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33rd Annual Prouty Raises More Than $2.6 Million to Fight Cancer
Dollars raised support innovative cancer research and care at Norris Cotton Cancer Center
Nearly 6,000 registered cyclists, walkers, rowers, and golfers (and 1,300 volunteers) gathered in Hanover today for The 33rd Annual Prouty, northern New England's largest charity fundraiser. People from all over the country come together every July to fight cancer, while spending the day in activities that promote their own health. Sunshine and comfortable summer temperatures contributed to the festive mood as participants walked or cycled through neighborhoods and roads in New Hampshire and Vermont, rowed on the Connecticut River, or took to the links at the Hanover Country Club.
After finishing their events, participants returned to Hanover's Richmond Middle School to join the all-day Prouty party. They passed through a huge balloon-covered arch at the finish line to enter a field where thousands of people swarmed the food tent, waited patiently for massages, and checked out cancer research breakthroughs at the Discovery Tent. Hungry participants and volunteers lined tables filled with 4,000 burrito bowls and wraps, 1,700 hot dogs, 1,400 burgers, 400 pizzas, 3,000 cookies, freshly cut fruit, and other assorted healthy—and not so healthy—foods. Other tents offered live music, shaded seating, team gathering places, and kids' activities.
The Prouty offers physical activities for everyone: from elite athletes to recent cancer survivors. This year, spandex-clad cyclists who tested their endurance on a two-day 200-mile route from Manchester, NH, mingled with the lively octogenarian members of a "Walkers on Walkers" team from Kendal at Hanover. Many stopped to tie yellow ribbons to the ropes at the finish line, each bearing names and messages for loved ones, a gesture that honors all who have been touched by cancer.
Displays in the Discovery Tent highlighted the scientific research at Dartmouth-Hitchcock Norris Cotton Cancer Center (NCCC) that has been supported by Prouty funds. Posters described recent discoveries and cancer prevention findings, and researchers were on hand to show that Prouty dollars make a difference, explaining how their work is being translated into clinical practice.
"The Prouty offers grassroots pilot funding for scientific advancements that can change the shape of routine clinical cancer care," said Mark Israel, MD, director of NCCC. "Researchers use Prouty funds to develop their ideas and attract large grants. More than $1.2 million dollars in seed grant money supplied by The Prouty over a five year period has generated $20 million in external support for our cancer research."
The Prouty also funds patient services such as massage, writing-for-healing workshops, support groups, and patient libraries. These otherwise unfunded services make a huge difference in the lives of cancer patients and their families.
This year, people also visited the "tomo van," a traveling educational display of tomosynthesis, a new 3-D mammography technology. Recent studies have shown that 3-D mammograms can detect invasive breast cancers earlier and reduce the number of "call backs" needed to clarify questionable screening results. Dartmouth-Hitchcock Medical Center has been a pioneer in 3-D mammography research, and was the first in New Hampshire to screen patients with the technology in 2011.
Participants in the 33rd Annual Prouty raised more than $2.6 million for cancer research and patient services at Dartmouth-Hitchcock Norris Cotton Cancer Center.
"Everyone knows someone who has been affected by cancer and it can make you feel helpless," said Jean Brown, event director and executive director of the Friends of Norris Cotton Cancer Center. "The Prouty is a way to challenge yourself physically and feel good about actually doing something about cancer."
July 15, 2014
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subset: commoncrawl


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CSA 2010 - What is the Fatigued Driving BASIC?
While this BASIC (Behavioral Analysis and Safety Improvement Category) in the Comprehensive Safety Analysis 2010 (CSA 2010) program does track drivers that are operating while fatigued (or ill), what is more important is that the Fatigued Driving BASIC is tracking, measuring, and evaluating carrier and driver compliance with the hours-of-service regulations as well.
What goes into the Fatigued Driving BASIC?
The Fatigued Driving BASIC uses hours-of-service violations noted on roadside inspection reports to calculate driver and carrier performance. This has nothing to do with the driver being placed "out-of-service" or receiving a "citation" or "ticket." Citations are a totally different matter and involve someone paying a fine for the violation. To sum this up, if a violation of the hours-of-service regulations is noted on a roadside inspection report, the violation will be entered into the driver's and carrier's Fatigued Driving BASIC in the CSA 2010 data system.
Examples of violations that will be placed in the Fatigued Driving BASIC include operating a commercial vehicle when ill or fatigued, operating over hours, general form and manner violations, no log when required, false logs, log not current, and driving after being placed out of service for an hours-of-service violation.
Tracking and measuring
Whenever an hours-of-service violation is placed into the system, the violation is "valued" in the driver and carrier Safety Measurement Systems (SMS) using severity and time weighting. The severity weighting is based on the violation's relationship to crash causation (operating a commercial vehicle when ill or fatigued has a severity weight of 10, which is the maximum, while using an automatic onboard recorder that does not display information correctly has a severity of 1, the minimum). If the violation led to the driver being placed out of service, the severity weight is increased by two.
Time weighting involves placing more value on violations that have happened recently. All violations remain in the carrier's data for 24 months (36 months for drivers), but a violation's "value" reduces over time due to the time weighting system. Events that occurred in the last six months are given a time weight of 3, while events that took place between 6 and 12 months ago are given a time weight of 2, and anything that happened over a year ago is given a time weight of 1.
To determine the "value" of a violation, the total severity weighting for the violation (the predetermined severity weight of the violation plus two if the driver was placed out of service) is multiplied by the time weighting to determine the "value" of the violation in the SMS.
Scoring carriers
If a carrier has more than three driver inspections or one that notes a violation of the hours-of-service regulations, the value for all violations is totaled, and then the total is divided by the "time weighted relevant inspections." The "time weighted relevant inspections" are the driver inspections the carrier has undergone (good and bad) that have been "time weighted" using the same time weighting discussed above.
This "normalizing" process generates a BASIC Measure (violation value per inspection) that allows all carriers to be compared to each other.
Once a carrier's BASIC Measure has been determined, the carrier is then compared to other carriers in its "Peer Group." The Peer Groups are based on the total number of driver inspections. Carriers with 3 to 10 inspections are compared to all other carriers with 3 to 10 inspections, and then "Percentile Ranked" inside their Peer Group based on their BASIC Measure. The carrier with the lowest BASIC Measure in the Peer Group is ranked at 0, while the carrier with the highest BASIC Measure is ranked at 100. All other carriers in the Peer Group fit in between based on their BASIC Measure. This percentile ranking is the carrier's actual "BASIC Score."
If a carrier's BASIC Score is above a predetermined threshold, an intervention will be triggered. Interventions range from a warning letter to a full Compliance Review. The basic principle is the worse the carrier's score, the more severe the intervention.
Scoring drivers
Drivers' Fatigued Driving BASIC Measures are determined by the same process. First, all violation values in the Fatigued Driving BASIC are totaled and then divided by the "time weighted relevant inspections."
The BASIC Measures are then percentile ranked in Peer Groups based on the number of driver inspections the driver has undergone. Within each Peer Group, drivers are assigned percentile rankings from 0 (representing the lowest BASIC Measure) to 100 (representing the highest BASIC Measure). This Percentile Ranking is the driver's BASIC Score. Two points about the driver's BASIC Measures and Scores: First, these are going to be confidential; no one will be able to view them but FMCSA officials and investigators, and second, the driver interventions are not directly based on the driver's score. Drivers found with high scores during other enforcement activity (such as during an audit) will be subject to interventions.
How do I keep this BASIC Score low?
The simple answer is to make sure your drivers do not receive hours-of-service violations or operating-while-fatigued violations on roadside inspection reports ─ especially the "high severity violations." The high severity violations in this BASIC include operating after ordered out of service for an hours-of-service violation, false logs, operating over hours, log not current, not having a log when required, failing to have the previous seven days, and failing to submit logs within 13 days.
However, avoiding violations will require several actions, starting with doing initial training on the hours-of-service regulations and best practices, and emphasizing in the most straight-forward way that your company requires drivers to comply with the hours-of-service regulations (including keeping their logs current and truthful). This should then be followed up by an ongoing training and communications program to make sure the drivers do not "forget" what they need to do (and what you want them to do). Next, you must make sure that your driver supervisors know and enforce the hours-of-service regulations.
Finally, track driver and supervisor performance and take corrective action when necessary. Tracking drivers means auditing. Tracking supervisors involves aggregating the performance of their drivers to attempt to locate supervisors that may be creating an environment where noncompliance is expected, encouraged, or required. If a problem is found, the driver or supervisor should be immediately retrained. If the problems continue, the next decision needs to be "Do we want this person working for us?"
It is far better for you, as a company, to locate the problem drivers and supervisors and make corrections, rather than waiting for the FMCSA to locate your problems using CSA 2010.
To sum it up, drivers and supervisors need to understand that when a decision must be made between hours-of-service compliance and anything else, they are to decide on the side of compliance.


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Mao Asada of Japan rebounded from a disappointing short program to claim the gold medal in the ladies event at the 2010 Four Continents Figure Skating Championships being held in Jeonju, South Korea, this week. Japan's Akiko Suzuki took the ladies silver medal and Caroline Zhang (USA) captured the bronze.
In ice dance, Kaitlyn Weaver and Andrew Poje of Canada danced to their first gold medal in an ISU Championship. The silver went to Allie Hann-McCurdy and Michael Coreno, also from Canada. Madison Hubbell and Keiffer Hubbell (USA) earned the bronze. It was the first medal at Four Continents for all three couples.
In the pairs event, Dan Zhang and Hao Zhang of China skated to the gold. Keauna McLaughlin and Rockne Brubaker took the silver medal, and the bronze went to Canada's Meagan Duhamel and Craig Buntin.
"I am satisfied with today's performance and I think it will be [a] good [step] towards the Olympic Games," Asada said.
Third after the short program, Asada scored a season best 126.74 points for her free skate (68.58 element score/58.16 program component score) and an overall competition score of 183.96. It was the second time Asada won the Four Continents crown. She first earned the title in 2008.
Skating to "Bells of Moscow" by Sergei Rachmaninov, Asada nailed her two triple Axels as well as four triple jumps. She also performed difficult spins. "I am very happy that I tried two triple Axels, and to have done them will help me at the Olympic Games," she said.
The leader after the short program, Suzuki performed a lively free skate to "Westside Story." She landed six triple jumps. However, her Lutz was a bit shaky and she also popped a loop. With a score of 114.84 points (62.20/52.64), the reigning Grand Prix Final bronze medalist ranked second in the free skate and slipped to second overall with 173.72 points.
It was Suzuki's first medal at an ISU Championship. She had finished eighth in her two previous appearances at Four Continents (in 2002 and '09). "This is the first time I was first after the short program in a [major] international event, but I didn't want to think about that. I just wanted to perform 'Westside Story.' I missed one jump, and there were some little mistakes, but stayed focused until the end. That was good," the 24-year-old said.
Zhang completed five clean triples and strong spins in her routine to "The Nutcracker." Her only mistake came when she stumbled on an under-rotated triple Lutz. The 16-year-old earned 105.68 points (56.80/48.88) and fought her way onto the podium with 160.58 points.
"I think it was a pretty good overall performance. The mistake on the Lutz was surprising and confusing. I didn't even rotate at all," she said. "That could have been a lot better, but I'm really happy with how I placed here. I didn't expect to be so high. It's a pretty good comeback after how I skated at nationals (where she placed 11th). I didn't expect any international assignments after nationals. I tried to make the best out of the opportunity and I think I did pretty well."
Amanda Dobbs (USA) dropped to fourth after falling on a triple flip attempt (158.23 points). Haruka Imai completed a successful day for team Japan by finishing fifth in her international senior-level debut (155.29 points).
Weaver and Poje delivered a passionate performance to "Phantom of the Opera." The program was highlighted by beautiful lifts. The Canadians were awarded a season best 85.07 points and stayed on top with a total of 166.16.
They stepped on to the podium at an ISU Championship for the first time since they took the bronze at the 2007 ISU World Junior Championships in their first year as a team.
"We were very happy with our free dance today. Our goal coming into the free dance was to have a joyous performance and try to overlook anything that felt off," Weaver said. "We just wanted to show this program the best we could [since it is] the last time we will be doing it for an audience. I think we accomplished that. We also raised our technical mark from yesterday, and that was also a thought throughout the program."
Hann-McCurdy and Coreno danced to "La Strada." They gave a crisp performance to score 81.46 points, which was a season best as well. Overall, they accumulated 159.56 points.
"I just have to thank the fans today, because right from the start of our program they got into it and they started clapping along. I can't tell you how much that helps. The energy was high," Coreno explained.
Hubbell and Hubbell produced an upbeat dance to a medley of songs byLenny Kravitz. "It felt like a great way to end the [senior] season. I think we're just excited to go into our next events," Madison Hubbell said.
Keiffer Hubbell stumbled on the synchronized twizzles, but the brother-and-sister team nevertheless earned a season best 77.69 points and grabbed the bronze medal with a total of 154.20 points (they ranked fourth in the free dance).
"We just wanted to skate our program well and I think I did that. I had a mistake in the twizzles, but other than that it was a strong skate for us," Keiffer Hubbell said.
Xintong Huang and Xun Zheng (CHN) slipped to fourth. They had two deductions -- one for a fall Huang took and on an extended lift (150.38 points). The reigning World Jjunior champions Madison Chock and Greg Zuerlein (USA) came in fifth (148.92 points).
Zhang and Zhang gave a season best performance to "Sheherazade." "We're very happy to have won with a good performance today and we hope this will us help at the Olympic Games," Dan Zhang said.
Their routine featured a double Axel-triple toe loop combination, side-by-side triple Salchows, big triple throws and difficult lifts. The reigning World silver medalists earned 126.36 points (69.00 element score/57.36 program component score) and won their second Four Continents title with a total of 192.22 points.
"The Olympic Games are coming up soon and this competition was a very important practice for us," Dan Zhang said. "Hopefully we'll skate even better in Vancouver."
Skating to the "Slumdog Millionaire" soundtrack, McLaughlin and Brubaker earned 105.61 points (53.85/53.76) and scored 170.17 points overall. "I thought our program was OK today.," McLaughlin said. "We had two major mistakes, but I'm glad that we kept the component side of the program up, and the things we did, we did well. I'm happy that we were able to fight through."
The Americans completed a triple twist, double Axel and throw triple Salchow, but also had to overcome two errors when she fell on their side-by-side Salchow and the throw triple loop.. "This competition is pretty hard for us, making a quick turn-around from nationals (where the placed fifth after winning the title in 2008, and '09), and we are constantly reminded that we are not on the (Olympic) team. We wanted to come here and show what we are made of," McLaughlin said.
Duhamel and Buntin were ranked fourth in the free skate with 101.12 points (51.80/50.32), but overall held on to third place at 158.02 points. "We had few pretty big technical mistakes," Buntin admitted.
The Canadians aborted a lift midway through the routine and she missed the throw triple Lutz in their program to a selection of music by Pierre Porte. They did have some nice highlights as well, including a triple toe-triple toe sequence to open the routine. They also hit a solid throw triple loop "Aside from the technical mistakes we're proud of ourselves for being able to get up from each one and keep going through the program and perform the way we did," Buntin said. "We're happy with our fight out there."
Caitlin Yankowskas and John Coughlin came in fourth (157.49 points), just edged out of the podium and Narumi Takahashi and Mervin Tran (JPN) were fifth (151.83 points).


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Scrabble word: ROMP
In which Scrabble dictionary does ROMP exist?
Scrabble (US/Canada)
(8 pts)
Scrabble (UK)
(8 pts)
Official Scrabble (OSPD)
(8 pts)
(9 pts)
Words with friends
(10 pts)
Hanging with friends
(10 pts)
(4 pts)
Lexulous (US)
(8 pts)
Definitions of ROMP in dictionaries:
- noun - an easy victory
- noun - a girl who behaves in a boyish manner
- noun - gay or light-hearted recreational activity for diversion or amusement
- verb - play boisterously
- verb - run easily and fairly fast
- verb - win easily
- To play or frolic boisterously.
- To run or advance in a rapid or easy manner.
- To win a race or game easily.
- Lively, merry play; frolic.
- Lively or frolicsome play that encompasses lovemaking.
- One, especially a girl, that sports and frolics.
- A rapid or easy pace.
- An easy win.
- verb - to play boisterously
There are 4 letters in ROMP: M O P R
Scrabble words that can be created with an extra letter added to ROMP
All anagrams that could be made from letters of word ROMP plus a wildcard: ROMP?
Scrabble words that can be created with letters from word ROMP
Images for ROMP
Other Resources
SCRABBLE is the registered trademark of Hasbro and J.W. Spear & Sons Limited. Our scrabble word finder and scrabble cheat word builder is not associated with the Scrabble brand - we merely provide help for players of the official Scrabble game. All intellectual property rights to the game are owned by respective owners in the U.S.A and Canada and the rest of the world. Anagrammer.com is not affiliated with Scrabble. This site is an educational tool and resource for Scrabble & Words With Friends players.


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61 members
A new North American juried exhibition, "America's Parks Through the Beauty of Art" will be accepting applications from August 31 to October 15, 2012. For more information follow the link.…Continue
Started this discussion. Last reply by Christine Peltzer Jun 1, 2012.
2012 Franklin Carmichael Landscape Juried Art Show- July 3 to August 18, 2012 at the Orillia Museum of Art & History, 30 Peter St. South, Orillia, Ontario. This show is open to All-Ontario.…Continue
Started this discussion. Last reply by Jennifer Smithwell Aug 8, 2013.
GTA Chapter Chair
Posted on September 21, 2012 at 11:30pm 3 Comments 4 Likes
Great times people! It was awesome to see familiar faces and meet new artist at our annual show.
We had tons of viewers come by on Saturday to check out the artwork displayed and to vote for the plein air challenge.
Here are some pictures from that day. Thanks to Ingrid who took them!
We had ten artist join in the challenge, in only a couple of hours everyone had their paintings finished and up on the easels ready for…Continue
Posted on August 19, 2012 at 10:23pm 0 Comments 1 Like
Posted on July 29, 2012 at 10:52pm 5 Comments 7 Likes
Posted on March 22, 2012 at 8:04am 3 Comments 2 Likes
I just came back from a business trip in Asia. It was my first time in China and Korea. The weather was lousy, wet, cold and bleak almost every single day. I brought my plein air pack and I hardly got to use it. Regardless it was an awesome trip, made new friends, got to see an amazing part of this planet Earth and most of all I had plenty terrific food. Food! Ahhhh, they can cook well. When I had some free time and it was not freezing I would try to go out and…Continue
Dalibor - Thanks for your support . Have yet to get "at it" because of other commitments but will bear your kind offer of help in mind.Regards Peter
How do you join the Toronto Chapter - and thanks for letting me know.
Master of light! I am a huge admirer.
With the best intentions to paint, life threw a curve ball and there is no painting for me this weekend. Hopefully, at this moment, you are in a lovely spot, sheltered from the elements, painting your heart out.
Hey Dalibor. Thanks for your friend request. I have not been out to paint with anyone yet. I am just learning and didn't want to join the others as I didn't want to slow them down. I thought I might go out on my own and try to figure some things out, and having done so, then join the others.
At this point I am still trying to figure out how to manipulate the paint and brush properly, learn about values...So, I've got a long way to go
Anyway Dalibor, it was good to hear from you. I hope your Toronto Island paintout went well. I'd love to see some photos of everyone's work.
I look forward to getting together to paint at some point.
Thanks Dalibor.
The summer is going great so far. Stratford and area is a terrific place to paint.
So much material. And a a great art town. The level of quality is very high generally across the board. In all media.
We are the highest point of land in Southern Ontario so we get a lot of xtreme weather patterns breaking overtop of us---cloud banks, rain,wind, sunrises, sunsets etc.
Hey are you familiar with Marc Hanson's pastels?(And his oils!) Love his color chops.
I've never tried pastels- don't like the dusty dry feeling between my fingers and then theres all that toxic spray fixative and framing under gla$$ thing...
Hey how did the Toronto Island PO go?


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Week in Review: So Much LA We're Growing Palm Trees
October 20, 2013 · Print This Article
The podcast this week features Duncan live from LA! talking with artist Sarah Conaway. Conaway (b. 1972 York, Pennsylvania) makes seemingly straightforward photographs that invite us to think magically, imbuing mundane objects with mystery and potential. Her recent photographs—printed in a range of sizes and primarily in black and white, with an occasional work in vibrant color—capture a series of actions set up by the artist in her the studio. Beyond the objects or materials that they portray, they express a residue, aura, or presence that we sense but do not necessarily see depicted. All that and more here.
Jesse Malmed kicked off the week in blogland with a mix tape of video clips:
Is this ok? Is this a responsible use of this privilege? How much does Bad at Sports pay its writers? Its readers? I'm like you, reader. I'm in the weeds. I'm in the thick of it. Everyone is paying everyone else too much. Our government runs smoothly but we don't have any use for it. There are no trains and no one runs for anything, not even office.
Joan of Arc's Tim Kinsella sat down with me to talk about his participation inEvery house has a door's latest work, Testimonium. When asked if playing live music in a performance context felt different from playing at a music show, Kinsella replied:
Oh yeah. All the rituals of live music performance are undermined and we love it. The whole catharsis-spectacle is frustrated and maybe we're grizzled old cynics to find that liberating, but I promise that Testimonium will equally frustrate those expecting a rock show as it will irritate those expecting a performance piece. We've done 5 weeks of Joan of Arc regular rock club shows this fall. I just got home yesterday. And I am aware that I internalize certain shortcuts or tricks to keep count. Muscle memory is subconscious and essential — my weight is on my left foot for the 2 and 4 of this song and my hip knocks out on this accent. But the potential promise of a rock show is that everything can blow apart to smithereens at any second. It remains almost constantly on the verge of falling into chaos. Testimonium on the other hand is so controlled. The quiets so drawn out. The blocking so precise. It removes that essential sense of tension and by simply reframing how a band is set up on stage, the entire experience gets broken down to its core components. It's thrilling and perverse while also so simple.
I reposted a great interview with Wangechi Mutu, via Mother Jones:
"The power for me is to keep the story of the female in the center, to keep discussing and talking about women as protagonists,†Wangechi Mutu said in a video introduction to A Fantastic Journey, her recent exhibition at Duke University's Nasher Museum of Art. For the casual art fancier who happens upon it, as I did this summer, the exhibition was like embedding in Mutu's mind: Black globes of crumpled plastic hang on strings suspended from the ceiling, a looping video of the artist devouring cake flickers on the floor, and triumphant warrior women occupy magnificent collage landscapes on the walls.
Thinking about the glutinous art market, Thomas Friel reflects on Lady Gaga and Koons:
Koons is in this rare position of being accessible to everyone but only collectable to a small handful of the richest in the world. As Carl Swanson recently stated in Vulture: "Koons can be the art world's great populist artisan, even as he operates as its most exclusive salesman.†Everything about the work is right there, so there's nothing to get. It is perfection and simplicity, the kind of thing that mocks you for looking too hard at it. Since critics are trained to look hard at things, they tend to hate Koons. And its boring to write about art just by describing what it looks like, so people tend to write about his career, his collectors, his record breaking prices at the market, his studio and the process of making his work. This only helps to build a persona around the artist, giving him the superstar flair that these major collectors are after. (And with this week's art fair, London's Frieze officially bigger and more bloated than ever, superstars have never been more in vogue.)
Sarah Margolis-Pineo posted a conversation with art documentarians, Half Cut Tea:
A recent trip through LA gave me the opportunity to catch up with Matt Glass and Jordan Wayne Long, the two collaborators behind Half Cut Tea, an ongoing documentary video series featuring emerging artists across the US. Now in its second season, Half Cut Tea has traveled from Boston to Los Angeles and many cities in between, featuring soon-to-be-known artists including Jennifer Catron and Paul Outlaw (New York), Wesley Taylor (Detroit), Beverly Fre$h (Chicago), and Sean Joseph Patrick Carney (Portland). Both Glass and Long have temporarily suspended their individual art making to pursue this collaborative endeavor, which they plan to continue into a third season and beyond. Their motivation is two-fold: firstly, to bring visibility to a generation of younger makers who often are operating outside of traditional art centers; and secondly, to demystify the idea of the professional artist as an unattainable über-genius. Half Cut Tea brings a bit of day-to-day reality to the processes of art making, pursuing artists in their everyday habitats, which, in Glass and Long's experience, can include calcite mines and jumping out of planes in parachutes. According to Long, the project won't end until art making is perceived as an accessible occupation, unencumbered by the exclusivity and mind-numbing static of contemporary art speak.
From the world of performance, Hannah Verrill interviewed Michal Samama. When Verrill asks about the dynamic interplay between audience and peformer, "Would you say that there's a kind of feedback loop in place? A set of information that you receive from your audience by way of their presence, in a specific sense, that comes to influence how you are performing?" Samama replies:
Yes, or you could think of it as a dialogue. It's about questioning this idea of me as the performer being the authority. Or it's also about questioning what is your (the audience's) role here. I started to think more of this idea of performance as a collective event or social event. This is what is unique for performance. It puts into a laboratory this idea of the social event. I do remember one work from a few years ago when this question came up of if I wanted to take my gaze out into the audience or still be in this internal dance-y gaze, and at that point I chose not to. I was too afraid or I didn't know what to do with it. But now it's different, and I've started to make it more and more what I do. I'm interested in this kind of transformation of images happening during the performance. Part of the transformation of course is the homework that I worked on in the studio—the choreography—but of course part of it is like what you're saying, the feedback. So in the end there are many more transformations than what I initially thought of because of the presence of the audience.
Proximity 11 got 2 shout outs this week — here and here — because we love art magazines. Especially ones dedicated to food.
Jacob Wick reflects on meaning via Juliana Paciulli's recent solo show at Greene Exhibitions, "Are you talking to me?â€, Andrew Choate's poetry, LA snickers, Ann Hamilton, and Agamben's interpretation of gesture:
It has been important, certainly since the turn of the 20th century, to ask what things – not just art, everything – mean. What does this abstract painting mean? What does this realist short story mean? What does this rock mean? I learned at the Santa Monica police station, from an incredibly chatty technician who gently rolled my finger on the scanner, that the print on my left index finger is of the sort that less than 1% of people have. I asked, laughing, but not really, I felt pretty serious about it – it was my first thought – "what does it mean?†She said, "oh, probably nothing.†If I look it up online – I think it was a double loop or a Peacock's eye or maybe a tented arch, I wish I remembered or wrote it down, but I didn't – it might mean that I'm a perfectionist, that I'm indecisive or diplomatic, that I'm independent and inflexible, or that I am "fiery.â€
The trouble with asking what things mean is that they often mean nothing, and those things that don't mean nothing often could mean many things along a varying scale of possible validity.
To5 5 Shows-to-See by Stephanie Burke!
Juliana Driver wrote about the Empire Drive-In (which closes tonight btw):
Empire Drive-In is a full-scale, twelve-night, outdoor cinema and social spectacle. Hosted by the New York Hall of Science, and brilliantly programmed and designed by artists Todd Chandler and Jeff Stark, this project is an ambitious statement on upcycling and participatory culture seen through the defunct theater of suburban drive-in entertainment.
On the surface, Empire Drive-In has plenty of nostalgic charm, but it doesn't take long to see how the project redirects retro sentimentality into much more nuanced conditions of creative re-use. Made entirely from re-animated waste, including cast-off lumber and 60 wrecked cars salvaged from a Brooklyn scrapyard, the project's junk aesthetic offers up a critical interrogation of our culture's throw-away mentality, and the tremendous value that can be recaptured with artistic reconsideration and a little bit of elbow grease. Chandler and Stark offered their impressions this conceptual overtone:
Never fear, Saturday's endless opportunities are here.
Sunday closed out with reflections on LA's comedy scene; Adrienne Harris wrote about two new productions, The Virginia Slims' Ronnie and Lorraine's Last Reunion Show IV, and Ithamar Enriquez's Ithamar has Nothing to Say. Conclusion?
…I've had to accept that L.A. is not just a film town where people like me are churning out gritty independent drug movies and big budget space films, but there are also tons of people making thoughtful committed comedy shows as well. This is probably not a surprise to anyone else, I mean, Andy Dick came out of The Second City Hollywood so… But for me, I feel lucky to have found some comedy to balance out the darkness of my Breaking Bad addiction.
Week in Review: The World is Your Digital [Diji] Oyster
October 13, 2013 · Print This Article
"Art world badass, gallerist, curator, writer, swell mofo" Mat Gleason brings in Episode 423 of the Bad at Sports podcast; during the show, people are called Ninny! Art school is shit-talked! TMZ! Lawsuits! Artists traded like sports players. All that and so much more here.
The week began with Edition #18 of What's the T? from our very own gossip columnist, Dana Bassett. Bassett begins with good advice about "How to stay relevant through the weekend", the weather report, the failure of Aiken's Station to Station, and Feminism in digital art. As Bassett says, "Just some light reading to distract you from the shutdown and Miley Cyrus."
For the first time in history, says Nicholas O'Brien, Phillips organized an art auction for Digital Art."The auction, entitled Paddles On!,  is of particular significance because it is not only the first auction for Phillips, but also the first primary market auction to occur at any major international auction house to only feature digital art works" :
All coincidence of overlapping interests and timing aside, what Paddles On! presents to audiences – both familiar and new – is that artwork made and distributed through digital networks must now become more vocalized and represented within a contemporary art market. Many recent signposts have been pointing to this moment – the heated conversation around Rhizome's booth at the Armory in 2011, the outrage of artists and academics railing against Claire Bishop's misinformed "Digital Divide†essay in Artforum, the development of the Art Micro Patronage project by The Present Group, the selling of digital art by AFC at NADA this past year, just to name a few. But now it is happening, and already over half of the works have been bid on through Paddle8 – a sign in and of itself that now seems to be the time.
Kevin Blake interviewed Carl Baratta in anticipation of Baratta's upcoming show at Sidecar Gallery. When asked about his relationship to abstraction, Baratta replies:
I was trained initially as an abstract artist. It's kind of weird because traditionally an art student gets trained in figurative stuff and then they are allowed to meander into other modes of painting. In undergrad, I had a bunch of former students of NYC AbEx painters as my professors (students of Al Held for example). The figurative painters I did end up taking taught me how to find and extrapolate forms from what was around me. So basically literal abstraction.The work I'm doing now is me backing out of pure abstraction and color field painting into something more figurative. Navigating between these two things is a major theme in my studio. Paint is always first to me even when I'm trying to figure out the shape of a nose or a chicken, so it naturally is always first and foremost in my mind. I can't help it, I was brought up that way.
This week Jeffrey Songco interviewed Lacey Haslam of Oakland-based BLOCK Gallery and artist Kari Marboe "regarding their newest project titled Latham Memorial Fountain Unveiled." When asked what "site specific text based work" was, Marboe replied:
Artworks designed conceptually and physically for a particular space, and in my case made with text. For example, during our thesis exhibition I worked with Dena Beard to find a public and easily accessible spot outside of the Berkeley Art Museum to place a piece. She suggested taking over one of the panels outside of the museum on Bancroft which is normally used for internal advertising on upcoming exhibitions or events and found a 4'x4' panel that was available during the time we needed. So I wrote a piece that talked about being exactly in that space, the motions of coming in and out of the museum, in poem form so people could sit down on one of the benches across from the work and enjoy it for a while. The label for the work was displayed right as you were walking out of the museum, so people were stopping and asking, "where is this piece of art, it's not the Calder, where is itâ€. Another piece I worked for that show was with the East Bay Express—Â
Dispatch from Twin Cities via Eric Asboe who covered the Jerome Foundation Fellowships, discussing the work of  Michael Hoyt, Amanda Hankerson, Melissa Loop, Susannah Bielak, and Lauren Roche:
The Jerome Foundation Fellowships have supported emerging artists since 1981. The fellowship comes with $10,000, studio visits from professional critics, technical assistance, and a culminating exhibition. It is one of the premier individual artist awards in Minnesota. The opening was full of people wanting to see that work, to support that legacy of emerging artists, to see who the Jerome Foundation had selected as the artists to continue watching, but I wanted to say, "Come out from the gallery. Come out to experience the real world around us. The work in the exhibition is good and interesting within the gallery, but it has truly come to life as I have lived with it outside, in the real world.â€
TOP 5 shows to see courtesy of Stephanie Burke
Curious about Birmingham? Mark Sheerin interviewed Ikon Gallery curator Stuart Tulloch:
"If you're in London, you're still thinking about people who are in London, and in a sense the angle's still provincial,†he says. "London will think about what's relevant to be shown or to be seen within London, and in some ways Birmingham removes you from that…This is an amazing place, with an enviable reputation and an international reputation,†he says with no hint of spin, â€It can say 'This is interesting. Here's something you've never seen before. Let's bring this person from the other side of the world to share something with Birmingham'.â€
Terri Griffith waxes on life works via a $1.99 copy of Jonathan Biss' long essay about playing through the Beethoven catalogue:
If we are lucky, our work becomes larger than we are and takes on a life of its own. Sometimes we know this at the outset and sometimes we come to know as the work moves forward. I'm thinking here of Walt Whitman and his Leaves of Grass, which started as a slim and youthful volume of poems. Whitman revised this modest book until, on his deathbed, book had grown weighty, to over 400 poems. Over his lifetime, as Whitman had hoped, the work had grown with him. Pianist Jonathan Biss might similarly be embarking on this sort of life's work. At 33 he is undertaking to record all of Beethoven's Piano Sonatas, a project scheduled to take nearly a decade.
Sara Drake interviews the oh so lovely Anya Davidson who just released her first full length comic:
Chicago-based artist and musician, Anya Davidson, has recently debuted her first full-length comic book, School Spirits. Up until now, her modest print editions make her work difficult to come by outside of the defiantly small world of alternative comics. Davidson is probably one of the few artists for which it is appropriate to combine words like brush pen and bad-ass in the same gust. Her stories are often eclectic mash-ups of metal fantasies, female overlords, science fiction, collected vernacular and whatever else gets whirlpooled away into her consciousness. Her newest creation, a high school story that follows the friendship of two teen girls and their fanatical love of a metal band, is a keen understanding of comics as an art form synthesized with Davidson's own radical tendencies.
Opportunities y'all — with such delectables as a Full Time Tenure Track position at the University of Iowa's Film Department, APEX art's open season for curatorial projects, Emergency Grants (offering emergency funds to artists for art projects) and open calls for the Journal for Artistic Research and gomes. Blammo.
Week in Review: Running the Gamut
October 6, 2013 · Print This Article
Thea Liberty Nichols writes about a new independent film project by Laura Stewart:
The two main protagonists of Laura Stewart's latest film are the titular "Shooter,†motorcycle gang leader of Green Bay, Wisconsin's Black Pistons, and Whitley, a young woman who is both his partner in crime and charity project….Shot without a script, the film uses voice-over narration to reveal the thoughts, fears and desires of Shooter and Whitley, and we experience the filmic world Stewart creates through the lense of their impressions and experiences. Although Stewart confesses that a typical days shoot would involve "having a general idea what I'd want to film,†she cultivated a collaborative relationship with her actors and actresses wherein they would agree or decline to proceed given the premise she would establish. The goal was always to produce scenes that most realistically reflected their lives, so although the relationships and events of the film are all constructed, the characters had, "the freedom to expose the parts of their lives that they want(ed to).â€
Another fantastic post from our game blogger, Paul King:
The world of Dark Souls is, as the title would suggest, dark. It's a classic, worn down fantasy world where everything is crumbling. Your character begins in a prison for the lost and undead; your default state is one of decay. Even as you continue to a city meant for gods, all is in dangerous, ruinous disrepair.
And most of the game is spent alone. Save a few neutral, stationary characters, any sort of dialogue is non-existent. Your hero never speaks, only grunts in the heat of battle, and these stationary merchants quickly run out of new phrases, things to sell you, or purposes to exist.
But at a certain point, your character may buy (or steal) a chunk of soapstone from one of these merchants. Once you obtain the soapstone, you may use it to write, coating the floor in incandescent orange scribbles that, upon interaction, reveal their text.
During the course of Dark Souls, no fix for the broken world emerges. At times, other characters hint that the universe has descended into darkness from a former glory, and your lone hero's quest might be the thing to restore it. But nothing you do on your journey really changes anything; felled enemies reappear upon your death and subsequent rebirth, and also upon the saving of your progress. But while your standard fantasy actions yield no change and are easily erased, the soapstone allows you to impact the game's world in a singular, everlasting way: through writing.
Repost on Ana Mendieta;  as her tragic end  seems so often to eclipse her narrative, I was especially excited to read more about her life:
Cuban-born and American-raised, Mendieta described her work as "earth-body†art. From 1971, when she had her first solo show while an MA student at the University of Iowa, until her death, she created a diverse collection of work that included silhouettes of her body created in mud, earth, rocks, wild flowers and leaves, performance pieces that evoked the folk and occult traditions of her native Cuba as well as her beloved Mexico and subversive self-portraits that played with notions of beauty, belonging and gender. In her performance pieces, where she sometimes used blood "as a very, powerful magical thingâ€, she evoked the power of female sexuality as well as the horror of male sexual violence. In her photographic self-portraits, she pressed her face against glass to distort her features or pictured herself dripping in blood or disguised as a man with glued-on facial hair.
Mendieta's art, like her spirit, was feuled by a restlessness rooted in her exile from Cuba. Friends described her variously as "sparkyâ€, "provocativeâ€, "tempestuousâ€, "outspoken†and "fiercely ambitious.†After her death, many saw, in her often dark and ritualistic art, a foreshadowing of her fate – she once staged a performance in which visitors came upon her prone under a blood-splattered white sheet. Others claimed her as the freest of female free spirits in a male-dominated art world. The curator and scholar Irit Rogoff, her as "essentialised through an association of wild appetites and with unbounded female sexuality.†It is only now that the power of her art is finally taking precedence over the stereotypes that were thrust upon her and the darkly dramatic manner of her death.
Repost from Dezeen on curation and design, wherein 96 Curatorial Theses are propsed:
I interviewed Andreas Fischer who forever transformed my thinking about painting with the following statement (and the rest of the conversation is just as good):
Well, I think of painting as decidedly not static and that is a big reason I am interested in it. I do think that so called fixed images are different from what we more clearly accept to be in motion. Paintings are moving perhaps more slowly and can be understood as attempts to visualize actions in a heightened way. Literally and chemically paint is  moving and changing over time from the moment pigment is ground, through the gesture of applying paint, to the drying; shrinking; aging and cracking that paint undergoes over time.
Mairead Case continued her lovely series, Maintenance this week, opening with a quote from Mierle Laderman Ukeles' 1969 Manifesto for Maintenance Art: "The Life Instinct: unification, the eternal return, the perpetuation and MAINTENANCE of the species, survival systems and operations, equilibrium" Case discusses books:
Here are five books I read this month, and pictures of three more. An asterisk means the book (or zine) came out less than 365 days ago. (The green polish is Selena Gomez Nicole by Opi. I don't own the bottle but I did bonk my thumb running for the #18, and a nice lady at the library let me do a touch-up. The silver is Wet n Wild.)
+ Library Mixtape (exhibition catalogue) (John M. Flaxman Library at SAIC, 2013)*
+ Radon by Travis Fristoe and Aaron Cometbus (Salad Master, 2013)*
+ The Wayside by Julie Morstad (Drawn and Quarterly, 2012)
+ The Long Goodbye by Meghan O'Rourke (Riverhead, 2011)
+ You're So Sexy: When You Aren't Transmitting STDs by Isabella Rotman (self-published, 2013)*
Week in Review: Tactile Representations
September 30, 2013 · Print This Article
The podcast! This week: Duncan and Richard talk to Spencer Finch about his current exhibition "Study for Disappearance.â€
What is the color of the threshold – of that liminal space before day plunges into night? Spencer Finch attempts to answer this question through his most recent body of work created specifically for Study for Disappearance, his fourth solo exhibition at Rhona Hoffman Gallery.
An essay by John Preus about making a table:
Quilting, a designation generally reserved for things made of fabric, is the result of surplus parts. It is not quite an assemblage or collage, although that history certainly relates to what is interesting to me about the table. An assemblage has to incorporate disparate parts, disruptions, things that were not meant to be together, a forced marriage, so to speak. Being that all of the table parts are wood, it isn't suitable to describe it as an assemblage or a collage. And it is not marquetry, which is an image or pattern-making technique using veneers of different colors to develop a picture. Quilting takes parts of other things to make a new thing. I would venture to guess that it comes out of a utilitarian folk tradition in which materials were limited and people had to make do with what was around. That may have been true long ago, but I am sure that quilting happens now more among folks with time to kill, than among low income folks trying to save material, textiles being as inexpensive as they are.
I put together a list of articles written about the Expo art fair spree here.
Britton Bertrand thinks back on 2005:
The years 2005 and 2006 were ok years for Chicago Art. It seemed to be an upswing couple of years when apartment galleries and art interest were peaking. (These things come in waves – I'd put us in a upward motion now after reaching the bottom in 2011.) The MCA was showing interesting work (a Dan Flavin Retrospective, Deb Sokolow and William J. O'Brien had 12 x 12's), blogs were percolating with critical activity (anyone remember panel-house.com or iconoduel.org?) and this new fandangled thing called a podcast had people sitting with their bulky desktops and REALLY listening.
Amanda Browder says GOOD MORNING New York:
"Good Morning!â€Â is a fabric installation that will be draped on the facade of the building located at 72 East 4th Street, NYC. All the fabric is donated by people from the neighborhood, as well the generous support from Materials for the Arts.Â
read an interview with Browder about the piece here.
More on the subject of John Preus — Thea Liberty Nichols posted an incredible essay about Preus', who's work she recently curated at the Experimental Sound Studio:
John Preus is an artist, musician, carpenter, woodworker, and magpie. In the long-standing tradition of Chicago artists scavenging for "trash treasure,†he lets serendipity and the thrill of the hunt guide him in sourcing discarded materials. Each new piece is a design challenge, contingent on entropy and surplus, to revive what others have cast-off or given up on. His materials offer up an infinite number of solutions which he is constantly attempting to "extract and exploit.â€
Juliana Driever posted an artist profile about  Ernesto Pujol:
Pujol is a site-specific public performance artist and social choreographer. He has a long record of intellectual and interdisciplinary art practices which have dealt with concepts of collective and individual and collective identity, the sacred, social and political issues, and public/private space. Since the late 90′s, Pujol has also been working on public group performances, where the focus has rested with action, movement, the journey – and the central concept of the "artist-as-citizen.†Additionally, he is the founder of The Field School Project, where  young and emerging artists are individually mentored in site-specific practices.
Atlanta-based Meredith Kooi writes about a photo show curated around feminism, performativity, and photography organized by the Hagedorn Foundation Gallery:
The works in the show by the artists Jill Frank, Mónika Sziládi, and duo Double Zero (Hannah Ireland and Annie Vought) examine how to make a photograph of someone, a person, a woman (perhaps) and what that means. One of the organizing principles of the show – performativity, a buzz word indeed especially since the 1990s with Judith Butler's work on gender – finds itself in relation to photographs that draw attention to the process of their making. Alongside considerations of gender and femininity as performative gestures, the works in the show investigate the apparatus of photography and imagistic representation itself – Jill Frank's work in particular. Adding to this work by Frank is the Untitled (Projection) series by Steffani Jemison presented in her solo exhibition, When I Turn My Head, in the upstairs gallery at Hagedorn.
Stephanie Burke's TOP 5, baby.
Monica Westin posted an interview between Yolanda Cesta Cursach and Tolcachir about Tolcachir's upcoming performance at the MCA:
 Tercer Cuerpo is partly about labor and identity, particularly the disappearance of sustainable, meaningful jobs for people. What happens to these characters, and us, when we must find meaning in our lives apart from a career or calling? The always-already obsolescence of the form of theater makes the piece of interest to representing labor in contemporary performance and medium specificity in dealing with contemporary collapses of space and time. But the company Timbre 4 is also a landmark for contemporary Argentinan art practices; their home base in the working-class Boedo neighborhood of Buenos Aires has become a hotbed and model for independent, experimental theater and performance.
Saturday closed out, as per always, with some Endless Opportunities —
Week in Review: Everything and More
September 22, 2013 · Print This Article
The podcast this week comes in two parts — the first features a conversation with the Edition Fair, and in the second part Amanda Browder visited Detroit to interview Christina Roos and Thomas Bell about their newly formed residency Spread Art. Spread Art is an artist run creative Incubator designed to foster new works and collaborations by artists from around the world. They talk about the art scene in Detroit, their residency and what it was like moving from New York to Detroit. All that and more here.
It must be September, because things are cooking. Between the hubub that art fair week excites here in Chicago, Dana Bassett's print daily paper the Bad at Sports co-produced with ACRE, and the lovely abundance of posts from the West Coast, our blog has a life of it's own.
Things began with a repost of ArFag City's 6 Must-See Discussions at EXPO.
Young Joon Kwak posted an interview with Patrick Jackson, the Sculpture Area Head at USC. At one point, Kwak asks, "How do you feel about a lot of sculptors today using stuff that they bought from stores, readymades?" Jackson replies:
Some of it's too heavy on the "purchase and lay it on the ground†approach, without any alteration—or perspective.  But it's an important part of considering objects, I think—how we navigate the aisles.  I've always thought Rachel Harrison is good with that kind of stuff and I've flipped through her books, trying to figure out how to use them in my own work.  Her show, If I Did it, has been a big influence.  The title for the show came from OJ Simpson's book, by the same name, which I think is him telling how the murders would have gone, if he had done it—something like that.  But for Harrison, If I did it was the idea of the readymade and making. If I buy something and put it in the gallery, am I the one who made it? The whole show was really an open consideration of objects, how we relate to them, understand them, our connection to them, how we're involved with them …
I interviewed painter Magalie Guerin about an on-going series of works now on view at Glass Curtain Gallery. While working on these paintings—in which the same basic shape is repeated in multiple paintings—Guerin also keeps a journal:
I write in the studio to help me understand what I'm doing (it's a mystery most of the time!). When I started the 'Hat project' last September, I was interested in rules and limitations so I made a rule that I had to write something every single time I came to the studio no matter what it was. I really wanted to find out specifically what I was asking of my work. But obviously, there are days when my head is elsewhere even when I'm in the studio, that's why the writing sometimes veers towards the weather of my romantic life. It was also a way to document how many times a week I was able to paint and how long the paintings take me to complete. Then what happened is that I was asked to make an 'artist book' for a show Sean Ward organized at Julius Caesar in Chicago. This opportunity came just after I heard the poet Kenneth Goldsmith talk about copying and organizing writing as his art form and I found that an interesting/conflicting activity for a writer to engage in. I thought—what if one copies oneself? If one also creates the original, does it change the nature of the copy?
Performance artist Hannah Verrill introduced a new series she is working on:
What remains and what comes next? In a disappearing present, the past and the future takes on considerable weight. Process asserts a present. If we can agree that as a form performance undercuts the value of a static or fixed product—an end result—the questions of what remains and what comes next persist. How can the weight of the past and future be leveraged, made light and moveable? I can commit to the present just like I can feel the weight of my feet on the floor, just like I can feel my breath as it rises and sinks through the space of my torso—through a focus of attention. I will practice that attention to the present by way of this series called Process Notes.
More on Detroit from Thomas Friel as he dives into the The Knight Arts Challenge, pointing out two media perspectives of the the city:
In the wake of the recently announced Detroit bankruptcy, and amid the uncertain fate of the Detroit Institute of the Arts' collection, the Knight Foundation revealed the winners of Knight Arts Challenge: Detroit last week. 56 winners — from individuals, collectives and established organizations and institutions — were awarded grant money ranging from $5,000 to $120,000, given the chance for art to lift a community in the way an emergency manager and bankruptcy cannot: spiritually, mentally, passionately; with love and tenderness. While the Detroit bankruptcy proceedings will be fat cats and brass tacks, pushing elected officials and community members further out of the decision making, the Knight Challenge grant recipients will aim to return power to the people, on micro levels, yet with respect and agency given to the very people in the communities these artists and groups will work with. Thus, the award winners, in total given $2.1 million, represent a ray of hope in the city's immediate future and may quickly change the landscape of the city if they are successful.Â
From Portland: Sarah Margolis-Pineo covers  Portland Institute for Contemporary Art's (PICA) annual Time Based Art festival, or T:BA:
Now in its 11th year, T:BA:13 has become a mainstay of the regional arts calendar, bringing a litany of international artists to Portland to present performances and exhibitions, as well as a robust program of workshops, talks, and late-night happenings. The festival is purported to seek out interdisciplinary art practices, supporting artists who challenge the notion of performance by transcending dan ce, music, theater, visual art, and new media to interrogate how the genre can engage contemporary audiences. For Portlanders however, T:BA brings a much needed glimpse of the outside world in. Marooned in the Pacific Northwest, the city tends to be a world unto itself, where imagination abounds but criticality is often in short supply. Presenting projects from Morocco, Algeria, Sweden, Argentina, Chile and beyond, T:BA transforms Portland into a thriving mecca for international culture… At least one week per year.
Top 5 Weekend Picks from Stephanie Burke!
LA resident Jacob Wick published a piece this week on the subject of support:
Nato Thompson's recent piece in e-flux appears to be the beginning of a process wherein he either compares the strategies of socially-engaged artists to those of the US military in "counterinsurgency†mode, or compares them with the sorts of insurgent groups that counterinsurgency aims to eliminate. Regardless, I would write that what is most interesting or alarming about this comparison is not that it is possible to make – the similarities between insurgent practice, counterinsurgent practice, and "social practice†are stunning, in fact – but that the conditions that allow insurgent groups like Hezbollah or the US Army to function exist not only in what used to be the Third World but also in what used to be the First World: in Oakland, in Chicago, in rural Ohio, pretty much anywhere, even in Los Angeles. These conditions amount more or less to a vacuum of support.
Saturday came with a set of  ENDLESS OPPORTUNITIES: ICE SHANTIES, SYMPOSIUMS, FELLOWSHIPS & POST-DOCS (FOR ART MAKERS)
The Expo Register came out this week, a print daily created by What's the T? Dana Bassett with ACRE and Bad at Sports. "The vibrant, hand printed Register, designed by Chicago artist Clay Hickson of Tan & Loose Press, will highlight special events during the fair including reviews of special exhibitions and trends at the exposition.â€Â The paper is/was available for free in assorted newspaper boxes at EXPO, and can be downloaded here, on the Bad at Sports blog.
Check out Thursday's edition, Friday's edition, and Saturday's too.
Saturday's edition of EXPO Register included an interview with Sabina Ott, John Preus, Lise Haller Baggesen, Jane Jerardi and Tricia van Eck about HOME, a domestic space installed in the throng of Chicago's EXPO. Curator van Eck describes the impetus for the project:
I love the expressions: "make yourself at home†and "mi casa es su casaâ€. At the recent Venice Biennale, I loved the feeling within the Pelham Project, and HOME draws from Michalene Thomas's popular apartment/bar space at Art Basel. I also like democratizing the experience of VIP rooms at Art Fairs where collectors can relax their eyes and get free coffee, champagne, or ice cream. For HOME I invited four artists whom together have created an amazing artists' home with generous and experiential rooms — an artists' studio, kitchen, living room, and bedroom to offer "an artists' home.†Lise Haller Baggesen has recreated her artists' studio replete with disco balls, glitter, and glam, while John Preus and Dilettante Studios' kitchen, built from reclaimed cabinetry, hosts performances, talks, and discussions curated by Laura Shaeffer from SHOP. Sabina Ott's chill-out living room offers Expo attendees a captivating space to relax while Jane Jerardi's performative bedroom presents a dreamy moment of longing. As a home within an Art Fair, whose intent is to sell artwork, the artists and I are experimenting with how to challenge and commingle ideas of capitalism and mercantilism with generosity and hospitality through art, food, drink, performances and conversations. We want HOME to offer a unique but comfortable way to experience art within the Fair but yet not pretend to remove ourselves from its contradictions of exclusion and inclusion, since these ideas are also intrinsic to our homes, which both separate and unite, as does the art world.


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Rihanna's Shows Off Her Off-Duty Wardrobe In New York
Rihanna has never been one to play by fashion's rules, and when she stepped out in New York last night she certainly ensured all eyes were on her - in two statement off-duty outfits.
Ri-Ri started the evening in super skinny jeans and killer gold strappy heels, with an oversized American football jersey style top - sounds so wrong, but with Rihanna's super styling and heeps of confidence, it looks so right.
Her second outfit consisted of a t-shirt dress that made the most of her infamous pins, which she teamed with knee high snakeprint boots.
What we love most about Rihanna's out-there looks? Without a doubt it's her metallic details (think accessories and clothing), so on-trend for AW12. If you're feeling daunted by Rihanna's eccentric pieces, check out the baroque trend - the perfect way to experiement with metallics without feeling completely overwhelmed.
That's another autumn 2012 fashion trend sorted then! HG
You might also be interested in…


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Gauri Pradhan
10 Gauri Pradhan Articles
Sudha Shivpuri aka Baa's funeral: Sumeet Sachdev, Shilpa Sakhlani make an appearance – view pics!1 year ago 0
The actress passed away today (May 8th) morning After doing a number of shows and movies, Kyunki Saas Bhi Kabhi Bahu Thi in 2000 put Sudha Shivpuri… Read Article ▶
Yogen Shah
When Siddharth Shukla, Harshad Chopda, Raqesh Vashisth, Rucha Hasabnis were killed off in daily soaps1 year ago 0
Season 11 Episode 21 was a BIG shock to all the worldwide fans of Shonda Rhimes' hit TV series - Grey's Anatomy when the makers killed off McDreamy… Read Article ▶
Meri Aashiqui Tumse Hi: Ishani figures out her mother's death was murder not accident1 year ago 3
Ishani chooses to be away from her family so that they are not plagued by her actions in the past In the recent episode of Meri Aashiqui Tum Se Hi… Read Article ▶
Hiten Tejwani excited to share screen space with wife Gauri Pradhan in Meri Aashiqui Tumse Hi2 years ago 0
The actor feels that working with one's real life partner on screen is perfect... TV actor Hiten Tejwani is joining the cast of Meri Aashiqui Tumse… Read Article ▶
Why does Hiten Tejwani want to work in Pakistani TV shows?2 years ago 0
The actor admits that if he would get a chance to work in a Pakistani show he would grab the opportunity While Hiten Tejwani has already made a mark… Read Article ▶
Why is Gauri Pradhan not welcomed on the sets by hubby Hiten Tejwani's co-stars?2 years ago 1
The beauty's frequent visits to the sets of the show have made her husband's co-stars unhappy. Read on to find out why... We are all well aware of… Read Article ▶
Gauri Pradhan: We need a balance of saas-bahu and a 24 series2 years ago 0
All set to make a comeback to television with her upcoming show Meri Aashiqui Tum Se Hi, Gauri Pradhan talks about the importance of balancing TV… Read Article ▶
Meri Aashiqui Tum Se Hi launch: Ekta Kapoor inspired by Narendra Modi?2 years ago 0
Ekta Kapoor has come up with a brand new show and looks like her inspiration is none other than our PM Modi. What's going on? Read on to know… Read Article ▶
Hiten Tejwani: Salvaging 'Pavitra Rishta'5 years ago 8
The actor, who recently joined the cast of of the daily soap in place of the immensely popular Sushant Singh Rajput, says he wouldn't mind doing a… Read Article ▶
Sushant Singh Rajput or Hiten Tejwani – the better Manav5 years ago 14
The audience fell for his simpleton nature, cute smile and effortless acting. Sushant Singh Rajput aka Manav won millions of hearts when he decided… Read Article ▶


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Slipstream Team announcement party at Boulder Theater Nov 22
Submitted by Kris Thompson on
Nov 22 at the historic Boulder Theater SlipsStream will host their 2009 Team Introduction party. But this will be more than just a party, they will special Sundance documentary preview, open team Q&A, silent auction and raffle for a complete 2008 team issue Felt F1. All proceeds will benefit the Children's Hospital.
Win this bike!
And for those who really want to help out the Children's Hospital and get closer to the team, for $250 you can be a VIP guest allowing you to have cocktails and hors d'ouevres with the team and a Slipstream party bag.
Details on Event
5:30 pm VIP cocktail hour & hors d'ouevres with the team
6:00 pm Doors open for general admission
7:00 pm Exclusive preview of Sundance Channel documentary
8:00 pm Open Q&A with the team
Location Boulder Theater
$250 VIP Tickets
News Item:
2 Comments
Submitted by David on
Looks like the event is going to sell out! Just saw there are only 30 tickets left for the event. This is where i saw it
Points: 2
Submitted by Anonymous (not verified) on
I would have guess the opposite, seems like their 08 party had cheaper tickets AND we are in this so-called resession. This is a clear sign that Boulderites love their cycling!!!!
Points: 12


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, Volume 69, Issue 11, pp 557-570
First online:
My Eyes Are Up Here: The Nature of the Objectifying Gaze Toward Women
- Sarah J. GervaisAffiliated withDepartment of Psychology, University of Nebraska-Lincoln Email author
- , Arianne M. HollandAffiliated withDepartment of Psychology, University of Nebraska-Lincoln
- , Michael D. DoddAffiliated withDepartment of Psychology, University of Nebraska-Lincoln
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Although objectification theory suggests that women frequently experience the objectifying gaze with many adverse consequences, there is scant research examining the nature and causes of the objectifying gaze for perceivers. The main purpose of this work was to examine the objectifying gaze toward women via eye tracking technology. A secondary purpose was to examine the impact of body shape on this objectifying gaze. To elicit the gaze, we asked participants (29 women, 36 men from a large Midwestern University in the U.S.), to focus on the appearance (vs. personality) of women and presented women with body shapes that fit cultural ideals of feminine attractiveness to varying degrees, including high ideal (i.e., hourglass-shaped women with large breasts and small waist-to-hip ratios), average ideal (with average breasts and average waist-to-hip ratios), and low ideal (i.e., with small breasts and large waist-to-hip ratios). Consistent with our main hypothesis, we found that participants focused on women's chests and waists more and faces less when they were appearance-focused (vs. personality-focused). Moreover, we found that this effect was particularly pronounced for women with high (vs. average and low) ideal body shapes in line with hypotheses. Finally, compared to female participants, male participants showed an increased tendency to initially exhibit the objectifying gaze and they regarded women with high (vs. average and low) ideal body shapes more positively, regardless of whether they were appearance-focused or personality-focused. Implications for objectification and person perception theories are discussed.
KeywordsSexual objectification Male gaze Objectifying gaze Dehumanization Person perception Impression formation Attractiveness Eye tracking
Reference tools
- Title
- My Eyes Are Up Here: The Nature of the Objectifying Gaze Toward Women
- Journal
Sex Roles
Volume 69, Issue 11-12 , pp 557-570
- Cover Date
- 2013-12
- 10.1007/s11199-013-0316-x
- Print ISSN
- 0360-0025
- Online ISSN
- 1573-2762
- Publisher
- Springer US
- Additional Links
- Topics
- Keywords
- Sexual objectification
- Male gaze
- Objectifying gaze
- Dehumanization
- Person perception
- Impression formation
- Attractiveness
- Eye tracking
- Industry Sectors
- Authors
- Sarah J. Gervais (1)
- Arianne M. Holland (1)
- Michael D. Dodd (1)
- Author Affiliations
- 1. Department of Psychology, University of Nebraska-Lincoln, Lincoln, NE, 68588-0308, USA


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As mentioned here in passing yesterday, the Violence Policy Center, as far back as 1988, openly advocated exploiting the public's ignorance about the difference between fully-automatic and semi-automatic firearms, in order to make so-called "assault weapons" sound "scary"--a strategy with which they have enjoyed decades of help from the mass media:
The weapons' menacing looks, coupled with the public's confusion over fully automatic machine guns versus semi-automatic assault weapons--anything that looks like a machine gun is assumed to be a machine gun--can only increase the chance of public support for restrictions on these weapons.
That gambit also received a boost Tuesday from no less than Hillary Clinton herself, who in a "town hall" appearance on CNN repeatedly referred to "automatic weapons" in a response to a question about her support for banning "assault weapons" and "high capacity" (gun banner-speak for "standard capacity") magazines (the question, of course, received an enthusiastic "Yes" answer). Clinton has been heavily involved in the gun rights/"gun control" debate for years, and is after all an accomplished hunter (that's sarcasm, if anyone missed it). It therefore strains credulity to imagine that she is unaware of the difference between fully-automatic firearms and semi-automatics.
In other words, her use of the term "automatic," rather than "semi-automatic" was intentional, and intentionally misleading.
But that was not really the most disturbing aspect of Clinton's position on guns in that discussion. CNN's Twitter feed quoted her this way:
Hillary Clinton on guns: "We can't let a minority of people who hold a viewpoint terrorize the majority."
Watching video of the discussion though, starting right about here, shows that CNN engaged in some creative, convenient, and unacknowledged editing. This is what she actually said:
I believe that we need a more thoughtful conversation. We cannot let a minority of people, and that's what it is--it is a minority of people--hold a viewpoint that terrorizes the majority of people.
Get that? We are to prohibit people from "hold[ing] a viewpoint that terrorizes the majority of people." Clinton evidently plans to enforce her will with the help of Thought Police. National Gun Rights Examiner David Codrea is likely to be in serious trouble.
And now we know what she means by "more thoughtful conversation" about guns. For the conversation to be "more thoughtful," the public needs to be kept unaware that semi-automatic "assault weapons" are not machine guns. In fact, "more thoughtful" means that viewpoints that "the majority" find terrifying are not permitted--only "approved" thoughts are authorized.
Orwell might have been an optimist.
If you're a regular St. Louis Gun Rights Examiner reader and believe it provides news and perspectives you won't find in the mainstream press, please subscribe to this column and help spread the word by sharing links, promoting it on social media like Facebook (Kurt Hofmann) and Twitter (@45superman), and telling your like-minded friends about it.
Suggested Links
- Journalists continue spreading VPC's 'machine gun' confusion
- Hillary Clinton wants to 'rein in' gun culture that is 'way out of balance'
- Right questions on guns and more could complicate presumptive Hillary power bid
- VPC no longer trying to hide yearning for ban of all semi-automatics
- Hillary in town: Signing books, raising money after bashing gun owners


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The perfect antidote to all those dreary socially-relevant-nearly-normal musical downers (to which many of us have been subjected lately) can be found at The Ivoryton Playhouse through April 6.
Five vocally gifted women and four on-the-beat musicians deliver everything groovy about the mod scene in London during the 60's. It's a tuneful tribute to that swinging era.
Much of what makes this musical revue work from big start to big finish is that the songs have all become part of the Great World Songbook, and the women deliver each tune with humor and energy, rolled up nicely with lots of laughs. The fun comes from the girl's interaction with a women's magazine called 'SHOUT!' which they all read, and focus especially on the words of the advice column.
As the unseen but very verbal 'voice' of the magazine, Steve Phelan does a smashing job in convincing us that he's a British magazine talking to the five 'mod birds' offering them the latest news about records, trends and fashion. The voice of Gwendolyn Holmes, the uptight shallow and ditsy advice columnist, is another highlight of the show. The lovely and well-modulated voice is that of British actress Beverley J.Taylor. She and Phelan are only heard as voice-overs by the audience, but their brilliantly dry delivery worked to elicit big laughs every time.
The girls, named simply Blue, Yellow, Orange, Green and Red, are played by Jennifer Lorae, Tamala Baldwin, Mikah Horn, Monica Bradley and Bethany Fitzgerald respectively. For each singer's voice the perfect songs have been chosen. Jennifer gives 'Don't Sleep in The Subway' a sweet tenderness and Tamala rocks with 'Son of a Preacher Man' and 'Shout.' Mikah uses her blonde leggy 'little miss perfect' good looks to emphasize the fact that 'You Don't Have to Say You Love Me.' Monica's comedic homage to Shirley Bassey's 'Goldfinger,' a musical tribute to the Bond epics, is not to be missed. And Bethany's 'Those Were The Days' has the cast and audience 'dye dye dying' all through her melodious rendition. A poignant duet between Blue and Orange (who has now become Purple in the second act as they move toward the 1970s) is a collage of 'I Couldn't Live Without Your Love,' I Just Don't Know What to Do with Myself' and 'You're My World.' All show-stopping stuff.
Thirty songs and themes are beautifully played by Kyle Norris, conducting as well as working the keyboard; Melanie Guerin on second keyboard; Dominic De Monico on bass and Marty Wirt doing a smashing job with percussion. They never overshadow the singers, and the sound design by Jo Nazro is one of the best we've ever experienced at Ivoryton. The light-box illusions and multi-leveled set - the collaboration of Marcus Abbot and Daniel Nischan - gives us that 60's vibe in a minimalist colorful way. Kari Crowther's costumes accentuate the personality of each girl, and the ubiquitous Joel Silvestro's wigs and hair reminded us of just how the women of the 60's had to suffer to look 'beautiful.' But, those wigs added to the fun of spoofing those years, and as such were perfect accessories.
Jacqueline Hubbard, who couldn't possibly remember the 60's, nonetheless directed this show with the tongue-in-cheek style that we think the designers of the day were putting over on the public. Her direction of the 'Mod Musings' and 'Groovy Gab' - quick monologues by which each girl let the audience in on a little secret - were spot-on, and got the deserved laughter the writers were going for. Those writers, Peter Charles Morris and Phillip George, must have lived in London/Liverpool during those love-in times – because their written banter didn't miss a Merseyside beat.
Choreographer Caitlin Sailer could have been a fly on the wall at the discos and Saturday night dances in Liverpool and London to have so well captured the spirit of the frug, monkey, boogaloo, pony and walkin' boots swinging moves. Stage Manager Jim Clark got the five 'birds' on and off the stage in a flash, creating a smooth flow of a show without any wait time. Commendations to the backstage crew - an often unsung group of hard-working pros.
This is a show for everyone who enjoys terrific singers and musicians, great songs, and a fun look at a bygone era where innocence was just beginning to be a thing of the past. So "if you're alone and life is making you lonely, you can always go Downtown" – to downtown Ivoryton, Connecticut, that is, and 'Shout' a little bit louder. It'll make you feel good.
"SHOUT! The Mod Musical" plays through April 6th. Wednesday & Thursday, 7:30 pm. Friday & Saturday, 8:00 pm. Matinees Wednesday & Sunday, 2:00 pm.
Prices are Adults $42. Seniors (65 and older) $37. Students $20. Child (12 & Under), $15. To buy tickets by phone, call 860.767.7318. Monday – Friday from 10:00am – 4:00pm Visit www.ivorytonplayhouse.org for more info, or visit Ivoryton Playhouse on Facebook.
Written by Don Church and Tony Schillaci, Critics On The Aisle
Suggested Links
- Ivoryton Playhouse is lifting the spirits with musicals and comedies this season
- London: A bustling hub for the ports of the English Channel
- Two sophisticated hotel gems in Royal London
- 5 exceptional, fair-priced restaurants in multi-cultural London
- 'I'm Connecticut' - a not-so-funny title for a laugh-out-loud comedy in Ivoryton


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# 9 Men's Gymnastics Defeated By # 7 Michigan, 215.05-203.3 on Sunday
Feb. 3, 2003
Ann Arbor, Mich. - A week after posting a big score in a loss to Ohio State, the ninth-ranked UIC men's gymnastics team struggled on Sunday against # 7 Michigan, as the Flames were downed, 215.05-203.3 at Cliff Keen Arena.
Matt Musielak led the UIC attach by winning the floor competition with a score of 9.2. The junior was also fifth on high bar (8.45).
Freshman Eric Novick emerged in Ann Arbor, tying for the win on pommels with a score of 9.0.
Neil Faustino was solid with three top-five tallies on his way to a runner-up finish in the all-around competition (50.8).
The Flames will take this weekend off before heading east to take on Southern Connecticut on February 14, and Springfield College on February 16.


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Scrabble word: TERRIBLE
In which Scrabble dictionary does TERRIBLE exist?
Scrabble (US/Canada)
(60 pts)
Scrabble (UK)
(60 pts)
Official Scrabble (OSPD)
(60 pts)
(61 pts)
Words with friends
(47 pts)
Hanging with friends
(47 pts)
(8 pts)
Lexulous (US)
(61 pts)
Definitions of TERRIBLE in dictionaries:
- adj - causing fear or dread or terror
- adj - exceptionally bad or displeasing
- adj - intensely or extremely bad or unpleasant in degree or quality
- adj - extreme in degree or extent or amount or impact
- Causing great fear or alarm; dreadful: a terrible bolt of lightning; a terrible curse.
- Extremely formidable: terrible responsibilities.
- Extreme in extent or degree: "the life for which he had paid so terrible a price" (Leslie Fiedler).
- Unpleasant; disagreeable: had a terrible time at the party; terrible food.
- Markedly objectionable: terrible hypocrisy.
- adv - very bad [adj] : TERRIBLY
There are 8 letters in TERRIBLE: B E E I L R R T
Scrabble words that can be created with an extra letter added to TERRIBLE
All anagrams that could be made from letters of word TERRIBLE plus a wildcard: TERRIBLE?
Scrabble words that can be created with letters from word TERRIBLE
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SCRABBLE is the registered trademark of Hasbro and J.W. Spear & Sons Limited. Our scrabble word finder and scrabble cheat word builder is not associated with the Scrabble brand - we merely provide help for players of the official Scrabble game. All intellectual property rights to the game are owned by respective owners in the U.S.A and Canada and the rest of the world. Anagrammer.com is not affiliated with Scrabble. This site is an educational tool and resource for Scrabble & Words With Friends players.


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Magowan Elementary School offers education to students in prekindergarten through grade four. Its academic curriculum includes various subjects, such as art, music, health education and Spanish, as well as English as a Second Language and reading recovery programs. The school offers a range of extracurricular and sports activities, including safety patrol, music enrichment and volleyball. It...
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Politics in the Kitchen
No, you're NOT seeing things. Those are in fact, political cookbooks. Apparently party-lines extend to dinner tables too. For whatever reason, The Los Angeles Times decided to waste their time with this—sigh. Take a look:
"Many Happy Returns" is one of the more entertaining of a long string of little-noticed ephemera of political campaigns -- the partisan cookbook, written by politicos and their supporters (wives, celebrities, members of the Glendale Republican Womens Study Club), pundits, humorist gourmets, or even a displaced White House chef -- and it even has a few workable recipes.
… In 1973's "The Watergate Cookbook," recipe titles indicate a period-appropriate cynicism -- there's "McCord's Clouded Consommé (which sounds delicious, with tomatoes, sherry, chives and cream), "Ehrlichman's Cover Up Casserole and Mitchell's Sitting Duck. It's a refreshing read, compared with so many surviving Junior League-esque spiral-bound books -- decades of earnest collections of senators' wives recipes for hot crab dip, easy chicken cacciatore and stuffed peppers…
…In an introduction, "How to Eat Like a Republican" author Susanne Grayson Townsend, a former advertising executive and a Republican who decries Citarella (the New York gourmet food chain) and balsamic vinegar, writes: "Republicans are just like you and me, only with more Tabasco. They make meat loaf just like you and me, only with whiter bread crumbs. They eat sushi just like you and me -- no, wait, I take that back."
Whether you're a republican, democrat or something in between, we can ALL agree that this is a sad day for America.


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In conjunction with the exhibition American Made: 250 Years of American Art at the MFAH, MFAH Films presents free screenings of the Robert Frank/Alfred Leslie short Pull My Daisy and Frank's This Song for Jack.
Since 1986, the MFAH has served as the archive and distributor of film and video by the internationally renowned Swiss-born photographer and filmmaker Robert Frank. Click here to learn more. New York Times film critic Manohla Dargis has called Frank "one of the most important and influential American independent filmmakers of the last half-century." Best known for his photographs, Frank gained worldwide attention in the 1950s with his book The Americans. He turned to filmmaking in 1959 when he codirected the experimental Pull My Daisy with Alfred Leslie.


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Paperwork Reduction Act:
New Approaches Can Strengthen Information Collection and Reduce Burden
GAO-06-477T: Published: Mar 8, 2006. Publicly Released: Mar 8, 2006.
Additional Materials:
- Highlights Page:
- Full Report:
- Accessible Text:
(202) 512-6240
Office of Public Affairs
(202) 512-4800
Americans spend billions of hours each year providing information to federal agencies by filling out forms, surveys, or questionnaires. A major aim of the Paperwork Reduction Act (PRA) is to minimize the burden that these information collections impose on the public, while maximizing their public benefit. Under the act, the Office of Management and Budget (OMB) is to approve all such collections. In addition, agency Chief Information Officers (CIO) are to review information collections before they are submitted to OMB for approval and certify that these meet certain standards set forth in the act. GAO was asked to testify on the implementation of the act's provisions regarding the review and approval of information collections. For its testimony, GAO reviewed previous work in this area, including the results of an expert forum on information resources management and the PRA, which was held in February 2005 under the auspices of the National Research Council. GAO also drew on its earlier study of CIO review processes (GAO-05-424) and alternative processes that two agencies have used to minimize burden. For this study, GAO reviewed a governmentwide sample of collections, reviewed processes and collections at four agencies that account for a large proportion of burden, and performed case studies of 12 approved collections.
Among the PRA provisions aimed at helping to achieve the goals of minimizing burden while maximizing utility is the requirement for CIO review and certification of information collections. GAO's review of 12 case studies showed that CIOs provided these certifications despite often missing or inadequate support from the program offices sponsoring the collections. Further, although the law requires that support be provided for certifications, agency files contained little evidence that CIO reviewers had made efforts to get program offices to improve the support they offered. Numerous factors have contributed to these problems, including a lack of management support and weaknesses in OMB guidance. Because these reviews were not rigorous, OMB, the agency, and the public had reduced assurance that the standards in the act--such as minimizing burden--were consistently met. To address the issues raised by its review, GAO made recommendations to the agencies and OMB aimed at strengthening the CIO review process and clarifying guidance. OMB and the agencies report making plans and taking steps to address GAO's recommendations. Beyond the collection review process, the Internal Revenue Service (IRS) and the Environmental Protection Agency (EPA) have set up processes that are specifically focused on reducing burden. These agencies, whose missions involve numerous information collections, have devoted significant resources to targeted burden reduction efforts that involve extensive public outreach. According to the two agencies, these efforts led to significant reductions in burden. For example, each year, IRS subjects a few forms to highly detailed, in-depth analyses, reviewing all data requested, redesigning forms, and involving stakeholders (both the information users and the public affected). IRS reports that this process--performed on forms that have undergone CIO review and received OMB approval--has reduced burden by over 200 million hours since 2002. In contrast, for the 12 case studies, the CIO review process did not reduce burden. When it considers PRA reauthorization, the Congress has the opportunity to promote new approaches, including alternatives suggested by the expert forum and by GAO. Forum participants made a range of suggestions on information collections and their review. For example, they suggested that OMB's focus should be on broad oversight rather than on reviewing each individual collection and observed that the current clearance process appeared to be "pro forma." They also observed that it seemed excessive to require notices of collections to be published twice in the Federal Register, as they are now. GAO similarly observed that publishing two notices in the Federal Register did not seem to be effective, and suggested eliminating one of these notices. GAO also suggested that the Congress mandate pilot projects to target some collections for rigorous analysis along the lines of the IRS and EPA approaches. Such projects would permit agencies to build on the lessons learned by the IRS and EPA and potentially contribute to true burden reduction.
Apr 19, 2016
Data Act:Progress Made but Significant Challenges Must Be Addressed to Ensure Full and Effective ImplementationGAO-16-556T: Published: Apr 19, 2016. Publicly Released: Apr 19, 2016.
Data Act:Section 5 Pilot Design Issues Need to Be Addressed to Meet Goal of Reducing Recipient Reporting BurdenGAO-16-438: Published: Apr 19, 2016. Publicly Released: Apr 19, 2016.
Jan 29, 2016
DATA Act:Data Standards Established, but More Complete and Timely Guidance Is Needed to Ensure Effective ImplementationGAO-16-261: Published: Jan 29, 2016. Publicly Released: Jan 29, 2016.
Oct 27, 2015
Electronic Health Records:VA and DOD Need to Establish Goals and Metrics for Their Interoperability EffortsGAO-16-184T: Published: Oct 27, 2015. Publicly Released: Oct 27, 2015.
Sep 29, 2015
Electronic Health Records:Nonfederal Efforts to Help Achieve Health Information InteroperabilityGAO-15-817: Published: Sep 16, 2015. Publicly Released: Sep 29, 2015.
Aug 13, 2015
Electronic Health Records:Outcome-Oriented Metrics and Goals Needed to Gauge DOD's and VA's Progress in Achieving InteroperabilityGAO-15-530: Published: Aug 13, 2015. Publicly Released: Aug 13, 2015.
May 14, 2015
Information Management:Additional Actions Are Needed to Meet Requirements of the Managing Government Records DirectiveGAO-15-339: Published: May 14, 2015. Publicly Released: May 14, 2015.
Nov 19, 2014
Freedom of Information Act:DHS Should Take Steps to Improve Cost Reporting and Eliminate Duplicate ProcessingGAO-15-82: Published: Nov 19, 2014. Publicly Released: Nov 19, 2014.
Intellectual Property:U.S. Customs and Border Protection Could Better Manage Its Process to Enforce Exclusion OrdersGAO-15-78: Published: Nov 19, 2014. Publicly Released: Nov 19, 2014.
Aug 1, 2014
Data Transparency:Oversight Needed to Address Underreporting and Inconsistencies on Federal Award WebsiteGAO-14-476: Published: Jun 30, 2014. Publicly Released: Aug 1, 2014.
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found a new home!
Plenty of my friends are looking
for one too. Find a pet to adopt.
I am already neutered, housetrained, up to date with shots, not good with kids, good with dogs, and not good with cats.
Checkers, a Crocker Bluetick Coonhound dog was adopted! Here's how you can benefit by looking at adoption as an option to buying a Bluetick Coonhound for sale in Crocker, or seeking a Bluetick Coonhound dog from a breeder in Crocker.


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Robin isn't your typical digital artist. She's a Digital Painter. Her most notable body of work (which came to life in 2004) is called, The Observation Series, and is a combination of donated X-rays and MRI's and her own photography.
The Observation Series contains my emotions, my life's experience, and my own personal spiritual journey is what drives this series. Every piece, whether it is consciously or subconsciously created, is an effort for me to find my own path through understanding and acceptance within myself and of the world. I've been overwhelmed by my viewers immediate connection and the emotional pull that continues to touch people from all walks of life and of every age group. Nevertheless, I encourage my viewers to take their own journey deep into the physical, psychological, and emotional underworld. I'm attempting to move people beyond the layers of skin and bone in order to visually explore our universal tendency to internalize the deeper emotions and longings that come with living life. It is my belief that when one is able to embrace both the beauty and the sorrows of one's journey, they are then able to find understanding and peace. Perhaps, it is also a way to find one's own spirituality, which seems to be easily lost. In any case, this series, for me, is about looking deep within one's self and having the courage to see one's truest form.
Robin Monique Rios is a Chicago native and is the founder and director of 4Art Inc Gallery and Co-Curator at the Zhou B Art Center in Chicago. Robin graduated with honors from the Illinois Institute of Art, Chicago with a Bachelors degree of Fine Arts in Visual Communications in June 2003. While attending the Institute, Robin found her passion in photography. After starting out with a 35mm camera, Robin soon delved into digital mediums. Using Photoshop like a painter uses canvas and a pallet of paint, Robin discovered the outlet through which she could be the most creative. She has since refined her digital imaging skills through the creation of many thought provoking 2D and 3D works. www.robinmoniquerios.com Robin represents a dozen diverse artist and participates in the Zhou B Art Center's 3rd Friday Open Studio's from 6pm-10pm, 1029 W. 35th Street - Chicago 60609 / 773-254-5100
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