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Open Thursday – Sunday
Closed Monday-Wednesday
Thursday: 10-5
Friday: 10-7, Free all day
Saturday: 10-5, Free 10-12
Sunday 12-5
Open Thursday – Sunday
Closed Monday-Wednesday
Thursday: 10-5
Friday: 10-7, Free all day
Saturday: 10-5, Free 10-12
Sunday 12-5
Open Thursday – Sunday
Closed Monday-Wednesday
Thursday: 10-5
Friday: 10-7, Free all day
Saturday: 10-5, Free 10-12
Sunday 12-5
1606 Paseo de Peralta
The latest education and outreach news from SITE Santa Fe and around the community.Outreach Hub
Alok Adhikari is a senior at St. John's College and an aspiring filmmaker. Growing up in Nepal, Alok was surrounded by cameras from a young age and started working with his father, who has made a number of documentary films, early on. He learned video editing after graduating from high-school and has edited short films as well as worked on feature film sets. Over the past three years at St. John's he has focused on cinematography and editing which he sees as two parts of filmmaking where one can choose what information to give, or not to give, the audience in order to tell the story well and keep them interested. Alok wants to tell stories through photography and film and is interested in the different aspects and stages of bringing a story in his head out onto the screen.
George Alexander (b.1990) is a Muscogee (Creek) Artist who lives and works in Santa Fe, New Mexico. He was raised in the state Oklahoma and moved out to New Mexico to attend the Institute of American Indian Arts in Santa Fe. George's painting style is inspired by the cosmos, philosophy, science, futurism, modernism, and modernist graffiti. His paintings study the connection of time, space, thought and spirituality. George's work is dynamically pleasing and has started to make a name for itself.
Amanda Beardsley
I am named after my maternal great grandmother Amanda, and my middle name Delora comes from my maternal great great-grandmother. On April 17th, 1992, my Mother Christine gave birth to me at the University of New Mexico Hospital, where my Father, maternal grandparents, aunt, uncle, cousin and two older brothers greeted me. My Mother is Choctaw, Chickasaw, Laguna, Seneca, Mescalero Apache, and German. My Father is Hopi. Being many different tribes is a result of BIA boarding schools. A few years of my life was spent living with my parents in Merced, California, Austin, Texas, and Madisonville, Louisiana. Recently, I became a recognized member of the Choctaw Nation of Oklahoma. I am fortunate to have a home in Laguna Pueblo and one in Albuquerque, so my lifestyle is both traditional and modern, just like my artwork. Some related experiences in my field of art include visits to Hopi-land to spend time with my father's family. There, I indulged myself in the exploration of the living symbols of tradition through attending ceremonies in the plaza. For many years my Hopi family has sponsored a clan ritual that enables me to view the motifs and symbols that display the traditional wisdom that the dancers' movements embody. Through the dancers' regalia I see forms, colors, shapes and texture. I'm fortunate that these rituals are still available to me as they enhance my ability to create art.
Brendan Barrett officially started his journey and training as an artist/designer/craftsman when he moved from Pittsburgh to Santa Fe in 2013. Since then he has received his Associates Degree in Fine Woodworking from SFCC and immersed himself in life changing educational experiences inside and outside of the classroom. He currently works too hard paying rent, but he has hopes to save enough to continue his studies and receive a BFA in Furniture Design. His friends might tell you he's a little too obsessed with furniture, but he believes the functional object holds amazing potential to convey information and ideas, not to mention comfort and beauty.
Kaitlin Bryson was born and raised in the high desert country of Reno, Nevada. In 2012 she graduated with a BFA from the University of Nevada, Reno. After receiving her undergraduate degree, she spent the next three years working on Biodynamic and Permaculture farms. The act of cultivating strengthens the intimate experience she shares with the landscape which in turn, greatly informs her subject matter and materiality. She works with natural materials harvested within her immediate environment in order to focus on locality and ephemerality. Often her work is made specifically to decay so that it showcases the life that grows off of degradation. Operating in this area of tension, Bryson sheds light on the fragile and vital balance between life and death systems, which usually exist as an unseen part of our lives and daily experience. Bryson is currently pursuing her MFA in Art & Ecology at the University of New Mexico.
Maggie Carson studies fine art at the Santa Fe Community College. A native of New Mexico, she spent her childhood fervently drawing and exploring the desert landscape with her twin sister. She spent her formative years in Taos, and began honing her skills while attending Chamisa Mesa High School. In addition to her creative medium, Maggie enjoys art history, classical antiquity, philosophy, and punk-rock. In her work, she attempts to address forms, figures, narratives, and ideals present in classical art, while capturing a tongue-in-cheek sense of modern angst and youthful folly.
David Campbell was born in Santa Fe, NM. Through his work he seeks to examine the human quest to place oneself in the universe, both on a day-to-day scale and a cosmic scale. He finds the absurdity of this desire for understanding to be both incredibly beautiful and massively frustrating, and his practice is inspired by this futility. In his recent work, this takes the form of interventions on NASA imagery, physically removing and accentuating the individual stars through the use of graphite, embossing techniques, and digital means.
Marina Eskeets
Much of my works are renderings of issues I faced growing up in Church Rock as a child, a girl, a Diné woman, a Native American, a person. There is a slightly strange humor that hints at Diné culture through out my work. Utilizing traditional Diné materials and elements, I try to reinterpret these mediums in a contemporary style. I draw ideas from the many layers of knowledge such as cultural, political, institutional, environmental, and psychological.
Erin Fussell is an intermedia performance artist interested in ineffable connections and relationships between people, animals and places. She draws on dance, music, film and science experimentation to bring the non-verbal, experiential undertow into the seen and heard. Originally from Portland, Oregon, she now lives in Albuquerque, New Mexico where she's working on her MFA in Art & Ecology.
Jim Hunyadi is a graduate student in Media Arts at Highlands University, and a retired journalist. He spent the last 25 years at Dow Jones LMG as a senior editor and senior systems analyst, where he was lead analyst on the largest project in the company's history – the selection and rollout of a company-wide content management system. As senior editor he played key roles in the development and launch of new print and digital products, such as the award-winning Ulster Magazine.
Tania Larsson is of Gwich'in and Swedish descent and she was born and raised in France. At the age of fifteen, she moved to Canada with her family with the goal of reconnecting to her culture and her land. She is currently pursuing her Bachelor of Fine Arts with a focus in digital arts and jewelry at the Institute of American Indian Arts. Tania is a founding member of Dene Nahjo, a non-profit organization that focuses on cultural revitalization projects. She constantly seeks out opportunities to learn traditional practices such as tanning hides on the land, making tools and sewing. Combining her traditional skills and contemporary arts education, she strives to create pieces that are inspired by her culture and delivered using digital technologies.
Phat Le's work expresses his interest in using math and language to communicate the relationship between different cultures through materials. He is currently a BFA Studio Art major at Santa Fe University of Art and Design. Le's studio practices include sculpture, drawing, painting, film and installation. His artwork has been exhibited in "The Young Curator" at Site Santa Fe, "Currents" the Santa Fe international New Media Festival, "Stubborn Matter" at Wade Wilson Gallery, Outdoor Vision Fest at Santa Fe University of art and Design, AHA Festival, Raw Earth exhibition at Red Dot Gallery, "Range" exhibition at Chile.
Born in Seattle, Washington, of half-Japanese and half-Caucasian heritage, emerging artist Nagisa Leonard uses precious metals, gemstones, and enamels to create unique pieces of art jewelry. Incorporating the spirit of many different influences, she balances the clean elegance of wearable jewelry with the Japanese concept of wabi sabi (rustic beauty) into her work. Working with contemporary creative ideas and carefully executed craftsmanship, Nagisa strives to produce one-of-a-kind pieces of unusual and beautiful art jewelry.
Amanda D. Romero grew up in Santa Fe where she enjoyed exploring the vast landscapes and culture of New Mexico. She has always had a fascination with sound and the way it enhances an environment in both literal and metaphysical terms. Amanda's work investigates the continually evolving relationship between humans and various environments and the way in which technology can serve as a mechanism of communication throughout these interactions. Amanda uses her background in music, video, and photography in such a way that permits her to explore these relationships. As well as interpersonal parallels, Amanda is interested in social practice and the way that art and sound can be used as healing mechanisms in both natural and self-generated environments. She has done extensive studies and practices in various art modalities and how they can be implemented as mechanisms for change and healing in individuals with varying forms of trauma and disabilities. Her passion for social practice and her affinity towards the recurrently progressing connection between humans, technology, and environments has shaped her work and created a commentary on the spectrums of these interactions. Amanda is currently in her senior year at the University of New Mexico where she is pursuing a BFA in Art Studio with an emphasis in Electronic Arts as well as a Minor in Arts Management. She will begin work on her Honors Thesis this Spring.
Chase Matthew Stafford is currently a Senior at Santa Fe University of Art and Design. He is interested in using drawing as a device to navigate space, and transforming the perception of the viewer. Recently Chase has shown his work in Trace Matter at Wade Wilson Art and at Fresh Santa Fe. His video work has been included in Currents 2015 at the Santa Fe Railyard as well as the annual Outdoor Vision Fest 2015, held at Santa Fe University of Art and Design.
Biographical information about the scholars:
Miranda Blas has always been creative and artistic. Her earliest memories involve messy paints, brushes, crumbly chalk, and the intense want to make things. As she has grown older and into her intelligence, she come to know art as a dynamic way of life. Her experience at St. John's College these past four years has deepened her appreciation for a creativity and her personal relationship to art. She is grateful for the recognition of this from the St. John's community and SITE Santa Fe.
Brian Clinton came to Santa Fe from Northern California in 2012 to attend the Santa Fe University of Art and Design. Arriving at school as a painter he quickly moved into sculpture employing a variety of media, most recently including video and audio components. Exploring each medium thoroughly in his work, Brian aims to apply them uniquely and successfully to convey his concepts. His work is greatly identity based, linked to personal experience and executed to connect to a broader spectrum of concepts and relate to the greater viewing public.
Melissa Dulanto
Andrea Gallegos was born and raised in Las Vegas, NM. She grew up working on a ranch, which is where she gained the appreciation of working and building projects with her hands, using mostly wood. She worked as a Production Manager and AD Operations Manager at an online advertising company for 4 years in Colorado Springs, CO. After the company downsized due to the economy collapse, she moved back to Las Vegas to finish her degree at NMHU. Andrea graduated with a BFA and is currently working on her masters degree in the MAC program at NMHU.
Jesse Garcia was born in Santa Fe, New Mexico and is where he currently resides. He did not have any formal training in the arts prior to attending CNM Community College (2010), and now attends Santa Fe University of Art and Design (2013-2015), perusing a BFA in Studio arts (final year). His work consists of narrative paintings encompassing personal a deep personal narrative exploring his own existence both here on planet earth in the physical and within his own mind. His work in progress associates with what he believes to be existence in four parts memory, being, waiting, and light. He often recreates scenes, incorporates symbology of his own design to examine not only the creation of his own narrative but to understand (or try to) how it can play a role on how the story unfolds.
Erik Gellert is an artist based in Santa Fe, New Mexico. His aptitude for the arts first emerged out of the medium of clay leading him to pursue the study of drawing and painting. He applied these skills working as a preservationist, working with historians to recreate wall textures and color schemes in many notable homes including the Frank Lloyd Wright Home and Studio. He moved from Chicago to Santa Fe in 2011 to pursue advanced studies in ceramics at Santa Fe Community College.
Lara Goldmann moved to New Mexico in 2013 from Berlin, Germany with a Stipe from the DAAD. Interested in the multi-disciplinary approach towards the arts here, she decided to continue her studies and pursue a MFA within the Arts & Ecology department at UNM. In her work she tries to re-interpret the differences and layers of individual perception, mainly in installations, using rhythm and repetition, fragmentation and quotations, single elements of various media to create a space that reaffirms and negates itself; an open end, a line of thought that moves in circles.
Emma Goos in her final year of studies at St. John's College, is an emerging artist. She grew up in the town of Aurora, CO, where life is often more a question of surviving than of thriving. Encouraged to put academics first throughout high school in order to escape said living conditions, a natural aptitude for the visual fell to the back burner. It was not until pursuing higher education at St. John's College that she was able to stoke the creative fire within her and, for once, allow that unrestful inner voice to express itself. Tentative at the idea of throwing oneself into pure expression, she has fiddled with different mediums, including charcoal drawings, fiber arts, and music composition. One medium which has risen above the others is photography. Just this past summer, she picked up a camera and began looking at the world through a tool which allowed her to simultaneously distance herself from the world whilst actively arranging what a viewer will see of it. She is now using the lens to explore anonymity. By portraying emptiness and silence, photography has enabled her to understand not only how she sees the world, but also how the world sees her.
Abbey Hepner is a conceptual artist investigating the human relationship with the landscape and technology. Using the mediums of photography, video, public art intervention, web interaction and electronic processes, she considers issues related to population growth, man-made disasters, and the complex and often contradictory roles surrounding technological progress. She addresses the psychological motivations existing in the gray area between political extremes and the complexity of hyperobjects. Hepner holds bachelors degrees in Art and Cognitive Psychology from the University of Utah. Her work on the topic of nuclear energy made her the recent recipient of a Puffin Foundation grant. She is an international exhibiting artist, recently finishing a body of work in Japan and participating in a residency and solo exhibition in Berlin, Germany. She is currently an MFA student in photography at the University of New Mexico.
Ian Kerstetter is an artist of Oneida and European-American heritage. He is currently completing his BFA in Art & Ecology at the University of New Mexico with a minor in Sustainability Studies. As a queer indigenous artist, Ian is passionately interested in the intersections of identity, food, community, healing, and storytelling. Ian is trained in a variety of traditional and digital media, and often works in interdisciplinary, collaborative contexts. His most recent work includes a mural in downtown Albuquerque created with young artists to celebrate growth and collaboration as central to healthy communities, and creating a food + identity workshop as part of his undergraduate thesis work. Ian is a founding member of Vecinos Artist Collective, a group of New Mexican artists who work to strengthen the endeavors of local organizations and communities through powerful artistic collaboration.
Betsy Leonard was born on April 5, 1991 in Montpellier, France. Her interests lie in the three-dimensional. The materials that she uses for her sculptures and instillations vary as the idea generally manifests itself before the construction. Although she doesn't favor any material over another she spent seven years building ponds. The familiarity with stone can be seen in her work. Leonard also has a fascination with light and shadow. The content of her work is directly affiliated with her past and present being. Because she traveled extensively as a child one can see ideas of displacement, longing, fear, and uncertainty as well as beauty. Her work also touches on sexuality as she has a fascination with multiple phallic forms. She equates these with death as well as they are also reminiscent of maggots. Leonard attended Maryland institute College of Art and design for a year and a half before transferring to Santa Fe University of Art and Design. She is inspired by many artists such as Louise Bourgeois, Yayoi Kusama, Tara Donovan, Bruce Nauman, and Sandy Skoglund.
Monty Little is studying at the Institute of American Indian Arts with a double major in Creative Writing and Studio Arts. His current work reflects on his experience of war and duration as a rifleman. Little's paintings and prints are his understanding and observations of his service during and after war. His multi-application of acrylic and oil, sand, joint-compound, and charcoal are the marginalia to his obscured memories. Little uses each medium as erasure, where unsettling truths reveal personal components and texture is integral, yet disruptive to find his past chaotic.
Jasper Mockingbird
Siera Reisler relocated to Santa Fe from Northampton, Massachusetts in 2013. She is a multimedia artist currently in her last year of undergraduate studies at Santa Fe University of Art and Design. Persistently exploring the thematic capacities of accumulation and endurance, her work is about the process of working. Often performance-based, her art objects reveal themselves through obsessive curiosity and extended duration. As of late, she is concerned with impulsiveness, inefficiency, and sparse functionality. She is especially interested in information and objects that are only useful in acutely specific situations, or those which were realized in an equally urgent and tedious way.
Franco Andres makes work located at the intersection of the naturally occurring and the manufactured while drawing from his own experience as source material. Andres grew up in Miami, FL and after a stint as a pre-medical student at the University of Miami moved to NYC where he studied at SVA and embarked on a career working with interiors. A move from San Francisco to Santa Fe prompted a shift in sensibility contributing to his current work's decidedly post-minimalist, gestural aesthetic.
Elizabeth Starks' background is in Studio Art: Drawing and Painting, and she has spent the last ten years designing for both print and web for such employers and clients as the San Diego Natural History Museum, La Jolla Historical Society, School for Advanced Research IARC, Museum of Indian Arts and Culture, the Haak'u Museum, and others. Her interest in exhibit design and cultural preservation led her to the Institute of American Indian Arts where she completed the Museum Studies Certificate, and she is currently in her last year of the Software-driven Systems Design Master's program at NMHU, developing digital and physical interactive applications for cultural institutions. In her own art, she is interested in combining traditional art making techniques with accessible electronics and exploring how, "smart," devices influence how we learn about our own cultures and express ourselves.
William Thoms was born in southwest Washington State in 1974 and raised in a failed timber community on the edge of the Chehalis Indian Reservation. Since receiving his B.S. in Motion Picture Studies from Emerson College, Thoms has parlayed his education and film experience into a broader study of the visual arts. Inspired by the special effects industry and applied sciences, his work pairs industrial and commercial arts mediums with an exploration of the traditional Coast Salish native motifs of his homeland. Thoms has exhibited in a handful of minor galleries on the west coast, spurring the emerging artist to invest in more formal art studies. He currently attends the Institute of American Indian Arts in Santa Fe, New Mexico concentrating in sculpture and fabrication.
Mira Woodson work embraces design through multiple lenses: textile + graphic design and photography + architecture all inform and reform her relationship with the built and imagined environment. She attempts to explore sensory experiences, narrative, identity, adjacency, and memory through storytelling. One of her interests is the storytelling role of textiles in historical narratives, and their continuing relevance in pop culture and couture today. Fibers chronicle emotional landscapes cultivated throughout the seasons. Whether in Peruvian embroidery, Japanese indigo, the soothing memory of a childhood blankie, or a runway show by Yohji Yamamoto are territories where personal and cultural stories are being told.
Please watch this video about our 2013/14 SITE Scholars:
Biographical information about the scholars:
Lea Marta Andersson moved to New Mexico in 2003 from Coeur d'Alene, Idaho. She received her Bachelor's degree from the University of New Mexico in 2008 and is currently an MFA candidate working within the disciplines of Art & Ecology and Painting & Drawing at the University of New Mexico, Albuquerque. Andersson has traveled widely, bringing notions of place, both geographical and cosmological, to her minimalist paintings.
Seiya Bowen is a Japanese-American student at the University of New Mexico, pursuing a degree in Studio Arts, Photography. Coming from a multi-racial background, Bowen is mainly interested in the theme of identity. His work questions our inability to relate as human beings and the barriers within ourselves that keep us separate.
Destini Duran is a fashion design student at the Santa Fe Community College and has been designing for about a year now. Destini loves fashion and creating beautiful garments for women of all shapes and sizes. She strives to make the woman wearing her clothes feel beautiful, elegant, sophisticated, but also a little edgy and sexy. In 2013 she was chosen to show for Santa Fe fashion week as an emerging designer. Destini's line is called Destinista Fashions.
Julia Edmonds is from the Kiowa and Caddo tribes of Oklahoma. She grew up in Southern California and has been attending the Institute of American Indian Arts in Santa Fe, New Mexico for the last 4 years. She is a senior majoring in Studio Arts, with a focus in painting. Her work leans towards Abstract Expressionism. She was inducted into the Alpha Chi National Honor Society on October 22, 2013.
David Estrada is an independent filmmaker and photographer, currently based in Las Vegas, New Mexico. He received a BFA in Film Production from the University of Central Florida and later served as a cinematography lecturer to UCF undergraduates. David worked as an editor and camera/photo assistant at Deeb Studios in Orlando, Florida, and as a freelancer and production assistant for various directors in New York City. He spent two seasons living in Denali National Park, Alaska, where he served as a photographer, cinematographer, and video editor for Aramark Sports, LLC, editing documentary-style videos for clients. David won the Best Cinematography Award at The Freak Show Film Festival in 2009 for the short film, "The Sleuth Incident". He won third place in the Cannes Young Lions competition in 2008 for his original commercial, "Our America," and his short film, "Tears in the Rain," won the Bronze REMI award at the Houston Worldfest. He has spent three years documenting the economies and lives of coffee farmers in Latin America. David has led photography workshops with National Geographic Student Expeditions programs in Alaska, Iceland, Greece, Italy, Ecuador and the Grand Canyon. He is interested in how photography is changing with emerging technology, and he wants to experiment with interactive media while he pursues his MA in Media Arts at New Mexico Highlands University.
Since childhood, Sango Imai-Hall wanted to be a cartoonist. After high school he attended the Center for Cartoon Studies, a new college dedicated to comics. After graduation, Sango enrolled at the Santa Fe University of Art and Design, where he hoped to improve his skills as a visual artist and creative writer. At SFUAD he became preoccupied with the questions every artist must face: Who am I? What inspires me? What is my message? He began exploring these questions in his work while also experimenting with different mediums and aesthetics. He has used his studies in art history and contemporary culture to understand his role in the artistic canon. Today, he sees a general discord between the arts and entertainment and wishes to rectify their differences in his work, utilizing both pop and academic culture to create meaningful yet accessible stories and artworks. Sango's work can be viewed at: sangoart.nfshost.com.
Shelbie Loomis grew up in Santa Fe, New Mexico, and currently attends Santa Fe University of Art and Design on a full scholarship. Shelbie uses monochromatic colors and themes to create large-scale charcoal drawings and sculptures that express controlled environments of life and death. She also utilizes materials such as graphite, ink, charcoal, light bulbs, copper, water, bug life, and plants. Shelbie is currently a senior and plans to attend graduate school in the fall of 2014 to further explore studio arts and social practice.
Diana Padilla is originally from Mexico City. She is now in her last year of college in the Santa Fe University of Art and Design, with a major in Studio Art. She loves painting, but her main interest is in museum and curatorial studies. Diana was an intern in the Education Department at SITE Santa Fe in 2012, and she is currently working as an intern at ARTsmart.
A.J Peters was born and raised on Bainbridge Island, a thirty-minute ferry ride from Seattle, WA. He began to dabble in digital photography in high school, and in little time, pulled his mom's Minolta out from the dusty shoebox it lived in and constructed a makeshift darkroom in the bathroom. At first he loved the ability to chronicle what was happening around him, but he slowly started to realize that his photos were actually more personal than that and shared an inward vision. After high school, A.J. spent seven months traveling in South America and felt at home with just a camera in his hand. He's since continued to shoot, using mostly digital photography. A.J. Peters currently attends St. John's College. His photos can be seen at http://cargocollective.com/torpedofish.
Elizabeth Shores is currently working on several projects under the umbrella of a faux institute called 'My Presence is Productive, Inc.', exploring different aspects of production, agency, and power through a series of projects ranging from performances and video archives to educational pamphlets, guided tours, drawings and paintings. Shores is seeking not only to understand the societal frameworks that define her by what she makes as an artist and as an individual, but also the ways in which these structures illuminate foundational concepts of society. Having received her BFA in Intermedia from The University of Iowa, she is currently pursuing an MFA at The University of New Mexico and has exhibited in museums and galleries both nationally and internationally.
Laura Walkingstick is an enrolled member of the Eastern Band of Cherokee Indians on the Qualla Boundary in Cherokee, NC. In 2005 she completed an AFA in Studio Arts at Institute of American Indian Arts and is now completing her BFA in studio arts, with her concentrations in ceramics and jewelry. At the age of 10 she learned how to sew pieces of scrap materials to make doll clothes. In 2006 while working an internship for the Museum of the Cherokee Indians she decided to create her own unique cloth dolls, fashioned in 18th century style clothing. Her inspirations come from Cherokee doll makers, Richard and Berdina Crowe, who made wooden dolls. Her work reflects various Cherokee traditions with unique contemporary ideas. While dolls are her main interest, she continues to explore historical ceramic works from a variety of cultures to incorporate new ideas and designs into her doll making.
Lauren Addario, AmeriCorps Cultural Technology Coordinator at New Mexico Highlands University
Scott Marshall Anderson, Painting and Drawing Professor, University of New Mexico
Ezra Estes, Program Head, Fashion Design, Santa Fe Community College
Mark Herndon, Studio Arts Chair, Institute of American Indian Arts
Adrienne Salinger, Photography Professor, University of New Mexico
Linda Swanson, Chair of the Art Department, Santa Fe University of Art and Design
Charlene Teters, Chair of the Art Department, Institute of American Indian Arts
Diane Tintor, Associate Professor of Art History and Jewelry and Metal Arts, Santa Fe Community College
Mary Tsiongas, Associate Chair & Graduate Director, Associate Professor Electronic Arts, Art & Art History, University of New Mexico
Edward Walpin, Assistant Dean, St. Johns University
Please watch this video about our 2012/13 SITE Scholars:
Biographical information about the scholars:
Brandee Caoba is mixed media artist, blurring the line between painting and photography. Her work alternates between analog and digital, and explores the relationships of how we relate to the narratives of myth and mythologies as individuals and as a society. She is the former apprentice of feminist artist and activist May Stevens, and most recently interned with Bostick and Sullivan furthering her exploration of hand crafted photography and alternative processes. She is in her final year at The Institute of American Indian Arts.
India Cochrane is from Baltimore, Maryland and is currently a sophomore at St John's College. She has been drawing her whole life, but she picked up art more seriously in high school where she built a portfolio of mostly charcoal drawings, oil paintings and a few pieces in fashion design. She rediscovered her love for visual art and took many painting and drawing classes in 9th and 10th grade, then in 11th grade she learned to design and create clothing. She decided upon a different route for college and chose St John's where she passionately studies the Classics of the Western world through the Great Books Program. Art is not offered at St John's; because of this she has once again rediscovered her love for making visual art and her need for a creative outlet.
Nina Dubois is an artist whose work and research focuses on the ways in which the built environment is informed by and reflects our understanding of natural systems. Through sculptural and architectural installations, she explores the pragmatic, phenomenological, and symbolic aspects of those relationships. After receiving a BFA from Concordia University in Montreal, she participated in the Land Arts of the American West program at the University of New Mexico, where she is currently finishing her MFA with a focus in Art & Ecology. Current projects include collaboration with Jeanette Hart-Mann and Chrissie Orr on the SeedBroadcast Mobile Seed Story Broadcasting Station, and SOUND COLONY, an outdoor sculptural/sound installation sited at the Alvarado Urban Farm in conjunction with ISEA 2012 Machine Wilderness.
Katherine Goldman started off as an art student, then changed course and spent a number of years traveling and working as a chef. She has recently become involved in making art again. She is currently attending Santa Fe Community College in preparation to complete her bachelor's degree in linguistics and art at the University of New Mexico.
Hannah Hoel's current work emphasizes repeated action, employing fiber arts within a formal setting while exploring the relationship between the handmade and the geometric. She is pursuing her second bachelor's degree at Santa Fe University of Art and Design in Studio Art after previously earning a BA in Visual Culture from Goldsmiths College, London, and an MA in Eastern Classics from St. John's College, Santa Fe.
A product of the Peace Corps, KB Jones was raised in the US and Africa. She received her BA from Columbia University in 2002 and lived and worked in the New York art world before moving to New Mexico for her graduate studies. A second year MFA candidate at UNM, she is primarily a painter. Her work is about the figure, culture, and the practice of painting: her connection to everyone.
Lucy Madeleine is a multidisciplinary artist working in performance, sculpture and installation. She is interested in the relationship between language and the body and makes work that explores this dynamic through visual metaphor. Recently relocated to Santa Fe from Los Angeles, CA, she is completing her BFA in Studio Arts at Santa Fe University of Art and Design.
KaiLani Mayer holds on to things. Her installations are carefully constructed spaces that incorporate both personal belongings as well as found objects. Focusing on preservation and the human impulse to keep things, she is interested in how we collect pieces of evidence of our past in order to have a way of understanding ourselves. She pushes her honesty, authenticity and vulnerability in order to establish an intimate experience with the viewer. Playing with both revealing and hiding, she strives to connect with the viewer while also maintaining a distance or sense of longing. Currently, she is working on her honor's thesis work for her BFA at the University of New Mexico.
Jessica Minnich moved from Portland, Oregon to Santa Fe where she is a junior at SFUAD. She is interested in ideas of morbidity and the uncanny and explores notions of gender identity through her performance.
Conor Peterson is in his final year of studies as a graduate student of Electronic Art at the University of New Mexico, where he moved after studying at The Evergreen State College in Olympia, Washington. Though primarily raised by roving packs of coffee and semi intelligent tree moss, Conor has taken a liking to the relics of nuclear science that litter the desert of New Mexico. Inspired by the historical complexity of the area, Conor has been transmuting the concerns of new media into novel technological works by applying his background in computer science and engineering. He recently helped to organize the Underground Symposium of Electronic Art, a metashow coincident with ISEA 2012 that emphasized local experimental art.
Alycia Smith was born in Oregon. She completed her BA in Philosophy at University of Oregon and is currently working toward an MA in Liberal Arts at St. John's College. Her primary focus in art is poetry and photography. She is interested in the notion of transience in art, and artwork as interactive and evolving activity.
Miles Tokunow is a multimedia storyteller. He is both an artist and educator. Currently a Masters Candidate at Highlands University in Las Vegas, NM, Miles is interested in creating interactive performance spaces combining dance, film and sound. Miles has worked at and with non-profits in Santa Fe teaching elementary, high school and college students how to tell their own stories through different forms of media. He is currently in the process of making collaborative art that focuses on social change through multimedia performance.
Trang Minh Vu was born in Saigon, Vietnam. One of 11 siblings and the youngest of 7 girls, she immigrated to United States after the Vietnam War. Trang earned her MFA in 1995 from UC Irvine in Video Installation with an emphasis on Marginalized Identity. She currently lives in Santa Fe, New Mexico, and is pursuing a degree in photography at the Santa Fe Community College. Her approach to exploring gender and the body utilizes a personal photographic narrative: a silent dialog with the camera. The subject is the viewer's perception of sexuality, emotion, cultural and social restraints. The visual language includes abstract elements, ordinary objects, fetish images and the human form. Nuance, innuendo, and symbolic constructions are all present and important.
Crystal Demientieff Worl is Raven moiety, Sockeye Clan, from the Raven House from the Chilkat region in Southeast Alaska. From her mother's side, she is Deg Hit'an Athabascan from Fairbanks Alaska. She was introduced at a young age to her traditional arts, practices, and story telling. Today she is a senior in both Studio Arts and Moving Images at the Institute of American Indian Arts. Crystal works in jewelry metals, glass, and painting. The forms Crystal focuses on are based on traditional Tlingit form line (aka Northwest Coast Design.) Today at IAIA Crystal utilizes her education to apply new techniques and ways of presenting that have not been done before to traditional designs and stories. It is her responsibility to carry on her ancestral knowledge of creation and life through contemporary story and art and pass it down to the next generations.
Lauren Addario, AmeriCorps Cultural Technology Coordinator at New Mexico Highlands University
Michael Hoffer, Design Chair, School of Arts + Design Program Head, Sculpture, Ceramics Assistant Professor, Fine Woodworking Santa Fe Community College
Scott Marshall Anderson, Painting and Drawing Professor, University of New Mexico
André Ruesch, Chair of Arts, Professor of Photography, School of Arts + Design at Santa Fe Community College
Adrienne Salinger, Photography Professor, University of New Mexico
Linda Swanson, Chair of the Art Department, Santa Fe University of Art and Design
Charlene Teters, Chair of the Art Department, Institute of American Indian Arts
Mary Tsiongas, Associate Chair & Graduate Director, Associate Professor Electronic Arts, Art & Art History, University of New Mexico
Edward Walpin, Assistant Dean, St. Johns University


text:
You may not have heard of the Oregon Capitol Watch Foundation, a self-described state budget watchdog group.
But if you've sent or received email to or from a state agency, you may soon be on the group's mailing list.
The foundation is in a race to use Oregon's public records law to obtain addresses kept in state agencies' email directories—giving the group essentially an instant mailing list to target potential supporters.
Jeff Kropf, executive director of Oregon Capitol Watch Foundation, says the timing is no coincidence: His group wants to get the email addresses before a new law takes effect Jan. 1, 2014, shutting down access to them. His group is targeting agencies that issue permits and licences.
"We'll do whatever we can to obtain those email addresses and communicate with Oregonians," Kropf says. "We're afforded this opportunity. Anyone is, as it stands."
The Oregon Legislature passed a bill in June to stop access to agencies' email directories after Rep. Dennis Richardson (R-Central Point) filed similar requests to build a massive mailing list.
Richardson drew complaints about his methods and tactics. A 2012 Associated Press story reported Richardson crashed the state's Web server by sending his newsletter and large email attachments to nearly 500,000 recipients.
Richardson, who's running for governor in 2014, is unapologetic. He says getting the email addresses helped him communicate better with Oregonians.
But he notes lawmakers put a Jan. 1 deadline in place instead of having the new law go into effect right away.
"By doing so, they welcomed anyone who wanted to make use of the law to do so before it became effective," he says.
Rep. Phil Barnhart (D-Eugene), who sponsored the bill, says email addresses collected by state agencies should be exempt from public disclosure.
âThe point of this bill is to prevent the wholesale request of emails for no reason at all,â Barnhart says, âother than youâd like to have them, thank you very much.â
Barnhart says disclosing citizens' email addresses could discourage them from communicating with state agencies.
But it's exactly those people Oregon Capitol Watch wants to reach.
The group also gives out a "Porker Award" to public officials or agencies it says have demonstrated "waste, fraud and or abuse with your tax dollars." When delivering the award, Kropf brings along a giant spray-foam pig, named Petunia the Pork Detective, on a trailer.
"Petunia is a celebrity except in the minds of those who get the award," Kropf says.
Past recipients of the award include the Oregon Health Authority (for its study of whether flickering shadows from wind-turbine blades could trigger epileptic seizures) and the city of Corvallis (for what the group says was misuse of an Environmental Protection Agency grant).
Kropf says people who have contacted state agencies might be receptive to the group's message.
"They are Oregon taxpayers, typically," Kropf says. "And they would probably be interested in the examples we have found in how the state spends their money.â

subset: commoncrawl


text:
Three things that will revolutionise your karate
1. Treat each demonstration by an instructor as if it is the first time you have ever seen it.
We look, but we fail to see, We listen, but we fail to hear. We observe, but we fail to understand. We've all done this and in many respects the longer we've been training the easier it is to fall into the trap of not paying attention to a demonstration or teaching point. It's easy to look at something and say "Oh, I know this" and not give it your full attention, or not look closer to pay attention to the finer details which may be left unsaid.
One of the most difficult challenges I faced when writing my most recent series of application books, the Pinan Flow System, was choosing how to describe and illustrate the actions of the application drills. Next to each picture I had space to write about thirty words. Thirty words and a picture to sum up a little element of an application drill when I could quite easily spend at least a good twenty minutes talking through all the different nuances and underlying principles of that particular element of the drill.
In similar vein when a drill is taught it is usually layered, with different elements being emphasised for the different audiences, and a normal lesson time explanation cannot begin to cover the depth of understanding needed for good practice.
The simple step of assuming you don't know anything about the demonstration that is taking place in front of you and trying to view it with fresh eyes to always seek extra details will make a huge difference to your karate.
2. Question everything.
I don't mean sticking up your hand in the middle of the class all the time and asking your instructor for more information. Your instructor is teaching on a tight schedule, they are giving you as much information as they feel you need to know and have to balance the training needs of all the other students. If you need to ask your instructor a question, often it is best to wait until the end of the class; it's not good manners to interrupt everyone else's education and training.
If you are given a rationale for a drill or exercise, apply a solid BS filter to it. This will mean that you have to put in time to get the background knowledge to understand whether it is BS or not. The nature of your filter will depend not only upon your knowledge level (and the quality of your source information), but the purpose of your filter; are you looking for optimum training for strength, balance, flexibility, aerobic fitness, competition success (in kumite or kata) or self defence?
A lot of people peddle information that may have passed a BS filter back when they were first being taught, but time and research have since shown to be wrong. They may not be aware what they are teaching is inaccurate or flawed. Other people peddle false information because they've never done any real research on the topic and are relying on their imagination, their own very limited experience (which they may not realise is limited simply by being personal) or movies.
Do your own research. How does this work? Why does this work? When should this work? Where does it come from? How can I improve this? What do I need to change to improve?
3. Train at home, no matter how little time or space you have.
As an instructor it can be frustrating when you run several classes a week but students only make it to one. What we often fail to realise is how lucky we are to get that student at just that one class. Often on chatting to students I find that they may be out another one or two nights a week pursuing other physical hobbies (such as running, or tennis, or swimming), looking after the children at home on another night while their partner goes out to an activity, acting as a taxi service to children on other nights for their activities, and if they are lucky actually getting to spend one or two evenings a week at home with their partner. All this on top of working throughout the day earning money!
The reality of modern life is that it isn't easy for many students to come to class more than once a week. The reality of karate is that you need to train regularly to see improvement. The two are not mutually exclusive.
You do not have to train in long sessions to have beneficial karate training.
Every good repetition of a movement counts. That means you can train for 30 seconds standing on one leg or rotating your hips while waiting for the kettle to boil, or a partner to come down the stairs before you go out rather than pacing in front of the TV. You can do a lot in a five minute session, and it is easy to find a five minute or ten minute moment in the day, and probably better for you than sitting down. Anyone can find time for personal training if they want to find time for personal training.
You do not have to break a sweat or change clothing to have beneficial karate training.
You can't train because you don't have time to change or shower? That shouldn't be an issue. You don't need to break a sweat for good training. Training comes in many forms, and as I've written here, often the best form of training is slow movement focusing on precision, good biomechanics and balance. You can sweat when you go to your karate class, or engage in any other form of exercise you practice.
You do not have to have lots of space to have beneficial karate training.
You can achieve a lot standing on the spot. There are lots of different upper body, hip movements and weight transference exercises you can do on the spot. It's great to have a fair bit of space, but you can easily improve your karate just by standing on the spot.
You do not have to have a training partner to have beneficial karate training.
Paired and multiple person work is obviously a big part of karate, but you do not need company to improve your kihon or kata. If you have a kick bag, speed ball traditional strength tools or a makiwara at home you can work on those. Playing tug of war with reasonably sized dog is a great way to improve your hikite, and you may learn a lot about good biomechanics by observing how your 'training partner' utilises its whole body.
Try these three things for just one month and see how your karate improves!
Final Pinan Flow System book released!
Foreword by Iain Abernethy.
'So here we are with the final volume of this series of books from John Titchen! You can now see John's full interpretation of the Pinan series! How cool is that!
Gichin Funakoshi – who is frequently referred to as "The Father of Modern Karate" – wrote the following in Karate-Do Kyohan about these kata,
"Having mastered these five forms, one can be confident that he is able to defend himself competently in most situations".
The Pinan / Heian series were therefore always intended to be a holistic self-protection system; and I think John's books have shown a great way in which this traditional view can be realised!
While the past masters passed on the kata and a great deal of information about how they should be viewed and understood, they did not pass on a complete picture of the applications of the kata. We traditional pragmatists therefore have to do a little analysis ("bunkai" literally translating as "analysis") in order to understand what the kata have to teach us. This invariably leads to differing "bunkai theories".
When science sets out to assert a theory, that theory needs to be able to explain all the existing data and, crucially, it needs to be able to make accurate predictions. For example, the theory of gravity explains everything we see on an everyday scale, and it makes accurate predictions about how future events will occur. We can dismiss gravity as "just a theory" but if you step off a high building you are going to fall and accelerate at a rate of 9.81m/s until the resistance of the atmosphere has you reach terminal velocity; or you hit the floor (whichever happens first).
Now, does this mean we know for a fact and with 100% certainty how gravity works? The answer is no, we don't. But the theories we have explain all the data and make solid predictions. We can put satellites around distant planets with these theories! I would say a similar process needs to be applied to kata i.e. any application needs to explain all the data and make predictions (i.e. work when tested).
Any bunkai theory needs to address the following three points:
- The bunkai must adequately address all parts of the kata (i.e. explain why the kata is as it is).
- The bunkai must be in accordance with the historical information we have.
- The bunkai must be functional in the context of civilian self-protection.
If a given set of bunkai can do that, then it is valid. In science there are sometimes competing theories, but all are valid if they can explain the data and they work.
John's take on the Pinan / Heian kata is a very logical and well-structured bunkai theory. It is not a collection of "tricks" which happen to look like the motions of the kata, but a valid bunkai theory based on, and permeated by, sound underlying combative principles. It's not the same as my theory, but I acknowledge its utility and the fact it meets all of my personal criteria for validity. It is very good stuff!
Now that the series is complete, you can take the information presented within and run with it "as is", or use the information John has given you to help inform your own take on the kata series. We can then move past the "analysis stage" to use the kata in the way Funakoshi said they were originally intended: as a holistic self-protection system. This is what John has presented.
These books have made a great contribution to the collective knowledge base of the practical karate community. Well done to John for writing them! Well done you for reading them!'
Iain Abernethy
Available across the globe the fourth and final volume of the Pinan Flow System is now available as both a paperback and ebook! Use the UK links below or visit your 'local' amazon provider or order it at your local book store!
I can now share with you all my 'starting points' for training the whole Pinan / Heian set of kata. This is not an end, this is just the beginning!
http://www.amazon.co.uk/gp/product/151922947X http://www.amazon.co.uk/gp/product/B0180YC2IU
De-escalation Tactics – Part Two
This four part series is designed to be a brief introduction to the field of non-violent resolution tactics.
Part One – Underpinning Principles
Part Two – Verbal Approaches
Part Four – Personal Psychology
This is such a huge topic that it seems trite to try and narrow it down to a simple set of guidelines that will help people. Some people don't need (much) advice or training. They already have the 'gift of the gab' and can smoothly talk their way out of trouble under pressure or indeed talk another person out of trouble.
Unfortunately if you are not naturally talented then the best way to improve is practice. Real practice comes with risk and potential cost and in any case unless your job requires it your primary aim should be to avoid putting yourself in situations where de-escalation skills are required. Despite that, the underlying principles of good de-escalation are those of good communication, and those are skills that we can all work on all the time.
What you say will depend on the circumstances. I can't tell you exactly what to say. What I can do is share a teaching mnemonic that I use to outline underlying approaches. This mnemonic is deliberately simple, with each headline word conveying an overall message and each heading letter summarising a number of different skill sets.
READ to LEAD to DEAL
We want to read a situation accurately so that we can lead it to a successful or safe resolution by achieving a deal that both parties can accept.
RECOGNISE if a verbal strategy is viable or appropriate under the circumstances.
EXPECT a physical response at all times and maintain alertness and a safe posture.
ADAPT your tone, volume and phrasing to that of the other person and if possible use to build a connection for good communication.
DECIDE on and constantly re-evaluate what you think is the best course of action.
LISTEN to what the other person is saying.
EMPATHISE with their point of view to enable you to ask how best to help or offer a solution.
ACKNOWLEDGE the issue that is being raised and try to offer a solution.
DISTRACT (and defuse tension) by asking open-ended questions, by involving other people, or (if necessary) to create an opportunity for a pre-emptive strike.
DISTRACT (and defuse tension) by asking open-ended questions, by involving other people, or (if necessary) to create an opportunity for a pre-emptive strike.
EMPATHISE with their point of view to enable you to ask how best to help or offer a solution.
ACKNOWLEDGE the issue that is being raised and try to offer a solution.
LISTEN to what the other person is saying.
LEAD to DEAL is not simply a catchy mnemonic. The fact that the meanings are the same but the order has changed is a reminder that communication is a constantly changing fluid process.
De-escalation Tactics – Part One
This four part series is designed to be a brief introduction to the field of non-violent resolution tactics.
Part One – Underpinning Principles
Part Four – Personal Psychology
All aggressive and violent behaviours have underlying causes, which could be summarized under the headings of chemical factors and psychological factors. These are interrelated but for the sake of brevity are listed separately. Understanding and influencing these (through communication) is the best way to resolve conflict.
Motivating factors
These may be far more varied than the examples listed below, but can generally be categorized as immediate or primary causes and underlying or secondary causes.
Immediate causes affecting decision-making and behaviour:
Physical presence or (over-long) eye contact interpreted as a challenge, overly alpha or beta male body language, a push or stumble into a person, the spilling of food or drink, a vehicle accident, peer pressure, denial of a perceived need.
Secondary causes affecting decision-making and behaviour:
Family or work stress, suppressed anger (generally linked to the former but inhibited by potential consequence), racism or social/political beliefs, past experiences, peer pressure, the role and acceptability of violence and aggression in both upbringing and normal social environment, fatigue, past success in achieving aims through aggressive or violent behaviours.
Inhibiting factors
These could be categorized as physical and social factors.
Physical factors:
The relative sizes of parties involved, perceived strength and ability of the other party, the 'known quantity' of the other party, body language, perceived alertness, company (of either party), immediate consequences, likelihood of injury.
Social factors:
Peer reaction – acceptance or alienation, legal and family or work repercussions, the social acceptability of aggression and violence within the individual's social group.
Through positioning, body language, listening and using appropriate tone and speech the underlying aim should be to attempt to reduce the individual's motivation to continue to use aggression and possibly attempt violence, while strengthening their inhibition against such approaches.
Alcohol or other substances weaken inhibition and can reduce awareness and comprehension. This will affect the ability of another person to influence the individual's motivation and inhibition.
Underlying medical conditions
Due to a pre-existing health condition the other person may not necessarily be on the same 'operating system' as everyone else and may not respond in the same way.
Aural and visual exclusion along with other side effects of adrenaline may hinder communication and attempts to influence the individual's motivation and inhibition.
It is unlikely that there is much that you can do once an incident has already begun that will mitigate underlying chemical factors. If spotted early enough then the effect of drugs such as alcohol can be reduced by slowing absorption into the blood stream by providing food and withdrawing further alcohol (if safe to do so), but these are factors that are largely outside your control.
It is important to be aware of the role of chemical factors as 'tipping points' in an individual's behaviour patterns. Whether they are part of the primary or secondary cause of the problem they may lower the probability of a successful non-violent de-escalation.
Not seeing the wood for the trees
The techniques of karate kata have many possible interpretations. What each individual sees in the kata will vary according to their own experience and how skilled they are at identifying potential applications.
Not every application taught need be practical.
As a case in point in my Shotokan classes I teach a wrist grab defence using kata movements that isn't the simplest or most effective method of escape, but is a very effective drill for teaching appropriate positioning, optimum biomechanics and principles of controlling and unbalancing. While doing so I always stress that it is drill about biomechanics and usually show the faster escape. In similar vein for my Heian / Pinan Sandan drills in both the older Heian Flow System and the more recent Pinan Flow System I included a spinning back elbow and back fist. While this has been successfully used in the UFC, it is not the most practical of techniques, but its inclusion was to a large extent to illustrate that point by making it an opening for students to unpredictably encounter a number of different positions and attacks which would lead to spontaneously training other drills.
When an application is specifically designed for practical use I notice that some people often fail to see the wood for the trees.
It is easy to over-focus on mimicking the techniques or sequences of the form but forget the overall context. If you need to strike, control or escape from another person then they will also have an agenda.
This means that they are unlikely to be holding you limply, are likely to be prepared to hit you, or may continuously be trying to hit you or get to a position where they can hit you unless you take steps to prevent that. Always protect your head and as much of your body as you can.
Unanticipated aggressive and violent confrontations tend to cause a significant adrenaline release unless you are very familiar with them and a non consensual or unpredictable event will cause different reactions to a predictable or fully consensual one. In such situations even very well trained people have difficulty utilizing fine motor skills or targeting accurately and this should be reflected in applications (for example see my kicking in self defence video). The same hormonal cascade (along with other substances) may render pain compliant / dependent techniques ineffective.
The context of the drill should be realistic if the drill is supposed to be for self defence. Appropriate habitual acts of violence (HAOV) rather than style or rule format specific attacks, and not over-skilling or under-skilling attackers / training partners. In similar vein you need to be clear whether what you are doing is legal for the envisioned circumstances if you are training it for practical purposes rather than historical curiosity.
Hitting or striking a resisting person isn't as easy as working with a compliant training partner. As a general rule at close quarters (where most violent incidents occur and remain) you will need to strike to control and control to strike.
When people get hit, they move, even when you are holding them. Combinations should take this into account. This quickly becomes apparent when you are making contact or receiving contact in training.
The potential of practical karate kata application is incredibly vast, but when interpreting kata for such purposes the 'trees' of the individual skill sets should always be seen within the context of the wood that represents the nature of actual violent confrontations.


text:
20W PCB mount AC DC converter in an ultra-miniature package
Relec Electronics is pleased to announce the availability of the latest addition to Mornsun's successful LD series of AC DC converters, with the 20 Watt LD20 series PCB mounting products. The LD20 offers high efficiency, low ripple & noise and good EMC performance all in an extremely small 53.5 x 28.5mm footprint. Key features of the LD20 include:
- Input voltage: 85...264VAC or 120...370VDC
- Low ripple & noise <50mV
- Up to 83% efficiency
- EN55022 class B EMC emissions
- EN55024/IEC61000 level 4 immunity
- Ultra-small footprint 53.5 x 28.5 x 23.5mm
- Ultra-low power consumption - standby power consumption <0.5W
- Output short circuit, overcurrent and overvoltage protection
Meets UL60950 and EN60950 certification standards
The ability of the LD20 series to operate from either AC or DC input supplies lends itself to applications in a range of industries including power metering, instrumentation, medical, railway & communications amongst others, all of which require a small, low cost, and high reliability solution.
The LD20 series is available in standard output voltages of 3V3, 5V, 12V, 15V & 24V. Samples are generally available from stock at Relec with production volumes on a 4 week worst case lead-time. Contact Relec Electronics technical sales staff for further information and availability on samples.
John Stone
Sales Director


text:
Josh Harvey-Clemons, the No. 1 outside linebacker in the 2012 class, is a physical specimen. He possesses the athleticism, length, height and mobility to be a scary speed pass-rusher off the edge.
UPDATE: Wednesday, Feb. 1, 3:35 p.m. ET by Donald Wood
And the drama just keeps on continuing in the Josh Harvey-Clemons camp this afternoon as now the talks of his grandfather Woodrow, who is the prospect's legal guardian, will not sign off on the paperwork necessary to commit to Georgia.
The Atlanta Journal-Constitution is reporting that Josh's uncle Roy Hart spoke to the paper on what's going in with the situation:
Did Woodrow want Josh to sign somewhere else than UGA? "Oh, I … (long pause) I don't know. I would be speculating."
Was the family surprised that Josh picked up the UGA hat? "I think a lot of us were surprised."
Where did the family think Josh was going? "I don't really know. Personally, I thought it would be down to Florida and Florida State. I thought it was coming down to those two. I'm saying that because of the drive and closeness to those two schools."
Do you think Josh will sign somewhere on Wednesday? "I don't know. I don't know where his grandfather is. He has kind of been missing in action, so to speak. I can't get him on the telephone.'
With another wild turn in this situation, keep it here for all the latest updates on when and if Harvey-Clemons will sign his letter of intent.
UPDATE: Wednesday, Feb. 1, 3:25 p.m. ET by Donald Wood
Conflicting reports have Harvey-Clemons going back on his word to sign his letter of intent with Georgia, but things have calmed down and reports now say that the paperwork will be in.
Examiner reporter Kevin McGuire is reporting on twitter:
This is great news for Bulldogs fans that have been pulling their hair out since the news that his letter hadn't arrived on campus. Until the letter arrives, though, tensions will remain high.
UPDATE: Wednesday, Feb. 1, 3:10 p.m. ET by Donald Wood
While Josh Harvey-Clemons went on ESPN U early this morning and announced that he would be attending Georgia, there is word that the Bulldogs have yet to receive his letter of intent.
There is a feeling that there may be a struggle in the family that may be holding up his commitment. Clemons was considering several different schools before finally choosing Georgia.
ESPN Publicist Mark Hume is reporting:
Harvey-Clemons has decided to sign with the in-state Georgia Bulldogs instead of the Florida State Seminoles or the Florida Gators. He made his decision at 9:15 a.m. ET on ESPN U in front of his school, friends and family. In cadence with what this day has become, Harvey-Clemons used his sister as a prop to show the world that he choose Georgia.
Georgia Bulldogs beat writer for the Athens Banner-Herald Marc Weiszer is reporting on Twitter as well:
Harvey-Clemons has shown the ability to be explosive off the snap, although there are times he isn't consistent in this regard. As far as pass coverage, he's able to drop into space very quickly and he's likely to surprise plenty of opponents with his ball skills.
In terms of covering the run, Harvey-Clemons has true sideline-to-sideline ability and his range makes it hard to run on the outside.
For now, though, you have a physical, speedy recruit who can sneak up quickly in the backfield and make tackles for losses. Given his lack of size right now, he's very much a work in progress, but the potential is there for him to become a star in college ball.