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Prince Charming
I really don't want a husband or life partner anymore. I am so accustomed to being alone that I have become desensitized.
Death From Above 1979
you approached me at the Vogue last week at the Death From Above show and we shared some 'party favors' which you thanked me for, then you had gotten some water which we...
Jeff Bridges shows how to build your Squarespace website
Yet another Bitcoin ATM in Vancouver
It's official: the new Ghostbusters are all women, you guys
Visual Arts Reviews
Visual Arts Reviews
Musical confronts mortality
Christine Davis: "Drink Me" Althea Thauberger: A Memory Lasts Forever At Presentation House Gallery until June 5 The pairing of Althea Thauberger's single-screen DVD installation, A Memory Lasts Forever, with Christine Davis's slide-dissolve installation, "Drink Me", is deft and apt. Directly or subtextually, both works address narrative conventions, transformative states, feminine subjectivity, the politics of representation, and the construction of meaning-whether earthly or spiritual. Still, these are distinct, complex, and multilayered creations from two strongly individual artists. Torontonian Davis challenges her viewers to commit time and patience to hard looking, to staring at a piece that is, initially, very difficult to decipher. Partly inspired by an hallucinogenic passage in Alice's Adventures in Wonderland and projected onto a screen composed of outsize paper flowers, 21 separate images of a young woman dissolve into each other in a cycle of falling, shrinking, enlarging, and shrinking again. Lewis Carroll's text is not simply referenced here, it is bodily consumed. Aspects of "Drink Me" are suggestive of a Victorian lantern show. The gallery is disorientingly dark, and there's no sound apart from the rhythmic clicking, humming, and shuttling noises of two slide projectors, whose physical presence is an insistent element of the installation. From amorphous patches of light and colour cast upon the disruptive screen, recognizable shapes, features, and details eventually emerge, a perceptual shift that enables the viewer to read the images, follow their progression, and consider their play with time and space, through variables of form and scale and dynamics of extension and contraction. In a recent interview with the Straight, Davis discussed her interest in time-based installations and the inseparable relationship, in her work, between concept, image, and material. "Drink Me" examines the ways in which we make sense out of disjunct sensations and experiences. It also feeds our longing for "wonder"-for making no sense at all. Vancouverite Thauberger has collaborated with four local young women to produce a DVD musical that tells four different versions of the same distressing story, each version starring one of the aspiring performers (who are on the road somewhere between student and professional). During extensive improv sessions before the shoot, the actors developed their characters and actions around the skeletal plot, outlined by Thauberger, and each wrote the prayerlike song she would sing in response to a situation that pitches her into a confrontation with mortality and adulthood. Taped at night, in real time, in and around a private swimming pool, A Memory Lasts Forever conveys the adolescents' attempts to find some form of spiritual resolution or redemption following an event that stimulates their feelings of grief, guilt, shame, regret, and fear of retribution. To droning organ chords, the teenagers direct spiritual songs of supplication, atonement, or longing upward into the firmament, some toward a Christian God, others to an unnamed power. Folded into these deeply uncomfortable sequences are concerns about class and privilege, popular-culture representations of young women, and the politicization of religion. The work is both alluring and squirm-inducing. Curiouser, as Alice would say, and curiouser.
Visual Arts Reviews
Photos Turn Dinner Into A Conceptual Feast
Barrie Jones: New Work Adrienne Lai: All the Arms Around You At the Helen Pitt Gallery until May 14 Recent photo-based projects by Vancouver artists Adrienne Lai and Barrie Jones neatly complement each other while independently engaging a range of ideas and concerns. These include the conditions that shape the taking and exhibiting of photographs, and the nature of creative collaboration. Jones, a long-established photographic artist and university teacher, has made a number of portraits of people in uniform, examining the sociopolitical and psychological implications of the garments associated with certain occupations. Authority and servility, individuality and conformity, and the human figure as a stage for the construction of identity-these themes continue to preoccupy the artist in the four large, lush, colour photos on view at the Helen Pitt Gallery. Two-person tableaux in which one being provides a personal service for another, these works are a curious combination of the theatrical and the banal. Each of the scenes-a manicure, a mud wrap, and two individual workouts with personal trainers-is represented in a style that bounces between the suggestion that the image is a straightforward record of commercial exchange and the possibility that it's entirely staged. Actually, in what Jones calls "negotiated exchanges", real-life service providers and clients do what they might daily do in salon, spa, and home gym. Still, they exhibit a postmodern self-consciousness in their roles as creative collaborators. In his statement, Jones writes that he's interested in "the personal almost intimate nature of the issues involving trust, power, vulnerability, and the status of the work being performed". Subtle details of clothing, footwear, jewellery, posture, and gesture communicate class difference, yes, but they also signal a society obsessed with youth and physical beauty and willing to expend immense amounts of money and time in their pursuit. Lai, an emerging artist, curator, and teacher, is showing the evidence of a smart conceptual undertaking. Following a somewhat complicated selection process (thoroughly documented here), three of the artist's colleagues were chosen to undertake collaborations with her, in which each would advise her in the public presentation of an older, incomplete series of photographs. Her original works, A Selection of Meals Consumed, are images, shot from above and tightly cropped, of tables littered with dirty plates, glasses, cutlery, wine bottles, coffee cups, chicken bones, shrimp tails, banana peels, and half-full serving dishes. These photos of the remnants of meals both large and small, shared and solitary, suggest an attentiveness to the everyday and also an analogy between the physical evidence of an event and the documentary role of the photograph. Through the three different presentations of her work, as directed by her collaborators, Lai queries conventions of art production, curation, and exhibition, the nature of creativity, and the route artists must take to achieve professional standing. Not incidentally, her photos are juicy and beautiful, their rich colour, vivid detail, and tightly focused aerial viewpoint creating an enticing field for brainiac inquiry.
Visual Arts Reviews
Vietnam's past haunts America's present
Charlie Don't Surf: 4 Vietnamese American Artists At Centre A until May 21 The title of this small survey of contemporary Vietnamese- American art adds a note of scathing satire to a chord of racism, colonialism, and casual atrocity. "Charlie don't surf" is a quote from Lt. Col. Kilgore, a character in the 1979 film Apocalypse Now, as he presides over a scene in which American soldiers surf while their comrades obliterate a Vietnamese village. Title and exhibition speak not only to remembered terrors of the Vietnam War but also to its resulting diaspora and prolonged aftermath, on both sides of the Pacific Ocean. In conjunction with Centre A's previous show, by Calgary artist Kim Huynh, Charlie Don't Surf marks the 30th anniversary of the fall of Saigon, and takes on a range of themes, including displacement, alienation, cultural difference, gender, fear, and desire. Most movingly, I think, many of the works here allude to the complexities of memory and trauma, to scenes, sensations, and experiences lost or obscured, then partially recovered and reexamined. Images of water and of small boats recur in the work of all four artists represented in the show, and speak both to a form rich with traditional cultural meaning and to the history of "the boat people", the refugees who fled communist-controlled Vietnam by sea in the late 1970s. In the thickly layered, semi-abstract paintings of Ann Phong, the open vessels are also employed as symbols of the female body and its vulnerabilities. Tossed by turbulent waves of deep, oceanic blue and explosions of searing white and yellow, the little boats and sketchily realized female figures-some with hands raised to fend off unseen acts of violence-articulate past terrors and present traumas. Phong's opaque and translucent layers of paint mimic the workings of memory, as do the interwoven strips of black-and-white and coloured photographs in Dinh Q. Líƒ ª's Untitled (Persistence of Memory #17). Here, the artist juxtaposes a news image of a fleeing Vietnamese family with a movie scene of war and conflagration, examining, among other issues, the ways in which popular culture shapes our understanding of history and world events. The experience of the boat people is also alluded to in Nguyen Tan Hoang's video projection, PIRATED!, which rapidly montages original and appropriated film and TV clips in a jumbled memoir of queer-Asian identity, geographic displacement, sexual fantasy, and cultural longing. Tran T. Kim-Trang's video documentary, amaurosis: a portrait of Dat Nguyen, is one of a series of that artist's works exploring ideas of vision and perception through the metaphor of blindness. Dat Nguyen is an Amerasian guitarist, blind and orphaned as a child in Saigon and now living and working in California. Concert shots and interviews with him are intercut with brain scans, medical diagrams, flashing lights, palm beaches, fishing boats, hummingbirds, and meditations on aloneness and otherness. As with other works here, the references seem to be as much to the identity of the video maker as to her ostensible subject, as much to the Vietnamese past as the American present.
Visual Arts Reviews
Piano Works Make Music
Andre Petterson: Voice At the Bau-Xi Gallery until April 30 Robyn Moody: Harp: Phase 1 At Access Artist Run Centre until April 23 About 1664, Jan Vermeer of Delft painted The Music Lesson. In a beautiful domestic interior, sunlight streaming through leaded window panes, a woman stands at a clavecin, her back to the viewer, her instructor standing attentively beside her. The Latin words inscribed on the raised cover of her instrument translate roughly as "Music is the companion of joy, the balm of sorrow". Some art historians believe that Vermeer may have intended this inscription for painting as well. The impulse to make music is such a fundamental aspect of our shared humanity, it's hardly surprising that visual artists, over vast stretches of time and place, have incorporated images of musicians and musical instruments into their work. Harps and panpipes played by mythological beings in ancient Greek and Roman art; David composing the Psalms in Byzantine art; court musicians playing wind and string instruments in a 10th-century Chinese scroll; angels singing and strumming lutes in Italian Renaissance paintings; a courtesan with a samisen in a Japanese woodblock print of the mid-18th century; Pablo Picasso's recurring motif of guitars and guitar players, Roy Lichtenstein's pop-art Girl at Piano-a neat homage to Vermeer. In the early 20th century, artists sought to free themselves of the need to merely depict the making of music (or anything else, for that matter) and analogized their practice to it. In the latter half of the 20th century and into the 21st, visual artists have employed sound itself, either to shape or amplify an installation or performance, or create a sound environment, sound sculpture, or work of interactive art. And, yes, a strong tradition of visual artists making music and sound prevails in Vancouver, one of them being Andre Petterson, whose exhibition, Voice, is on view now at the Bau-Xi Gallery. Petterson, who plays both piano and drums and has performed for years in rock and jazz groups, has created a series of works that express his connection to that aspect of his history. Two visual motifs dominate his show (mostly mixed-media on panel, but also including two sculptures): the piano and sheet music. The former is realized in photographs of old, upright pianos, usually with the keyboards isolated by expressively applied, monochrome passages of white, black, or brown (which may mimic, obliterate, or extend the piano shape). The latter is realized in textured, monochrome panels scribbled over with abstracted and nonsensical musical notations. Squiggles, jots, dashes, and scrawled lines approximate notes, staffs, clefs, and bars. These are determinedly modernist works, gestural, calligraphic, with their roots firmly planted in abstract expressionism. The most appealing works in the show, Eclipse Variation 1, 2, and 3, combine both the piano motif and the musical notations. The formal structure and visual play of this series depend on the contrast between the black and white piano keys and their interactions and illusions with the geometric pieces of white paper placed on and around the keyboard before it is photographed (or perhaps while it is being fiddled with in the computer), and the white, grey, and black passages of paint overlaid on and around the photo image after it is applied to the panel. Bars, dots, and scrolls are scribbled over the white, as are hand-drawn lines extending vertically from the keys. In a related series, Eclipse 3 uses rectangles of paper and paint to evoke a theatrical setting, of which the keyboard is the stage. This work is indeed companionable to joy. It's contemplative, too, as the best jazz is. At Access, artist Robyn Moody (a graduate student at the Nova Scotia College of Art and Design in Halifax) has converted the gallery into a high-tech harp, whose "strings" are laser beams which appear as 24 lines of red light running from one end of the long, narrow space to the other. Mounted on the south wall of the gallery, parallel to the laser beams, are rows of small speakers, each emitting a sound when the corresponding laser beam is "plucked" or "strummed". The sounds produced are not musical notes, however, but phonemes ("the building blocks of language", the artist tells us in his statement), revealing Moody's fascination with linguistic forms and structures and their relationship to music-the intersection of the concrete and the abstract, the incomprehensible and the universal. As with Petterson's nonsensical musical notations, Moody's harp produces a nonsensical language of stuttering oo, ah, er, sh, je, ow, ow, ow, neh neh neh, wh, wh, wh sounds, 48 in total. The fine red lines beamed across the darkened gallery, occasional puffs of manufactured smoke, the slight physical sensation of the laser beams on hand or finger, the rather sorrowful and repetitive phonemes (sometimes triggered by the smoke, after you've walked away from the work)-all contribute to the sense that a ghostly being is trying to communicate with you from another dimension, trying to organize abstract sounds into a meaningful language. The thrill is that you are the intermediary here, the collaborator in this spectral scat singing. Dup dup dup weh weh.
Visual Arts Reviews
Kim Kennedy Austin: K Structure
At State Gallery until April 23 Kim Kennedy Austin seems to thrive on paradox. She is not particularly interested in tools or machinery, but is compelled by mechanical and engineering drawings and their accompanying descriptions and instructions. She is an ardent reader, but often derives the words in her image-text art from the unreadable-from dry, arcane, technical handbooks and manuals. And although she doesn't consider herself a conceptualist, she likes the look of the original conceptual art of the 1960s and '70s. That look compasses cheap paper, snapshotlike photographs, grainy photocopies, lists, and instructions, the text often produced on manual typewriters. Over the years, conceptualism's intentional anti-aesthetic-part of that movement's attempt to assert the primacy of the idea and subvert the fetishistic power of the art object-has acquired its own particular aesthetic. Its modesty, functionality, and mug-shot matter-of-factness have strongly influenced younger generations of visual artists. Austin controverts the matter-of-factness of her found images and words, however, as she painstakingly copies by hand schematic drawings, diagrams, and passages of mechanically printed text. The remarkable works in her current show, K Structure, have their source in an engineering book published in Montreal in 1919, which documents the construction of a bridge over the St. Lawrence River in the early years of the 20th century. Designed to replace a 1907 structure that had catastrophically collapsed while being built, the Quebec Bridge commanded a huge team of men in its design and execution. Austin has exhaustively listed them in her copy of an organizational chart that sets out the pyramidal (and all-male) power structure, from Phelps Johnson, president and general manager of the St. Lawrence Bridge Co. Ltd., to his underlings and their underlings, including W.B. Fortune, "Superintendent of Erection", his 13 (named) foremen, and 500 (unnamed) construction workers. As with the other diagrams and text reproduced here, the artist's line appears precise but actually possesses a slight skew, wobble, and tilt-a subtle declaration of handmadeness. Other critics and Austin herself have remarked on the way her teeny-tiny hand-lettering animates the surface of the paper, conveying a human presence, giving the work what art historian Patrik Andersson once described as a "pulse". Austin's drawings combine the mechanical exactitude of architectural drafting, the wonky obsessiveness of alternative comix, and the sprightliness of Paul Klee. They are entirely her own. In addition to line drawings in ink of the replacement bridge structure and the parts necessary to its creation (compressometer brackets, counterbalance levers, caissons…) and of text (including the book's cover and bibliography), the show includes watercolours in which the component parts of the older, collapsed bridge have been rendered in the negative, using scrubby washes of candy pink to create a reverse-stencil effect of spans, grids, and girders. These works are much more abstract than the ink drawings, again calling up Klee in their combination of the geometric and the organic. Austin has purposefully subverted the engineering function of the original schematic drawings and diagrams, introducing, instead, a note of perverse prettiness. The pink watercolours are an ironic form of girl talk in the midst of an all-male enterprise, a declaration of obstinacy from a postfeminist generation.
Visual Arts Reviews
Akbar Nazemi: Unsent Dispatches from the Iranian Revolution, 1978–1979
At Presentation House Gallery until April 17 The overwhelming sense one gets from Akbar Nazemi's photographs of the Iranian revolution is one of intense physicality-the physicality of a street rebellion, to be sure, but also the visceral effort it required to take, process, and print these pictures in the first place. The notes for the Presentation House show emphasize that Nazemi's photos operate at the intersection of art and politics. Aesthetics are important, yes, but here they definitely exist at the service of life in these gritty pictures, which encapsulate a stunning cross-section of people-denim-clad coeds, middle-class businessmen, tweedy intellectuals, and the ubiquitous bearded seminarists-in waves of energy flying at the corrupt regime. The majority of the images, out of a reported 3,600 that have survived the postrevolutionary exodus (Nazemi has lived in North Vancouver for more than 15 years), appear to be taken from bridges, trees, and tall buildings. They suggest a sense of hovering above events but not being quite safe from them. Some contain concentrated fury, such as the iconic Woman With Bloody Hands, but they only occasionally flare into palpable violence, as found in a virtual wall of fire near the end of the exhibition, with a sequence of street-level photos depicting burning cars, barricades, and papers (secret-police files, we're told). Of historical importance are photographs of the Ayatollah Khomeini's first public addresses. Implicit in these are the myriad hopes-for democracy, free expression, rejection of western values, a greater role for women-held by those listening in the early days. Most of these dreams would be dashed in the cannibalistic period following the upheaval. And the exhibit takes on added poignancy when the viewer stops to contemplate that none of the information here is known, much less understood, by fundamentalists on this side of the world-"visionaries" unsatisfied with creating a catastrophe next door to Iran. In any case, the guest book, full of notations in numerous languages, is full of gratitude for depicting a now-mythical event in recognizably human terms. The drama and its attendant aesthetics are unnerving, and the bravery is inspiring. But what stays with you are the smiles. Even if they were later turned upside down, they're a reminder that joy-the ecstasy of possibilities-is the basis of every good revolution. And it always will be.
Visual Arts Reviews
Monique Genton: Tidy
At the Art + Soul Gallery until April 9 Modernist architecture has attracted an abundance of creative and curatorial attention in this postmodern age. In Vancouver over the past two decades, photographers, painters, collagists, and sculptors have employed images of 20th-century buildings to illuminate modernism's ideals and critique its failures. Monique Genton's show, Tidy, focuses on the low-rise and mid-rise apartment buildings constructed in the Lower Mainland between the 1950s and the 1970s. Operating on a small scale and with a gentle and sometimes paradoxical intimacy, her work is part homage and part lament. The show comprises 13 mixed-media paintings and two photo-based, multi-component wall works. Genton, a baby boomer who has studied at the Emily Carr Institute, the Nova Scotia College of Art and Design, the University of British Columbia, and the School of the Art Institute of Chicago, brings a hybrid visual sensibility to her projects. Her photographic works are painterly in their references, and her paintings are photographic in theirs. The melding of media and the delicacy and precision of execution suggest an attachment to both concept and object. Series 6 and Series 10 are developed from a body of work originally exhibited at the Richmond Art Gallery and addressing the collision of postwar optimism, suburban sprawl, and the politics of lawn. Each consists of a grid of small, photo-based images-close-up shots of patches of grass-executed in acrylic and ink in a spectrum of bleached-out colours, from very pale creams, greys, greens, and yellows to lime, lilac, and turquoise. The grid formation and subtle monochromes speak to historical minimalist-conceptualist practice; the subject matter includes the human impulse to control and contain nature, to plant it, trim it, weed it, and organize it into large and small squares of short grass. The most recent work here is a series of paintings in watercolour on acrylic. In most instances, the watercolour is the hue of architectural blueprints, and the acrylic ground is a creamy monochrome marked with hard-edge bands and boxes of pale greens and earth tones. The images, picked out in blue, are of the local, midcentury apartment buildings that compel Genton's interest, viewed from the street or the back lane. Apparently based on photographs, they are reduced to a kind of telegraphic essence: stencil-like treatments of a few salient features, including windows, balconies, foliage, traffic signs, and automobiles. Again, the historic allusions appear to be to the mechanistic aspects of high-modernist painting, against which these handmade images of International Style buildings project a kind of wobbly vulnerability. The omnipresent cars, half-ton trucks, and SUVs, parked on the street in front of the buildings or in paved lots or carports behind, speak to a condition unanticipated by postwar architects and developers. A few decades ago, the number of designated parking spaces did not begin to approximate the number of suites in each building. Genton's paintings encapsulate the betrayal of modernism's belief in the utopian possibilities inherent in new design, materials, and technologies. The SUV is the perfect metaphor for contemporary technology's anti-utopian proclivities, for its profit-driven snub of even the slightest notion of social good.
Visual Arts Reviews
Moppett refuses to put signature on style
Established categories defied by exhibition's pairing of fine art with craft, high culture with pop, the humourous with the serious DamiAn Moppett: The Visible Work At the Contemporary Art Gallery until April 24 Damian Moppett's new exhibition at the Contemporary Art Gallery consists of graphite drawings, watercolours, a three-screen video installation, clumsily made clay pots and only slightly more accomplished faux-modernist steel sculptures, and (in collaboration with Toronto resident Zin Taylor) promotional buttons, posters, and fliers for a fake band, the Spiders. Moppett's purpose in creating this varied and somewhat motley group of objects is to X-ray contemporary visual art, exposing those distinctions-high-/pop-culture, art/craft, modern/postmodern, et cetera-that operate like hooks, enabling critics and historians to attach artists and their works to predefined critical categories. Moppett declares his impatience with this state of affairs by refusing to declare his allegiance to any particular medium, or to develop a "signature style". Instead, he presents a whole gallery full of stylistically varied objects, some highly finished and refined, others amateurish in execution. In this way, he deflects attention from the "visible works" in the gallery to the conceptual decision-making that led him to create them in the first place. Moppett has transformed the CAG's larger gallery into a museum display. Discreet spotlights in the darkened room illuminate large steel sculptures, perhaps modelled on the work of modernist sculptor Alexander Calder. The sculptures are ragged and roughly formed, and bear fabricators' measurements in coloured chalk or grease pencil on their sides. Hanging from the sculptures are little trays of clay pots and bowls whose blobby forms and cracked edges signify the work of a beginning potter. The steel sculptures are like designer pedestals; they demonstrate, in a dryly funny way, how the "look" of modern art has, since the late 1940s, been absorbed into craft and design, and, similarly, how formal qualities like "fidelity to materials" have not received the same level of critical respect or recognition in the craft genres as they have in critical discussions about painting and sculpture. Writing about these works, Moppett has likened them to a car crash between art and craft, an event rendering one form indistinguishable from the other. As he says in an exhibition-catalogue interview with historian John Welchman, he sees "the pairing as humorous, but not disrespectful towards the capacity or history of either form." In the CAG's smaller gallery, Moppett is exhibiting dozens of watercolour and graphite drawings. Some are homages to his favourite artists: filmmaker Hollis Frampton; painters Ed Ruscha and Philip Guston; the cheeky Swiss sculptors Peter Fischli and David Weiss. Others are more idiosyncratic: a flock of Salt Spring Island sheep; potters' kilns and Denman Island houses; a grinning psychedelic nightmare full of huge eyeballs, sharp teeth, and torch flames. By refusing to differentiate among his images or to organize them into any kind of hierarchy, Moppett compels viewers to consider the cumulative effect that these seemingly incompatible and unlikely sources-Sepultura? H.P. Lovecraft? Fifties sculptural-kitsch master Isamu Noguchi?-have had on his alternately comic and profound art practice.
Visual Arts Reviews
For Dill, Words Are Energy
Lesley Dill At the Equinox Gallery until March 31 Language, fibre, body, and spirit-all weave together in this exhibition of new and recent work by New York artist Lesley Dill. Deeply poetic in both impulse and content, Dill's interdisciplinary art-which includes photography, sculpture, printmaking, and performance-also manages to invoke a number of theoretical concerns. These include the ways in which gender is socially constructed and the body is inscribed with language. Not that we're overwhelmed by post-semiotic ideas as soon as we walk into the gallery; the first impression here is one of sensuous beauty. Among the most compelling works on view is Yet, a barely-there construction of fine wire threaded with horsehair that hovers like a ghost in the gallery's front window. A kind of relief sculpture (it's a wall-mounted conversation between the second and third dimensions), it deploys one of Dill's recurring motifs: a 19th-century dress, with long narrow sleeves, high neck, slender bodice, and full skirt. (In Dill's early work, this form was allusive of the poet Emily Dickinson, whose words the artist frequently quotes.) Unusually, the sketchy suggestion of a head has been added; without hands or feet, however, the form conveys a state of disembodiment. Although Dill may sculpt or photograph people, as often she conjures up human presence through hair, gesture, clothing. In Yet, the words "STRUCK WAS I NOT YET BY LIGHTNING" are delicately wrought in fine black wire and mounted on top of the figure's head and shoulders. Dill's use of poetry is one of the most persistent aspects of her art. Language for her is far more than a system of signs for conveying meaning; it's medium and material, form and feeling, concreteness and evanescence. It's shout and whisper, music and prayer, blood, guts, sweat, and fibre. It's a stream not only of consciousness but also of energy, called up out of us and collected back into us. Dill may deliver words and letters in an indecipherable tumble of cut paper or fabric, or stamped and strewn unreadably across an unfurling network of leaves and fern fronds. Literal meaning eludes us-as it's meant to. The off-register layering of image and text on semi-transparent fabric, as in Blue Voice, Listen, and I See Visions, further deflects any fixed or absolute reading of her work. Just as long strands of hair assume the role of thread in Yet, thread represents hair in the astonishing installation Language Extends Even to the Hair. Mounted across the gallery's long north wall, and tumbling like a waterfall from the wrapped wire words of the title, are some 500,000 strands of white, cream, and pale- yellow thread. Powerfully evocative of blond human hair, they call up the erotically and culturally charged nature of those live-dead strands of protein. Hair has been, through centuries and millennia, a marker of both social and sexual identity. Potent as is the Pablo Neruda quote that Dill deploys here, her work draws other important analogies. Hair is a kind of language, a way of expressing both our individuality and our conformity. We extrude hair and words-and are extruded by them, too.
Visual Arts Reviews
Electrifying Art: Atsuko Tanaka 1954-1968
At the Morris and Helen Belkin Art Gallery until March 20 Electrifying Art is just that-electrifying. Coloured lights blink on and off, alarm bells ring, a circular abstract painting rotates at the flick of a switch. On a small, flickering screen, a slender young woman peels off layer upon layer of satiny clothing, revealing ever-more-wondrous garments beneath. An ingenious mind is at work here. This retrospective of Japanese avant- gardist Atsuko Tanaka between 1954 and 1968 includes an early, interactive sound installation (probably the first sound work created for exhibition in Japan), three dresses used during pioneering performances, short films of those performances, and a selection of drawings, paintings, and notebooks filled with organic networks of circles and lines. Despite the sophistication of its concept-driven art and its academic pedigree (jointly organized by the Morris and Helen Belkin Art Gallery at the University of British Columbia and the Grey Art Gallery of New York University, and guest-curated by Ming Tiampo of Carleton University and Mizuho Kat? of the Ashiya City Museum of Art and History), the show successfully conveys a sense of wonder and discovery. Born in Osaka in 1932, Tanaka created art attuned to the neo-Dadaist and Fluxus movements that occurred in the West in the 1950s and '60s (a period of cultural activity in which the Belkin Gallery has come to specialize). As with the Gutai group of radical artists to which she belonged from 1955 to 1965, however, Tanaka reacted specifically to the conditions of social, economic, and political change in Japan following the Second World War. This show reveals that she challenged herself to find new art forms that would speak to postwar industrialization and modernization, but that might also reflect some of the horror of the conflict itself. Her spectacular Electric Dress (first worn in a performance in 1956, and reconstructed in 1986) consists of a tent of hundreds of incandescent light bulbs coated in brightly coloured enamel paints, strung together into a tentlike costume, and trailing the mass of electric cords that connect the work to a control console. Tanaka was well aware, when she wore this dress of blinking lights, that she might be electrocuted by it; her work is seen, then, as both an affirmation of postwar technologies and the new, neon-lit urban scene, and an allusion to the perils of the atomic age. Work, seen in a performance titled Stage Clothes, is an ingenious little green dress, created out of panels of rayon that, when stripped off, release layer upon layer of additional garments in different colours, patterns, forms, and fabrics. These are further stripped off to reveal new configurations of form and colour. The curators point out that both Work and Electric Dress challenge the then-dominant practice of abstract painting, shifting the site of art-making from the canvas to the body, and from the male realm to the female. The electric circuitry that Tanaka sketched while developing her sound installation and light dress inspired a long-lived series of drawings and paintings, entirely composed of circles and lines. Charming in their execution and monkish in their dedication to a visual mantra, they are also oddly restrictive. It's the earlier installation and performance works that dazzle.
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text:
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SBD/14/Sports Society
Published March 14, 1996
PHILADELPHIA DAILY NEWS EDITORIAL: "If that's what he believes, then it's not he who is wrong, it's the NBA rule" (PHILADELPHIA DAILY NEWS, 3/14). COLUMNIST RANDY GALLOWAY: "The system giveth. The system taketh away" (DALLAS MORNING NEWS, 3/14). COLUMNIST BILL CONLIN: "If the rules of the league that drew up the contract offend his religion or his personal sensibilities in any way, he had a right to pump gas, flip burgers, perform brain surgery, or anything else he was inclined to do" (PHILADELPHIA DAILY NEWS, 3/14). NBC'S BILL WALTON: "In this day and age, when athletes are more beholding to corporate sponsors and their enormous paychecks, it's wonderful to see that Abdul-Rauf has decided to take a stand" (USA TODAY, 3/14). COLUMNIST HARVEY ARATON: "The league could be headed for dangerous legal waters. And for what, the anthem or its rule? Neither of these issues is big enough to suspend this man for believing what he does" (N.Y. TIMES, 3/14). COLUMNIST DAN SHAUGHNESSY, who writes Abdul-Rauf is not Rosa Parks or Muhammad Ali: "He is a talented 27-year-old ... digging a hole for himself" (BOSTON GLOBE, 3/14). COLUMNIST E.J. MONTINI: "Abdul-Rauf is 100 percent offensive, 100 percent obnoxious, 100 percent juvenile, 100 percent ignorant. And, still, 100 percent correct" (ARIZONA REPUBLIC, 3/14). COLUMNIST TONY KORNHEISER: "Let's be clear on this: This country wasn't founded to protect the NBA and its marketing goals. This country was founded to give people freedom of, and from, religion" (WASHINGTON POST, 3/14). COLUMNIST MIKE LUPICA: "This is not a religious issue just because he says it is. He is not a symbol of anything except being terribly misguided, or terribly misled" (N.Y. DAILY NEWS, 3/14). COLUMNIST SCOTT OSTLER: "What the hell does he think this is? America?" (S.F. CHRONICLE, 3/14). COLUMNIST GORDON MONSON: "Adjust, Mahmoud. Stand up -- and play the game Allah has blessed you to play" (SALT LAKE TRIBUNE, 3/14). COLUMNIST FILIP BONDY writes, if the NBA can suspend Abdul- Rauf, "they should go after the networks that have fixed the schedule so they don't have to play the anthem on the air" (N.Y. DAILY NEWS, 3/14). COLUMNIST ED FOWLER: "Common sense seems to say the NBA has every right to require its players to show respect for the flag, if for no other reason than to protect the league's marketability" (HOUSTON CHRONICLE, 3/14). COLUMNIST TERRY FOSTER: "Hasn't it become standard practice for fans to scream and drown out the national anthem while it is being sung or played. That sounds like treason to me" (DETROIT NEWS, 3/14). NETS' JAYSON WILLIAMS: "I'm no politician, but the man has to remember he's made a lot of money in this country" (ARIZONA REPUBLIC, 3/14). COLUMNIST PETER VECSEY: "Common sense, if not courtesy, dictates that Abdul-Rauf gave up his freedom to protest anything and everything on the Nuggets sidelines (private property) when he became a member of the team, league and union" (N.Y. POST, 3/14).

subset: commoncrawl


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Cops pull over Jose Canseco, find diapered goats in car
The officer apparently found the odd display amusing - it's unclear why the former MLB star was pulled over
The Daily Mail
Nevada — Former Major League Baseball player Jose Canseco was pulled over by the police in Nevada on Wednesday evening and the cops were greeted by an unusual sight: Canseco had a goat in the back of his car.
The former MLB slugger told his thousands of Twitter followers that he and model Leila Knight got some fainting goats and even asked for name suggestions.
A couple hours after acquiring his new goats, Canseco was pulled over. Apparently, the officer got a kick out of Canseco's new animals in the backseat.
Full Story: Jose Canseco pulled over with goats wearing diapers in the back of his car
Just got pulled over with goats in the car. The cop laughed at our poor goats . Awesome pic.twitter.com/hN1WiE7qDG
— Jose Canseco (@JoseCanseco) November 21, 2013
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Cops pull over Jose Canseco, find diapered goats in car
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Donor operations
Living Donor Formal Left Hepatectomy
View the Video
Case Scenario
- Patient was a 41 year old man.
- Patient volunteered to be a living liver donor for his brother, who suffered from end-stage liver disease for alcoholic cirrhosis.
Surgical Plan
- The size of the graft and the residual liver volume was carefully calculated before the operation.
- The planned transection plane starts from the gallbladder fossa, and extends to the posterior groove between the right and middle hepatic veins.
- The gallbladder is taken in a retrograde fashion, with its proximal end tied and cut. A catheter will then be placed in Hartman's Pouch, to facilitate an intra-operative cholangiogram.
- During the portal dissection, a clip will be placed in the nearby tissue of the left hepatic duct.
- Along with the intra-operative cholangiogram, the clip will indicate an area of the left hepatic duct which is located away from the hepatic duct bifurcation, and the bifurcation of the segments II/III and segment IV branches.
- The left hepatic artery will be divided at the common trunk below the bifurcation of the segments II/III and segment IV branches.
- The left portal vein will be stapled with an endo-TA stapler, and divided on the graft side of the staples.
- The middle/left hepatic veins will be divided in a similar manner.


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Car Forums / Honda / Honda Fit
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Honda Fit Prices Paid and Buying Experiences
igloomaster Posts: 249
isellhondas Issaquah WashingtonPosts: 18,063You weren't "forced". You didn't have to buy it.
There is about 500.00 profit in those when sold at MSRP so getting 1000.00 off would be pretty unlikely.
At this point, I think we have maybe six Fits left, four of these are the lease desirable base models with five speeds.
There are none in the pipeline so it'll be two months before we see any more and they will be 2009's.
Your part of the country may vary...this is very frustrating to say the least. -
isellhondas Issaquah WashingtonPosts: 18,063
fit4life1 Posts: 14I actually didn't want the sport anyway. I put on my own aftermarket spoiler, fog lights, wheels, exhaust system, and sound system. Soon, I'll be throwing on a body kit. So, basically, a sport would've been a waste of money for me. I think what irritated me was that the 08 sport was only a couple hundred more than the 07 base which is what I bought. granted, It only had 2800 miles on it.
igloomaster Posts: 249
madams1 Posts: 101My wife just got her 2008 Blaze Orange automatic fit. We too had to wait on a shipment and paid MSRP. I did insist that they not add on anything, scotchgard, mats, etc. Plan to add the armrest, either the JDM whole console or the one from an Italian company(Woods company) that also is adjustable. Waiting for a quote from them or a location here in the States. It has to be adjustable since my wife has the seat really close to the steering wheel.
fit4life1 Posts: 14Here's the armrest i'm thinking of buying. it's adjustable.
http://cgi.ebay.com/ebaymotors/07-08-HONDA-FIT-JAZZ-GD-JDM-Adjustable-Armrest_W0- QQcmdZViewItemQQ_trksidZp1638Q2em118Q2el1247QQcategoryZ33695QQihZ012QQitemZ22025- 9716556QQrdZ1QQsspagenameZWD1V -
isellhondas Issaquah WashingtonPosts: 18,063
madams1 Posts: 101I looked at that one along with several others. It is adjustable up and down, but the top of the armrest on that one does not move forward. For someone that has the seat almost all of the way to the front you would not have enough of the armrest exposed to put your arm on. This is the armrest that I am considering if they will reply to my email.
http://www.woodcompany.com/hondapage.htm -
mplshondadlr Posts: 409I never even thought of an arm rest for a Fit. It looks like a pretty cool set-up though. I have to agree with isell: I wonder if Honda will offer one standard or as an accessory?
My internet has been restricted at work (but not edmunds, lol). But, if you go to www.honda.co.jp/ you should be able to view pictures of the 2009 Fit/Jazz. Perhaps they will show pics of the interior? -
igloomaster Posts: 249
dougjustdoug Posts: 6I've been a member here since I bought a new CRV in 2006, and I just bought a new Fit last month -- 2008 Sport, AT (because I have a newbie driver in the family), Vivid Blue Pearl. Purchase price was $15,885 in Newark, Delaware. I only had to wait a couple of days for my Fit to arrive on the truck. I've since added the OEM floor mats and rear bumper protector, and the Japanese-market (JDM) coin holder. Soon to be ordered: door sill covers, JDM passenger-side sun visor, and the cargo cover. I love the Fit so far!
fitisgo Posts: 40I have bought 3 new 2008 Fit Sport Automatics since December of 2007. The MSRP on each car was the same, $16,705. All were purchased cash (no financing) and no trade-in.
The first one (blaze orange) was bought in Lincoln, NE, in Dec of 2007 for $16,322 and no documentation fee, or $200 over Honda's generally recognized "invoice" cost for this car of $16,122.
The second (milano red) was bought in Omaha, NE in Mar of 2008 for $16,167. or $45 over invoice, again no documentation or other added fees (except for state sales tax, license, registration, the items you pretty much have to pay in any state).
The third (vivid blue) was bought in Lincoln in June 2008, same dealer as the first, for $16,122, or invoice, no doc fees or add-on.
In each case I paid anywhere from $383 to $583 UNDER "invoice" (who knows how much the dealers actually pay Honda for the vehicle).
The moral of the story is that it is possible to get a good deal on a new Fit, but your chances of doing that appear to be greatly swayed by where you live in the country. It appears Fits are selling for anywhere from MSRP to way higher on both the West and East coasts, due to demand greatly exceeding supply. So if you can buy a Fit in the Midwest (or possibly the Southeast or Southwest) for $500-$2,000 less, it might be worth it to locate and close a deal on a Fit with a Midwest dealer and then go pick up the car there (depending on how far you have to travel).
The dealers I bought from were Williamson Honda (Lincoln, NE) and O'Daniel Honda (Omaha, NE)
Also, due to the high demand/low supply current situation with Fits, the Kelley Blue Book private party values have shot way up in the last couple months, and are currently $1000-2000 MORE for a like-new used Fit than a brand new one bought from a dealer - go figure. -
mplshondadlr Posts: 409"Also, due to the high demand/low supply current situation with Fits, the Kelley Blue Book private party values have shot way up in the last couple months, and are currently $1000-2000 MORE for a like-new used Fit than a brand new one bought from a dealer - go figure."
Which makes me wonder why any dealer would even bother discounting a vehicle that a consumer can turn around and make money on?
I'm sure if someone offered you $18000.00 you would sell it in a heart beat, but if a dealer sold it for that price you would call them a rip-off. -
funchy Posts: 1Just bought my first honda this week.
Fit, manual transmission. $500 below sticker price. Dealership is Martin in Newark, Del.
*BEWARE* this dealer and a bunch of other Honda places are trying to put a $1,000 "market upcharge" on really in-demand models such as the Fit. Don't fall for it. :mad:
It was their second to last Fit on the lot. They didn't expect any more until the '09s arrive. The remaining one is a gold Sport, if anyone is interested. -
isellhondas Issaquah WashingtonPosts: 18,063
mplshondadlr Posts: 409
iwant1too Posts: 29I stopped by one of my local Honda dealers a few days ago to see if they had any info on the 2009. The salesman told me he would get some information together and email it to me. Not. I was also told I could put a deposit on one of the incoming cars. I asked what was required and he replied $2500. I asked him if it was refundable since the car was not available for viewing. He said one of the managers would explain that to me, if I didn't like the Fit, the deposit would be applied to another vehicle. It was not refundable! No thank you, I'll look elsewhere.
Karen_CM Posts: 5,035A reporter with a large national newspaper would like to speak with consumers who purchased a small, fuel-efficient vehicle in the past couple of months. If you are new small fuel-efficient vehicle owner, please respond to email@example.com with your daytime contact information no later than Thursday, August 21st.
Community Manager If you have any questions or concerns about the Forums, send me an email, email@example.com, or click on my screen name to send a personal message.
badself Posts: 39Honda has confirmed build on my '09 Fit Sport (auto) in storm silver with vsa/nav.
Was built week of August 4, VIN to be transmitted to dealer any day.
I estimate arrival by the end of September, at the latest.
Really didn't want nav at this price point, but the benefit if VSA is virtually indisputable, so there it is. -
gr8poobah Posts: 7On 2/20/08 I contacted Portland, OR, dealer and enquired about price on a 2009 Fit. Received the following reply: MSRP on the 2009 Honda Fit Sport Automatic with VSA and Navigation is $19,430, however, most dealerships are marking them up anywhere from $2000 - $5000 over MSRP. At this time, we are unsure of the market conditions at the time of the actual release of the 2009 Honda Fit, so are not taking any deposits.
The first 2009 Honda Fit is scheduled to be on the ground on the 26th of August, however, we will not be getting any for sale until the second week of September. -
mplshondadlr Posts: 409As a dealer I don't understand why some dealers would dare try to mark the car up over MSRP. To me, $19430.00 for a Fit seems high, but then again I am not in the market for one. One thing I will say however, is the new Fit is damn sharp!
At present we have 12 in-transit from the port, which happens to be Portland, OR. We'll have our 12 by the 26th which is the "official" launch date.
For the record, we have 33 arriving starting next week through the begining of October and they are all pre-sold.


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+ - Craigslist Price Gouging Probed By NY AG After Sandy-> 1
Link to Original Source
Want to read Slashdot from your mobile device? Point it at m.slashdot.org and keep reading!
If there is a shortage of gasoline, or flashlights, or toilet paper, there is going to be rationing. Heck, almost by definition, everything is rationed because nothing is infinite.
The only question is how the rationing works. There's a law of nature, almost as basic as the thermodynamic pressure/volume/temperature equation, that prices go up when there's more demand than supply, and drop for the reverse. Price is not just money; it includes time and effort. You can buy a prebuilt chair from a store, you
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British actor Idris Elba played Stringer Bell, second-in-command to Baltimore drug kingpin Avon Barksdale, in HBO's The Wire. Alberto E. Rodriguez/Getty Images hide caption itoggle caption Alberto E. Rodriguez/Getty Images It May Take A British Actor To Make An American Story Sing January 31, 2015 Awards season has offered NPR's Scott Simon the opportunity to reflect on the number of British actors playing Americans in films and television shows, and wonder where the American actors are. Listen Loading… 2:51 Download Playlist
Chicago Cub Ernie Banks, right, told NPR's Scott Simon, left, in 2014 that he had a lot of fun winning games, but the main thing in his life was "making friends." Peter Breslow/NPR hide caption itoggle caption Peter Breslow/NPR Let's Play Two! Remembering Chicago Cub Ernie Banks January 24, 2015 Chicago Cubs Hall of Famer Ernie Banks has died. NPR's Scott Simon remembers the two-time National League MVP as the nice guy who finished first and brought smiles to all his fans' faces. Listen Loading… 2:54 Download Playlist
Remembering Al Bendich, Fierce Defender Of Free Speech January 17, 2015 The lawyer, who successfully defended Allen Ginsberg and Lenny Bruce in landmark free speech cases, died this month. Without of his wins, a lot of culture we enjoy might have been blocked as obscene. Listen Loading… 2:36 Download Playlist
A man holds a pencil in the air during a minute of silence in Paris on Thursday for the cartoonists and other victims of gunmen on the offices of French satirical newspaper Charlie Hebdo. Matthieu Alexandre /AFP/Getty Images hide caption itoggle caption Matthieu Alexandre /AFP/Getty Images Satire May Be Uncomfortable, But Humor Makes Us Human January 10, 2015 In light of the targeted killings at Charlie Hebdo in Paris, NPR's Scott Simon remembers the jokes people tell in grim places, and how dangerous people with no sense of humor can be. Listen Loading… 2:56 Download Playlist
In 1959, Fidel Castro imposed a law forbidding the import of foreign cars, so many Cubans drive and maintain older models. Kate Skogen/JetKat Photo hide caption itoggle caption Kate Skogen/JetKat Photo Despite Its Beauty, Cuba Isn't Quite Ready For Tourists December 20, 2014 When NPR's Scott Simon has visited Cuba, he saw two economies — one for tourists and one for residents. He reflects on whether the thaw between the U.S. and Cuba can really transform that country. Listen Loading… 2:58 Download Playlist
Outrage Over Chinese Takeout Brings To Mind A Maxim December 13, 2014 When Ben Edelman was overcharged for his takeout, he threatened legal action. After the story went viral, he apologized. It made NPR's Scott Simon wonder if it might be better to be wise than right. Listen Loading… 3:37 Download Playlist
In 2012, Kirk Douglas attended the last 70mm film screening of 1960's Spartacus, which he starred in. Alberto E. Rodriguez/Getty Images hide caption itoggle caption Alberto E. Rodriguez/Getty Images A Premature Obituary Can Be A Sweet — If Strange — Gift December 6, 2014 Obituaries tend to smooth over the failures in a long life. So, says NPR's Scott Simon, it might be nice to write one for a loved one while he or she is still alive to appreciate it. Listen Loading… 2:52 Download Playlist
Cricketer Phillip Hughes celebrates a score in 2011. Hughes was wearing a helmet this week when a ball struck him on the neck and killed him. Eranga Jayawardena/AP hide caption itoggle caption Eranga Jayawardena/AP Helmets Aren't Always Enough To Keep Players Safe November 29, 2014 Cricketer Phillip Hughes was wearing a helmet this week when a ball struck and killed him. NPR's Scott Simon wonders if some safety measures also encourage people to take on more risk. Listen Loading… 2:33 Download Playlist
Mike Nichols was born Michael Igor Peschkowsky. He could barely speak English when he arrived in the U.S. at age 7. Stephen Lovekin/Getty Images hide caption itoggle caption Stephen Lovekin/Getty Images Remembering 'Comic Meteor' Mike Nichols November 22, 2014 Critics sometimes carped that they couldn't find a unifying theme to his work, but Nichols had fun doing different things. NPR's Scott Simon remembers the actor, director and comedian. Listen Loading… 3:01 Download Playlist
Onlookers take cell phone pictures of stranded window washers hanging from scaffolding on the side of One World Trade Center. Timothy A. Clary/AFP/Getty Images hide caption itoggle caption Timothy A. Clary/AFP/Getty Images Comet Lander, Firefighters Execute Dazzling Feats Above The Earth November 15, 2014 The sky was full of wonders this week, NPR's Scott Simon muses, as a spacecraft landed on a comet and two window washers were rescued 69 stories above the streets at the new One World Trade Center. Listen Loading… 2:57 Download Playlist
While an extra hour is a beguiling concept, most of us will just sleep through it. iStockphoto.com hide caption itoggle caption iStockphoto.com Dreaming Up Ways To Use Fall Back's Extra Hour November 1, 2014 As Daylight Saving Time ends and Standard Time returns, NPR's Scott Simon wonders about that extra hour, and the different ways we might best put it to use. What will you do with it? Listen Loading… 2:49 Download Playlist
AP Two Lions Of Journalism, Roaring To The Last October 25, 2014 Two of journalism's greats died within a couple days of each other — Ben Bradlee and Frank Mankiewicz. NPR's Scott Simon remembers them for their shared gifts of charm, wit and street smarts. Listen Loading… 2:57 Download Playlist
A Candidate With Low Poll Numbers, But High Hopes October 18, 2014 Dr. Doug Butzier was the Libertarian candidate for the U.S. Senate in Iowa when he died in a small plane crash this week. NPR's Scott Simon thinks on the hopes even "lost cause" candidates inspire. Listen Loading… 2:32 Download Playlist
In A Way, Gandhi Also Won 2014's Nobel Peace Prize October 11, 2014 In a week when two Nobel Peace Prize winners were announced, NPR's Scott Simon reflects on Mahatma Gandhi's life. Though Gandhi never won the prize, 2014's winners carry on his legacy. Listen Loading… 2:40 Download Playlist
iStockphoto A Stranger On A Train, A Phone Call, A Man's Life Transformed October 4, 2014 Announcing a layoff over the phone is bad etiquette, but it's the stuff of a great short story. When NPR's Scott Simon overheard such a moment, he couldn't help but try to fill in the gaps. Listen Loading… 2:55 Download Playlist


text:
Original Article
Expression of Inhibin/Activin Subunits in the Equine Uteri during the Early Pregnancy
Article first published online: 9 OCT 2012
DOI: 10.1111/rda.12091
© 2012 Blackwell Verlag GmbH
Additional Information
How to Cite
Zhang, H., Nagaoka, K., Imakawa, K., Nambo, Y., Watanabe, G., Taya, K. and Weng, Q. (2013), Expression of Inhibin/Activin Subunits in the Equine Uteri during the Early Pregnancy. Reproduction in Domestic Animals, 48: 423–428. doi: 10.1111/rda.12091
Publication History
- Issue published online: 8 MAY 2013
- Article first published online: 9 OCT 2012
- Manuscript Accepted: 29 AUG 2012
- Manuscript Received: 8 MAR 2012
Funded by
- Japan Racing Association (JRA)
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text: Q2 2008 www.sme-fdi.gc.ca/vcmonitor VENTURE CAPITAL MONITOR A QUARTERLY UPDATE ON THE CANADIAN VENTURE CAPITAL INDUSTRY Canadian high growth innovative small and medium-sized enterprises (SMEs) that commercialize research depend to a large extent on the venture capital (VC) industry for funding. Therefore, a strong VC industry is important for the growth of this segment of SMEs. The goal of this series is to provide current information about the VC industry in Canada. To this end, the series will track trends in investment activity, report on topical VC-related research and look at key technology clusters where VC investment is taking place. INTRODUCTION Table 1 VC investment and fundraising in Canada, This issue discusses Canada's venture capital (VC) Q2 2007 and Q2 2008 activity during Q2 2008. This issue was delayed Q2 2007 Q2 2008 % Change because of the federal election. Due to its late ($ millions) publication date, this issue does not contain the Investment 436 302 -31 usual articles on Canadian technology clusters Fundraising 272 356 31 and business incubation. These stories will resume in the next issue with articles on the Toronto Source: Thomson Financial 2008. technology cluster and the business incubator InNOVAcorp in Halifax. Deal size Deal size unchanged VC ACTIVITY OVERVIEW Deal size for Q2 2008 was $2.8M, on average, down 7 percent from $3M registered in Q2 2007. Investment and fundraising Foreign investors' average deal size is still notably higher than that of domestic investors, with foreign Investments decline/fundraising funds investing $4.25M per deal, on average, rebounds relative to Q2 2007 compared with $2.4M for domestic funds. Overall, Venture capital activity in Canada continued its there was no noticeable change in deal size pattern slowdown, with $302M invested in Q2 2008, a in Q2 2008 compared with Q2 2007 (Figure 1). decline of 31 percent from $436M invested in Deals of $1M to $4.99M continue to dominate, Q2 2007 and 10 percent from $334M invested in with deals of less than $1M declining slightly. It Q1 2008 (Table1). The overall decline for the first should be noted that the drop in deal size has half of 2008 compared with the first half of 2007 is been accompanied by a drop in the number of 39 percent, down from $1045M to $635M. companies receiving VC funding from 145 in Q2 2007 to 105 in Q2 2008. Fundraising, on the other hand, rebounded in Q2 2008 with $356M raised, up 31 percent from $272M raised in Q2 2007. Despite this rebound, the $690M raised during the first half of 2008 is still 7 percent lower than the $739M raised during the first half of 2007. Figure 1 stages of development represented 63 percent of VC deal size total VC investment in Q2 2008, somewhat lower (%) than the 71 percent share in Q2 2007. 60 57 55 New versus follow-on 50 investments 40 New seed and start-up deals decline in Q2 2008 31 30 27 New deals in the seed/start-up stage declined sharply in Q2 2008, with only eight new deals 20 17 14 compared with 20 in Q1 2008 and 12 in Q2 2007 (Table 2). In contrast, follow-on deals were mainly 10 concentrated on later stage companies. Overall, 0 there were 20 new deals in Q2 2008 compared with Q2 2007 Q2 2008 46 in Q2 2007, which implies that 20 companies Under $1M $1M to $4.9M $5M and over received first-time VC funding in Canada in Q2 2008. Source: Thomson Financial 2008. Stage of development Type of investor Decline in VC investment affects all Continued decline in LSVCC/retail stages of development investments The decline in VC investment observed in 2008 has Although investments by all types of investors affected all stages of development in approximately dropped in Q2 2008 compared with Q2 2007, equal proportions (Figure 2). Investments in later labour sponsored venture capital corporation (LSVCC)/retail investments had a markedly higher Figure 2 decline (40 percent) that affected Quebec more VC investment by stage of development, than any other province (Table 3). It is worth noting Q2 2007 to Q2 2008 that the Fonds de solidarité de la Fédération des ($ millions) travailleurs du Québec (FTQ), a Quebec-based 400 381 LSVCC, has been active as a limited partner 350 334 (GO Capital, MSBI II) and has made fewer 308 300 direct investment in portfolio companies, which contributed to the drop in LSVCC investments. 250 Despite the drop in foreign fund investments, their 200 186 190 share increased from 28 percent in Q2 2007 to 35 percent in Q2 2008. 150 105 100 97 93 71 76 56 55 63 50 41 49 0 Q2 2007 Q3 2007 Q4 2007 Q1 2008 Q2 2008 Seed/start-up Other early stages Later stage Source: Thomson Financial 2008. 2 Q2 2008 Venture Capital Monitor Table 2 New versus follow-on VC deals, Q2 2007 to Q2 2008 Q2 2007 Q3 2007 Q4 2007 Q1 2008 Q2 2008 All 46 53 43 43 20 Seed/start-up 12 23 14 20 8 New Other early stages 8 6 5 5 1 Later stage 26 24 24 18 11 All 99 87 86 85 87 Seed/start-up 14 8 10 15 15 Follow-on Other early stages 26 27 22 27 20 Later stage 59 52 54 43 52 Source: Thomson Financial 2008. Table 3 Table 4 VC investment by type of investor, Q2 2007 and VC fundraising, Q2 2007 and Q2 2008 Q2 2008 Q2 2007 Q2 2008 % Q2 2007 Q2 2008 % ($ millions) Change ($ millions) Change LSVCC/ LSVCC/ retail funds 121 72 -40 retail funds 81 97 20 Private Private independent independent funds 67 56 -16 funds 191 259 36 Foreign funds 124 106 -15 Total 272 356 31 Others* 124 68 - 45 Source: Thomson Financial 2008. * Includes corporate funds, institutional investors, government funds and others. Regional distribution Source: Thomson Financial 2008. Quebec experiences a sharp drop in VC investments Fundraising VC investment in Ontario increased 17 percent Fundraising rebounds in Q2 2008 in Q2 2008 compared with Q2 2007 (Figure 3). Fundraising in Q2 2008 registered a sudden All other provinces, except Alberta, experienced rebound, increasing 31 percent compared with a drop in VC investment in Q2 2008, with VC Q2 2007 (Table 4). Fundraising was mostly driven investment in Quebec decreasing by 56 percent by private independent funds that raised $259M in compared with Q2 2007. A drop in foreign capital commitments — 73 percent of the total and investment and LSVCC funds was responsible for a 36-percent increase over Q2 2007. LSVCC/retail 50 percent of this decline. The drop in investment funds raised $97M, an increase of 20 percent over has also been reflected in the number of deals per Q2 2007. province (Table 5). Q2 2008 Venture Capital Monitor 3 Figure 3 Regional distribution of VC investment in Canada, Q2 2007 and Q2 2008 180 ($ millions) 160 155 153 140 132 120 112 100 80 68 57 60 40 20 13 13 9 5 7 6 1 1 4 1 0 ia s io rd an ta k ba lu ish c un w ad nd rie a ic be ot ar Br Ne r d a bi ew ito sw be Co Brit an w br la ito Sc nt ue m or Isl Ed La nd an Al ch O rr a Q ov Te M ou at ce sk N in an wf Sa Pr e d N Q2 2007 Q2 2008 Source: Thomson Financial 2008. Table 5 Industry sector distribution Regional distribution of deals, VC investment decreased across all sectors in Q2 2007 and Q2 2008 Q2 2008, with the traditional sector hardest hit Q2 2007 Q2 2008 % by an 86-percent drop from $49M in Q2 2007 Change to $7M in Q2 2008 (Figure 4). VC investment in British the information technology (IT) sector dropped Columbia 20 17 -15 31 percent, a somewhat larger drop than in life Alberta 2 5 150 sciences. Saskatchewan 3 1 -67 Manitoba 4 1 -75 Figure 4 Ontario 37 43 16 VC investment in Canada by sector of activity, Q2 2007 and Q2 2008 Quebec 72 33 -54 New Brunswick 2 2 0 ($ millions) 250 Nova Scotia 5 5 0 219 Prince Edward Island – – – 200 Newfoundland – – – 150 and Labrador 150 129 Territories – – – 107 Source: Thomson Financial 2008. 100 49 50 37 33 1 6 7 0 es lo n sc Life te viro and gy no er es al no tio gi gi al ch th on nc er gy lo ch a lo nt te O En te form ie iti es no e ad ch nm Tr In en Q2 2007 Q2 2008 Source: Thomson Financial 2008. 4 Q2 2008 Venture Capital Monitor GOVERNMENT ACTIVITIES is a limited partnership established between the Government of Ontario and leading institutional In Q2 2008, the Business Development Bank investors to invest primarily in Ontario-focused of Canada (BDC) committed $15.2M in venture venture capital and growth funds. TD Capital capital, together with $89.3M committed by Private Equity Investors has been selected to co-investors, in 13 deals (Table 6). manage the fund. Table 6 The Government of Quebec announced two new BDC deals in Q2 2008 Regional Economic Intervention Funds (FIER) in April. These risk-capital funds are the $3M Fonds- BDC Co- Total Number Soutien Côte-Nord and $5M FIER-Gaspésie. investors of ($ millions) deals The Government of Alberta's action plan Bringing Start-up 3.5 26.7 30.2 2 Technology to Market, announced in June, aims Other early to increase the number of new companies in stages 7.9 26.1 34.0 5 emerging advanced technology sectors. This Later stage 3.8 36.6 40.4 6 $178M plan highlights a range of actions, including Total 15.2 89.3 104.6 13 increased investment capital to technology. Source: Business Development Bank of Canada 2008. The Ontario Ministry of Research and Innovation announced in June that the new $205M Ontario Venture Capital fund is open for business. The fund Q2 2008 Venture Capital Monitor 5 NOTES COPYRIGHT This publication is part of a series prepared by the This publication is available upon request in Small Business and Tourism Branch. The branch accessible formats. Contact: analyses the financial marketplace and how trends in this market impact small businesses' access to Multimedia Services Section financing. Current research is focused on high- Communications and Marketing Branch growth firms, the aspects of both Canada's VC Industry Canada and general business environment that affect the Room 264D, West Tower success of these firms, and the key players in the 235 Queen Street risk-capital market (for example, VC firms and Ottawa ON K1A 0H5 angels). Tel.: 613-948-1554 The Small Business and Tourism Branch is Fax: 613-947-7155 also responsible for the Small and Medium- Email: email@example.com Sized Enterprise Financing Data Initiative (SME This publication is also available electronically FDI). The SME FDI is a comprehensive data- on the World Wide Web in HTML format at the collection program on SME financing in Canada. following address: www.sme-fdi.gc.ca/vcmonitor. In partnership with Statistics Canada and Finance Canada, Industry Canada reports on the supply of Permission to Reproduce and demand for financing by small and medium- Except as otherwise specifically noted, the sized businesses. Further information and information in this publication may be reproduced, statistical findings and reports are available at in part or in whole and by any means, without www.sme-fdi.gc.ca. charge or further permission from Industry Canada, provided that due diligence is exercised in ensuring To be added to the distribution list for this quarterly the accuracy of the information reproduced; publication or for questions related to its content, that Industry Canada is identified as the source please contact Younes Errounda at 613-954-4369 institution; and that the reproduction is not or firstname.lastname@example.com. represented as an official version of the information reproduced, nor as having been made in affiliation with, or with the endorsement of, Industry Canada. For permission to reproduce the information in this publication for commercial redistribution, please email: firstname.lastname@example.com. Cat. No. Iu186-2/2008-2E-PDF ISSN 1911-9267 60513 Aussi offert en français sous le titre Le Moniteur du capital de risque — Deuxième trimestre de 2008. 6 Q2 2008 Venture Capital Monitor


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Package: uqm (0.6.2.dfsg-8ubuntu1) [multiverse]
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The Ur-Quan Masters - An inter-galatic adventure game
You return to Earth with a vessel built from technology discovered from an ancient race called the Precursors only to find it enslaved. Gather allies from a wide variety of races, engage in space combat with various foes, and save the galaxy from the Ur-Quan!
The Ur-Quan Masters is derived from the classic game Star Control II. It includes both the adventure game described above and a fast-paced Super Melee.
See the README.Debian once you have installed this package for information about where to get the uqm-music and uqm-voice packages.
Other Packages Related to uqm
- dep: libc6 (>= 2.4)
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- or libgl1
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- dep: libsdl1.2debian (>= 1.2.10-1)
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Puerto Villamil Things to Do
Rent a bicycle in Puerto Villamil
In the morning of my last day on Isla Isabela I took a walk along the road that runs parallel to the sea west of Puerto Villamil. I came to an information board about Comlejo de Humedales y Muro de Las Lagrimas and saw that it was another 5km to Muro de Las Lagrimas. It was too far as I didn't have much water with me, so I decided to go back to...
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Muro de las Lagrimas
Muro de las Lagrimas (The Wall of Tears) is situated about 7km west of Puerto Villamil. During World War II there was a Military Detachment here (and in some other places of Galapagos Islands too) operating a radar station, which was part of the of the surveillance system for this part of the Pacific Ocean.After the war, in 1946, a penal colony was...
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Complejo de Humedales and the road to...
One morning I went for a walk along the sandy road west of Puerto Villamil. I came to a sign indicating that this was where the area Complejo de Humedales y Muro de las Lagrimas started. To Muro de las Lagrimas it was 5km and there seemed to be many interesting places to stop at along the road. It looked like a place I wanted to explore, but as I...
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Crianza de Tortugas
Long ago whalers and pirates hunted tortoises to keep on board their ships as the tortoises could survive a long time without food and water. In this way the sailors had access to fresh meat while they were at sea. Hunting continued after the islands got populated. Not only hunting reduced the population significantly but also predation by...
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Boardwalk and path to Crianza de...
The boardwalk and path to Crianza de Tortugas begins just west of Puerto Villamil. The boardwalk goes over a wetland area with several lagoons where you can see flamingos and many other birds, among others Black-necked Stilt, Moorhen and White-cheeked Pintail. The lagoons are bordered with mangrove vegetation. Further north the boardwalk continues...
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Rent snorkel equipment in Puerto...
In the southwest corner of Parque Central, on Antonio Gil, there is a small booth were you can rent snorkel equipment for $5 per day (July 2011). You can also rent snorkel equipment, and wetsuits, at the harbour. I went to the harbour to rent the equipment as I was going to snorkel at Concha de Perla, near the harbour. I got my snorkel, mask and...
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The Bay Tour and Las Tintoreras
I booked the Bay Tour at Hostal La Jungla the evening before going on the tour and it was $25 (July 2011). At 9 o'clock in the morning I was picked up at the hostel and in Puerto Villamil we picked up four other tourists. At the harbour we were met by a guide and went aboard a boat. Las Tintoreras is a small volcanic island just off the coast from...
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Tour to Volcán Sierra Negra and Volcán...
Volcán Sierra Negra on Isla Isabela is situated 27km northwest of Puerto Villamil. The volcano is 1490 metres high and has got the second largest volcano crater in the world, the caldera is 10km in diameter. Volcán Sierra Negra is an active volcano and it had its latest eruption in 2005, an eruption with lava flows that lasted for a week (wish I...
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The Greater Flamingo
There is a population of about 400 - 500 flamingos on the Galapagos Islands. They can mainly be seen on Floreana (Punta Cormorant), Isla Isabela (Villamil), Isla Santa Cruz (Las Bachas Beach), Santiago and Isla Rábida.When I visited Floreana on the cruise with Cachalote there was only one flamingo in the lagoon at Punta Cormorant. That was a...
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Simple is genious
One of the tours most aggressively touted on Isabella if this expression fits this gentle frontier town at all, is the tour of the lagoon. It is located just off the boat peer and hence does not seem exciting at the beginning but it delivers the goods – literally speaking. One can see penguin, blue foot boobies, sea lions, and sea turtle to mention...
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Turtle point of view
At a point, in the backyard of hotel Iguana -the last building along the beach street going west, or at the sign "iguana crossing point", (no worries, you might miss the sign but not the iguanas) one can cross it and follow a path approximately 2km through dense mangrove vegetation and lava dessert all the way to the turtle breeding center. The...
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Flamingo encounters
Puerto Villamil is the main port of call of the largest of the Galapagos Islands – Isabel. The town and its development are restricted by the marsh area behind it where one can find flamingos as one of the more spectacular birds to mention. The marsh itself starts practically downtown from the backyard of hotel Rincon de George and continues miles...
Puerto Villamil Hotels
La Casa Marita
Isla Isabela, , Puerto Villamil, Galapagos
Satisfaction: Excellent
Good for: Business
The Wooden House Hotel
Via Al Embaradero, Puerto Villamil, , Ecuador
Satisfaction: Very Good
Good for: Business
Red Mangrove Campo Duro
Via Sierra Negra, Puerto Villamil, Ecuador
Satisfaction: Excellent
Puerto Villamil Restaurants
One day I went to La Choza, in the corner of Antonio Gil/Las Fragatas, as it looked like a nice place. I was not very hungry and ordered a cheese sandwich and a coca-cola for lunch. The cheese sandwich arrived warm and it had a few slices of cucumber and tomatoes on it, and a hair. I told them about the hair and said I wanted a new sandwich. I think it was the same sandwich they brought to me again, after removing the hair and putting it in the microwave again. The sandwich was $1 (July 2011). The coca-cola, a 0.5 litre bottle, was $2. Well, I didn't go back here but found a better place for lunch the next day.
The next day I had almuerzo (set lunch) at one of the restaurants on the west side of Parque Central. First I got a soup (sopa de carne) and then a plate with fried fish, rice and some salad. Included in the price was also a juice. The price for the lunch was $3 and it was so much better than the lunch I had had the previous day.
There are several restaurants on the south side of the park and one evening I went to Cesar's Restaurant. I arrived early and had to ask if they were open or not. After a while more people started to arrived and they were all foreign tourists. Grilled fish was $7, a big bottle of beer $3 and service $1 (July 2011). The meal tasted good.
Another evening I went to Restaurante Tres Hermanos, next door to Cesar's Restaurant. I had seen that there seemed to be a better mix of customers there, just a few foreign tourists. I arrived at 18.30 and the restaurant was open, but I was told that if I returned half an hour later I could have grilled meat (carne asado) or grilled fish, as they were soon starting the grill by the street. Carne asado I could wait for so I went for a walk and came back about half an hour later. A big piece of grilled meat was served with rice and a sauce with beans. For the meal plus an orange juice I paid $8.more
Puerto Villamil Transportation
Speedboat between Puerto Ayora and...
Before coming to Galapagos I had read that it is good to buy the ticket for the speedboat a day in advance during high season. As I visited in July and was going to be aboard a boat the day before my departure I was a bit worried not to get a ticket, but the travel agent I had booked the cruise with luckily made a reservation for me. The office of...
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Never buy a ticket for a boat called...
Transport between the islands stands on two pillars – regular so-called lanchas and charter ones. The first servers Isabella Island by connecting it to Santa Cruz Island which is most probably your point of departure and the charter ones can offer the same service at other times or different destinations as desired. What happened in this particular...
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Puerto Villamil Hotels
3 Hotels in Puerto Villamil
Puerto Villamil Warnings and Dangers
Where the road west of Puerto Villamil makes a fork, where one road leads to Hostal La Jungla and Crianza de Tortugas and another one to Muro de las Lagrimas, there is a sign saying "Iguana Crossing, Please drive slowly". That's a sign I have never seen anywhere else, but of course this is Galapagos. On one side of the road is the ocean and on the other side there are some shallow lagoons, so you will see iguanas crossing here.
Down at the beach in Puerto Villamil you must be careful too and watch where you put your feet if you walk on the lava rocks. The marine iguanas have the same colour as the rocks, and at least I almost stepped on an iguana.more
Puerto Villamil Off The Beaten Path
Walking along the beach can be a rewarding experience; especially when the discoveries made are not to be found on the special wildlife-to-be-seen check list. Here is one specimen that surely looks exotic enough with its defence bone spikes sticking out and conveniently thrown out on the sands for close examination. The look of it suggests the name porcupine fish!?
Related to:- Eco-Tourism
- Safari
- Budget Travel


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May 31st Marks the Fifth Anniversary of Dr. George Tiller's Assassination: A Man Who Provided Care to Thousands of Women around the World
WICHITA, Kan., May 30, 2014 /PRNewswire-USNewswire/ — As we look back on the last five years, we are once again struck by Dr. George Tiller's deep commitment to serving women. We will never truly understand Dr. Tiller's impact, but we can look at the thousands of women who he helped as a small measure of his lasting legacy.
"South Wind Women's Center is honored to be caring for women in the same community where Dr. Tiller practiced for decades," stated Julie Burkhart, CEO and Founder of Trust Women and South Wind Women's Center, "On April 3, 2013, South Wind Women's Center opened in the very building, that had been shuttered for almost four years, where Dr. Tiller worked for so many years."
"Unfortunately, five years later, physicians who provide abortion care must remain vigilant of the threat of violence by extremists," said Burkhart, "Security for our doctors, staff, and patients remains a major concern. We continue to be reminded that for abortion to remain accessible; there must be the physicians who are willing to step forward."
"Additionally, over the past five years, access to abortion services has markedly decreased. One of the other major reasons for this decline are the numerous laws passed in states that have shut down clinics and limited women's access to remaining clinics," continued Burkhart, "Since 2011, states have passed more laws to restrict access to abortion than they had passed in the previous 10 years combined."
"In the face of adversity, we will continue to provide abortion care to the patients of Kansas and surrounding areas," state Burkhart, "The way we honor Dr. George Tiller's life is by persevering and ensuring that women have the health care they need. For every problem, there is a solution."
Trust Women is a reproductive justice organization that opens clinics that provide abortion services in underserved communities so that all women can make their own decisions about their health care. Trust Women's first clinic is South Wind Women's Center in Wichita, Kansas. South Wind Women's Center is the only clinic to offer abortion services in Wichita since Dr. Tiller's assassination. Please visit us at www.itrustwomen.org and www.southwindwomenscenter.org.
SOURCE Trust Women


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Originally Posted by BradleyK John: One of the F2/DE-1 bodies was a private purchase locally; a second DE-1 finder was also private from a fellow APUGer. Only the second, and most recent purchase (Tuesday, past) came from e**y (a $43.00 USD winning bid for a 79xxxxx black body that looks to be about a 7 or so, judging from pics...). BTW: 1). If you want a AH-3 (gratis) for Ms F3P, I have one kicking around; and 2). Do you know of anyone in your area needing a partially disassembled F2 body (and a bag-o-parts from same)? I recall you mentioning that one of our Washington State APUGers liked fixer-uppers (an alternative, of course, would be to donate the carcass to the "Save Sover fund" when I send in a couple of the F2s for CLAs). Bradley, thanks, but will be sourcing another MK-1 to replace the one I sold to PhotoJim in '06. Re: the parts F2, PM Ralph Javins. He'll take it. I need to send my F2 to Sover for a service. 1 second is a little fast.
APUG: F2AS x2, F, FM2n, Nikomat FTn DPUG: D200 Nikkors: 18-70/3.5-4.5G AF-S DX (f/D200), 20/3.5 UD, 24/2.8 AI, 50/2 AI, 50/1.4 AI, 50/1.4 S, 55/2.8 Micro AIS, 85/1.8 K My FB - My flickr stream My SmugMug


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