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Nice design and simple user experience are often reasons why people choose your app or service over the competition. That's why we strive to make things as easy as possible.
Just a website is not enough anymore. People are online anytime and anywhere, and you must be in their pockets! We develop mobile apps for Android and iOS devices, as well as responsive websites that adjust to any device.
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Coming back this August...
Heya Beacon Backers!
Thanks again for your generous support of the Bathroom Beacons, and helping to make the project an amazing success in 2013. We created a spiffy little video... Read more
Here we go!
Hello, Beacon Backers--
The cargo containers containing Twisted and Fabulous braved the storm last night and have landed in BRC. TheToilet Bowl is getting picked up in Reno Thursday. Here's... Read more
What a week!
Hello, Beacons Backers!
Whew! What a week!
First, our Kickstarter campaign completed successfully! Woo hoo! Thank you so much for your generous support of the Bathroom Beacons and efforts to... Read more
Brighter and Blinkier, As Promised
Hello, Beacons Fans!
A lot has come together in the past few days in the Brighter and Blinkier department, so we wanted to drop you a quick update.
First,... Read more
Half way there!
Hey everyone! We crossed the half-way mark on our Kickstarter Campaign! High-five! Thank you for your support thus far! Here's some news and updates on your favorite blinking bathroom signs:... Read more

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tag:blogger.com,1999:blog-1273652815577465353.post3013063488137139241..comments2014-08-29T16:08:51.618+01:00Comments on Domestic Sluttery: Win! A Brass Collar from the V&ASian Meadeshttp://email@example.com:blogger.com,1999:blog-1273652815577465353.post-20639755638629926032012-12-17T15:49:53.342+00:002012-12-17T15:49:53.342+00:00The tradition in our house is for me to bake the C...The tradition in our house is for me to bake the Christmas cake ..and for my husband to marzipan and ice it!Janicehttp://firstname.lastname@example.com:blogger.com,1999:blog-1273652815577465353.post-91403247602910695702012-12-14T21:59:15.208+00:002012-12-14T21:59:15.208+00:00I hav no idea what to say but i really want this c...I hav no idea what to say but i really want this collar. Anything else i can do instead? Pretty plz:(email@example.com:blogger.com,1999:blog-1273652815577465353.post-25796172713264103362012-12-14T01:48:56.657+00:002012-12-14T01:48:56.657+00:00The fact I missed this by 2hrs makes me want to cr...The fact I missed this by 2hrs makes me want to cry LOTS. Anyway just to join in my tradition is to watch Nightmare before Christmas as you get Christmas and Halloween together! (btw I am not a big goth, I just love the idea of having the best of both worlds!) xSam email@example.com:blogger.com,1999:blog-1273652815577465353.post-52585292397726975242012-12-13T23:49:00.578+00:002012-12-13T23:49:00.578+00:00My family goes to panto at the same theatre every ...My family goes to panto at the same theatre every Christmas Eve. There's usually around 8 of us, usually in Christmas jumpers and usually a tiny bit inebriated. The thing is, I work as an usher at said theatre and by Christmas Eve, I've already seen the panto many, many times over. But I love the panto and I love our family tradition and I love that I know exactly when the cast will appear with water pistols - I'm usually tucked nicely under a seat in time :D Then we go for a big tuck-in at a Chinese restaurant. Lovely.Laura Birdhttp://firstname.lastname@example.com:blogger.com,1999:blog-1273652815577465353.post-63962601413234599762012-12-13T23:20:06.794+00:002012-12-13T23:20:06.794+00:00Going to the theatre on boxing day! After all the ...Going to the theatre on boxing day! After all the usual Christmas activities watching a magical show extends the festivities no end! email@example.com:blogger.com,1999:blog-1273652815577465353.post-9824273871631217732012-12-13T23:01:16.024+00:002012-12-13T23:01:16.024+00:00The whole family goes to midnight mass, then we co...The whole family goes to midnight mass, then we come back, have a glass of something cheeky and open one present each...technically it IS christmas at this point but it still feels pretty exciting...Olivia email@example.com:blogger.com,1999:blog-1273652815577465353.post-44452691212630666762012-12-13T21:56:34.396+00:002012-12-13T21:56:34.396+00:00Every Christmas Eve I watch Home Alone whilst stre...Every Christmas Eve I watch Home Alone whilst stretched out on the sofa, dipping Quality Street into my huge mug of tea! Mmm Christmas bliss! Holly Chrimeshttp://firstname.lastname@example.com:blogger.com,1999:blog-1273652815577465353.post-24358747230176484952012-12-13T21:04:15.712+00:002012-12-13T21:04:15.712+00:00Sausage. Rolls. Hot ones. Just before present open...Sausage. Rolls. Hot ones. Just before present opening happens. This year I shall be spending the morning alone, but the prospect of eating more sausage rolls entirely makes up for this. X email@example.com:blogger.com,1999:blog-1273652815577465353.post-18191008673740182682012-12-13T20:56:34.951+00:002012-12-13T20:56:34.951+00:00My tradition is an excessive early dinner followed...My tradition is an excessive early dinner followed by sitting down with a dvd snoozing til its time for all the extended family to gather. My grandparents house is always mental the christmas night! With squeals and singing and even more presents!Edelhttp://email@example.com:blogger.com,1999:blog-1273652815577465353.post-63197236001917573792012-12-13T20:39:22.112+00:002012-12-13T20:39:22.112+00:00Our family tradition we're determined to keep ...Our family tradition we're determined to keep going begins on christmas eve. Other half and the smalls all go out for christmas hair cuts whilst I put clean bedding on everyone's beds, then everyone piles back in to an afternoon of christmas films with a real fire going and then we're all allowed to open one christmas present each which will be fresh new christmas themed pyjamas and cosy slipper socks.Hollie firstname.lastname@example.com:blogger.com,1999:blog-1273652815577465353.post-40285676021126071152012-12-13T20:26:34.034+00:002012-12-13T20:26:34.034+00:00Watching The Snowman on Christmas Eve, before leav...Watching The Snowman on Christmas Eve, before leaving a mince pie, some Bailey's, and if he is lucky, some Hotel Chocolat Chocolate for Santa.Victoriahttp://firstname.lastname@example.com:blogger.com,1999:blog-1273652815577465353.post-45518532136713388052012-12-13T19:57:42.168+00:002012-12-13T19:57:42.168+00:00My family have a strange ritual of bringing out th...My family have a strange ritual of bringing out the most tatty, moth eaten snowman after lunch and everyone has a present from him. He lost an eye last year but mum is determined he's fine. I used to think everyone did this but the looks that I get when I tell people suggest this isn't the case.Hannah firstname.lastname@example.com:blogger.com,1999:blog-1273652815577465353.post-24592483767758950372012-12-13T19:52:11.967+00:002012-12-13T19:52:11.967+00:00My favourite (new) xmas tradition is that my fianc...My favourite (new) xmas tradition is that my fiance & I make each other massive stockings and open them together in bed. The first year mine was a total surprise and I nearly fell over it when I got out of bed without my glasses on. I'm really looking forward to this year as it's going to be just us and my parents on the day. My immediately family is BIG and everyone gets stressed but it'll be just us four and we're doing the cooking so we get to do things our way :) I can tell you there's going to be more booze involved.Katehttp://email@example.com:blogger.com,1999:blog-1273652815577465353.post-88687692036313652832012-12-13T19:09:49.336+00:002012-12-13T19:09:49.336+00:00royle family christmas special ... makes me laugh ...royle family christmas special ... makes me laugh and cringe with memories of my own family at the same time ;-)mariabhttp://firstname.lastname@example.com:blogger.com,1999:blog-1273652815577465353.post-73192838857591486452012-12-13T18:50:03.835+00:002012-12-13T18:50:03.835+00:00My siblings and I congregate at the top of the sta...My siblings and I congregate at the top of the stairs on Christmas morning, resolutely refusing to go down until we're all together. We're in our mid/late twenties now and all live apart, so it's a lovely feeling of both nostalgia and togetherness :)Emmahttp://firstname.lastname@example.com:blogger.com,1999:blog-1273652815577465353.post-4256940040536269002012-12-13T18:46:47.564+00:002012-12-13T18:46:47.564+00:00We take a Xmas family pic each year on Xmas mornin...We take a Xmas family pic each year on Xmas morning. This year it'll be my wife and I along with the kids. The kids being odie the dog, stinks the kitten, Friday the parrot and the two fish, lord morrow and mr cheeky monkey! Carolhttp://firstname.lastname@example.com:blogger.com,1999:blog-1273652815577465353.post-79335515850565722352012-12-13T18:05:31.264+00:002012-12-13T18:05:31.264+00:00This is my second Christmas with the hubby, and we...This is my second Christmas with the hubby, and we melded two family traditions; appetizers and spiced cider with Christmas cartoons/music on Christmas Eve(from me, my mom and my twin sister when I lived in the states), and indulging in the Marks & Spencer giant Belgian Collection biscuit tin for Christmas breakfast(his as a child with his family - his sister continued the tradition with her family as well), followed by relaxation, too much food and wine/cocktails, more relaxation, too much dessert, more relaxation....MrsNumbleshttp://firstname.lastname@example.com:blogger.com,1999:blog-1273652815577465353.post-36280920326980556422012-12-13T17:06:28.158+00:002012-12-13T17:06:28.158+00:00My boyfriend and I started our own tradition of ma...My boyfriend and I started our own tradition of making each other advent calendars, this year I got tiny baby socks pegged onto rope with treats inside, I came home to this after a night shift, was a lovely Xmas surprise and a tradition we're going to keep up! Lynsey firstname.lastname@example.com:blogger.com,1999:blog-1273652815577465353.post-61983271349007912492012-12-13T16:45:40.848+00:002012-12-13T16:45:40.848+00:00The best Christmas tradition at our house isn'...The best Christmas tradition at our house isn't really a tradition, but it happens every single year..... we decide to sack off Christmas lunch in order to start drinking whisky and watching Westerns as soon as we're done with presents (about 11am). If, and only if, we don't pass out, we start cooking lunch at about midnight!

We've got our priorities straight..... :)email@example.com:blogger.com,1999:blog-1273652815577465353.post-4947282056729629192012-12-13T16:15:32.753+00:002012-12-13T16:15:32.753+00:00The best Christmas tradition I have is to spend th...The best Christmas tradition I have is to spend the 23rd of December together cooking and eating a huge, boozy dinner with all my best girls. This Christmas event has always hosted by my friend Shalini for the past 7 years and so now is known as the much loved and anticipated 'Shalinimas'...
Previous themes have included 'Wrapped Up!' and 'The 12 Days Of..' where we each revealed our favourite day of the song with a yummy dish.
My 'Five Gold Rings' upside-down pineapple cake covered in edible glitter went down well that year! :)Kelly email@example.com:blogger.com,1999:blog-1273652815577465353.post-91274976217744647902012-12-13T15:54:41.081+00:002012-12-13T15:54:41.081+00:00That collar is amazing. Our Christmas day traditio...That collar is amazing. Our Christmas day traditions include sitting down in the morning to watch a DVD someone has got as a present with bacon rolls and a vat of Quality Street.That in black inkhttp://email@example.com:blogger.com,1999:blog-1273652815577465353.post-45740383170558104852012-12-13T15:00:06.079+00:002012-12-13T15:00:06.079+00:00My favourite Christmas tradition is actually a Chr...My favourite Christmas tradition is actually a Christmas Eve one- My husband, friends and I all dress up in lovely new pyjamas and cuddle up under duvets on the sofa to watch Elf, accompanied by mulled wine and shop-bought mince pies (I'd like to say home-made but come on, I'm busy watching awesome Christmas movies!)Natasha Mortonhttp://firstname.lastname@example.com:blogger.com,1999:blog-1273652815577465353.post-66669969835499317462012-12-13T14:40:21.955+00:002012-12-13T14:40:21.955+00:00Now we're all grown-ups in my house we each do...Now we're all grown-ups in my house we each do each other a stocking. The trick is we have to deliver them during the night without anyone seeing you. If you bump into anyone while conducting your Father Christmas delivery, you both have to go back to bed and try again later. It's hilarious, who needs sleep when you have sugar?Miss Elliehttp://email@example.com:blogger.com,1999:blog-1273652815577465353.post-44271195386559559162012-12-13T14:27:58.581+00:002012-12-13T14:27:58.581+00:00I make my boyfriend and brother wear 'amusing&...I make my boyfriend and brother wear 'amusing' Christmas t-shirts. They don't seem to think it's that funny, but it totall makes my Christmas Day :-)Ally Mhttp://firstname.lastname@example.com:blogger.com,1999:blog-1273652815577465353.post-27871565140641061772012-12-13T14:26:55.505+00:002012-12-13T14:26:55.505+00:00It's tradition to go to midnight mass (even th...It's tradition to go to midnight mass (even though we are not churchgoers - we like singing the carols). After that we go to bed in anticipation of Xmas Day :D Despite my advancing age, I still live at home (saddo) as do my sisters (they have their excuses, I don't) so we all get Christmas stockings. For some reason my sisters come in to wake me up and watch me open my stockings, then I go and watch my sisters open theirs. We go downstairs, open our presents with all the family, then breakfast on pancakes. Then the rest of the day is pretty much based on food and enjoying our presents. This will be my last Christmas at home for a while though because I am moving overseas very soon :)Gorditahttp://firstname.lastname@example.com


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This movie Open Hearts released on 6 Sep, 2002 and directed by Susanne Bier. Story written by Anders Thomas Jensen. Movie Fry brings you Open Hearts 2002 movie for free to watch or download for free. Open Hearts fill you with emotions as best movies do. As in all romantic relationships, tensions of day-to-day life, temptations, and differences in compatibility enter into the plots of romantic films Open Hearts. Watch Open Hearts 2002 Movie online for free or download Open Hearts Movie for free at MovieFry.
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- Table View
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All of Meby Michael Posner Anne Murray
In this revealing autobiography, Canada's first lady of song, for the first time, tells the whole story of her astonishing 40-year career in show biz. It is a candid retrospective of the extraordinary success achieved, and the prices that had to be paid."After 'Snowbird' hit, I was swept up like Dorothy in The Wizard of Oz, and catapulted into a strange new universe ... If I thought for a moment that I was really in control of events, I was deluded." Anne Murray. An unflinching self-portrait of Canada's first great female recording artist, All of Me documents the life of Anne Murray, from her humble origins in the tragedy-plagued coal-mining town of Springhill, Nova Scotia, to her arrival on the world stage. Anne recounts her story: the battles with her record companies over singles and albums; the struggle with drug- and alcohol-ridden band members; the terrible guilt and loneliness of being away from her two young children; her divorce from the man who helped launch her career, Bill Langstroth; and the deaths of two of her closest confidantes. The result is a must-read autobiography by Canada's beloved songbird.
Cerebrum 2010: Emerging Ideas in Brain Scienceby Andrew Newberg James Traub Benjamin S. Carson Emily A. Kuhl William E. Narrow Darrel A. Regier Paul Mchugh Mahlon R. Delong Russell A. Poldrack Natalie Denburg Lyndsay Harshman Marcelo O. Dietrick Tamas L. Horvath Michael Posner R. Douglas Shytle Paula C. Bickford Dimitrios Kapogiannis Jordan Grafman Scott A. Huettel Julian E. Asher Lisa J. Merlo Mark S. Gold Michael F. Huerta Brenda Patoine Scott T. Grafton Howard Gardner Jay N. Giedd Douglas A. Gentile David J. Kupfer
In this fourth annual edition, drawn from Cerebrum's highly regarded Web edition, some of the foremost experts in brain science present the research-and their take-on debates that capture the harmony as well as the discord in the complex and evolving relationship between neuroscience and society.
Problems of International Money, 1972-85by Michael Posner
A report from the International Monetary Fund.
Select your format based upon: 1) how you want to read your book, and 2) compatibility with your reading tool. To learn more about using Bookshare with your device, visit the Help Center.
Here is an overview of the specialized formats that Bookshare offers its members with links that go to the Help Center for more information.
- Bookshare Web Reader - a customized reading tool for Bookshare members offering all the features of DAISY with a single click of the "Read Now" link.
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- BRF (Braille Refreshable Format) - digital Braille for use with refreshable Braille devices and Braille embossers.
- MP3 (Mpeg audio layer 3) - Provides audio only with no text. These books are created with a text-to-speech engine and spoken by Kendra, a high quality synthetic voice from Ivona. Any device that supports MP3 playback is compatible.
- DAISY Audio - Similar to the Daisy 3.0 option above; however, this option uses MP3 files created with our text-to-speech engine that utilizes Ivonas Kendra voice. This format will work with Daisy Audio compatible players such as Victor Reader Stream and Read2Go.


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Attention Robert Pattinson fanatics: The world's most famous tortured bloodsucker can't stand Halloween. Or at least that's the humorous way Late Show host Jimmy Fallon portrays a moody version of the Twilight star in the latest installment in his series Robert Is Bothered.
"Halloween bothers me," sulks Fallon-as-Pattinson. "Costumes are stupid. Are you a werewolf? No you're not, you're a person. You can't fool me. Jackass! No candy!"
"Pumpkins are dumb fat squashes," Fallon jokes in a fake British accent. "Candy corns are stupid. Are you a candy or are you corn?"
The skit follows previous Robert Is Bothered spoofs on Snickers ads and Shark Week.
Perhaps Pattinson should dress up as a certain late-night talk show host for Halloween?
Just a thought.
Have a comment? Leave it here


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In a column sharing 32 predictions for the NBA season, Grantland's Zach Lowe reiterated his belief that the Boston Celtics could trade one or more of their veterans later this season – especially if they are within sniffing distance of a playoff berth.
Lowe wrote that "everyone" – obviously including Rajon Rondo and Jeff Green – could be available on the trade market.
Boston will defend, despite a glaring lack of rim protection, and it will scrap its way to enough wins that eighth-seed dreams might seem plausible after 20 games. The Celtics wouldn't mind their young guys getting to experience meaningful late-season games, but the guess here is that the front office would rather have at least one very nice first-round pick in a loaded draft. In other words, look for everyone to be on the table. (Brandon) Bass might be the most tradable guy, since he's a solid player with just one year left on his contract after this season. But bigger names will come up. Jeff Green has fans around the league, and (Rajon) Rondo's contract expires after next season. He has to prove his health again, but I've never gotten the impression Boston would be stoked to pay Rondo a max (or near-max) deal after 2015.
Boston's November schedule might be scary enough to wipe away any postseason hopes before Rondo even returns. But if it's not, president of basketball operations Danny Ainge could sit in an interesting position around trade deadline time.
He certainly wouldn't mind dealing Gerald Wallace or Kris Humphries, veterans with big contracts who probably don't fit into the team's future plans. Role-playing veterans like Bass and Courtney Lee should also be available, but losing either of them won't necessarily make the Celtics significantly worse. Lee hasn't been a huge help since signing with the Celtics last summer, and trading Bass could free up more minutes for Jared Sullinger and Kelly Olynyk – both of whom have impressed during the preseason.
Moving Green or Rondo would obviously amount to a bigger move. It will be interesting to see whether the Celtics keep both around for the long haul, or try wiping the slate clean before reloading for another championship run, whenever that might be.


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Hi Folks,
I'm a Freelance Illustrator looking for work. I have experience in Storyboards, Character Designs, Concept designs, Digital painting, Graphic Design, Millitary Illustrations.
My Professional work are : Millitary Illustrations for an RPG Comapany called DREAM POD 9. I did some illustration for their pulp fiction war game called " GEAR KRIEG", more specifically the source book called " SuperScience". If you have this Sourcebook by any chance, check page 60, you will see a rendering of an aircraft. That's my drawing.
For KAOTIKWERK, located in Montreal, Quebec, Canada: I did some Character Designs, Concept Designs, Storyboards and Animatics, and I'm now finishing a matte painting for their Demo reel.
If your interested in seeing some of my work, email me and I will send you some samples.
Jean Claude de La Ronde,
Freelance Illustrator
Montreal, Quebec, Canada


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PSYCHOGEOGRAPHY TALK: 'Who Owns Chapeltown?'
Tues October 11th, 5.15pm, University of Leeds
'Who Owns Chapeltown?' was originally a presentation entitled 'Neither 'Art' Nor 'Psychogeography': The Impossibility of The Chapeltown Union of Psychogeographers (C.U.P)' planned to be given to the Leeds Psychogeography Group on 22 March 2011 but which was cancelled in support of UCU industrial action at the time. This rescheduled presentation will still introduce, discuss and evaluate C.U.P's work in Chapeltown, Leeds in June 2011 as part of East Street Arts' programme of 'new genre public art' entitled 'Under The Paving Stones, The Beach'. The project produced 'The Saucer': a newspaper publication hand-delivered to households throughout Chapeltown, a major billboard intervention on Chapeltown Road, a permanent plaque at East Street Arts' Union 105 creative space and the website: www.experiencechapeltown.com
Core members of C.U.P taking part in this project included artists Pamela Bassington, Robert Harrington, Roddy Hunter, Millie Marten and Elizabeth Murphy. 'Who Owns Chapeltown?' will probably still conclude that neither 'art' nor 'psychogeography' are particularly useful terms in practice and probably ought to be circumvented in future.
Venue: Baines Wing Miall Lecture Theatre 2.34, University of Leeds Campus map of buildings: click on this link, then launch the interactive campus map, and choose Baines Wing from the list on the right.
From the main entrance, go straight on past the front desk, then through the doors on the left. Follow the corridor round to the right and then to the left. At the end of the corridor on your right take the lift to the second floor (West) or go up 5 short flights of stairs. The Miall Lecture Theatre (2.34) is straight opposite the lift.


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Technology is the practice and activity of making, as well as the tools that enable that making. It is also the realm of ideas behind those endeavors, the expanse of technical knowledge and expertise. At once material, intellectual, active, and social, technology is the purposeful organization of human effort to alter and shape the environment. Gardens, like other designed landscapes, are products of a range of technologies; their layout, construction, and maintenance would be unthinkable without technology. What are the technologies of garden making, what are the concepts and ideas behind garden technologies, and what is the meaning and experience of those endeavors?
Technology and the Garden examines the shaping and visualization of the landscape; the development of horticultural technologies; the construction of landscape through hydraulics, labor, and infrastructure; and the effect of emerging technologies on the experience of landscape. These essays demonstrate how the technics of the garden can be hidden or revealed, disguised beneath the earth or celebrated on the surface. How designers have approached technology, in all historical periods and in a diversity of places and cultures, is a central question in landscape studies.
Dumbarton Oaks Colloquium on the History of Landscape Architecture 35]]>
This colloquium also marked the launching of Ex Horto: Dumbarton Oaks Texts in Garden and Landscape Studies, a new series comprising translations of classic and rare texts on garden history and on the philosophy, art, and techniques of landscape architecture.
The first two volumes were published in the fall of 2013. The first, an edition and translation of a manuscript owned by Dumbarton Oaks, is Travel Report: An Apprenticeship in the Earl of Derby's Kitchen Gardens and Greenhouses at Knowsley, England, written by the German court gardener Hans Jancke in 1874–75. The other is the translation of Die Gartenkultur des 20. Jahrhunderts (Garden Culture of the Twentieth Century) by the German designer Leberecht Migge, which appeared on the centenary of the book's original publication in 1913.
Given that the first two titles in the translation series are German, the focus of the colloquium was on eighteenth- and nineteenth-century Germany and Central Europe, with comparative talks on Italy, England, Ireland, and the United States. Speakers included David Haney from the University of Kent, who translated Garden Culture and discussed Migge's response to English and American ideas about metropolitan park design; Joachim Wolschke-Bulmahn from Leibniz University Hannover, who addressed Jancke's travels in the context of the education of gardeners in the second half of the nineteenth century in Germany; and Hubertus Fischer, also from Leibniz University Hannover, who focused on the travels and travel reports of German court gardeners in the early nineteenth century, especially Heinrich Ludolph Wendland. In addition, Finola O'Kane Crimmins from University College Dublin spoke on the travels of Irish revolutionaries in France and the impact of these experiences on the formation of their ideas; Raffaella Fabiani Giannetto from the University of Pennsylvania discussed the response to Palladian villa gardens in the context of the Grand Tour; and Kristof Fatsar from Corvinus University Budapest spoke about the history of adopting English landscape garden forms in Hungary in the course of the eighteenth and nineteenth centuries.]]>
For centuries, travel was an important part of a gardener's initial and continuing professional training. Educational journeys to parks and gardens at home and abroad were consistently recorded in lengthy reports and articles for professional journals. The travel report by Hans Jancke (1850–1920), a court gardener who served the Prussian kings in Potsdam, Germany, is typical of this genre. Jancke's manuscript, which until now remained unpublished, describes his 1874–75 apprenticeship at Knowsley, the seat of the Earl of Derby near Liverpool, England. Containing extensive plant lists and detailed descriptions of the horticultural regimens observed in the estate's kitchen gardens and greenhouses, the text is augmented by several measured drawings executed by Jancke. These illustrations include the hothouses used for fruit forcing, vegetable production, and exotic ornamentals, as well as a site plan based on Jancke's own survey data. Professionally focused travel journals of gardeners and garden artists were for a long time ignored as sources to be taken seriously in historical research. But Jancke's eyewitness account, especially as it documents an intense scientific curiosity, demonstrates the potential of these texts for illuminating the more technical and practical aspects of the history of the garden arts.]]>
Leberecht Migge (1881–1935) was one of the most innovative landscape architects of the early twentieth century. With work ranging from large urban parks to housing settlements with allotment gardens, he sought to create functional green spaces that would not only meet the environmental challenges of the industrial metropolis but also improve the social conditions of modern life. Migge's notion of "garden culture" captured the essence of the progressive reform movements of early twentieth-century Germany and yet was unique in proposing a comprehensive role for open space planning within this vision. The nationalistic rhetoric of Garden Culture of the Twentieth Century marks it as a political tract of the late Kaiserreich, and its deep influence within the Siedlung communities of the Weimar era attests to its lasting cultural impact. Perhaps the book's greatest significance today lies in Migge's emphasis on the socioeconomic benefits of urban agriculture, which prefigured both this important contemporary trend as well as other recent developments in green technology and infrastructure. Modern readers will find echoes of a progressivism that many have taken to be of only recent origin and will gain a better understanding of the social and economic history of pre–World War I Germany.]]>
DB: Delighted.
EG: So, to start things off, could you tell me a little bit about how you first heard about Dumbarton Oaks and got involved there and what your initial impressions were of the place?
DB: First of all, I was attending conferences at Dumbarton Oaks, one of the few places in which there was a serious attention to landscape history. I was writing on landscape particularly at that time, so I was particularly interested in the level of research and the kinds of research. I was doing some research of my own on issues of public space in New York City, and ran across a whole series of letters from a landscape architect to an architect, and I was investigating that particular architect at that time, who was working in New York City. This was in the New York Historical Society. At any rate, I got enormously interested in what this landscape architect was saying to this architect, and though it had nothing to do with New York, it had to do with some site in Washington D.C. called Dumbarton Oaks, I got enormously interested in the story, and since I was talking about public places and landscapes, I got very interested and began to do research on her, and on her work, and I got very involved in how Dumbarton Oaks was designed. There was nothing at Dumbarton Oaks on that at that time, so this was the first vision of the actual conversations that took place between the architect, the landscape architect, but also with the client. There were many references to what Mildred Bliss had said, and what Mildred Bliss wanted, and some sketches from Mildred Bliss. I found myself with this research, which I had not intended to do, but became incredibly interested because of the vitality coming out of these letters and the interesting issues that were brought up by her. So, at that particular time there was a temporary head of the Dumbarton Oaks landscape program for a year, Diane McGuire, and she had decided to make the conference of her year in the post – to do it on Beatrix Farrand – both to do something for women's history and also to get to a greater depth about the site on which Dumbarton Oaks is sitting. So, I submitted – the conference was already set, so I was added at the last minute. That began to develop a different type of relationship with Dumbarton Oaks. For me it's always been a very important relationship, because it also represents the relationship with Beatrix Farrand, which afterwards became a main theme and about which I also wrote other things. I have discovered in Princeton some of her three-monthly visits to maintain a landscape, and I use them always as a form of education for a landscaper. So, my connection – I always see Dumbarton Oaks as part of Beatrix Farrand, as part of this story and also my evolution, which afterwards went from writing about landscape to doing landscape. That's a long answer to your question.
EG: Thank you. So, you had begun researching Beatrix Farrand and the history of Dumbarton Oaks before you came to the conference?
DB: No, I started going to the conferences and I knew about them, but I never put together what I was doing with Dumbarton Oaks. It happened to be the accidental coincidence of Diane McGuire setting up a conference on Beatrix Farrand that produced this criss-crossing by which the research which I thought was totally on a different track became part of Dumbarton Oaks also.
EG: So, what were some of the earlier conferences that you went to, what were those like?
DB: I remember they were very good conferences. I always discovered very interesting ideas in all of them. I remember one on the Italian villas with Wilhelmina Jashemski. I remember one on Italian; I remember a conference on French gardens. They were all, I felt, very high-quality and very interesting, and all under the leadership of different directors.
EG: They had varied themes back then? I don't know a lot about the earlier conferences.
DB: They were, though, very much tied to the gardens of a particular culture, be it classical culture or be it Italian or French or English. And Joachim Wolschke – I think it was much more taking periods but looking at them across a more mixed series of cultures, but all at a very high level.
EG: So, what were your first impressions of Dumbarton Oaks when you got there, both in terms of its reputation as intellectual center and the physical setting of it?
DB: Very academic. I did think, however, and this very strongly – it became a stronger impression over time – that it was very academic and very historic-bound, and I dropped away from going to conferences for a while, feeling that they only dealt with historical cases and not with modern; I also felt that they were only speaking to academicians, not to practitioners, and because I had become a practitioner at that point I was very interested in having something that had to do with the practice, and I felt that was not being addressed at all. So, we're all critics as well as – but that in no way diminished my appreciation of Dumbarton Oaks, which I always felt was a very special place and a very special intellectual source of ideas about landscape, and there is a dearth of them all over the U.S.; there's very few places in which landscape is discussed. So, it was a rare gem and I've always considered it a rare gem.
EG: Could you tell me a little bit more about the Beatrix Farrand conference, what your role was and what the mission was for the symposium itself?
DB: It was really to put on the table and create a volume of all that was known about her at that particular time. I never expected to be part of a thing like that, and I just dealt with the design of the garden at Dumbarton Oaks. It's amazing, though, that at the time I had never heard her name mentioned when I went to Dumbarton Oaks, and that's what really surprised me, and then on reading all this stuff I connected the two pieces and I said, "How come there isn't a monument to her at Dumbarton Oaks, how come there is nothing there that has told me that it's her garden?" I was incredibly surprised at that, and I think this conference did a very good job at really starting to do some work on Beatrix Farrand. I think there's a lot still to be done, although a whole series of books have come out after that. But I think that was the first serious attempt to put a story about her together. I can bring the volume to you, because it's interesting to see the different topics. This volume touched on another topic which I knew absolutely nothing about, but one of the things that was done which was very good was Beatrix Farrand gave all her papers to the University of California at Berkeley, so what is in that collection was presented there, which nobody had any idea what there was. McGuire, who was the acting director at the time, did an evaluation of her work, and there was a very interesting piece of work on all of her work on campuses; nobody knew that she'd done any campuses at the time. Actually I went on to take that, because I didn't know that part of my own university, Yale university, had been designed by her, so I went to the ones where she had done the biggest jobs, which were Yale and Princeton, and really went through all the material and extended what Diane had started here. But this was all totally new; people didn't know about this – then her work in England, and then the one that I did, which was the design of Dumbarton Oaks itself, what came out of that correspondence – then the issue of maintaining and preserving Dumbarton Oaks and gardens in general. But I can't tell you how new it all felt at that particular time. Here she was, the designer of the place that we were – just all of this stuff was totally new.
EG: That's just really shocking to me, that no one had really researched that before.
DB: No, really amazing. So, it was wonderful. It was a great conference. We were all sort of ecstatic at all of the things we'd heard about Beatrix Farrand that none of us knew.
EG: So, from your research on Beatrix Farrand, have you gotten a sense of her vision for the gardens at Dumbarton Oaks, or her goals in the design of it?
DB: After that I really paid much more attention at general vision about landscape architecture, rather than about Dumbarton Oaks in specific. I was very interested in the design of campuses, because the design of campuses since the '50s has really been abandoned, taken over by parking lots. The stuff that was there that was good was not maintained. So, I wanted to see how she had approached it and how effective she'd been, and I very carefully went to both Princeton and Yale to look at what was left of her work. It was really incredibly good. It really had a whole series of principles that we would consider absolutely the latest right now, which is both using either native or adapted plants, and that in the university become a showcase of the local vegetation. And she created nurseries at each one that produced the material, which gave a much higher quality to it, and also that the different universities she worked with shared plant material among them. She created a sort of very high level way of planting, but with an educational motif, and no university has that right now; it's something that's been lost. Her landscape, both at Yale and Princeton, at Yale there's maybe ten percent of it; at Princeton maybe twenty percent of it. It's ceased to be the whole idea that holds the campus together. Because the campus is such a good American invention, of creating this place that really has spaces that are landscape, that are as important as the buildings. Then it seemed that someone who worked on this, who thought of this, would be very important. But Yale has paid no attention to it, and Princeton hasn't either; they've gotten rid of the all the nurseries and practically all of the landscape, and they've done a minimum maintenance sort of design. But the ideas – nobody has gotten back to them. The ideas are very valuable and the American campus is a very, very original and interesting idea, and therefore it deserves much greater attention. She was one of the few landscape architects who really had a general vision of it. There's a couple of others, but she touched on the most important campuses of the east coast.
EG: Have you noticed similarities between the Yale and Princeton campuses and her work at Dumbarton Oaks? Did she treat them in the same ways?
DB: No, not at all.
EG: Completely different?
DB: It's obvious that in Dumbarton Oaks she had a very good client who could spend much more money than a campus could on the landscape. On the campus, she always just said that a campus should mainly be grass and trees, and certainly Dumbarton Oaks isn't just grass and trees. It was a very different thing. Of course, after that it was passed on to Harvard, and at that time a lot of things were simplified precisely so that it becomes more campus-like, so although there still is an enormous part of the garden per se function, it became somewhat simplified, in the sense of trying to obtain a simpler garden. And things like the theater that is there; it's never used and it would be wonderful to sort of have it come back to life. There are things in there that had an enormous amount of life and which have disappeared within it. And above all the connection to what was the wild part, which is now across a wire fence; it belongs now to the park system of Washington D.C., which has done a very bad job of maintaining it. But that juxtaposition of the two pieces must have been enormously interesting, going from one to the other, which today you can't even recognize.
EG: Do you think that overall her landscape at Dumbarton Oaks has been fairly maintained?
DB: Yes, I think it's lucky. It's been much better maintained than Yale and Princeton, definitely.
EG: Has there been more of a conscious effort, do you think?
DB: Oh yes. For one, there's really a gardener. Most campuses today have crews that work lawnmowers and chop trees and that's about it, and many times bus drivers and maintenance crew for landscape are the same people. Dumbarton Oaks has had a really seriously trained head gardener there. Princeton, I must say, did keep its head gardener until way into the early '90s, James Smith, and therefore that's why it was a higher quality than Yale's. A head gardener kept some of the traits, although he was dealing with a crew that was a tenth of what he had before, and a sort of mentality in campuses about doing absolutely minimum for the landscape, and no budgets, he still was able to at least keep some of the old things alive and well, a much more knowledgeable level of landscape knowledge. And I think that getting some really seriously trained gardeners to head the maintenance of a campus is a really important idea. And I meant landscape gardeners. Landscape architects and landscape gardeners in the landscape gardening tradition are people that are trained essentially in England. We don't have training programs; there's just one starting now but we don't have training programs to make a serious landscape training effort that could produce the very knowledgeable people that could run such a thing, a whole campus.
EG: It must be really interesting to have worked both at Yale and at Dumbarton Oaks, in places that were both designed by her.
DB: It's a great experience.
EG: Does it give you sort of a different view on her work, as opposed to doing research?
DB: Yes, precisely because – and I have read comments about her, that she was the kind that did gardens for rich ladies and designed them over tea. Her profession, she – this sort of real put-down about women's work, particularly in gardens, is so unlike what she did. She worked in a professional way. It wasn't over tea nor with rich clients; she was lucky with Mildred Bliss, but certainly campuses weren't rich clients. The kind of work that she did – and you can read her letters every time that she comes, every three months to look over – there's such an attention to detail and such a view of the whole at the same time. I became very influenced by the work on campuses of hers. I feel very frustrated that the campuses aren't doing anything, and particularly Yale.
EG: To start getting back to the topic of symposia, have you been involved in any of the lectures or conferences in more recent years?
DB: Yes, but I only started coming when Michel Conan became director, because he suddenly put modern landscapes into the mix, and he also included practitioners and artists, and suddenly all the things that I had been complaining about disappeared, so I started coming again because of that. I had become sort of anti-history at a certain point, although I'd been writing history of landscape; I felt that landscape was too mired in the past, and that it needed to break out and work with new ideas, and so I didn't want to learn more about historical landscapes. I felt that it got in my way of what I wanted to do as a practitioner, so I ceased to get involved in the historical aspects, and I stopped writing, and therefore didn't present papers anymore. But I did start attending with Michel Conan's entry into the contemporary on the one hand, the issue of putting both practitioners and artists, who I think have contributed enormously to landscape, and finally also because I was starting to work in Asia at that particular point and he had paid an enormous amount of attention to Asian landscapes. So, all those three things touched directly on my practice and I became enormously interested. So, I was absolutely delighted when I was asked to be a Senior Fellow, because it felt like coming home.
EG: So, you'd say there's been a shift in the focus of the research at Dumbarton Oaks?
DB: Yes, I think that there's a wider world-view – that both the Middle East conference, the Asian conferences, the attention to China, to Japan, to Korea, the sort of pan-Asian view, has entered in different ways into Dumbarton Oaks, and has made it a much more cosmopolitan place than before; it was basically European history. And I think this makes it totally of the times. And I think John will certainly go much more in that direction, which I think benefits Dumbarton Oaks enormously. I still think that the tie with the profession itself is very weak, and practitioners and academicians – there's a colossal abyss between both, and there's very few people who cross it.
EG: Have you noticed there that there was a tension between the people that did the history of gardens and people who actually practice it? That was an issue there?
DB: It's an issue. So, the practitioners basically don't go; they consider, "Oh, these academicians, just boring stuff," and they do not pay attention to it, and I think it's to the detriment of the profession, because the kind of work, and particularly since touching on modern themes, is enormously relevant. I'm not saying the historical stuff is not relevant, it's just that it's all we had before, and I think that the inclusion of some of the newer stuff that's coming in is really very important for practitioners to be part of. And the other thing is that the effect that artists have had on landscape, partly because landscape, in different ways, since the twentieth century has pulled itself apart from the arts, so that no museum today considers that they would have a show on landscape, because it's not art. So, it's out there. And because artists got very interested in it, above all in the era of the earthworks, that they started working with earth forms and all of that and they influenced landscape practitioners enormously, but they also had an effect on pulling it back into the family of the arts. Still, a museum will exhibit work by an earthwork artist, but they won't exhibit work by a landscape practitioner. It's still out there. And ecology has had the effect, too, of putting it out there as something that is kind of anti-art, that you just try to be as much like nature as possible, and that you find the way that the systems work and that automatically gives you a design – which is total nonsense – and there is also another strain, which is that gardens and gardeners or landscape gardeners were in a large part women, and that work was put down as women's work, and therefore not part of the arts, even with people like Gertrude Jekyll – or Beatrix Farrand is another example. You know her work was totally forgotten; Gertude Jekyll also was practically erased at one point, and it's Beatrix Farrand who discovered that they were selling at some sale – I think it was the Red Cross – all the papers of Gertrude Jekyll, and she bought them and donated them at UC Berkeley. So, she was rescued by Beatrix Farrand. But the negative connotation, which is a gender issue – and then the ecology movement coming in and having that particular effect on it, this pushing it out of the arts, have been a very big hump for landscape reentering into the family of the arts. It is an art; that is what its value is. All the earth-artists really did start pushing landscape much more into the family of the arts again. But it's still not admitted. It's just starting to be seen as something that can be part of the family of the arts. So, Dumbarton Oaks can be an enormous influence in changing and helping that course of action.
EG: Do you think that it has been so far? It certainly seems like they've sort of broadened the topics that are researched at Dumbarton Oaks, and is that coinciding with the growth and changes in the field itself?
DB: The problem is this, that there still is this colossal gap between practitioners and academicians, and that gap still reigns. I think that a lot more work by Dumbarton Oaks needs to be done on both contemporary landscape and the art of landscape. Dumbarton Oaks is in an incredibly good position to be able to incorporate itself much more into contemporary artistic art, rather than just being a historical landscape academy. I'm hoping that that is going to be a future agenda.
EG: Switching gears a little bit, if I may, can you tell me how you got involved with the Senior Fellows board at Dumbarton Oaks?
DB: Well, it was through the invitation of Michel Conan to be a Senior Fellow. I didn't understand very clearly what a Senior Fellow could do within this, and so it took me a couple of years to really understand what it is that we could be useful at. I really think it is in two things, which is basically on setting the subjects for a conference, because that produces a debate of ideas for one thing – what is valuable at this particular time – and it sets a direction for Dumbarton Oaks. And the other one is of course in the Fellows that we choose, that whatever the fellowships we give to people also try to set up a direction for landscape. So, my own sense as a board member is that I really am enormously interested in both making sure that there is some fellowship going to take a look at contemporary landscape work, and the other thing is that it also be not just European, but I'm interested in the Middle East, I'm interested in Asia, that we keep a broad focus, that we don't come back into just European history. That's how I see my role.
EG: This European theme seems to be common.
DB: Is it?
EG: In both the Byzantine studies and – I guess less so in Pre-Columbian. But yeah, we've heard a lot that back for several years it was just entirely focused on European and really only European scholars coming in. It's interesting. Have you had a chance to work with any Byzantine scholars or Pre-Columbian or anything in your time?
DB: No, there isn't much exchange, so we don't really know what's going on. What has happened in these last two years is that we've had applicants who are applying to both programs. And this year there is one that is in both programs, for the first time, I think. But that's totally new; that didn't use to happen, and I'm very happy about that, because that may foster more communication, and I think that in landscape, the kind of work that they do, particularly in pre-Columbian, there is the possibility of an interesting relation. Partly because we know so little about the pre-Columbian stuff in landscape, and there's new stuff coming out that's very, very interesting. So, I think that that's another source of influence for landscape which may be fertile. With Byzantine there has been none. And actually I have a historian friend who proposed to me that why didn't we do a Byzantine landscape piece of research. The problem is that both of us are busy; we can barely come up for air so that the two times coincide for us to do it, and she got a fellowship for the Byzantine there, so she did a piece of research in Byzantine history but she never related it to gardens. And she was thinking, well, since it's never been done, what if we do it? But for her free time to coincide with my free time seems like a pipe dream right now. But anyway, it may still happen. And she's teaching in England now, so that makes it even more difficult.
EG: So, aside from that sort of theme, have there been any important or memorable topics of discussion at the Senior Fellows meetings?
DB: Yes, I think that the interesting discussions have been about the role of the contemporary, and the role of practitioners versus academics, and the role of art within this, and how can it be made more part of the discourse, since it's so important for landscape to re-enter the family of the arts. I think those have been interesting discussions. This year we were discussing the themes for our future conferences, and without going into the details of that, I think that the gist of the matter was, what is – and that was the interesting discussion – what is really – I'm not going to say important, but weighty matter for landscape now. And we were all over the place; each one of us has a different idea. That is what makes it interesting to discuss, because they're all very knowledgeable people, and so from each one of the fields, be it Chinese history or be it the landscape of the wars, that Kenneth Helphand has worked on, the views are differing, very different, and at the same time there are some bases by which we can unify behind some themes. So, the question was: what was something that is of interest to this particular present moment? And that's a very interesting thing to discuss. Whatever our solution is, the theme in itself was interesting.
EG: What were some of the proposed weighty matters?
DB: I don't know if John does not have to approve putting it out in public, so I would have to ask for permission, or you can ask him, but basically in just general terms, there was the issue of farming in cities, which has become a contemporary issue, because the attention to cities in the first place. And then in the second place the fact that now landscape is considered that it can be part of a city has also brought up this business of whether you can produce food in cities, and there's a whole series of both experimental programs for doing it, there are practitioners working on it and there's also a whole series of social movements behind it, so it is definitely of the moment. Another subject that we talked about was the role of animals in landscape, because they have been excised; it was always taught as if this is only plants. We know from ecology that plants and animals are totally united and they develop in unison in certain ways, and that they have been part of the history of gardens, but nobody has paid attention to it. So, there is an idea about working that topic in. And it is not the topic of zoos, in which they are sort of isolated, although the design of zoos is also trying to make them not isolated. But in having them rejoin the world and not be as this thing in cages. So, that was a long discussion about what were the different aspects of that theme. Then the other one is the issue of technology in landscape, and there's some very interesting things going on that are technological, and there has been technology in gardens from early on, from the Renaissance fountains that spurted only when you came by, etc, etc, singing fountains and so on and so forth. But there have been a series of developments that have both to do with materials and also with making a landscape active, and doing things, and sort of becoming robotic in some way. It also raises the question of the line between the artificial and the natural. Those are some themes that have been debated and are being considered for future conferences.
EG: That's very interesting. Could you tell me a little about the process of choosing the conferences each year?
DB: It depends a lot on the director, and obviously it changed enormously under each director, because of the subjects that were chosen and how they were chosen. So, I can't speak about the past but I know that it was very different. Now in this session with John, we all brought some topic to the table, and then we spent time discussing it, and John told us his preference and what he would like to do first and so on and so forth, thinking in terms of what were the ones that he was most interested in, but at the same time, letting us all put our proposals forward. So, he's backed what came out of these things, the proposals that we've made. He is both putting proposals forth too and at the same time modifying some of our own, saying, "Well, it would be interesting if this also took in such and such a part," etc, etc. With Michel, Michel would bring a series of both names and people and themes to the Senior Fellows to discuss, but he brought to the table both people that were interesting and themes that were interesting and paired them so that we would discuss them: this is interesting because there happens to be a person, or at the same time this is an interesting topic because such and such a thing is happening. And so, we would discuss what was the best way to go, and people would have suggestions about other names – put it together. But what happens too is that on certain subjects some people in the Senior Fellows know a lot more than others about a particular topic, so they really lead the shaping of it and propose the people, because they know them. We support them, we look at the material and then support them or say that well, this is not as interesting, it goes in this particular direction, shouldn't we turn it down, etc. But essentially for each conference then it becomes that some Senior Fellows are much more involved than others, depending if it's a topic that they are knowledgeable about.
EG: Have you had the opportunity to work with any of Junior Fellows during your time as a senior fellow? Obviously you choose them.
DB: No, we choose them, and we have a couple of meetings with them in a year. They present a summary of their work, and we've had that opportunity. And I think that the last group was a very, very good group; I was very pleased with it, and very interesting in what it produced. But yes, I've had besides the opportunity to interact with David Hayes – that was working on a Swiss landscape architect that Dumbarton Oaks just obtained all the papers from his studio. He's a contemporary landscape architect and so I'm very partial to that.
EG: Could you talk a little about – you've mentioned a few scholars that you've had the opportunity to work with, Diane McGuire and obviously John Beardsley and others. Are there others that you've worked closely with during your time at Dumbarton Oaks?
DB: No, I've worked closely with Michel Conan, and I have worked closely in the past with John Beardsley. And of the people at Dumbarton Oaks I became very fond of some of the Senior Fellows that were in this past group and some of the ones that are already there. We've had a least a couple years of working together, because we have a four-year term. Stephen Bann, the British landscape historian and art critic, absolutely superb Senior Fellow to have, is incredibly knowledgeable, incredibly worldly as far as he has connections with the landscape world all over the whole world, but very, very acute critic and has a very keen sense of foretelling trends in the artistic world – anyway, absolutely superb. I've had chances of interacting with him. I have with Kenneth Helphand, whose book on war landscapes I admire enormously, and Eric de Jong, the Dutch landscape architect who resigned last year, was also a very good Senior Fellow, and we continue to be in touch. He just came from Holland with forty of his students, and we set up a Twitter forum with his forty students and him and the Twittering population about public space, about public places, and it was very good, and it came out of our relationship at Dumbarton Oaks. Kenneth Helphand has also brought his students through my office and we had a discussion with them, so that's another layer that has come out of our Senior Fellow associations. Nurhan Atasoy, who's from Turkey, has been a very good Senior Fellow to work with. I think she knows most about Turkey on all levels, not just landscapes. But she has an energy that is beyond belief, and the Middle Eastern conference of two years ago was basically spearheaded by her with Michel, and she brought in some incredible people that it was a much broader view of Middle East than the separatist kind of pieces that usually comes up. We remain in touch, and I'm enormously interested in her work. But those have opened for me windows into other aspects of landscape that I was not familiar with, because I was not familiar with the Middle East at all; I've never delved in anything close to it. So, that's one of the added benefits of the Senior Fellows group, these other connections that occurred at a very high level with people that are very knowledgeable in their fields.
EG: Have you had the chance to work with any of the directors of Dumbarton Oaks, or interact with them really, like Giles Constable or –?
DB: I met Giles Constable at the conference parties, and I also met him when I went to do some research at Princeton, and I also worked very closely with Michel Conan, and now with John Beardsley. I did also work with John Dixon Hunt, and we set up a discussion about landscape in which I brought down one of my Yale colleagues and John put some other people together. It was a very interesting sort of – what will I say? – it was a day symposium. So, we were sitting around the table discussing the issues and it had a lot of effect on both me and the colleague that I brought down from Yale, who since then has gone off to the University of Wisconsin. So, I worked with John; I met Giles Constable but I didn't work with him. And then I sort of dropped out for a while from going to conferences, because of my trying to start a professional practice, and then I came back when Michel came in – so, only those.
EG: And have you had much opportunity to work with the library at Dumbarton Oaks or the collections?
DB: I started a piece of research, which is on hold because of my lack of time, and in which I'm very interested, and which has to do with drawings of landscape, but relating it to modern practice. So, I started and I found some interesting material but I barely started; I had three sessions of research and I had to put it on hold because my practice took over. But it's something I will complete at some particular time. I'm very interested in it.
EG: Starting to wrap things up, could you talk a little bit about what you see as the major changes in garden and landscape studies at Dumbarton Oaks over the time you've been associated with it?
DB: The main one we've talked about already, which is the shift from purely European-based focus to a much wider – world-wide – including all kinds of cultures. So, I think that's the main one, and the most important one. I think that the shift to contemporary is very new. Joachim, I think, started with the first attempt to do it; Michel carried much further; I'm hoping John will too. I think that's a big change, and one that I feel very strongly about. I think that the thing still lacking is finding ways of overcoming the enormous separation between the academic and the professional world. I think that that needs to be done. It's been started. I think it needs to go much further. What other things have I noticed? I think that the separation of the three different areas remains firm, no big break; I haven't seen a change. As I say, there's one Fellow now that's going to two programs. I think that it's not something you can legislate, but it is something that would be interesting, that we be able, since they're all there, to feed on the richness of the others. I think that the connection with the Fellows who are coming in on fellowships can be strengthened between the Senior Fellows and the Fellows coming in. I'm very interested in following up on the people that we've selected to see how right we were in what we read through their applications. So, I think that a little bit more interchange or exchange would be helpful, but I think that that has varied under each director, and I don't know enough to compare. What else? I do know that under Michel Conan there was a start of making a collection of work of contemporary practitioners, and the work of this Swiss landscape architect that David Hayes is working on is one of them. Patricia Johanson has given things; Stephen Bann gave things from the Scottish landscaper – I don't know why I blanked the name, but I have – and I have also donated things of my work, and I'm hoping that that will also be something that Dumbarton Oaks continues with, as a way of also trying to close this gap between academicians and practitioners. I think that landscape desperately needs both a connection to art and to its own history, but in a way that does not become a closed-off world. So, it needs to set up things that though they're about the history reach out to the modern world. I think that's all I can say.
EG: I think that's great place to end, actually. Thank you so much!]]>
"[Downing] offers illuminating insights into landscape gardening in England in the early 19th century. His analysis of the relative merits of the beautiful and the Picturesque, his search for principles of landscape gardening derived from aristocratic models in the Old World but fit for a burgeoning democracy in the vast landscapes of the New World, are of enormous interest. The re-appearance of his Treatise is an event to be welcomed on both sides of the Atlantic." Country Life
Dumbarton Oaks Reprints and Facsimiles in Landscape Architecture, 2]]>
This is an illustrated catalogue of the herbals and botanical books, from 1486 through the sixteenth century, which are housed in the Garden Library at Dumbarton Oaks. Title pages or characteristic illustrations are included for each of the eighty-three entries.]]>
This is the first book in English entirely devoted to the architectural and sculptural decorations of the park of Versailles under Louis XIV. The author draws upon and quotes from contemporary sources and documents, so that the voices of the Sun King's era may speak directly to the modern reader. The result is a deeper insight into one of the key monuments of Western art. As the author concludes: "The total ethos of this garden bespeaks not merely the power and glory of a political reign but also the intellectual depth and refinement of an entire culture."]]>
This volume presents new scholarship on an important but largely unexplored topic in the field of Landscape Studies: the experience of motion through a garden or designed landscape. As Conan suggests in his introduction, human movement—circulation—takes place partly in response to, or in accordance with, the designer's intentions.The essays span Europe, Asia, and the Americas, while covering the modern era as well as the ancient world. The diverse backgrounds and fields of specialization of the authors, from anthropology to art history, bring fresh perspectives and new ways of thinking about the experience of motion.
Dumbarton Oaks Colloquium on the History of Landscape Architecture, 24]]>
The unexpected discovery of very ancient quarries, still buried under tons of rubble, in the path of a motorway under construction in western France suggested the possibility of transforming them into Land Art. Bernard Lassus's creative process provides a wonderful opportunity for close observation, illustrated by his own photographs and drawings, of his landscape design approach which is opening new directions for landscape design beyond the motorways. Conan uses this to show an artist calling on his life experiences and his understanding of the ethical and esthetic issues of landscape design to create a stunning landscape.]]>
Dumbarton Oaks Colloquium on the History of Landscape Architecture, 1]]>
Dumbarton Oaks Colloquium on the History of Landscape Architecture, 2]]>
Dumbarton Oaks Colloquium on the History of Landscape Architecture, 3]]>


text:
The skype .deb from the official site cannot be installed on a
up-to-date sid machine because it depends on libqt3c102-mt.
But the one from
[url]http://frankandjacq.com/ubuntuguide/skype_184.108.40.206-1_i386.deb[/url] installs
flawlessly and seems to depend on libqt-mt.so.3. I thought skype was
closed-source so how did they manage to rebuild it with the correct gcc
4.x ABI ?
Best regards,
To UNSUBSCRIBE, email to [email]firstname.lastname@example.com[/email]
with a subject of "unsubscribe". Trouble? Contact [email]firstname.lastname@example.com[/email]


text:
When two guys are having butt sex and their four balls are slapping against each other.
Hey man that loves weiner, you wanna go back to my place and intentional walk me?
додав Ricky Stucker Nuro Vail Lamson 06 Січня 2005
Trending Now
Can you define these popular missing words?
Top Definition
When an individual gives another a free pass to any base. Often a way of showing pity, but sometimes just an excuse for a horny person to get some.
Often, when an a person reaches a certain age and is still a virgin, another will give them an Intentional Walk.
додав WalksALot 01 Жовтня 2011
When an individual feels pity for a fellow being and gives them a free pass to "first base".
Anna had felt so bad for Tyler that she gave him an Intentional Walk and kissed him by the lockers.
додав D4Diggz 24 Травня 2011


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Friends and family are mourning the lost of two best friends killed early today in a crash not far from their homes.
Joshua Sparks, 17, and Labaron Raynard Sanders, 16, both student at Bessemer City High School, died about 3:40 a.m. after their car left the roadway and slammed broadside into a tree, authorities said.
The impact was so severe, said Bessemer Police Capt. Mike Roper, that the motor and engine of the 2003 Crown Victoria were found about 20 feet from the crash site.
The wreck happened at 3:40 a.m. at Carolina Avenue and 29th Street, said Jefferson County Deputy Coroner Mark Stewart.
"They did just about everything together. In fact, they were baptized together," said the Rev. Ishmael Dozier, the boys' pastor at New Hope Baptist Church in Bessemer. "It's a time when our faith has to do what it does. It's so hard to say good-bye to kids this young."
They were traveling northbound on Carolina Avenue when their car left the roadway and struck a tree, Stewart said. Both boys were dead on the scene.
Authorities said speed was a factor.
Roper said Sanders, a high school junior, was driving the car but didn't have a driver's license. He said Sanders had only a driver's permit.
Sparks was a high school senior.
"These young kids lost their life and it's senseless," he said. "It's very tragic. I would have thought they would be home and in bed at that time of the morning."
The accident came just 24 hours after a similar wreck in Hoover killed a 15-year-old girl and seriously injured the driver, 16. Both were students at Hoover High School.
Bessemer and Hoover schools are closed this week for teacher workshops and the Thanksgiving holiday.


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I've heard it's a fun and fast game. To tell the truth though, I think the Tony Hawk games have been pretty stale for a while; better graphics each time, but only a few more moves and whatnot. Perhaps this game will be a breath of fresh air.
Howcome wii-goers have to play the downhill jam game? Why not just pick up Project 8? I was looking forward to a regular TH game and saw Project 8 for PS3 and 360 and was psyched for the wii release, but we gotta get some downhill race game?
I've heard it's a fun and fast game. To tell the truth though, I think the Tony Hawk games have been pretty stale for a while; better graphics each time, but only a few more moves and whatnot. Perhaps this game will be a breath of fresh air.
"Whatever you do may seem insignificant, but it is most important that you do it." - GANDHI
Picture created by: NateTheGreat
I think, with the game play mode, it is better to choose excite truck instead
Name: Juan
No Asking For Rep
uhh I was never a fan of Tony Hawk and his games...most seem terrible to me! I did hear from Matt at IGN it was really fun....I may rent it....
tony hawk's: american wasteland, is the second on my top ten best game list.
ofcourse after ocarina of time
My name is Alan, gaming name is ZaLaN
ya, I loved the first and 2nd tony hawk for n64 but after that they became to much, found that really skating was more fun even though i suck :P
does downhill jam remind anyone else of tony hawk 1 for ps1? i know that it wasent a race game but dont you rember all the levels were usualy set so that u could only go forward and you had to get it all done in 2 minutes. anyways just curious if anyone else agrees with me.
Well, it's probably because of the new controller. I mean can you imagine playing a regular Tony Hawks game with the Wii controller? First time you do a 360 spin, the wiimote would be flung across the room! Also, looking at the videos of Downhill Jam, and it doesn't look too bad. Although I think if they wanted to, they could probably bring out Project 8 for the Wii, but use the Gamecube controller.
Click Here for an interview
- So don't worry if you're just afraid that it will be one of those sideline games that spawns of the main series and immediately dies.Tony Hawks Downhill Jam will become a new franchise, we will be making more sequels
Last edited by Squall7; 11-05-2006 at 03:18 AM.
Mail me if you want to add me on either the Wii or the 360.
Yeah , THDJ looks pretty cool , yet the GFX can improve.
I wish they didnt make new characters..
Originally Posted by Jenova
I wanna dip my balls in it.


text:
3D Prints So Good You Can Smell Them
It's a banner week at Shapeways. A week introducing not one, but two new material innovations.
Developed in junction with MIT to implant micro-particles into your 3D prints during the manufacturing process, our latest innovation lets you experience your prints like never before. Just in time for spring, this new material is sure to please your senses.
Watch the video below as Shapeways Material Explorer Anton Sensenbrenner and colleague Ralph discuss this amazing new frontier in 3D printing.
Click HERE to get started adding scents to your 3D prints!
And be sure to support Anton's flower pot business here


text:
Welcome to Flash Electronics (India) Pvt Limited
The core competency of Flash Electronics is manufacturing of electronic and electrical auto components and is a leading host of many engineering products for two, three and four wheelers. Always looking to improve, enhance and expand its product range, Flash currently manufactures more than 125 products.
The dedicated commitment to excellence has been the driving force in establishing Flash Electronics on the global automotive component firmament. The strength of the company lies in its strong in-house R&D capability that enables the company to offer unmatched quality at an effective cost. Flash is the only ISO-certified company entitled to sell products worldwide.
Flash currently has over 1500 employees, three-state- of-art plants at Chakan, Pune and Faridabad, Haryana. To consolidate the position and meet the growing market demands, a new plant is under development at Chakan, Pune.


text:
Steven Kim, Julie Estrada, Audra Davey, Mitch Navurskis, Carla Young
Hello and welcome to Taste of Asia! My name is Audra Davey and I am a junior in the Nutrition and Dietetics program here at NIU. I come to the program with 2 other degrees, one in Agricultural Business and one in Science Education, which are very closely related to the study of nutrition and the practice of dietetics. After completion of the Nutrition and Dietetics program and a subsequent internship, I hope to become a Registered Dietitian. I am very passionate about showing people that healthy food does not have to be bland and boring, but instead can be very exciting and fulfilling. I look forward to serving you our exciting and innovative East Asian menu!
My name is Carla Young, and as the General Manager of Taste of Asia, it is with great pride to serve our guests fine quality food with excellent service here at Ellington's. As a part-time senior Nutrition and Dietetics major graduating in May, I am also employed full-time on campus as a Medical Technologist in Health Services. My background in the medical field provides an excellent knowledge base in nutrition and dietetics with experience in biochemical interpretation and general patient care. As a Type 1 diabetic for 45 years, upon graduation my goal is to continue my education, as well as to develop a campus program for students with diabetes by serving as a resource for much needed information, and identifying ways for them to effectively manage their condition in terms of their busy lifestyles.
Welcome to Ellington's! My name is Julia Estrada. I am a senior at Northern Illinois University and I am pursuing a major in Nutrition and Dietetics. I want to eventually complete a dietetic internship and at the same time obtain a Master of Science in Nutrition and Dietetics. My ultimate goal is to become a Registered Dietitian with an emphasis on community or clinical nutrition. I enjoy eating all types of food, especially if it is made with healthful ingredients. I volunteered at Ellington's last spring semester to help the students in the Quantity Food Production Lab course complete their recipes. This semester, I have the opportunity to be in the class and I am looking forward to a successful semester. I hope to have you dine at Ellington's this semester. Expect a great menu and a great dining experience!
Hi my name is Mitchel Navurskis and I am a Hospitality student at Northern Illinois University. I've been working in the Hospitality industry since I was 17 years old. I've worked at Portillos's, Walt Disney World, and Goose Island. Upon graduation I want to open my own bar/restaurant. I believe the Hospitality industry is very fun and exciting industry to be part of. You never know who you might meet while working in this industry.
My name is Steven Kim. I am a senior at Northern Illinois University majoring in Hospitality Administration with a minor in Business Administration. My expected graduation date is in May 2013. I am hoping to satisfy a lot of people this semester with our Asian Cuisine at Taste of Asia and make sure of an outstanding performance
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text:
SOME YEARS IT HARDLY PAYS TO GET up and get dressed. For the famous, 1991 seems to be one of those years—but that makes it no less fun for readers. "The biggest problem in fashion today is that there are no rules," proclaimed designer Michael Kors after poring over a stack of photos to judge PEOPLE'S 12th annual Best & Worst Dressed Awards (see page 54). "That allows for a lot more comfort but also a lot more mistakes."
The other seven judges on our panel agreed that the stars don't often shine anymore. Between ridiculous getups that scream, "Notice me!" and dirty-clothes disguises, glamor has done a disappearing act.
Rounding out our couture council: syndicated humor-columnist Dave Barry; teen idol Jennie Garth, who plays the sophisticated Kelly on Beverly Hills, 90210; Empty Nest nurse Park Overall; talk show host Jenny Jones; MTV clown Pauly Shore; CNN newsman Wolf Blitzer; and acid-tongued author Julia Phillips (You'll Never Eat Lunch in This Town Again), who noted, "These are incredibly beautiful people who seem to have gone to great lengths to deface themselves."
Kors spotted a pattern. "Recording stars and models are more glamorous than film stars, who want to look serious," he said. "TV stars have the biggest problem because they become famous suddenly. It's hard to develop a style overnight."
Barry was perplexed. "I can't understand why these regular-looking guys keep showing up in this fashion thing," he said. "Anybody who dresses like me, I worry about."
Finally, as an on-the-go actress herself, Overall sympathized with the fashion victims. "It's impossible to hit with a good outfit every single time," she said. "Sometimes you're in a pinch, and you just have to grab whatever fits." However they felt, the judges' comments are fitting.
Publisher's Letter
updated 12/16/1991 AT 01:00 AM EST
•originally published 12/16/1991 AT 01:00 AM EST


text:
Bar cases to be examined
Warren taverns both had history of violence
April 28, 2013
WARREN — An appeal has been made to Ohio's Liquor Control Commission on the state's decision to deny the liquor license renewal for Gadd's Olympic Inn after a woman was struck in the head by a stray......
Seems like Greg hicks has a double standard enter evidence in Olympic case and enter only some in the other case. People of warren we deserve better. Stop the good ol boy network
4 Agrees | 0 Disagrees | Report Abuse »
Seems like Greg hicks has a double standard enter evidence in Olympic case and enter only some in the other case. People of warren we deserve better. Stop the good ol boy network
5 Agrees | 0 Disagrees | Report Abuse »
I've always believed it was wrong to fault club owners for misdeeds taking place in their parking lots. Ms. Gadd was closed and we're not sure the shooter even had a single drink there or ever patronized the bar. Yet she's lost her ability to earn a living, is that fair?
Warren City does'nt seem to care about personal responsibility. We can't keep holding business owners personally responsible for the behavior of idiots. Has the City attempted to close liquor stores when a drunken fool murders someone at home?
Sunset lounge is closed the signs are down and the building is for sale, exactly what else does this idiot Ken Haidaris want, blood? Oh wait, he needs money to save a deteriorating Sunrise Inn. Maybe then he'll clean the bathrooms and add taste to the food. Why has'nt the health dept pounced on that dump?
6 Agrees | 3 Disagrees | Report Abuse »
You are right Nomore. The shooter may not have even patronized the bar AND may not have even been in the parking lot of the bar yet it's reported as fact here in the Trib. Maybe the reporters for this paper should do some investigating before they comment with no proof.
The problems in the neighborhoods around these bars will continue as long as the criminals are on the streets. When you call the police you would think that you would get some help. Instead these thugs know that chances are they aren't going to get arrested because then the responding officer would have to do paperwork. It's a joke. If the criminal element thought for a minute that something would happen a business owner wouldn't have to call the cops more than once. Word would get out that if you screw around then you go to jail. When an officer shows up and doesn't bother getting out of his car you get a pretty good idea on who's in charge. The thugs.
3 Agrees | 0 Disagrees | Report Abuse »
Mr. Sankey lied about the management of the bar. They were in violation when they sold their first drink.
3 Agrees | 2 Disagrees | Report Abuse »
And jtoday, the bar admitted that fact and the State of Ohio said that was not enough to deny the liquor license renewal. How is that the city's or the law director's fault?
1 Agrees | 0 Disagrees | Report Abuse »
Bar owners can control the amount of crimes committed at their establishments. Many years ago Evansville Tavern outside of Niles, was one of the worst bars in the area. Facing losing their liquor license, the owner cleaned up the place and changed the entertainment. He even changed the name to Grandpa's and had country music on Friday and Saturdays. It was by far the best bar to frequent. He had police there every night he was open, and there very seldom had any type of trouble. If trouble started, the officers stopped it right now. An back-up from Niles and Weathersfield was just a call away. I frequent that bar for over 10 years and probably only seen three or four fights there. An all of them ended as fast as they started. It's a shame that it is no longer open today. There was another bar about 6 or 7 miles away, going into Girard that had nothing but trouble there all the time. So owners can control, what happens at their place.
0 Agrees | 2 Disagrees | Report Abuse »
Even when closed PureC? I can accept your reasoning while open, but not so much when closed, after hours or in the parking lot.
1 Agrees | 0 Disagrees | Report Abuse »
Showing 8 of 8 comments


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Justin Timberlake brought some Southern heat to New York City Wednesday night by celebrating the grand opening of his new restaurant, Southern Hospitality.
The new barbecue joint specializes in the food Timberlake and his pals Trace Ayala and Eytan Sugarman, who co-hosted the event, grew up with – traditional Memphis-style cuisine such as spare ribs, homemade buttermilk biscuits and crab and corn fritters.
In fact, many of the dishes are derived from Timberlake's original family recipes – including desserts his grandmother made.
"We had to negotiate on which ones she was willing to give up," said Timberlake, whose grandmother and grandfather both visited the restaurant Wednesday.
As for his favorite meal on the menu, Timberlake said he likes "fried green tomatoes and the pulled pork."
Also on hand to celebrate the opening of the Upper East Side eatery were Jay-Z, Lance Bass, Seth Green, Jamie-Lynn Sigler and the Rev. Al Sharpton.
"I'm here because there's food – and I know them," Green told PEOPLE at the event.
Asked about his own culinary skills, Green said, "I'm excellent with breakfast foods. I'm good with omelets and pancakes. I bring it home for you."
Inside, Southern Hospitality is homey, decorated with antiques from Memphis flea markets.
To hear more from Justin and his grandparents on Southern food, secret recipes and family ties, pick up next week's issue of PEOPLE.
Reporting by MICHELLE TAN
Justin Timberlake Recommends 'Pulled Pork' at New Restaurant
Jason Kempin/FilmMagic


text:
A project of People For the American Way dedicated to monitoring and exposing the activities of the right-wing movement. Learn More >
American Way
American Way Posts Archive
SUBMITTED BY: Brian Tashman, Wednesday 07/13/2011, 10:25am
Last night Rachel Maddow looked into the radical views of the preachers and activists that Texas Gov. Rick Perry is partnering with to put on his The Response prayer rally. Utilizing research from People For the American Way's Right Wing Watch, Maddow featured video of Mike Bickle, John Hagee, Bryan Fischer, Cindy Jacobs, John Benefiel and C. Peter Wagner, and discussed Perry's attempts to win support from the Religious Right as he weighs a run for the presidency. Visit msnbc.com for breaking news, world news, and news about the economy MORE
SUBMITTED BY: Brian Tashman, Monday 06/27/2011, 10:40am
Following the successful passage of marriage equality in New York, Mission America's Linda Harvey was sure to speak out. In a ranting essay for WorldNetDaily against equal marriage rights, hate crime laws, pride parades, and anti-bullying initiatives, Harvey yet again makes clear her antipathy towards gay and lesbian Americans and their families, lamenting that Americans "are selling ourselves into bondage" by supporting LGBT equality: New York now has "gay" marriage. The back-slaps and celebration will go on for weeks. The day before this historic vote ( a.k.a... MORE
SUBMITTED BY: Kyle Mantyla, Wednesday 06/22/2011, 11:14am
Last week, we released a new report on the unrelenting torrent of bigotry that is spread by the American Family Association's Bryan Fischer on a daily basis and an accompanying video chronicling some of his "highlights," while our colleague Peter Montgomery discussed Fisher and the AFA in the context of Gov. Rick Perry's prayer rally with Lawrence O'Donnell on MSNBC. Fischer has already made it clear that he does not particularly appreciate all of the attention we have devoted to covering him here, so it was not surprising that he spent nearly a half-hour of his program on... MORE
SUBMITTED BY: Brian Tashman, Tuesday 06/21/2011, 5:36pm
Newt Gingrich's campaign continues to implode. Matt Barber of Liberty Counsel thinks People For the American Way and other members of the "intolerant left" are going to purge religion from the US. Focus on the Family is, ironically, upset that gays are political. Abby Johnson has signed on as a blogger for Life News, even though her story about leaving Planned Parenthood falls short of reality. Finally, the Family Research Council pleads that we pray against marriage equality in New York. MORE
SUBMITTED BY: Brian Tashman, Friday 06/17/2011, 11:58am
Last night, People For the American Way senior fellow Peter Montgomery went on MSNBC's The Last Word With Lawrence O'Donnell to discuss the American Family Association's chief spokesman Bryan Fischer and his organization's work with Texas Gov. Rick Perry. Make sure to read our new Right Wing Watch: In Focus on Fischer here. And watch the interview with O'Donnell: Visit msnbc.com for breaking news, world news, and news about the economy MORE
SUBMITTED BY: Brian Tashman, Thursday 05/05/2011, 4:00pm
The Daily Show - Exclusive - David Barton Extended Interview Pt. 2 Tags: Daily Show Full Episodes,Political Humor & Satire Blog,The Daily Show on Facebook The Daily Show - Exclusive - David Barton Extended Interview Pt. 3 Tags: Daily Show Full Episodes,Political Humor & Satire Blog,The Daily Show on Facebook David Barton tells Jon Stewart that he never took President John Adams' ideas on the relationship of church and state out of context. First Barton lies about Adams' faith, positing that he was a 'Trinitarian Unitarian.' Unitarianism, however, is based on... MORE
SUBMITTED BY: Brian Tashman, Thursday 05/05/2011, 1:50pm
The Daily Show - David Barton Pt. 2 Tags: Daily Show Full Episodes,Political Humor & Satire Blog,The Daily Show on Facebook In the second part of the televised interview on The Daily Show, David Barton claims that the Constitution contains "four references to God" in Article VII. Article VII reads: "The Ratification of the Conventions of nine States, shall be sufficient for the Establishment of this Constitution between the States so ratifying the Same." That's it. Barton is presumably referring to the following line: "Done in Convention by the... MORE
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Vehicle turns left into police cruiser
Another Eunice police cruiser is out of commission, this one struck by another vehicle on West Laurel on Monday night.
According to reports, a west-bound vehicle attempted to make a left turn in front of Dairy Queen, striking the east-bound police car being driven by Officer Ryan Pressburg.
Both drivers were taken to Acadian Medical Center. Pressburg was treated and released. A report on the status of the other driver, who name was not yet available, was unavailable.
Charges are pending completion of the investigation and results of toxicology tests, police said.


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Deadlifts, squats and pullups!
Deadlifts, squats and pullups!
Gonna take more than 8 weeks. And remember, great abs are built in the kitchen.
Stop doing crunches and eat better. OK that might be harsh, but seriously the CW on abs definition is to do 1,000s of situps and crunchs. How to actually get abs? Lift heavy things (throw in some planks too), eat what your supposed to be eating and give it time.
Well the OP didn't say what his body fat was, you won't start to get visible abs until your body fat is about 12% or less. Under about 9% you start to get real definition. So if you're 20% BF, it's going to be a while... if you're 15% it's around the corner...
80% diet, 20% workout.
That said, before you get the "chocolate bar", you need to remove the "chocolate flan": your body fat has to drop at least to 14%: that's where you start seeing them under certain light conditions. To get really cut, BF must be 11 or below. You say it's taking alot, fine: what was your starting point?
Also, let's not forget what the Primal Blueprint is about. Everybody is worried about abs, butts, floppy tights. According to me this is a secondary effect: the PB is about being healthy. And healthy people look good (man, it's about evolution, we are programmed consider beautiful someone who is healthy).
You can get ribbed faster with steroids and diuretic drugs, too... but this does not mean 1) that you are healthy 2) that your abs are going to last when you quit taking drugs!
Keep on the program, track your progresses, be patient and things will happen.
Leave it to a Swiss to use a chocolate bar analogy LOL.
My gut looks like a Lindor truffle...I must have a while.
Sprinting helps with abs too (both strength and fat burn), doesn't it?
I wish I liked to eat liver.
It's all about the diet, keep losing weight until you get where you want to be. But without a suitable muscle building program the chances are that you will always just look "skinny fat". You gotta get some muscle size for you to look good with low bodyfat.
Train hard and no more than 3 times a week, and have a calorie deficit to get to the required bodyfat %.
Simples but oh so hard
The blog: Lean Ape
100 Steps To YOUR perfect Body
It is not all about diet, you need to make your abs work with heavy weight, DEADLIFTS, SQUATS, BENCH, anything you do you need to keep your abs as tight as possible, the harder they have to work they more they will grow....and yes you have to get the fat off that is on top of them...but this will be harder if there is nothing there.