13 at 7:37
I know it is probably lead paint and I would have it professionally removed. The house is located in MA and was built in the late 1800s. I don't think Douglas Fir was used here at that time, that is why I think it is Pine. I was also going to have it sanded with a drum sander, so I was wondering what sort of finish to put on it. |
You might try the woodworkers forum here on GW. I also don't think that it is pine, but agree it may not be D. Fir either. I have something similar in my upstairs I am planning on re-using also. I forget what someone told me it may be, but they thought it is no longer grown/used any more. It is a bit harder than both pine and fir though. It has the same grain pattern. I was thinking a regular polyurethane rated for floors or a shellac. When we get to that section of our house we will be pulling the floor up, planing them down slightly, and re-using in another room, so I will have the ability to test both. I would be interested in what advice you are given on your floors though and what you decide. Good luck. |
Sorry, you may also want to try the old house forum here on GW also. Between the two you are bound to get more people who have come across this type of floor and are more apt to want to save it. |
- Posted by lazygardens (My Page) on Thu, Oct 3, 13 at 18:02
I would try stripping the old paint, and then sand it very lightly (no drum sanders, use a "screener" on it, and then finish it with something that can be retouched or recoated easily. If it works, you have a lovely antique floor. If it doesn't work, you can still install the new flooring. |
- Posted by kashka_kat (My Page) on Sat, Oct 5, 13 at 9:38
Yeah, just go for it! People pay good money for antique, reclaimed, and/or distressed wood flooring. No "ifs" - It WILL work, if you do a careful sanding and finishing job. If the sample in the photo is any indication, you'll have beautiful honey colored floors and IMHO, removing them does compromise the authenticity of your 150 yr old house. It will look "rustic" in the sense of being old, but not in the sense of being rough or crude or grungy. I just re did my old pine floors on its last legs using Bona Deeptone sealer + Mega poly finish and it exceeded all expectations. Others may suggest using Waterlox or some other easily renewed finish (I would go the latter route if your floors are still reasonably thick - I only went with the poly because mine were sanded down by PO to the tongue and groove and there was still poly on it in places - so I was pretty much stuck with poly) Don't use drum sander, don't get hung up on it looking "new" or unblemished but do sand enough to brighten the wood, take out surface scratches and stains and smooth to a silky smooth feel. The buffer or orbital sander using a higher grit would do it - maybe start with 80 and end with 180-240. If hiring it out, make sure they're in tune with the concept of antique floors and not into extreme sanding to make them look new. Some guys are, but some aren't. They are not making 150 year old old growth flooring anymore and leaving it/preserving it is really the best thing esthetically and in terms of dollars and sense. Law of supply and demand right? Yes soft woods will dent but just a little care is all you need - remove shoes, go over with a dust mop periodically to pick up dirt and abrasive matter. The wear your family puts on it just becomes part of its history - and having an easily renewed finish means you'll just re-do it periodically without it being a big deal. |
Yes, I would. We are just completing reno/restoration of our 137 y.o. home, and went with stripping and refinishing much of the original pine flooring. Sorry, I don't know the specifics of the sanding and finishing, but I do know how pleased we are with the result. Our floor finisher removed as much of the old finish as possible without taking away too much of the wood, and coated with a clear satin finish that brought out the character of the wood. It absolutely transformed the space and we are so glad we had it done. I agree with Kasha_kat that if you decide to hire a professional make sure he or she gets that you want to restore the floor, not make it look like new. |
- Posted by TXBluebonnet11 (My Page) on Fri, Oct 11, 13 at 1:04
I would keep the original floors in place and refinish them. As others have said, it adds to the character of the house. It would be a shame to cover them up. I have antique longleaf heart pine flooring that we are considering installing upstairs. It was removed from an old house and I got it for a steal on Craigslist. If this is what you have, almost everywhere I have researched - they all say not to stain the floors but to keep the floors the natural wood color and just cover with a clear coat, such as Waterlox. If we keep the flooring, I am going to use a satin hard wax oil finish called Osmo. I've played with samples and liked the effect. But I'm not sure about the orange color so I'm still wavering on my decision. Good luck with your project And don't forget to post lots of before and after pictures if you decide to go for it! |
This post was edited by TXBluebonnet11 on Fri, Oct 11, 13 at 1:10
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subset: commoncrawl


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Informational: Federal Court Arraignment
The United States Attorney's Office announced that during a federal court session in Billings, on November 29, 2011, before U.S. Magistrate Judge Carolyn S. Ostby , the following individual was arraigned:
CLINTON SHOVAR, a 36-year-old resident of Laurel, appeared on a charge of simple possession of steroids. He is currently released on special conditions. If convicted of this charge, SHOVAR faces possible penalties of 1 year in prison, a $100,000 fine and 1 year supervised release. Assistant U.S. Attorney Jessica T. Fehr is the prosecutor for the United States. The investigation was a cooperative effort between the High Intensity Drug Trafficking Task Force and Homeland Security Investigations.
The defendant pled not guilty to the charge.
The charge, an indictment, information or complaint, is merely an accusation and all persons named as defendants are presumed innocent until proven guilty. A pre-trial conference and a trial date will be set and the United States will be required to prove the allegations set forth in the indictment beyond a reasonable doubt.


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Product Description
The extra-tall collar on the Columbia Bugaboot Plus II XTM Omni-Heat Winter Boot offers exceptional protection in extreme cold-weather conditions. The waterproof leather upper combines with a lightweight Techlite midsole to deliver superior cushioning and comfort as well as improved flexibility. The Techlite shell is flexible, highly protective, and astonishingly light, which helps fend off fatigue so you can go further faster. The Omni-Heat thermal reflective lining helps regulate your temperature by reflecting and retaining the warmth your body generates while dissipating moisture and excess heat. Plus, the boot is packed with a whopping 600 grams of Omni-Heat insulation to provide a toasty environment for hard-working feet. The articulated collar design lends freedom of movement without sacrificing protection. The full-length, nonmarking Omni-Grip rubber outsole with dual compound lugs yields reliable traction on a variety of rugged terrains. Rated at -65°F/-54°C. Lace-up design. Weight: 2 lbs. 10 oz. Medium width. Imported. |


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Acra-Retreat Mountain View Lodge
The Acra-Retreat Mountain View Lodge is located in Waterval Boven making it one of the best hotels to stay at while in town.With the guests' convenience in mind, each of the 6 guestrooms at the hotel is well designed and fully equipped to cater to the demands of corporate and holiday travelers looking for unique accommodation in Waterval Boven.Each guestroom features amenities such as in room safe, television LCD/plasma screen, desk.Guests staying at this Waterval Boven accommodation can enjoy a wide range of hotel facilities such as laundry service/dry cleaning, tours, concierge, bar/pub.To unwind, guests can enjoy the leisure facilities provided on the hotel's property, including gym, garden.The hotel provides a warm and welcoming service of international standard.For your reservation at the Acra-Retreat Mountain View Lodge Waterval Boven, please enter your preferred visit dates and follow our secure online booking form.
Categories: Waterval Boven Tags: Acra-Retreat Mountain View Lodge, Mpumalanga hotels, Waterval Boven hotel
Rockydrift Private Nature Reserve
The Rockydrift Private Nature Reserve is perfectly located for both business and leisure guests to Waterval Boven.This 4-star hotel offers 2 comfortable guestrooms with a range of in-room facilities suitable for the modern traveler.Each guestroom features amenities such as ironing board, shower, in room safe, television.This beautiful Waterval Boven accommodation provides pets allowed, laundry service/dry cleaning to suit all guests' utmost convenience.For guests to unwind, the hotel offers a variety of facilities and services including garden.Being one of the good quality hotels in Waterval Boven, guests staying at this hotel will find its convenient location and tranquil atmosphere pleasurable.For your reservation at the Rockydrift Private Nature Reserve Waterval Boven, please select your dates of stay and fill in our secure online booking form.
Categories: Waterval Boven Tags: Mpumalanga hotels, Rockydrift Private Nature Reserve, Waterval Boven hotel


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Sponsored by: Missoula Federal Credit Union
Feb 17, 2013 12:41 PM by Laura Wilson - KAJ News
KALISPELL - Tens of thousands of people will gather in Washington D.C. on Sunday for what is being billed as the biggest climate rally in U.S. history. There are also several events happening in Montana, including in the Flathead and Missoula valleys.
The biggest rally is set to take place at noon in downtown Whitefish, with volunteers saying that climate change is an issue that has hit close to home. Whitefish residents have expressed concerns about the amount of open water in Whitefish Lake over the last few winter seasons, believing it to be a direct result of climate change.
Organizers say the main goal for tomorrow is to spread the message that it's time to take action now.
"Every year, we're seeing warmer winters, on average. The snow is melting earlier in the Spring, and we have more big wildfires. Enough talk, [it's] time for action. Let's protect what's so wonderful about Montana while we can.," rally organizer Steve Thompson said.
The Montana Forward on Climate rallies all start at noon on Sunday. The Whitefish event will take place on the corner of Spokane Ave. and Second Street, a Kalispell event is happening at Depot Park, and on Bigfork, people will gathering in front of Harvest Foods.
A Missoula rally is also planned for noon at the X's at the end of North Higgins Avenue.
1 hour ago


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Kathy Jenkins, restaurant critic, Pioneer Press
All of our desserts are made from scratch, including homemade hot fudge,
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"A Neighborhood Favorite."
by Minnesota Monthly magazine


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» Special WHSmith Promotion: 31 more places to buy Rhodia in the UK!
A special 3 month promotion which started July 11th has a variety of pocket sized Rhodia products (Unlimited, "R" and Rhodiarama Webbies) available in 31 WHSmith locations throughout the UK. (WHSmith is the UK equivalent of Hudson News.)
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Tags indie electronic, hippie
Genres electronic, hip hop, trip-hop, downtempo, dubstep (beta) (flag as incorrect)
Published March 15, 2012
including music by Pretty Lights, Ratatat, and Radiohead
Sweet mix!
Beauty Beats by aco315
9 tracks including Beats Antique, Flying Lotus, and Tycho.
indie electronic, indie, electronic, alternative/indie, chill
Heaven at Night by aco315
8 tracks including Ellie Goulding, The Beatles, and Empire of the Sun.
happy, the beatles, indie
chillpill by aco315
Just a few of my favorite oldies on my itunes.
rock, oldies, the beatles
make love, not war by aco315
including music by Pretty Lights, Ratatat, and Radiohead.
indie electronic, hippie


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reviews & comments (23)
As many people mentioned, this soup is pretty bland before seasoning. I added quite a bit of salt and pepper, then a bunch of stuff from the spice rack. The best addition was a healthy dose of cayenne; it gave a heat that paired really well with the sweet corn. Also seasoned salt, garlic powder, and chili powder. If it still tastes bland, just keep adding! End result was fantastic.
When I think of chowder, I think of something more hearty with more seasoned flavors. This recipe was more soup than chowder. I added salt, pepper and paprika, but still was lacking flavor other than delicious veggies. I wouldn't make this again.
delicious soup! it lends itself well to whatever veggies you have on hand. i added green beans and carrots and a little broccoli and just used the one pepper i had. it was a big hit and i will make it again. with my additions, it certainly made more than 4-5 servings.
This recipe was easy very good. Unlike other reviews, I did not find this to be bland at all. It says 'salt, to taste,' and I think a lot of people tend to under-salt. Anyway, make sure to use enough salt and pepper, and I also used an immersion blender - add the corn (step 3), let it simmer 8 minutes, use an immersion blender. Then add the bell peppers and half-and-half and simmer another 8 minutes uncovered. That will help thicken it and gives it more body. Would definitely make this again!
I agree about the blandness. I added tons of pepper, and a bit of basil and cayenne with the onions, but it still tasted a bit flat. Next time I'll add some garlic and more cayenne. Otherwise, it was easy, and (with adjustments) just the ticket for a rainy summer evening.
Super bland to me. I doubled the recipe. I used 8c (per suggestions to knock back liquid amount) Heres what I did to make it pretty good after an hour: added a little thyme, a little oregano, celery, 2 tbsps turbinado sugar, 2 cloves garlic, 1/4 c chopped cilantro, tsp cumin. I also think there's just way too many potatoes. I knocked back the onion to 1 1/2. Then I used and imersion (sp?) blender and thickened it with that.
I've been looking for a fresh corn chowder for a bit (no canned corn) and this was really good. I did make a few changes though.- because i wanted a slightly sweeter taste. I used two leeks instead of onion and I added two carrots. I also followed another suggestion and subed cilantro - basil just didn't sound right. I also pureed about 2 cups of soup to add some thickness. Quite tasty. As an aside, 4 cups of corn was about 5 ears for me...


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Club competitions
National team competitions
Andriy Lebedintsev and Maksym Sandul combined for 46 points as Ukraine beat Portugal 67-55 to clinch their first win of the group stages at Ierapetra.
The result means that Oleg Ruban's men will go through to the qualifying round of the competition while Portugal will have to fight for survival after finishing at the bottom of Group C without a win (0-3).
Head coach Marius Linartas had not been impressed by his team's offensive display in their win against Ukraine yesterday so his players made sure they rectified that aspect of their game as Lithuania defeated Portugal 117-36 at Ierapetra to remain unbeaten in Group C.
Lithuania had easily dispensed with Ukraine on the first day of the tournament but owed the win primarily to their ability to shut down the oppositions offense.
Lithuania opened this year's Termosteps U16 European Championship Men in style with a 103-51 defeat of Ukraine at Ierapetra.
Mantas Kadzevicius led five players in double figures with 21 points – all of them in the first half – as Marius Linartas' men jumped to a 25-8 lead at the end of the first quarter and never looked back.
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President: Manuel FernandesSecretary General: Joao Carlos Soares Marques de CarvalhoPress contact: Carlos Miguel Oliveira Saldanha


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My fun intro: Music connoisseur. Born and raised in NH. Living life north of the border in Toronto. I'm straightforward and looking to make life easier when it comes to trading, selling, and/or getting tickets to shows, and think that CashOrTrade is a great way to accomplish that. Cheers, Mike B
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Interested In: women
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Lawn or Pavilion
Camping at a festival or 5 Star Resort
Coffee or Tea
Solar or Fossil Fuels
Wine or Beer
Show up with tickets or Find them on lot
Moma Dance or Slave
Sammy Smith or Bud
Free Trade or Fair Trade
VW bus or Landrover


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Dallas Willard passed away today after recently being diagnosed with cancer. It would be impossible to describe just how formative Dallas' work has been for me personally, and for many others. I'm not sure his impact on the thinking of what would later become the emerging Christian movements has been adequately attributed.
I had a few opportunities to speak with Dallas over the years. More than once I travelled long distances by myself just to hear him speak. The last time was almost three years ago when I interviewed him for a christianaudio podcast called Author Sketches. At the time, I was doing these interviews as a part-time gig and jumped at the chance to interview Dallas about his then current book, Knowing Christ Today. I blogged through that book, chapter-by-chapter, here at Pastoralia.
If you're interested, you can download the interview for free by clicking here (but you'll have to register). You can tell in the interview I'm more than a little giddy and starstruck, but you can also tell just how incredibly humble and generous Dallas was.
You'll be missed Dallas. Peace to you in your rest and to your family in their mourning.


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Past Exhibitions...
"Frequency "
Ry David Bradley
Ed Wakeham
Stephanie May Eather
Opening Thursday 21 April from 6pm
Michael Koro Galleries
invites you to Frequency, three Melbourne-based artists pursue the elusive technical and ideological boundaries of art-making on paper and digital print.
Ry David Bradley: is a digital master of the virtual mark. In this technology-driven age, Bradley has aligned himself with the machine made print, but this relationship is not without some irony. Bradley subverts the notion of the hand made and adds some warmth to the general electric chill. His pioneering practice of digital print and installation is beautifully executed to a world that has become so accustomed to computer-generated graphics.
Ed Wakeham: The illustrated kinetics of local Multiculturalism. Wakeham is the local thinking global and his latest work Mix 2011 is a gargantuan exploration into the last few decades of Melbourne's post-war multiculturalism. Can this artist blast the migrant tale into the present from its exploding past once and for all?
Stephanie May Eather: Chaos ordered on to paper. The repeated stroke continues to drive the obsessiveness of the hand escaping the perception of the eye. The imagery is derived from one motif; an old typewriter spun round and round till your eyes see the vibrations operate in the thousands of graphite marks.
Phil Edwards and Tess McKenzie
11 March - 27 March 2011
Opening night: Friday 11 March 6pm
Phil Edwards + Tess McKenzie is Michael Koro's debut show for 2011. Together these artists represent the boundaries of Melbourne's art world. Both artists work across media and technique, both artists could be confined in a post painterly description and both use technology like it is primitive building equipment. But Phil Edwards is a senior lecturer at RMIT and Tess McKenzie is a recent graduate of VCA.
The artists approach painting, sculpture and new media like they are parts of one assemblage. The hastiness of their approach is what gives their work an impulsive, raw authenticity. Both artists are communicating directly to the viewer by a number of means and the effect is powerful slap in the face, full of texture, ambiguity and irreverence.
Michael Koro is proud to be opening our first show for 2011 with such convincing and authoritative artists. Phil Edwards + Tess McKenzie opens on Friday the 11th of March and continues to Sunday 27th of March .
This Friday will also be the launch of this years program on the Melbourne Propaganda Windows.
'Blender Studios Christmas Exhibition 2010'
Adi |
Geoffrey Carran |
Ed Den Lim |
Adrian Doyle |
Stephanie May Eather |
Drew Funk |
Joseph Flynn |
Joel Gailer |
Georg |
Heesco |
Rachel Jessie-Ra |
Kristin McIver |
Michael Meneghetti |
Michael Peck |
Tim Sterling |
Regan Tamanui |
Keith Wong |
Michael Koro Galleries' final show of the year is a three day only event showcasing the infamous artists of the Blender Studios. This will be a highlight on your Christmas calendar, the cross section of artists working in the Blender includes everything from installation to street art. with some of Melbourne's most intriguing and obtuse artists exposing their studio labours in the gallery which fronts their creative workshop.
This is a must see and for three days only! You will have to be quick but the reward will be well worth it!
Michael Koro Galleries is proud to host the Blender Studios crew, we hope to see you there on Friday 17th of December at 6pm for the opening of this annual event.
Clockwise from top:
Tim Sterling, Eye Beam (detail), 2010
Paperclips, cable ties
Tim Sterling, Wall, 220x150 (detail), 2010
Marker on paper
Tim Sterling, Eye Beam, 2010
Paperclips and cable ties
Tim Sterling received the Anne and Gordon Samstag scholarship in 2004 enabling him to be awarded a Master's of Fine Arts from Sandberg Institute, Amsterdam. He has been a recipient of two Australia Council Studio residencies in Milan 2008 and Tokyo 2010. Tim's work has been exhibited in various places across Australia and around the world such as hatched (WA), Primavera (NSW), Roslyn Oxley 9 (NSW), AEAF (SA), The Physics Room (NZ) and Consortium (Netherlands). He also participated in Model Mania a workshop presented by The Domus Academy with Olafur Eliasson in Venice, Italy 2005.
Tim's exhibition 'metamaterials' explores his interest in how perceptions of our environment are built. Architecture and weaving are used as analogies for perceptions built from social, institutional and media influences. Large drawings made from repetitive mark making represent architecturalstructures and building materials. The hand drawn quality of these drawings transforms and undermines associations of repetition with stability and control. Similarly the 3-dimensional objects present symbols of control. The hand made and repetitive textural surfaces work as both structural support and as a shifting surface.
This exhibition will open at Michael Koro Galleries, 110 Franklin st, on Friday 19th of November, 6-9pm, and will run until Sunday 12th of December.
Tim Sterling
Electric Chair, 2010
Paperclips and cable ties
Tim Sterling
Wall, 2010
Marker on paper
Michael Koro Galleries Present
'P astel
O il
P rint'
Edward McKinlay
Stephen Giblett
Dan Sibley
Blender Projekt Space: Georgia Smith
Opening Night Friday
Edward McKinlay
Attainment, 2010
Pastel and gouache on paper
100 x 140 cm\
The forthcoming show at Michael Koro presents three young artists working with traditional means to present the most immediate and pressing aesthetic concerns.
Dan Sibley returns to his printmaking foundations to produce a suite of woodcuts in unlimited editions. Pursuing a democratic approach Sibley's prints will be accessible both financially and visually. Far from being an attempt to encourage sales Sibley's approach reflects printmaking's origins as a mass produced tool for change, always a political satirist Sibley is reflecting Noel Counihans unlimited edition of coal miners which were produced to fulfil what he saw as a need to infuse art into the lives of the general populace.
Stephen Giblett's highly polished hype real oil paintings at first seem to be executed in the style of the Edwardian still life, but with some consideration we can see they are charged with contemporary ideas of the of the loss of tradition and the discarded antique. While this may sound like an oxymoron, concepts of tradition, its relevance or lack thereof are at the forefront of contemporary thinking. As a secular and open society we are struggling to define ourselves without the foundations of tradition. In this Giblett is aligning himself with the Dutch Vanita, while depicting opulence he reveals its menacing undercurrents.
Edward McKinlay's pastels look to the pop artist Richard Hamilton for their shattered surfaces and interspersing images. Figures fade into interior scenes and still lifes merge with ocean-scapes. Lovingly crafted McKinlays pastels again look to the fractured self and isolated figure in a busy world of man made attractions and constant distraction. McKinlay's works evoke these ideas through his sense of surface and mastery of his medium.
Michael Koro Galleries Present
Benedict Ernst
Bonnie Lane
Lisa O'Flynn & Herman Fluit
Nikki Lam
Blender Projekct Space: Fiona McKerrell
Five artists present their strikingly divergent views of the contemporary world, from the
disturbing and dangerous sculptures of Benedict Ernst to playful fields of poppies sculptured
from playground toys in the collaboration of Lisa O'Flynn and Herman Fluit. Bonnie Lane and
Nikki Lam render their ideas through the lens of the camera and digital video, looking at the
macro view of domesticity in Nikki Lam's images and a vast skyline in Berlin as a hot air balloon
hovers past in the video work of Bonnie Lane.
Michael Koro is proud to host this group of young and versatile artists, opening at 6pm on
Friday the 17th of September continuing to Sunday the 17th of October.
Nikki Lam
Primarily a photo media artist Nikki Lam is early career, having first exhibited in 2008 at the
MADCube Artspace in Monash University. Since then her career has expanded internationally to Hong
Kong and Italy, notably a recipient of the Monash fine art studio residency in Prato Italy. Lam has
received some notable awards in her short career including the Alliance Francaise Prize. For Michael
Koro she continues her intriguing investigation into domestic relationships, the strange tension between
a man and women in the home environment.
Benedict Ernst
Is an artist of immense technical and conceptual skill, a winner of the Japan Foundation Visual Arts Award and a recipient of a NAVA visual arts and crafts grant. He has held successful exhibitions at the Linden Centre for Contemporary Arts and Kings ARI. His work for Michael Koro takes his Arte Povera aesthetic to a grungier and more violent extreme with sculptures adorned with nails and detritus reminiscent of post-contact Polynesian weapons.
Lisa O'Flynn + Herman Fluit
This is O'Flynn and Fluit's first foray into the art world as a collaborative duo, while O'Flynn has a background in art and many career highlights under her belt, being short listed for the coveted SIEMANS-RMIT Scholarship and a recipient of the Tammura Colours Visual Arts Scholarship, Fluit has a background as an aeronautical engineer. Both artists bring entirely necessary skills to their partnership, between them they create strange yet innocent sculptures that emerge out of the gallery like fields of flowers, yet on closer inspection the flower buds are the common playground toy, cats eye marbles.
Bonnie Lane
Currently completing her honours year in Fine Arts at Monash University Lane has a list of prizes
behind her including winner of the Ephemeral sculpture category for the Moreland sculpture prize,
a Fringe festival visual art award and two residencies in Europe. Having just returned from Berlin,
Lane has exhibited nationally and internationally her ideas are in tune with the zeitgeist and her
work for Michael Koro is bound to express the most central themes in the international arena.
Michael Koro Galleries Present
'A Sweeter System of Donation (Apple Flavour)'
Keith Wong
Opening Night Friday
Michael Koro presents two potentially scandalous exhibitions for the August show, Keith Wong's A Sweeter System of Donation (Apple flavour) and Robin Healing who represents himself as subject, performance and artist as the one entity.
Both artists are leaping from the barely formulated platform of relational aesthetics. They engage with
the art gallery as both a stage and a prop and invite attendees to be part of their self-prescribed
psychosis through interactive performance or begging the viewer to donate, by a philanthropic gesture,
thus incorporating the viewer and complete the work…
Michael Koro Galleries: Proudly presenting Keith Wong:
"In support of the artist, a system of donation has been devised. A system that will only accept coins at the point of insertion.
To give, the artist would ask that you add to the works value by adding to its weight.
The measurement of which also incorporates a consideration of apples.
An essential ingredient that holds the whole system in place, as the artist sets the gift in motion, to achieve in this work, the exploits of giving."
Melbourne Propaganda Windows and Blender Projeckt Space:
Proudly presenting Robin Healing, a unique individual who possesses a divinely magnificent gift that defies scientific understanding and human comprehension. Are we ready as a species to accept this gift that spans beyond our conventionally accepted normality? Are we ready to open our hearts without the boundaries our minds so easily impose to become childlike again in our ability to receive nourishment divinely offered as our birthright? Find out for yourselves in a once in a lifetime opportunity to meet Healing in the flesh as he makes 2 weekly appearances over the duration of his tenure with us.
Friday 6th August 7.30pm (special opening event)
Thursday 12th August 6.30pm
Saturday 14th August 2pm
Thursday 19th August 6.30pm
Saturday 21st August 2pm
Thursday 26th August 6.30pm
Saturday 28th August 2pm (final session)
Michael Koro Galleries Present
Kristen McIver
Ry David Bradley
Valentina Palonen
Opening Night Friday
Three artists from glaringly different practices present alternate standpoints in the upcoming July Michael Koro exhibition.
Tomorrow is an exploration into 21 century consumerism, animism and post painterly abstraction. The artists combine installation, print, painting and new media in strange and fantastic assemblages.
Please join the artists for the opening on 2 July from 6pm. Tomorrow runs until 1 August at Michael Koro Galleries.
Kristen McIver utilises materials such as neon, acrylic and hyper-gloss paint to explore the themes of desire, aspiration and consumerism in the 21st century. A VCA graduate, McIver's work has been selected as finalist in a number of awards including the Montalto Sculpture Prize and City of Whyalla Art Prize. In 2009, McIver's work Room To Breathe II was the recipient of the Elliot Family Ten Year Collection Award. McIver's work is held in private collections in Victoria and New South Wales.
Ry David Bradley bends visual and photographic samples through a combination of programs and software to produce his prints onto silk, cotton and Plexiglas. He is most recently a finalist in the Metro Gallery Art Award and was selected for the director curated annual exhibition Exploration 9 at Flinders Lane Gallery. Bradley completed digital media production at Four Corners in London in 2001 and continued with a Visual Arts-New Media degree at Swinburne University of Technology in 2003. Bradley's work is held in private collections in Australia and Europe.
Valentina Palonen draws on motifs of inter-species transmogrification as a means of exploring the recent revival of animism in the Western world. Palonen employs a combination of conspicuously artificial materials and various visual techniques to sculpturally manipulate the idea of metamorphosis. She has completed a Bachelor of Visual Arts at Southern Cross University and is currently undertaking an additional Fine Arts Honours year program at VCA. Palonen's work has featured in various exhibitions both locally and nationally.
Michael Koro Galleries has hosted a series of sell-out exhibitions since its 2008 inception, featuring artists ranging from infamous street stencil artists to classic Australian painters. The gallery is attached to the influential Blender Studios, a research and studio complex founded by local artist Adrian Doyle in 2001, that has served as a base for many of Melbourne's most seminal and successful emerging artists.
Michael Koro Galleries Present
'New Australian Landscapes'
Adrian Doyle
Opening Night Friday 21 May 2010
Contemporary artist Adrian Doyle presents New Australian Landscapes, exhibiting from the 21st May until 27th June. This year's collection of twelve paintings is further evidence of Doyle's suburban ideology and his sympathetic view of the Australian suburb.
Employing a combination of mediums, Doyle's paintings converse with the viewer through an elaborate optical language of bold geometric shapes, iconic symbols and a variegated colour scheme. Portraying the home as a universal entity New Australian Landscapes highlights the absence of uniformity in a space popularly defined by its lack of originality, suburbia. In Doyle's new work the realities of ordinary life dissolve on the canvas into a decadent abstract, colour-field.
Having completed a Master in Fine Arts by Research in 2002 at Victorian College of the Arts, Doyle has since exhibited internationally, from group shows in Dublin, Budapest and New York to a series of successful residencies in Pakistan, China and Thailand. Doyle's upcoming residency in France will enable him to further his investigation of the relationships between Baroque architecture and rural French landscapes. Doyle's artwork is widely collected and included in many public and private collections, both nationally and internationally. The artist is proudly a recipient of the Pratt Family Scholarship as well as the Martin Bequest Traveling Art Scholarship. And later this year Doyle's early stencil works will be exhibited at the National Gallery of Australia.
The founder of Blender Studios Project Space: a gallery for emerging artists, Doyle has also wielded Michael Koro Galleries into its third year. Whilst managing Melbourne Street Art Tours, Doyle is the drive behind the Napier Crew in association with an inner city council. The Napier Crew is a project that aims to form a harmonious relationship between the City of Yarra and local street artists. Doyle collaborates with both groups to promote legal graffiti space, making him a key player in helping to recognize Melbourne as a global centre of street art.
New Australian Landscapes will coincide with an installation that Doyle created specifically for the exhibition. At the back of the studio, black curtains will form the entrance into a mirrored room of dismembered bicycles. Again in this work Doyle is challenging notions of mediocrity in everyday life through the visual celebration of a common object.
Michael Koro Galleries Present
'New Print'
Joel Gailer
Opening Night Friday
4 panel form
commercial offset lithograph
30 x 42 cm
haybale text sculpture
300 x 300 x 1500cm
commercial signwriting
600 x 200 cm
Former country Queensland man, Joel Gailer's upcoming exhibition, which opens
Friday April 9 in Michael Koro Galleries at 110 Franklin St Melbourne, will
undoubtedly cause a stir in Melbourne's print community.
Winning the 2008 Fremantle Print Award, for his now infamous work
Hot process, Gailer has a reputation for challenging preconceptions of
printmaking. Hot process used the commercial process of offset
lithography, and famously put the winning work in the viewers' hands
for just four dollars. His upcoming exhibition continues to explore his
publication-based processes, but pushes the boundaries of print further still.
Gailer's New Print work is an example of printmaking
infused with wit, irreverence and ideas – questioning the
concept of copyright, authorship, uniqueness and
distribution. In stark black and white using text and basic
forms, Gailer reinterprets print as mass production, the
unique object and the unlimited edition.
Trained as a traditional printmaker, Gailer sees print as arguably the most relevant
visual art medium, as it bridges both the contemporary visual world through print
media but is also steeped in the history of art making. Gailer's work explores the idea
that the current visual age of mass production has its roots
in the centuries old medium of print.
Gailer's New Print exhibition at Michael Koro Galleries
runs from April 8 – May 16. Join the artist for opening
drinks to view the works and share his ideas between 6 and
9pm on Friday the April 9.
Sponsored by
Michael Koro Galleries Present
Ash Keating
Daniel du Bern
Andrew Hutson
Marcin wojcik
Brie Trenerry
Opening night Friday
Michael Koro Galleries Present
Stephen Giblett
Frederick Fowler
Dan Sibley
Opening night Friday
From Friday 27th November – Sunday 20th December, three locals will present their varied visions: Dan Sibley's pointillist Australiana, sleek and subtle oil portraits by Stephen Giblett and the infamously intricate line drawings of Frederick Fowler (NUROC).
Through his extremely refined, 'print-by-hand' technique, Dan Sibley explores the associations between visual syntax and culture, and plays with the ability of pointillism to create certain expectations and assumptions in an Australian context. Contemporary icons of Australian culture are unexpectedly appropriated: Ken Done postcards, twee tourist snaps, or, in this case, the confronting imagery of flame-engulfed cars.
In stark opposition to the searing oranges of Siblett's paintings, the portraits presented by Stephen Giblett are cool and grey, almost clinical in their hyper-realistic precision. Though best known for jewel-bright beach scenes and heavenly bodies, here Giblett renders himself and his uncle with a gentleness and reality removed from his earlier fantastic landscapes. Tiny, mundane details are delicately included, right down to the minuscule paint flecks on the uncle's shirt.
Melbourne-based artist Fred Fowler, a.k.a. NUROC, has a long and esteemed history in Melbourne's graffiti culture. Since the tender age of sixteen, Fred has created over two hundred pieces of public art, both legal and illegal, and over fifty commissioned works. His work has been collected by the National Gallery of Australia, Multiplex, the City of Melbourne, and private collections across the globe.
Impossible to pigeonhole, Fowler's dynamic work is full of unexpected contrasts. He juxtaposes line and pattern-based experimentation, influenced by Indigenous art from around the world, with 20th century iconography and logos. Violent, warlike imagery sits beside calm images of personal contact, sleeping women and small children.
Michael Koro Galleries Present
We Only Ever Meet On The Astral Plane
Michael Georgetti
Ross Coulter
Opening night
A long pipe emerges from the ceiling and dives into a sea of tennis balls. A makeshift trap balances precariously, perpetually waiting for a victim in an environment devoid of wildlife. A pump in a paddle pool quietly creates a painting in the corner. Everything is tense with potential movement...
Duet exhibition We Only Ever Meet On The Astral Plane, created collaboratively by Michael Georgetti and Ross Coulter, explores interactions, relationships and tensions. The dualities of space and matter, the real and the pictorial, and stillness and movement are juggled and juxtaposed in a series of large-scale installations.
[The ways in which things move, the ways in which boundaries are traversed, and the ways in which things affect one another.]
Michael Georgetti's [large-scale installations] employ a broad range of unexpected materials, from wood, rope and tape to water features, remote-control cars and microwaves. His practice is based in painting, installation, film and sculpture, drawing on all four disciplines to create dynamic, intermediary art linked to its environment. He has exhibited extensively in a variety of venues, including recent shows at local galleries Kings Artist's Run Initiative and Westspace.
Melbourne-based artist Ross Coulter uses photography, video and installation to explore the tensions between the interior and exterior human worlds and the influence of technology on the human condition. Since his recent graduation from the Victorian College of the Arts, he has already exhibited locally and internationally and has been recognised with several awards. His recent performance in Lucy Guerin's Untrained at the Sydney Opera House reflects his cross-disciplinary approach.
Michael Koro Galleries Present
Lighter than air
Jason Waterhouse
Opening night Friday
"Stuck in traffic during peak hour on Riversdale Road, Hawthorn. It's raining. A red balloon plays dodge-the-traffic up ahead. It's funny how ideas grow."
Jason Waterhouse's exhibition lighter than air is a narrative collection of new sculpture and works on paper, all developed from this small, mundane moment.
Deceptively heavy children's toys – Quad bikes and balloons cast in bronze and aluminum – play with our perception of weight. The red balloon itself is depicted drifting between control and surrender. It exists in a state of duality, at times a message deliverer, at others an escape device. Waterhouse sometimes depicts the red balloon as a force capable of carrying away the signifiers of child hood dreams, yet at others it is depicted showing its vulnerability, left to the mercy of dark, stormy landscapes.
Opening Friday September 4 and running until October 4, the show forms Waterhouse's seventh solo show and his first for 2009. As well as contributing to over 40 group exhibitions, the artist has been awarded with six art prizes (including the prestigious Moreland Sculpture Prize, Sculpture by the Sea and the Young Sculptors Prize), and has been recognised as a finalist for many more. He has also curated three major exhibitions, most recently Motor as part of the Contempora Festival of Sculpture, Docklands.
Michael Koro Galleries Present
Adrian Doyle
Opening Night Friday
The house is a universal icon and in its simplest form it is one of the most recognised images on earth. It has many variations though culture and climate. Yet, the overall association with the home is generally the same worldwide.
For many the home is the height of success. The Holy Grail.
For others it is unattainable. Or a prison of balanced books and responsibility. The house is where people live out their lives. It is the mitochondria of everyday existence. I love houses and homes. I am fascinated by the designs, history and all that goes on inside.
In Suburbia, houses come together to create vast suburbs. Row after row of dreams, happiness and sorrow, scar the earth to become the new, modern, and more relevant Australian landscape.
The way we engage with the landscape has changed over generations. We are an urbanised community, with an unfamiliar relationship with the rural landscape.
The romantic notion of the Australian landscape still exists. It has however been hijacked by sentimentality and Nostalgia. The true modern Australian Landscape is made up of identical clad suburban streets and small suburbs with small, but important suburban stories. It is in this mediocrity that Australia finds its greatness, and a large part of its identity…….
Opening July 9th and running until August 16th, New Australian Landscapes presents a collection of large-scale paintings by acclaimed artist Adrian Doyle, exploring the idea of the suburban home as Australian cultural icon.
Through meticulous use of colour and medium, Doyle's paintings explore the idea of suburbia as a vast library of small, important histories, and the ways in which these stories of mediocrity form a large part of Australia's identity.
Doyle studied painting at the prestigious Victorian College of the Arts, completing his Master of Fine Arts by Research in 2002. Since then he has exhibited internationally, from group shows in Dublin, Budapest and New York to a series of successful shows throughout Asia. He has completed residencies in Pakistan, China and Thailand, and will complete a residency with Artistay in France next year, during which he will carry out an intensive investigation of the relationships between Baroque architecture and rural French landscapes.
His artwork is widely collected and is included in important national and international collections such as the National Gallery of Australia. He is a recipient of the Pratt Family Scholarship, Australia Council grants as well as the Martin Bequest Traveling Art Scholarship.
The paintings featured in New Australian Landscapes are super-detailed, multilayered creations rich in pattern and recognisable iconography. Unexpected colours – khakis, umbers, bright magentas - are masterfully harmonised, drawing beauty from visual elements of our suburban surroundings that often go unnoticed.
Exhibiting concurrently to New Australian Landscapes will be I'm Here, at Ochre Galleries from 10th to 2nd August. In addition to a selection of paintings by Doyle, the exhibition will feature contemporary Australian works by leading Australian artists that further challenge notions of the urban landscape and cultural identity.
Michael Koro Galleries Present
Paul Batt
Simon Cross
Robert Starr
Michelle Tran
Opening Night Friday
Opening May 29th and running until early July, photofigure brings together four of Australia's most exciting contemporary photographers in an exploration of the human figure. Totaling thirteen large-scale prints, the artists' diverse visions share themes of artifice and construction, as well as a palpable tension between banality and magnitude. From Michelle Tran's starkly sensuous constructions to Paul Batt's voyeuristic ode to the mundane, each image gently toys with concepts of the human figure and what constitutes a portrait.
Paul Batt's critically acclaimed series Service Station Portraits 2006-08 has been the subject of numerous articles and essays, including a feature article in the current edition of Photofile. Poignant and sinister, the images' seemingly lo-fi, surveillance-style execution belies a rich undercurrent of critical engagement. Leading art reviewer Robert Nelson describes the series as connecting "the everyday realities with a cosmic burden, almost reaching beyond the photography to a higher level of moral consciousness." In their accusatory capture of unsuspecting subjects, he writes, Batt's images "transform the idea of portraiture" (The Age, 2008). Selected exhibitions include solo shows at The Centre for Contemporary Photography and Kings Artists' Run Initiative, as well as group shows at the National Gallery of Victoria and the Australian Centre for Photography.
At the age of 23, Michelle Tran has already been recognized by a number of leading national art prizes, including the National Youth Self Portrait Prize (finalist, 2008). Her quietly minimalist images, featuring footballers, fake flowers, and severely posed young women, have appeared in over 13 exhibitions and feature in the collections of the Australia Council and the Athenaeum Club. She is currently completing her Master of Fine Art at the prestigious Victorian College of the Arts.
Debuting in photofigure, Robert Starr's painterly images inject traditional, grandiose portraiture with arresting immediacy. Inhabiting an undefined, imaginary historical world, his subjects project a realness and tangibility that contrasts sharply with their constructed costumes and set-piece background.
Though strikingly bright, airy and open, the works of Simon Cross are perhaps the most mysterious of all. A lone figure in a hazmat suit conducts inscrutable outdoor experiments, waving fluorescent orange implements against a perfectly blue sky. In one image, we are allowed a glimpse of the figure's face, but it remains shadowed, his expression elusive. Like the other images featured in thephotofigure, the work hints at a narrative that the viewer can only imagine.
Exhibiting concurrently to photofigure will be a new work by video artist Jenny Hall, to be displayed in the gallery's Melbourne Propaganda Windows after dark. The unsettling and deeply personal imagery complements and completes the exhibition's overarching somber mood.
Michael Koro Galleries Present
Natalie Ryan
Jason Waterhouse
Tim Sterling
Ben Fasham
Andrew Gutteridge
Infamous and prolific, London-based multimedia street artist D*Face utilizes spray paint, stickers, posters, and stencils to challenge our surrounding ethos of conspicuous consumption. Through his adaptation and subversion of pre-existing capitalist symbols, from bank notes to billboards, D*Face encourages viewers to critically examine our increasingly bizarre, media-saturated pop culture. Until now, his intensely popular culture-jamming work has never been exhibited in Melbourne. Now, for this first outing down under, D*Face has turned his skills to sculpture – specifically, a massive mixed-media megaphone mouth. Created especially for Lifelounge's Big Mouth Project, the sculpture dramatically calls attention to the need to 'speak up' in the workplace. After a once-only outing at Luna Park, the big mouth is now nestled at the end of the Blender Lane way off Franklin St. (Pushing the boundaries of what street art can be.) It is fittingly surrounded by the artwork of some of Melbourne's most influential street artists (including Ha-Ha, Vexta, Monkey, ghostPatrol and Drew Funk).
The mouth is displayed as part of Obecjkt, an exhibition of fresh sculpture in the adjacent Michael Koro Galleries. From delicate stationery structures to languid skateboards, eerie flocked animals to multifaceted geometric hangings, the work on display reflects a wide range of cutting-edge creations.
Other artists include Jason Waterhouse, whose impressive list of accolades includes the Moreland Sculpture Prize (winner, 2005), the Damien Courtney Memorial Prize for Young Sculptors (winner, 2005), the Dame Elizabeth Murdoch Prize (winner, 2004) and finalist places in many more of Australia's most esteemed sculpture prizes. Ben Fasham's massive abstract forms have also been recognised by a number of leading sculpture prizes, most recently the Montalto Sculpture Prize (finalist, 2009) the Williamstown Festival Contemporary Art Prize (finalist, 2009) and the Helen Lempriere National Sculpture Award (finalist, 2008).
The credentials of all the exhibiting artists are equally exceptional: Natalie Ryan has exhibited nationally and internationally, and is currently completing a three-year studio residency at the Linden Centre for Contemporary Arts, while Andrew Gutteridge has already hosted seven solo exhibitions since completing his Masters degree in 2005. Tim Sterling (Stamstag recipient) has studied and exhibited from Amsterdam to Venice, and has recently been awarded a grant to carry out a Australia Council studio residency in Milan.
Prolific hybrid and experimedia artist Michael Menneghetti is co-founder of the gallery's Melbourne Propaganda Window, a permanent, public projection space for experimental video and projection artwork. Exhibiting concurrently with Obecjkt will be Melbourne based video artist Pip Ryan.
Michael Koro Galleries Present
Curated by Adrian Doyle and Joel Gailer
A rare outing of important pieces from the Michael Koro stockroom, Storage showcased the depth and variety of the gallery's collection. The twelve contributing artists ranged from classic Australian names (David Rankin, Audrey Morton) to infamous street artists Regan "HaHa" Tamanui and A1ONE.
Michael Koro Galleries Present
Curated by Michael Fikaris
"Skulls, skulls, skulls… there are so many skulls." Devised in conjunction with the Mexican Film Festival, this project gave 100 diverse artists the opportunity to customize one small plaster skull each. These skulls were then placed on a shelf in a continuous line around the gallery. Many of Melbourne's street art stars contributed skulls for the exhibition.
Michael Koro Galleries Present
Dan Sibley
Dan Sibley's pointillist paintings examine the notion of what it means to be an Australian, as well as how Australia presents itself to the rest of the world. This light-hearted critique of Australian painting - and of Australian culture – formed the first solo show at Michael Koro Galleries.
Michael Koro Galleries Present
Curated by Michael Meneghetti
The gallery's first curated installation show featured the premiere of the Melbourne Propaganda Window, transforming the gallery's front window into a giant projection space. A show for 'art fags and rock terrorists', RCD featured sculpture, installation, projection and new media by ten cutting-edge local and interstate artists:
Alex Gibson
Lou Hubbert
Zoe Scoglio
Ben Sheppard
Adrian Doyle
Michael Meneghetti
Joel Gailer
Ryan Foote
Dan Sibley
Michael Koro Galleries Present
Ben Frost
Marc de Jong
A raw celebration of painting, Somedayz was punk-arse meets the Guggenheim. Ben Frost, Jamin and Marc De Jong contributed their hottest works to create a culture-jamming mashup of an exhibition.
Michael Koro Galleries Present
Inaugural Show
Michael Koro Galleries' inaugural exhibition showcased many of the artists who had been associated with the Blender, and who have since gone on to achieve local, national and international recognition. These young Australian art superstars included:
Adrian Doyle
Anthony Lister
Emma Van Leest
Cameron Hayes
James Dodd
Dan Sibley
Tim Sterling
Roh Singh
Regan Tamanui
Ed Wakeham
Ranging from paintings to paper-cuts, assemblages to stencils, the show's vast variety of styles and practices highlighted the strong, diverse creativity of the Blender dynasty.


text:
Conference Homepage
About the Conference
Call for Papers and Posters
Registration Details
Optional Field Trip
Speaker Information
For More Information
Planning Committee
FEOP Home Page
Registration is now open!
Welcome Welcome to the 2005 Southern Mensurationists Conference website. We look forward to seeing everyone this July in beautiful Wilmington, NC. The conference is hosted by the Department of Forestry and Environmental Resources at North Carolina State University. Presentations will be on a variety of mensurational material at all levels. Traditionally, attendees include mensurationists from academia, non-profit organizations, associations, government agencies, industry, and private consulting. Mensurationists from all over the Southeast will gather to share their work from both an applied and theoretical approach.
Conference Sponsors
Department of Forestry and Environmental Resources at North Carolina State University
Mission Statement | Upcoming Educational Programs | Past Program Offerings | FEOP's Favorite Links | FEOP Home Page | Extension Forestry | Department of Forestry and Environmental Resources | NCSU Home Page


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Quoted Text According to the book (pg. 253), Superfoods act as medicines, balancing stress, regenerating genes, and repairing the digestive tract. Superfoods that help maintain ideal weight, increase muscle mass, and decrease body fat are identified by the diamond icon. To gain maximum benefit from the diet, these foods should be routinely consumed.
Quoted from ABJoe If you ...need to build muscle mass, then you should make sure to include some diamonds in your diet.


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Has kind of a strong scent that I do not care for. I used two containers of this and while it is an acceptable moiisturizer, it did not knock my socks off. There are so many other natural moisturizers available that are less expensive. Plain ol' Cetaphil lotion moistuirzes better than this one.
This has a strange smell but I've still given it a 4 because it's not terribly strong and does fade when it dries. I also added a bit of lavender oil to it to make it smell even better. The reason I love this body lotion is because it says it relieves stress and, weirdly, it actually does! I don't know how it does it but when I put this on it just makes me feel so calm and relaxed! I thought it might be psychosomatic but it is quite an intense feeling of calm, so for that reason alone I will repurchase, even if I use other body lotions as well! I also like this because it's nice and moisturising but doesn't leave a residue. It's a little expensive but you do get a lot and if you look at the ingredients list you can see it's packed full of organic natural extracts.
4 out of 4 people found this review helpful. Did you? Yes No


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Think about it. It's the only possible explanation, right? Greene knew 'Reke's shot was goin' in!
Donte Greene's new nickname: 'Biff Tannen'
Posted by J.E. Skeets under Random, Sacramento Kings on Dec 30, 2010
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DirectFB 1.6: IPC
From DirectFB
Contents |
DirectFB - New Core Architecture
- Shared memory and global locks are no longer acceptable for multi process DirectFB, except for pixel data or other resources like vertices etc.
- Two different mechanisms for IPC and RPC are currently in place (Fusion and Voodoo), create one common framework for distributed components
There's a new secure-fusion branch, already featuring a code generator to ease the later transition from Secure Fusion to new IPC, Voodoo or whatever it will be in the end, probably the best of both. It is called Flux and is very small and efficient, somewhat like IDL. Here's an example.
- Keep possibility to build for single process usage, plain direct calls, possibly single threaded
- Different applications shall have different permissions, e.g. to call certain functions or use certain parameters (trusted and untrusted applications)
- Network transparency is required for distributed components like dynamically registered input devices fed from another host
- Shared memory should be possible even between two hosts if they run on the same board (two CPUs with a kernel each, but sharing physical memory)
- Everything possible in single process DirectFB must be possible in multi process as well
- System backends should not need any special code to be used by multi process DirectFB, modules working in single process DirectFB shall always work in multi process as well
- System backends should still be able to provide direct rendering or other optimizations, e.g. when running on the same kernel or hardware
- It should be possible to show a window on multiple hosts, transparent to the application, e.g. for multi head view on multiple TV sets
The following are initial steps to be taken:
- Start with read-only mapping of shared memory pools from slave processes, only master can write to non-pixel shared memory pools, using more IPC calls
- Implement using file system permissions (each pool is a file anyhow)
- Two users (master and slave) in one group
- Master user owns pools and has write access
- Slave user has only read permission via group policy
- Eliminate any pointers sent from slaves to master when calling an IPC function (for references IDs only)
- New FusionCall2 already supports to append variable length payload instead of using just one pointer and one integer per call
- Object ownership
- Methods of objects may only be callable from owner
The following are intrusive changes to the architecture, taking place in the unstable 1.6 branch.
- Throw away Fusion
- Extend VoodooPlay to manage the processes and the services they provide (peers)
- each process has a core, even if empty
- components like screens, layers, input devices could be created in a platform (or master) process
- local surface pools in each peer
- remote (proxy) pools representing pools from other peers
- partial locking of buffers and synchronization on demand
- peers may also provide output components and show a window or the composited stack of the other peer (VNC like)
- Create IDL files for the new DirectFB core API
- Generate code for single process and multi process
- Single process uses direct calls whenever possible
- Multi process is based on a refactored Voodoo
- Manage shared memory pools with fine grained permissions
to be continued...


text:
Only four events remain on the 2012 schedule before the season-ending CME Group Titleholders and players who have not yet qualified for the tournament will be in a final chase for a spot in the limited-field event. The season finale, which will be held Nov. 15-18 at The TwinEagles in Naples, Fla., will feature a field made up of three qualifiers from every LPGA Tour tournament this season.
Players who have not yet qualified but are in the hunt this week after two rounds of play are as follows:
Karin Sjodin, 10 (-5)
Nicole Castrale, T34 (+1)
Jennifer Johnson, T34 (+1)
Pornanong Phatlum, T40 (+2)
Topics: LPGA KEB • HanaBank Championship


text:
Media: 35mm film
Keywords: Horizontal,
1932 Rockefeller Center
Iron Workers
Lunch Time
* * *
Sculpture by Sergio Furnari based on photograph:
Charles C. Ebbets during construction of the GE Building at Rockefeller Center in 1932 – See more at: http://www.beckermanphoto.com/iron-workers-sculpture-rockefeller-center.html#sthash.FzH9lgWR.dpuf
(I saw the sculpture on top of a truck near Union Square, and never did see it again.)
This photograph (1999) is of a sculpture which in turn is based on photograph taken in 1932
I wonder whether there's ever been a time
When technology changed so much
In 78 years?
* * *
BACKGROUND INFORMATION: Lunch atop a Skyscraper (New York Construction Workers Lunching on a Crossbeam) is a famous photograph taken by Charles C. Ebbets during construction of the GE Building at Rockefeller Center in 1932.
The photograph depicts 11 men eating lunch, seated on a girder with their feet dangling hundreds of feet above the New York City streets. Ebbets took the photo on September 29, 1932, and it appeared in the New York Herald Tribune in its Sunday photo supplement on October 2. Taken on the 69th floor of the GE Building during the last several months of construction, the photo Resting on a Girder shows the same workers napping on the beam.
The copyright owner of the photograph, the Bettman Archive, did not recognize Charles C. Ebbets as the photographer until October 2003 (reportedly after months of investigation by a private investigation firm).[1] Many posters and prints of the photograph continue to list the artist as 'unknown.'


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Canon S9000 Photo Printer
Competition At Last
Since the advent of photo-quality inkjet printing in the mid-1990s Epson has been the market leader. During the late 90's and early into the new century Epson has been prolific in introducing a broad range of high-quality photo printers. They also have been just about the only company to make available moderately priced wide-carriage (13" X19" print capable) photo printers, such as the 1270/1280/1290 and their 2000P pigment ink model.
Certainly Canon, Lexmark, HP and several others also have had consumer-grade photographic printers on the market, but for several reasons, including the availability of its wide-carriage models, Epson has dominated this market segment.
That was then and this is now. In January of 2002 Canon in Europe announced the availability of the S9000 printer, and a few months later they started to become available in North America.
This then is an evaluation of the new Canon S9000 printer. You should know up-front that this article has two biases. Once is that I will be comparing it to the current market leaders, Epson's 1270/1280/1290 series, and secondly I will only be evaluating it as a photographic printer, not for any other tasks.
So — is the S9000 a contender? Let's see.
Note: This review is one of the first to become available. It was written in mid-March, 2002. There are still a few unknowns at this time, as detailed below. As additional information becomes available I'll post updates on this page.
I won't provide a laundry list of specs. You can find these elsewhere if you need them. The short story is that the S9000 will make A3+ / 13" X 19" prints at a resolution of 2400 X 1200 ppi. It features a user-replaceable print head and 4 picoliter droplet size. Drivers are provided for Windows 98 / ME / 2000 and XP. Mac users will have drivers for OS 8.6-9.x as well as OS X. All the bases are covered.
The printer uses dye-based inks and Canon claims print longevity of 25 years using their Photo Paper Pro.
Suggested retail price in the U.S. is $499.00
Out of The Box
Driver and software installation was straightforward. My test installation was on a Windows 98 machine. My pre-release printer came with Windows but not Mac drivers. Shipping machines will of course come with all provided drivers. My test unit also did not come with a printed user manual but I found setup and operation to be completely intuitive. Anyone that has ever set up a printer should have no trouble whatsoever with the S9000.
Connection to the computer is via USB only. There is no legacy parallel port connection.
The Page-Setup screen as well as the separately tabbed screens seen along the top are quite straightforward. There is hand-holding for the beginner and full flexibility and control for the experienced user. The Profiles tab's name is a bit misleading though. This does not indicate the use of ICC / ICM profiles, but instead refers to the user's ability to create custom named settings of all of the printer's variable parameters, such as paper type, resolution and so forth. Once named as a "Profile" it then can be quickly loaded for making the same type of prints again in future.
As for the use of ICC/ICM profiles; the S9000 is capable of being profiled and of using them, but to my knowledge none are available at this time from third parties, though this is bound to change.
Image Quality
In a word — excellent.
Test Image
I used an industry-standard test file for my initial evaluations. You'll see that it contains a variety of skin tone types, test charts and familiar objects, all suitable for judging colour reproduction. The image is extremely sharp and the file is 44MB in size.
My initial impression of S9000 prints was extremely favourable, and after a couple of days of printing on a variety of papers and with a number of different sample images I had no reason to change my mind.
Let's look separately at the two most important issues, colour and resolution.
Within the printer driver there is the usual ability to control colour output; everything from an Auto setting to sliders for each of the primary colours, overall intensity and brightness. I did most of my testing with Enable ICM turned on, and then with Print Space / Profile in Photoshop's printer dialog box set to Printer Color Management. I used the same settings for my comparative prints with the two Epsons I was using.
First print off the S9000, and all subsequent prints, were essentially perfect in terms of colour balance. In fact, if anything, they were very slightly more neutral than prints from my reference Epson 1270 and 5500 printers. I hadn't even noticed that there was a very slight warm tone to the blacks in the Epson prints, except when I looked closely at the hair colour of the little girl in the lower left. On my calibrated and profiled monitor her hair is black, as one would expect from an Asian, but in both my Epson 1270 and 5500 prints there is an ever-so-slight warm tint to the black. The S9000 got it right, right out of the box. Superb performance.
After printing on a range of Canon and Epson papers, from very glossy, through semi-gloss and matt, I can say that to the naked eye resolution and the lack of visible dithering is fully the equal of any Epson photo printer, including the Epson 1280 and 5500 working in 2880 PPI mode. As I noted when I tested the Epson 1280 last year, discussing the issue of whether 2880 PPI produced better resolution than 1440 PPI, "This is a case of theoretical and marketing specs Vs. the real world. To repeat, there is essentially no visible difference to the naked eye in resolution, clarity or dithering visibility between Epson 1270 and 1280 prints. There is a visible difference though when examining the prints under a 4X or higher magnification high-quality loupe".
This is the case with the Canon S9000 as well. To the naked eye, no matter how much you try, there are no visible dots or dithering patterns. Under a 4X Schneider loupe one can see dithering on the S9000 prints when printing on glossy papers. On matt papers any dithering patterns that may be visible under a loupe virtually disappear. Though the dithering patterns are different than those from the Epson, it is no better or worse. I have seen, on some images and with some papers, a small amount of micro-banding, again just under a loupe, and never with the naked eye.
Once more for clarity — unless you spend your life examining prints under a loupe, all of this is a non-issue. The S9000 produces brilliantly sharp and clear prints.
User Comments
It's worth mentioning that I have read a few reports on various forums around the Net written by users who have been early purchasers of the S9000. Some claim to have experienced problems with lack of sharpness, banding, faint or off-colours, and so forth.
One always encounters such user comments when a new printer (or any techy product for that matter) comes out. Be cautious when reading such reports. It often turns out that the writer is inexperienced and has put the paper in front-to-back, has not set the printer's drivers properly, has computer memory problems or other such misadventures. It's very easy on the Net to take whatever's written, regardless who the author might be, and treat it as gospel. Without knowing the credentials of the person writing a comment it's difficult to judge the validly of a claim. Don't jump to conclusions based on one person's online observations. In other words, beware of trolls and fools.
There are two Canon papers initially available in Letter and 13" X 19" sizes for the S9000. One is Canon Glossy Photo Paper, and the other is Canon Photo Paper Pro. Both have been around for a while. The glossy photo paper is your run-of-the-mill thin and smooth-finish paper. Their Photo Pro paper is very impressive, with a very high-gloss finish and a lot of heft.
On the negative side, because of its high-gloss finish this paper easily shows scratches and scuff marks.
Canon provide no specs on whiteness or weight, but the impression that this paper gives is of being virtually identical to a traditional RC colour photo paper. People who want to make prints that look and feel almost exactly like traditional chemical prints will really like Photo Paper Pro.
Using Epson Paper
I'm a big fan of Epson photo papers. I've tried many third-party papers for use with my 1270 and 5500 printers and never found ones that I liked any better than Epson's Archival Matt or Premium Luster. In fact I have found over time that very few third-party papers have printed well at all on Epson printers, from the first Photo models in the mid-90's through to today.
I mention this because I'm not a big fan of glossy papers. As nice as Canon's Photo Paper Pro is, my preferred papers are either semi-gloss or matt. I was therefore eager to try the S9000 out with these papers. I'm pleased to report that the Canon printer and Epson papers look as if they were made for each other. No drying problems, no splotching, no bronzing. Just excellent, sharp, colourful prints on most every Epson paper that I tried.
The one unknown is the longevity of these combinations. Canon claims 25 years for their BCI inks and Photo Pro paper. This should not be extrapolated to other ink and paper combinations, since inks and papers have unique interactions. Since Wilhelm Research is no longer providing us with third party tests, and Canon is unlikely to tell us how their inks and Epson papers will fare together, we have no way of knowing what to expect. Caveat emptor.
Ink Cartridges
Unlike the current-generation Epson photo printers, the S9000 uses six separate ink cartridges. This means that when one runs out it isn't necessary to replace 4 others at the same time unnecessarily.
The software pops-up a reminder when a cart is getting low, and changing them is very simple. When you want to change a cartridge just lift the lid. The cartridge / head transport mechanism automatically slides into the center of the platen. Flip a lever and the whole assembly pops up. Excellent design.
It's worth noting as well that unlike Epson's current cartridges these are not "chipped", and therefore can be refilled. I have no information though on availability of any third-party refills or cartridges. I also have no feel at this time for either ink usage rates or per-print costs.
Unlike previous generation Canon printers, where the heads needed to be replaced periodically, the heads on the S9000 are permanent and are covered by the standard 1 year warranty. But, if the heads ever do need to be replaced this can be done by the user by simply flipping a lever. Again, thoughtful user-friendly design. (I have been told that a replacement head assembly will cost about U.S. $175).
Grayscale Printing
There is a provision for Grayscale printing. Piezography has nothing to worry about. B&W prints done this way are "OK", but as with all other colour printers achieving a neutral black is almost impossible. Out of the box the S9000 that I had produced monochrome prints with a light cyan tone. I didn't bother experimenting further.
My initial impression on reading the spec stating that this was a very fast printer, was — frankly, "so what". How much faster could it be? The answer is — a lot faster!
The test file that I used for my initial tests was sized at 6" X 9.4" at 360 PPI. Printing this on Letter size Canon Photo Paper Pro at the printer's highest resolution setting took 1 minute and 10 seconds. On the Epson 1270 with Premium Semi-Gloss paper, again at that printer's highest quality settings (1440 ppi), took 9 minutes and 45 seconds. That's more than 8 times faster for the Canon!
Since I didn't have a 2880 PPI Epson 1280 printer available for comparison I also used my Epson 5500, which is a 2880 PPI resolution printer. It took exactly the same amount of time; just under 10 minutes to print this "Letter" sized test file.
If you've been printing with an Epson printer for some time you'll be quite familiar with the bzzz, bzzz, bzzz sound that it makes when printing. (I sometimes think that this is the background soundtrack to my life). With the S9000 you're in for a surprise. Mechanical sounds are comparable — such as when loading and ejecting paper, but while printing the silence is remarkable. Instead of bzzz, bzzz, bzzz the sound that the S9000 makes is snick-whoosh, snick-whoosh, snick-whoosh — all at a much lower level than the sounds made by an Epson.
In anything other than a silent room, and for example with some classical music playing quietly on the radio, you won't even hear the whoosh, even with the printer just a couple of feet away.
There is also a Silent mode that slows the printer down slightly. The snick remains but it eliminates the whoosh. Not really worthwhile in my opinion but a claimed -2 DB reduction.
(I realize that this sound evaluation is pretty unscientific, but trust me — the S9000 is the quietest printer I've ever heard).
Birds of a Feather — Bosque del Apache
Though I didn't test one, the Canon S900 offers the same image quality, speed and quiet operation as the S9000, but in a Letter size (A4) printer, all for less money. If your printing needs don't include prints larger than 8.5" X 11" then the S900 is a great alternative.
Pros / Cons and Conclusions
There is a lot to like about this printer and I'm pleased that Canon has decided to enter the printer market which is aimed at serious photographers. While Epson has done a good job of advancing the state of the art, with a real competitor now breathing down their necks we as consumers will be the better for it.
There aren't many things about the S9000 not to like. On the plus side of the ledger there are...
Print quality is excellent | |
Printing speed is amazingly fast | |
The printer operates very quietly | |
It is compatible with a broad range of printing papers from other manufacturers, including those from Epson | |
Individually replaceable ink cartridges | |
User replaceable print head |
On the negative side there are...
The printer is physically somewhat larger than an Epson 1280 | |
While print life with Canon paper is rated at 25 years, similar to Epson 1280 prints, longevity when using non-Canon papers remains unknown at this time | |
The S9000 is not capable of printing on banner paper. Maximum print length is 483mm (19 inches) | |
No third-party ICC/ICM profiles available at this time |
I've presented the variables that need to be considered, but only you can decide if the Canon S9000 is the right photo printer for you. If printing speed or operating quietness are important issues then this is a printer you should seriously consider. As for image quality, it is fully the equal of its prime competitor the Epson 1280/1290.
Though I kidded about the speed issue at the beginning of this review, I regard this attribute of the S9000 as a killer solution for certain photographers who do high-volume production printing, such as those doing school and sports pictures. An 8X speed advantage with no loss of image quality is a series advantage. The rest of us won't mind the reduced waiting times either.
Just as this review was being completed in mid-March 2002, Epson appears to be ready to launch their next-generation wide-carriage printer, dubbed the PM-4000PX in Japan, but sure to be named differently in Europe and North America. This printer features 7 inks (up from 6), 2 picoliter print heads (down from 4), faster printing speeds than previous Epsons, and some form of pigment-based inks, possibly based on those of the Epson C80. This wide carriage model appears to be diverging from Epson's A4 printer line, exemplified by the 7 cartridge dye-based ink Epson 950, which was just introduced in Europe.
Update: July, 2002
This new archival ink wide carriage Epson printer,
the 2200/2100 is now shipping.
It is anyone's guess as to which way the pendulum will swing next, or when. But, now that there is more than one serious player in the wide-carriage photo inkjet market we will all benefit from the competition. Of course you should return to The Luminous Landscape often to stay on top of developments in photographic printing technology. Place What's New on your Favorites list and return frequently so as to stay up-to-date on the rapid developments in their field.
Other Online Reviews of the S9000
Photography Now
Test File
Readers have enquired about the 46MB standard test file used for these reviews. It is from Photodisk and until recently was publicly available from their FTP site, but It now appears that a password is necessary for access. Here is a link to where you can download a 10MB JPG version.


text: To adapt Shakespeare's Much Ado About Nothing, director Joss Whedon (The Avengers) didn't travel far in fact, he barely got out of bed. His modern-day version of the classic romantic comedy was shot in the Los Angeles home Whedon shares with his wife, producer Kai Cole, and their two kids. ''I knew the play is very contained and the house would be the perfect location,'' says Whedon, who kept the shoot to a brisk 12 days. Plus, he knows his abode is awesome. ''I'm enormously proud of that house. Kai built it. It's the most beautiful house I know. My biggest regret is I didn't do a Steadicam to really show how the house flowed, and there are rooms I didn't use. I was like, 'How could I not let the study be in the movie?! It's so beautiful. The ceilings are so good!''' And like any proud homeowner, Whedon wasn't about to let his house turn into a party pad even though the movie calls for plenty of corks to be popped by its hard-drinking characters. Jokes Whedon, ''[Their] wine was fake. But usually around 5 o'clock the director might have some around that was less fake.''


text:
This may seem over-simplistic but I use the Family Search Source Box folders as one tool to organize my one-name-study.
Picture this research dilemma scenario for your Hungarian research; You finally found the naturalization records for your great- grandfather and it contains the name of his birthplace. Or you think you found him in the Ellis Island database with a village mentioned in their records. Perhaps you found his American marriage record at the Reformed church and it lists his place of origins. However, when you look at the map or Wikipedia it, it does not come up.
In doing Hungarian genealogy, I encountered many wonderful blogs along the way. Many gifted writers generously share their research experiences on blogs. Here are some great bloggers writing about their Hungarian genealogical research. Some have been around a long time; some are new. Some blogs listed here cover their research in Hungary; some write about their genealogical forays in countries that were once part of Hungary, such as Croatia, Slovakia, Romania and other locations.
We know it exists. This particular census was called the "Josephine" census because it was the census ordered by Emperor Joseph II of Austria - Hungary to count men for military service [1] We know that some rolls of it are at the National Archives of Hungary. Some are also at Family History Archives because the Genealogical Society of Utah filmed it in 1970.
When you research all your families as you crawl back in time, do you wanderlust about the places they lived in? Of course, as we go further back, our wish list of "travel to ancestral home visits" becomes longerand longer.
Folks should be aware that the webinar - WIKI FOR GENEALOGISTS - is a great introduction to the way of the Wiki world in genealogy. It really answers many questions about how versatile wiki can be for genealogists. The ideas are endless and so well presented by the wiki genealogist, Thomas MacEntee.
I have been transcribing the Hungarian census of 1869 from microfilms for many years at my Family History Center. It's still my favorite census to work on as it's so detailed. Today, the entire Hungarian 1869 census is online at FamilySearch. Although not indexed, it is available to anyone who can read the language. It is a dream come true to have these records online.


text:
Surgical documentation systems from Leica Microsystems feature innovative, high-quality color modules, digital cameras and beamsplitters designed to integrate with many popular Leica surgical microscopes. Available for a variety of surgical disciplines, these digital imaging solutions support your surgical workflow with easy-to-use operation and superior image quality.
Contact a local imaging specialist for expert advice on the right documentation systems for your surgical microscope.
TrueVision 3D Visualization System Ophthalmology
3D Visualization & Recording for Teaching
Leica Microsystems and TrueVision have collaborated to integrate TrueVision 3D surgical visualization and recording into the Leica M844 and Leica... |
TrueVision Integrated 3D
HD Visualization & Recording
Leica Microsystems and TrueVision® have collaborated to integrate TrueVision Smart 3D surgical visualization and recording into the |
Leica DI C800
Digital Imaging Color Module for Ophthalmology
The Leica DI C800 digital imaging color module enables the surgeon to view imaging data directly in the microscope eyepiece. Integrated into... |
Leica HD C100
New Standard in Medical Camera Technology
What do you expect of a Leica HD medical grade camera? Ease-of-useDisplay of all resolutions and formatsBrilliant... |
Leica DI C500
Dual Imaging Color Module
All necessary patient data can be displayed in the Leica M525/M520/M500N optical platform on the Leica OH4, OH3, MS3 or F40 with a multitude of... |
Leica ULT500
Leica Ultra Observer for flexible co-observation
The Leica ULT500 (Leica Ultra Observer) is a light saving solution for complete and flexible co-observation for all applications with... |


text:
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text: Over the River. For nearly twenty years, artist Christo and his late wife, Jeanne-Claude, planned the "Over the River" project, a series of sunshades that hopefully will be installed in a few years as a temporary work of art on intermittent stretches of the Arkansas River in southern Colorado. It's not clear yet whether or not it will happen, though it is clear that a campaign has been mounted against it. In Denver, we're lucky to be just a few hours' drive from the proposed setting — and also to have the opportunity to carefully examine the idea through Over the River, Project for the Arkansas River, State of Colorado, a Work in Progress, on display at MCA Denver. The exhibit originated with Christo himself, and it suits well the mandate of the museum to encourage dialogue in the visual arts. The show is beautiful and coolly elegant, its coolness having something to do with all the blue sky in the mixed-media works on view. That coolness is also the perfect analogy for "Over the River," since the water, and the sunscreens, would have a cooling effect on viewers — if it's ever built, that is. Through January 16 at MCA Denver, 1485 Delgany Street, 303-298-7554, www.mcadenver.org. Reviewed November 4.


text:
Either of two deep-bodied freshwater North American fish species (family Centrarchidae) that are popular as food and prized by sport fishermen. Native to the eastern U.S. but introduced elsewhere, crappies may reach a length of about 12 in. (30 cm) and a weight of about 4 lb (2 kg). The white crappie (Pomoxis annularis) generally inhabits warm, silty lakes and rivers. Silvery with irregular dark markings, it is usually lighter in colour than the similar black crappie, or calico bass (P. nigromaculatus), which typically lives in clear lakes and streams.
This entry comes from Encyclopædia Britannica Concise.
For the full entry on crappie, visit Britannica.com.
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