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I Fight Bears
Based in London, United Kingdom
Founding date:
19th June, 2012
Press / Business Contact:
Fist Of Awesome
DescriptionI Fight Bears is an ultra-sexy micro development house based in North London. Founded by Nicoll Hunt, I Fight Bears focuses on delivering original, offbeat games for a wide variety of platforms.
HistoryEarly Years
Nicoll spent the majority of his childhood correcting people on the pronunciation of his name, and assuring them that it was in fact not a girl's name. One of his earliest development efforts, Fat Ally 2, was described as "The worst Amiga game that daylight has touched" by Amiga Future magazine.Baptism of Fire
Nicoll graduated from the University of Dundee, and quickly progressed through the ranks at Codemasters from fresh-faced graduate to hairy-faced Lead Programmer. After making significant contributions to the successful Colin McRae Rally series, he moved back to Scotland to work with Visual Science and Realtime Worlds. His work on APB's much lauded customisation system is a notable highlight from that time.From Real to Reel
Leaving Realtime Worlds, and the games industry altogether, Nicoll moved to London and into film post-production. However, the call of games proved too strong and in his spare time, along with Spilt Milk Studios, developed the iOS title Hard Lines. Often described as "The Unholy Lovechild of Snake, Tron and Geometry Wars 2", Hard Lines became a critical darling, receiving an 8/10 Edge review and earning a Metacritic rating of 86%.The Birth of I Fight Bears
After the success of Hard Lines, Nicoll realised his long-held dream of founding the excellently-named games company, I Fight Bears. Leaving the security of full-time employment he reduced his working hours and devoted the majority of his time to I Fight Bears' debut game FIST OF AWESOME. Originating from a Valentines Day game created for his girlfriend, FIST OF AWESOME combines time travel, lumberjacks, a talking hand, homicidal wildlife and a surreal sense of humour.Overnight Success
Working as a largely solo developer, Nicoll ran a successful Kickstarter campaign for the project and moulded the disparate elements into a heartfelt love-letter to the golden age of scrolling beat-em-ups. In the process he created "the greatest time-travelling-lumberjack-em-up of all time" and the first (and hopefully last) game to feature a bear-themed strip club, Bare Bears. Soundtracked by the enviably talented Brendan Ratliff, FIST OF AWESOME was released in October 2013 to wide critical and commercial success for iOS, Android and OUYA platforms. The PC & Mac versions followed in 2014, culminating in the Steam launch on 4th July 2014 aka Indie-Bear-Dance Day.Present Day
Nicoll currently resides in North London, and despite all evidence to the contrary, is an animal-loving vegetarian.
There are far more images available for I Fight Bears, but these are the ones we felt would be most useful to you. If you have specific requests, please do contact us!
Awards & Recognition
- "iOS and Android Game of the Week - FIST OF AWESOME" - Pocket Gamer
- "Nominated for Most Innovative Game - Hard Lines" - Pocket Gamer Awards 2012
- "Nominated for iPhone/iPod Touch Game of the Year - Hard Lines" - Pocket Gamer Awards 2012
Selected Articles
Team & Repeating
Nicoll Hunt
Head Honcho, Programmer, Designer & Artist
Brendan Ratliff
Composer, Freelancer
presskit() by Rami Ismail (Vlambeer) - also thanks to these fine folks


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The First Family
Even though the firstborn son had certain legal privileges and responsibilities (Deut. 21:15–17), God commonly does the unexpected in Scripture and chooses the younger over the older (Gen. 25:19–26; Rom. 9:13). Among other things, this tells us we cannot trust ...Read More
Mosaic Authorship
Whether or not we affirm the essential Mosaic authorship of the Pentateuch has a direct bearing on the Lordship of Christ. Our Savior affirmed that Moses wrote the Pentateuch on many occasions (for example, Matt. 19:1–12; compare to Deut. 24:1–4), ...Read More
Trusting God's Wisdom
The book of Job is a powerful reminder that God is in absolute control of all things. This fact can be a great comfort to us and yet also be disconcerting when we suffer things we think we do not ...Read More
Do you truly realize the importance of prayer, or do you think that you can be wise without a deep and consistent prayer life? Take some time to consider the importance of prayer and how you can make it a ...Read More
In the book of Proverbs, we find many themes addressed including the importance of the fear of God, the respectability of work, the need to be industrious in our labors, the folly of sexual immorality, and the raising of a ...Read More
If we are to be passionate in our pursuit of wisdom, then we must understand the forms that wisdom literature may take. The study of things like parallelisms will greatly benefit us when we sit down and read the poetry ...Read More
Wisdom Literature
To what end do you pursue knowledge? Is your desire just knowledge for the sake of knowledge, or do you seek wisdom in order to live a life coram Deo, before the face of God, pleasing to Him? Consider the ...Read More
Heartfelt Intercession
At times of great need, our normal instinct is to work harder or look for human aid. These can be good things, but our best course is to stop everything and seek God with our whole hearts, as David does ...Read More
Spiritual Transformations
What a strange assignment God gave David, to minister to the man he had been anointed to replace. Surely there were awkward moments. And yet, we never find David complaining about God's purposes or timetable. In like manner, we should ...Read More
David's Great Sin
A man after God's heart loves the things God loves and the ways He prescribes. Though he may deviate from those ways at times, he will return—for God will not let him rest in his sin. All true children of ...Read More

subset: commoncrawl


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Organizations today must deal with the growing complexity and volume of advanced malware.
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Learn how Dell Data Protection Personal Edition helps small businesses keep their data and their customers' data secure.
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text:
I have been going through this for years & cannot get a resolution.
My mom is the most loving self sacrificing, giving, forgiving angel on this planet whom I adore.
At the same time she is VERY difficult & stubborn which can be exhausting. It has been the source of my stress for years.
She was in a really bad car accident years ago....since then, she has not been the same. She has a lot of health issues due to the accident and also aging, etc....
So, now to my on-going dilemma...my mom can act really kooky sometimes…also she used to be so clean & organized and she is now the complete opposite. I get embarrassed when she wants to invite my in-laws over, etc….I have put it off since getting married. I have offered to help out so many but she gets so offended so I just let it go.
So with Thanksgiving around the corner she insists on spending it us at her house.
Let me sum up my problem…
1. The embarrassment of the condition of her house
2. It is so much easier to have it at my house for my toddler (naps, etc…)
3. She ALWAYS over does herself to the point of exhaustion…her health is not good right now.
What should I do?


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Weekend Top 5: Return to 'Avenue Q,' DSO tackles Pixar and more
Photo: Sarah Hoffman/Staff Photographer
LANTERNS STILL LASTING (Feb. 17): The Chinese Lantern Festival in Fair Park will keep glowing a little longer. Its run has been extended through Feb. 17. Expect to see a giant Imperial Dragon Boat, pandas and other large-scale lantern displays.
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OTR.Network Library (The Old Time Radio Network)
Posted by John Dalziel on Thursday, August 25, 2011 Under: Archives
In : Archives
Tags: radio shows catalogue program episodes
blog comments powered by Disqus
aclJohn's Audio Finds
In : Archives
|John Dalziel
|I'm an eLearning Adviser specializing in stimulating and supporting innovation in learning via eBooks, eMagazines, blogs (including audio versions), online TV, interactive resources, forums, workshops, conferences and face2face consultations. Evaluating and becoming familiar with sustainable and new technologies allows me to respond to the needs of learning providers from a position of experience rather than 'hearsay'. Supported learning providers, in the northwest of England (UK), can contact me for FREE consultations. Based at Lancaster University I work for the JISC Regional Support Centre - Northwest.


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Akaroa Guided Sea Kayaking Safari makes seeing the sights easy - even if you've never been on the water before. You'll explore the coastline, experience the wildlife and get to see Akaroa from the water in this amazing eco paradise. Your guide will fill you in on some of the fascinating French history on Banks Peninsula too - oui - there's a little European culture right here at home!
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Please note: the entire experience will take approximately three hours.
Akaroa Guided Sea Kayaking
Business in trade
ConditionsValid from Dec 8, 2012
Expires Apr 9, 2013
Limit: 2 for you and 2 gifts for others
VALID FROM: 10 Jan 2013. Bookings essential. Bookings must be made by Jan 31 2013. Subject to availability & weather. Not valid on public holidays. Min age 12 yrs. No refunds, no exchanges, no cash backs. Not to be used with any other offer. Must be used in one visit.
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Peter N. M. Hansteen wrote:
> You would need to have PF running on that machine with a very simple
> rule set, but sure, there is no law of nature that dictates spamd has
> to run on your gateway.
Great news! My plan was maybe to move the spamd daemon from the firewall
of and to make have two openbsd servers behind the firewall doing just
that in load balancing and with spamd synchronisation.
Now I am also wondering if it is possible to use greylisting with
blacklisting. Because if I look the "-b" option it says "work in
blacklisting mode ONLY" so meaning that greylisting wouldn't work anymore ?


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Insecure grade-schoolers nationwide know the phrase well: "You throw like a girl!"
At some point throughout our history, this became an insult. But the recess-hour bullies need to listen up: When the girl is Olympic gold medalist and Dallas native Madison Kocian, the unoriginal exclamation is rather high praise.
For someone not trained in the practice, pitching a baseball isn't easy. One must throw a 9.5-ounce combination of cork, yarn and canvas over an 18-inch-wide piece of rubber, hitting a glove that's even narrower than that, from 60 feet and six inches away.
But Kocian -- who likely doesn't dedicate much time to honing her baseball skills -- did it with grace before the Texas Rangers' Saturday afternoon game at Globe Life Park.
Now, she didn't step up on the mound. But what she sacrificed in distance, she made up with an impressive handstand and tumble before grabbing the ball and tossing a perfect strike to Rangers manager Jeff Banister.
Don't see video below? Tap here.
To recap: She went parallel to the ground, upside down and backward before focusing back on the target and nailing the center of the strike zone.
Yeah, I'd like to be able to throw like that girl.
Copyright 2016 WFAA


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WINN-DIXIE NAMES OTTOLINO VICE PRESIDENT OF PHARMACY JACKSONVILLE, Fla. -- Winn-Dixie Stores here recently named Alfred J. Ottolino as vice president of pharmacy, a newly created position, said Kathy Lussier, spokeswoman. In his new position, Ottolino will be responsible for overall coordination and management of the company's pharmacy operations, including strategic planning, team management development, inventory control and negotiation, and development of third-party relationships and ...
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Warfield Masonic Lodge - Inez, KY - Phone: (606) 395-6200
Fraternal organizations in Inez denote a distinct society, an association of brotherhood, which, depending on their structure & purpose, may or may not have differing degrees of secrecy, some form of initiation or ceremony marking admission, formal codes of behavior, disciplinary procedures, very differing amounts of real property and assets.
Fraternal organizations in Inez have various purposes, such as- university education, work skills, ethics, ethnicity, religion, politics, charity, chivalry, other standards of personal conduct, asceticism, service, performing arts, family command of territory, and even crime.
PSEG Long Island Helps Customers Go Green and Save Green
Energy Efficiency Programs Save Customers Millions of Dollars (Long Island, NY) PSEG Long Island announced today that customers participating in energy efficiency programs in 2015 will save more than $60 million and 307,582,000 kilowatt hours (kWh) per year. The amount of energy saved is good for the environment, too, as it results in the elimination of the carbon dioxide..


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Our goal is to support the Haas School of Business at UC Berkeley and to serve our local alumni by providing opportunities to find, share and connect with fellow members of the local business community.
The Las Vegas Chapter represents over 250 Nevada alumni of the Haas School of Business at UC Berkeley. Quarterly events and meetings focus on business topics and networking opportunities. There are over 2,100 Cal alumni in southern Nevada and over 250 Berkeley-Haas alumni statewide in Nevada.
Current board members are:
President – Dan Asera
Vice Presidents – Mike Schaefer and Fr. Max Oliva, S.J.
Secretary-Treasurer – Christine Lee
Events Champion – Dan Asera
Directors – Aaron Sahagun, Glenn Carlson, Joe Burkley, Dave Wrzesinski, Richard Plaster & Karen Schnog
Facebook: https://www.facebook.com/BerkeleyHaasLasVegas
LinkedIn: http://www.linkedin.com/groups/BerkeleyHaas-Las-Vegas-Chapter-Haas-4641496
For more information, please contact:
Dan Asera, President
Mobile: 702-882-7666 | Office: 702-895-5479
Email: firstname.lastname@example.com


text:
email@example.com wrote:
> The time is synchronized with the NTP-server.
> However, when I modify the time/date with 'date' the time is never
> resynchronized again automatically (unless I reboot the machine of
> course).
Probably time gap between system and NTP is too large and ntp daemon exits.
> My question:
> Is it possible to configure the machine in such a way that it
> resynchronizes its time periodically (e.g. every hour)?
Put in root's crontab something like:
* 2,4,6,8,10... * * * /usr/sbin/ntpdate -s some.ntp.server


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This will be the second to last installment of the Minor League rankings for the 2012 season. The players listed are technically 31-40 on the Indians Minor League prospect list according to this site. No players from the 2012 draft have been included in any lists so far, but instead will be featured in their own article later on. The same standards have been used for this month as in May, July and August.
1. Cole Cook – P – AAA Columbus – Drafted Round 5 in 2010
With the Indians in desperate need of young pitching at a high level, Cole Cook has been thrown into the light. Moves taking starting pitchers from Columbus and moving them to Cleveland have opened up spots in AAA allowing Cook to show the amazing stuff he has been throwing all season. Breaking some of the Indians conservative standards, Cook has jumped four levels in 2012, playing in Lake County, Carolina, Akron and Columbus. Overall he held an ERA of 2.64 (78.1 IP) across 43 games mostly in relief. This was Cook's first season as a reliever and once he made it to Columbus, he was used as a starter again. He is the kind of talent that shouldn't be wasted in the bullpen unless he proves inable to pitch deep into games as a starter. Cook could possibly see time with Cleveland as early as late 2013, but will more likely advance in 2014.
2. Anthony Vizcaya – P – R DSL Indians – 2011 International Free Agent
This 18 year old Venezuelan has stood out in a very impressive DSL rotation. Vizcaya has started 12 games allowing a total of seven runs. His WHIP of 0.851 is even more impressive than his ERA of 0.94. While there is certainly some adjustments that have to be made for the league he played in, he still finished second among all DSL pitchers in ERA, so his numbers are legitimate in that way. Vizcaya is just in his first professional season, but is already showing some promise. With any luck he could be the next Fausto Carmona and the Indians need one of those, because there is no Fausto Carmona anymore.
3. Enosil Tejada – P – A Lake County – 2009 International Free Agent
Tejada has been extremely successful in each of his first three years with the Indians organization. Since his first season he has been used exclusively as a reliever, this year holding a WHIP under 1.00 and an ERA of 1.39. In his one starting season he struck out 78 batters in just over 70 innings. While he has been used as a closer, picking up 23 saves over the past two years, he still averages more than an inning a game, so it is not inconceivable that he could be transitioned back into a starter. He was so successful in his half a season at Lake County this year, it would be hard to believe that he won't spend most of 2013 with the Mudcats in Advanced A ball.
4. Rob Bryson – RP – AA Akron – 2008 Trade with Milwaukee (C.C. Sabathia)
Bryson has been around a long time (drafted in 2006), but has finally gotten to the next level, dominating for the Western Division champion Aeoros from the bullpen. Bryson pitched in a career high 43 games and threw 65.1 innings, the most since 67.1 in at A level the year he was traded. If Bryson can make it to the Majors and produce, there will be no way to look at the Sabathia trade other than as a complete win for the Indians. Michael Brantley is a starting centerfielder, who could some day be an All-Star and win multiple Gold Gloves, while the Brewers only had Sabathia for one season and they didn't win the World Series. The Indians had no chance at the playoffs that year and C.C. was going to sign with the Yankees after the season no matter what. If Bryson makes it to the top it will just be a little extra icing on the cake.
5. Rafael Homblert – RP – SS Mahoning Valley – 2009 International Free Agent
If there is one thing the Indians have in excess it is relief pitching. Homblert is another great reliever coming up, who after two years in the Rookie Leagues has finally gotten control of his command and is ready to move. Homblert spend the entire Short Season with the Scrappers holding a 2.34 ERA in just over 30 innings. On the season he only walked eight while striking out 21, a huge step up after walking 42 over his past two seasons. He should be moving to Lake County for 2013 and could possible skip a level at some point seeing as he played three full seasons at the lower levels. He is still just 21 so he has a few years to work with before he is considered an old man in the minors.
6. Jordan Cooper – P – A+ Carolina – Drafted Round 9 in 2010
In his third year with the Tribe, Cooper set career highs in wins, games played and strike outs while setting career lows in ERA, WHIP and home runs allowed. Cooper was used primarily as a reliever in Carolina, but did start seven games. Cooper has been right on schedule to this point and should play for Akron next year. Assuming he can continue his present rate of success, he could be in Cleveland as early as late 2014.
7. Matt Lawson – 2B – AA Akron – 2011 Trade with Seattle (Aaron Laffey)
Lawson is in his sixth season in the minors and his second since coming over during the offseason for lefthanded starter Aaron Laffey. He is another player that vastly benefited from a second season at one level. This year in Akron he crushed opponents, running a slash line of .327/.408/.459 each of those numbers being at least 60 points higher than his last season at that same level. Lawson also brought his counting stats up this year, scoring 20 times and knocking in 23 during just 60 games. Most importantly, he has just 13 errors in his last 158 games at a prime defensive position over the past two seasons. His promotions at the minor league level will be directly tied to Cord Phelps, the regular starting second baseman in Columbus. Because there is no room on the Indians roster for Phelps, whose position is in the firm grasp of Jason Kipnis, Phelps has been stuck in AAA. With the block of Kipnis being entrenched at second, these players will need to find some more versatility to make it to the Major League level.
8. Anthony Santander – OF – R AZL Indians – 2011 International Free Agent
Santander was signed the same day as star infielder Dorssys Paulino, so he may have been overlooked, but he definitely deserves respect on his own merit. In the short Arizona Summer League, Anthony batted .305 and knocking in 32 (second on the team behind Jorge Martinez). Santander also showed some power on a team almost completely devoid of it. He was third on the team in extra base hits with 20 and fourth in home runs. Santander is the third offensive player to watch from this years AZL Indians team following the two listed last month (Paulino and Martinez).
9. Breily Puerta – RP – R AZL Indians – 2010 International Free Agent
The AZL Indians definitely had some pitching issues this year, but Puerta was a bright spot. He threw 35 innings in relief, striking out 35 and allowing just 14 earned runs. Used often when the starting pitcher struggled early, he pitched almost two innings per outing and managed to grab four wins by keeping the Indians in games that they otherwise wouldn't have been. This is his second year with the Indians and both have been tremendous. It will be very interesting to see if his prowess can continue at the next level in 2013.
10. Delvi Cid – CF – A+ Carolina – 2006 International Free Agent
One thing that is lacking in the Indians minor league system is speed in a prospect that has any chance of making it big and here Cid looks like a bright spot. Playing the entire season for the Mudcats, he tallied 32 steals (down from 71 in 2010 with Lake County) while just being caught 10 times. Most impressively during his second season at advanced A Cid has improved all the other parts of his game. In less than 20 more games Delvi raised his batting average by 84 points (to .281) and his slugging percent by .179 (to .431). These improvements along with career highs in doubles, triples and home runs show a great upward trend. Although he is still years away, defensive minded, speed outfielders are always in demand and we will hopefully be seeing Cid in Cleveland in the future.


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I don't know if I've spoken on this topic before, but if I have please continue to read anyway, because you never know where I may end up.
Over the course of the past few years, I've spoken about my feelings about various holidays and at times tried to explain their origins and meanings.
I bring this up because we have now entered, head first, into the holiday season.
Over the next two months we, as citizens and consumers, are going to be inundated with television specials, shopping extravaganzas, sales, concerts, tinsel, cranberry everything, on and on and on.
I love Christmas and Thanksgiving, and I really love them at the appropriate time.
I have, since my days as a stock boy at K-Mart, been surprised by the date in which stores begin to put up the lights, trees and decorations for the Christmas holiday.
This year was perhaps the earliest I've ever seen it.
Two weeks before Halloween, I was shopping at a local superstore that is easy to ''target'' due to the sign and could not believe that while searching with my 2-year-old for a bag of candy that he ''can like that'' as he says, I took a wrong turn and ended up in the middle of Santa's village.
Again, I really do love Christmas, but not in October and certainly not the middle of October.
I understand the commercial reasoning behind setting up those displays as early as possible, because no matter my opinion on it, people will begin to buy their decorations and preparations for the season as soon as they see it.
Me, personally, can't get myself into the Yuletide spirit before I've raked a single leaf or can clearly see a Halloween mask of Michael Myers next to a glitter encrusted, lit up reindeer.
I worry this will confuse children who are not yet aware of the differences between Santa Claus and Michael Myers. That could warp a person.
But here we are, a few weeks away from Thanksgiving, which in my house has been the acceptable date for my wife to tell me to drag up the boxes - and I mean boxes - of decorations from the basement.
The leaves have officially taken over my front yard, and the air is getting cold, which means fall is here, and we are on our way.
The next few weeks will be filled with traced-hand turkeys, patent leather buckled shoes, cornucopias (one of my favorite words) and thoughts of things to be thankful for even during trying and difficult times.
Sometimes I think that Thanksgiving and the joy of that season get lost in the preparations and eagerness to get fully engrossed in Christmas.
I mean, folks, the entire holiday revolves around eating turkey. Turkey, the best-tasting and ugliest animal on the planet!
See, throughout this meandering nonsense of a column, I've somehow managed to come to a point.
Thanksgiving gives us a chance to look at our lives, realize the good that is there, even when things are difficult. We should, I believe, do this all the time, but when Charlie Brown is doing it, it makes it that much easier.
Maybe over the next three weeks, we should all find the things in our lives that we are grateful for having and let those things know how much we appreciate them.
Me? I've got three wonderful things to be thankful for at home and a host of family and friends that mean the world to me, and that's what I'm thankful for - people who love me even though I'm me.
I'm also very thankful for all of you who read this column. Without you all, I would just be wasting ink.


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Virtua Fighter 5 Final Showdown Cheats for PS3On: PS3, Xbox 360
The definitive version of Virtua Fighter 5 will contain a full overhaul of Virtua Fighter 5's mechanics, balance and animations, along with new game modes.
Other 2
You Win (Bronze)
Objective: Win a match in Arcade Mode without losing a round (any difficulty level)
Up and Coming (Bronze)
Objective: Play one ranked match
Challenger (Bronze)
Objective: Play ten ranked matches
Excellent (Bronze)
Objective: Win a round without taking any damage in Arcade Mode (any difficulty level)
Ring Out (Bronze)
Objective: Win a round by knocking your opponent out of the ring in Arcade Mode (any difficulty level)
Score Attacker (Bronze)
Objective: Play Score Attack Mode
Student (Bronze)
Objective: Play any training session in Tutorial Mode
Test Complete (Silver)
Objective: Complete a test in License Challenge Mode
VS Dural (Silver)
Objective: Face off against Dural in Arcade Mode (any difficulty level)
5 Hit Combo (Silver)
Objective: Perform a five-hit combo in Score Attack Mode
Five Tests Complete (Silver)
Objective: Complete five tests in License Challenge Mode
Ten Tests Complete (Gold)
Objective: Complete ten tests in License Challenge Mode
Unlocking Dural:
Complete the Arcade Mode and Dural will be unlocked as a playable character.
Credit Music Easter Egg:
Defeat every opponent (Dural included) in Arcade Mode, without using a continue, and the ending music changes to a song with lyrics.
Hold down the circle button before the Sega Logo when you start up the game and you'll hear a slightly older sound.


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Many dedicated volunteers from the organization have contributed to this endeavor. We have twelve entries on a variety of topics available, with many more to come in the future. Topics range from "Navigating the Job Search" to "Turning a Dissertation into a Book" to "Minority Faculty Experiences."
For more information about the Southern Association for Women Historians, please see http://www.h-net.org/~sawh/.


text:
- Text Size:
- ASmall Text
- AMedium Text
- ALarge Text
Police on the West Shore are investigating what could be another rash of home break-ins.
Someone broke into a home on Monday afternoon in the 100 block of Market Street, New Cumberland police said.
Police Chief Joe Spadaccino said the burglar may have broken a lock to get inside the home and may have been interrupted during the burglary because items were removed from the house and left on the back porch.
New Cumberland police are also investigating a similar break-in that happened last week in the 600 block of Second Street.
The burglaries come about a week after police arrested Travis Doerr, of Lemoyne, for more than a dozen break-ins in Camp Hill, Lemoyne and New Cumberland.


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| You
are in the MOST Phase I website (1994-2003).
The MOST Phase II website is available at: www.unesco.org/shs/most.
American Declaration of the Rights and Duties of Man
Article 2
Source: Basic Documents Pertaining to Human Rights in the Inter-American System, OEA/Ser.L.V/II.82 doc.6 rev.1 at 17 (1992). The full text version of the American Declaration can be found in English at the Organization of American States Internet site.
To MOST Clearing House Homepage


text:
Head Porter will release a new collection of iPhone and iPad 2 Cases for Fall/Winter 2011. The collection ranges from classic tartan check designs to leopard fur versions and modern polka dot designs. Look out for a release November 2011. (Via honeyee)
Head Porter Fall/Winter 2011 iPhone & iPad 2 Cases
What To Read Next


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I have been doing this for a while...It seems to be working fone for me.
A lot of people have been saying Large muscle groups, such as Chest, legs and back should only be worked on once a week.
I never work out while I am sore, but people have been saying even tho you dont feel sore, doesn't mean you aren't still recovering. Is this true?
I just can't fathom the thought of just working back and chest only 4 times a month..I feel horrible if I only work chest once a week.
Anyone have any views of their own?
- Join Date: Jul 2007
- Location: United States
- Age: 29
- Stats: 5'10", 195 lbs
- Posts: 1,017
- BodyPoints: 6063
- Rep Power: 284
Training each Muscle Twice a week!Bench Press: 335 lbs. Max
225 lbs. 10-12 reps
Squat: 355 Max...
Bicep Curl: Single arm- 55 lbs. 8 reps
Curl bar- 100 lbs. 10 reps
"Only a Life lived for another, is a life worthwhile"..Albert Einstein (Tattoo on my arm)
I will reach the unreachable...Attain the unattainable...And acheive what my mind desires!
- Join Date: Jan 2008
- Location: Allston, Massachusetts, United States
- Age: 33
- Stats: 5'10", 233 lbs
- Posts: 102
- BodyPoints: 2127
- Rep Power: 120
As far as recovery goes 48 hours is a general rule.. you work chest monday don't do it again until at least wednesday and you shoudl be fine... it really comes down to personal preference... as long as you work hard you'll be all set~Only the strong survive~
"I did squats yesterday, so naturally this morning I had to cut the sleeves off my shirt so my arms would fit. The sleeveless dress shirt look is a good one, so I'm told."-ThickASaBrick
- Join Date: Jul 2007
- Location: United States
- Age: 29
- Stats: 5'10", 195 lbs
- Posts: 1,017
- BodyPoints: 6063
- Rep Power: 284
yeah....My routine is
Monday: Chest/Tri Abs, Cardio
Tuesday: Back/Bis
Wenesday: Legs/Shoulders, Abs, Light cardio
Thursday: Chest/Tri
Friday: Back/ Bi, Abs, Cardio
Should I switch to once a week...lol...Maybe? Who knows?Bench Press: 335 lbs. Max
225 lbs. 10-12 reps
Squat: 355 Max...
Bicep Curl: Single arm- 55 lbs. 8 reps
Curl bar- 100 lbs. 10 reps
"Only a Life lived for another, is a life worthwhile"..Albert Einstein (Tattoo on my arm)
I will reach the unreachable...Attain the unattainable...And acheive what my mind desires!
- Join Date: Oct 2007
- Location: United States
- Age: 48
- Stats: 6'4", 248 lbs
- Posts: 65
- BodyPoints: 6251
- Rep Power: 109
All of the above. Twice a week for a time. Then heavy/light. Then moderate weight with high reps. Then max weight with low reps. Strict form. Semi-strict with some cheats, depending on lift. Since my goal is mainly to build muscle, I try to go heavy every other change up. Currently I am too doing all body parts twice a week. I am only doing 9 sets per group instead of 12 to 15. But I'm pyramiding to heavy with a high rep/medium weight superset on the last exercise.
Barbell Bench
Set 1 160 x 12
Set 2 190 x 10
Set 3 225 x 6
Immediately do a super set of 20 incline push ups.
Incline Dumbell
Set 1 65's x 12
Set 2 75's x 10
Set 3 90's x 6
Immediately do a super set of 15 Hammer Strength Decline Presses with two plates (90 lbs.) on each side.
On the super sets, I go until I break good form. So for instance when I feel my shoulders rise on the declines to help cheat, that's it. I focus on making my pecs push the weight and not raise my butt off the seat or raise my shoulders to aid the press.
I like doing a small change up every month. That way I can say for January I'm doing this..., and for February I'm doing this... Keeps workouts fun and keeps me learning.
- Join Date: Dec 2007
- Age: 31
- Stats: 6'1", 245 lbs
- Posts: 604
- BodyPoints: 1498
- Rep Power: 113
- Join Date: Oct 2007
- Location: New Zealand
- Age: 22
- Stats: 5'8", 195 lbs
- Posts: 852
- BodyPoints: 40
- Rep Power: 0
- Join Date: Apr 2007
- Location: Las Vegas, Nevada, United States
- Age: 46
- Stats: 5'10", 230 lbs
- Posts: 285
- BodyPoints: 3621
- Rep Power: 0
The amount of volume eachone tolerates can vary of course. You might get away by training your chest 2x per week - or need 5-7 days in between. The only way to find out how frequent you should train is to keep a proper workout log, indicating each workout, sets and reps - if ur getting stronger each workout for the most time then your on the right track..wether you train 1x per week, 2x per week or 3 x per week - do u keep a workout log?
just my 2 cents but I read beginners get best results with working the same muscle 3x a week, intermediate 2x a week, and veterans 1x a week. Just what I read else where. Makes sense tho since as you get more into it you are moving more weight and need more time to recover. But as said above best way is to keep a log and watch your gains. I was doing 3x a week for a couple of years but I changed to 2x in October after taking some time off and I am getting good results.
- Join Date: Dec 2007
- Location: Savannah, Georgia, United States
- Age: 32
- Posts: 611
- BodyPoints: 1400
- Rep Power: 117
training a bp more than once a week is fine. although i typically do only once or twice a week, i have no problems training a bp 3 or even 4 times a week. you will have to make adjustments with exercises and intensity. you simply cannot go all out on squats and deads 4 times a week each (i can't do each more than once a week).
mickey, stick with your program if it's working. if it starts to burn you out switch it up.
Last edited by RnR; 01-26-2008 at 09:32 PM.Marge: Homer, the plant called. They said if you don't show up tomorrow don't bother showing up on Monday.
Homer: Woo-hoo. Four-day weekend
There is so much misinformation.. even after reading a ton of books on the subject, many of the books will differ on what will make you big, what will give you mass, what will give you strenght etc. Some say you only get sore when your body is trying to relieve your muscle of the lactid acid.. after trying to sort out the junk from facts (I normally compare notes to every magazine, blog and book I read.. if pretty much everyone keeps saying about the same thing - That is what I persue as being a fact). Here is what I've found:
1) Regardless of the weights you lift - You will gain size and strenght depending on how badly you damage the muscle filament. What that means is that it doesn't really matter how much you lift.. you will gain muscle (it also somewhat depends on genetics, time and effort). Obviously if you don't lift enough, muscle fibers don't rip and your body does not repair it. The main reason you get big is because the muscle being torn is usually repaired with a reinforced version. It is the same reason you get scars at places you've been cut.. the body thinks it might happen again so it tries to reinforce the region. You feel sore when your the muscle filaments have raptured and your body is healing. Lots of water, glycogen (pastas) and protein will repair the muscle (can be found in the nutrion section or send me a msg and I will try to be as good as my knowledge will take me).
2) Size depends on calories you eat. Most of the food you eat becomes assimilated by your body. Most animals we eat pretty much create a lot of protein which we then break into the amino acid strands that we eventually form our own proteins from. These proteins are created through peptide bonds. Which is read from your genetic code. Therefore, the quality of healing, muscle building and size are very much in your own genes. If your body has the propensity of adding extra scarring, you probably have the same propensity to get big. However, everyone (skinny or fat) has about the same level of healing available. Some people just have to work harder than others because their muscle does not reinforce as much as the next person.
I hope this helps a small bit.. so it really boils down to this:
Eat, workout hard, sleep well - Rinse and repeat. You do this enough (and you are patient about it) you will get big. The amount you workout depends really on your body. If your muscles feel well enough (no pain, no soreness, and you feel like you can lift a 5 gallon jug.. you are well enough to stress the muscle one more time). Just listen to your body.
One last thing - This message could've been more thorough and detailed.. I just didn't want to write a big dissertation. If there is anything you might have found erroneous please feel free to let me know I am here for the info as well.
Last edited by Shedding; 01-26-2008 at 11:12 PM.To understand what it takes for me to change and learn from others who have done it.
- Everyone you meet will either add or subtract from your happiness - Let me hope I will add.
- Join Date: Dec 2007
- Location: United States
- Age: 31
- Stats: 5'11", 212 lbs
- Posts: 348
- BodyPoints: 660
- Rep Power: 136
I'm with pretty much everyone else here. I think working a muscle depends on the volume and intensity and your own body's individual ability to recover. I am personally working out my body parts 2x each week giving 72 hours in between and doing a heavy strength based day and a more mid range hypertrophy range day for each body part. I would say overtraining probably is most evident when you are failing at weights you normally can get x amount of reps for fairly easily or you feel really sore or fatigued more than normal granted you are getting enough calories and rest each day. I would just feel it out and if you are making progress keep doing 2 x a week and if you start to stall probably cut it back to once every 6-7 days to give it more recovery time between workouts.
- Join Date: Dec 2006
- Location: Ohio, United States
- Age: 29
- Stats: 6'5", 295 lbs
- Posts: 14,683
- BodyPoints: 60392
- Rep Power: 10229
- Join Date: Apr 2008
- Location: Redruth, Cornwall, United Kingdom (Great Britain)
- Age: 25
- Stats: 6'1", 174 lbs
- Posts: 1
- Rep Power: 0
- Join Date: May 2008
- Location: East Elmhurst, New York, United States
- Age: 29
- Stats: 6'6", 270 lbs
- Posts: 25
- Rep Power: 0
- Join Date: Mar 2009
- Age: 28
- Stats: 5'10", 205 lbs
- Posts: 2,344
- Rep Power: 1449
I think in most cases where one plateaus or is rundown, this is a better option than using a new routine or tweaking too many things in their current routine. Deload by using lower volume or frequency allowing some fatigue to dissipate, and run your program again and see if it works.
- Join Date: Sep 2008
- Location: Sandy, Utah, United States
- Age: 50
- Stats: 6'8", 306 lbs
- Posts: 6,935
- Rep Power: 13653
My training isn't focused around body parts, but instead movements. I bench twice a week because it's not too taxing to do so. I squat and deadlift once a week because more than that is too taxing for me. For me, it doesn't matter what anybody else says I should be doing because based on my progress I know what's right for me. Everybody needs to figure out what's right for them, and the way to do that is keep a log, simple as that.6'8" 306 pounds
Total hip replacement Nov 2015
Wasatch Front Strongman Challenge
750 pound frame deadlift
Sin City Strongman Challenge 2013 Masters Champion.
- Join Date: Feb 2008
- Location: California, United States
- Stats: 5'10", 191 lbs
- Posts: 1,861
- Rep Power: 2736
There's nothing wrong with working a body part twice per week. In fact for 95 percent of lifters, it's better than once per week. The whole body part split idea is a bastardized version of the routines used by pros on massive amounts of AAS. Those principles don't apply to most of us. For natty lifters interested in aesthetics, twice a week is better, maybe 2.5 times per week.
Can you get bigger on once per week? Sure. But it's not optimal. You are missing out on additional growth stimuli by foregoing those other workouts (the Supercompensation Curve and such.) But you WILL have to reduce your volume and intensity per workout. You can't go balls-out 2 or 3 times per week the way you do once per week.Bulking to 210lbs so I can finally learn something about training and nutrition.
Reps owed to: Desslok
Maybe people should take a step back and be like WAIT A MINUTE THIS IS THE INTERNET.
- Join Date: Jan 2010
- Location: Greenville, Pennsylvania, United States
- Age: 27
- Stats: 5'10", 120 lbs
- Posts: 117
- Rep Power: 0
I don't see anything wrong with working out a body part twice a week ....I've worked out my chest twice a day before and gained good strength....im pretty sure arnold did the same thing for a while!If you stop trying and don't lift that weight im not going to help you lift it and just let it crush you!
- Join Date: Feb 2009
- Location: United States
- Stats: 6'2", 210 lbs
- Posts: 8,133
- Rep Power: 8934
I hit each part twice a week also.
I do a Chest/Tri day that I'll throw 3-5 direct shoulder sets into (usually pretty light, at the end of the day)
I do a Back/Bi day that I'll throw in 3-5 leg sets in (like leg press)
I do a shoulder day where at the end I throw in 3-5 sets of Chest and Tris
I do a leg day where at the end I throw in 3-5 sets of Back and Bi.
Works very well for me in terms of both size and strength. The supplemental lifts (my chest sets on shoulder day for example) are usually geared to 8+ reps. I stay pumped all week and I just really enjoy working out this way. I usually lift on Monday, Wednesday, Friday, Saturday which gives a minimum of 2-3 days off before I touch the same bodypart for the 2nd time that week and I very rarely have any soreness overlap unless I throw in a brand new exercise that beats me up.
- Join Date: Aug 2008
- Location: London, United Kingdom (Great Britain)
- Age: 27
- Stats: 6'2", 241 lbs
- Posts: 3,409
- Rep Power: 2595
That is what I do.Strength + Speed = Power
If you never fail, you aren't truly pushing yourself to the limit. If you never push yourself to the limit, how do you know what you're truly capable of?
- Join Date: Aug 2010
- Location: Coppell, Texas, United States
- Stats: 6'0", 197 lbs
- Posts: 11,427
- Rep Power: 39662
I think 2x a week is fine assuming you alter intensity. But when it comes to the soreness thing you mentioned, I definitely would not go 100% on a workout if I was still sore (and possibly just wait another day or two). Soreness = microtears in the muscle. Doing some lighter metabolic work (like very light loads or sets of 12-15 not to failure) will help you recover and stimulate some protein synthesis.
Thats why the volume is so low on full body routines, because you recover faster when the volume is low and thus can workout more frequently.
- Join Date: Mar 2010
- Location: Canton, Ohio, United States
- Age: 23
- Stats: 5'11", 188 lbs
- Posts: 20
- Rep Power: 0
My 2 muscle group a week workout
DB Bench 4 sets of 10, 8, 6, 4
Incline DB Bench 4 sets of 8, 8, 6, 4
DB Decline 4 sets of 10, 8, 6, 4
Incline Chest Press 4 sets of 10, 10, 8, 8
Incline Flys 3 sets of 10
Skullcrusher 4 sets of 10, 8, 8, 8
Reverse Tricep Pushdown 3 sets of 10, 8, 8
Triangle Pushups 3 sets of 10, 10, 8
Close Grip Lat Pulldown 5 sets of 12, 10,8, 6, 4
Leverage Machine High Row 4 set of 10, 8, 8, 6
One Arm DB Rows 4 sets of 10, 8, 6, 6
Hyperextensions 3 sets of 10
BB Curl 4 sets of 10, 10, 8, 6
Cable Rope Curls 3 sets of 10, 8, 8
Reverse Curl 4 sets of 10, 10, 8, 6
Wednesday/Saturday Legs/Shoulders
Squats 5 sets of 5
Leg Press 4 sets of 10, 8, 6, 6
Hamstring Curls 4 sets of 15, 12, 8, 8
Ab/Ad 3 sets of 15
BB Shoulder Press 4 sets of 10, 8, 8, 6
Upright Row 4 sets of 10, 8, 8, 4
Lateral Raise 4 sets of 10, 8, 8, 8
Reverse Cable Flys 3 sets of 10, 10, 8
Shrugs 4 sets of 15, 12, 10, 10
Machine Incline Bench 3 sets of 15, 12, 10
Bench 4 sets of 12, 12, 10, 10
Decline 4 sets of 15, 12, 12, 10
Low Cable Crossover 3 sets of 12
BB Curl 4 sets of 10, 10, 8, 8
Reverse Curl 4 sets of 10, 10, 8, 8
Lat Pulldown 4 sets of 10, 10, 8, 6,
Cable Rows 4 sets of 10, 10, 8, 8
Hyperextensions 3 sets of 10
Tricep Pushdown 4 sets of 10, 8, 8, 8
Reverse Tricep Pushdown 3 sets of 10, 8, 8
One day is more strength and one day us more hypertrophyFailure is only a temporary change in direction to set you straight for your next success."
Twice a week is GREAT if structured right.
An upper body/lower body split is probably the most optimal way to go or even doing chest/shoulders/triceps on one day and Legs/Back/Biceps the next
Or you could be like me and do upper on mwf, and lower on t,th,st. Mind you my volume is low and workout's take less than 45 minutes.


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Top 5 Weekend Picks! (7/4-7/6)
July 3, 2014 · Print This Article
1. Fourth of July at Terrain Exhibitions
Work by Lise Haller Baggesen and Noelle Allen.
Terrain Exhibitions is located at 704 Highland Ave. Reception Friday, 4-8pm.
2. Into and Out Of at The Franklin
Work by Luftwerk (Petra Bachmaier and Sean Gallero).
The Franklin is located at 3522 W. Franklin Blvd. Reception Satruday, 6-9pm.
3. Middle Double at Night Club
Work by Gordon Hall.
Night Club is located at 2017 W. Moffat St. Suite 1. Reception Saturday, 7-9pm.
4. QUEER, ILL, & OKAY at DfbrL8r
Work by Sara K., Tim'm West, Dirty Grits, Mary Fons, Cruel Valentine, Partic Gill, Chris Knowlton, and Nic Kay.
DfbrL8r is located at 1136 N. Milwaukee Ave. Performances Saturday, 7-10pm.
5. Building The Dream at Vertical Gallery
Work by Xenz.
Vertical Gallery is located at 1016 N. Western Ave. Reception Saturday, 6-10pm.
December 20, 2013 · Print This Article
Guest post by Lise Haller Baggesen
IN THE YEAR OF THE SCAVENGER, THE SEASON OF THE BITCH…
… in the fossil fueled states of American gloom and doom, we are headed south on LSD, a donnerwetter looming on the horizon as a tic in the corner of our left eye. Shot-size raindrops splatter against the wind-shield from the sky turning from gunmetal grey to violaceous to petroleum green behind the silhouetted skyscrapers, swaying gently in the balmy November breeze as the wind picks up and a tornado warning ticks in on the mobile device, interrupting Kanye West suggesting that this would be a beautiful day for  jumping out the window/letting everything go/letting everything go…
Indeed it is a beautiful day!
This apocalyptic weather, reminding us that the doomsday prophets were probably  right, that this is not the 11th hour, that we are already fashionably late, makes it the perfect day for checking out a couple of shows in Chicagoland contemplating our species' self-destructive impulse.
Hamza Walker's modern day vanity Suicide Narcissus at the Renaissance society reads like a visit to the men's department at Barney's: tight and tasteful grey-tones with a splash of lush jungle green thrown in. Not unlike, in fact, its 17th century's Dutch counterparts careful rendition of bridles and soap-bubbles, tulips and skulls, reminding us that the world is forever coming to an end.
The super symmetrical show is arranged on both sides of a corridor leading up to Katie Paterson's All the Dead Stars, a map of said stars corresponding to the place on earth from where they were discovered laser etched into a matte black anodized aluminum sheet, creating an eerie map resembling a burnt out earth as observed from space. Observation posts glow-in-the-dark with the half-life luminescence of radioactive material, our radio signals still on their way to infinity and beyond long after we're gone. From here we can turn left or right (or right and three quarters or maybe not quite) but either route will coil back on itself into a cul-de-sac, a dead end from where we can only retreat the way we came.
Each of the works in the show display the mechanics and dialectics of their creation in plain view, if not front and center to our reading of the works, like the endlessly similar variations of rope, pulley and mirror of Thomas Baumann's perpetuum mobile Tau Sling or the dead pan unedited single channel registration of Nicole Six and Paul Petritsch' Spatial Intervention, showing a lone figure hacking his way through the ice, in a circle surrounding himself. Not really sure if this unromantic reference to Kaspar Davids Friedrich's Eismeer (the Sea of Ice from 1824), is going anywhere outside of its own hermetic picture plane, but whether we are witnessing a painfully slow suicide attempt here, or just some Sisyphus slow-motion slapstick, as a viewer you feel as frozen in time as the lonely man on the ice.
The row of vitrines that make up Harris Epaminonda and Daniel Gustav Cramer's Infinite Library display a collection of reappropriated books -by the looks of it European post war encyclopedias and reference books with faded color reproductions of artworks and plants, painted over with geometrical figures that seem to suggest some obsolete world order, while Lucy Skaer's Leviathan's Edge, a whale skeleton boxed in a drywall space, opened up in three narrow slits, through which we can only partially admire the brittle grandeur of the beastly remains would not be out of place in a gentlemen's explorers club, that other society, where adventurers who come back to tell the tale can compare their booty- Jolly good!
In a darkened cinema space, similar to a home entertainment den, Daniel Steegmann Mangrane's 16mm, 2009-2011 the exhibitions only truly juicy work, is contained -as if its lush Amazonian green would otherwise spill out and contaminate the rest of the show in a toxic spill of unbridled fertility. Like decorative kale in a millionaire's front yard its nutritious value is rendered void, and we are left with eye candy. This is our reward. The five minute 16mm film loop leaves us ample time to contemplate the cable running near the top of the picture frame along which the camera pulls itself still further in to the heart of darkness, the whirring of the projector behind us competing with the dense cacophony of jungle sounds on the soundtrack of the projection before us, until the movie without further ado comes to a dead stop and the screen goes black. The End.
On the surface, Suicide Narcissus mainly examines and admires its own elegant rhetoric. Initially I considered this the exhibition's demise, but on reexamining it I have come to think that perhaps this is exactly its point: Like Nero playing the fiddle as Rome burns, you find yourself confronted with your own disengagement, as you consider the aesthetic possibilities and fashion choices of the world going to hell in an evening clutch. It is an uneasy notion, like deleting yet another petition appeal from you e-mail inbox.
As an antidote to this tasteful ennui may I suggest a visit to Dana DeGiulio @ The Suburban, which will tear you out of your inwardly spiraling anxiety attack and throw you right back into the real with the welcome catharsis of your friendly neighborhood suicide bomber. The battered backed-up Buick sedan is ramrodded into the cinderblock structure that makes up the central exhibition space at The Suburban with a precision that sits in the sweet spot between demolition and embellishment.
The curious fact that the car is damaged front and rear gives the impression not so much of a drunk driver swerving out on control, tearing through the front yard in the early hours of a sleepy suburban Sunday morning, but more of the feel-something- anything of a soccer mom's revenge, later same morning, her anniversary.
And the shattered head answers back And I believe I was Loved I Believe I loved Who did this to us?
Because we can only contemplate art from our personal vantage point, just like we can only imagine Armageddon in our own time, I will approach this from the angle of Burn Out with their totaled car park in the center of Copenhagen and their smashed up ticketing booth for De Appel's Crap Shoot (-a memorable show that culminated for my own part in a visit to the ER after a visit to the exhibition's socially (un-)engaged Absolut-free-for-all-vodka-bar and a subsequent act of cycling under the influence ending abruptly when my front wheel got stuck in an Amsterdam tram rail and sent me to a dead stop against the wet asphalt). Curiously, these works originated round about the time when the 1996 LeSabre was still a classy car, but seem almost quaintly didactic now, in their 90s engagement with institutional critique, compared to this work which points only to its own calibration of annihilation through acceleration, suggesting that we are all flying solely by our instruments by now, no line on the horizon: In a godless universe you need to rely on your own moral compass, or perhaps some secular religion. Art for arts sake can be just that. It can be it's own means and end.
It is an appropriation and an approach, but how do you approach appropriately, being in a banged out car and your aim the feel of not to feel it?
This is subtle and has to be premeditated. Premeditation is available in the form of a brochure which contemplate the estimated market value of the Buick before and after impact as compared to a circular silverpoint painting by Michelle Grabner, as consigned by Dana DeGuilio to James Cohan gallery and sold before the Buick hit the brick wall, perhaps to offset the costs of a second hand car and a cinderblock shed? The end is a zero sum game.
On the 10th anniversary of the suburban, this will be that last one for this building where it all began. Now structurally unsound, It will be torn down at the end of the show, or when the Oak Park police and zoning inspectors step in and say that it is time to clean up the mess, whichever comes first.
In Michelle's own words: "This is the end of the suburban as we know it!â€
Credits: Dana DeGiulio would like to thank her pit crew. I would like to thank you for reading.
Lise Haller Baggesen (1969) left her native Denmark for the Netherlands in 1992 to study painting at the AKI and the Rijksakademie. In 2008 she relocated to Chicago with her family, where she completed her MA in Visual and Critical Studies at the SAIC in 2013.
In the meantime, her work evolved from a traditional painting practice toward a hybrid practice including curating, writing and immersive multimedia installation work.
 Her book "Mothernism†will be published on Green Lantern Press and The Poor Farm Press in 2014.
Domestic Intervention: An Interview with EXPO Chicago's HOME
September 21, 2013 · Print This Article
The following interview was published originally in The Expo Register, a print daily created by What's the T? Dana Bassett with ACRE and Bad at Sports. "The vibrant, hand printed Register, designed by Chicago artist Clay Hickson of Tan & Loose Press, will highlight special events during the fair including reviews of special exhibitions and trends at the exposition." The paper is available for free in assorted newspaper boxes at EXPO, and can be downloaded here, on the Bad at Sports blog, by clicking on our front page banner. You can also read Saturday's edition here.
Under the eaves of Navy Pier, four artists install four iterations of domestic space. These spaces — a bedroom, kitchen, living room, and studio — are envisioned expressly as artist domiciles, fittingly embedded in the commercial throng and hype of a contemporary art fair. Fitting, I suggest, because they are interdependent while nevertheless at odds. The aroma, mess and casual experimentation of a kitchen is a far cry from the professional white sea of gallery cubicles. Yet of course they are interconnected; the artist must sleep somewhere, just as he or she must also engage a commercial market. This juxtaposition manifests like a dream; it is hard to know if the domestic space is dreaming that it is in an exposition hall, or if the exposition hall is dreaming that it harbors domesticity. Emphasizing this surreal tension HOME reminds fair-goers of the quotidian world behind the otherwise sharp and prestigious kingdom of commerce. In the following interview I was able to discuss the project with curator Tricia van Eck and its participating artists, Lise Haller Baggesen, Sabina Ott, John Preus and Jane Jerardi.
Caroline Picard: I wanted to ask you about your definition of "home" first — I feel like it's a theme that you have been working with for some time with your project at 6018North.
Tricia van Eck: Home, for me, is simply where I am for any length of time. I have a loose definition of home and often call the place where I work, home. This is fortuitous since 6018North is a home — a dilapidated mansion in Chicago's Edgewater neighborhood — turned into an experimental art space.
Since art is often made in one's home — thought about in the tub, worked on in the studio, written about in the office, discussed at the dinner table, and then shipped off to be shown elsewhere — what if art was presented in the home where it was made? What if everyone's home became an art space?
I believe people are yearning for unique, inclusive experiences and 6018North provides this experiential space and platform to connect with others through art. We encourage artists to take risks and to develop projects (often communally) that challenge what art is, who it is for, how and where it is made, and where it is shown. We encourage artists to think about audiences as if they were guests in the space (their home for the time being). My favorite experiences at 6018North are when the space is buzzing like a good party, where people are talking, meeting, laughing.
CP: Has your understanding of domestic places in your own day-to-day, non-art life changed as a result of these recent curatorial practices?Â
TVE: 6018North's events almost always involve food and conversation to provide time to connect, talk, and discuss the art on view, as you might if in someone's home. 6018North also hosts conversational dinners for more in depth conversations related to its exhibitions or various concerns facing artists. In college, I lived in a cooperative vegetarian house and some of our conversations over dinner with friends and strangers alike, radically altered my thinking and worldview. This is the power of art and ideas shared in comfortable settings. If change begins within, it often occurs in homes, where we feel safe and secure enough to challenge ourselves.
CP: What made you want to do a series of "homes" at a place like EXPO?
TVE: I love the expressions: "make yourself at home†and "mi casa es su casaâ€. At the recent Venice Biennale, I loved the feeling within the Pelham Project, and HOME draws from Michalene Thomas's popular apartment/bar space at Art Basel. I also like democratizing the experience of VIP rooms at Art Fairs where collectors can relax their eyes and get free coffee, champagne, or ice cream. For HOME I invited four artists whom together have created an amazing artists' home with generous and experiential rooms — an artists' studio, kitchen, living room, and bedroom to offer "an artists' home." Lise Haller Baggesen has recreated her artists' studio replete with disco balls, glitter, and glam, while John Preus and Dilettante Studios' kitchen, built from reclaimed cabinetry, hosts performances, talks, and discussions curated by Laura Shaeffer from SHOP. Sabina Ott's chill-out living room offers Expo attendees a captivating space to relax while Jane Jerardi's performative bedroom presents a dreamy moment of longing. As a home within an Art Fair, whose intent is to sell artwork, the artists and I are experimenting with how to challenge and commingle ideas of capitalism and mercantilism with generosity and hospitality through art, food, drink, performances and conversations. We want HOME to offer a unique but comfortable way to experience art within the Fair but yet not pretend to remove ourselves from its contradictions of exclusion and inclusion, since these ideas are also intrinsic to our homes, which both separate and unite, as does the art world.
CP: What is your definition of home? Or how do you think about domestic space?
Lise Haller Baggesen: The Studio is the home where the buffalo roam, where the deer and the antelope play and where Iggy Pop just wanna be your dog. The highway to hell runs through it as does the stairway to heaven. What I mean to say is that the studio is a "home" in a larger sense that the strictly domestic, or that it is a home to the undomesticated self. Since I am a very domesticated person, I am a wife and mother of two, it has always been very important for me to have a studio space that is separated (by at least a mile) from my actual home. I have to go to that place to get to that place.
Sabina Ott: Home, to me,  is a site of rest but mostly a place to build connections with family, friends, neighbors. I am interested in spaces that are many spaces all at once — a home that becomes a community hall, that becomes an artwork, that becomes a nest.
John Preus: It is more an idea than a place. A destination, a return, a longing, a loss, the place to which we are reconciled and always in the process of losing. My interest in it is tied to my life with a family, and how that life clashes with, or bumps up against, or augments my life as an artist. Much of the work on the theme of home started in graduate school when I had young children and was not home very much to see them, and the tension I felt around that condition. Having children made me much more acutely aware of temporality because children grow and change so fast, and each moment is so tremendously beautiful (and mind-numbingly banal) in its own way. Emotional extremes are exaggerated, and your sense of self is eviscerated and forced through the matrix of this other being that needs you but doesn't care at all about you as a subject. The reality that I am at once creating the idea of home for someone else starts to overlap with my own conception of it. The title, Homemaker is really interesting because it is so literal and narrative at the same time.
I think of domestic life as the private arena within which we confront our thrownness. We did not choose our life in most ways, but we can choose how we live at home, at least until we live with others, and then we are in a mini- political petri dish.
Jane Jerardi: A lot of my recent work has been dealing with displacement and longing, so the issue of home gets right at the heart of these ideas.  I think of home as not having to do  necessarily with a specific place, but with a certain familiarity and sense of comfort built up over time through everyday ritual as well as a community of people and relationships cultivated over time, and perhaps, even, a state of being.  In some ways, I think the body is the ultimate home and a way to be 'at home with ourselves' and as a deep, resonate place for connection and groundedness.
CP: What does it mean to you to fabricate and embed such a place (or installation) in a commercial art fair?
LHB: The artfair is the epitome of artwork as Product, whereas the studio represents the artwork as Process, or put differently the glamour of the artwork as a luxury commodity vs. the makeshift glam attitude of actual art making. I am more interested in the latter, so I am hoping that our installation can work as a respite from the commercial rush of the fair and be a reminder that art comes from somewhere and is going somewhere, outside of the ever-present "contemporary" that seems to be the event-horizon of the current art market.
CP: How does your installation at EXPO respond to your idea of domestic space?
JJ: The installation at the EXPO of 'Nocturne' deals with the idea of the body as an archive of memory and as a home or container for somatic experience.  In the work, the virtual body moves and responds to a real body — either the body of the viewer or of a performer (during the two scheduled performances).  It gets at the idea of everyday choreographies and rituals that create a sense of intimacy and connection — and a sense of home.  While of course alluding to the bedroom and sleep — which  we spend a lot of time doing in domestic space — the work also relates to dreams and virtual spaces.  I also think sometimes of home as a place where I can slow down, and this particular work shifts a sense of time to a slower one, inviting the viewer to also slow down, in a hopefully meditative, relaxing way.
LHB: My installation at EXPO plays with the idea of the studio as "the space where your voices can live". Â Or in other words, the space where your different influences can confluence and mingle and interfere with each other in a new set of relations. In that way it operates as a sourdough, rather than an archive. Of course, this being an artwork, it doesn't pretend to work as an actual studio, but as a model of a studio, a mise-en-scene.
SO: Tricia has been calling my room "The Chill Room.†I have taken a kind of chant and tweaked it and used it as the sound accompanied by almost psychedelic imagery designed to transport the participant to an unfamilar place outside of measured time. It is a relaxing place that, through the repetition of the video, almost hypnotizes those resting on the faux fur covered bean bag chairs. There are three fish bowls on mirrors — the fish simply swim in circles and reflect the liminality I hope the visitors feel. It serves as the living room in this quartet of rooms, where there are many people relaxing and the conversation can be  especially unguarded, especially intimate, because of the dream – like atmosphere. I am fascinated by the affect of objects and spaces- especially those that combine multiple functions and references. I am not interested in reflecting how we already experience domestic space, but making a site of different associations and experiences outside of what we already know. I hope the room is a respite and a counterpoint to the art fair experience, and I am hoping that the dreamy quality of the space will almost suspend of time. Perhaps people will find that they have been dreaming and chatting in this room for hours, perhaps just a few minutes.
JP: EXPO is in a way the polar opposite of a domestic space, and any attempt to make it domestic becomes sort of absurd. The idea of creating a pseudo-domestic space within an exhibition hall strikes me as a longing to somehow conflate the private and the public. It's something like wanting to have sex in public, that the intensely personal and subjective act requires an audience to consummate it, so to speak. I'm interested in the phenomenon that homes look increasingly like stage sets that nobody lives in, and become glorified storage space for furniture that is never used, combined with an opposing interest in main street, in making public life feel more homey.  The point of contact is the liminal zone, the place where the public and private lives of a community intersect through socioeconomic interdependencies. Our interest in the home is maybe something like our interest in nature-it becomes active on the occasion of loss. We are homeless.
JJ: While an art fair may be the ultimate place for securing artworks that might decorate or become the accouterment for a domestic space, and our expression of home might indeed be the 'things' we consume, I also believe 'home' to be something completely intangible. Â In this way, this installation emphasizes everyday ritual and embodiment as a part of our experience. Â While all art operates on an experiential level, I hope this work emphasizes a resonance between the experience of the installation and the viewer.
SO: I hope the room is a respite and a counterpoint to the art fair experience, and I am hoping that the dreamy quality of the space will almost suspend of time. Perhaps people will find that they have been dreaming and chatting in this room for hours, perhaps just a few minutes.
JP: The frenetic beating heart of EXPO is the spectacle, consumerism, the ambitious energy to outdo each other, to be noticed, to be visible and relevant, all of the opposite qualities from being at home. Maybe EXPO HOME is a way to interject some small degree of homeliness into that environment, and a small gesture of resistance to the market aspect of the whole affair. It is also a way to think about the varied art economies.
My piece in the show directly references Mike Kelley's piece, More Love Hours Than Can Ever Be Repaid. It is partially a tribute to what is for me a really affective piece, but I like it for all of the wrong reasons. He sees the gift economy as manipulative, leading eventually to an incremental and collective sense of shame and indebtedness. The fact that the love hours can't be repaid for him is because we don't know what we owe in return for a hand-made doll. Money creates at least the potential for a clean slate, a perfect exchange, but does not generally account for all of the forms of cost offsets that we all engage in, to avoid taking full account. The thing about a gift is that it is often something that you would not have paid good money for. You receive it with gratitude as a gesture of friendship, or obligation, but you might rather have the money if you were to look at it pragmatically. The market determines value through supply/demand…as the theory goes, while love-hours are a social economy.
For my project, over 30 artists, builders and friends have agreed to collaborate with me. I designed a kitchen, and suggested conflating cabinets and vitrines-kitchen as exhibition-and they are all building the cabinets, whatever that means to them. So it will be a hodgepodge, collective kitchen that we will try to unify in some way on site.  Maybe they all agreed to work for no money because they like me and enjoy working with me, or being involved with my projects? Maybe it's because EXPO is sort of a big deal to put on your resume?  Maybe they hope their piece will sell and they might make a little money? Some are young artists and happy to have so many eyes on their work. Or, maybe they like the idea that the project forms a temporary community, and considers the social and political possibilities of temporary action communities? So, in terms of exchange, they are getting something-cultural capital, money, associative capital… and I am getting something-labor. But whether or not the exchange is even is yet to be seen.  The surplus of the exchange is the emotional remainder, somewhere along the spectrum from gratitude to resentment.  Every single one of the people involved has some spoken/unspoken expectations, or wishes for the show, (myself included) and how their work might be received in it. They are all contributing Love Hours, in exchange for exposure, fun, associative capital, communitarian good will … As artist David Wolf put it, the makers of the cabinets are all like one of the stuffed animals, and the kitchen becomes the afghan. But the major difference is that I don't intend it as a critique as much as a kind of revelation. I intend it as a big happy love fest in a place where that will probably be considered uncool. The 2nd, and not yet articulated part of this project is to consider whether the debts have been discharged, and how, and why, which will hopefully include the added complication of money.
Top 5 Weekend Picks! (4/19-4/21)
April 18, 2013 · Print This Article
1. Black Emporium at The Octagon Gallery
Work by Jesse Avina and Michael Garcia.
The Octagon Gallery is located at 120 N. Green St. Unit 3B. Reception Friday, 7-10pm.
2. Alumni on 5: Teaching Artists at Columbia College Chicago Library
Work by Matt Austin, Dan Bradica, Kate Bowen, Jessica Egan, Kristina Gosh, and Sooz Main, curated by Chelsea Middendorf and Jessica Rodrigue.
Columbia College Chicago Library is located at 624 S. Michigan Ave. 5th Fl. Reception Friday, 5-7pm.
3. BACK MATTER at Co-Prosperity Sphere
Work by Lise Haller Baggesen, Joshua Demaree, Darja Filippova, Danny Floyd, Chris Fotopulos, Sarah Hamilton, Peter Kusek, Ruslana Lichtzier, Elcin Marasli, Anthony D. Stepter, Devdutt Trivedi, and Michelle Weidman.
Co-Prosperity Sphere is located at 3219 S. Morgan St. Reception Friday, 6-10pm.
4. The Wishing Pelt at Defibrillator Performance Art Gallery
Work by Sean Fader.
Defibrillator Performance Art Gallery is located at 1136 N Milwaukee Ave. Reception Saturday, 8-11:55pm.
5. Better Left Unsaid at Peanut Gallery
Work by Nina Palomba.
Peanut Gallery is located at 1000 N. California Ave. Reception Sunday, 5-9pm.
How to Get to Mutualisms
September 7, 2011 · Print This Article
Several months ago, I was invited to share a blog with a stranger. On that blog, I was asked to write about art & reciprocity. I met Erik Hagoort that way. I read his posts and he read mine. Sometimes we responded to one another. The blog itself came from a larger project artists Kirsten Leenaars and Lise Haller Baggesen were curating. That show, Mutualisms, (opens this Friday September 9th at the CoProsperity Sphere) features work made by artists paired together–half of the pair comes from the Netherlands, the other half is local to Chicago. Over the last six+ months, these pairs have been working together, building a dialogue more or less from scratch, in order to install work here. It's a show about networks and relationships. It's a show about community, and how that can arise with an ocean between us. In addition to the exhibit, CoPro is also hosting a symposium on Sunday (September 11th, from 1-5) to address the issue of art and reciprocity: an interesting question, given that so much of what we think about in terms of community building and art relies on expectations of return, or taking turns, or sharing. How do those themes also manifest themselves in a discrete work of art born from collaboration? In the following interview, Erik and I asked Lise and Kirsten some questions about the origin of the show, how to think about it critically, and even how its global perspective addresses arts funding strategies.
Caroline Picard: So often an exhibition is the culmination of work; while of course, Mutualisms is a culmination,there has been an on-going dialogue taking place on-line via blogs (both the one that you all keep as the Mutualisms site, and of course the blog you invited me to participate on with Erik). How did you think to frame the project via blogs and exhibitions? And what was it like pairing artists in different parts of the world?
Kirsten Leenaars &Â Lise Haller Baggesen: We had just met in Chicago last year, right before the Propeller Fund application was due. One of the things we had been talking about is that we at times had missed an international influx of artists in Chicago. The other thing that struck us is that while having both lived in Amsterdam and now in Chicago we had been part of quite different artistic and friend networks that only partially overlapped. Adding these elements up thought we could combine our networks to create an extended grid from which to organize a show. So, you could say that the show also came about as a mutual exchange between us [Kirsten and Lise], due to a need of expanding our own artistic and social horizons, the main idea being that the art world functions more or less through connections and relationships. We wanted to create a platform through which we could facilitate these relationships and form new connections amongst our combined networks.
Because we both are primarily artists, makers, and curators and thinkers secondarily, we curated the show very much from the point of view of the individual artist's practice, rather than as an illustration of an intellectual or theoretical idea (not that we are anti-intellectuals, far from it!). So, we tried to combine artists that we felt had a similar approach or a similar sensibility, hoping that the connections we observed were something they could see too, or that they might discover their own links through a dialogue with each other about their own practices. When we invited the artists to participate in the show we made very clear that the dialogue between each pair was an essential part of the concept and that they needed to be willing to engage in this what undoubtedly was at times-especially at first – potentially an awkward exchange. Kind of like any first date can be. Some of the pairs readily jumped to the occasion and hit it off immediately, others definitively needed a little bit more time and coercing. Both and even the potential for a mismatch are part of concept of the show and we guess in some ways a risk we as the curators or organizers took. Our main objective really was to plant some seeds for potential mutual relationships that would grow and develop and extend beyond the scope of the Mutualisms project.
The blogs seemed to just be a very logic consequence of the fact that the artists were residing on different continents and the blog became a space where they could meet. Not just as a pair but also as the group on a whole. The blog allowed them to also see how the other pairs were connecting and what ideas were being exchanged. In addition we thought it would be make this process visible and public — often this kind of exchange often remains quite private – because the dialogue can get quite personal – but it gives great insight to the artist's practice and creates almost organically a context for the work and the show on the whole.
CP: Â There are some really incredible (and devastating, I think) movements in Europe (I guess I'm thinking largely about the UK) to cut funding for philosophy departments, art departments and even departments of literature. I understand from talking to you all the first day we met that a similar situation is taking place in Holland–and then too, I feel like some of the fears have twinged American consciousness as well (for instance, I'm thinking of what compelled Martha Nassbaum to write Not-for-Profit, which struck me as a defense of the arts). How do you feel this show might speak to that? In some ways, I'm asking because you're relating two vastly different arts-funding strategies (the mostly private American version vs. the largely government subsidized (is that even the right way to think about it?)) and suddenly the work of those systems is materializing here in Chicago which is so interesting, I think. Maybe especially because you both have had such extensive experience in both worlds…
KL & LHB: To begin with, the show was curated 'organically', from a practice kind of view; it's not really meant to illustrate a point about the pro's and con's of arts funding, or anything like that. That kind of got thrown in the mix, because of the rapidly deteriorating situation in the Netherlands, which came about simultaneously to us curating the show and, ironically, receiving a considerate amount of financial support from the Netherlands, for the show. So it kind of both reinforced the cliche about the 'spoiled' European artists, while at the same time highlighting the possibilities and the fragility that kind of position affords. Through that government support, Dutch artists were able to all come to Chicago, allowing for the artist pairs to actually meet. We have noticed that these physical encounters fortified the connections and dialogue and are raising the show to the next level. Bearing in mind too that the show in Chicago is only part one. Next summer we hope to host a show in the Netherlands, and we are asking the current participating artists to continue their dialogue with each other. How we will fund this show will be our next challenge…
Funnily enough, both sides of the arts funding argument like to pull the 'quality' card, as an argument for their stance. I.e. a private art market leads to 'better art' because the artists have to fend for themselves vs. art funding leads to 'better quality' art because you have a 'peer support system' that is free of commercial interests. But, when you look around in the show, it's not lack of quality that characterizes either group, to the contrary! There are different sensibilities of course, that are typical of American vs. European works, that has to do with a sense of place and belonging to a certain cultural heritage, but just as often it's hard to tell off hand which is which, and quality wise they are certainly level pecking!
Erik Hogaart:Â Â Since the mid nineties of the last century the so-called relational tendency in the art world seems to prevail. This is not only referring to Nicolas Bourriaud's famous statement of art being a state of encounter. The 'relational' has had a much wider impact, even extending into a feeling that networks of artists, curators, and audience not only surround the art work but become even artworks in themselves. This doesn't exclude the appreciation of artworks of course, artists and curators involve other artists and curators on the basis of what they make and do. Yet, relations, even friendship seems to take a bigger part of the "art's cake". Russian curator Viktor Misiano has called it the tendency of confidentiality. And a project such as Mutualisms could, thinking along, also be called a confidential project. What do you, Lise and Kirsten, think of this? What is the balance for you between creating an opportunity for artists to make works, and creating an opportunity for artists to relate to one another. These two aspects of Mutualisms are of course connected, but in what way?
KL & LHB:Â Two things were very clear from the beginning. One, we wanted to be transparent about
the way we had curated the show and where these artists were coming from. Yes, these artists were selected from our pool of friends and acquaintances. This is perhaps often an unspoken given — something acknowledged behind closed doors — but being transparent about that is really at the base of our concept for the show. And in that sense never confidential. In addition these relationships are documented and visible for the public on our blogs. Secondly, yes, the primary reason for choosing each of the artists was based on their own strong practices, not on how much we liked the individual. One does not exclude the other, and what could be potentially more productive than fostering a relationship between a pair of driven practitioners? The dialogue ultimately has the objective to allow new ways of looking at each other's practice, to inspire a dialogue about ways of thinking and making that ultimately find their ways back to an artist's practice. Of course if the match truly was a productive one, perhaps this can lead to other opportunities, further productions and collaborations etc. We do hope for these relationships – as mentioned before – to extend beyond Mutualisms. And if friendships are formed through this dialogue as well, than that is an added bonus.
EH: A question, which is philosophically triggered by Jacques Derrida's statement: "the artwork is vertical, and slightly leaning." This idea of the verticality of the artwork stresses confrontation, awe, being struck. Quite opposite is the idea of relationships and networks, which stresses horizontality, encounter between entities in the same/ equal position. Especially when artists connect to each other, and form mutual networks, how does these two models fit in? Mutualism, or reciprocity: how does it relate to these two concepts. Is there still space for the vertical within the horizontal?
KL & LHB: What you are implying here, is that inherent to an open 'democratic' curatorial process is the risk that the resulting product will also be 'democratic: i.e. not 'sublime', a risk you are also touching on with your questions for the symposium when you state: 'in the arts a strong tradition has opposed reciprocity. Art's autonomy should prevail above exchange.'
Yes, that is a risk, and a risk we embraced as we were preparing for the show, because the encounter or the exchange that this structure entails, also invites the possibility of the whole being greater than the sum of the parts. Just like the idea of democracy: 'together we are strong' this show was an open invitation to the artists to participate in a dialogue, in which they could make new art works that lay outside the boundaries of their own practice, or by pairing individual (existing) works that would allow the work to be contextualized in a new way. Some of the artists involved really stepped up to this challenge and engaged in a creative process, with an outcome that was surprising both to us, and to themselves. Others, you could say, 'played it safe' and are showing more in parallel.
Every art work implies an encounter, social relationship. Namely between the art work and the viewer. Approaching art in this way implies an investigation of the social situation in which art takes place and encounters society. It focuses on the encounter in the moment of perception and communication, it underlines the role of projection in the exchange with a spectator, a public which is constantly being reconstituted. What does that ephemeral, individual or collective imagination bring forth? In what way does imagination not only produce the artwork, but also a social relationship? This question is the primary one. Each of the artists that participate, create work. They have different ways of engaging in this process. But for none of the artists is the encounter in itself the artwork. Neither do we as the curators of the show, see the encounter, or the relationship as the work. The show is a model for exchange, this exchange happens between the artists, the curators and ultimately between the viewer and the work that is on display – a result of prior conversations. So with this show we also ask who participates in this process, and what does participation mean in this context? So the horizontal and vertical in our Mutualisms project are two axes in a grid where each of the artists individually and as pairs can be located on different positions within this grid.


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