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member for 7 years, 4 months, 2 days
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Please submit all additions or corrections to me under "EDIT" tab on the memorial page. I will be happy to add any information, updates and relationship links for you, please possible furnish appropriate link numbers.
I will transfer memorials of your ancestors or unless they are also my ancestors.
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Would you mind transferring Monroe Rauls Find A Grave#53371404. This is my great great grandfather. There is a mispelling on the memorial I would like to fix.
Thanks much!
Added by
on Jul 20, 2016 7:55 AM
Would you mind transfering Find A Grave Memorial# 121243233, Elma Holderfield Hyatt? This is my great grandmother.
JD Rauls
Added by
on Jul 19, 2016 11:25 AM
tracie warren
RE: Warren Family Cemetery
We are here but having difficulty finding it. How close to the existing house is the cemetery? If you are looking at the front of the house in what direction do you find it?
Added by
tracie warren
on Jun 23, 2016 4:23 PM
Jean MC
Carry Baker McClellan
Mac... her nickname was Carry .. she Was the Sister OF TEMPERANCE, as I am a close family member, to all knowledge in the family she WAS A BAKER [maiden name] when she married Ben Hyatt MC.. this is supported by legal records and US Census from SalineGrant County,.. her husband was the grandson of my great grandfather James Samuel Mc with his father being John Patton [II] MC & Margaret Eugenia McClain or McLane .. seems to me you need to recheck your information and verify with written sources.. my information is coming down from those of her generation.. and written records..
Added by
Jean MC
on Jun 13, 2016 5:22 PM
Mattie Abraham
RE: Source for Elijah Marshall death date
I was asking about Memorial #14711818. Same question applies to Elijah Marshall's wife Clarissa, Memorial #147811852. Like Elijah, Clarissa does not appear on the 1880 census of Jefferson County, so it is likely that she died between 1870-1879 Her burial place is also unknown.
Added by
Mattie Abraham
on Jun 02, 2016 8:56 PM
Mattie Abraham
Source for Elijah Marshall death date
Hello Mac,
I see you have added virtual records for Elijah and Clarissa Marshall, though their burial places are unknown. On what are you basing the death date of 1882 for Elijah? I have no evidence that they lived beyond 1879 since they are not on the 1880 census of Jefferson County, AR. I know that there are some random records in Ancestry--this is why I ask. For example, the record cited for the marriage which states that Clarissa was a Langham or Lanham is based solely on a family group sheet that was submitted to a database--there is no proof of Clarissa's maiden name.
Thanks for all your efforts and your willing responses to suggested edits.
Mattie Marshall Abraham
Added by
Mattie Abraham
on Feb 27, 2016 3:11 PM
Gerry Hill
Allen Warren
Can you tell me what proof you have that Allen Warren is in this Warren Cemetery? I note there are no pictures. Thank you.
Added by
Gerry Hill
on Oct 15, 2015 5:40 PM
BJ Resh
Goose Creek
You have one entry for Nathaniel Morgan Beckham at Goose Creek. Can you elaborate on the name of the burial place? Is it perhaps a duplicate?
Thank you, Bjresh
Added by
BJ Resh
on Sep 10, 2015 7:42 PM
Margaret Pierce Byrd
Anna McFarland Pierce
Hi again, Did you find evidence that Anna moved to Madison Co. in NW Arkansas with William and the children? I have Joshua's birth listed as Dallas County, and that is the last evidence I have about her.
Also, I haven't seen any evidence that they were ever in Boone Co., although they likely went there to shop or trade.
I know that William was married to Laura in 1860, don't know how long before that.
Will you please share the evidence or documents that you have?
Thanks a bunch,
Added by
Margaret Pierce Byrd
on Aug 22, 2015 9:50 AM
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an Essay by Vanessa Gravenor
Is liberation a blessing, or a curse?
A curse disguised as a blessing, or a blessing feared as a curse?
Zymunt Bauman[1]
The Internet is as anarchist zone where virtual creolization and dissolution of cultural boarders can occur ad infinitum facilitating intellectual freedom by masses access to global commodity culture. Yet a typical and altogether problematic West/ East and first world/ third world dichotomy emerges when considering Cuba's use of the Internet, highly moderated by the government, to the proper "West's" open and constant access. Two exhibitions, In the Absence of a Body (February 2015) and Cuban Virtualities[2] (December-February 2014), explore the complex semantics of freedom through virtual mobility and emigration asserting but also blurring this traditional dualism. Cuba as a country has a unique relationship with digital technology as connectivity and access are largely withheld from general populations and heavily moderated by the state. Historically, Cubans also faced impingements upon travel, mobility to the U.S. through the embargo, and immigration. For these reasons, America could be characterized as a designated promised-zone that, if ever reached, would help to facilitate liberation. The Internet and digital media can be seen as another gateway to mobility and freedom. The artists Alejandro Figueredo Diaz-Perera (In the Absence of a Body) and Susana Pilar Delahante Matienzo (Cuban Virtualities) reverse this traditional dichotomy by drawing the audience attention to the artificial promises of these thresholds and desired states. While not present directly, the post-Snowden discourse that ensued after the wikileaks scandal offers another enforcing layer that freedom and endless free-speech in the West might in fact have much more in common with Cuba's overt censorship.
During In the Absence of a Body the artist, Alejandro Figueredo Diaz-Perera, explores his current status as a Cuban émigré in the United States. With a childhood marked by the Cuban embargo and the collapse of structures in 1991, Diaz-Perera has in many ways broken through the invisible iron wall and reached the ultimate post-modern utopia through travel as an artist: acceleration and mobility.[3] Yet, it seems that he commiserates this freedom because he is cut off from his family and political moments. It is for these reasons that his installation takes on the appearance and the motif of the prison cell where he has taken up occupation for the twenty-day duration of the show.
In Diaz-Perera's installation and performance, he is invisible from the audience's gaze yet present behind the false wall of the Chicago Artists' Coalition gallery space, where he pulls a make shift levy system attached to a microphone. The undulating pulling motion causes the microphone to thud loudly against the wall— a rhythm reminiscent of a beating heart or an internal pounding of the head when the body's equilibrium has been overturned. Diaz-Perera's performance is reminiscent of Vito Acconci's Seed Bed and other early performance artists such as Valley Export's early occupation of architectural spaces. It is the austerity of The Silence (…) is overrated, part of the larger installation of In the Absence of a Body, that links it immediately to 1960's and 70's performance artists and also connects Diaz-Perera's work to earlier generations of action-based performance artists such as Tania Bruguera (Cuba) and Regina José Galindo (Guatemala).
The Silence (…) is overrated, a performative gesture, is founded between two auditory documents from activist figures that have also suffered a loss of voice and silencing by the government. The audience is asked to kneel in order to hear the audio from the two activists figures inviting them to make a choice between hearing what officials call dissident speech and what others call proclamations of freedom. When the viewer makes the choice to kneel down, he or she is confronted with a strange dialectic between being in a position of crouching that can be used as a tool of political torcher or the spiritual position of prayer. This dialectic is mirrored by the artistic choice to only include two voices and accounts: that of Tania Bruguera, a performance artist living in New York but from Cuba, and Assata Shakur, an American and member of the former Black Panther Party and Black Liberation Army who resides in Cuba as a political refugee. Both attest to their homeland as a place of surveillance and political assailant on free speech and property. Particularly, Bruguera testimony demands that the government release performers and the artist's property, which were seized in the unrealized performance #YoTambienExijo (I also Demand) in December 2014.
There are no images attributed to the sound that the viewer hears through headphones. Instead a black monitor screen with white text that translates the speech either English or Spanish depending on the language of the speaker. This suggests that experience and testimony can always be mirrored into another lens by language and through this simple refraction can turn into incriminating testimony. In this case, it is Shakur attesting to the hegemony of the American police mirrored against Bruguera's assertion of Cuba as a police-state. The black TV-monitor is oddly reminiscent of a narrow window, the type of geometric form that one would find in a gothic cathedral, and yet in reality is a threshold for a virtual world that has been foreclosed.
Yet to view Diaz-Perera's work as a closed circuit triangulated work would be to miss the political context or the absent link. This missing link is Bruguera and her uncompleted and censored work #YoTambienExijo (I also Demand). Writing on the failed work's reception, Coco Fusco discusses #YoTambienExijo, a performance that was planned to take place in Revolutionary Square in Cuba but was censored by the government, as a work that neither the Cuban world nor the Western world understood because of the restricted means of communication and organization imposed by the Internet.[4] The plan for the performance, Fusco explains, was to place a large microphone within the public square for citizens to step up and call the government out for its crooked and what Fusco calls "draconian" censorship. Instead, Cuban citizens criticized Bruguera for creating a grand gesture that was completely out of touch with the possible realms for real subversive actions. Exhibition planners of Cuban Virtualities, J. Gibran Villalobos and Wil Ruggiero, explain that Cuban artists toe the line between political action and submission so that this vacillation between two oppositions could somehow function as a safety net against incrimination. Diaz-Perera hints to this paranoid conflicted zone and space by borrowing key motifs in his In the Absence of a Body. His overturned microphone becomes a direct referent to Bruguera's unrealized performance that in many ways was supposed to fill in what she presumably deemed as a public space vacant of expressed concerns. Yet, since Bruguera lives most of her time outside of Cuba, she is seen as a cultural elite and her extreme plans for the performance in December of 2014 only exacerbated an already heated situation. Therefore, Diaz-Perera's work can be seen as a complex meditation but also response to Bruguera's failed gesture. In his iteration, the microphone itself has lost all of its utility and can only create a deafening music.
Cuban Virtualities, a traveling exhibition that was on view at Sullivan Galleries from December-February, explores the individual's relationship to the Internet. Unlike Diaz-Perera's work, which questions the role of the émigré caught between two opposing yet similarly violent worlds, Cuban Virtualities focuses on individual's access to the Internet and how this can be a tool for political expression. Cuban Virtualities suggests a similar US/Cuban dualism as the viewer experiences the works from a point of estrangement.
Geert Lovink authored a 2014 article in Journal #54 of e-flux where he claims that the digital world had returned to a point pre-1984, which he then explains as the year before the apple computer had been introduced and marketed to the individual.[5] Before, he states, computers were large expensive machines for corporations and were not associated with file sharing programs, chat rooms, and borderless connections between individuals. Geert Lovink writes "Now, thirty years later, the computer is once again the perfect technical instrument of a cold, military security apparatus that is out to allocate, identify, select—and ultimately destroy—the Other." Lovink is writing for a journal based in the U.S.—the proper West— that unlike the Cuban artists at hand, enjoys a very specific so-called freedom.
On the island where the artists of Cuban Virtualities live, their experience of the Internet is radically different than that of the United States. The Internet is overtly monitored, withheld, and often times not available to the individual. In Cuba, the Internet never reached a post-1984 position, yet that is not to say that individual expression ever suffered, rather that individual expression on the Internet was always elevated to political action. For instance, in Mirror of Patience, Susana Pilar Delahante Matienzo is present in the gallery through a live feed. Exhibition organizers J. Gibran Villalobos and Wil Ruggiero explain the huge monetary negotiation that had to take place in order to allow Matienzo to be present in the live feed. They explain that ultimately a company called ONCuba Magazine provided sponsorship for a network connection to broadcast with SAIC.
In the live feed, which was ultimately only possible at certain points in the exhibitions duration because of cost, the artist calls out to the viewer and asks him or her to place his or her hands on the backlit projection screen in order to mimic her actions. While playing the game, the viewer wonders if he or she has been dubiously tricked into staring into an unknown or othered reflection of the self. During the opening night, Matienzo waited for participants to come interact with her. Many looked on her with caution and often would utter anemic laughs while shooting glances to the virtually present artist. Often times Matienzo would laugh herself and ask— "who is there"— unable to see beyond the shallow range of the web cam.
Mirror of Patience, conceived by the artist in 2013, at first seemingly places the viewer and artist on a level playing field. Upon closer inspection, while the gallery has unlimited Internet access, the artist is only able to use the Internet through a special sponsorship she was able to receive because of her status as an artist, someone who in Cuban society has much more mobility and capital power, Villalobos and Ruggiero explain. In a post-Snowden cultural climate, Matienzo use of the Internet is a testament to the remaining possibility of dissident action. Yet, one is all too aware that the gesture is not utopian, she is not celebrating the world without borders but pointing to the artifice of the image of a timeless and borderless space.
Glenda Leon's Inversion also muses on structures of meaning. In the single channel video, the artist scrapes the ink off a 100 dollar bill and then snorts the particles that remain after her intervention. This could be interpreted as a metaphor of the Internet, for accessing the Internet in 2014 or 15 is to reach a promised utopia but when one scrapes the surface, this essential freedom seems to fall apart. Cuban citizens can create a simple act of protest out of a simple action of hacking, and yet these actions and words are always being archived, cross-listed, and can and will be used against them.
In the CAC take-away pamphlet, Diaz-Perera describes how he was born in Havana, Cuba in 1991 "at the beginning of the Special Period, an economic crisis resulting from a combination of the collapse of the Soviet Union, the U.S. Embargo, and the internal systemic controls." Most of the artist in Cuban Virtualities also lived through this Special Period where power structures crumbled and the nation was isolated by the embargo. In many ways, Cuban life has been defined by the cross-pollination of U.S. and Cuban relationships and the continual reconfiguration of identity through absorption of other cultures in colonial periods. Yet in a sense, these other cultures, specifically American in this incident, have been an imposition. Villalobos' comments on Mirror of Patience as a "laying bare" of the reality of this co-dependency or in other words, the hell that connectivity can usher in as one side waits to begin to continue to communicate. It is in fact this waiting (awaiting) for information, for a sentence, or for connectivity, the same game that Diaz-Perera also plays in jest, that turns the would be freedom of emigrating or live-stream into the first of many entrapments.
[1] Bauman, Zygmunt. Liquid Modernity. 2nd ed. Cambridge: Polity Press, 2012. 9-19. Print.
[2] Cuban Virtualities: curated by Rewell Altunaga and Liz Munsell, Assistant Curator of Contemporary Art, Museum of Fine Arts, Boston; organized at SAIC by Gibran Villalobos (Dual MA 2013) and Wil Ruggiero
[3] Zygmunt Bauman explains one of the attributes of power in post-modern or liquid modern times is the access to mobility and the rate of this acquisition: "Velocity of movement and access to faster means of mobility steadily rose in modern times to the position of the principal tool of power and domination" (9).
[4] Fusco, Coco. "The State of Detention: Performance, Politics, and the Cuban Public." e-flux.com. N.p., 6 Jan. 2015. Web. 8 Mar. 2015.
[5] Lovink, Geert. "Hermes on the Hudson: Notes on Media Theory after Snowden." e-flux.com. N.p., Apr. 2014. Web. 8 Mar. 2015.
Something's Happening in Pullman
February 24, 2015 · Print This Article
Guest Post by Kate Ingold.
When I tell friends and colleagues that I'm going down to Pullman to see art, I get one of two responses: 1) What's Pullman? or 2) That's so far away! Let me address both of these responses before moving on: 1) Pullman, nestled near I-94 and Lake Calumet, is one of Chicago's most significant and interesting neighborhoods, the site of of a 19th century labor strike with national implications, and a place of such architectural and historical significance that it will likely be made a national park by the year's end [President Obama named The Pullman Historic District Chicago's first National Park on Feb 19th – Ed.], and 2) it is only 12 miles south of the Loop, easily accessible by Metra or by car (and I suppose by bike, if you're feeling energetic). But what about the art?
A number of years ago my friend JB Daniel, a conceptual artist and accidental community organizer, opened up the foyer of his late-19th-century Pullman row house to artist friends to make installations. The smallish space, lit by a transom above the front door, includes the area from the building's modest entrance to the stairwell it faces and the two doors to the row house's first floor guest room and studio. JB named the space "MOSNART," or "transom" backwards, and welcomed the public for the opening of the installation only, though he encouraged visitors to come and peer into the windows during the time the installation remained up to see the art from the outside. Local, national, and international artists have presented work in MOSNART, from sound installation (Jenny Roberts' "Now and Here"in 2010) to video (Noel Hennelly in 2012, Rosa Gaia Saunders in 2013) to art objects (Gwen Gerard in 2009, Laura Davis in 2010, among others) and textile installation (Jens Brasch's "inside/out upside/down" and my "Night Telegram/Water Speak," both 2009). Over the years, the MOSNART project has grown and JB has found other sites in Pullman for artists to work, including one of the grand rooms in the former Hotel Florence (where Atlanta-based artist Gyun Hur installed a stunning "carpet" made of pulverized funerary silk flowers in 2011), the center of the burned-out market square (see Matthew Hoffman's current "Go For It" installation, up since October 2014), and the administrative clock tower building of the factory itself (Carrie Iverson's recent "Groundwork"), where the famed Pullman train cars were built.
It is easy to forget that we were once a nation in near constant labor turmoil. Workers stood up for their rights in powerful, sometimes violent ways against the corporations and oligarchs who were exploiting them. Chicago was at the epicenter of this turmoil more than once: during the legendary Haymarket Affair of 1886 (whose actors were either anarchist terrorists or martyrs, depending on who you ask), which resulted in the deaths of seven policemen and four strikers, followed by the state-sanctioned deaths of four others, and during the three-month-long Pullman Strike of 1894, which perhaps is most notable for the federal reaction to the strike, the defending of the corporation by the National Guard on orders of President Cleveland.
George Pullman built Pullman Town in his utopian vision of the perfect company town: workers were housed in cutting-edge homes designed to be energy efficient and light-filled, with air moving easily through the spaces to make the workers as happy and unstressed as possible. In the center of town was a market and a multi-denominational church, along with stores and schools and a library, each and every building owned and managed by the Pullman Palace Car Company. Workers lived in apartments and homes that reflected their status within the company, with managers and other administrators living in single-family homes close to the factory and skilled hand workers living in smaller homes and multi-family buildings farther away from the work site. There were no options outside of the Pullman-owned and -run facilities, yet still the town went along relatively trouble-free until the stock market crash of 1893, when Pullman could not maintain his mandatory 6% profit on the town without cutting wages, making it impossible for workers to feed themselves and their families. By 1899, two years after George Pullman was buried in a lead-lined coffin embedded in concrete (to avoid reprisal by his former employees), Pullman Town was annexed by the city of Chicago and the company town was no more.
Why the detour into history? Because it is against this history, or in conversation with it, that the art happens. The history of the neighborhood and the buildings themselves are present with every installation, whether the artist is directly confronting that history or not. Matthew Hoffman's "Go For It" installation, currently on view, is a massive text piece placed in the center of the burned out market square just blocks from the old factory. Crafted in wood with plastic laminate sides, the three-dimensional script reads as both a directive and, perhaps, a tongue-in-cheek, pollyanna wish for the rebuilding of the market square, or even the company town itself. While Hoffman's work is unabashedly and purposely optimistic (see his ongoing "You Are Beautiful" project), this installation has an edge because of where it is.
While I'm not sure if Hoffman intended that edge or if he meant only to empower Pullman residents to go after their dreams (which the piece certainly could do — it's joyful!), Carrie Iverson, an Oakland-based glass artist, printmaker, and poet, embraced the history and confronted it head on with her recent installation, "Groundwork," made with her husband and fellow artist Jeremy Scidmore, Portland-based artist Nathan Sandberg, and artist/master metalsmith Kelly Ludeking. The project, which began in September 2014 and was uninstalled in December 2014, had several parts: a community iron pour on the factory grounds, a community iron-tile-making workshop, and an installation within the factory's administrative clock tower, a building that has the empty, hollowed-out feeling of a ruin after it was ravaged by a significant fire in 1998 and later stabilized, though not rebuilt, by the state of Illinois.
Iverson's work is driven by research and often engages the public. For "Groundwork," she organized the first iron pour on the factory grounds since its production heyday (executed by Chicago artist Kelly Ludeking), and invited the community to participate with her and her collaborators both in the spectacle of the pour itself and in the making of artwork for the installation. Community members designed their own tile molds and attended to the pouring, then later had their work presented in the clock tower building. But "Groundwork" was not just about community involvement; it was also about the history of labor and industry and decay present in Pullman itself. While researching the project, Iverson discovered that the historic Pullman train line ended near her studio in Oakland, CA. She found the end-point and made aluminum casts of the train tracks intersecting and ending, a literal tracing of the very ground the train cars made in Pullman had traveled. In Chicago, she installed them on a brick wall at the back of the clock tower building's large atrium facing the community-made iron tiles. Placed in a grid with the subtle cross-hatch pattern of the tracks interlocking across the work, the installation echoed Carl Andre's metal tile floor sculptures, but more significantly connected the artist with Pullman in a visceral, labor-intensive way.
Along with the aluminum tiles, Iverson also installed a lectern made of protruding glass plates scattered in a brick-like pattern and a metal table with three twig-like metal objects. Set in the main atrium of the building, the glass plates quickly collected dust from the crumbling infrastructure, becoming a ghostly, ephemeral ledger recording the coming and going of shadow and light, not unlike the ledgers that once recorded the timecards of the factory workers in the clock tower building. Taken with the relic-like objects on the adjacent table, the installation became something of a shrine to the collapse of utopian capitalism.
Within the atrium and the large room adjacent to the south, Nathan Sandberg placed several fields of white picket-like obelisks covered in the reflective glass beads used on highway stripes and medians. The "pickets" referred to the picketing of the workers, perhaps, but also to the inherent danger of working in the factory, where workers were killed and maimed routinely, and also to the danger of living near the train tracks themselves, particularly near crossings. Set together in a grid and of varying heights, they rose out of the damaged concrete floor like cautionary tombstones. In a room north of the atrium, Jeremy Scidmore installed neon triangles and pyramids that glowed like electric fires in the corners of the building: a pink-red pyramid covered a pile of debris stacked on a wooden pallet; a yellow triangle framed two leaning stones where the brick wall met the floor. The sculptures acted as remnants of the fire that consumed the interior back in 1998, and also as signifiers of the hobo fires that once burned along train lines across the United States, as well as the fire of the molten metal needed to make the train tracks and the train cars themselves, and even the iron that poured at the site in "Groundwork."
Last summer, JB installed an interactive piece on the side of the Hotel Florence to ask a deceptively simple question: "What is your vision of a contemporary utopian community?" He painted the concrete side of the hotel that faces 111th Street with blackboard paint and printed the question on the top of the blackboard, inviting neighborhood residents and visitors to answer with the bundle of chalk he left on the ground. George Pullman built Pullman Town to fulfill his dream of what a utopian community could be. Over the decades, the factory shut down and the neighborhood has faced issues of development, stagnation, and decay. One commenter scrawled under the question a simple statement: "Your utopia could be my nightmare." JB's installation, and his ongoing MOSNART project, open Pullman up to discussion and inquiry, fulfilling a contemporary utopian dream by questioning the very idea of it.
Emotional Landscapes.
January 12, 2015 · Print This Article
Guest post by Lise Haller Baggesen.
Jetlag is the Devil's work!
Or is it a First World problem?
First World problems are the Devil's work and jetlag is the hands-on reminder that in this day and age it is never really enough, if at all possible, to be in one place at a time, when you can be all over the place.
A yuletide melt-down with your sister will tie you down claustrophobically to the here-and-now, where this house (or indeed country) is not big enough for the two of you, and have you gasping for a breath of fresh air. Luckily, on this crisp boxing-day morning, your muddy Heimat was transformed to a magical winter-wonderland, located somewhere between a secular Caspar David Friedrich and a Thomas Kinkade you can believe in. You are here now. On a cross-country train-trip with the seats across the aisle from yours occupied by a middle-aged couple with Down's syndrome. She is wearing a sequined sweatshirt with leopard motif very similar to something you recently saw in Kenzo's fall collection online, and he is the voice of reason as he is giving commentary on the trip:
It is really cold, it is freezing –it is below freezing. Look at the trees outside, aren't they pretty? Look how it is hanging from the trees. It was a good enough Christmas, good food. It was lovely, but now I am tired. You must be tired too, you should rest; we had an early start and we will be there soon enough. Just rest now. Isn't it nice?
With this buildup, Olafur Eliasson's Riverbed, at the Louisiana Museum of Modern Art (in Humlebæk just north of Copenhagen) cannot but disappoint –and yet it does. Traversing through the entire south wing of the museum, Eliasson walks 10.000 men, women and children all the way to the top of the hill and all the way down again. And when they were up they were up, and when they were down they were down, and when they were halfway up they were neither up nor down.
In real time, this hotly anticipated merger of nature as culture and culture as nature, of museum mystique and Iceland experience (or vice versa) is like Kate Moss up close: sexy and photogenic, but ultimately too thin and too shallow and too readily commercialized –the perfect extension or backdrop to the vastly expansive collection of sleek Scandinavian design objects in the museum shop. Nordic Light as commodity.
In another part of the exhibition we are given the illusion of a behind-the scenes look. Here, Atelier Eliasson's geometrical models are laid out in tasteful abundance; hexagons and dodecahedrons, spheres and pyramids in various stages and finishes are bathed in amber light, to theatrical effect.
As we admire the display, my long time friend Lars (the sweet Swede) conspiratorially whispers in my ear an anecdote of how Eliasson politely declined the proposed budget for a project for AROS (Museum of Contemporary Art in Aarhus); this super model does not get out of bed for 2 million kroner!
Eliasson instead suggested they called him back when they got together the funds for a rainbow panorama on the roof…which they did and the results were truly double-rainbow-all-the-way-across-the-sky motherflippin' awesome – and this off course both is and isn't why we are here today—we want more!
Still it is smugly satisfactory to see how Eliasson is cut down to size in the museum's Kids Corner. Here glue guns, paper cones, and wooden sticks are lined up for one and all to create their own Eliasson for the Christmas tree, like the workshop of a scientifically ambitious Santa.
In summary, the exhibition does exactly what it says on the box; yes, it radically alters your experience of the museum's architecture and yes, it ambitiously challenges the museum as site and brings it back to its original narrative as a walk in the park. But paradoxically, there is nothing you can learn here you couldn't have learned from the privacy of your own home, experiencing the work second- or third-hand. There is no song of your self to be sung on this stage –only Eliasson's boastful, tinny earworm of the artist as brand.
How different and deep in contrast it is to leave the Riverbed and delve into the nether regions of the museum; a subterranean catacomb, which—for a moment that lets forever be—is transformed into a life-affirming mausoleum containing the oeuvre of Paula Modersohn-Becker.
Everything is right here; from early academic studies—some a little heavy-handed or earnestly clumsy, others almost a caricature –to the self-assured work of a grown woman who has found her place in the world. These were unfortunately to be her last, as she died from an embolism at the tender age of 31, less than 3 weeks after having given birth to her first child, a daughter. A tragedy, and all the more so as this was a life event she had both anticipated and preemptively celebrated in her body of work. But let us not skip to the end quite yet.
At 16, she writes to her parents from England, about the St. John's Wood Art School: "I shall have lessons there every day from ten until four. At first, I shall be only drawing, beginning with very simple arabesques and other designs. If I progress, then I shall make charcoal sketches after Greek plaster casts […] If I advance further, I shall begin drawing and painting from live models."
With this simple program she sets herself a task, which she follows trough with devotion and bravura. Modersohn-Becker's lifework, as a fully equal member of the artist's colony in Worpswede, is remarkable in more ways than one. Her traveling to Paris on the New Years night between 1899 and 1900, her pioneer work as the first female artist to paint the female nude (including several nude self portraits), and her untimely death, is the stuff of myths.
But more impressive is the work itself. Not for its monumental scale or dazzling visual effects: the formats she administers are modest and never larger than life. Her palette is muddy as the northern European landscape from which most of them hail, and her brushstroke fat and fuzzy as if she is almost sculpting her paintings rather than painting them – or perhaps just pulling them out of the clay and pushing them back in – in one simple, matter-of-fact, gesture.
The self-portraits –though both peculiar and provocative in their time—are showing her neither as whore, nor holy. She is simply there, present, with her mental and bodily functions intact and fully alive. An important source of inspiration is Egyptian mummy portraits, which she studied in the Louvre and whose oblong format and frontal view she often employs—as if to remind us that in the midst of death we are alive. A longish amber necklace with large oval beads is a recurring motif that she paints in the same impasto ochre as the flat circular disk of her own iris, because they are both part of the same eternity. In painting after painting, her fat, terse, brushstrokes drag and push our own eyeballs around, as we follow their trail across the barren canvas and her own gaze as she travels across Europe.
She paints women and children first, not unsentimentally –because what would be the point of that? — But with no false modesty either: unflinchingly and always at eye level. Suckling babies find the teat with the unwavering conviction of instinct and all is in the world.
With her willing- and able- bodied being in and of this worldly world –a worldliness that combines the two meanings of the word and is both cosmopolitan and sophisticated as well as concerned with the earthly, terrestrial and mundane repetitiveness of this mortal coil— Paula Modersohn-Becher's life work is not only the perfect antidote to the spectacle of Eliasson's five-minutes-in-Iceland, but also to our jet-lagged existence. It is a poignant reminder that wherever you go there you are and you take yourself with you. Nowhere else but right here and right now could you get over yourself and make right by your sister, or could you be eye to eye with an amber oval disk that is both a smear of ochre paint and at gateway to your soul.
Lise Haller Baggesen left her native Denmark in 1992 to study painting in the Netherlands. In 2008 she relocated to Chicago with her family. In the meantime, her work evolved from a traditional painting practice toward a hybrid practice including curating, writing and immersive multimedia installation work. Her first book "Mothernism" was published by Poor Farm Press and Green Lantern Press in 2014.
Lise McKean, PhD
A Pierre Dream: A Portrait of Pierre Boulez, Chicago Symphony Orchestra Beyond the Score Series. Gerard McBurney, creative director; Pablo Heras-Casado, conductor; Frank Gehry, scenic design; and Mike Tutaj, projection and sound designer. November 14 and 16, 2014.
Adrian Leverkuhn, Painting? Thomas Masters Gallery, Chicago. October 10 to November 2, 2014.
Whenever I see CTA bus #146 and read the name of its route, I smile. Route 146 is Inner Drive. All life has inner drive. For artists it takes a distinctive form. They're exceptionally curious and they're driven to make and create. Whatever their métier, artists breathe life into their works. Every generation of artists contends with outmoded aesthetic forms and reactionary authorities and audiences. In response it devises its own approaches to innovation and creation. Instances of this age-old process crowd the annals of art history.
Recently I came across two examples in Chicago: A Pierre Dream: A Portrait of Pierre Boulez staged by the Chicago Symphony Orchestra for its Beyond the Score series under the creative direction of Gerard McBurney; and Adrian Leverkuhn's exhibition, Painting? at Thomas Masters Gallery. What does a CSO tribute to a ninety year-old musical titan have to do with the exhibition of a young painter interrogating his vocation? Writing about them together is more than a fluke of the season's cultural calendar.
Decades before Boulez became a world-renown maestro, he sharpened his claws on institutions and self-appointed guardians of European musical traditions. He was ferocious and relentless, gifted and inspired. For him, all his work is "provisionally definitive." The CSO tribute is in tune with today's multitasking audiences. Images, words, son et lumière, choreography of agile "puppeteers," and above all Pierre Dream's music and espirit bring to life a tale of Boulez and his artistic milieu. The photos show the performance's pitch-perfect visual design, and I trust them. Except for a couple peeks during the 75 minutes, my eyes stayed shut so the incantations of Mallarmé's poetry and Boulez's words—and the virtuoso performance his compositions—could conjure their own forms in my imagination and steep into experience.
The murmurings of memory resonate long after the Symphony Center's bravos and applause for this fond tribute die out. They're reminders that Boulez, now elderly and no longer in the limelight, was once a young artist ablaze with energy and indomitable will—"I shall tell you about the rows I have been having with Schaeffer: that would be enough to fill a huge folio! I shall tell you that the experimental studio is more and more crap, and that Schaeffer is a pain in the arse; and that I hope I shall soon be working with Stockhausen at the electronic music studio of Radio Cologne….Apart from that, in concerts here: Nothing. It's desperate. Everything, from that point of view, is going on in Germany" (1953 letter of Boulez to John Cage in The Boulez-Cage Correspondence).
Boulez finds ideas and cues in the world around him. His fellow travelers include painters such as Philip Guston, Bernard Saby, and Dado. At one point in Pierre Dreams we hear Boulez speak about how music can learn from a dialogue with visual arts. This conversation is taken up by other artists. For example, Desy Safán-Gerard paints with both hands while a nude model moves to the music of Boulez.
In the recent exhibition, Painting? Leverkuhn intersperses among his paintings handwritten lists of "Questions for Painters." The tone of his 94 questions hovers between wry and rhetorical. Leverkuhn was surprised when he sent the list to art academics and they took the questions literally, responding didactically as if presiding over a course quiz.
The works in Painting? assert that Leverkuhn has chops and range. After taking in the canvases from a distance, a curious viewer is likely to move closer. Changing perspective allows the textures, colors, and shapes to take on a different appearance. On some works the palette and forms are austere; on others color and detail pop. The paint on the seeming ground is thick and sculptural. It's a figurative force of its own.
Leverkuhn's works address themselves to the figure. In some the figures suggest the freewheeling spirit of the skateboarder. Yet menace stalks them—one swings on a broken trapeze, another crouches on an unraveling net—crash and burn lurk on every canvas. This juxtaposition of insouciance and hazard echoes in his act of renaming himself with the surname of Thomas Mann's ill-fated composer in the novel Doctor Faustus: The Life of the German Composer Adrian Leverkühn, Told by a Friend.
In a set of 18 works Leverkuhn evokes specters of human transformation. Is the figure in 42E poised for flight? Are others undergoing Kafkaesque metamorphoses? Another work in the show, 58, was painted by Leverkuhn and Thomas Masters. Like a tag-team, they paint one after the other on the same canvas. Their duet in 58 continues explorations that led to works they exhibited a couple of years ago.
It's a safe bet to say we'll see more of Leverkuhn. And for Boulez admirers who did not attend A Pierre Dream at Symphony Center, there will future performances. It will travel to California for performances at the Ojai Festival and the University of California-Berkeley. Later it will travel on to the Netherlands Festival and the New York Philharmonic. A Pierre Dream video is slated to stream on the CSO website.
Decades and an ocean may separate Boulez and Leverkuhn. Chance may have thrown them together in Chicago at this moment in time. But it's not by chance that they're both aboard #146. Pay the fare and you too can hop on for the ride.
Lise McKean is a social anthropologist and art writer, and recently is turning her hand to custom couture as an associate of Haj Gueye at La Maison de Haj in Chicago.
How's my painting? Call 1-800-EAT SHIT
November 18, 2014 · Print This Article
Guest post by Lise Haller Baggesen.
Ok, so this happened: this morning, as I was about to leave my hotel, there was some screaming and commotion in the hallway. A woman was yelling for help. I rushed outside and saw the staff, room service, the reception clerk, and some other hotel guests (military men, judging by their uniforms) swarm in from all corners an descend on the hotel room right next door to mine, where a young woman was standing in the door way, whimpering. She looked like she had just been on the way in or out of the shower (out, I think as I believe her hair was wet). She was half naked, or half dressed – but despite her state of undress, she did not look at all like she was "asking for it" – she just looked scared, in shock actually, and tried to compose herself as she struggled to give a coherent account of what had just happened. She could hardly believe it herself: A man had just tried to gain access to her room, under the cover of returning her credit card from the liqueur store around the corner. She remembered having seen him in a nearby coffee shop, and he must have followed her from there to the store and back to the hotel and seen her enter the room. When she answered the door he tried pushing her inside, but she screamed and struggled and finally managed to scare him off with the words: "I'm pregnant, why don't you leave me alone?" Not sure if it was this salute that made him retreat, or just the realization that the noise was attracting attention.
The staff was looking at the security camera footage for images, but he had already fled the hotel. Police were called, etc.
I made my way back to my room, telling myself that is no "worse" being followed, threatened, assaulted, raped, or murdered in Philadelphia than in Chicago, Amsterdam, Copenhagen, Viborg or anywhere else I have called "home." But really, I just wanted to go home.
Instead I forced myself to go out and make my way to the ICA. As I left I saw her standing in the lobby, now fully dressed, but otherwise in a state of complete unraveling.
So, it is in this frame of mind I am reviewing the current show "Readykeulous!" which Nicole Eisenman co-curated with A.L Steiner – revisiting and expanding their 2011 exhibition "Readykeulous: The Hurtful Healer," along with Eisenman's first retrospective in a major American art museum (more about that later).
As I read in the accompanying leaflet (sadly, there is no catalogue of this great show) "the work in the show span a variety of text-based and text-inspired media, including painting, video, audio, sculpture, drawing, and choice selections from Ridykeulou's exclusive PATRIArchives™."
Just like the title, the works in the exhibition are packed with the punch of the lesbian experience and the related discrimination within the art-world, such as the Gorilla Girl's revisited classic The Advantages of Being a
Woman Lesbian Artist:
While I can't claim that experience as my own I am right there with the anger and its associated catharsis: A lavender fist in the face of the frat-bro in-crowd of wheelers and dealers of that patriarchy.
The show is an energetic, upbeat fuck-you to all of that, and a funky collection of genres and cross-generational cross-pollination. An orgy of visual information appropriately jammed into the hallway between the water fountains and the lavatories.
Among my favorites is my former mentor Kathe Burkhart with one of her signature Liz Taylor portraits Suck my Dick. Full frontal and with her arms akimbo in her tussled hair, Liz' button down shirt and jean buttons have come undone, her gyrating hips thrusting toward the viewer. Down there the painting is embellished with a black silicone dildo. Subtle it is not. The figure is surrounded on either side with rejection letters from galleries, museums and everything in between, to whom Ms. Burkhart has sent her portfolio over the years. Among them some Amsterdam art dealers, some bona fide jerks that I actually know. I feel you Kathe: Life sometimes can be ridykeulous!
The show is accompanied by a selection of paraphernalia from the archives: Correspondence, flyers, and even a misogynist candy bar wrapper have made the cut. What stands out (if only for its yellow-and-green-should-never-be-seen-color-scheme) is a vinyl bumper sticker, which reads:
"How's My Painting? Call 1-800-EAT SHIT"
Bon appétit!
The main exhibition space houses Nicole Eisenman's first (and not a minute too soon) major museum retrospective "Dear Nemesis," spanning two decades of painting galore.
Is Nicole Eisenman the greatest painter alive and kicking in the US today? What do I know? What I do know is that this shit kicks ass! Ugliness is next to godliness in these paintings. Her crapshoot attitude to figuration is a hearty antidote to the empty calorie crapstraction we have been served much of late. Nicole shits where she eats and her fertile grazing ground is a pasture of painterly references, her output a many-splendored tour the force through art history. In no particular order we see Picasso, Tom of Finland, David Hockney, Vincent van Gogh, Edvard Munch, Max Beckman, Holbein, Georg Grosz, Pierre Puvis de Chavanne and Toulouse Lautrec frolicking by. If this is what she means by "eat shit!" can I have some more, please?
Breughel's Blind Leading the Blind stagger across the foreground of The Triumph of Poverty – a complex composition of various figures, valiantly assembled in an around a wreck of a car on the road to nowhere. We don't know where this will end, but is begins in the great American suburb, judging by the plastic sided bungalow in the background.
(The piece is signed conspicuously and prominently in the corner: NE09. Now, this is only speculation on my part, but since this is the only painting in the show that is signed in this manner, I will allow myself to speculate that this is a shout out to the "other" great figure painter who's star was on the rise in 2009: "Hey Neo [Rauch], you wuss – lemme show you some real contemporary history painting!")
Interbellum Berlin Biergarten Barflies meet and part, like ships in the night, or go down together, lips locked in punch drunk love. Gericault's Medusa float comes sailing by. It is a party boat. Medusa is not ugly when you are drunk – you just have to squint to see her. She is beautiful and she is laughing. Belch.
The Stranger –a picture of a guy reading Camus' novel in front of a carefully rendered bookcase filled with books, books, books—is so delicious I just wanna lick the paint right off of the canvas and his rudimentarily outlined woodcut of a face. His wooly sweater is a smear of Chromium Oxide green and the cover of the book he holds is a textbook example of graphic design stuck smack against the picture plane, like it was some bathroom mirror. How can these contradictory and discordant pictorial languages even co-exist within the same picture and sing in harmony?
Therapy sessions and Tits! Tits! Tits!
Eisenman's sculptural work is represented by five busts, all titled Sleeping Frat Guy, indebted to Balkenhol, Basquiat, and Brancusi in equal measure. Sex objects, literally. It's lump, it's lump, it's lump, it's in my head. They wear little tokens on leather strings around their necks, lending their douchebag air a disarming hippie edge. The hottest one of them has passed out, mouth open, with his head tilted back at a 90 degree angle. In profile he looks just like Wolfgang Tilman's iconic photograph of Damon Albarn in the shower. Yummy.
I am stuffed.
As I return to the hotel, Philly's finest are crawling the hallway on all fours, combing the vomit colored carpet for forensic evidence. I ask if they have found the guy and they assure me they are working on it. Fucking reassuring that is. This shit is real. I mumble an offer to give a witness report, and they wave me off with a "Thank you, Maam!" before I shuffle back into my room; I'm just gonna stay in and write tonight.
Would I have felt different about it all and would this review have had a different flavor, if instead of this morning incidence, I had been helped across the street by a friendly neighborhood frat bro, like the frail little old lady I am today? Probably, but this has yet to happen to me.
Lise Haller Baggesen left her native Denmark in 1992 to study painting in the Netherlands. In 2008 she relocated to Chicago with her family.
In the meantime, her work evolved from a traditional painting practice toward a hybrid practice including curating, writing and immersive multimedia installation work.
Her first book "Mothernism" was published by Poor Farm Press and Green Lantern Press in 2014. The related audio installation is currently on view at Vox Populi, Philadelphia, and as part of the exhibition Division of Labor at Glass Curtain Gallery, Chicago.

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We last saw the heavily revised 2015 Toyota Camry at the New York Auto Show earlier this year. Now, it's finally time for the best-selling car in the US to hit the roads in late September, and Toyota is announcing how much the updated model actually costs.
2015 Toyota Camry: New York 2014
2015 Toyota Camry priced at $22,970*, Hybrid at $26,790*
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With a dozen years atop the nation's best-selling car charts, you might think that there wouldn't be a lot of incentive for Toyota to rework its Camry, particularly so early in the life of the current model. But despite its unassailable sales totals, the midsize sedan has come in for substantial criticism for its milquetoast dynamics, piecemeal interiors and bland design.
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The 16th annual Children's Day Fair was held at the Emerson School, in Bolton, Saturday.
Children got to play games, listen to music from family artists Chuck and Mudd and cuddle animals.
Click on the attached link to view photos from Item photographer Karina Bezerra.
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Police ID woman killed in crashMay 20,2013LYNDON A passenger has been killed in a car accident in northern Vermont after the driver lost control while swerving to avoid a small animal that was crossing the road.
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Roper Drive-In
7227 Reno Highway,
7227 Reno Highway,Fallon, NV 89406
350 cars
No one has favorited this theater yet
This drive-in opened in 1954. The original owner was Walt Whitaker, a sheep rancher. The theater operated under various partnerships until its closing in 1978. Bob Erickson re-opened the drive-in in 1980 and operated it for another eight years, until it closed for good. The theater was demolished in September 2004.
Contributed by Ken McIntyre
Recent comments (view all 4 comments)
MagicLantern on May 16, 2006 at 1:53 am
This drive-in appeared in the film "Pink Cadillac" (1989).
MagicLantern on May 16, 2006 at 1:56 am
Also appeared in the film "The Wizard" (1989).
kencmcintyre on August 18, 2007 at 5:31 pm
There is a photo of the screen on roadsidepeek.com:
There is a photo of the screen on roadsidepeek.com:
jwmovies on November 17, 2012 at 6:30 pm
Aprrox. address for this drive-in was 7227 Reno Highway.
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Just login to your account and subscribe to this theater
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Amarillo City Commission: Tuesday, 3 p.m., City Hall, 509 Seventh Avenue.
After a 2:30 p.m. work session, the commission will consider the second reading of an ordinance to require carbon monoxide detectors in newly constructed homes and consider approval of the AEDC project at Bell Helicopter.
Amarillo Metropolitan Planning Organization Policy Advisory Committee: Thursday, 1:30 p.m., City Hall, Room 306, 509 E. Seventh Ave.
The committee will hear a report on the annual project list.
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[Watch] Here's What Happens When Your Side Chick Crashes Your Wedding
It's a scene out of a Tyler Perry movie.
Clear your calendars for March 2! Kevin Hart is hosting Saturday Night Live, the comedian confirms via Twitter.
"I'm hype as s*** right now! This is so HUGE!" the Real Husbands of Hollywood star joked. This will be Hart's first time hosting the long-running sketch comedy show, whose world-famous alums include Eddie Murphy and Chris Rock.
With a career on the fast track and a Rolodex of famous friends, it's getting harder and harder to laugh at Kevin's pain!
Get ready for the BET Experience, featuring Beyoncé, Snoop Dogg, R. Kelly, Erykah Badu, Kendrick Lamar and many more . Go here for more details and info on how to buy tickets.
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Forbears of 'Joe the Plumber'
Attaching a face to an issue, as candidates did in Wednesday's debate, has a history of success from 1840s France to Reagan's White House -- and plenty of backfires.
The inadvertent star of Wednesday night's presidential debate -- Joe Wurzelbacher, aka "Joe the plumber" -- is the latest in a long line of regular people to have their personal lives publicized by politicians looking to attach a face to an issue.
In his State of the Union addresses, President Reagan, for example, habitually named people in the gallery who had done something heroic. One person he praised: Lenny Skutnik, who in winter 1982 dived into the Potomac River to rescue a plane-crash victim. Mr. Skutnik now lives in Virginia and works at the Congressional Budget Office, the same place he worked at the time of the crash.
James Grant argues that the real lack of confidence is in Washington, with the administration losing faith in capitalism. Read The Confidence Game.
The issue-with-a-face game goes way back. At the time of the French Revolution of 1848, the press often used the term "Jacques Bonhomme" -- the Gallic answer to Joe Sixpack. "There was a feeling that somebody had to stand up for Jacques Bonhomme," says John Merriman, a Yale history professor, adding that the term still comes up in conversation. And during the 2005 referendum on the European Constitution, French politicians frequently referred to the "Polish plumber" to personify the threat of other Europeans taking French workers' jobs.
The strategy isn't foolproof. For example, not all of Mr. Reagan's stories panned out. While running for president in the late 1970s and pushing for stricter regulation of welfare disbursements, he repeatedly mentioned a "welfare queen" who had fraudulently received more than $150,000 worth of benefits. But that welfare recipient was convicted in 1977 of fraud for using two aliases to collect $8,000. The incident was reported in a book by Reagan biographer Lou Cannon.
This week, after the latest debate, it was disclosed that Mr. Wurzelbacher is not a licensed plumber -- something he doesn't deny -- while reporters and liberal bloggers dug up a $1,182.98 tax lien the state of Ohio has taken out against him.
During primary season, Sen. Hillary Clinton frequently referred to an uninsured pregnant woman who, after being turned away for treatment at a hospital, gave birth to a stillborn baby and died herself. Sen. Clinton used the story to illustrate cracks in the country's health-care system. But controversy about the anecdote dogged her. The claim was that her remarks hadn't made clear that another hospital subsequently treated the woman, Trina Bachtel, and delivered the baby. (A Clinton representative says the senator's remarks were essentially accurate.)
In personalizing issues, Mrs. Clinton was following her husband's lead. President Clinton often collected names of people he met on rope lines who told him stories of health or financial crises, says Darrell West, director of governance studies at the Brookings Institution. While working on welfare reform as governor of Arkansas, Mr. Clinton met former welfare recipient Lillie Harden of Little Rock, and he took care to have her by his side when he signed the welfare-reform bill of 1996.
"People don't like policy abstractions," adds Mr. West. "It's easier to relate to a single individual than a concept."
In the midst of a 1979 summit President Carter organized to address an energy crisis, he visited with families from Pennsylvania and West Virginia to hear opinions on the energy crisis. "It wasn't good enough to hear from some 150 experts, he wanted to hear from regular Americans too," says historian Steven F. Hayward. The local Democratic party had failed to notice that one of the family members he was visiting had a criminal record that included arson and assault, Mr. Hayward says.
As a congressman in the 1980s, Phil Gramm, the highly influential Republican senator from Texas, began a habit of referring to Dicky Flatt, a salt-of-the-earth printer in Mexia, Texas. Mr. Gramm frequently said Mr. Flatt's tax burden had to be weighed against the cost of any federal program before it won his nod. But a 1994 article in The Wall Street Journal showed that Mr. Flatt's home county of Limestone was greatly dependent on federal assistance.
Mr. Flatt remains in Mexia, where he owns Flatt Stationers. He says he stays in touch with Sen. Gramm and, occasionally, finds himself in the public eye again. "I come and go with whether he's in the news or not," says the 66-year-old Mr. Flatt. "But when things settle down I just go back to work."
—Lauren Mechling and Jamin Brophy-Warren contributed to this article.
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CORE Education's media kit is provided for public relations purposes.
CORE Education's media kit is provided for public relations purposes.
Unitec Insititute of Technology now recognises selected CORE Education online programmes, as credits towards their Educational Leadership and Management programmes.
University of Canterbury (UC) now recognises CORE Education's Modern Learning online programmes as part of their postgraduate course, 'Transforming Education in Canterbury'. This course contributes to the PGCertED, PGDipEd or MEd programmes offered at UC.
CORE Education conducted a review for the Lands Trust Masterton on the effectiveness of the organisation's funding programme.
Tara Fagan was interviewed by the NZ Herald for an article entitled "Parents warned to restrict kid's screen time".
CORE's Warren Hall was interviewed about the use of devices in the classroom by Newstalk ZB.
CORE Education is supporting and leading the design of the New Zealand portion of a global collaboration called New Pedagogies for Deep Learning, a three year initiative that aims to enhance learning within schools, by mobilising partnerships, innovation and technology.
The Ministry of Education's Learning Technologies Advisory (LTA) initiative is to be led by CORE Education. The initiative is a three year long contract aimed at supporting New Zealand schools and kura to maximise the potential of ultra-fast broadband and the managed network and digital technologies to achieve better educational outcomes.
CORE Education is a recipient of one of eight government funded research projects as part of the Teaching and Learning Research Initiative (TLRI). CORE's research project aims to improve educational outcomes by helping educators nurture the cultural identity of learners.
LEARNZ video footage has been used in a new video published on the NOAA Ocean Today website. This video production was supported by the Smithsonian Institute.
ULearn is the major education conference in New Zealand and attracted more than 1700 people this year. ULearn14 also attracted the attention of the news, with the Rotorua Daily Post and TVNZ's Te Karere reported on the conference. The conference was also a featured news item in the November issue of School News, along with an anouncement concerning the launching of CORE's EdVenture one-day-regional conferences in 2015.


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MC Moose started his music career in the Blues parties of London as part of sound system back in the Eighties playing Reggae, Lovers Rock and Rare Groove and soon moved onto Pirate radio stations such as, Time Radio WLR and Traffic Jam. Today he is still a regular at Progression Sessions Fabric, Moondance, Raindance and Metalheadz due to his style. Moose has an easy style that's suits the more musical DJ.
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I'd like to find out good and robust MapReduce framework, to be utilized from Scala.
We started with Q&A. Technical documentation is next, and we need your help.
Whether you're a beginner or an experienced developer, you can contribute.
To add to the answer on Hadoop: there are at least two Scala wrappers that make working with Hadoop more palatable.
Scala Map Reduce (SMR): http://scala-blogs.org/2008/09/scalable-language-and-scalable.html
SHadoop: http://jonhnny-weslley.blogspot.com/2008/05/shadoop.html
UPD 5 oct. 11
There is also Scoobi framework, that has awesome expressiveness.
http://hadoop.apache.org/ is language agnostic.
You may be interested in scouchdb, a Scala interface to using CouchDB.
Another idea is to use GridGain. ScalaDudes have an example of using GridGain with Scala. And here is another example.
A while back, I ran into exactly this problem and ended up writing a little infrastructure to make it easy to use Hadoop from Scala. I used it on my own for a while, but I finally got around to putting it on the web. It's named (very originally) ScalaHadoop.
For a scala API on top of hadoop check out Scoobi, it is still in heavy development but shows a lot of promise. There is also some effort to implement distributed collections on top of hadoop in the Scala incubator, but that effort is not usable yet.
There is also a new scala wrapper for cascading from Twitter, called Scalding. After looking very briefly over the documentation for Scalding it seems that while it makes the integration with cascading smoother it still does not solve what I see as the main problem with cascading: type safety. Every operation in cascading operates on cascading's tuples (basically a list of field values with or without a separate schema), which means that type errors, I.e. Joining a key as a String and key as a Long leads to run-time failures.
Personally, I've become a big fan of Spark
You have the ability to do in-memory cluster computing, significantly reducing the overhead you would experience from disk-intensive mapreduce operations.
to further jshen's point:
hadoop streaming simply uses sockets. using unix streams, your code (any language) simply has to be able to read from stdin and output tab delimited streams. implement a mapper and if needed, a reducer (and if relevant, configure that as the combiner).


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Illinois Firearm Instructors Firearm Instructors
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Top Shot Academy @ Cabelas
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Online and on-site CCW for Arizona and Illinois.
Carry in the states bordering Illinois with an AZ CCW (no live fire required).
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2 Palms Shooter Supplies
Illinois 62208
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I and a select few experienced instructors provide clear concise Illinois CCL and advanced courses.
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2nd Amendment Defense Inc
4304 Maray Drive
1/2 Mile Northwest of State & Alpine
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United States
2nd Amendment Defense strives to be the premier site in the Rockford area for handgun training and sales. We support concealed carry in Illinois. We...
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I'm a certified CCW instructor for Illinois and Utah. I am also a certified NRA instructor and I teach Basic Pistol Shooting and Refuse To Be A ...
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Illinois Gun Training is your top resource for Illinois Concealed Carry Permit instruction. Our instructors are certified and have experience in ...
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Matthew Jacoby Library
Core Curriculum
B.A. Intercultural Studies
A.A. Intercultural Studies
A.A. Interdisciplinary Studies
B.A. Philosophy
B.A. Theology & Religious Studies
A.A. Theology & Religious Studies
Dr. Mark Garton
Ms Emily Embree
Ms. Kirsten Lillegard
Ms. Sharon Sinton
Mr. Larry Udry
Ms. Michelle Vargo
The Program
Intensive English Language Institute Faculty
Degree Programs
Intensive English Language Institute
College Catalog
Position Openings
Communications Faculty
Part-time Spanish Instructor
Library Director
Communications Faculty
Divine Word College is a Roman Catholic Seminary College located in Epworth, IA. The Interdisciplinary Studies Department at Divine Word College is seeking a full time faculty member to teach courses in communication. The successful candidate will teach one hundred (100) and two hundred (200) level courses in public speaking, interpersonal communication, and undergraduate courses in written communication as may be necessary. One-fourth of the faculty's time will be used to organize the tutoring center. The candidate will work with the Department in curriculum development and outcomes assessment and work with faculty across the College by serving on committees.
Master's degree in speech or communications is required; teaching experience in public speaking and interpersonal communication preferred. Experience teaching or tutoring English, especially those for whom English is not their native language, highly desirable.
Divine Word College is committed to building a culturally diverse faculty in our multicultural environment. We, therefore, encourage applications and inquiries from candidates of minority backgrounds who will enrich and contribute to the cultural diversity of the college.
Applicants should send a copy of their current curriculum vitae, a letter describing teaching experience, and contact information (name, phone, email) of three references. Review of applications will begin immediately and will continue until the position is filled. The position is contractual for a three-year period and renewable, beginning in August 2016. Direct all inquiries and send all application materials to Donna Puccio at
. Additional information about the College is available at:
Part-time Spanish Instructor
Divine Word College, Epworth, IA, is seeking a part-time Spanish instructor for the 2016-2017 academic year. Availability to teach face-to-face is preferred. Courses include Fundamental Spanish in Fall, 2016 and Intermediate Spanish in the Spring, 2017. Master's degree in Spanish required. Send cover letter and resume to Ms. Donna Puccio at:
or Divine Word College, P. O. Box 380, Epworth, IA 52045.
Application deadline: until the position is filled. Divine Word College is an affirmative action/equal opportunity employer.
Library Director
Divine Word College, a Roman Catholic College Seminary in Epworth, Iowa, is seeking a Library Director. The Director is responsible for the administration, maintenance, and development of the Library. In particular: the Director develops and promotes library resources for the benefit of faculty and students in their research and learning needs; leads library operations and services in keeping with current best practices; supervises Assistant Librarian, staff, and student workers; manages the Library budget; and works collaboratively with other areas for the benefit of the users.
Required qualifications
: Master's degree in library science from an ALA accredited program; experience working in the setting of a college library; thorough knowledge of the philosophy and practice of interfacing library with information services; knowledge of the Catholic tradition and commitment to the College's mission.
Preferred qualifications:
Knowledge of the current philosophy and best practices of library services as well as library resources and materials; ability to think analytically and develop systems, procedures, and workflow; ability to take initiative and think strategically; knowledge of technology and relevant software; thorough knowledge of how the library interfaces with information technology; ability to communicate orally and in writing; ability to exercise independent judgment, interpret policies, and supervise staff; ability to establish and maintain effective working relationships with associates, supervisors, and others; ability to effectively assist faculty and students' research projects; ability to network with area libraries and to remain current in one's professional field.
Send vita, cover letter describing qualifications and experience, and contact information (name, email and phone number) for a minimum of three references to: Donna Puccio at
Review of applications will begin immediately and will continue until the position is filled.
Divine Word College
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Everywhere in Islamic gatherings or events, the translation of the Quran, and Islamic literatures, I see SAAW very commonly used after the Prophet Muhammad's name. However, I don't see SWT with the same frequency after Allah's(SWT) name. As to every Muslim Allah(SWT) is the supreme power and owner of all things, shouldn't this be the other way around? In other words, why the name of Prophet Mohammad receives more respect than that of Allah(SWT)?
Why SAAW(ṣall Allāhu ʿalay-hi wa-sallam) is more common after Prophet Muhammad's name than SWT(Subhanahu wa ta'ala) after Allah's name?
There is a direct command from Allah to Muslims to say SAAW when the Prophet is mentioned:
It's the order of Allah that we say SAAW whenever the Prophet is mentioned. So we respect Prophet the because Allah ordered us to do so, this obviously means that we respect Allah more, and in obedience for his order we respect the Prophet that much.
However, there is no "solid" order that states we should say SWT whenever Allah's name is mentioned (at least not to my knowledge). But, of course, it's better to always say SWT (or other glorification words) when Allah's name is mentioned.
In many countries, the prophet peace be upon him name is almost always followed by blessing but Allah subhan wa'ta'la name is almost never followed by any any blessing. This is because Allah (SWT) directs us in Ahzab 33:56 to say blessing on the prophet and use proper salutation with his name.
I am not aware of any verse of hadith that asks us to do the same for Allah (SWT). In fact in hadith books, the phrase Subḥānahu ūta'āla (Glorified and Exalted be He) is never used or used very rarely. In my view this is just innovation. One example of such hadith is below.
Allah is a unique name by itself, when we say "Allah or Ya Allah , it is not only unique but bring forth all what we can think of his attribution, as our beloved prophet said we may not be able to praise HIM than He praised Himself.
Let me also quote you the narration of Abu Huraira - Prophet Mohammed SAAW said " there are two words ( expression or saying ) which are very dear to the Most Gracious Allah and very easy for the tongue to say "Subhan Allahi-wa bihamdihi - Subhan Allahil-Azim
This also increase the scale weight of each of us in the hereafter.


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Multi-Plier 600 - Bluntnose Stainless w/ Carbide Insert Cutters, Leather Sheath
We can think of about 600 reasons why this much-applauded multi-tool belongs on your belt. But don't worry, well just stick to the most important ones here. Like profound versatility, for example. And fail safe performance. And a level of rock-solid design and construction that pleases the eye and satisfies the soul.
It all begins with high quality stainless steel. Then we incorporated Gerber's patented one-handed opening pliers. Top that off with our patented replaceable tungsten carbide wire cutters. When the cutters become dull or misshapen simply rotate the tungsten carbide cutters 120-degrees, and you've got yourself a good-as-new wire cutter. After three rotations, the entire cutter can be replaced.
You'd be hard pressed to find a more rugged or more fearless multi-tool out there. But go ahead and look around a bit. See what you think. Then come on back to Gerber and pick the Multi-Plier 600 that truly suits your needs. We're building plenty.
- Overall Length: 6.3"
- Closed Length: 4.9"
- Weight: 9 oz.
- Handle Material: Stainless steel
- Sheath Material: Leather
- Pliers Type: Bluntnose
- Handle Color: Stainless steel
i love gerber thry got the best warrenty in the bizness i got nothing bad to say about their usa made tools the rest isnt that bad either
This excellant tool is very handy in my line of work , cuts wire , strips,wire , help replace dee feeder , motors , timers , spinners , and save me time form haveing to dig in my big toolbox , cause this thing sits right in my door or is on my belt , and all the multi gizmos are a real help
Carried this tool for decades. I need a new leather sheath. Can I buy one separately?
Excellent tool, had mine for well over a decade now, and still going strong after several deployments, and moves.
Excellent tool that has been with me in several countries and through multiple deployments. It's done everything I've needed without fail and continues to accomplish the mission.


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TrapWire's Global Size and Support Reported; Unfavorable Stories ScrubbedWritten by Joe Wolverton, II, J.D.
As the size and sponsorship of the global surveillance network TrapWire continues to be revealed, the hacktivists of Anonymous are calling on those alarmed by the multinational monitoring apparatus to unite August 18 in concerted opposition. "As we learn about TrapWire and similar systems in the surveillance industry, it becomes more apparent that we must, at all costs, shut this system down and render it useless," spokesmen for Anonymous wrote in a press release. Despite the purported power of the surveillance system, Anonymous recommends opponents protest peacefully.
With the rise of the drones comes the rise of several critical questions of Constitutionality of their potential uses. One of the most crucial of those inquiries concerns the application of the Fourth Amendment's prohibition against "unlawful searches and seizures" and the requirement that warrants be supported by affidavits "particularly describing the place to be searched, and the persons or things to be seized."
New Jersey Governor Chris Christie is fighting to defend a law he signed in January that permits betting on professional sporting events. Though Christie has bipartisan support for the law in the state government and support amongst New Jersey residents, several major sporting leagues are suing the state, asserting that the law undermines federal law and threatens to undermine the nature of sports and the relationship between teams and their fans.
TrapWire: The Federal Gov't is Literally Watching Every Move You MakeWritten by Joe Wolverton, II, J.D.
The U.S. government exercises control over a massive and technologically advanced surveillance system that has the capacity to keep nearly the entire population of this country under the watchful eye of government 24 hours a day.
TrapWire is the name of this newly revealed network of cameras and other surveillance tools being utilized by a federal government that is rapidly constructing an impenetrable, inescapable theater of surveillance, most of which is going unnoticed by Americans and unreported by the mainstream media.
A petition about the screening procedures used by the Transportation Security Administration at airports was removed from the White House "We the People" website just before it reached the necessary 25,000 signatures to compel the Obama administration to issue a public response. The site holding the petition also went down for "maintenance" after an article on Wired.com called attention to the petition.


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5 Reviews
Draw the line.
As cyclists, we spend a lot of time in the sun, so Pearl Izumi designed the Sun Sleeves to act as single-application sunscreen in order to draw a line between us and harmful UV radiation. The newest model of Sun Sleeves enjoys a higher UPF rating (50 instead of 40) and wider grip bands for a more secure fit.
Each color now also has different cooling technologies. The black option includes In-R-Cool material, which uses Coldblack technology to reflect the sun's warming rays. The white option uses Ice-fil, which involves adding a xylitol coating to the fabric's threads that reacts to moisture, getting cooler when it gets wet. Both options incorporate Pearl's Elite transfer fabric to wick moisture and keep you comfortable during the hot, sunny days when you'll really appreciate the Sun Sleeves' high UPF rating.
- Item #PLZ007I
Tech Specs
Tech Specs
- Reviews
What do you think about this product?
Have questions about this product?
Protect yourself from the Sun!
- Familiarity: I've put it through the wringer
- Fit: True to size
- Size Bought: L
I spend a good bit of time on my bike and I prefer to cover my skin from the sun as opposed to using sun screen. These offer great sun protection for long rides and they do not feel hot. They are quick drying and cool well.
Important protection
I've owned a pair of PI sun sleeves for 4 years. These are GREAT. These really protect your arms from sunburn during 2+ hour mid-day rides in the Summer, so you don't have to glop on sunscreen all over your arms. Love these!
Pros: 1.) The light but strong, stretch-fit white textile stays cool -even in 95+ weather! I like the white ones. 2.) Good looks. 3.) specific left and right arm anatomic fit. 4.) Excellent quality and QC from Pearl Izumi, per usual.
Cons: Like Reuben remarked below, the upper arm band is a little restrictive (tight) for those with larger biceps. I think these sunsleeves are best for slim to average weight riders. Thus, these arm warmers may not work so great for those with a bigger upper body. (If so, try the "arm coolers" from LG).
Fit: I'm 5'10" 185 lbs. I'm a little bigger in the upper body. The M fit perfect except the upper arm band was a little tight (but ok). The L was too long for me. Don't buy ones too long, they will bunch up.
Not a fan
- Familiarity: I returned this product before using it
- Fit: Runs small
The sizing is strange, as they are definitely long compared to the girth. If you have really long and skinny arms they might work, but even ordering one size smaller than the size chart, they were longer than I wanted. The most annoying part was the gripper band at the top of the sleeve though, it is way too wide and stiff, making it hard to get into place, and once it is in place, it annoyingly cuts into the armpit area (because the sleeves are so long). Go with the Sugoi sleeves instead.
Great lightweight protective sun sleeves
- Familiarity: I've used it several times
These sun sleeves are great because they fit me and stay up, not to mention keeping my arms protected and cool. They breathe well too. I wear the medium. The size chart is a little odd, so I recommend you purchase two sizes to make sure one fits. The price is good for these. They stay up well with the wide grippers and don't irritate my skin like some others do.
Comfortable sleeves
- Familiarity: I've used it several times
I bought these sleeves in its two colors, they work perfectly keeping my arms cool and protected from the sun; by cool I do not mean that you will feel your arms like being into a fridge but you wont feel they are burning =P during sunny days, also you wont have the feeling that by removing them your arms will be cooler.
The elastic area at the top keeps the sleeves steady and comfortable, you can easily forget that you are wearing them.
Did you notice any difference between the two colors? Is one preferable over the other for different weather?
The difference is minimal, so when the weather is pretty warm and I know there will be mud in the road I prefer the black ones, because I just wash them once and the mud stains wont be visible, the white ones need to be in a bucket with water and soap for around 4 days to vanish mud stains.
The size chart is very strange. I'm 6'4" and weigh 170. For my powerful biceps I'm between a small and medium, but for length I'm at least a large if not an XL. Any suggestions?
At your numbers (you're slim) the L should perfect. (If you can buy the L and XL and keep the ones that fit best. Return the other.)


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Top Definition
Oral sex from one of your guy friends in a totally-not-gay way
Guy 1: Yo that dude is sucking your dick! You guys are so fucking gay!
Guy 2: No man, it's cool. it's just a bro j.
Guy 2: No man, it's cool. it's just a bro j.
by CFR21b8 July 28, 2008
Trending Now
A word to describe intense physical bonding between two males. Bro-Jays can only occur between two males, such an act of unbridled passion could not possible take place with a woman (They just don't understand). A Bro-J is often associated with words like Bromosexual, Bromotional, Brohan Sebastian Bach, and Brohemian Rhapsody.
After a very strenuous and physical activity, some bromosexuals may like to release some stress by getting a nice Bro-J from a fellow Bronamith.
by David Browie September 14, 2009
It's what gay people like to give each other kind of like how brett does.
Brett: Man do I love giving bro-j's to men.
Me: Dude that's totally gay!
Brett: Nuh uhh dude it's totally not gay.
Me: Dude that's totally gay!
Brett: Nuh uhh dude it's totally not gay.
by Forstevewonderseyesonly July 21, 2011
"It's not gay if you help a bro out with a little head, it's just a broj."
by Shirtlifterbear December 02, 2012


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The simplicity of this Save the Date is a great reflection of your classic wedding style. Your personalized details and photo, neatly framed by a soft swirl design, add just the right amount of style and grace.


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Blair seems truly happy and excited for Dorota in this scene from Gossip Girl. Her Marchesa lace embellished beige dress is sweet and wedding appropriate yet sophisticated, and her girlish hair, Cartier necklace, and beautiful bouquet provide the perfect finishing touches. Shop this Carmen Marc Valvo dress and additional items to get a similar ensemble now!
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hi! her exact dress is by Marchesa, but unfortunately it's not available online at the moment. thanks!
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