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About The Watermill Center's Artist Residency Program
Watermill's Artist Residency Program began in 2006, when The Center officially opened as a year-round facility. Each year collectives and individual artists take up residence at The Center to live and develop works that critically investigate, challenge and extend the existing norms of artistic practice. Artists-in-Residence share their creative process with the community through open rehearsals, workshops and artist talks.
Artists-In-Residence receive access to an extensive collection of resources central to the Watermill experience: 20,000 square feet of rehearsal/design spaces and outdoor stages; a theater production archive; The Watermill Center Study Library; The Watermill Center Collection; and The Center's eight-and-a-half acre landscaped grounds and sculpture gardens.
Applications are reviewed by a distinguished international selection committee composed of artists, academics, and cultural leaders across all disciplines. To date, we have hosted over 170 residencies featuring artists from more than 65 nations.
For more information about the residency program's application process, click here.
The Hutto Project
In residence: January 4 – 30, 2017
The Hutto Project: Next Steps
Filmmaker Brune Charvin, writer Khesrau Behroz, and composer Kate Eberstadt will come together for postproduction on The Hutto Project, a music and performance education program that took place in an emergency refugee camp in Berlin during 2016.
First, they will review all of the footage that Brune shot within the music classroom. From this, they will create a library of footage, images, and documents from The Hutto Project, organized by theme.
From this library, they will begin two creative collaborations.
(1) A film project, directed by Brune, soundtracked by Kate
(2) A writing / media project, directed by Khesrau:
"Out of the thousands of pictures and hours of video material we choose the one that we personally connect with because they remind us of our own past, our own moments. We then write short pieces of (abstract) texts to accompany those images and videos. At the end, we will have interwoven synapses of the lives of the kids we have worked with our very own memories."
Khesrau Behroz is a writer and conceptual artist. He was born in Kabul (Afghanistan), socialized around the world, and is currently living in Berlin (Germany). He studied at Free University in Berlin as well as New York University. As an artist, he created the project "When Kennedy Died" that deals with the impact of U.S. drone strikes on his own personal life, and "Wish You Were Here" that deals with the impact of drones strikes on other people's lives. His artistic endeavors were featured in Zeit, Vogue, Deutschlandradio, Tagesspiegel, and other publications. He was awarded a literature work stipend by the Berlin Senate and he was artist-in-residence at the Watermill Center. Behroz is currently writing his first novel that is based on the true story of his parents and grounded in the fantastical beauty of fiction. For more information, please visit www.khesraubehroz.com
Brune Charvin has traveled and worked as a photographer and videographer throughout four continents, building her own sense of what 'culture' and 'international' means today. From two short documentaries in Senegal, to working with Robert Wilson in New York as part of his documentation team, Brune explores music and movement as an international language. Brune's filmography includes:
<> 6th British Shorts Film Festival in Berlin
<> Edinburgh DANCE FILM: 11,
<> Clermont-Ferrand 2011
<> BFI Future Film documentary
<> Eurochannel European short film Tour // US channel Eurochannel.
Brune lived in Indonesia from 2013 to 2015, where she worked on Athirah, the new feature directed by Riri Riza, and conducted research on her new short documentary Rasa, an intimate journey through dance and self-discovery. Recently, she was a documentarian for the Hutto Project. For more information, please visit: http://www.charvinbrune.com
Kate Eberstadt is a multidisciplinary artist and founder & music director of The Hutto Project. Eberstadt graduated from Columbia University with a degree in English Literature. She has worked as a performer, composer, writer, and director, with artistic residencies at The American Academy in Berlin and The Watermill Center. In various costumes and personas, she has performed with artists such as Robert Wilson, Lady Gaga, Christopher Knowles, Kembra Pfahler, and Ilse Pfeifer, on stages including the VMAs, Art Basel Miami, on VH1, and various works in New York, Washington DC, and Berlin. She has written for The Berlin Journal and Slant News, and her work has appeared on NPR, Mic.com, Der Tagesspiegel, and other publications. Kate is currently writing an album with her sister, composer/musician Izzi Eberstadt, as well as a solo music project, both of which will be released in 2017. For more information, please visit: http://www.kateeberstadt.com
The Hutto Project aims to create space for children of displaced populations to share their voices. In collaboration with The Red Cross and The American Academy in Berlin, The Hutto Project team established a music and education performance program within an a refugee camp for a group of children between the ages of 3-14, coming from Syria, Afghanistan, Iraq, Iran, Moldova, and Palestine. Our classroom was in operation from February to July 2016. During this time, we rehearsed 3 times a week, hosted 12 guest artist workshops, recorded our work at Funkhaus studios, and held public events at the Konrad-Adenauer Stiftung and ZK/U. The Hutto Project was developed in residence at The Watermill Center in January 2016 and brought to fruition in residence at The American Academy in Berlin. Our work was made possible by the generous donations of people around the world through a crowdfunding campaign, as well as sponsorship from Daimler and initial support from The Watermill Center. For more information, visit our website: http://www.thehuttoproject.com
Khesrau, Brune, and Kate are all alums of the Watermill Summer Program 2015.
Image credits: Meaghan Elyse; © Brune Charvin
Cleek Schrey
Fiddle + Electronics
Fiddler and composer Cleek Schrey experiments for a new work using electronics and his own unique instrument: the Hardanger d'amore, a custom-built violin with 10 strings, 5 of which ring sympathetically beneath the fingerboard. Schrey will futher engage the performance space by introducing radio frequencies and light.
Cleek Schrey is fiddler, improviser, and composer from Virginia, now based in NYC. Recent engagements include the Beckett in London Festival with Gare St. Lazare, a solo appearance at the Kilkenny Arts Festival, and Roulette Intermedium with David Behrman in a concert curated by Meredith Monk. He has studied composition with Behrman, Paul Caputo, Bunita Marcus, and Ronald Kuivila. The journal Sound Post has noted that Cleek "possesses a rare combination of traits: deep respect for traditional music and the people who make it, and an unbounded curiosity about new directions for sound." He is currently pursuing a Masters in Music Composition at Wesleyan University.
Image credits: Portrait 1; Project image; by Alex Fabry
Gillian Walsh
In residence: February 1 – 17, 2017
Gillian Walsh is an artist and performer from Brooklyn, NY. Working with and against an NYC experimental dance lineage, she produces formalist postdance choreographies. Her recent works include xgzdiiiiiicdiirrwjfffffffff (New York Live Arts), Dance studio life✌These girls were amazing today! (Artists Space Books & Talks), 👏 life seems like a ьeAten path ?!? (Dominique Levy), and Scenario: Script to Perform (The Kitchen).
While in residence at The Watermill Center, Gillian Walsh collaborates with writer Emily Hoffman to develop a new work modeled after 9 Evenings – the 1966 collaboration between artists, dancers, and Bell Labs – by applying choreographic thinking to an entirely different technological landscape.
Image credits: Gillian Walsh in Scenario (2015); Scenario II at New York Live Arts Feb (2016), pictured: Emily Hoffman, Gillian Walsh, Maggie Cloud;
Photo © Paula Court.
In residence: February 22 – March 10, 2017
Black Box
P.L.U.T.O. – an ensemble of stage directors, actors and writers formed in 2015 at Lincoln Center Director's Lab – will produce a live performance piece titled Black Box that creates and communicates a dialogue between their various backgrounds and cultures. In advance of their residency, each member has been assigned to bring one black box with the precise measures: 30cm x 30cm x 30cm. The contents of the box will contain elements related to their personal history and their country's identity including; a piece of news from a paper or magazine, a book, a song in MP3 format and two surprise elements, among other objects.
P.L.U.T.O. is made up of theater directors from all over the world who come together to create collectively and to expand both their geographical and creative frontiers. They constantly challenge themselves with questions such as; How do we produce theater today? What make us complementary? Is it possible to create an art piece that dialogs with all our different cultural backgrounds at the same time?
Group / Collaborators: P.L.U.T.O.
Anton Krause – Director, Performer, Germany
Bruno Guida – Director, Performer, Actor – Brazil
Celeste Veleda – Director, Writer, Actress – Argentina
Luciana Lagisquet – Director, Writer, Actress – Uruguay
Shady Nafar – Director, Actress, Writer – France
Neel Chaudhury – Director, Performer – India
Image credits: courtesy of Bruno Guida; PLUTOALL, courtesy of the artists
In residence: March 15 – March 31, 2017
ALARM (Working Title)
performance, visual art, sound, theater
During their Watermill residency PHYSICAL PLASTIC – a recently formed LA-based theater project between Kestrel Leah (UK) and Yiannis Christofides (Cyprus) – will collaborate with visual artist Dasha Sur (RU) and choreographer Brigette Dunn-Korpela (USA) to develop ALARM (Working Title). a stage performance based on security alarms and the mythic ancient Greek sirens. They plan to utilize the resources at The Watermill Center to further reveal the structure of the performance, to further develop its choreography score symbiotically with the sound score, and finalize design elements.
Kestrel Leah is an actor and director working internationally across stage and screen. She completed her Masters in Acting at California Institute of the Arts, where she was awarded the Provost's Interdisciplinary Grant as well as Dean's and President's funds to support her interdisciplinary endeavors and study of Suzuki technique. She is also a regular collaborator with WaxFactory theater company. Dance/choreography credits include collaborations with Parisian artists Julie Bena and Duchamp Prize winner Julien Previeux. As a director, Leah often collaborates across music, film, dance and visual art, and she has shown work at venues such as Human Resources (LA), The Garage (San Francisco) and The Vail International Film Festival. In previous years, she has worked as a producer and curator for the Boulder International Fringe Festival and the Vail International Film Festival.
Yiannis Christofides (b.1985) is a composer, sound artist and sound designer. Much of his work investigates our experience of place through the use of field recordings as principal material. His particular interest in field recording is in relation to the contextual aspects of sound and the intersensory experience that it affords. His work has been presented at leading venues and institutions throughout Europe and the U.S. including the Athens & Epidaurus Festival (GR), New York City Electroacoustic Music Festival (US), La Triennale di Milano (IT), Ecos Urbanos Festival, Fonoteca Nacional de México (MX), Internationales Klangkunstfest Berlin (DE), Point Centre for Contemporary Art (CY), Metamatic: The Art Foundation (GR), Queen Elizabeth Hall, Southbank Centre (UK) and Los Angeles Contemporary Exhibitions (US), among others.
Image credits: Yiannis Christofides & Kestrel Leah (portrait); Kestrel Leah, ALARM (Working Title)
William Stewart
In residence: March 15 – 31, 2017
visual art
During his residency, Stewart plans to develop monoprints that extend on ideas in his watercolor paintings started in Venice. Although he has painted with watercolor previously, these works mark a shift away from the figurative and towards abstraction. The New Mexico–based artist looks forward to witnessing how the landscape of Long Island's East End will inform these new works.
William Stewart spent his younger years in New York City, during the wild 60's and 70's. It was during this period that he re-met Watermill Founder & Artistic Director Robert Wilson. They had known each other as children as their families were close friends back in Waco, Texas. Their history provided Stewart with an easy entrée into the early Byrd Hoffman Foundation when it was located on Spring Street. Currently, the artist lives in Taos, New Mexico and teaches drawing and painting at the University of New Mexico, Taos.
Stewart has been painting since childhood and has been involved with teaching all ages from a school in Palma de Mallorca, Spain to universities including City College, NYC., Farleigh Dickinson, Madison, NJ as well as with museum education departments including the San Francisco Museum of Modern Art,San Francisco, CA., and the Newark Museum, Newark, NJ.
In the late sixties he exhibited at O.K. Harris Gallery, NYC, followed by shows in Koln, Germany with Rudolph Zwirner Gallery and at the Paris Biennale where he was invited by Daniel Abadie. His most recent show was in 2010 at the Prince Street Gallery in NYC.
Last year, Stewart had a residency in Venice through the Emily Harvey Foundation. It was here that he started a series of abstract watercolors that he will be continuing and exhibiting at The Watermill Center.
Image credits: Courtesy of the artist
Carrie Mae Weems
Inga Maren Otto Fellow
In residence: April 5 – May 1, 2017
Grace Notes: Reflections for Now
visual art
Renowned visual artist and 2017 Inga Maren Otto Fellow, Carrie Mae Weems will be refining her song cycle/performance titled Grace Notes: Reflections for Now, which examines the the role of grace in the pursuit of democracy. The first iteration of Grace Notes premiered at the Spoleto Festival in June 2016, and brings together some of the country's most celebrated artists, poets, musicians and composers to examine the wider social implications of tensions at work in communities across America. These tensions are marked and defined by recent escalations in violence, the killings of young black men, and the tragic events of the Emanuel Nine. These events and nationwide responses have been contextualized as a song cycle. As its title suggests, the piece incorporates music, song and spoken word interwoven with text, dance, photography and video projection to explore the dimensions of its theme.
Carrie Mae Weems (b. 1953) has spent the past thirty years working toward developing a complex body of art that has employed photographs, text, fabric, audio, digital images, installation, and video. Her work has led her to investigate family relationships, gender roles, the histories of racism, sexism, class, and various political systems. In a review of her retrospective in The New York Times, Holland Cotter wrote, "Ms. Weems is what she has always been, a superb image maker and a moral force, focused and irrepressible." In 2013 Weems received the MacArthur "Genius" grant as well as the Congressional Black Caucus Foundation's Lifetime Achievement Award. Most recently, she is a recipient of the ICP Spotlights Award from the International Center of Photography and the W.E.B. Du Bois Medal from Harvard University.
Weems is represented in public and private collections around the world including the Metropolitan Museum of Art; The Museum of Fine Arts, Houston; and the Museum of Contemporary Art, Los Angeles. She has participated in numerous solo and group exhibitions at major national and international museums including the Whitney Museum, the Museum of Modern Art, and the Solomon Guggenheim Museum.
Image credits: Carrie Mae Weems (2012), photo by Jerry Klineberg; Kitchen Table Series Book (2016)
Lotte Nielsen
In residence: April 5 – May 1, 2017
visual art
Lotte Nielsen will continue her video project YAOI, using film footage captured of LGBT Youth in Copenhagen as well as interfacing with the local LGBT community in Water Mill. She will collage together pieces of atmospheric footage with sound recordings to give a sense of the youth's emotional life in the context of The Watermill Center's character. Nielsen also plans to use her findings at The Center to create a new concept for a film.
Based in Denmark, Lotte Nielsen is a visual artist whose work takes inspiration from her geographical placement, whether it's London, Copenhagen or New York. Topics as well as materials are generated from her experience of the area, culture, landscape or specific social setting. For the past 12 months she has been working on a site-related project about the abandoned cinema, Stenløse Bio, on the outskirts of Copenhagen. Her practice-based research has been responding to the town of Stenløse; the town used to have a lively cinema culture and where she regularly attended the movies as a child.
Image credits: Lotte Nielsen, Stenløse bio seats; Cinematographer: Sine Brooker; Producer: Oscar Holm
supported by the Consulate General of Denmark
Lexy Ho-Tai
In residence: April 5 – May 1, 2017
performance, design, visual art, costume
Costume designer Lexy Ho-Tai will continue to develop her multi-disciplinary and interactive thesis collection KOOKERVILLE for which she was recently named finalist for "Designer of the Year" upon graduating from Parsons School of Design. Exploring 'clothing as experience,' she plans to create three new "Kookers" and to focus on the performative aspects of the Kookers based on feedback from fellow artist residents.
Lexy Ho-Tai (b. 1993) is an explorer, dreamer, and maker of things. She grew up in a small town in Canada, and spent her teen years creating fantastical worlds in the hopes of moving to New York City. In 2012, she moved to New York to attend Parsons School of Design's prestigious and rigorous Fashion Design BFA.
During her time in New York, she's worked for several costume designers, whilst also taking an interest in art programming and art teaching. In 2014, she conceptualized and co-created Accessible Art, an adaptive art program that enables disabled youth to paint with specialized tools. The project was awarded the New Challenge grant in 2015 for social engagement. Ho-Tai works in a plethora of mediums, and is interested in the intersection between art and social change. She enjoys exploring social themes through humorous, playful, and interactive pieces. Often, her work has childlike undertones, as she is highly inspired by play and the minds of children. Through KOOKERVILLE, she has taken an interest in public and participatory artwork, as a form of community engagement and collaboration.
Image credits: Lexy Ho-Tai; Kookerville (studio shot), photo & video by Olivia Peters
Sebastián Escalona & Josefina Dagorret
In residence: May 3 – 31, 2017
Extinct Rite
installation, performance, visual art
Sebastián Escalona (visual artist and art director) and Josefina Dagorret (director and performer) will continue the development of Extinct Rite – a research project that combines different languages of artistic expressions involving landscape, the body, the site-specific and the memory. The project is inspired by the Chilean, pre-Columbian tribe "Selknam" who was exterminated in 1923 by European colonizers in "Tierra del Fuego" located on the Chilean side of Patagonia. The Selknam's most important ceremony, "Hain", was dedicated to connecting the human being with the universe as represented in the stars and other natural earthly forces. The goal of Sebastián and Josefina's residency is to awaken the Hain rite and bringing it back to the modern world, returning the instinctive memory to the body in order to produce links with contemporary performative practices.
Sebastián Escalona is an artist and scholar whose practice seeks to blend traditional disciplines into experimental hybrid languages. Consistent throughout his practice is the development of his pictorial language to communicate concepts of collective fear, violence and spectacle. Escalona is a leading theatrical set designer who has been involved with many recognized plays in Chile and abroad. In 2010, he directed the theater production American Jesus which was held in the suburbs of Santiago in an abandoned warehouse and was funded by the Chilean Government. At the Universidad de Chile, as a professor, he created the artwork MEDIUM, which incorporated a spirit channeler to invoke the dead souls of the artists Joseph Beuys and Andy Warhol into a university classroom. The work generated a great deal of attention and controversy. In 2013, Escalona founded the Imaginary School, a traveling school dedicated to teaching imagination workshops throughout Chile (Universidad Austral).
Most recently, Escalona has been awarded a prestigious scholarship by the Goethe Cultural Institute in Berlin to work alongside notable German artists as he further develops his research and artistic experimentations
Josefina Dagorret is a performer, creator and theater director. She has been nationally and internationally recognized by numerous awards for best direction for productions "El Otro Baño" and "La Pieza." Since 2015, her performance and assistant director role in the play "Access" from the film director Pablo Larrain ( "No", "The Club", "Jackie"), has toured several countries in Europe including Spain, Netherlands, Poland, France, Switzerland, Belgium, and in Latin America in Chile, Peru and Brazil. Most recently, she has been working as co-creator and director of a residency produced by the Goethe-Institut, Chile, involving Chilean and German artists. Dagorret's work is focused on exploring different artistic disciplines in search of a particular and genuine mixture, one which contains the primitive human being in tension with contemporary aesthetics.
Extinct Rite is sponsored by FITAM "Santiago a Mil" International Theater Festival, the University of Chile (room 19), the Teaching Center of Universidad Austral de Valdivia (XIV Region Rios, Chile) and the Museum of Contemporary Art (MAC) Santiago, Chile.
Image credits: portrait of Sebastián Escalona y Josefina Dagorret; Extinct Rite, photo manipulated by paint, © Sebastián Escalona and Josefina Dagorret
Stacey Goodman
In residence: May 3 – 23, 2017
Dreams, Light & Liberation
installation, performance, film, visual art
Multi-disciplinary artist Stacey Goodman will focus on connecting the performative and ephemeral aspects of his work Dreams, Light & Liberation, to the video and sculptural components. He will create sculptural objects, video and performances that together aim to liberate how we perceive marginalized people and spaces via historical photography and imagination – specifically the marginalized people of the 1930s and 40s.
Stacey Goodman (b. 1967) is a transdisciplinary artist and educator based in Oakland, California. While his interest in activism and social justice has always been clear, his art tends to lean towards the poetic and surreal. Experimental narrative filmmaking has allowed the artist to explore visual poetics while being pointed in exploring political ideas. The visual poetics uses light, movement and framing in a way that it can both expand upon an idea, and unburden us from harsh political realities. In addition to his teaching and visual art practice, he's also a writer who has been blogging on Edutopia about art and activism through an educational lens.
Image credits: portrait of Stacey Goodman; Untitled-Dreamry, courtesy of the artist
Aneta Panek
In residence: May 3 – 31, 2017
Alchemy of Punk (working title)
installation, performance, film
During her residency at The Watermill Center Aneta Panek is staging Alchemy of Punk (working title), a punk opera she has been developing over three years within the framework of her artistic PhD at the University of Arts, Berlin and Le Fresnoy in Tourcoing, France. Alchemy of Punk is a ground-breaking extravaganza, bringing together the greatest voices of classical opera, punk and industrial rock in an explosive spectacle, melting together theatrical and musical experience, video installation and live performance. Featuring the star soprano Simone Kermes, along with underground diva Mona Mur and the legend of industrial music En Esch (exKMFDM), Japanese butoh dancer Yoriko Maeno, improvisation dancer Meritxell Campos Olivé and many other great luminaries. Through the creation of this visual and musical installation and live performance, she will test the relevancy of her theories and ideas as images on stage. Aneta Panek is interested in challenging the existing norms of performing knowledge.
Upcoming presentations of Alchemy of Punk include:
March 2 – 6, 2017 – at the Festival for Film on Theatre and Performance at the Martin E. Segal Centre City University of New York.
May 20, 2017 – at In Process @ The Watermill Center
May 25, 2017 – at the Nuyorican Poetry Cafe, New York, Lower East Side
Aneta Panek was born in Warsaw. She studied art history at the University Paris 4 Sorbonne, where she particularly worked on the questions of transmediality in the arts, the uncanny in media and artistic exchanges between the three countries: France, Germany and Poland. Her documentary My Heaven is Full of Music was enclosed 2011 in the collection of the Museum Yad Vashem in Jerusalem. At present, Aneta Panek lives and works in Berlin, as experimental film-maker. Her work, based on "other knowledge" and artistic research, is about the necessity of visualization and associative speculation in formulating and deconstructing theories and questioning reality. Her particular interests are alchemy, transmutation, subversion, and rebellion as means of self-liberation and self-discovery.
"…I had been a poet up until then, and the reason that I had not been a very good poet was because actually my mind worked in images which I had been trying to translate or describe in words; therefore, when I undertook cinema, I was relieved of the false step of translating images into words, and could work directly so that it was not like discovering a new medium so much as finally coming home into a world whose vocabulary, syntax grammar, was my mother-tongue; which I understood, and thought in, but, like a mute, had never spoken…"
-Maya Deren
Image credits: Portrait of Aneta Panek, Fot. Pawel Sokolowski; Image credits:Filmstills from "Punk Opera" by Aneta Panek, courtesy of the artist
In residence: June 5 – 16, 2017
installation, performance, visual art
Serafita Grigoriadou and her male collaborators Stathis Anthanasiou (film & theatre director) and Stavros Gasparatos (Composer) collectively titled BAKIS, will use the highly creative environment at Watermill to develop a performance inspired by J.Berger's phrase "Men act and women appear. Men look at women. Women watch themselves being looked at". The performance will center around an electronically prepared piano (a.k.a wired piano), and multiple projections of live and prerecorded video. The project is currently in the early development stage.
The artist's most recent collaborative project titled Alpha, is the first art project to be successfully and solely crowd-funded in Greece. Inspired by the myth of Antigone, the work consists of a feature film, a cinematic performance and numerous side actions by 30 young photographers, filmmakers and graphic designers. The feature film has been extensively presented in international film festivals while the live cinematic performance has been presented in diverse venues ranging from the Greek National Theatre and the neoclassical Apollo Theatre, to semi-abandoned industrial spaces in obscure corners of downtown Athens.
Image credits: Obsessed Dada, From Nothing to Nowhere; Alpha – A Transmedia Cinematic Performance
Jeremy Dennis
In residence: June 5 – 16, 2017
On This Site
visual art, research
Jeremy Dennis (b. 1990) is a visual artist and member of The Shinnecock Indian Nation who will use the web as one of three platforms to preserve and establish an authentic indigenous identity of his tribe which is based over ten thousand years of tradition. Through On This Site, he aims to represent The Shinnecock Tribe as a cultural producer and to create awareness of the rich history of Native American settlements, burial sites, and other sensitive locations throughout Long Island, New York. The website includes an interactive map that visitors can use to identify the locations of these sites, along with viewing the landscape images associated with them. Dennis will also create a book and exhibition that reflects the same information.
This project is funded by the Running Strong for Indian Youth Organization, co-founded by Billy Mills.
Image credits: Portrait of Jeremy Dennis; New Suffolk Site (2015), courtesy of the artist
Royce Weatherly
Inga Maren Otto Fellow
In residence: September 6 – October 11, 2017
visual art
During his five-week residency, 2017 Inga Maren Otto Fellow, Royce Weatherly will work on the final layers of several paintings at once, as each work nears completion in slow, almost invisible increments. The artist looks forward to discussing his work and his process during his time at Watermill.
Royce Weatherly (b. 1957) is an American painter from Winston-Salem, North Carolina. A 2015 Guggenheim Grant recipient, Weatherly received his BA from Wake Forest University (1980), and MFA from the University of Wisconsin/Madison (1984). Over the past three decades, he has developed a profoundly simple and yet deeply enigmatic painting style that combines his peculiar Vermeer-like still lives with an eerie quietude devoid of narrative symbolism.
Slowly made, his works are both luminous and precise in detail, but refuse any greater meaning beyond what appears to be laid out before us. A potato, or some cooking lard, or a cellophane cigarette wrapper minus the package of cigarettes; the unnoticed are held up to scrutiny in an attempt to draw the extraordinary out of the ordinary under an intense gaze that is as much that of a philosopher, or a forensic scientist as that of a painter.
Image credits: Royce Weatherly, Diminished Basic (2013), Oil on Linen, 15″ x 17″, Courtesy of ArtHelix Gallery
In residence: September 6 – 18, 2017
A Bibliography of Romance
installation, performance, film, visual art
Yao Zhang and collaborator Liang Guo work together under the collective name NoodleRice. While in residence at The Watermill Center, the writing, directing, and designer duo will continue to develop a their image-based performance piece titled A Bibliography of Romance.
NoodleRice works at the intersection of film/video and live performance. First conceived as a film studio by Yao Zhang and Liang Guo in 2008 as students at the Beijing Film Academy, they went on to expand their work into performance art and theater during their MFA years at California Institute of the Arts. NoodleRice's performance piece My Favorite Food has been shown across the U.S., including at The Watermill Center (under the artistic direction of Robert Wilson), RubbitHole in New York, SPACE in Pittsburgh, and Automata, Tongva Park in Los Angeles. Their immersive public performance event We Can't' Wait Much Longer has been selected into the second tier of the Sundance Institute New Frontier Story Lab, and the final list of Rapid Pulse International Performance Art Festival.
Image credits: Preview Works Samples, courtesy of the artists; Akhnaten Set Design, courtesy of the artist
Lua Rivera
In residence: September 6 – October 11, 2017
Natura Nurtura
installation, visual art
For Lua Rivera's Natura Nurtura the artist continues to investigate the nesting processes of birds through the construction of different habitable "Nests." Her installations will be made with photographs of the hummingbird anatomy and naked human dancers mixed with the essential materials hummingbirds use for nesting.
Mexican artist Lua Rivera (b. 1989) "experiments to know and produces to survive". For her, art can erase the boundaries between disciplines, promoting a free interaction between them and allowing the exhibition to transcend the walls of the gallery. As a visual artist she is distinguished by her continuous search and use of multidisciplinary resources such as intervention, collage, photography and textiles.
Image credits: Portrait of the artist; Bower (2016), by Maricela Figueroa
Lilian Colosso
In residence: September 6 – October 11, 2017
To Embrace the World
performance, film, photography
During Lilian Colosso's residency, the visual artist will continue to explore her performance piece To Embrace the World (2016), wherein she embraces trees, rocks, and bushes for extended periods of time (5 to 8 hours) shaping an uncommon relationship with the landscape at various different sites. Currently in the early development stage at Joshua Tree, the performance will create images of the human relationship with nature through sensory and emotional experiences of the landscape.
Lilian Colosso (b. 1988) based in Los Angeles and São Paulo, graduated in 2011 at the Centro Universitário Belas Artes de São Paulo with a Bachelor Degree in Visual Arts. Exploring the boundaries between the body and nature, specifically using the body as a material element, has been the focus of her research through performance and video. Recent exhibitions include: Performance festival MOVIMENTA#1, Mezanino Gallery, São Paulo, Brazil, 2015; First collective show at Condomínio Cultural, São Paulo, Brazil, 2014; Laço no Paço, Subsolo do Paço das Artes, São Paulo, Brazil, 2013; Con Pasión: Art and Passion / Brazil and Argentina, Marta Traba Gallery – Fundação Memorial da América Latina, São Paulo, Brazil, 2012; First Collective, Oficina Cultural Oswald de Andrade, São Paulo, Brazil, 2012; FASE3 Art and Technology Meeting, Buenos Aires, Argentina, 2011; Facilitator of the Abramovic Method during the exhibition Terra Comunal, Marina Abramovic + MAI, São Paulo, Brazil, 2015.
Image credits: courtesy of the artist, "To embrace the world III"; "To embrace the world I"
Carlos Bunga
Inga Maren Otto Fellow
In residence: October 18 – November 20, 2017
visual art
Originally trained as a painter, Portuguese artist and 2017 Inga Maren Otto Fellow, Carlos Bunga has been experimenting with the crossover between painting and sculpture for more than a decade. Creating large, site-specific installations Bunga's work touches on issues relating to demographics, immigration, socio-economic disparity, and the fragility of contemporary city life.
Bunga creates architecturally-scaled installations, made from mass-produced materials such as cardboard, packing tape and household paint. These maquettes resemble temporary shelters or surreal colourful urban interiors which are in dialogue with the surrounding architecture of the gallery, reconfiguring it somewhere between a decaying space and a construction site.
Working across installation, sculpture, painting, performance, video and drawing Bunga's practice involves a highly developed degree of aesthetic care and delicacy, and a conceptual complexity derived from the interrelationship between doing and undoing, transience and permanence, unmaking and remaking.
Bunga participated in "Manifesta 5" in San Sebastián (2004), "inSite_05" at the San Diego Museum of Art (2005), "14th Carrara International Sculpture Biennial" (2010), "29th Bienal de São Paulo" (2010), "Artes Mundi 6" in Cardiff (2013), and Chicago Architecture Biennial (2015).
Solo exhibitions took place at Museo de Arte Contemporánea de Vigo (2009), Pérez Art Museum Miami (2009), Pinacoteca do Estado de São Paulo (2010), Hammer Museum, Los Angeles (2011), Museu Serralves, Porto (2012), Museo Universitario de Arte Contemporáneo (MUAC), Mexico City (2013), Museo Amparo, Puebla (2014), Museum Haus Konstruktiv, Zürich (2015), Museo de la Universidad Nacional de Colombia, Bogotá (2015), and Museu d'Art Contemporani de Barcelona (MACBA) (2015).
Image credits: Portrait of the artist; Reflejo (2015), site specific installation: Museo de Arte de la Universidad Nacional de Colombia, Bogotá
Marianna Kavallieratos
In residence: October 18 – November 20, 2017
performance art
While in residence at The Watermill Center choreographer/performer Marianna Kavallieratos and composer/sound-artist Dom Bouffard will develop the intermedia performance work titled DEATH. Incorporating movement, sound, color and real-time digital media, the piece seeks to be a celebration of life, which without death would be meaningless. It is a study of how Western cultures' increasing distancing from, and denial of their relationships with death impacts our lives, and the ways in which the power of ritual — a phenomenon usually associated with "primitive" and/or "religious" cultures — may be worth re-interpreting and re-developing in a modern rational/scientific world.
DEATH will ask if the gradual and inevitable rejection of religious narratives has inadvertently "thrown the baby out with the bathwater", leaving us with thin, grey, humanist replacements for the rich, dramatic performances which, for thousands of years, have guided people through their most important experiences; and whether, compared to cultures which actually embraced the prospect of "a good death" (such as warrior cultures from Ancient Greece to the Samurai that placed strength and honor above personal survival), our lives have actually been impoverished by our refusal to embrace, treasure, or even take pride in our own mortality. By trying to shut out the darkness, has life become colorless?
Marianna Kavallieratos is a choreographer and dancer from Athens, Greece. She studied contemporary dance at the London Contemporary Dance School and SUNY Purchase, New York as well as studying the Martha Graham Technique, at Graham Studios, NYC.
While living in New York in the 90's she met Robert Wilson, becoming one of a group of young artists who collaborated in founding and shaping The Watermill Center on Long Island. She has maintained a strong physical and creative presence at the center ever since, as a mentor and teacher of dance and movement, and has collaborated and performed in many Robert Wilson productions including: T.S. Eliot, Une Femme Douce, Persephone, The Days Before DDD III, Wings on Rock, Prometheus, Alcestis (the opera), Relative Light and Odyssye.
On her return to Europe, she danced for Kobalt Works in Brussels for several years, before returning to Athens, where as well as working as a freelance choreographer for clients including The Greek National Theatre, she has so far choreographed and presented four full length works of her own (previously under the name Klokworks) which are: Moment (Athens Festival 2010), Auto Run (Athens Festival 2012), Recalculate (Onassis Cultural Centre, Athens 2013) and Stations (Athens Festival 2014).
Dom Bouffard is a musician and composer from London, UK.
From 1997 to 2006 he played guitar with Alt Rock bands Sona Fariq and Queen Adreena, touring internationally with artists including Marilyn Manson, Sonic Youth and Public Enemy, and collaborating with producer Jagz Kooner (Primal Scream) on remixes for artists including Massive Attack and Kasabian.
He has since worked as a performer/arranger on the Robert Wilson/Berliner Ensemble productions "Shakespeare's Sonnets" (2009) with Rufus Wainwright, and "Lulu" (2011) with Lou Reed; composed two Wilson radio plays ("Monsters of Grace II" and "Tower of Babel" for ARD/BBC), and "Flying" — a video portrait featuring Lady Gaga at the Musée du Louvre.
Dom's work, which also spans film, TV and fashion, includes his radio piece "WW1" (2015, hr2) which was nominated for the Karl Szucka and Kriegsblinden Prizes, and several dance works with Marianna Kavallieratos: "Recalculate" (2013), "Stations" (2014), dance film "Metal Mark", and installation "4WALLS" (both 2016). He is also a singer-songwriter with Alt Country/Punk Blues duo Emperors of Rome.
Image credits: EFI GOUSI (2016); Stations (2014), photo by Alessandro Glacalone
Brian O'Mahoney
In residence: November 29 – December 13, 2017
performance art
TALK TO ME by returning resident artist Brian O'Mahoney, is a performance that explores anxieties around communication by establishing new languages based on image and gesture. Nonsensically but seriously investigating interpersonal relations, TALK TO ME is a romp through new and absurd physical dialects. Constantly finding more elaborate and obtuse ways to communicate, O'Mahoney seeks to interrogate the source of our collective anxiety around communication.
Brian O'Mahoney (b.1993) is a New Jersey based artist using performance, video, and humor to explore the absurdities of his personal, and our collective, anxieties. He produces work using readily available and everyday materials, mirroring how anxieties infect daily life. He has shown work at The Watermill Center (NY), Roodkapje Rot(t)terdam (Rotterdam, Netherlands) The Hub Of New Music & Arts (Newark, NJ), and at comedy manifestshow (New Brunswick, NJ). Brian has been in residency during The International Summer Program at The Watermill Center from 2013-2016. While there, Brian worked with artists such as Robert Wilson, Dimitris Papaioannou, Marianna Kavallieratos, and Dorian Silec Petek, amongst others. Outside of the Watermill Center, he has worked with directors Mei Ann Teo, Jess K. Smith, Maria Aladren, storyteller Wes K. Andrews, and designer Andrey Bartenev. He holds bachelor degrees in Communications Media and Theatre Arts from the New Jersey Institute of Technology.
Image credits: Portrait of the artist; photo by Lovis Dengler Ostenrik
Dylan Neely & Alex Nathanson
In residence: November 29 – December 13, 2017
performance, film, music
Fan Letters, an audiovisual duo collaboration between composer Dylan Neely and video artist Alex Nathanson – will utilize their residency at The Watermill Center to develop their opera Autocomplete. In preparation for a festival premiere, Nathanson will delve into the at-scale realization of the scenic design's video element, which involves projection mapping and audiovisual interaction. Neely will be finalizing the work's score, written for a chamber ensemble and live electronics.
Based in New York, Fan Letters has played in museums, concert halls and alternative spaces throughout the US, Canada, and Europe. Their work combines sound, video, and handmade electronic instruments into playful and thought-provoking interactive multimedia performances. Shows oscillate between noise and chamber music, from experimental cinema to Saturday morning cartoons, and political negotiations to schoolyard games. Their work has been described as "that secret alchemical intersection between music performance, video games, good art, digital animation, multiple screens, and tech" (Ben Seretan), "remarkable" (Big Red & Shiny), and "difficult to describe" (Portland Press Herald).
Recent performances of their work have occurred at the Museum of the Moving Image, Film Society of Lincoln Center, Silent Barn, and La MaMa; their work has been presented by MATA Interval, Fung Wah Biennial and Queens New Music Festival, and supported by the Foundation for Contemporary Arts and Flux Factory.


text:
THE roof of a Runcorn youth club has been gutted by flames months after staff were celebrating a revamp.
Runcorn Boys' Club, Boston Avenue, was targeted by arsonists last Thursday at 11.30pm.
Firefighters said the building was 'well alight' when they arrived and called a further two crews from Widnes to battle the blaze.
Colin Heyes, arson prevention manager, said: "This was a serious fire which was started deliberately.
"The building is a long standing and well known community centre and this fire will affect many groups of people, including the Junior football teams which lost equipment in the blaze."
Fire crews from Runcorn rotated duty at the incident throughout the night to monitor the building and ensure no further out breaks of fire.
Police closed roads around the area for several hours during the incident.
The club was closed briefly in May this year, after being open for more than 20 years, when an army of volunteers helped transform the building.
Anyone with any information is urged to call Crimestoppers, anonymously, on 0800 555 111 or Cheshire Police on 101.

subset: commoncrawl


text:
A new product, the VSM5e, and a native ESCON to VSM5 are the subjects of this product announcement. The capabilities that the VSM4 provided will now be found in the functionalities of the VSM5. VSM5e is being developed to provide an entry level VSM5 system for cost sensitive customers. Lower tier customers do not always require the full performance plus connectivity of a VSM5 when, for example, a product like this is required for a test environment.
The VSM5e will provide .8 and 1.25TB of effective capacity and offer support for either 16 ESCON or 8 FICON channel interfaces (upgradeable from one to the other with software though these cannot be intermixed). A VSM5e is fully field upgradeable to a VSM5 by simply adding additional disk tray(s) plus increased channel interface
The announcement also adds ESCON channel connectivity to the VSM5 platform, which will allow an intermix of ESCON and FICON channels. This provides customers with the ability to transition from ESCON to FICON in stages.
The VSM5 part number provides 16 ESCON channels. The maximum number of ESCON part numbers required will be 2, which would provide 32 ESCON channels.
An intermix can provide 16 ESCON channels and 8 FICON. Note that, when 32 ESCON is ordered, no FICON can be added.
Both ESCON and FICON are provided because many customers have successfully transitioned their infrastructure to FICON. The older ESCON channels are required for those who have not. The intermix provides flexibility when a customer migrates from ESCON to FICON. This provides the ability to do the migration in stages.
More Information
Sun StorageTek Virtual Storage Manager System
Read More ...
[...read more...]


text:
Welcome to the online West Virginia Screening, Brief Intervention, and Referral to Treatment (WVSBIRT) Data System. WVSBIRT is a program to reduce the state incidence of substance misuse, abuse and addiction by expanding and enhancing the state system of care. The model is an integrated, population based approach for the early identification of substance misuse with the goal of preventing health issues related to such. This system enables authorized users to electronically report data related to all screenings, interventions and follow up activities provided by the WVSBIRT program.
If you need an account to access this site, please register.


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Micah McCain Encores BROADWAY CREDITS at The Duplex Tonight
Micah CcCain - the creative talent behind viral internet sensation "Bonjour Girl" and his sold-out, critic's pick cabaret debut 'HEY GURL!' and his sold-out, critic's pick cabaret 'BROADWAY CREDITS' - is set to perform two encore performances of "Broadway Credits!" live at The Duplex Cabaret tonight, May 16th, 2014.
His one-man show "Broadway Credits!" is titled this because sometimes when you're starting out in New York City, the only way to get Broadway credits on your resume is to do a show named Broadway Credits and then put that on your resume!
McCain, singer, actor, host, comedian, pop culture critic and writer, an AMC Gay Hollywood "break-out personality" fresh from West Coast performances in "[title of show]" and "Caught" (LA Weekly Award Nomination), and direct from his NYIT Award-nominated performance in "The Detour" at The Metropolitan Playhouse NYC and his TimeOut New York CRITICS' PICK cabaret debut "Hey Gurl!", presents the inaugural performance of his new one-man show: Broadway Credits.
In his new live show "Broadway Credits!" written and performed by McCain with music direction by multiple MAC Award-winner, Mark Hartman, McCain brings a creative and inspiring one-man show from a performer known for "balancing diva-like comedy with deep sincerity." (LA Weekly).
The California native, born and raised in Los Angeles, and now residing in New York City, has been performing since the age of 9 when the future "ebullient, honest, endearing, hilarious" (Chicago Reader) McCain was a spokesperson for Big Brothers of Greater Los Angeles. Besides scene-stealing in film and television - from cult classic "BASEketball" to "Chelsea Lately" - McCain has opened for and performed with Judy Tenuta, Cyndi Lauper, Julie Brown and Jane Wiedlin (to name a few). The seasoned performer has hosted and performed at The Improv, Caesar's Palace, The House Of Blues and last month marked his return to The Hollywood Bowl. His razor-sharp writing and pop culture commentary have been featured nationally in In Touch Magazine, Star Magazine, Life & Style, Cosmopolitan and more.
The concerts are set for Monday, May 5th, 2014 at 7pm. and tonight, May 16th, 2014 at 9:30pm. The Duplex Cabaret Theatre is located at 61 Christopher Street at 7th Ave. New York, New York. To order tickets, visit http://micahmccain.brownpapertickets.com. Tickets are $10 advance purchase. Plus 2-drink minimum.
Check out some promos for the show below!


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MARIMEKKO, Tribute to by Vivian Høxbro
Welcome! You are browsing as a guestWould you like to see 15 projects made from this pattern and much more? create a free account What am I missing?
© Elisabeth Parker
© Vivian Hoxbro
© Vivian Høxbro
© Vivian Høxbro
© Vivian Høxbro
© Vivian Høxbro
by lesleeroberts Flickr
MARIMEKKO, Tribute to
This pattern is available for $9.00 USD buy it now
Domino Squares
Knitting Procedure
This poncho is worked in one piece of a number of Domino-Squares knitted together as you go. The collar and cuffs are worked onto the garment afterwards.
There are only very small seams.
This poncho is in one size only. It can be used by almost evryone.
Width: 94 cm / 37"
Length: 94 cm / 37" measured along front center line.


text: Nortech Systems Incorporated (NASDAQ: NSYS) today reported net sales of $28.4 million for the first quarter ended March 31, 2012. This compares to net sales of $29.0 million for the first quarter of 2011. Income from operations rose 15 percent for the first quarter of 2012, to $328,430. This compares with $286,662 for the same period in 2011. Net income for the first quarter of 2012 was $122,805, or $0.04 per diluted common share. This compares with last year's $98,181, or $0.04 per diluted common share before non-operating gain from acquiring certain assets of Winland Electronics' EMS operations. The net after-tax impact of the non-operating gain increased net income in the first quarter of 2011 by $528,007, or $0.19 per diluted common share. "We're pleased with our improvements in operating profits during the first quarter," said Mike Degen, Nortech Systems' president and CEO. "The progress we've made integrating our acquisitions, along with our ability to better control costs and expenses, helped us generate $2.7 million in operating cash flow for the quarter." Degen noted that revenue results across the company remain mixed in the sluggish economic environment. "We're seeing encouraging signs from certain industrial and medical customers, evidenced by our backlog positions in these markets registering modest single-digit increases since year-end," he added. In the quarter, Nortech Systems was awarded significant design engineering projects from customers in both the industrial and medical markets. Degen cited these wins as examples of how Nortech's internal realignment, implemented in January, improves the company's ability to target new business opportunities across three key markets – industrial, medical and defense. Last week Nortech amended its financing agreement with Wells Fargo Bank, N.A. and its Business Credit operating division. The fourth amendment to the third amended and restated credit agreement provides for a line of credit of $13.5 million through May 2015, a $1.8 million real estate term note with a maturity date of March 2027, which replaces the $0.9 million note set to expire on May 31, 2012, and a new term loan of up to $2.0 million for capital expenditures to be made through the end of 2013.


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by Bruce Strand, Sports editor
This year's River Battle matched a veteran, unbeaten Elk River squad and a struggling, all-rookie Rogers lineup but still wound up being a scrap from start to finish.
The Elks prevailed 61-54 at home Saturday, after trailing by five at halftime, led by Porter Morrell with 25 points and Bryan Edwards with 13 points and 16 rebounds.
"Playing Rogers is always special," said Edwards, "because it's the River Battle, and we have lost to them the last couple of years."
The Elks (7-0) snapped a three-game losing streak against Rogers (2-5), which graduated its entire starting lineup from the team that beat the Elks twice last year.
"This is what you have come to expect with this rivalry," said Elks coach Randy Klasen. "It doesn't matter who the quote better team is supposed to be. Both teams step up and play hard."
Added Morrell: "This game is awesome. We always get a good crowd. The last two years we have lost to them, but they are always a fun game to play in."
The Elks now lead the rivalry 8-2 but Rogers nipped the Elks 78-75 and 58-56 the last two years, and added a 61-55 win at the Tartan tournament last year.
Led by returning starters Morrell, Edwards and Clay Elrod, the Elks seemed poised to rack up a decisive win much like the first seven years of the River Battle.
Instead, Rogers was up 32-27 at halftime, led by Ryan Gelle, who scored all 10 of his points before halftime with two 3-pointers, two free shots and a steal and basket in the final seconds.
"I was surprised (to be behind) but I think we handled it pretty well and took it to them in the second half," said Edwards. "They had a couple good shooters and they came to play."
The Elks scored off a couple turnovers just after halftime, starting the second half with a 7-0 run. The Elks led by as much as 50-39 but Rogers never went away. A pair of long 3-pointers by Luke Pecka in the final minute got them back within five before the Elks nailed it down.
Morrell shot 10-for-23 from the field (two 3-pointers) and 3-for-4 at the line for his 25 points.
"I want to give the glory to God, that's the first thing I want to say," said the senior point guard.
Terry Hadden was next with eight points for the Elks.
Pecka scored 12, Cole Murray 11 and Gelle 10 for Rogers.
About the victory, he reflected, "We understand that this game might not mean anything, because we might have to play them again and that game would be more important."
That would be in the playoffs as they play in the same section.
The Elks' 7-0 record has come against teams with a combined 16-30 record. The only two above .500 are Blaine (5-3) and STMA (4-3). After the break they'll start facing the tougher NWSC rivals, starting with top-ranked Park Center there on Jan. 4.
No holiday tournament for Elks
Rogers and Elk River have both gone from the River Battle to the Tartan Invitational in recent years. Rogers will again play at Tartan — they face Columbia Heights on Thursday at 4:30 p.m. — but the Elks will sit this one out.
For the first time since 1982, the Elks will not play in a Christmas tournament. They've played at Tartan since 2004.
"It's going to be different," said Klasen. "We have been playing well and you would like to keep playing. On the other hand, it will nice to give families a chance to get away and have quality time together."
The Elks traded the tournament for non-conference games against section rivals STMA and Brainerd.
Elk River 61, Rogers 54
Rogers ………..….. 31 23 — 54
Elk River ………… 27 34 — 61
Rogers — Gunnar Bloom 6, Cullen Loughlin 7, Ryan Gelle 10 (4 reb), Sam Spilles 4 (4 reb, 3 blk, 5 stl), Cole Murray 11 (2 blk), Reid Sagehorn 1, Luke Pecka 12 …. Team: 21 FG (7 3pt), 5-6 FT, 21 rebounds, 11 fouls
Elk River — Porter Morrell 25 (3 ast, 3 reb, 2 stl), Terry Hadden 8 (3 reb, 2 ast), Max Person 4 (4 reb), Bryan Edwards 13 (16 reb, 3 stl, 2 blk), Clay Elrod 3 (4 reb), Isaac Howard 2, Zach Ernst 5, Mitch Weege 1 …. Team: 24 FG (4 3pt), 9-13 FT; 31 rebounds; 11 fouls


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We've worked hard all tax season. Now it's time to have fun.
Our little NAEA PR committee came up with an idea to help promote EAs in general - and specific EAs. In this little event, everyone is a winner. I'll tell you why in just a moment.
First - The Contest:
What have you done to show the world that you're an EA?
- Do you have a creative license plate or other mobile form of advertising?
- Do you remember to put EA after your name in every circumstance – even on your checks?
- Are you an invaluable resource for the local media when it comes to tax news?
Members of NAEA are a creative group, so let's share that creativity with your fellow members during the June "Strut Your Stuff" competition! Just send your great ideas for promoting your EA credential to [email protected].
Photos are welcome! The NAEA PR Committee, sponsor of this competition, will choose three outstanding efforts to receive first, second and third prize.
- First prize is a $50 American Express gift card
- Second and third place winners may choose between a leather padfolio and a stylish messenger bag.
The deadline for entries is June 30.
Next - why everyone wins!
We plan to gather the ideas and suggestions - and pass them on to all of you, so you can use them to promote your own tax practice and your own professional credential. If we can collect clever, inexpensive public relations ideas to help you prosper - Enrolled Agents, in general, will get more visibility.
In fact, feel free to use either (or both) of these two radio interviews on your website - explain what EAs do and who we are:
We're still sitting here with a professional title that no one understands. Lets make the meaning as well-known and clear as CPAs!


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What are the important events that happened on January 31, 2008? Here are historical events, facts, and some myths about this day.
January 31, 2008: Facts & Myths About This Day
January 31, 2008 is the 31st day of the year 2008 in the Gregorian calendar. There are 335 days remaining until the end of this year. The day of the week is Thursday.
Under the Julian calendar, this day is January 18, 2008 – a Thursday. Both day of the week are the same but did you notice the difference with the Gregorian calendar?
When this day started, 1,201,737,600 seconds has elapsed since midnight of January 1, 1970 – the Unix epoch.
Strange as it may, if we name this day after a polygon then it will be called 'triacontahenagon' day.
Hey! How's your lovelife today? Get the Star Lovers Report and discover the secrets of a better relationship. Start to seize love opportunities in your life. Try it today! (Sponsored link)
If a person born on this day saved a Quarter every day starting at age 5, then by now that person has accumulated $415.25. (Assuming this person is still alive today.)
Aquarius is the zodiac sign of a person born on this day. Garnet is the modern birthstone for this month. Emerald is the mystical birthstone from Tibetan origin that dates back over a thousand years.
Pig is the mythical animal and Fire is the element for this person if we consider the very old art of Chinese astrology.
Curious to find out some fun birthday facts about January 31, 2008? Listen to the number-one song on the day you were born. Find out what your birthday means! (Sponsored link)
Who died on January 31, 2008?
- 2008 –Zeltim Odie Peterson, famous pug dog (b. 1997)
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text:
Current Newswire:
Kubntuforum.net down ... again .... 8/15/2009Aug 15, 2009, 18:59 (7 Talkback[s])
(Other stories by Grey Geek)
[ Thanks to GreyGeek for this link. ]
The Kubuntu forum is down again. I first learned of this problem, "Service Unavailable", a month after I installed Kubuntu, in April: http://www.linuxtoday.com/news_story.php3?ltsn=2009-04-04-013-35-NW-CY
Related Stories:
0 Talkback[s] (click to add your comment)


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West Ham are unbeaten in four games but there can be few other causes for optimism at Upton Park, as Avram Grant's side played out a laboured draw with Fulham. Frédéric Piquionne scored his second headed goal in as many games on an occasion more notable for Clint Dempsey repeating his World Cup moment by scoring past Rob Green.
Grant will wake up tomorrow morning with his side bottom of the Premier League. "Our spirit is better and our organisation is better," he said. "I think the most important thing [is] that we continue to take points and continue to improve but we need to do it in the right way. If you compare how we were at the start of the season then we can be happy."
Fulham, still unbeaten, have managed six draws from their opening seven games but breaking teams down has proved a problem, not least with Andy Johnson, Moussa Dembélé and Bobby Zamora injured. But the manager Mark Hughes sprung a surprise by dropping his ersatz forward Zoltan Gera in favour of Eddie Johnson, the American striker who was signed for £3m in January 2008 but had not started a league game since March in the same year.
One decent penalty appeal notwithstanding, it tended to show, his team lacking a focal point, and it was as much through luck as judgement that Fulham took the lead. Dempsey played the ball into Simon Davies on the right flank and, although the Welshman's shot on goal was blocked by Luis Boa Morte, the deflection completed an inadvertent one-two. Dempsey volleyed past Green at the near post.
Once again Green felt all eyes upon him. The erstwhile England keeper was not at fault for Dempsey's latest effort, indeed he was probably his side's best player, yet the memories of that awful night linger on.
However, goalscoring opportunities were scarce and the home crowd subdued. Five minutes into the second half they were bouncing again, though, when Victor Obinna seared past Carlos Salcido on the right flank and crossed for Piquionne to head home.
If the goal had not quite galvanised West Ham, then they creaked a lot less, and Carlton Cole spurned one fine chance to give his team the lead, seconds after his introduction.
The dynamism of Obinna and Piquionne's sure touch were never quite enough, however, with Brede Hangeland and Aaron Hughes providing a fine barrier in front of Mark Schwarzer.
Diomansy Kamara, a late substitute for Fulham, fired way over when clean through, and Green reacted well to deny Davies and Dickson Etuhu. "I'm pleased with the level of performance if not the result," Hughes said, claiming: "We should have had a penalty – there was a tangle of legs between Johnson and [Lars] Jacobsen.''
LUKE MADDEN, Observer reader I was disappointed after last week's win over Spurs but if you had said we would have got a point before the game I would have taken it. It was a great goal from Piquionne but he needs a lot more support. We need to get him involved more and we are lacking flair in the final third – it's all a bit predictable. The referee made some bizarre decisions and gave handballs when they were not and sometimes didn't when they were. I think we have turned the corner. Green had another good game for us. He got stick from the Fulham fans but made two really good saves – one from Dempsey and a reaction save from a header near the end.
The fan's player ratings Green 7; Jacobsen 7, Gabbidon 6,Upson 7, Da Costa 7; Barrera 5 (Cole 69 5), Noble 6, Parker 7, Boa Morte 6; Piquionne 7, Obinna 7 Stanislas, McCarthy
JOE CLARK, Observer reader These were two points thrown away. If we had bothered to turn up with 11 players and not a junior striker in Eddie Johnson, who has not played for ages, we would have had more of a chance. Apart from Parker in midfield, West Ham were a very poor side . We have to take the positives. We are still unbeaten so that is encouraging, but points dropped at Blackpool and now here could come back to haunt us and make the season a very difficult one. Our manager Hughes has the ability to take us on to another level. He is always looking to win games instead of resting on his laurels.
The fan's player ratings Schwarzer 7; Baird 8, Salcido 6, Hangeland 6, Hughes 7; Davies 6 (Riise 90 n/a), Murphy 8, Etuhu 7, Duff 6 (Gera 69 7); Dempsey 8; E Johnson 6 (Kamara 77 6)
To take part in the Fans' Verdict, email firstname.lastname@example.com


text:
Latest news
Texworld Exhibition on February 2015
To be a famous company in textile division and have
GISTEX Achieve ISO 9001, ISO 14001 Certificate and OHSAS 18001 Certificate
The Improvement that did by PT.GISTEX has been started on July, 2013 has been have a result.
We develop our business in focusing to research and development to produce high quality product. We only produce high quality and service now.
The Symbol of Quality
Quality incorporates a subtle hint of Gistex and it is inspiration for the cornerstone of the Gistex Heritage.


text:
To the Editor:
There is a lot of confusion surrounding how charitable gaming in MN works and what gets to the bottom line for mission work. The typical gaming charity in Minnesota returns 82 cents of every dollar wagered to the local players in the form of prizes.
The remaining 18 cents is left to pay expenses and make donations. Of that 18 cents, roughly half, or nine cents, goes to expenses (labor, cost of games, bonds, supplies, rent, etc.). Of the remaining 9 cents, 3.6 cents goes to pay state taxes. Put another way, charitable gaming is paying about 40 percent of its revenue after expenses in taxes. The remaining 5.4 cents – about 60 percent of the revenue after expenses – goes back to our communities in donations.
Unlike any other business, we get to deduct no expenses before paying our taxes. Last year charitable gaming paid $40 million into the state coffers and gave over $40 million to our missions. Not all money for donations gets paid out every year. Those charities whose mission it is to provide big ticket community items such as fire trucks and ice arenas place those funds in reserve until enough funds are available to make the donation. This can take several years of building reserves to achieve that goal.
Charitable gaming pays for its own oversight and regulation; there are no taxpayer dollars that go to it. The regulations, rules and laws that we must abide by to keep operating span 500 pages. We have a compliance review by our regulatory body every 18 months and if you are over a certain dollar amount in sales you need a certified annual audit by a CPA. Minnesota gaming charities must maintain a 3 star rating (out of 5 potential stars) to maintain a gaming license in the state. Those with a rating of 2 stars or less are put on probation and if they cannot raise their rating in a specific time period, their license is revoked.
We are the churches, fire reliefs, veteran, fraternal, youth and athletic groups, etc. that reside in almost every community in our state. We are the first line of defense for people and groups in need in our local communities. The vast majority of us work for no compensation. As I like to tell anyone who wants to know about us, "We are the good guys."
Participate in our games or not, that is your choice, but know that when you do it is for a great cause. Charitable gambling is definitely the best bet for your local community.
Allen Lund,
St. Michael,
Executive Director,
Allied Charities of Minnesota


text:
Reviews: KatesantosLocation Brazil, Gender Female, Age 43
- Katesantos
- Brazil, Female, 31-40
- Novice Nomad
Clink261, London, England
The only thing i didnt like was there is no fans in the rooms and it was really hot in england in july.
View Property Reply
Thank you for your review. London was experiencing an unusual heat wave, nobody was ready for that and believe it or not - all the fans were out of stock at the shops!
- Katesantos
- Brazil, Female, 31-40
- Novice Nomad
Terrazas Estoril, Buenos Aires, Argentina
The hostel is very good and i loved it but where are the computers should have air conditioner
Hostelworld Mobile Apps
Book on the go with the new Hostelworld mobile apps.


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Product Spotlight
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Pipe Tobacco Tax Target of Federal Bill
Product's per-pound tax would be increased to match that of roll-your-own tobacco.
WASHINGTON -- A new bill was introduced and is pending in Congress, called H.R. 4439, that would amend federal law established by last year's State Children's Health Insurance Program (SCHIP) expansion to make the federal excise tax rate on pipe tobacco equal to the tax rate on roll-your-own tobacco, the National Association of Tobacco Outlets (NATO) reported.
The federal pipe tobacco tax stands at $2.8311 per pound, and was increased last year from $1.0969 per pound, as a result of the SCHIP expansion. The new bill would hike the per-pound tax on pipe tobacco to $24.78 per pound, according to NATO.
Related News:
FDA Clarifies Flavored Cigarette Ban


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Here is the first look of Ram Gopal Varma's 'Bhoot Returns', a sequel of his 2003 film 'Bhoot'.
The first look features a girl with two noses, four eyes and one mouth, with blood dripping down her lip. The poster does send shivers down the spine.
The film was initially titled Bhoot 2. However, after a fall-out between RGV and the then producer Nitin Manmohan, Ramu renamed it as "Bhoot Returns" and made the film under Alumbra Entertainment and Eros International.
This is RGV's first 3D film, starring actress Manisha Koirala and JD Chakravarthy. The film is slated to release worldwide on October 12.
Follow Bollywood Celebden on Facebook and stay updated with bollywood news throughout the day!
3 Comments
really stupid….
It has an illusion effect on me, can;t stare at it too long before my eyes start to water.
It looks stupid and my spine is definitely not shivering!


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Badminton Players Disqualified From Olympics
You don't think badminton is hard core for real? You better check yourself.
Eight female badminton players have been disqualified from the Olympics for supposedly trying to lose matches on purpose! Players from China, Indonesia and South Korea were accused by the Badminton World Federation of playing to lose in order to face easier opponents in future matches!


text: Got a spanky new iPad car case today and it's bloooooming ace I've tried to make many a holder but after many botched up attempts I gave up! I've always had a brodit iPod/iPhone holder which has been the best that I've seen or used! Just last week found out that brodit do a iPad holder for the front that I've mounted on my vents


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Reviews - Avoncourt Lodge4
6 Torrs Walk Avenue,, Ilfracombe, EX34 8AU
Customer Reviews
Our reviews are from genuine LateRooms.com customers. We verify that the customer has stayed before leaving a review.
Very Good
80% would recommend it to a friend
Customer service
Food quality
Room quality
The Avoncourt
Only one word, EXCELLENT.
Recommended - friendly clean family hotel with great breakfast
Friendly clean, family run hotel.
Clean, with amble parking.
Breakfast was large and good quality - kept me going until evening meal.
Read More Less
Ilfracombe weekend
Very difficult to be negative when you feel that the owners are doing their very best.
I suppose they have a certain clientele which they attract which isnt us. So rather than relay our thoughts I would just add that we wouldnt return.
Read More Less
Great stay by the sea
Lovely welcome and a great location right on the coast path.
The breakfast was great with the room being clean and comfortable you could not ask for anything more.
Read More Less
May 2016
Good location with parking included.
Unmade road for last few yards is quite bumpy. Close to excellent cliff walk and only a few minutes walk down into town. Uphill on the way back. Room just big enough to get around the double bed. Balcony and sideways sea view would be good in better weather. Generous breakfast. Proprietors welcoming and eager to please.
Read More Less
Place was ok but I wouldn't class it as a hotel - more like a B&B - there was a lounge but that was used by the owners so there was no-where to sit apart from in your room - there was a tiny bar but it appeared to be closed at all times - one day it was piled high with laundry...
The access was terrible - it was up a private dirt track road full of deep potholes that played havoc with your suspension and was a very unpleasant experience every time you had to drive up or down it.....
Read More Less
The Avoncourt
Great hosts, great bed and great breakfast.
What more could you need. Lovely little bar as well.
Read More Less
August 14 2015
Had a good weekend here would use again, only noise you can hear is the seagulls.
we both loved it.
Read More Less
Great Stay
Nice place, nice location and nice people giving a good service
pleasantly surprised after reading reveiws on website, nice clean newly decorated room bright white sheets and towels plenty of complementary goodies friendly staff.
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The vacuum bulb is treated with Staticide. The probes are metal and the vacuum cups are electrically conductive to prevent charge generation. The Tenma Handi-Vac® kit is delivered to you with four vacuum cups and probes and a moistening sponge all packaged in a small plastic box.
21-3525 - Soldering Iron Stand with Sponge
Great for independent soldering irons Two position soldering iron stand Built-in sponge tray Heavy duty square base 90 day warranty
21-8165 - Soldering Iron Holder
ABS base, with metal insert measures 3" (W) x 6" (D) Includes tip cleaning sponge Rubber nonskid feet hold unit firmly in place Metal spring holder includes ceramic insert to keep holder cool Holds irons with up to 1/4" diameter heating eleme...
28-955 - Double Sided Foam Tape
Thousands of uses Fasten accessories to car dash, etc. 3/4" x 61/2' roll
22-24120 - 22" Black Tactical Weatherproof Equipment Case
Durable equipment case provides maximum shock protection for contents making it useful for instruments, audio/video equipment, tactical gear, photographic equipment and test equipment. Pre-cut cubed foam insert (top layer only) is easily customizable to fit nearly...
35-5170 - 10MM High Performance Earbud
High Performance Earbud
Lightweight, stylish, high performance earbuds give crystal clear sound as well as a comfortable fit. Ideal for use with CD, MP3, MP4 and any other small portable audio players.
We are small group of performing musicians on a tight budget. MCM products have worked very well for us. Always looking for more live sound deals.


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Founded April 20, 1926
Officers: President – Taylor Poehls; President Elect – Rich Woods; Vice president – Dave Eppelsheimer; Treasurer – Bob Reinhardt; Secretary – Andy Barnes; Immediate Past President – Ed Ellingson.
Directors: Bob Gross, Jan Fitzgerald, Eli Potkonjak, Jason Gonwa, Dave Hoerig, Gary Krueger, Kevin Dwyer, Ken Snyder, Tom Schultz
Looking forward to the meeting of September 4, 2012
Programs and Events
September 4 – Committee meetings
September 6 – directors' meeting (note that this is a week early)
Meeting notes: We had a low-key meeting this week. No program and no puns, although Bob Reinhardt came up with an Irish joke. The members at the meeting were a happy bunch though. Ed Ellingson paid a happy buck just to be free of puns, even if the condition is temporary. Eli Potkonjak was really happy and relieved that Paula got a clean pathology report (that's when negative is positive). John Cable was happy that Mary Susan got through surgery last week, that he is expecting a grandchild in January, and that he can fit one more trip into his life before January (do you want to go?). Bob Reinhardt was happy about his results last Wednesday at Potawatomi, but he wouldn't disclose details. John Foley was happy about the possibility of seeing his old roommate, but a bit sad that his roomy's health is failing. Bob Gross paid for the privilege of announcing that the Lion's are opening their clubhouse to the public for a community sheepshead night, starting this week, Wednesday. Rich Woods noted happily that Nebraska was in the paper again, this time because Marcus Corporation is planning to open a hotel in the big city – Lincoln.
Next big event: The annual induction dinner will be Tuesday, September 25. There will be no noon meeting that day, so plan on meeting at Alioto's that evening. We will have a menu and sign-up sheet soon. Let Bob Reinhardt know if you plan to be there (firstname.lastname@example.com).
Interclub: As long as we don't have a regular meeting that day, plan on a meeting with the Parkland-Greendale club at noon on September 25.
Member news: Dick Bachman made it through major surgery and in the process discovered some cardiac irregularities, which should be treatable with conservative methods. Gary Krueger is now at the Lutheran Home.
Meetings: Tuesday noon, Mayfair Mall Community Room
Newsletter Editor - Kevin Sjostrom p Reporter - Ilija Potkonjak p Newsletter distribution: Tom DeLuca
www.wauwatosakiwanis.org www.wiumkiwanis.org www.kiwanis.org
Kevin Sjostrom
Brusky Sjostrom & Alberts SC
2300 N. Mayfair Rd., Ste. 530
Wauwatosa, WI 53226
414-259-9500 fax
More from Your Stories
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- Build a Lego City!
- Anansi Puppet Story and Craft
- MCW researchers to study airway management in out-of-hospital cardiac arrest
- Milwaukee Backgammon Club to hold 3 tournaments in August!
- 4th Annual Cruisin' the Grove Scheduled for Aug. 7
- MCW awarded $1.9 million to investigate disease prevention utilizing slime mold
- Dublin the Fun Partner Promotions Make Milwaukee Irish Fest Even More Affordable
- September Fashion Show in Washington County
- Back to School...BBB Reminds You to Shop Smart!


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|Version 7 (modified by 9 years ago) (diff),
autocomplete user fields on tickets using AJAX
The AutocompleteUsersPlugin allows AJAX completion of users for the owner and CC fields on new and existing tickets. Currently, all the known users are autocompleted though this could be restricted to those that have the ticket owner permission. A
/users URL is served which presents the user data in a format suitable to the javascript autocompleter. The AutocompleteUsersPlugin should gracefully degrade in the case of no JS or the case where
[ticket] restrict_owner = true
Bugs/Feature Requests
Existing bugs and feature requests for AutocompleteUsersPlugin are here.
If you have any issues, create a new ticket.
Download and Source
Download the [download:autocompleteusersplugin zipped source], check out using Subversion, or browse the source with Trac. AutocompleteUsersPlugin works only for trac 0.11 and greater.
After installing plugin add to trac.ini configuration file following:
[components] autocompleteusers.* = enabled
Screenshot of the plugin in action:
Recent Changes
- 16480 by rjollos on 2017-04-10 19:33:55
TracAutocompleteUsersPlugin 0.4.4dev: Fix autocomplete on newticket in Trac 1.2
Patch by Jun Omae.
Fixes #13115.
- 16060 by jun66j5 on 2016-12-08 03:10:40
0.4.4dev: make compatible with Trac 1.2 and add unit tests (closes #12981)
- 15410 by rjollos on 2016-03-06 22:38:12
0.4.4dev: Remove use of deprecated
$.browserfunction was removed in jQuery 1.9.
The plugin should continue to work with modern versions of all
major browsers.
Fixes #12664.
Author: k0s
Attachments (1)
screenshot.png (22.3 KB) - added by 9 years ago.
illustration of the AutocompleteUsers on the CC field
Download all attachments as: .zip


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Crab and Shrimp Casserole
Be the first to review
READY IN: 50mins
Recipe by Timothy H.
If you like shrimp then give this a try! I have taken this to a few parties for football games, basketball game and just friends getting together! It's usuall the first item gone on the table!
See Discussion:
Ingredients Nutrition
- 1⁄4 cup butter
- 5 tablespoons if flour
- 1⁄4 cup sherry wine
- 1⁄2 cup parsley, minced
- 3 cups breadcrumbs
- 1 lb of cooked shrimp, peeled
- cheese preferably parmesan cheese
- 1 lb sliced mushrooms (fresh)
- 2 cups , light-cream
- 2 cups mayonnaise
- 1⁄2 cup of chopped scallion
- 1 lb of well-cleaned crab
- 2 (14 ounce) cans artichokes (chopped)
Directions See How It's Made
- Have mushrooms melted in heated butter then add the flour. You blend the cream in gradually, stir 'til sauce is thickened. You add the sherry then allow to cool.
- Blend mayonnaise, scallions, crumbs & parsley. Add the shrimps & crumbs inches You grease one 13×9″ casserole dish. You place the artichokes in the casserole & spread the crab-shrimp mixture all over them.
- Sprinkle generously w/ Parmesan then bake it for 30-40 mins at 350 Fahrenheit.


text: I-5 bridge Lawmakers Move To Revive Plan To Replace I-5 Bridge Over Columbia River By Tom Banse • Feb 21, 2017 Listen Listening... / In 2013 the Washington Legislature killed the idea of a bigger, safer bridge between Portland and Vancouver, Washington. Three years later, Washington state lawmakers could take preliminary votes to revive plans to replace the aging Interstate 5 bridge over the Columbia River. Despite Phone Call, Governors Say No Plans To Restart I-5 Bridge Project By Chris Lehman • Oct 4, 2016 Listen Listening... / Washington Gov. Jay Inslee and Oregon Gov. Kate Brown discussed a potential new Interstate 5 bridge over the Columbia River during a phone call this week. Inslee mentioned his conversation with Governor Brown during an interview with the editorial board of the Columbian newspaper in Vancouver. Oregon Governor Issues Ultimatum For I-5 Bridge Project By Chris Lehman • Jan 27, 2014 Cacophony / Wikimedia Commons Listen Listening... / 1:17 Oregon Governor John Kitzhaber says he's prepared to pull the plug on the Interstate 5 bridge replacement mega-project. The Democrat told Oregon lawmakers Monday that he'll put the Columbia River Crossing on an indefinite time-out if they don't act by mid-March. Northwest Washington Relishes Return To "Normal" With Bridge Re-Opening By Tom Banse • Jun 19, 2013 Tom Banse Traffic is set to start rolling across the repaired Interstate 5 bridge over the Skagit River Wednesday morning. That completes a hasty, round-the-clock salvage and reconstruction job. It started just three and a half weeks ago when an oversize load brought down the vital bridge. Correspondent Tom Banse reports that Northwest Washington drivers and businesses are relishing a return to normal. Temporary Skagit River I-5 Bridge To Open Wednesday Morning By Tom Banse • Jun 18, 2013 Drivers and businesses in Northwest Washington are voicing elation now that there is a firm date for reopening the Interstate 5 bridge over the Skagit River. The Washington Department of Transportation says the temporary replacement bridge will start carrying traffic Wednesday morning. Senator Murray Announces Federal Funding For Skagit Bridge By Beth Hyams • Jun 13, 2013 WSDOT website Listen Listening... / 0:52 The Skagit Bridge should be fully repaired by this fall. That's according to Washington Senator Patty Murray. She chairs the Senate Transportation Appropriations Subcommittee. The I-5 span over the Skagit River north of Seattle collapsed last month. Skagit River Bridge Collapse Preliminary Report By Derek Wang • Jun 11, 2013 National Safety Transportation Board website Federal investigators released a preliminary report Tuesday about last month's I-5 bridge collapse over the Skagit River. What's new in the report is a piece of information about the driver of the truck that struck the bridge. Inslee: Temporary I-5 Bridge Is State's Top Priority By Derek Wang & Carol Smith • May 27, 2013 Washington State Department of Transportation Washington state's top priority is fixing the section of the I-5 bridge that collapsed into the Skagit River last week. That's according to Governor Jay Inslee. Inslee announced plans Sunday that could lead to a temporary replacement by mid June. And a permanent fix in September. Reporter Derek Wang has more. Costly New Bridge Over Columbia River Spawns Ultimatum, Brinkmanship By Tom Banse • Apr 10, 2013 OLYMPIA, Wash. - A costly new interstate highway bridge over the Columbia River is spurring brinkmanship in Olympia. U.S. Transportation Secretary Ray LaHood joined Democratic Governor Jay Inslee Wednesday to press state lawmakers to commit hundreds of millions dollars to the proposed new toll bridge between Portland and Vancouver, Washington. Inslee Stumps For Columbia River Crossing By April Baer • Mar 25, 2013 Washington Governor Jay Inslee urged a group of regional business leaders today / yesterday (Friday) to urge state legislators to support the Columbia River Crossing --the proposed new I-5 bridge. April Baer reports. Oregon Senate Approves Funding For Columbia River Crossing SALEM, Ore. - The Oregon Senate has voted to approve funding for that state's share of the Columbia River Crossing. It would connect Portland and Vancouver, Washington. House Bill 2800 authorizes $450 million in bond funding for the project. Supporters believe the I-5 bridge replacement will provide seismic stability and boost commerce. Opponents considered the Columbia River Crossing too costly. Environmental impacts were also a concern. But Democratic Senator Lee Beyer urged his colleagues to get down to the bottom line.


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This work-based learning module focuses on your own face-to-face work with young people. It will help you to develop the skills and understanding needed to work effectively with young people and support their informal learning. The module supports you to use your practical experiences and the knowledge you have gained from previous study of our key introductory OU level 1 module, Working with young people: an introduction (E108), to understand your current practice better and develop it further. You'll need to be able to undertake work-based learning, and be working with young people aged 13–19 in a suitable setting for at least five hours a week.
OU qualifications are modular in structure; the credits from this undergraduate-level module could count towards a certificate of higher education, diploma of higher education, foundation degree or honours degree.
This course really taught me how to use reflective practice and I find that I am using this new found...
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This course really taught me how to use reflective practice and I find that I am using this new found...
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I am really glad to hear that you found the module so rewarding, albeit it challenging. In all our Work...
Read more
I am really glad to hear that you found the module so rewarding, albeit it challenging. In all our Work...
Read more
This module teaches you the necessary knowledge and skills to enable you to take a reflective approach towards your work and your continuing professional development.
It focuses on three main themes:
Within each of these themes you will be engaging in some small-scale practical work with young people that will become the focus for your learning. You will be addressing the ethical issues that arise from your work, including your approach to anti-oppressive practice and safeguarding young people. In reflecting on your practical work, you will be finding out about the different perspectives young people, colleagues and others have on your work.
As you study this module you will:
This module defines 'work with young people' as professional interventions where participation is voluntary and the aims are to do with informal education. Such work can be within a voluntary or a statutory setting, but students must be attached to a suitable organisation.
For example, you might be involved in:
As this is a work-based learning module, you will need the support of your workplace. In particular you will need:
Details of the role of the Work-Based Learning Mentor and who is an 'appropriate person' are contained in the Working with Young People Work-based Learning (WBL) Handbook, which will be sent to you with your study materials. Note that your Work-Based Learning Mentor should have a professional qualification in youth work (JNC or equivalent) and at least two years' post-qualifying experience. This includes teachers who qualified prior to 1988 and who have extensive experience of youth work or similar roles. If you are not able to find an appropriate person from within your own workplace to take on one or more of these roles, then you should find an alternative from another organisation. Further guidance is available in the Working with Young People Work-Based Learning Handbook.
It is important to check with your employer that this support is available in principle before you register.
The module is only available in England, Northern Ireland, Scotland, Wales, the Channel Islands, the Isle of Man, the Republic of Ireland and British Forces Post Office (BFPO) addresses outside the UK.
You will have a tutor who will mark and comment on your written work, and whom you can ask for advice and guidance. If you are new to the OU, you will find that your tutor will be particularly concerned to help you with your study methods. We also offer face-to-face group tutorials – where numbers permit – which we strongly recommend you to attend so that you can make the fullest use of the support that your tutor (and fellow students) can give. Where your tutorials are held will depend on the distribution of students taking the module. You will also take part in online discussion forums with other students.
You will have a tutor-group forum, a forum on professional issues where you can seek professional advice and discuss general issues relevant to the sector. In addition, the award website will give you the opportunity to benefit from updates about changes to relevant policy and/or the requirements for the different awards in Working with Young People.
Contact us if you want to know more about study with The Open University before you register.
The assessment details for this module can be found in the facts box above.
You will be expected to submit your tutor-marked assignments (TMAs) online through the eTMA system unless there are some difficulties which prevent you from doing so. In these circumstances, you must negotiate with your tutor to get their agreement to submit your assignment on paper.
The first assignment requires you to submit a work-based learning support form, confirming that you have identified a suitable Work-Based Learning Mentor and work place. You will need to submit this in order to pass this assignment and proceed with the rest of the module. As part of your assignments, you will need to have one observation of your face-to-face work with a young person/people. If unsuccessful at the first attempt, you will have a further opportunity to complete an observation. It is a requirement that, by the end of the module, you must have successfully passed an observation of your practice. You will also be required to identify evidence from your practice to support your reflections on your practice. You will be shown how to use evidence effectively and efficiently, avoiding excessive evidence gathering.
The details given here are for the module that starts in October 2017. This module is expected to start for the last time in October 2017.
This is an OU level 1 module provides core subject knowledge and study skills needed for both higher education and distance learning to help you to progress to modules at OU level 2.
You are strongly advised to study the module Working with young people: an introduction (E108) prior to starting on this module as the study materials refer back to E108.
At the beginning of the module you will need to demonstrate that you have already gained six months experience of working face to face with young people to support their informal learning. This must be six months working with young people, aged 13-19, for one session two to three hours per week or the equivalent in an informal education setting during the last three years.
You must also be currently working with young people to support their informal learning and it is your current and future work that you will use in this module.
As this module leads to a professionally recognised qualification, you must be over the age of eighteen years at the module start date and you will need to:
Further details of the requirements for studying this module are contained in the Work-based Learning (WBL) Handbook available from the Qualification team on (01908) 654218. You will receive a printed copy of this handbook in the first mailing of study materials.
If you have any doubt about the suitability of the module, please speak to an adviser.
This module will assume you have knowledge of working with young people that is equivalent to successful study of Working with young people: an introduction (E108). Before you start this module, you may find it helpful to collect together your E108 assignments and your work on significant activities which may be contained in your E108 notebook.
If you haven't studied E108, then you will need to familiarise yourself with the E108 study materials as specific extracts from the materials are referred to throughout.
In addition, it would be helpful to ensure that you are confident using the internet and basic office applications such as word processing.
To register for this course - see How to register below. Registration closes 21/09/17
To register for this module, please refer to the entry requirements and contact our Student Registration & Enquiry Service (online registration is not available).
There may be extra costs on top of the tuition fee, such as a laptop, travel to tutorials, set books and internet access.
If you're on a low income you might be eligible for help with some of these costs after your module has started.
The Open University Student Budget Accounts Ltd (OUSBA) offers a convenient 'pay as you go' option to pay your OU fees, which is a secure, quick and easy way to pay. Please note that The Open University works exclusively with OUSBA and is not able to offer you credit facilities from any other provider. All credit is subject to status and proof that you can afford the repayments.
You pay the OU through OUSBA in one of the following ways:
Read more about Open University Student Budget Accounts (OUSBA).
Studying with The Open University can boost your employability. OU courses are recognised and respected by employers for their excellence and the commitment they take to complete. They also value the skills that students learn and can apply in the workplace.
More than one in ten OU students are sponsored by their employer, and over 30,000 employers have used the OU to develop staff so far. If the module you've chosen is geared towards your job or developing your career, you could approach your employer to see if they will sponsor you by paying some or all of the fees.
You can pay part or all of your tuition fees upfront with a debit or credit card when you register for each module.
We accept American Express, Maestro (UK only), Mastercard, Visa/Delta and Visa Electron.
We know that sometimes you may want to combine payment options. For example, you may wish to pay part of your tuition fee with a debit card and pay the remainder in instalments through an Open University Student Budget Account (OUSBA).
For more information about combining payment options, speak to an adviser or book a call back at a time convenient to you.
Five Study Guides, (three printed and two available online), the Work-Based Learning Handbook, the Good Supervision Handbook and a module website with access to online audio-visual materials.
This module makes extensive use of the E108 study materials, including module reader and audio-visual materials.
You will need a device with internet access to study this module as a web browser is used to access learning materials and activities. Any other computer-based activities you will need to carry out, such as word processing, using spreadsheets, taking part in online forums, and submitting files to the university for assessment, are specified in the module materials. If any additional software is needed for these tasks it will either be provided or is freely available. You may need administrative privileges to install software required for this module. Windows 10 S is not suitable as it restricts software installation to software available in the Windows Application Store.
Suitable devices are:
Some software will not run on Linux, iOS or Android devices.
A netbook, tablet, smartphone or Linux computer that supports one of the browsers listed below may be suitable. However, these devices may not be suitable for some activities. If you intend to use one of these devices please ensure you have access to a suitable desktop or laptop device that uses the Windows or OS X operating system in case you are unable to carry out all activities on your mobile device.
Recent versions of the following browsers are suitable for carrying out web-based activities:
Or Internet Explorer 9 and above.
Using a browser upgraded to the latest version will maximise security when accessing the internet.
Using company or library computers may prevent you accessing some internet materials or installing additional software.
To be able to talk and listen in our online discussions you will need both a microphone and speakers/headphones.
Devices with small screens may make it difficult to view the material provided and carry out the activities. However, a device that has a resolution of at least 1024 pixels horizontally and also at least 768 pixels vertically should be adequate.
See our Skills for OU study website for further information about computing skills for study and educational deals for buying Microsoft Office software.
Written transcripts of any audio or video components and Adobe Portable Document Format (PDF) versions of printed material are available. Some Adobe PDF components may not be available or fully accessible using a screen reader. Other alternative formats of the module materials may be available in the future.
If you have particular study requirements please tell us as soon as possible, as some of our support services may take several weeks to arrange. Find out more about our services for disabled students.
Find your personal contacts including your tutor and student support team:
For help and support relating to the University's computing resources:
For information, advice and guidance on using the library, referencing styles or finding journals, ebooks and articles for your assignments:
Please tell us where you live so that we can provide you with the most relevant information as you use this website.
If you are at a BFPO address please choose the country in which you would ordinarily be resident.