text:
BK: Oh, you're welcome. You're very welcome.
JW: So, we understand that you and Justin were involved in theater photography, fashion photography and the like, before you actually transitioned to photographing pre-Columbian objects in the late 1950s, is that right?
BK: Yes, that's correct. Actually, we both got interested in pre-Columbian stuff and little by little transitioned into that and dropped a lot of our other business.
JW: What motivated that transition and fueled your interest in, and passion for, pre-Columbian art?
BK: Actually, it was a trip that Justin and I did, to Chichen Itza – actually our first trip to Mexico. And we just walked into the site one morning and were totally blown away. We were just entranced, and said, "We've got to find out what this is all about." And that's what got us started on this kind of crazy journey of getting interested in the material and the people and, you know, all the other stuff that goes with it. Actually, I can't even explain it, but something came over both of us at the same time, which was very fortunate.
JW: Do you remember any objects in particular that have stuck with you over the years, in memory, from that trip?
BK: From that trip, no. We just made a mad dash to go to as many sites as we could cram in.
JW: Okay.
BK: And that did it for us. The next year, we took a vacation and went right back, and, again, went to about nine different sites in our two weeks. I mean, it was just really kind of crazy, but we just felt we had to see everything quickly, and go to museums. And then we started to do some studying on our own, and we took some courses, and I think we just had an affinity for it or something.
JW: So, when and how did you come to be involved with Dumbarton Oaks?
BK: Well that started with, I guess – I'm trying to remember. [To Justin] Do you remember how long ago or when we got involved at Dumbarton Oaks? What was that first trip over there?
JK: This is Justin.
JW: Hi Justin, nice to speak with you.
JK: Hi. One of the first books that we bought during the first year that we were home was the rather large coffee-table book of the Dumbarton Oaks collection that was photographed by Nicolas Mouret. Of course, at the time, being photographers, I was absolutely fascinated with the techniques he used in that book. That kind of led us to Dumbarton Oaks, and we tried at the time to stay abreast of what was happening. We found that the Dumbarton Oaks Collection, Pre-Columbian Collection, was on display at the National Gallery in Washington, D.C., and, as a matter of fact, there were some photographs of that exhibition and an article by Julie Jones in a recent book on the history of the Blisses and their connection with Dumbarton Oaks. In any case, we went down to Washington, and I then found out that Dumbarton Oaks was publishing a number of small volumes on various symposia that they had, which we started to buy and collect, and they're still sitting on the bookshelves. That was probably our initial connection to Dumbarton Oaks, but in those years, as we started to photograph pre-Columbian objects, one of the dealers that we were photographing for was one of the dealers that was actively showing objects at Dumbarton Oaks. So, we were getting some sort of information back and forth in those years.
BK: Yeah, well, that was just another eye-opener in the sort of journey that we were on, and our customers, clients, whatever you would call them, were at that time mostly people who were gallery owners or collectors. We didn't know anything about the business, as it's so-called. It's morphed into something completely different now, so that, with the website, and scholars, students, accessing it constantly, I feel truly that it changed the way of study, in that there was such a large sample available now, and that's something they didn't have before. So, if you were an epigrapher or studying the, you know, whatever, art history, you could go and look at thousands of vases, and sort of have – and it's still not enough, but at least it was a background to start with. So, where were we in the question?
JK: We were – the question was, how did we get involved with Dumbarton Oaks. I guess I'm not sure of what year it was, but we did start to attend the symposia at D.O. and those days we would drive down, or drive down with somebody, and enjoy – I think that's the right word, "enjoy" – enjoy the atmosphere at Dumbarton Oaks, and of course after some time we realized that many of the people that we knew were Fellows at Dumbarton Oaks, people that we worked with such as Mary Miller, David Joralemon, Michael Coe, and so forth and so on. And so there was always a kind of a connection to Dumbarton Oaks through those people.
JW: Do you remember any of your initial impressions of the institution?
BK: Well, I remember thinking that it was beautiful. It was like a beautiful piece of crystal, all the glass, Plexi- and, I mean, just the whole atmosphere of it was like looking at a beautiful sculpture and beautiful crystal. That was my first impression, and then, of course, looking at the objects – there were so many things that we had never seen before, and even the controversial ones became very interesting, like the birthing figure. But every piece there was an exciting thing, and much later on we photographed the Peruvian material. Unfortunately, we never got that involved with Peruvian material. We were mostly interested in Central American countries, and when we discovered the Maya we were really excited, because that's the best painted pottery there is of all the cultures, most diversified and interesting, beautifully drawn. So, there's no one object, is what I guess my answer would be. Oh, textiles, South American textiles: simply gorgeous!
JK: I know there was a question about which of the Dumbarton Oaks objects – and I think that for me that's an absolutely impossible question to answer since each one of the objects brings its own particular personal story. And just to spend some time getting involved with a particular object doesn't lend to saying, "Well, I like you better than I like this fellow over here," because very often some insignificant little object all of a sudden carries an incredible story, and one doesn't want to ignore those kinds of things. For example, there are some objects in the Dumbarton Oaks Collection with Maya hieroglyphs on them, and they were quote "J's" at one point in time, but when the epigraphers started to be able to read the text, then these objects took on an entirely different significance. So, these kinds of things do happen. And of course that's one of the areas that makes Dumbarton Oaks so very, very special, and that is the fellowship program, where you have people constantly either working with the Collection or working around the Collection, and enhancing the knowledge of everybody who is interested in the area.
BK: I was just looking at some things here, and talking about the rollout camera, and that was very exciting because – I should let Justin talk about that, since that's his baby, but –
JK: Well, prior to the rollout camera, since we were making photographs for various collectors and dealers, at one point in time, one of the dealers asked us to make a three-dimensional poster of one of the vases to be distributed to collectors and museums and so forth and so on. And the problem was, of course, there was no rollout camera at the time, and we made a series of still photographs. Then Barbara made – I think, it must have been about twelve prints around various aspects of the vase. And then Barbara cut along various lines, pasted it all together, and that was one of the first rollouts that we had made, first photographic rollout. Then Barbara hand-colored it, re-photographed it, and we had it printed with tabs A and B, that go into slots A and B. And you did that and, by goodness, you had a three-dimensional vessel that you could put on the shelf. And I believe there's still one or two lying, sitting on shelves in various museum offices in various parts of the country. However, it was terribly unsatisfactory, extremely time-consuming. It wasn't 150% accurate. And in, I guess it was 1974 or 1975, 1972 –
BK: Yeah.
JK: – that – What?
JK: that I started on the Grolier show.
BK: Yeah. Somewhere around there.
JK: Somewhere – no, I think – well, somewhere around there, Michael Coe asked me to make the photographs for the catalogue of the Grolier show, which was essentially the very first major show using Maya vessels and dealing with the texts. And when that volume was finally finished and published, many of the vessels in that catalogue were presented with drawings, rollout drawings, of the vessels. And I felt that there had to be a better way, and so I started to explore the concept of – what was it called? – peripheral photography, photographing the outside of a cylinder. Michael Coe told me that there was a camera being used in England to photograph cores of the oil wells from the North Sea. I found there were some other details. I found, as a matter of fact, that a company in Chicago was making an attachment that was a peripheral device, but in inquiry they told me they weren't doing it and wouldn't. So, I started to put some parts together, and I think it was about two years later that I had the first prototype, essentially, of a rollout camera. And things progressed rather quickly after that, in that a very, very dear friend of ours, Gillette Griffin, who was curator of Pre-Columbian at the Princeton Art Index at the time, had acquired the vase that's now known as the Princeton Vase, and they wanted to do a catalogue and a show to celebrate that acquisition. And Gillette called and said, "Is the rollout camera ready?" And I said yes. And after some discussion and so forth and so on, the very, very first volume called Lords of the Underworld, written by Michael Coe, published by the Princeton Art Museum, is essentially the very, very first book to be published with photographic rollouts. Other volumes, including a Dumbarton Oaks folio, had been published previously, but they were all drawings and watercolors rather than photographs, beautifully done to say, but the photograph is the hand of the artist. It's not a copy of – in other words, I felt somehow that scholars would want to look at the specific hand of the original painter rather than the hand of a contemporary painter who was copying the Maya painter. And so, it kind of grew like Topsy, in that, after Lords of the Underworld, a gentleman by the name of Pearlman also had a collection that he wanted published, and again Michael Coe wrote the text. We did the rollouts, Harvard designed the book, and there was still another book. Then there was Francis Robicsek, who published a book on the codex vases, and all the rollouts in that volume were also ours. And so all of a sudden – and that was how it started.
JW: Could you describe the process of photographing D.O.'s Pre-Columbian Collection?
BK: [To Justin] Could we describe the process of photographing D.O.'s collection?
JK: Well we have really never photographed the D.O. collection in its entirety. We only photographed a few objects. We have rolled out all of the – no, that's not 100% true – we rolled out, I guess, 90% of the cylinder vases in the Dumbarton Oaks Collection over time. They weren't all done at the same time. As a matter of fact, I think the last one was only done about two years ago. It was – I think we must have been away at the time we were doing the rollouts, so we never got to do it. So, we came – we were invited to come down – and it was done at that point. And then we've also photographed a few other objects in the Collection, but the vast majority of the photographs of the Dumbarton Oaks material is done by the Dumbarton Oaks photographer.
JW: We understand you that used some distinctive methods and techniques in addition to the rollout. For example, you transitioned from film to digital photography; you use five lights when you're photographing for a dramatic effect, it might be called. Could you tell us a little bit about those choices?
JK: Yes. Once I – we really got involved in and photographing the pre-Columbian material – I began to wonder how the original artist saw the object, and could I somehow make a photograph that would emulate that? And I realized that that was absolutely impossible, but I would generally study each object and try and bring something to it which would allow it to be studied, but at the same time to enhance whatever could be enhanced. And it's been pretty successful. I know the photographs have been emulated by a number of much, much younger photographers over time, and I say "successful" in that I don't know at this particular point in time how many volumes have been illustrated with the photographs that we've done, but they are numerous. And, as a matter of fact, just the other day the latest, the newest volume, The Spectacle of the Late Maya Court by Mary Miller and Cody Brittenham arrived, which is chockfull of our photographs. We're very, very proud of that particular project. So, that's – but it's difficult to explain in that sometimes it's almost a sense-thing, that you see the object in front of the camera and you want to know more about it, want to say, how can I enhance this? And beyond that I don't think I can explain it very well.
BK: Well, I can add to that, that people have said when they go through a book they could always immediately recognize Justin's photographs because they are dimensional, they live in space, whereas the other photographs are usually a little textbooky-looking, sort of flat. [To Justin] So, that's what by five lights he meant, [To JW and JC] because most photographers, when they have to go on location, will carry two or three lights at most. But we have always used – wherever we needed highlighting and background lightning, we always used many more lights than that. So, that was my part of that.
JW: Maybe you could give us an example of an object that you saw and the thought-process that you went through in determining how best to bring it into three dimensions, to make it live in space, as Barbara says.
BK: It's a spur of the moment thing, I mean –
JK: For one thing, on the website, mayavase.com, right now there are close to two thousand – aside from the rollouts, in portfolio – there are about somewhere around two thousand individual photographs. Each one is a unique situation, each one was put down in front of the camera, studied, moved, turned, twisted – not twisted, that's wrong – but turned, lit, and tried in a certain sense, to bring it to life, to give it dimension, to give it space and a kind of a personality. Again, it's a very difficult area to explain. I think one would have to be a poet in order to really explain the photographer's attitude towards the object.
JW: Right.
JK: It's one of the reasons I've essentially stayed away from photographing paintings. Many many, many, many times I've been asked to do that. I've said, "I'm sorry, I don't do that, because I don't feel that I can express myself photographing a flat object, it just doesn't – there's nothing there." You just light it and shoot it.
JW: So, that's what drew you to the Maya vases in particular – because they allowed you to better express yourself?
BK: Well, that would be, I'd say, the other objects. I think what drew us to the Maya vases was the fact that they were – that they told a story, they had writing on them, even if we couldn't understand it at the time. But they had writing. The only culture in Mesoamerica that employed writing, or maybe the Zapotec?.
JK: There may be some writing on the Zapotec vessels. But it's iffy; and there may be some writing on Teotihuacan vessels, but that's a little iffy. But once I started to do the rollouts, the vessels, the Maya vessels, became a true passion, and – again I can't remember the year – but in the fourth year of Linda Schele's long workshops, which go back a very, very long time, she asked me to lead a workshop in the study in the iconography of the paintings and the carvings and the incising on Maya vessels. And I really can't come up, but I think that went on for about twenty-six years, and just this past January was another, was probably the last workshop at the Maya Meetings in Austin following through with Linda Schele's original goal. So, the vessels, aside from the photography of them, became more than that. They were objects to be studied and lots to be learned about, essentially about the ancient Maya, because the stone monuments are one story, and the physical sites themselves are another story, and the vessels that were buried with the Maya – and that's what most of them were – are still an additional story. And we have learned – when I say we, I mean the community of Mayanists who've learned an enormous amount about the society from the study of these vessels.
JW: So, based on the research in preparation for this interview, we learned that you had composed many volumes on Maya vases and you had also compiled an online database, which you've mentioned. How do you think these resources can be best utilized by scholars?
JK: Well, as I said, since I was doing these workshops once a year at the Maya meetings, the word about the vessels and the rollouts started to get around. But there was at that particular time no way to distribute them except the batches that I would bring with me to Austin, which were Xeroxed by the dozens. And scholars, people like David Stuart and Nikolai Grube and Steve Houston, would come to the studio here in New York and go through the volumes, anything new and so forth and so on, and make copies here and so forth. Then one day I said to Barbara or Barbara said to me, it's hard to remember, "Maybe we ought to start publishing," because all there was at the time was the Princeton book The Lords of the Underworld, the Pearlman book, Old Gods and Young Heroes, and the Robicsek book. And so we put together some money and published Volume I of the Maya Vase Book series. It was very successful, and we were then able to publish Volume II and so forth and so on, up until we finished volume VI. By the time we finished Volume VI, mayavase.com was already online, and most people were using the online database rather than the printed volumes, although every once and a while we still get a call for someone who would like one of the physical books. And the online database, mayavase.com, I think now is somewhere in the vicinity of one eighteen hundred rollouts, and they are, I think, constantly accessed by scholars and interested laypeople all over the world. I'm amazed at some of the queries that we get from various parts of the world. There's been a book printed in China, a book printed in Japan, a book printed in Norway, and so forth and so on. So, the database has become a tool for Maya scholars that is, I think, unparalleled anywhere else. And I hope, of course, that, it will continue to live in the – I guess it's called the Cloud these days, or cyberspace.
JW: The Cloud I guess. Hey, y'all still there?
JK: Oh sure, we're still here.
JW: So, have you gotten any feedback from scholars about your photographs?
BK: That's a constant thing. Well, the rollouts, they are what they are.
JW: Right.
JK: The rollouts are – Barbara, that's a very good line – the rollouts are what they are. Naturally, there are some vessels that get a lot more attention than other vessels because they're either more spectacular or they have what some scholars feel is more information than others. However, my feeling has always been that even a minor vessel needs to be available – when I say minor vessel: say, something with just two figures on it, or something of that nature – because there is always the possibility that it will be meaningful for somebody's thesis or master's thesis or even a high school paper. And so, that is why I felt that I wanted to record every single vessel that came along.
BK: I tend to sometimes question his choices. I'll say, "Oh, that is a really ugly thing, or completely battered," and I tend to like the aesthetically beautiful things. But Justin will say, "But there's information on it that somebody may be able to use, so therefore it's valuable." So these decisions kind of go in between those two ideas. But I'm happy with what's been put up on the Web. I think it's all important enough, certain people will find certain things they want and look for.
JK: I'm constantly being asked if I have a vessel hidden away for whatever reason, and my answer is absolutely not. If it's been rolled out and I think it's real, it's on the Web, or in the Vase Books. But at this particular point every single rollout that we've done is on the Web and accessible, so there's nothing hidden. It has always been our philosophy that nothing is to be hidden; that scholars and laypeople alike should have access to all of the information. I know that there has been criticism over the years: "Well, we can't publish because we don't know everything about it yet," and so forth and so on, and let's get it out there and see what it really means, or what somebody thinks about it. And in many, many cases, of course, scholars have been wrong and have had to correct themselves, or other people have corrected them, and there's nothing wrong with that. That's part of the ongoing scholarship. There's always some new take, some new way, of looking at material, of studying it, and I'm not necessarily talking about scientific methodology, which also of course is very useful when, for example, when archaeologists began to use carbon-14 dates, it changed the picture enormously. And so, yes, that's part of it. But it's also the study, and the trying-to-determine the specifics sometimes, of what a particular character or drawing – what that actually represents. Professor Karl Taube – many, many times the public has said, the way he puts it, that, "without Justin's database I couldn't do my work," because this is essentially become – I don't want to say the source, but to some people it is. I was having breakfast some months ago with Steve Houston of Brown University, and he said, "Hey, you know Justin," he says, "almost every single day, I go to mayavase.com and look up something and check out something," so when I hear something like that of course it makes me and Barbara feel that all of the years and time and effort that we've put into this is worthwhile.
BK: Definitely.
JK: I need a drink of water, I've talked too much. Barbara, you take over.
JW: So, you've recently promised a gift of your archives to Dumbarton Oaks, the so-called, Kerr Photographic Archive. Could you tell us why you decided to donate this collection to Dumbarton Oaks as opposed to somewhere else?
BK: We agonized over where it should go. We rejected museums largely because museums aren't always the best study place for people to go and study material in-depth; and we rejected universities because things are changing and they will always have new people messing around and changing the database. And we selected Dumbarton Oaks because we felt that that was a true scholarly organization where true scholars would use the materials to the fullest extent that was possible. But we also made a stipulation, that we want the database to continue being online and to be accessible to everybody, and I hope that that will be fulfilled, because I think that's the important function that it has, not stashed away in some secret basement room. So, we're hoping that that will, because having that sample does accelerate the study, and that's the important part of all this.
JK: One of the problems essentially with an archive in an institution means that scholars have to go to that institution: it means them either getting a grant or finding the time, and so forth and so on, whereas when it's online all they have – I'm assuming that everybody's got a computer these days, and an internet connection – all they do is sit down and do the research that way. In the database, there are lots of – I shouldn't say lots of – there are many articles that are connected directly to a vessel with interpretations by various people, and so we've had contributions to the database from the very best minds in the field. And, again, that's online for people to study. I've always felt that scholars who hold things back aren't really fulfilling their duty, so to speak.
JW: Right.
JK: Yeah.
BK: I'll agree with that.
JK: Huh?
BK: I said, I'll agree with that.
JK: Okay, fine. Good.
JW: Could you tell us about the people you've worked most closely with at Dumbarton Oaks?
BK: Well, Joanne Pillsbury of course, when she was there, because she's the person that we contacted to see whether there was any interest in our giving –
JK: And Emily Jacobs.
BK: – yeah, in our giving the archive. And Emily Jacobs.
JK: And Juan Antonio.
BK: Juan Antonio Murro.
JK: And Rona.
BK: Oh, that's recent.
JK: That's recently, yes, right, yeah.
BK: The archiver.
JK: And, oh well, when he was here –
BK: And Dylan.
JK: And Dylan, of course, yes.
BK: Otherwise, aside from – really Joanne and Emily were instrumental in our, you know, in making our decision and contacting them. I was really gratified because Joanne called back almost immediately after she got my letter and said yes, so that saved me a lot of work of looking for other places. D.O. was the place of choice, and it worked out beautifully, so, we're happy. I assume everybody will be.
JW: So, we're coming to the end of the interview. We've got a couple more questions just to clarify some of the things that have been discussed and to bring up some points that aren't necessarily related with Dumbarton Oaks but that are important to your identities as photographers of Mayan objects. So, for example, we understand that, in addition to photographing objects, you also restore them. Maybe you could tell us a little bit about the interplay between those two facets of your professional life?
BK: Yeah, I started to do some restoration – I was never trained in restoration, but I have had art training, so, you know, I know paints and colors and all that stuff. And ironically, I learned because people requested it, and I had to learn. The first thing I did was – the dealer gave me a small bowl, and said, "Can you restore this?" It was broken. And I said, "I don't know, I've never done this before." And he said, "Oh it's not that hard, just do it." And I did. And the same thing happened with – I do some graphic art, graphic design – and the same thing happened there with Ed Merrin at the Merrin Gallery; he asked me to design a poster, and at that point I said, "I've never designed a poster," and he said, "Just do it." So, I did. And that's how so many things happened, because it forces you to look into what's required, and you just do it, and it was like second-nature to me. So, I did restoration for quite a few years, up until quite recently, when there's not the demand any longer, nor is the money available to museums and galleries to spend it on restoration. So, you get a couple really bad jobs done in-house, so to speak, that didn't come out of my hands. The way it related to the photography side of things is that, often, if they were objects we wanted to have for the databases, either one of them, and we asked the owner whether it was okay for us to put it on the web, and usually they'd say yes. And we'd tell them that whatever we photograph we copyright and we make it available if necessary. Very few people have objected to that idea. A couple have, but they always give in, maybe because they can't get rollouts anywhere else. But they usually agree to our thinking on that. And Justin would photograph a lot of things for me, before-and-after photographs, stuff like that. So, we kind of interacted. And I was doing styling when we were doing the really commercial photographs, so I was always available to run out and get props and things. And I think that's the way we interact mostly. Wouldn't you say, Justin?
JK: Yeah. One of the things that Barbara did was to learn Photoshop and do some restoration right on the picture of the vessel rather than on the vessel itself, and of course this is very pleasing to a lot of scholars, since they feel that the original should always stay untouched. But, at the same time, when you do restoration of a vessel, it enhances it very often, and it makes it easier to study and so forth and so on. So, for example, there's a vessel that was excavated from Burial 165 at Tikal, which is online, and it's the – when you see it, it's all cracked and busted and awful. But there is a link right on the page and there is the retouched version, and it's a much more beautiful, much, much easier to study, without all the interference of the broken lines.
BK: The problem is that you get restorers who are very good technically, but they don't know Maya iconography or the writing, and very often you'll see some pretty weird combinations of things because that's what they thought it might look like. And you really need the individual knowledge. It would be like restoring Egyptian things without knowing the writing system, or without knowing how it looked. So, that's the danger in restoration, and I think that's what scholars worry about – is that they're going to base some conclusions on somebody's idea of what it should look like. I really pride myself on doing the research and knowing enough about it that I can do a very good job of not making up anything. If it has to be made up in total that way, it's better not to do it. And that's sort of what I follow.
JK: Yeah, no. So, I'm not sure you're – but there are literally hundreds and hundreds of reproductions, fakes, floating around in the world, and sometimes people send us photographs of these things: "My father bought it in Guatemala forty years ago," and things of that nature. And I have to say that in most cases they turn out to be spurious, and one has to be always on the alert in dealing with any kind of artifact, whether it's a book or a manuscript, a vessel, from every culture. There has been this kind of stuff, and we kind of pride ourselves on the fact that we are able to recognize, in most cases, I would say within almost ninety-nine percentile, that we can spot that it's quote "not right."
BK: Or at least that much we can. Because we approach it from the viewpoint of what's wrong with this, and a very careful, knowledgeable restorer can really fool you though.
JK: Oh, absolutely.
BK: There's a big difference between restoration and making it up, because restoration means that you're working with the original material pieces. And certainly the thing you don't want to do is make up anything.
JK: In the forward to the Maya Vase Books, I have written, essentially addressed to scholars, that in looking at rollouts, if they feel that something is wrong, then let them follow their own feeling about it, because it may be wrong, I may have missed it, and so, that there is always a kind of warning out there: don't take everything at face value. Study it; make sure you've got it right.
JC: Great. My name is James Curtin, I've been sitting in, and I was curious if you could briefly give us an overview of the mechanics of the rollout process, how you go about getting the photographs from the image to the page.
JK: Right. We've published essentially the technique in the first volume in Lords of the Underworld, but it's fairly simple in that the vessel or in some cases the object, but we'll talk about the vessel, sits on a turntable, and using a film camera, where the film is moving at the same speed as the surface of the vessel in the opposite direction, it essentially peals the image off the vessel and onto the film. It's that simple and that complex at the same time. It's really – I did not invent the process; the process has been known in the photography business, photography field, for a very, very long time. The very, very early photographers were extremely inventive. However, there was never any real use for the process. It was almost a kind of a situation where solid geometry was never used until somebody had to design a propeller, and the rollout, the peripheral photography, was not useful for anything –
BK: For cores.
JK: – except, yeah, for cores, but for recording the vessels it was almost the ideal situation.
BK: We'd end up with a negative of a strange proportion, because it had to be fairly long for a normal sized pot, and then that would get printed in the regular manner, like you print any other negative. In this case, they were positives. Or you send it directly to the printer and the printer would then make a plate and proceed like with any other ones. Of course, now, this is being done digitally. We don't have a digital camera, but Justin is working on one. Now we just send the digital files to the printer, and presumably what we see on our computer they will see, because we calibrate constantly and assume that they are doing the same, so the results are very, very good. But that's the whole process.
JW: So, we're coming to the end of our hour together, and I was wondering if there's anything that James and I have neglected to ask you about that you would like to discuss.
BK: [To Justin] Anything you'd like to discuss that we haven't talked about?
JK: Oh, I guess the only thing we haven't discussed is essentially the future. And, of course, when has not been decided as yet, as we explained at the meeting, the archive meeting that we had a few months ago. As long as Barbara and I have the strength to continue to operate the archive, we will do so, and when that doesn't happen anymore, then the material will be moved to the archives at D.O. Of course, the whole concept today of moving into the digital age, which is moving so fast that sometimes it takes your breath away – and I realize that it is difficult in some senses for some institutions to catch up in a way, and a few libraries I know have allowed people to come in and digitize the entire thing. Of course, there always have to be protections, and so forth and so on, but the whole concept of moving forward digitally is something that's absolutely necessary.
BK: I'd agree. That's where it's going.
JW: Well, this has been an absolute pleasure. Thank you both so much for your time.
BK: Well, thank you.
JK: Thank you.
BK: It's been our pleasure.]]>
"A publishing masterpiece…embraces 16 roll-outs…magnificently painted in color by Diane G. Peck and Felipe Dávalos G. and reproduced in 11 x 17 inch format on quality durable paper. Unbound, all 16 could be attractively framed for added effect." Latin America in Books]]>
Can you describe the concept behind the exhibit?
Exhibition-making starts with an idea around selected objects rather than with a fixed display plan. In the case of All Sides Considered, which was developed with the intention to highlight and exemplify the research of objects in our Maya collection, we were interested in exploring the many layers of each selected object or case study – the material specifics and cultural signifiers studied by archaeologists, art historians, scientists, and anthropologists. To bring the scholarly and scientific analyses into the display, expansive label text was of the essence; yet, so as not to distract from the aesthetic value of the objects, a display setting had to be created that would be able to bring these two sides into play and keep them in balance.
The solution we came up with was this: approaching the gallery from the museum entrance, the visitor perceives mainly the colorful accentuated pedestals carrying the highlighted objects. Text and further interpretative material comes into sight only after the interested viewer has entered the area. In general, our interest in experimenting with settings is a crucial aspect of the museum's exhibition program to activate the relationship between art, art scholarship, and visitors.
It was important to place the objects in prime locations within the narrow gallery. Set in cases that are positioned perpendicular to the walls, the artifacts are accessible from all sides. At the same time, the placement prescribes a passageway through the display; the visitor walks right up to the artifacts and then is gently forced to 'slalom' around them.
Each case study is equipped with a stool that resembles not unintentionally a lab stool. It invites the visitor to linger and engage with each object and the rather text-heavy information, which includes 'hands-on' items, slide shows, and a movie clip.
What are some new elements that you incorporated into the display?
One of the novel things about All Sides Considered is the interactive nature of the displays. Incorporating the interactive elements into the labels presented several challenges to the museum team. The most difficult elements to incorporate were the iPads. The challenge arose during the design phase of exhibition planning. We needed to come up with a way to incorporate seamlessly the iPads into the labels so that visitors would feel as though they were interacting with the exhibition itself, not with iPads. It was also imperative that the design allowed visitors to use the touchscreens without access to any of the buttons. While we did not want visitors turning the iPads on and off, we needed a display that allowed the museum staff to do so. Similarly, we needed a design that securely held the iPads but made it easy to remove them when maintenance was needed. After many hours of brainstorming and several prototypes, we came up with a successful design. However, it was not until the displays were installed, the labels applied, and the iPads running that we all breathed a collective sigh of relief and stepped back to admire our work. Although the iPads require some maintenance, they are an absolute success. They allow visitors to touch, hear, and explore the Dumbarton Oaks Collection like never before. I look forward to dreaming up new ways to use this exciting technology!
How does the exhibit reflect the current state of/trends in Maya scholarship?
The exhibit showcases several exceptional Maya objects from the Dumbarton Oaks collection that were carefully reexamined by experts over the past three years. It focuses on the objects and the science behind the recent Dumbarton Oaks publication Ancient Maya Art at Dumbarton Oaks. Six case-studies outline recent findings about the Maya, and illustrate some of the epistemological underpinnings of current Maya research.
Much knowledge about the Maya is derived from iconographic analyses, as evidenced in the comparative dating of 2,000-year-old etchings on a greenstone pendant. Careful observation and informed comparison with other objects often leads to new findings, including the discovery that four carved spheres in the Dumbarton Oaks collection are the earliest known Maya bone bells.
For example, experts in the fields of geology, mineralogy, conchology, biology, and physical anthropology contributed scientific opinions and analyses – from radiocarbon dating to X-ray diffraction analysis – to the study of a Maya mosaic mask. New technologies are also helping scholars to better visualize and experience the objects they study. A 3-D digital model revealed subtly carved features on a Maya stela, and X-rays exposed the production process of a rattle bowl with a hollow base.
Mayanists also rely on experimental archaeology to refine their understanding of ancient practices and production techniques. A carving station in the exhibit allows visitors to experiment with tool types used by ancient Maya carvers.
The exhibit is about the scholarly research process – the slow, painstaking work that underlies groundbreaking discoveries about the Maya. As museum visitors listen to a rattle bowl, flip through x-ray images, examine a 3-D digital model, and compare images or specimens, they are taking a scholar's approach – and perhaps gaining a new appreciation of the thrills of Maya scholarship.
Watch this video, in which Chris describes the workstation designed to allow visitors to experiment with tool types used by ancient Maya carvers.]]>
A 260-day calendar was used as a divinatory almanac throughout Mesoamerica, consisting of an internal structure of 20 day names combined with 13 day numbers. This ritual calendar was used in conjunction with a solar calendar of 365 days, a recording of the seasonal year and important for agriculture. When these three reckoning systems are combined (imagine interlocking teeth in three distinct gears) they produce a total cycle of 18,980 uniquely named days, or 52 years.
Both the Aztecs and the Maya recorded time by cycle-building, accumulating little cycles to produce bigger cycles. The 52-year cycle, known as the Calendar Round, was useful for recording recent and continuing events. Because the Calendar Round repeats the same cycle every 52 years, it is not effective for a longer view of time. To create unique dates, Mesoamericans developed a third calendar system, one we call the Long Count. The Long Count begins on August 12, 3114 BCE and counts forward one place for each year.
Sun worship was the most important aspect of Inca religion. The Inca kept time by using solar markers, including stone towers built on hilltops, as well as the landscape features themselves. The sun towers are described by the chroniclers as being built in pairs and were used to mark off a block of time in the Inca calendar. Marking the summer and winter solstices was an important part of Inca religion.
The Inca calendar consisted of twelve lunar months, with the year beginning in December. Throughout the year, the nobility and religious leaders celebrated each month with specialized public rituals and elaborate ceremonies to mark the phases of the agricultural cycle. Among the greatest festivals were those that marked the solstices, the maize harvest, and the beginning of the rainy season.]]>
Marcus reconstructs Classic Maya political organization through the use of evidence derived from epigraphy, settlement pattern surveys, and locational analysis. This study describes the development of a four-tiered settlement hierarchy and its subsequent collapse.]]>
David Webster, "Copan as a Classic Maya Center"
Robert J. Sharer, "Quirigua as a Classic Maya Center"
Berthold Riese, "Epigraphy of the Southeast Zone in Relation to Other Parts of Mesoamerica"
Clemency Chase Coggins, "On the Historical Significance of Decorated Ceramics at Copan and Quirigua and Related Classic Maya Sites"
Claude F. Baudez, "Solar Cycle and Dynastic Succession in the Southeast Maya Zone"
Mary Ellen Miller, "The Meaning and Function of the Main Acropolis Copan"
Flora S. Clancy, "The Composition and Contexts of the Classic Stelae at Copan and Quirigua"
Patricia A. Urban and Edward M. Schortman, "The Southeast Zone Viewed from the East: Lower Motagua-Naco Valleys"
Rosemary A. Joyce, "The Ulua Valley and the Coastal Maya Lowlands: The View from Cerro Palenque"
Kenneth G. Hirth, "Beyond the Maya Frontier: Cultural Interaction and Syncretism along the Central Honduran Corridor"
Arthur A. Demarest, "Political Evolution in the Maya Borderlands: The Salvadoran Frontier"
Gordon R. Willey, "The Southeast Classic Maya Zone: A Summary"]]>


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catching read hands question
As a southpaw I find myself in sparring sometimes blocking their right hand but recently Ive actually been catching them in my glove/parry......my coach hasnt really said anything about it, just make sure you dont reach But im wondering if anyone does this? Should I stick to blocking and slipping their right or actually pay more attention to catching it....
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You can most definitely catch the right hand and there are a few ways to do it. Like your coach said, the main thing is not to reach.
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4:09 and 8:27 are good examples of how I do it.
In order to do this though, you ALWAYS have to keep your left hand against your chin with the pinky side of your glove sticking out a couple inches from your face. The placement of your hand is VERY important. But what that also allows you to do is if you are quicker than your opponent, you can intercept their right hand by shooting your left hand inside of it. You can see me try this at 2:04 in the video. Even though it didn't land, it intercepted his right hand. But because it's a counter punch, even if it doesn't land, it can make your opponent tentative to throw out of fear of what's coming back when they do.
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Can I just reitterate . . . DO NOT REACH! I'm sure your coach covered this, but if you reach, you'll get feinted, you'll reach for a punch that's not there, then BOOM knocked the F out.
But if you can catch, it opens up so many options to you. So I'd definately keep working on it. But you still will need to block and slip frequently.
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Roll his right hand while stepping in and fire your left fist into his nose as your back foot follows up, hook and spin off and then do as you please. It works. I was fighting out of Galaxy with James Toney back in the day, we all used the roll technique to some degree in our fighting but unlike James I was a pressure fighter. That's Art Door in your video, this was a Tough Glove Match I assume.... I used to ref in some of his shows......... Rockin'
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I prefer to slip any punch and then I have both my hands to return combinations with! Blocking is letting one of your arms to be occupied so work on slipping and when you slip you need to avoid the shot by the smallest of margins so you remain in punching distance! This is when your best defensive moves leads directly into your best offensive moves!
Its certainly not easy to learn and then to perfect but it is a lesson in technique thats worth the time to perfect! The highest form of defense! Ray
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Watch James Toney vs Prince Charles Williams I believe. You surprise them right inbetween their rythme. They are not expecting it and bing! ............ Rockin'
Last edited by Rockin'; 05-09-2013 at 06:25 AM.
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As far as the rolling technique, are you talking about 6:01 in this video? He's rolling a jab vs. a right but looks like similar concept. If so, that is a great technique but takes a bit of quickness and athletic ability. I'd try it but suspect I'd be too slow to pull it off. Would like to see a video showing this technique specifically for a right hand.
The main more evasive way I like to deal with the right hand is to step in and out to my right and shoot the left hand to intercept it. Probably a better move if you got good footwork. Once again, the master Rigo gives us an example of this at 7:20 in the same video below.
Last edited by mconstantine; 05-09-2013 at 07:58 AM.
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at 6:01 it's nearly the exact defensive movement except the right glove should be covering the face. the guy actually threw a jab, same defensive moves when he throws the left.
and it's not about quickness nor athletic ability. It's all about how well conditioned/experienced your eyes are and having sharp/pinpoint timing.............Rockin'
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Be extremely careful not to involve your arm into the movement as reaching will lead to a major disaster. Try and find some guys who are adept at feinting the right to practice and insure you aren't cheating.
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With 1.7 million freelancers, we'll match you with the perfect talent.
CodeMyConcept.com is the fastest growing and best PSD to HTML service on the planet. We take your designs and turn them into beautiful hand coded pixel perfect and W3C standard compliant websites. Currently we are helping thousands of design and development companies and freelancers save money, time and offer services they have may not have been able to offer before.


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Getting rid of old drugs
May 16, 2013
This is the fifth year for the Operation: Empty Medicine Cabinet program. The program was to help residents get expired, unwanted or unused prescription medicines out of their homes....
I really don't think meds go bad.
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It is sad Billdog. I save my pill bottles in bags for the APL for the pet fix spay an neuter. I think they will take extra drugs but I'm not sure, have never asked.
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This is sad that some of these meds get thrown out when so many can't afford the meds they need. Under the law not even doctors are allowed to take in unused meds for redistribution to patients that can't afford their medication. If the meds haven't reached their expiration date this makes no sense. Yet I'm sure some creep would take advantage of this and use, sell or do some other unsavory thing with them abusing a provision that was to help others.
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Didn't they just do this at Stinky Pete's?
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cool story, bro.
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Showing 5 of 5 comments


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By Mariela Rosario | 03/30/2011 - 19:51
From 2000 to 2010, more than twice as many Puerto Ricans left "La Isla del Encanto" than returned, according to the immigrant-focused Web site, Feet in 2 Worlds. In 2010, there were 3,725,789 people on the island, 82,821 fewer than in 2000. This decrease in population has been attributed to the island's economic crisis.
Read more
By Damarys Ocaña Perez | 03/25/2011 - 11:49
Nearly a quarter of the nation's kids are Latino, according to census figures released Thursday. Latino kids number just over 17 million, or 23 percent of the 17-and-under U.S. population—a 39 percent increase since 2000.
With birth rates among whites and blacks down, the country's future is looking increasingly brown. In at least one area—education—that poses a big challenge, given that half of Latino kids don't graduate high school.
Read more
By Angie Romero | 03/24/2011 - 17:51
We had the pleasure of catching up with none other than the king of reggaeton, Daddy Yankee, earlier today during a press conference hosted by Western Union at the Trump SoHo hotel in NYC.
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By Mariela Rosario | 03/15/2011 - 15:15
A new Pew Hispanic Center study of the recently released 2010 Census results shows that the growth of the Latino community in the United States outpaced all of the previous estimates. Out of the thirty-three states for which the census bureau has released a count of the Latino population, twenty-eight had more Hispanics than expected. In fact, Latinos have accounted for most of the discrepancy between 2010 Census counts and census estimates of states' total populations.
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By Latina Staff | 12/07/2010 - 11:20
The Census Bureau released projections yesterday of what the 2010 census results will likely be based on demographic information and, no surprise, they are estimating a growth in the Hispanic population since 2000.
According to Bloomberg, while the U.S. population grew at a slower pace overall in the past decade, the Hispanic birth rate surged.
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Barbara J. Sorlien, 70, an elegant, gifted violinist who played with the Philadelphia Orchestra for 36 years, died Wednesday of coronary heart disease at her home in Center City.
"She was a vivacious, chic woman. People on the street would ask me, 'Who is that gorgeous blonde in the first violin section?' " said Davyd Booth, violinist and keyboard player, who came to know Ms. Sorlien during his 31 years with the orchestra. "She was a great violinist who was very devoted to the orchestra."


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Elkton, Maryland Urgent Care and Walk-in Clinics
There are currently 2 urgent care centers in Elkton with 100 percent of them open seven days a week, all of which see adult and child patients. If you are willing to drive a bit, you'll find another 10 urgent care centers within 20 miles of Elkton in places like North East, Newark, and Middletown. Popular urgent care brands in the area include Got A Doc and ExpressCare Urgent Care with 5 and 1 clinics within 20 miles, respectively. If you are wondering the difference between urgent care and emergency rooms or when you should visit an urgent care, or want to read more urgent care FAQs, visit our Urgent Care 101 section.
Showing 2 Elkton Urgent Care Centers
ExpressCare Urgent CareUrgent Care 310 E Pulaski Hwy., Elkton, MD 21921-6435
This location is closed for business This location is certified This location has been verified by the Urgent Care Locations staffExpressCare Urgent Care
- 443-485-6213 Call 443-485-6213
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310 E Pulaski Hwy.
Elkton, MD 21921-6435
Got A DocUrgent Care 677 East Pulaski Highway, Elkton, MD 21921
This location is closed for business This location is not certified This location has been verified by the Urgent Care Locations staffGot A Doc
- 443-945-9500 Call 443-945-9500
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677 East Pulaski Highway Suite 100
Elkton, MD 21921


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Monitoring Sudden Oak Death in California [CAMFER_SOD]
The objective of the Monitoring Sudden Oak Death Program is to determine the distribution, incidence, and impact of Sudden Oak Death and Phytophthora ramorum in the state of California. We are interested ...
Surface Velocities of Taylor Glacier, Antarctica [NSIDC-0324]
This data set contains surface velocities of Taylor Glacier, Antarctica, for the year 2003. Measurement period was approximately 12 months. There are approximately 250 locations in this data set.
IPAB Antarctic Drifting Buoy Data [NSIDC-0084]
The World Climate Research Programme (WCRP) International Programme for Antarctic Buoys (IPAB), through participating research organizations in various countries, maintains a network of drifting buoys ...
10 sec GPS ground tracking data [CH-OG-1-GPS-10S]
This data set comprises GPS ground data of a sample rate of 10 sec, generated by decoding and sampling GPS high rate ground data. This raw data passed no quality control. The data are ...
30 sec GPS ground tracking data [CH-OG-1-GPS-30S]
This data set comprises GPS ground data of a sample rate of 30 sec, generated by decoding and sampling GPS high rate ground data. This raw data passed no quality control. The data are ...
A bathymetric Digital Elevation Model (DEM) of Brown Bay, Windmill Islands [brownbay_bathy_dem]
This dataset is a Digital Elevation Model (DEM) of Brown Bay, Windmill Islands and contours and bathymetric contours derived from the DEM. The data are stored in a UTM zone 49 projection. They ...
A bathymetric Digital Elevation Model (DEM) of Newcomb Bay, Windmill Islands [newcomb_bay_bathy_dem]
A Digital Elevation Model (DEM) of Newcomb Bay, Windmill Islands and terrestrial and bathymetric contours derived from the DEM. The data is stored in a UTM zone 49(WGS-84) projection. Heights are ...
A bathymetric Digital Elevation Model (DEM) of O'Brien Bay, Windmill Islands [obrienbay_bathy_dem]
A bathymetric Digital Elevation Model (DEM) of O'Brien Bay, Windmill Islands.
Analysis of East Antarctic drainage basins with altimetric, interferometric, gravity and GPS techniques to determine their state of flux [ASAC_2788]
Metadata record for data from ASAC Project 2788 See the link below for public details on this project. Public This project will reassess the mass balance of Law Dome and a large sector of ...
Antarctic Geodesy Field Report 2006-2007 - N Brown and A Woods [survey_2006-2007_geodesy]
Taken from sections of the report: In recent years, Geoscience Australia (GA) has increased its capability on the Antarctic continent with the installation of Continuous Global Positioning System ...
Antarctic Geodesy Survey Report 2004-2005 summer - Samim Naebkhil and Michael Moore [survey_2004-2005_geodesy]
Taken from sections of the report: Project officers Samim Naebkhil and Michael Moore from Geodetic operations within Geoscience Australia Earth Monitoring Group took part in the 2004/2005 Summer ...
Atmospheric Profiles from COSMIC Occultation Data [NCAR_DS723.0]
Using a radio occultation technique, scientists are able to use signals broadcast from Global Positioning System (GPS) satellites to retrieve profiles of bending angles, refractivity, ...
Bathymetric Grid for the region 60E to 90E, 48S to 70S [kerg_ant_bathy]
This dataset is a bathymetric grid of the region 60E to 90E and 48.45S to 70S, created in a geographic coordinate system based on a WGS84 horizontal datum. The grid has a cell size of 0.005 degrees. ...
CHAMP Global Earth Gravity Field Model [CH-OG-4-EGM]
The spherical harmonic model, called EIGEN-2 , results from CHAMP tracking data from 2000-07-30 to 2001-12-31 (Sep00, Jan01 to Aug01 excluded).
CLPX-Airborne: Airborne GPS Bistatic Radar [CLPX_GPS]
This data set consists of measurements of GPS signals reflected from the Earth's surface and collected on an airborne platform. A modified GPS Delay Mapping Receiver (DMR) tracks and measures the ...
Climate, Drift, and Image Data from Antarctic Icebergs A22A and UK211, 2006-2007 [NSIDC-0466]
This data set includes a variety of station data from two Antarctic icebergs. In 2006, researchers installed specialized weather stations called Automated Meteorological Ice Geophysical Observing ...
Coastal Ecology, Antarctica [ANTARTICA_JCADM_DNA_COAST_ECOL]
This project is being carried out through an agreement between the Argentine Antarctic Institute (IAA); the University of Mar del Plata, Argentina; Navy Hydrographic Survey, Argentina; University ...
Continuous GPS (static) Data from the Ross Ice Shelf, Antarctica [NSIDC-0347]
In October 2005, three geodetic GPS receivers were deployed on the Ross Ice Shelf near the ice front to observe short-term fluctuations in ice-shelf velocity associated with tidal forcing and other ...
Continuous GPS (static) data from Ross Ice Shelf near its iceberg calving front [macayeal_cont_GPS_Ross_Ice_Shelf_0229546]
In November, 2005, three geodetic GPS receivers were deployed on the Ross Ice Shelf near its ice front to observe short-term fluctuations in ice-shelf velocity (associated with tidal forcing and other ...
Data from the Argentinian Antarctic Evironment Programme, Coastal Oceanographic Group [ANTARTIC_JCADM_DNA_OCEANENVIR]
This multidisciplinary project was carried out through an agreement between the Argentine Antarctica Institute (IAA) and the National University of Mar del Plata, Argentina. ...
Data of SCAR 2004 Epoch campaign at Wasa [wasa_SCAR_GPS_2004]
GPS observations during SCAR 2004 Epoch GPS campaign at the Swedish Antarctic research station WASA, Nordenskiold Base, Dronning Maud Land, (73deg 02min 34s S, 13deg 24min 51s W). Mark: Steel bolt ...
Extension of the Australian Antarctic Geodetic Network in Grove Mountains - Survey Report 2001 [survey_2001_grove]
Taken from sections of the report: ANARE planned geodetic survey work in the region in the summer 2000/2001. Initially it was planned to fly into the region from Davis wintering station on four separate ...
Final GPS Earth Rotation Parameters [GPS-ERP-3-FE]
Final GPS Earth Rotation Parameters (homogenesouly reprocessed with Bernese GPS Software by TU Munich and TU Dresden).
Final Science GPS Orbits [GPS-OG-3-FSO]
Final GPS Satellite Orbits after Reprocessing (homogenesouly reprocessed with Bernese GPS Software by TU Munich and TU Dresden).
Flood of June 4, 2002, in the Indian Creek Basin, Linn County, Iowa [USGS_OFR_2004_1074]
Severe flooding occurred on June 4, 2002, in the Indian Creek Basin in Linn County, Iowa, following thunderstorm activity over east-central Iowa. The rain gage at Cedar Rapids, Iowa, recorded a 24-hour ...
GIS and Farmland Preservation in New Jersey [RUTGERS_FARMLAND]
Geospatial technologies (remote sensing, GIS, GPS) have the potential to be integrated into existing policies that are spatially explicit or implicit. This project explores the technological possibilities ...
GLAS Validation on the Amery Ice Shelf [ASAC_1263]
Metadata record for data from ASAC Project 1263 See the link below for public details on this project. ---- Public Summary from Project ---- The project will involve making a series of measurements ...
GPR and GPS Data: Characteristics of Snow Megadunes and their Potential Effects on Ice Core Interpretation [NSIDC-0282]
The Antarctic megadune research was conducted during two field seasons, one in November 2002 and the other in December 2003 through January 2004. The megadune field site is located on the East Antarctic ...
GPS Data from Scripps Institution of Oceanography (SIO), IGS Global Data Center [EARTH_CRUST_IGS_GPS_SCRIPPS1]
The International GPS Service for Geodynamics (IGS) supports researchers who use satellites in the Global Positioning System (GPS) for studies in geodynamics. GPS satellites transmit signals that ...
GPS data from different global and regional projects [GFZ-GPS]
Entries represent GPS data of different campaigns (GIG91 - Jan. 22 to Febr. 13, 1991; IGS starting June 21, 1992; PTP - Aug. 1 to 25, 1992) after transformation in the receiver independent RINEX format. ...
GPS-Measured Ice Velocities and Strain Data from the Ross and Amundsen Sea Ice Flow Divide, West Antarctica [NSIDC-0503]
This data set includes ice flow velocities and strain configurations, from GPS measurements on the West Antarctic Ice Sheet (WAIS) Divide. Ninety markers installed in the firn were measured during ...
Geographic data of Macquarie Island obtained from GPS survey March 1996 [macca_survey96_gis]
The Australian Antarctic Data Centre's geographic data of Macquarie Island includes features obtained from a GPS survey in March 1996. GIS data for Macquarie Island and Macquarie Island station can ...
Glaciological Studies on Vega Island [CDA_AR_GEO_GLAF_VEGA_ISLAND]
Field activities for the 1999/2000 summer campaign: Glaciology Group: a) Stake network surveying and computation of net balamce, ice velocities and ice deformation in selected places of Vega Island, ...
Grounding Line Strain Grid Surveys, Kamb Ice Stream, Antarctica [NSIDC-0494]
This data set provides the results from a strain grid survey deployed across the Kamb Ice Stream grounding line on the West Antarctic Ice Sheet. The grid was deployed in 2006 and resurveyed in 2007 ...
HMO-PSWS GPS Ionospheric Scintillation and Total Electron Content Monitoring on Marion Island, Gough Island, and at SANAE IV, Antarctica [HMO-PSWS_GISTM_MAR_GOG_SNA]
Ionospheric Scintillation observations at GPS (L-band) frequencies, as measured with the Novatel GSV4004B GPS Ionospheric and Total Electron Content Monitor (GISTM). The data format is proprietary ...
Heard Island, Laurens Peninsula, Topographic Mapping from Orthophoto Mosaic derived from Non-Metric Photography [photo_mosaic_laurens_or_TopoMapping]
The Heard Island, Laurens Peninsula, Topographic Data was mapped from Ortho-rectified non-metric photography. The data consists of Coastline, Crater, Volcano, Island, Lagoon, Water Storage and Watercourse ...
High-resolution seismic-reflection surveys in the nearshore of outer Cape Cod, Massachusetts [USGS_OFR_2003_235]
The U.S. Geological Survey (USGS) Woods Hole Field Center (WHFC), in cooperation with the USGS Water Resources Division conducted high-resolution seismic-reflection surveys along the nearshore areas ...
Histories of Accumulation, Thickness, and WAIS Divide Location, Antarctica [NSIDC-0473]
This data set contains radar internal layer and ice sheet topography data for two sites in Antarctica, along with associated model results from two studies. This project used geophysical inverse theory ...
Horizontal Deformation Velocity Map, Version 2.0 [CA_DEFORM_VEL_MAP]
[Adapted from Horizontal Deformation Velocity Map, Version 2.0 Release Notes] The velocity map, presented in the tables and figures of this report, represents an ongoing effort by the Crustal Deformation ...
PROYECTO ARGENTINO The project is aiming at enhanced knowledge of the present of the morphology and structure of Antarctic permafrost and the interpretation of the permafrost evolution and the cryogenic ...
Ice-Penetrating Radar Data Across Siple Coast Grounding Lines [NSIDC-0474]
These data consist of ice-penetrating radar data collected on the ground across the grounding line near Siple Dome during the 2006 and 2007 Antarctic summer field seasons. Primarily, the data consist ...
Late Holocene Climate Variability, Dry Valleys, Antarctica [NSIDC-0399]
This data set includes high-resolution ice core records from the Dry Valleys region of Antarctica, and provides interpretations of interannual to decadal-scale climate variability during the last ...
Database contains 729 records of inactive and active metallic and non-metallic mineral resource locations, prospects, and mines in Vermont. The database was compiled in 1998 ...
Macquarie Island GIS data update from various sources [macca_geographic_data_gis]
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GPS observations at an antenna permanently installed in bedrock at the Swedish field station Svea, Heimefrontfjella, Dronnig Maud Land (74deg 35min S, 11deg 13min W). The site was established by the ...
Radar Investigations of Antarctic Ice Stream Margins, Siple Dome, 1998 [NSIDC-0303]
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text:
Hunters kill almost 244,000 deer during gun deer season
One hunter died during 9-day hunt
UPDATED 5:17 PM CST Nov 27, 2012
Preliminary data from the state Department of Natural Resources shows hunters killed nearly 244,000 deer during Wisconsin's nine-day gun season.
The DNR's tally showed hunters killed 243,739 deer between Nov. 17 and Nov. 26. That's up 7.7 percent from last year's preliminary count of 226,260 deer. The final count for the 2011 season was 257,511 deer.
The DNR said 633,460 people bought a license in 2012, up from 621,375 last year. According to the preliminary count, 2012 hunters killed 114,822 bucks, up 12 percent from a year ago.
DNR officials said seven people were shot during the hunt. One died.
Copyright 2012 by The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


text:
The idea is pretty simple, really, and it operates on the same principle as any other toolbox: it keeps everything in its proper place until you decide to put it to use. And when you're done, you just put it back. In other words, it puts you 100% in control of the situation and makes the devices work for you instead of the other way around! Here are the main features of the Grid-It device organizer:
- It is made from a high-quality rubberized material.
- Its woven elastic system organizes your gadgets and accessories and keeps them tightly in place.
- There's a zippered pocket for additional storage.
- The Grid-It measures 8″ by 12″, which makes it big enough to store what you need while also not taking up too much space.
The Grid-It Device Organizer Comes in Many (Well, Four) Colors
As a society, we're pressured by marketers — as well as our own peers — to be conscious of our tastes and the choices we make based on those tastes. This is why fashion (for instance) is such a big industry. So the good people at Cocoon have given us four different colors from which to choose when we're deciding which Grid-It device organizer best suits our fancy: red, blue, gray, and basic black.
Aside from being a simple fashion statement, however, different colors could easily be used for coding by someone who regularly carts around different devices for different purposes — such as photographers, podcasters, campers, sound engineers, camera people, and musicians, just to name a few. A family who travels together could also designate a different color for each member to avoid mixups and general confusion on those long vacations across the country in the RV.
Is the Grid-It device organizer something that you see yourself using, or is it a good
hint gift for the disorganized person in your life? Either way, you can get your own Grid-It device organizer from here today!


text:
Quick Facts About Israel
Glossary of Key Terms/Events in Israel's History
Responses to Common Inaccuracies About Israel
Key Dates in Vatican-Israel Relations
Key Dates in Israel's History
E-Mail This Report
Key Dates in Vatican-Israel Relations
The Vatican supports the proposal to internationalize Jerusalem because of its desire to reestablish its influence in the Holy Land and over the Holy Places.
Pope Paul VI becomes the first pope in the history of the Roman Catholic Church to set foot in Jerusalem. However the Vatican does not recognize the Jewish State, and the pope never mentions the word Israel during the trip.
The Second Vatican Council approves the historic document "Nostra Aetate" (Latin for "In Our Times"), which:
a) Repudiates the deicide charge against Jews. It reaffirms that Jesus freely underwent suffering and death because of the sins of all.
b) Encourages mutual understanding and appreciation between Catholics and Jews.
c) Deplores all displays of anti-Semitism directed against Jews at any time, from any source.
e) Recognizes the eternal covenant between God and the Jewish people, which Pope John Paul II says is irrevocable.
Pope Paul VI establishes the "Pontifical Commission for Religious Relations with the Jews" as a vehicle to promote better relations with Jews. The Commission issues Guidelines stating that dialogue, as opposed to monologue, "demands respect for the other as he is, above all, respect for his faith and his religious convictions." The Commission Notes stress the need to understand the "permanence of Israel" within the context of God's design and the importance of Israel to the Jewish people.
Pope John Paul II states that "the Jewish people, after the tragic experiences linked to the slaughter of many of its sons and daughters, motivated by a desire for security, established the State of Israel."
Pope John Paul II states for the Jewish people in Israel "the desired security and tranquility that are the prerogative of every nation, as well as required conditions for the life and progress of every society."
April 13, 1986
Pope John Paul II becomes the first pope to ever visit a synagogue when he enters the Great Synagogue in Rome. He calls Jews "our dearly beloved older brothers."
Pope John Paul II declares that "the Jews have a right to nationhood, as do all other peoples, according to international law."
Dec. 30, 1993
The Holy See establishes diplomatic relations with Israel in ceremonies held in Rome and Jerusalem. The Accord states in part, "The Holy See and the State of Israel are committed to appropriate cooperation in combating all forms of anti-Semitism and all kinds of racism and of religious intolerance, and in promoting mutual understanding among nations, tolerance among communities, and respect for human life and dignity. The Holy See takes this occasion to reiterate its condemnation of hatred, persecution, and all other manifestations of anti-Semitism directed against the Jewish people and individual Jews anywhere, at any time and by anyone."
March 12, 2000
Pope John Paul II and Cardinals ask forgiveness for sins, including those against the People of Israel.
March 16, 1998
The Vatican apologizes in the document "We Remember, a reflection on the Shoah" for Catholics who failed to do enough to help Jews against Nazi persecution. It also defends wartime Pope Pius XII from accusations that he ignored the Holocaust.
Pope John Paul II visits Israel, including the Yad Vashem Holocaust memorial, Bethlehem, Nazareth and other holy sites. He meets with the Israeli Prime Minister and Chief Rabbis. The visual highlight comes when the pope inserts a prayer into the Western Wall asking forgiveness of God on behalf of those who have caused Jews to suffer throughout the course of history. "We wish to commit ourselves to genuine brotherhood with the people of the Covenant," the note concludes. It marks the culmination of John Paul's two decades of effort to reconcile Catholics and Jews.
New Pope Benedict XVI visits the Cologne synagogue. The Jewish community raises the issue of the Vatican's secret WWII archives and the role of Pope Pius XII, put on the road to sainthood by Pope John Paul.
December 2007
Pope Benedict announces a commission to study sainthood for Pope Pius XII, seen as a move to slow down the process.
July 2007
Pope Benedict issues a papal decree which revives a Latin Good Friday prayer used by traditionalist Catholics called "For the Conversion of the Jews" which says they should recognize Jesus Christ as savior.
November 2008
Benedict pays tribute to Pope Pius XII opening a new Vatican campaign on behalf of Pius' sainthood.
January 2009
Israel criticizes Cardinal Renato Martino, president of the Vatican's Council for Justice and Peace, after he criticized Israel over its offensive in the Hamas-ruled Gaza strip, calling it a "big concentration camp".
January 24, 2009
The pope lifts the excommunication of four bishops who belong to the ultra-conservative Society of Saint Pius X, which engages in anti-Judaism and rejects Nostra Aetate. One of the four bishops, British-born Richard Williamson, is an avowed Holocaust denier.
February 2009
Pope Benedict tried to heal the rift by expressing his "full and unquestionable solidarity" with Jews.
— The Vatican orders Williamson to publicly recant his views if he wants to serve as a prelate in the Church.
— World Jewish leaders tell Vatican officials that denying the Holocaust was "not an opinion but a crime" when they meet to discuss Williamson and his views.
May 2009
Pope Benedict visits the State of Israel.
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text:
Click play to listen here or download to listen later.
Welcome to William Wall's page on podcasts.ie here William reads from his work in audio podcast format.
William Wall is an author of both fiction and poetry. And not for the first time on podcasts.ie have we found it difficult to categorise the author but we have positioned William's work in the Featured Prose Section as he read from his novels and short story collection when we met with him recently.
William Wall is a full-time writer, he was born in Cork in 1955, where he still lives. He graduated from University College Cork in philosophy and English, and is one of two fiction writers to emerge from the group of mostly poets that developed around the English Department there in the late seventies. His fourth novel, This Is The Country, was longlisted for the Man Booker Prize 2005 and shortlisted for The Irish Book Awards and the Young Mind Prize. His work has been translated into Italian, Portuguese, Serbian, Latvian and Dutch. His fiction has been published in Ireland, England and the USA. His poetry and fiction have won numerous accolades, including The Patrick Kavanagh and Sean O'Faoláin Awards, and 'Surrender' was shortlisted for the Raymond Carver Prize. He has published four novels and two collections of poetry. His stories were collected as No Paradiso in 2006. He has also written for children.
in 2010 William undertook a 5 week residency at The Princess Grace Irish Library in Monaco but we caught up with him just before he left to talk about this great honour and about what inspires him to write. In his second Podcast William reads from his 2002 novel "Map of Tenderness"
Our thanks to The Cork International Airport Hotel for providing excellent facilties for us to make this recording
For more details visit www.williamwall.net


text:
----- Original Message -----
From: "Frédéric STOCK"
Newsgroups: comp.unix.sco.misc
Sent: Tuesday, April 24, 2007 10:05 AM
Subject: Cant't install some patches (OSR5.06)
> Hi,
> I finally restored all the system (see post "SCO OSR5.06 box doesn't boot
> anymore" and the /u filesystem on another machine, and it works again.
> I wanted to add some patches (oss648c, oss650a, oss651b).
> during install, it says "component SCO Unix 5.06Ga is corrupt, cannot
> patche".
> How could I verify this ?
> If I'd like to make it correct, what would be the steps to follow ?
a) It might be corrupt. See my other post where I predicted just that and
why. fresh install is the only real fix I'd bother with, though it might be
possible to force install components you already have installed. I've done
that in desperation a couple times to fix 507 boxes where removing mp4 or
applying mp4 failed. But I was just forcing a re-apply of mp3 or mp4 or
gwxlibs or gnutools, not any of the core os components.
b) Disable hyperthreading on the new machine.
I tracked failing 5.0.6/5.0.7 installs with known verified good install
media and known verified good new hardware to failing to uncompress some
VOL.x.x files correctly.
By uncompress I mean litterally, the uncompress command, not unpack, untar,
cpio, etc...
In the ase of 5.0.7, after MP1 (or later) is applied, then hyperthreading
can be re-enabled safely, including verified manunally uncompressing the
same problem file.
Don't remember if 506 eventually got enough patches to work too.
Brian K. White firstname.lastname@example.com http://www.myspace.com/KEYofR
filePro BBx Linux SCO FreeBSD #callahans Satriani Filk!


text:
Rent True to Form 1st edition today, or search our site for other textbooks by Elizabeth Berg. Every textbook comes with a 21-day "Any Reason" guarantee. Published by Washington Square Press.
Need help ASAP? We have you covered with 24/7 instant online tutoring. Connect with one of our tutors now.


text:
"I'm not much of a drinker, but when I drink, I feel good?" Thank you, Elsa. Such a great line to kick off a Real Housewives discussion.
According to Adriana, Lea can crush a person in a minute. Is that metaphorical, or does she draw her victims into the spider web of her blouse and devour them? Either way, I'm interested to see whether Lea will get Cristy to pay for the gala tickets ... and I loved her glasses. So, as one who has been to multiple charity events on camera, here's what I've learned: When you film a charity gala, you need to be very clear with your cast members about what is expected. Either you are invited by the host as a guest, or you pay your money. You don't stop by with friends, unannounced, for more camera time unless you're intentionally trying to cause trouble. And if that's what Cristy was trying to do, she should have owned it.
How many times in this series is Adriana going to be late? Late to pick up her son last week, 90 minutes late to lunch, two hours late to the gallery opening. When she puts events in her calendar, are they in the same time zone? The ladies laugh that she's on Brazilian time, but Rio is two hours ahead of Miami so that's no excuse. When she was driving to get her nails done, I wondered where the cop was to write her a ticket for talking on her cell phone while driving. And running red lights. And the art police needed to pick her up for being missing in action at work on the day of her opening.
Lest I be too hard on Adriana, what was going on with Marco the artist? I'm going to take a guess. Our friend Google confirms that she and an "artist friend" worked on a commission for the Royal Family in Monaco – probably Marco since it was mentioned on camera as well. Normally when a commission is ordered, everyone gets paid. Wanting to do something spectacular for the show and give Marco some publicity, Adriana might have asked him to create these 30-plus portraits of Miami VIPs on spec.
What was his motivation to get this done on time? He didn't do it – maybe he couldn't do it, didn't want to do it, who knows? Maybe they argued about how many pieces really needed to be created. Maybe Adriana set a deadline by which the work needed to be complete, and when that deadline passed, organized the backup artist. If he flew in from Paris, she didn't call him up half an hour beforehand to put on the show. However the drama happened, it got ugly that night. But as Lea said, that might draw publicity to the gallery. Did you notice the work behind Adriana's head in her house? Looked like the backup artist's.
My favorite part of the Miami episode had to be Elsa. I'm not sure how I feel about the series in general, but I could watch a whole hour of Elsa. She's a witch, she's hungover and she looks great in that big shiny satiny thing. I want her on New York. I'd love to see her in the Hamptons stealing Ramona and Mario's flowers, and forbidding Kelly from washing her hands. When she told Phillippe that there's nothing better than a macho man dressed like a girl, I wondered what she'd make of my husband's wardrobe. Marysol giggled at Mama and shook her head, and that was that.
What else? Larsa bought her little brother a car; Alexia was horrified at her son for something involving a girl; and Cristy said "like" too many times. Next!!
P.S. We heard today that The Real Housewives of New York City is returning to Bravo on April 7!
For more about Real Housewives, visit Bravotv.com. For more on Alex, including her book, Little Kids, Big City, visit her Web site or follow her on Twitter
Please note: Comments have been suspended temporarily as we explore better ways to serve you. Your opinion is important to us; you can find current discussions at
Alex McCord's Real Housewives of Miami Blog: More Elsa, Please!
Joe Pugliese/Bravo


text:
Today is September 27, 2016 -
TivnUSY: Building Justice
TivnUSY: Building Justice Program Details
Meet some of the partner organizations that USYers will with on TivnUSY: Building Justice:
Planet Repair Institute is a living, breathing node for Neighborhood Repair, embedded in the neighborhood of Sellwood. They employ tools of permaculture, natural building and placemaking to create ecological and social relationships that are cyclical, interconnected, symbiotic, and life-affirming. They are currently engaged in projects to correct the inefficient, wasteful, and resource intensive structures of their house in order to create a home that is built from natural, local and living materials, and powered by captured energies that pass naturally through the landscape.
- Summer program participants will be involved in a community-based building project. They will meet and discuss solutions with community members and partner with them to build and install the project.
The ReBuilding Center, a project of Our United Villages, is a vibrant resource working to strengthen the environmental, economic, and social fabric of local communities. The ReBuilding Center carries the region's largest volume of used building and remodeling materials, and it provides resources that make home repairs affordable to everyone, with the goal of promoting the reuse of salvaged and reclaimed materials.
- Projects vary from day to day depending on what materials have been donated. Common tasks include: unloading donation carts, sorting and organizing tile, trim, miscellaneous hardware and lighting, and de-nailing lumber.
Founded in 1995, Portland YouthBuilders is a non-profit organization committed to providing long term support for low income youth. Each year, they provide education, vocational training, and leadership development services for over 200 young people between the ages of 17 and 24 who have not completed high school and who face significant barriers to success. All students receive career development skills, leadership development opportunities, and long term support.
- Summer program participants will be working alongside the young adults from Portland YouthBuilders on a Habitat for Humanity work site.
REACH is a nonprofit affordable housing development and property management company, begun in 1982 in response to neighbors' concerns about deteriorating housing conditions in Southeast Portland, Oregon. Today, REACH owns and manages a portfolio of 1,852 units of affordable housing located across the metropolitan region, including properties in Multnomah, Washington, and Clark counties (State of Washington).
- Summer program participants will be involved with helping housing residents that are in need with projects that are executed to make sure they do not get a fine from the city. Projects could include painting, constructing/installing a fence, blackberry removal.
Habitat for Humanity Portland/Metro East revitalizes neighborhoods, builds affordable and sustainable homes, and empowers families through successful home ownership. Habitat for Humanity Portland/Metro East is an independent affiliate of Habitat for Humanity International, a global home building movement.
- Participants will work alongside Portland YouthBuilders to build houses.
Educational Topics:
- What does it mean to be a "just" city? How does ecology and housing fit into that definition?
- What responsibilities do we have for each other to make sure we all have roofs over our head?
- What are different organizations and activists doing to move things forward in this regard?
- Where does our nourishment come from? How can low-income neighborhoods get access to locally-sourced, healthy food?


text: Research | February 2010Clinical Implications of Dynamic Systems Theory for Phonological Development Susan Rvachew and Barbara May Bernhardt Author Affiliations & Notes Susan Rvachew McGill University, Montreal, Quebec, Canada Barbara May Bernhardt University of British Columbia, Vancouver, Canada Contact author: Susan Rvachew, McGill University, School of Communication Sciences and Disorders, 1266 Pine Avenue, West Montreal, Quebec H3G 1A8, Canada. E-mail: firstname.lastname@example.com. © 2010 American Speech-Language-Hearing Association Article Information Speech, Voice & Prosody Research | February 2010 Clinical Implications of Dynamic Systems Theory for Phonological Development American Journal of Speech-Language Pathology, February 2010, Vol. 19, 34-50. doi:10.1044/1058-0360(2009/08-0047) History: Received June 19, 2008 , Accepted June 5, 2009 American Journal of Speech-Language Pathology, February 2010, Vol. 19, 34-50. doi:10.1044/1058-0360(2009/08-0047) History: Received June 19, 2008; Accepted June 5, 2009 Web of Science® Times Cited: 7 View Article Figures Tables PDF PDF Supplemental Data Supplements Multimedia Share Email Twitter Facebook Pinterest Tools Get Citation Citation Rvachew, S. & Bernhardt, B. M. (2010). Clinical Implications of Dynamic Systems Theory for Phonological Development. Am J Speech Lang Pathol, 19(1), 34-50. doi: 10.1044/1058-0360(2009/08-0047). Download citation file: RIS (Zotero) EndNote BibTex Medlars ProCite RefWorks Reference Manager © 2016 American Speech-Language-Hearing Association × Alerts User Alerts You are adding an alert for: Clinical Implications of Dynamic Systems Theory for Phonological Development You will receive an email whenever this article is corrected, updated, or cited in the literature. You can manage this and all other alerts in My Account The alert will be sent to: Confirm × Sign In or Create a free account to receive alerts. × PurposeTo examine treatment outcomes in relation to the complexity of treatment goals for children with speech sound disorders.MethodThe clinical implications of dynamic systems theory in contrast with learnability theory are discussed, especially in the context of target selection decisions for children with speech sound disorders. Detailed phonological analyses of pre-and posttreatment speech samples are provided for 6 children who received treatment in a previously published randomized controlled trial of contrasting approaches to target selection (Rvachew & Nowak, 2001). Three children received treatment for simple target phonemes that did not introduce any new feature contrasts into the children's phonological systems. Three children received treatment for complex targets that represented feature contrasts that were absent from the children's phonological systems.ResultsChildren who received treatment for simple targets made more progress toward the acquisition of the target sounds and demonstrated emergence of complex untreated segments and feature contrasts. Children who received treatment for complex targets made little measurable gain in phonological development.ConclusionsTreatment outcomes will be enhanced if the clinician selects treatment targets at the segmental and prosodic levels of the phonological system in such a way as to stabilize the child's knowledge of subcomponents that form the foundation for the emergence of more complex phoneme contrasts. Subscribe to view more For full access to this article, log in to an existing user account, purchase an annual subscription, or purchase a short-term subscription. Order a Subscription Subscribe Pay Per View Entire American Journal of Speech-Language Pathology content & archive 24-hour access $30.00 Buy Now This Article 24-hour access $15.00 Buy Now Become a Visiting Scholar Sign In or Create an Account Please sign in using your ASHA.org login. If you do not have an ASHA login, you may register with us for free by creating a new account. Sign In or Create an Account Related Articles Multiple OppositionsTheoretical Foundations for an Alternative Contrastive Intervention Approach American Journal of Speech-Language Pathology, November 2000, Vol. 9, 282-288. doi:10.1044/1058-0360.0904.282 Comprehensive Assessment of Speech Sound Production in Preschool Children Perspectives of the ASHA Special Interest Groups, June 2016, Vol. 1, 39-56. doi:10.1044/persp1.SIG1.39 Lexical Considerations in the Treatment of Speech Sound Disorders in Children Perspectives of the ASHA Special Interest Groups, June 2016, Vol. 1, 57-65. doi:10.1044/persp1.SIG1.57 Phonological Milestones for African American English-Speaking Children Learning Mainstream American English as a Second Dialect Language, Speech, and Hearing Services in Schools, July 2009, Vol. 40, 229-244. doi:10.1044/0161-1461(2008/08-0064) Phonological Complexity and Language Learnability American Journal of Speech-Language Pathology, February 2007, Vol. 16, 6-17. doi:10.1044/1058-0360(2007/003) Related Topics Speech, Voice & Prosody