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About Sara Kiesler
Sara Kiesler is Hillman Professor of Computer Science and Human Computer Interaction at Carnegie Mellon University. Kiesler applies behavioral and social science methods and thinking to technology design, especially to understanding how technologies challenge existing social and work behavior of individuals, groups, and organizations. She conducted among the first scientific studies of computer-mediated communication and early forms of the Internet.
With Lee Sproull, she authored the seminal book, Connections: New Ways of Working in the Networked Organization (MIT Press). In the early to mid-1990s, as the general public began to use the Internet, she was a founding researcher of the HomeNet project, to observe how households used the Internet. She has collaborated extensively within Carnegie Mellon and with other university colleagues on social design of the Internet.
Kiesler has studied technology in work settings and was among those who pointed out opportunities and problems associated with multidisciplinary and complex forms of collaboration, geographically dispersed science and project work (see Distributed Work with Pamela Hinds, MIT Press), information sharing, and the design of human-robot interaction.
Kiesler is a fellow of the American Psychological Association, the Society for Psychological Science, the Association for Computing Machinery (ACM), and Psy Chi. She was elected to the CHI Academy in 2002, a group of researchers honored by ACM's Special Interest Group in Computer–Human Interaction of the Association for Computing, and received its Lifetime Achievement Award in 2009. Her research group received the Allan Newell Award for Research Excellence in 2013 for "elucidating the fundamental principles of human-robot interaction and its associated research methods."
Contact me
Contact my support staff, Kevin Topolski, (412) 268-1943 or
Copyright © 2002 - Sara Kiesler


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- Willamette
- Athletics
- News Archive
- 2009
- May
- Franchi Repeats as First Team All-West Region Selection
Softball | Friday, May 15, 2009
Franchi Repeats as First Team All-West Region Selection
SALEM, ORE. -- Willamette University softball standout Nikki Franchi (Sr,. RHP/DP, Los Gatos, CA/Saratoga HS) has been chosen First Team All-West Region for the second year in a row. Franchi, who led the Bearcats to a 29-6 overall record, was one of 15 athletes selected for the First Team by members of the National Fastpitch Coaches Association (NFCA).
WU athletes LaShawna Holcomb (Sr., CF, Renton, WA/Hazen HS), Sierra Lessel (Fr., OF, Eugene, OR/Churchill HS) and Alex Watilo (Fr., RHP, Newcastle, CA/Del Oro HS) earned Third Team All-West Region honors. Overall, the All-Region squad included 45 players from 18 colleges and universities.
The Bearcats achieved a team batting average of .330 this spring, while scoring 214 runs in 35 games (6.11 avg.). Willamette held opponents to a .190 batting average and won 16 games by shutout. WU took second place in the Northwest Conference with a 22-6 record.
Willamette ranked second in the nation with 2.91 stolen bases per game (102 total). The 'Cats were ranked #21 in the NCAA Division III Top 25 Poll released by the NFCA on May 6.
First Team All-West Region
Nikki Franchi (Sr., RHP/DP) completed an outstanding career with the Bearcats this spring. She attained a .423 career batting average with 150 hits in 355 at bats. In 126 career games played (120 starts), she scored 93 runs and registered 112 RBIs.
She smacked 36 doubles, seven triples and 18 home runs during her four years at WU. She produced a .715 career slugging percentage and a .499 on-base percentage. She was 25 of 29 on stolen bases.
This year, Franchi started all 35 games and batted .380, with 25 runs scored and 29 RBIs. She hit 10 doubles, one triple and four home runs. She was 4 for 4 with three runs, three RBIs, two doubles and a triple in a 12-2 win over Southern Oregon University on March 24.
During her career, she established or tied 12 single season offensive records and broke or tied seven career offensive records. Her Willamette records included batting average in a season (.518 in 2008) and a career (.423), home runs in a season (10 in 2008) and a career (18).
As a pitcher for the 'Cats, she achieved a 50-19 record (.725) with a 2.06 career ERA. She registered 565 strikeouts and had 18 solo shutouts and four combined shutouts. She pitched 462 1/3 innings during her career.
This year, she achieved a 16-3 pitching record with a 0.95 earned run average. She struck out 164 batters in 121 2/3 innings pitched, and limited opponents to a .153 batting average. She tossed nine complete-game shutouts, including two no-hitters. She threw a one-hitter and blasted a two-run homer in a 2-0 win over Linfield College.
She set a total of six single season pitching records at Willamette. She also earned career records in seven pitching categories. Her pitching records included victories in a season (19 in 2008) and a career (50) and pitching strikeouts in a season (203 in 2008) and a career (565).
In addition to being named First Team All-West Region in 2008 and 2009, Franchi also received Third Team All-West Region honors in 2007. She was selected First Team All-NWC in 2007, 2008 and 2009. She was the NWC Player of the Year in 2008. She claimed First Team All-America honors in 2008.
Franchi was chosen NWC Student-Athlete of the Week a total of eight times. She was named Player of the Week on March 17, 2008. She was chosen Pitcher of the Week once in 2007 (March 12), three times in 2008 (Feb. 25, March 10, April 7) and three consecutive times in 2009 (March 23, March 30, April 6).
Third Team All-West Region
LaShawna Holcomb (Sr, CF) started all 35 games and hit .364 this season. She contributed significant speed and power on offense, as she earned 11 doubles, six triples and one home run for a .600 slugging percentage. She scored 27 runs and was responsible for 21 RBIs. She was successful on 12 of 16 stolen base attempts. On defense, she made 31 putouts, registered three assists and committed no errors.
She was 8 for 12 in four games against Lewis & Clark College. She went 3 for 3 with a run, two RBIs and two doubles in the second game versus the Pioneers (12-0 win) on April 1. She was 3 for 3 with three RBIs and a triple in the fourth game of the series (6-0 win) on April 4. During the season, she had 13 games with two or more hits.
In four years at Willamette, Holcomb played in 141 games -- all starts. She earned a .337 career batting average and scored 100 runs for the 'Cats. She also drove in 96 runs and pounded out 33 doubles, 11 triples and 10 homers. A skilled runner, she converted 42 of 49 career stolen base attempts. She registered at least nine stolen bases each season, including 11 steals on 11 attempts in 2006.
Holcomb blasted six triples this spring to establish a Willamette single season record, while ranking 21st in NCAA Division III with 0.17 triples per game. She ranked second on the WU single season list with 36 RBIs in 2008. She set Bearcat career records with 454 at bats, 11 triples and 96 RBIs.
She ranks in the top five at Willamette on several additional career lists, including second place in runs scored (100), total bases (238) and hit by pitches (19).
Holcomb earned First Team All-NWC honors in 2009, and was selected Second Team All-NWC in both 2006 and 2008. She was chosen Honorable Mention All-NWC in 2007.
Sierra Lessel (Fr., OF) ranked first on Willamette's 2009 offensive chart with a .418 batting average. She led the team with 46 hits and 28 runs, while tying for first with 110 at bats. She belted seven doubles, two triples and two runs on her way to achieving 24 RBIs. Lessel played in 34 games for the Bearcats, including 33 starts.
She was 3 for 4 with a run, four RBIs and a triple in an 8-3 win versus Pacific Lutheran University on Feb. 11. She went 3 for 5 with two runs, five RBIs and a double in a 13-0 win over Whitworth University on April 18. She recorded two or more hits 14 times.
On defense, she registered a total of 27 putouts in the outfield. She earned a .966 fielding percentage, while committing just one error this spring.
Alex Watilo (Fr., RHP) achieved a 13-3 record as pitcher this season. She finished the year with a 1.20 ERA to go with 66 strikeouts in 105 1/3 innings. She limited opponents to a .229 batting average. She earned a high of eight strikeouts in an 8-5 win against Northwest Christian College on Feb. 22 and in a 4-0 victory against George Fox University on March 19.
She held seven opponents to just two or three hits, and allowed five or fewer hits in 12 of her 17 appearances. She tossed 14 complete games, including seven shutouts.
Watilo gave up only 18 earned runs during the season. She walked 12 batters and had just two wild pitches. She picked up two important NWC triumphs early in the season, helping WU defeat Pacific University 9-1 on March 7 and 7-1 on March 8.


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Updated at: 05/04/2013 6:35 PM
(AP) JAKARTA, Indonesia - Ernie Els shot a 4-under 68 Saturday to leave the South African star one stroke behind leader Daisuke Kataoka of Japan after three rounds of the Indonesian Masters.
Kataoka had a 66 for a total of 11-under 205 at Royale Jakarta Golf Club. Els is tied for second at 206 with Australia's Bernd Wiesberger, who shot a 67.
Canada's Richard T. Lee (72) is at 207 followed by Taiwan's Hung Chien-yao (70) at 208.
(Copyright 2013 by The Associated Press. All Rights Reserved.)


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Professor of Internal Medicine
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Email: firstname.lastname@example.com: Internal Medicine
BS, Zoology, University of Michigan, Ann ArborMD, Medicine, University of Chicago, Pritzker School of Medicine
Residency, Internal Medicine, University of Chicago Hospitals, Chicago, IllinoisFellowship, Committee on Clinical Pharmacology, University of Chicago, Chicago, IllinoisFellowship, Section of Cardiology, University of Chicago, Chicago, Illinois
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Dr. Rossen's research interests include coronary vascular control in human heart disease and new approaches to catheter-based coronary revascularization including intracoronary brachytherapy.
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At the suggestion of one Sandy Smith, (I'm never one to take credit for a good idea that wasn't mine) Who's still around and writing in other musical circles that you'd like to see approached to write a significant work for brass band?
At the suggestion of one Sandy Smith, (I'm never one to take credit for a good idea that wasn't mine) Who's still around and writing in other musical circles that you'd like to see approached to write a significant work for brass band?
Andi Cook: BBb Bass - Hebden Bridge
Composer in Residence - Skelmanthorpe
Find me at www.penninemusic.com and www.kirkleesmusic.co.uk
Got a piece you want arranging? Email firstname.lastname@example.com or tweet @13BallMusic to discuss...
Andi Cook: BBb Bass - Hebden Bridge
Composer in Residence - Skelmanthorpe
Find me at www.penninemusic.com and www.kirkleesmusic.co.uk
Got a piece you want arranging? Email email@example.com or tweet @13BallMusic to discuss...
Andrew Baker
"Others would be Lucy Pankhurst, Andy Scott for starters"
Lucy Pankhurst and Andy Scott have already written a number of significant works for brass bands. In Pankhurst's case, one of them was sufficiently significant to win her a British Composer Award last year.
If, on the other hand, by 'significant work' you really mean 'testpiece', I think you can probably rule Andy Scott out. Anyone present at the composers forum during the RNCM festival in January will have heard what he thought about treating music as a mere technical exercise. I agree with him.
Jim Yelland
Andy wrote a piece for Fodens, 'Battle of Barossa' - what a fabulous piece! Whilst not written as a 'test-piece' I am certain that it would be a corker if used. It is a demanding piece and would test most bands, but hasn't been written for that purpose. It is, though, very listenable to and full of wonderful sounds. The 'Hymn to Barossa' is just part of the piece and has been played independently of the rest of the work at concerts.
I suspect Lucy might be of a similar mind. She's on record as not being a big fan of contesting! I was privileged enough to play in the premiere and recording of In Pitch Black, for which Lucy won her award. Although the first half of it is fairly uncompromising, the context of the premiere (as the centrepiece of a concert commemorating a pit disaster in Westhoughton) and the way the other works around it were presented gave the audience a clear understanding of what Lucy was trying to do, and as a result the work was very well received.
For me, this is the way forward for band concerts and for "significant" works generally. Bands at the elite level are now so technically capable that only the most extreme difficulty really challenges them, and my impression is that the pool of composers prepared to compromise what they want to do in order to write a million notes a minute for 17 minutes is diminishing. I worry that we're unlikely to see pieces like Contest Music, Cloudcatcher Fells or Of Men and Mountains again, because the only serious commissioning is done by contests and they want ever more difficult fodder. That's not to diminish the musical challenge that all of those works pose, by the way. Simply an observation that if they were written for the Open or Nationals this year, they would be seen as nowhere near techncially difficult enough for that level.
[Paul McGhee, on the other hand, has already written a very interesting (and apparently rock hard) test-piece, and given that his influences appear to include Captain Beefheart and Frank Zappa rather than Eric Ball or John Williams, his works cast a refreshing new light on the concept.]
Andrew Baker
Forgive me, I used the term 'Significant work' because I prefer it to 'test-piece' - so any misunderstanding on that score is my fault.
Indeed it seems most of our significant repertoire comes via selection for contest-purposes, however I'm a firm believer that the truly great contest works stand on their own in a concert or receital context just as well - and that a significant work does not necessarily have to be written as a test-piece.....
Andi Cook: BBb Bass - Hebden Bridge
Composer in Residence - Skelmanthorpe
Find me at www.penninemusic.com and www.kirkleesmusic.co.uk
Got a piece you want arranging? Email email@example.com or tweet @13BallMusic to discuss...
In that other thread (Innovative new test pieces) some of the ideas of test piece innovation put forward included off-stage solos, quiet endings, use of two flugel horns and the requirement to produce farmyard animal noises (that last one was my suggestion and it was tongue-in-cheek, in case anyone was in any doubt!). Even if all these things hadn't been done decades earlier in other musical fields, I for one wouldn't regard them as being of any great significance.
Jim Yelland
I'm not saying that' a good thing - far from it in fact - I'm just saying that most of the more contemporary-influenced repertoire that makes it's way into our bandrooms at present does so via contest selection. Of course there are the exceptions, the bands who play at the Northern every year very often bring some interesting and challenging stuff that won't ever find itself on an areas list and long may it continue. But those bands are in the minority in that respect. Few of us who play at a lower level will have the opportunity or indeed the correct musical context to rehearse and perform such repertoire on a regular basis.
I'm not pretending contest repertoire is what mainly pushes the boundaries of brass music because - as you say - the format is restrictive as regards duration, instrumentation, level of difficulty etc. and therefore a certain amount of what the composer has to write is prescribed for them before they start, and that can be off-putting. What I'm saying is that though the musical ideas you outline in your post above may not occur in contest repertoire first, the music that brings a lot of them to the mainstream of brass banding is contest repertoire that builds on the ideas already established elsewhere.
Andi Cook: BBb Bass - Hebden Bridge
Composer in Residence - Skelmanthorpe
Find me at www.penninemusic.com and www.kirkleesmusic.co.uk
Got a piece you want arranging? Email firstname.lastname@example.com or tweet @13BallMusic to discuss...
I wholeheartedly agree with many of the comments made re test piece 'music', 'millions of notes', time restrictions, etc but I'm wondering where and when many of the current composers (already established or fledgling) will gain exposure for their compositions if they don't embrace contesting? The recent RNCM was relatively poorly attended, certainly not a sell-out, and there have been comments made elsewhere on tMP to suggest that some people don't attend because they don't want to hear 'squeaky' music! I have also turned down the chance to attend many concerts given by the top bands as I choose not to sit through 75% or more of the concert listening to populist drivel!
If not music festivals or concerts, then maybe good old-fashioned contests remains the best way to gain credence and acceptance by the wider brass band audience?
Elsewhere in tMP, someone commented on the quality and 'innovativeness' of some of the European set pieces over the years. Certainly, if I was given the choice of listening to a playlist of the European set pieces or our National pieces in recent years, I know which list I'd choose! A few of the works commissioned by bands to play as their own choice in the European have also been excellent as well as 'forward-looking'.
It wouldn't be the first composer to be 'pilloried' by the banding public for having foisted upon them a piece that is deemed to be 'unacceptable' - Songs for BL and Maunsell Forts are two obvious and recent examples - but composers just need to develop the thickest of skin and not read too much of what is written on here or any other forum! And anyway, how many great composers have written music that was 'acceptable' (or understood!) at the time it was written?!!
Whether we like it or not, contesting is likely to be here forever and I would urge all current composers to embrace it and keep banging on the door of the music panel to ensure that their music is heard by the widest possible audience.
Gordon (aka Statto)
re: RNCM - it was as well attended this year as it has been in every FoB I've been to, which is especially notable this year due to the financial climate.
Please visit my website - www.petemeechan.com
Got to agree with messrs Yelland and Baker on the prospect of attracting quality composers to compose music for contest use while the current narrow minded policy exists.
My own views on the current state of play are probably quite well known but for those who may be interested here is a link to a presentation I did for ABBA in January http://www.satiche.org.uk/abba/news1201.htm - the first half of which covers this subject.
... to throw a name into the ring - how about Iain Farrington ( pianaist / organist / composer) here is a you tube link to an example of his work http://www.youtube.com/watch?v=n1BI6...eature=related
Any thoughts ?
Brian Ferneyhough. He's quite famous for writing 'unplayable' music, but having spent an enjoyable week playing some of his stuff last year his sound world is quite a unique one. Rhythmic complexity is the game, but there is always an underlying lyricism to his works. On top of that, he's an ex-bander! I give you a picture of a good friend of mine at the beeb with one of his rather complex scores!
Duncan Wilson
MD, Kidlington Concert Brass, L&SC 1st Section Champions 2013!
As I'm at a loose end this afternoon, which pieces do I think are of real significance in the BB repertoire? Here are the main ones which come to mind:
Denis Wright's Cornet Concerto - the first full scale cornet concerto
Joseph Horovitz's Euphonium Concerto - the first full scale euph concerto which inspired dozens of others
A Moorside Suite (Gustav Holst) - the first original work by a composer of international stature
The Trumpets (Gilbert Vinter) - the first (I think) large scale choral work (c. 45 minutes) in which band, choir, bass and trumpet soloists are given equal prominence
Grimethorpe Aria (Harrison Birtwistle) - the first (I think) atonal work for band
Echoes (Tim Souster) - the first work for band and live electronics
Cataclysm (Paul Patterson) - the first (I think) work which features contemporary notation and aleotoric passages
Songs of the Aristos (Robert Lennon) - the first (I think) work for band and recorded electronics
Two observations. One, none of these pieces (as mentioned above) were written for contests. Two, the most recent of them (Echoes) is already 22 years old.
Jim Yelland


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Crystal Therapy is a non-invasive treatment used to facilitate healing. It uses vibrational medicine, based on the idea that when the patient wears or carries a certain gemstone, the vibrations from that rock can be felt by whoever is in close proximity to them. This is intended to re-align different energies within the body through the spiritual properties embodied in the stones. The crystal's perfect atomic structure acts as a template for the human body to follow, allowing the human energy field to change direction, absorb other energy, and focus on certain things more keenly.
Crystals have been used throughout history in conjunction with spiritual and physical healing. The mind, spirit and body used to have a stronger correlation than that allowed by modern medicine. When a person was sick in the past, they were treated holistically to find any imbalance in the aura. Using crystals to realign any imbalance dates back as far as 25,000 BC, where paintings depict ancient Egyptian therapies involving gemstones. It is also believed that the ancient civilisations of Atlantis and Lemuria may have used crystals for their healing properties.
There are many crystals that are used for their healing properties. Some examples are:
Amber – this comes in shades of golden yellow. This stone is believed to help love energy flow between people, and balance the wearer's self-esteem and confidence.
Selenite – this is believed to help align the wearer with their higher consciousness, and also help strengthen the spine, bone and muscular structures in the body.
Rose Lepidolite – this is a combination of lepidolite and mica, which results in balancing the electromagnetic field of the body.
Subilite – this is believed to activate the spleen, and balance the brain hemispheres.
Crystal Therapies are intended to help the body's natural processes in healing itself by acting as a blue-print of atomic perfection. The treatment usually takes place in a space that promotes peace and feelings of comfort in the patient, as the healer tries to emphasise the patient's self-empowerment. The patient remains fully clothes, and either lays on a couch or sits on a chair for the duration of the therapy. The healer will ask them to relax, with audio aids and visualisation exercises. Crystals are then placed on and around the patient. Sessions usually run for one hour.
Crystal Therapy is designed to give patients a relaxing experience, away from their usual life, that is similar to meditation. The patients often experience deep relaxation while the treatment is taking place, which boosts the immune system and makes the body function more efficiently, along with relieving stress. The therapy is also designed to help self-development, improve self-confidence, balance the mind, spirit and body, show the patient their life path, boost creativity, help spiritual development, improve communication, and increase the patient's feeling of empowerment. Although there are believed to be many spiritual benefits of Crystal Therapy, it is not a treatment recommended to replace orthodox medical advice.
In certain areas of the home or office, crystals are believed to inspire certain kinds of energy into the user's life. For example, assorted crystals placed in the entrance hall are believed to be warm and welcoming. Rose quartz, citrine, turquoise and clear quartz are recommended to promote harmony, cooling and healing in the living room. Yellow stones are believed to aid business lunches in the dining room, and blue and green stones are recommended for romantic dinners. Green and pink stones are believed to inspire love, and green stones, such as jade, are believed to facilitate restful sleep.
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Welcome to T.A. Flavell & Sons Ltd »
Thank you for a visiting our website
We are a Diesel Fuel Injection Specialist based in Stockton-on-Tees.
Some of our services include:
- Repair of Diesel fuel pumps and injectors
- Garage work to a large selection of Diesel Motor Vehicles
- Commercial marine and agricultural repair work
- Vehicle diagnostic work
- Fuel pipes made to pattern in house


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Recently I was going through the Andi Vax (a.k.a. SynSyn) mixing secrets series via YouTube. The video series is an excellent resource for producers with a few years of experience, unfortunatley his english is a bit broken so it's quite hard to follow what he's saying. What we are going to do today is create a fullon bassline insipred by Andi Vax, I'm not going to discuss indepth EQ'ing or mixing, as the end result should be used as a template that you can build on.
- Cubase (or any DAW that support Trilogy)
- Spectrasonics Trilogy
- QuadraFuzz (optional)
The End Result
I've added a bit of percussion to the bassline to give it some more dynamic.
Let's get Started
You can download the kick used in this tutorial from the link below, or use any kick that you like. The principles of the tutorial remain the same as we are not going be EQ the kick and bassline, which we will cover in another tutorial.
Open cubase and create a new project (empty settings) and save the project where ever you want. I usually create a new folder i.e. Psytuts_trilogy, and save the cubase project file in there.
Now that we have the project saved open your audio pool (ctrl+p) and import the psytut-kick.wav, or you can use any kick you want and import the file into the pool.
Set the project tempo to 145bpm and place a kick on ever beat for 2 bars.
Note: Without going into too much detail, it's a good rule of thumb to set your kick output db level to -10db at the start of any track. The kick is the backbone of your track and all your sounds are mixed around the kick. -10db leaves enough headroom for you to mix your sounds without clipping the master out, which should always be set to 0.00db.
Trilogy Fullon Bassline
Go to your VST instruments and launch trilogy (Cubase 5 will prompt you to create a new midi channel, click yes). Open the trilogy interface and load the following smaple patch from the trilogy preset library:
- Presets > Synth bass > Patches > Saw Basses > Juno 60 Big Saw > Juno 60 Sawtooth
- Turn your filter all the way uo to +127
Next create a 2 bar MIDI sequence Tip: if you have your loop set to 2 bars and double click cubase create a MIDI for you. on the trilogy channel and create your bassline midi pattern.
I made a bouncy 2 bar bassline in G.
Let's have a listen:
Hey, not too bad… We are still going to fine tune the sound a bit more, don't worry.
Next we are going to set the Attack, Decay, Sustain, and Release (ADSR) to the followring settings:
- Attack: 0 sec
- Decay: 0.419sec
- Sustain: -16.64db
- Release: 0.0001
- Set cut off to : 20.0Hz
- Set ENV to: +127
After we have applied the settings above the bassline should sound something like this:
As you can hear we have more control over the bassline and we've tamed a lot of those unnecessary highs. Some producers like to have a bit of a click in the high end of the bassline, I tend to add this by adding some QuadraFuzz to the effects chain.
QuadraFuzz (Optional)
As I mentioned above, I use QuadraFuzz to give a little more "crunch" to my basslines. There are various multiband distortion plugins out there, such as Ohmicide and Izotope's Multiband Distortion. In theory they all the work the same way, by adding distortion to your bassline.
I use the default settings in QuadraFuzz, adding a subtle distortion and gives it more punch.
With the QuadraFuzz distortion added:
As I mentioned in the start of the tutorial I added a bit of percussion to the bassline to give it some more dynamic. Obviously when you start crafting your track you'll keep listening to your track and work on your mix as you add more sounds. The idea of this tutorial is to show the basics to getting a good sounding bassline using trilogy.
Trilogy bassline with percussion added:
I hope you enjoyed and learned something from the tutorial. Please use the comments below for any discussions and questions.


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Vita researches, develops, manufactures and markets a range of honeybee health treatments and products worldwide. Vita has distributors in over 60 countries and a product range that includes Apistan and Apiguard for Varroa control; enhanced liquid feed Vita Feed Gold; AFB and EFB Diagnostic Kits; ApiShield wasp and hornet protection; Beetle Blaster SHB trap; Swarm Attractant and B401. With a rigorous and ethical approach to research and development into honeybee health, Vita has no commercial interests in crop pesticides or crop breeding that may be harmful to honeybees.
The fourth annual Vita photo competition is now open for entries to anyone with an interest in beekeeping or honeybees.
My Beekeeping Year is a fun, A4-sized seasonal chart for beekeepers to note down memorable events during their beekeeping year. Download it for free.
Could there be a connection between the location of Drone Congregation Areas and prehistoric monuments? Vita's Blogger has found another above an ancient earthwork.


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Prime Property
Blogging Houston real estate with Nancy Sarnoff and the Houston Chronicle real estate team.
Posts filtered on Tag
Micro Center planning new Galleria-area store
Construction will begin this month on this new Micro Center store to replace the one headed for the wrecking ball to make way for Amegy Bank's new local headquarters. Satterfield & Pontikes Construction is building the new electronics outlet, which will have 32,000 square feet and a 90-foot "tower" rising through the roof to display the store's sign, the […] [Read More]


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Local Author and Photographer Team Up For Book About St. John Valley
To Dottie Hutchins, the St. John Valley is more than a place, it's a feeling.
"There's something really special about the valley..it's a feeling of community, it's a feeling of the family connection that people have," she said.
Hutchins' love for the area started in Fort Kent – the first time she watched the Can-Am sled dog races.
"I literally stood there in tears at the start on Main St," she said.
The OxBow native loved the little town that could so much, she wanted to write a book about it. But before she could put pen to paper – she needed someone from the area to believe in her idea. She found that person in Lise Pelletier.
"It was like wow, she really gets it about the St. John Valley, she really really does..and I want to do this," said Pelletier.
Pelletier wanted to make the book bigger than just Fort Kent. And so Acadian Roots: Images of the St. John Valley was born. Written by Hutchins and translated into French by Pelletier — the book tells the story of the Acadians survival after being expelled from Nova Scotia and settling in Madawaska three decades later. And it wouldn't be complete without the 100 pages of pictures from the county's legendary photographer Paul Cyr.
"He likes to just say that he has a knack of being at the right place at the right time…but he thinks it all out..he knows where the sun is going to be, he knows where the moon is going to be, he knows exactly what he wants to shoot and he's there at daylight, he's there at midnight or whenever it takes to take the picture,"said Hutchins.
Cyr captured more than 27 towns on both sides of the river. He himself also happens to be a descendant of one of the original Acadian settlers. His family is traced genealogically through the book. The rest of the book is filled with stories, sayings, and recipes that help make Acadians who they are.
"The name Acadia does not exist on any piece of land so it becomes even more important for them to hang on to other elements of culture and identification," said Pelletier.
Hutchins' goal is for those still in the Valley and those who have left, to find themselves inside the pages.
"People are doing that – they're opening the book up, and they're going 'there's my house', 'there's my neighbors'," said Hutchins.
Taking those of Acadian heritage back to their roots – one story, one picture, one memory at a time.
Hutchins and Cyr are holding a book launch tomorrow at 3:30 at the Acadian Archives in Fort Kent…they'll also be having a signing at TAMC on July 17th. It's also available at www.dottiehutchins.com.
Category: News


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スーパーロボット・マッハバロン Mach Baron Talker
Something special arrived in the mail last week.
Mach Baron holds a special place in my robot psyche. This Masudaya talker represents the classic primitive steampunk qualities that I love about the design and distills them into a toy, that to me is one of the most beautiful and elegant in it's simplicity.
Feel the funk personified.


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Free Tesco Photo Voucher & Discount Codes - August 2015
Receive an e-mail when a new Tesco Photo voucher is added!
Expired Tesco Photo Voucher & Discount Codes
Get an overview, which Tesco Photo discount codes have been available recently.
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Further Links
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Contact Information
Tesco Customer Service Centre,
Baird Avenue
United Kingdom
Telephone number: 0800 0481806


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SFMOMA membership provides access to new art experiences around the Bay Area as we build the new SFMOMA, opening in 2016. Join today to explore our exhibitions and events in a whole new way -- or share the experience with friends and family with a gift membership. Please select a membership level, then click the "Submit" button below.
Please call to access senior discounts, which apply to all persons age 65 or older by contacting the Membership Department at 415.357.4135. Senior discounts are available at the Individual and Dual levels of membership.
Members at the Benefactor level enjoy:
Please note, your gift recipients' membership will be active immediately for one year.
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