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By Gennifer Biggs, Business Solutions magazine.
Once this independent software vendor (ISV) overcame several common barriers to cloud, it brought 2 million users into the world of SaaS.
The cloud is a conundrum. It creates both opportunities and anxiety for you and your clients. It forces companies to choose between on-premise and hosted solutions, both of which come with pros and cons. For ISV Infor, talking with customers about that critical decision has grown easier because, as a software developer, it faced the same difficult decision a few years ago. Similar to many of its customers, the determination to head into the cloud came with many challenges.
Take Business Process Software To The Cloud, Or No?
It was nearly five years ago that Infor first saw the impact of cloud on the horizon, but as the world's thirdlargest provider of enterprise applications, Infor was accustomed to offering its vertically specialized software, which includes solutions for enterprise resource planning (ERP), workforce management (WFM), enterprise asset and performance management, CRM, product life cycle management, financial and human capital management, and supply chain management, in the traditional perpetual licensing model. That meant a decision to invest in development of SaaS versions of its leading products was no simple choice. "In business today, you really have two options: You can stay the course you've always known, or you can adapt," says Mitri Dahdaly, director of product strategy, workforce management, Infor. For the ISV, faced with competition from software leaders SAP and Oracle, taking the plunge into the cloud created a competitive advantage. Plus, since the path the ISV followed to the cloud involved many of the same considerations that its customers now face, it is not only more competitively positioned due to its cloud offering, it is much more capable of talking about cloud with its customers.
For Infor, the first step toward a SaaS portfolio was determining which of its software products were best-suited to cloud, then prioritizing migration of individual products to the cloud. "We evaluated the products primarily to set priorities for research and development, considering that some solutions are more suited to cloud than others," explains Dahdaly. While all the solutions could (and probably will) be transitioned into SaaS products, Infor took the time to determine which provided the most competitive edge in a cloud version and which customers were clamoring for hosted solutions. Once the decision was made to take a particular solution to the cloud, the ISV then faced the technology-related hurdles that stand between on-premises software and SaaS.
Adding Software To The Cloud Creates Complexity
Much as an end user would face decisions about migrating certain solutions to the cloud and then preparing its infrastructure for interoperability with the cloud-based solutions, so did Infor. "There are a number of factors to consider since software in the perpetual model is not designed for upgrades across an entire customer base, nor is it scripted for select upgrades or international upgrades, so we had to tackle all that," explains Dahdaly. For example, certain business process software is governed by different privacy laws in different states and countries, so a blanket upgrade cannot be applied. Infor also had to retrofit multitenancy (a principle in software architecture where a single instance of the software runs on a server, serving multiple client organizations) into its products, so from software codes to the infrastructure behind the software, Infor had its work cut out. "We built these products based on certain assumptions, and those assumptions change when you migrate to the cloud," Dahdaly adds.
However, with all of those considerations came a greater understanding of the impact of cloud which has enabled Infor to better guide its clients through the process of evaluating the changes they may face in order to best leverage SaaS solutions. Because Infor has walked the path already — from interoperability between on-premise solutions and SaaS products to changes in its own infrastructure to support SaaS and even policies on handling SaaS security-related products — the ISV has real-life experience to share with its clients during their process of choosing cloud over on-premise.
Selling SaaS A Challenge For Sales
Dahdaly admits it was overhauling the ISV's sales organization that posed the biggest challenge. "Changing the mindset of a team entrenched in selling perpetual software licenses was difficult; it is a different skill set," admits Dahdaly. "You have to focus on enhancing their knowledge about the value — as well as both the limitations and advantages — of SaaS." The transition took longer than Infor originally anticipated; what was expected to take only six weeks turned into nearly three months, primarily because the entire organization required education about the new go-to-market strategy, from sales to support. "Even our support calls were different because the data and logs we use to resolve issues were no longer with the customer, so that team had to be retrained as well," explains Dahdaly. "But without investing those three months into that preparation, we would not have been successful in our transition, no matter how good our products were."
Walking through all the new aspects of SaaS with the support and sales team empowered those groups to better relate to customers who faced similar questions or training within their own walls. "Anytime you can contextualize a problem that your customers are facing with your own experience in your organization, it's a bonus," says Dahdaly. With that common ground established, Infor's sale organization can more quickly move on to discuss automated upgrades, fewer management responsibilities, pay-as-you-go, and other advantages of SaaS.
Hybrid Business Software Solution Complements SaaS
Since making its cloud investment about four years ago, Infor has seen double-digit growth. Dahdaly notes that virtually every RFP the ISV has fielded in the last year has included an inquiry about SaaS. For many of those new customers, the choice between cloud and on-premise comes down to the fewer management resources needed and the cost differential — SaaS simply delivers faster payback than on-premise software, and over time, that savings only grows. That said, Infor has identified a large group of existing customers who are torn over losing control of their data and leveraging the cloud despite cost savings and agility. For those folks, Infor offers an interesting option. "We have about 70 different software applications that can be mixed and matched, and within that choice is the option of putting some in the cloud and some on-premise," explains Dahdaly.
That hybrid choice is rather unique since many SaaS vendors aren't comfortable with the interoperability needed for those two types of applications to work together effectively. However, because Infor had grown its product line primarily through acquisition, it had deep experience with that issue and found it fairly simple to roll out the mixand- match option. "Our ION technology empowers a unified user experience because it integrates on- and off-premise solutions and pulls data for each product, regardless of where it lives," says Dahdaly. With that option available, Infor expects to slowly migrate its clients, even the slow adopters, over to SaaS in the next five years, furthering a trend that already has 2 million end users in the cloud.
Overall, Dahdaly says the advice Infor shares with its clients is the same as it took to heart when faced with the decision to adapt to a SaaS platform. "If you don't embrace cloud and plan to leverage it in your business, you are going to be marginalized because your competitors are definitely taking advantage of the agility and flexibility that comes with it. And that will eventually provide them with an edge, so you simply can't be afraid to adapt."


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Eddie Jean Williams, left, and Caretha Nelson, right, members of the Chiefland Home and Community Educators, present Bill Brown, president and founder of The Children's Table, with a check for $250. The money will be used to help provide food for the Levy County Outreach Program on Oct. 16.
A teacher, a coach, board member and friend, G. Frank Etheridge's tenure has come to an end. He will be retiring at the end of his term with the Nov. 2 election,
The public schools of Williston will host a reception in his honor from 4 p.m. to 6 p.m. in the Williston Middle School Cafetorium.
The public is invited to share fond memories, much laughter, punch and cake. Please RSVP to 352-528-2941 by Oct. 27.
Army Maj. Shawn J. Morton has arrived for duty U.S. Army North Office of the Assistant Chief of Staff, Fort Sam Houston, San Antonio, Texas. His wife, Katrina, is the daughter of Queen Frazier of Williston.
Morton, an assistant operations and plans engineer, has served in the military for 13 years.
Morton received an associate degree and earned a bachelor's degree both in 1998 from the University of Virgin Islands, St. Thomas.
North Central Florida District 2 Al-anon has a Speakers' Bureau that can provide people to talk on Al-anon topics.
Al-Anon speakers are available for Al-Anon/Ala-teen groups, teachers, educators, clergy, church groups, AA groups, social workers, conventions, law enforcement agencies, hospitals, penal institutions, doctors/nurses, and others.
Topics include: personal recovery, 12 steps/traditions/concepts, service, spiritual journey of Al-anon, serenity, prayer, literature and slogans.
Manatee Division drills at Coast Guard Station Yankeetown, in Yankeetown, on the second weekend of each month. The Sea Cadets are for youth ages 13 through 17 years old. There is a Navy League Cadet unit for youth ages 11 through 13 years old.
The Corps provides a fun and challenging environment that is free of drugs, alcohol, tobacco and gangs.
Please come visit us at our drill and online at www.manateediv.org. Please contact our Commanding Officer LTJG Todd Dunn at 352-212-5473 or email@example.com.
Army Pvt. Deonte J. White, the son of Kursey Carnegie and grandson of Carl Carnegie of Williston, has graduated from Basic Combat Training at Fort Sill, Lawton, Okla. White is a 2009 graduate of Williston High School.
A number of Cedar Key families in need will benefit from donations by Cedar Key Aerie 4194, the local branch of the Fraternal Order of Eagles, following a decision to help the island churches support needy local families.
Roz Boudreau, a member of Chiefland Home and Community Educators, presents Connie Brown, administrator of Tri-County Outreach, with a check for $250. The money will be used to purchase food for distribution to the needy in Levy County.
By WINNELLE HORNE
Lynetta Usher Griner, an officer of Usher Land & Timber of Chiefland, has been elected president-elect of the Florida Forestry Association for the next two years. Griner, an attorney, works for the family-owned timber operation.
Bryan J. Olmert, president of Loncala, Inc. a land and timber operation in Alachua County was elected president of the association during the group's meeting in Destin on Sept. 9.
Copyright © 2017
The Chiefland Citizen is your source for local news, sports, events, and information in Levy County and Chiefland Florida, and the surrounding area.

subset: commoncrawl


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Austin, Texas -- Accruent, a leading provider of real estate and facilities software, announced that it has acquired Expesite, Columbus, Ohio, a provides a suite of SaaS solutions highlighted by VisionPM, its design and construction project management product.
"The addition of Expesite is a unique opportunity for Accruent," said Mark Friedman, CEO of Accruent. "Expesite brings an outstanding group of customers and industry partners, and the Expesite team has developed compelling solutions to streamline the complexities of the critical design construction and rollout processes for their global clients. This is a major step in our drive to deliver all our solutions in the SaaS environment."
The integration of Expesite operations into Accruent is expected to be completed during first quarter 2013, with key Expesite leaders assuming positions in the combined company. Support for Expesite and Accruent products continues without interruption.


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Hello everyone
I recently installed LabView 2009 on a new Win7 system. Next I tried to get a simple test VI running that simply takes image after image with the Ni-IMAQdx driver (using a AVT Stingray camera). It loops over the Snap sub-VI. But no matter what camera settings I tried at some point the VI will crash throwing the "Insufficient transfer engine resources" Error. This sometimes happens after 3 images sometimes after 30 or more images. Since there is really no other thing involved I would guess this is a Win7 driver problem. So does anyone know a fix for this or should I downgrade to WinXP?
Ok I found the solution by myself.
The problem was with the Windows 7 Firewire Driver. The Solution is to activate the Legacy 1394 driver.
I hope this helps anyone who runs into this problem.
I'm having the exact same problem. Thanks for guiding me in the right direction, but could you specify how you managed to install/use the legacy drivers? I cannot find them in MAX so I figure I haven't installed them yet. But I can also not find a download for it on the NI site.
Thanks in advance
We are tracking this issue internally as CAR# 285685. It appears to be a bug in Windows 7's new 1394 driver stack that others have reported here and here. Unfortunately there is no resolution that I know of from Microsoft at the moment. We are investigating possible solutions with Microsoft and hopefully we will have some better resolution in the future.
For anyone reading this post please note that the Insufficient Resources error can be returned for many other reasons besides this particular bug. If you are getting this error the first time you do a Snap it is unlikely to be related to this error. It is likely due to too many devices on the 1394 bus simulatenously reserving resources, or by using a larger packet size than is supported by the current speed of your device. The workarounds listed below should only be applicable if you are encountering the mentioned error when doing a Snap inside of a loop after multiple iterations (in-house we reproduced this only after 400 iterations)/
For now, there are several workarounds you could use:
- This is a problem related to reserving and unreserving 1394 bandwidth in a loop. When you do a Snap, this happens on every iteration. If you are going to be acquiring continuously, switching to a Grab will setup the camera/system in a continuous mode and let you retrieve the latest image at any point after starting it. This is a more efficient operation in general and would also eliminate the reserve/unreserve in a loop. You can check out the included examples that use a Grab.
- It appears that Microsoft still ships the old legacy 1394 driver with Windows 7 that you can optionally use. Please note that "legacy driver" here refers to Microsoft's legacy 1394 OHCI driver, not NI's "Legacy 1394 driver" (aka "IMAQ for 1394") that was supersceded by IMAQdx several years ago. Both IMAQdx and the NI Legacy 1394 driver sit on top of the Windows OHCI driver for the 1394 controller chipset in your PC. Switching back to Microsoft's legacy OHCI driver has not been tested by NI but has been reported to fix this particular issue by others. Note that it is quite possible that other bugs present in the older version (such as the inability to use speeds over 100/400Mbit) may still be present in the legacy driver. I found a good post showing how to switch to the legacy OHCI driver here: http://kc.flexradio.com/KnowledgebaseArticle50433.aspx
Once again, I apologize for this issue and wanted to let you know we are working towards a better resolution.
For anyone else tracking this issue, it is issue KB363689 with Microsoft. There is no public fix out yet but one is expected at a future point in time. Until then, you can try any of the several workarounds listed above.
Note that there is also another issue with doing a Snap in a loop with FireWire cameras on Win7 that can cause a memory leak -- http://support.microsoft.com/kb/982669. The hotfix provided in that article appears to already have been rolled into the recently released Windows 7 SP1 so you should not need this particular hotfix.
To anyone following this thread, Microsoft has just released a hotfix for Windows 7 that addresses this particular issue: http://support.microsoft.com/kb/2524249
I'm seeing the same problem with win7. This legacy issue also occured with WinXP, for which there was a roll-back hotfix to address.
Another issue we are seeing in MAX, is that it makes no consideration for multiple cameras running simultaneously. So it allocations nearly full packet size for the selected camera bandwidth. As you cannot grab from two devices at once in MAX, you see the problem until you code dual-camera acquire in LabVIEW.
To run two cameras, you'll need to manual decrement the packet size, something like 4096 in Max. It slows down the frame rate.
It would be also nice to see some confirmation in MAX if the adapter is 1394A or 1394B, We have a 1394"B" interface, which should be faster, but not sure if MAX is properly 'seeing' it's a "B" adapter via it's connection to the windows driver. This could be a win driver issue or MAX, but impossible to tell.
By tweaking the packet size, we are getting two 2440x 2028 cameras acquiring simultaneously in LabVIEW. (without the win hotfix mentioned in the post above)
Jack Hamilton
Any updates regarding this issue? I just ran into the problem on a machine running Windows 7 32-bit service pack 1.
Robert Eastlund wrote:
Any updates regarding this issue? I just ran into the problem on a machine running Windows 7 32-bit service pack 1.
Hi Robert,
Just to confirm, you are seeing the insufficient resources error after a while of configuring/unconfiguring in a loop?
Currently there are three ways around this:
- Get the hotfix from Microsoft (http://support.microsoft.com/kb/2524249) which fixes the issue (as of today this is not yet in a service pack from Microsoft. Pehaps it will be in a future one)
- Switch to Microsoft's legcy OHCI driver for the 1394 chipset. This is the identical driver from Microsoft as what shipped in Vista/XP. This does not have this particular bug but it does have the same legacy issues of not properly supporting the 800Mbit speeds of 1394b.
- Refactor your code to not continuously re-allocate firewire resources. The problem only shows up when resources are continuously allocated and free'd. This occurs if you do something like Snap in a loop or Configure/Unconfigure in a loop. If you do a single continuous acquisition then you should not run into this issue unless your application is started/stopped many times.
It seems MS took the hotfix download away. What happened? I was going to try the hotfix and see if it solves the issue.


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The jury selection could last several days and the trial could last through most of October.
Rafferty, who is being tried as an adult, and his co-defendant, Richard Beasley, 53, of Akron, have pleaded not guilty. Beasley will be tried separately.
Rafferty, who was then 16, is suspected of helping Beasley lure victims with bogus job offers.
Three men were killed last year — two in Noble County in southeast Ohio and one found slain in Summit County near an Akron shopping mall — after responding to what authorities said were bogus online job postings.
Rafferty cannot face execution because he was a juvenile at the time of the crimes. Instead, he could face life in prison.
Prosecutors are seeking the death penalty against Beasley.
The body of David Pauley, 51, of Norfolk, Va., was found on Noble County property owned by a coal company and often leased to hunters.
Timothy Kern, 47, of Massillon, was found in a shallow grave near an Akron-area shopping mall. He had been shot in the head.
The body of Ralph Geiger, 55, of Akron, was found in Noble County and had died Aug. 9 of a gunshot wound to the head.
A South Carolina man, Scott Davis, escaped after being shot in the arm by hiding in woods until it got dark. He has been subpoenaed to testify at Rafferty's trial.
Beasley was a Texas parolee who returned to Ohio in 2004 after serving time on a burglary conviction. He was awaiting trial on prostitution and drug charges when authorities took him into custody.
Police have said a halfway house he ran in Akron was a front for prostitution. Authorities said he was a mentor for Rafferty and had befriended him.


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Thomas Goes FishingThomas Goes Fishing (1984) - Thomas the Tank Engine & Friends Cartoon Episode Guide by Dave Koch
This page has been viewed 10 times this month, and 281 times total.
- Thomas the Tank Engine & Friends Cartoon Episode GuideEpisode GuideTelevisionSeriesCartoon
- Traditional Animation
- Britt Allcroft Ltd., Central Independent Television PLC, Gullane Pictures
- Distributed by: Columbia Pictures Television
- Cartoon Characters: Thomas, Sir Topham Hatt, Percy, Daisy, Edward, Duck the Great Western Engine, Stepney, Gordon, Mrs. Kindly, Skarloey, Peter Sam, Rusty, Toby, Duncan, Henry, Annie, Clarabel, Lady Hatt, Harold, Trevor the Tractor, Sir Handel, Bertie, Cranky the Crane, James, Bill, Ben, Toad, Olive.
- Voice Actors: Ringo Starr.
- Directed By David Mitton.
- Produced By Britt Allcroft, Robert D. Cardona, David Mitton.
- Written By Reverand Wilbert Vere Awdry.
- Music: Junior Campbell.
- First Aired about 1984.
- Originally Aired on ITV (UK), PBS (USA).
- Running Time: 5 minutes.
- Color
- United Kingdom
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The Father of AlgebraMath brain teasers require computations to solve.
Diophantus was a Greek mathematician who lived in the third century. He was one of the first mathematicians to use algebraic symbols.
Most of what is known about Diophantus's life comes from an algebraic riddle from around the early sixth century. The riddle states:
Diophantus's youth lasted one sixth of his life. He grew a beard after one twelfth more. After one seventh more of his life, he married. 5 years later, he and his wife had a son. The son lived exactly one half as long as his father, and Diophantus died four years after his son.
How many years did Diophantus live?
AnswerThe riddle, the "facts" of which may or may not be true, results in the following equation:
x/6 + x/12 + x/7 + 5 + x/2 + 4 = x
where x is Diophantus's age at the time of his death.
Therefore, Diophantus lived exactly 84 years.
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NEW YORK ( TheStreet) -- The housing market has been on fire for the last several months but don't tell that to a first-time homebuyer. Many young couples in their 20s and 30s who want to buy a home are struggling to get a mortgage under tough credit conditions. Others find themselves fighting a losing battle with cash-rich investors over low-priced homes. To make things worse, a sudden rise in interest rates coupled with rising home prices has now also made buying a home a lot more expensive. First-time homebuyers accounted for just 29% of home purchases in June, according to the National Association of Realtors (NAR), down from 32% a year ago. Historically, their participation rate has been close to 40%. Rather, the housing recovery has been chiefly driven by investors. Cash sales accounted for 31% of all sales in June, according to NAR, with individual investors accounting for 17% of all purchases. Investor participation has been higher than normal in this recovery, thanks to a large number of distressed properties hitting the market. Investors are usually attracted to these kinds of homes, as they can buy them at a steep discounts, fix them up and sell them for a profit or rent them out for an attractive yield. Investors have helped absorb much of the excess supply in the market and have helped lift housing off the bottom. But the low participation of first-time homebuyers has raised concerns about the sustainability of the housing recovery. First-time homebuyers are viewed as fundamental to the health of the housing market. Their demand allows existing homeowners to "trade up," thus fueling greater housing turnover. Plus, investors will exit as prices rise and returns diminish. What happens then? Will first-time homebuyers step up to fill the void? Or will flat incomes, an uncertain economic outlook and higher interest rates deter them? Bank of America Merrill Lynch economist Michelle Meyer said she believes that the share of first-time homebuyers will go up as the housing market normalizes over time. As the pipeline of distressed properties decreases -- the share of distressed sales was at its lowest level since October 2008 in June -- the economics for investors will become less attractive, she told TheStreet. There will be fewer bargains. Higher interest rates will also increase financing costs and other investments will start to look more attractive in a higher rate environment.
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The UK's Leading Office Chairs & Furniture Specialists
Chair Office's range now includes a collection of home office bookcases and contract office storage solutions. In addition to our super savings of up to 60% off recommended retail prices, we also offer many of our office bookcases in a choice of wood veneers, many of which can be matched with other products in the same range.
Businesses should note that we may also be able to offer extra discounts on large volume contract office bookcase orders. Designed to withstand the general wear and tear of daily use, our durable office bookcases are perfectly suitable for use at work or the home office.
In addition to our office bookcase range, we also have a number of practical office storage solutions on offer, including space-saving tambour cupboards and tower storage filing cases. Many of our items can be easily self-assembled at home or at work. For your convenience we also offer an assembly service on our office bookcases, for a small extra fee. For more information, or to obtain advice or recommendations on a particular product, please do not hesitate to call our friendly and experienced UK-based sales team on 0845 8368 3616.
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Some products are available in multiple colours and not just the colour shown on this page.
Chair Office
Bedford i-Lab
Priory Busines Park
Stannard Way
Sales Line: 01234 834693 - Office Sales & Advice Line Open 9am till 5pm - Monday to Friday
VAT Reg: 214180545 - Company No: 9450728 (chairoffice.co.uk is a trading name for Full Range Furniture Ltd)
Delivery charges vary for non UK mainland and Scottish highlands addresses, office chairs are usually delivered within 1 to 3 days and larger items of office furniture 10 to 14 working days of order unless advised otherwise.


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* Prices may differ from that shown
We've had this television for a couple of years now, it replaced a larger 50" non 3D Sony model - at the time I'd have rather stuck with the bigger screen but the kids were insistent that they wanted a 3D television and we gave in, compromising a couple of inches in screen size for the 3D effect.
It's been a fantastic tele all round really, the 3D images are clear and wonderful using the LG 3D glasses that came as part of the package. As it's a smart TV you can go on the internet using it, I don't do that much as I'm happy with my laptop and tablet but it's handy for Netflix or checking Ebay if I can't be bothered to move!
I've connected the TV to my iPad so use the You Tube app to play music, nail tutorials etc... over the TV for better sound and image quality than on the tablet screen.
Mostly I use the Sky box to control what channel we're watching (or rather my remote-hogging partner does) and everything works as it should - and frankly when it doesn't it's usually a Sky issue rather than anything to do with the television!
The picture quality is always excellent with bright vivid colours and clean lines whatever I'm watching, in the past two years we've watched everything from films (DVD, Blu-Ray and 3D) to concerts, the news, soaps and kids programmes. Everything is perfect in colour, contrast and sound - helped along by a good set of speakers and complimenting LG Blu-Ray player.
I can't recommend this television highly enough, I'm not much of a tele person myself but my partner is a total tele addict while my teenagers never go long without watching something on Netflix so it's been well used - to still be in such fabulous condition and working so perfect is pretty good in my opinion.
We paid around £800 for our television which is excellent value for money in my opinion and I'd happily buy the same one again.
We decided on a 3D,HDTV when we needed to renew, we also decided to spend a bit of cash on a good quality TV .
The size and specs of this TV were good enough for us, at the right price. I will not go into the specs, as they are covered in the product details section. It has plenty of different types of inputs/outputs and at least 4 HDMI inputs.
Ours came with instructions, a good length of power cord , remote , magic remote, and 4 pairs of 3d glasses ( you can also wear them at the pictures)
The remote is sleek, quick and responsive to use.
The TV , in my view, is superb, it has got a better picture than a lot of more expensive tv''s out there.
The menus are easy to follow and understand and, set correctly, will auto update as/when required. It has a fair amount of free and pay for apps available to suit every bodies own ideals.
We have ours wall mounted,I think ours came with just a table mount, purchased separately and is an excellent entertainment centre, with enough inputs/outputs to connect up to anything!
In our house we have connected to it the ''tinternet'', 3d blu-Ray player, sky box, on demand, etc. Xbox 360, Wii and an LG soundbar. We also have our laptops, cameras ,etc also wirelessly connected. As said, an all round entertainment centre.
Our only gripe is the sound quality through the TV, not as good as it should be. It is wall mounted on a solid wall, but it have heard better.
Once connected through the LG soundbar, the sound quality improved immensely and we now listen 100%of the time through the soundbar
I researched many TVs before settling on the LG 47LM620T and to be honest I wish I'd carried on looking.
The main reason I purchased this TV was to replace an old Toshiba 42" TV which was nearing the end of it's life. I wanted a Smart TV and I wanted an upgrade in size. I settled on this TV due to the price, as well as reading reviews of the Smart TV interface.
When I got the TV home I found it surprisingly light and easy to set up. However, as soon as I connected my Sky + box I could see that something was wrong. Occasionally, and only on certain channels, the audio did not sync with the picture. This did not happen consistently and did not happen across all channels. At first I thought this was a problem with the Sky, as blu rays played without this syncing issue. However, I eventually came across a blu ray that did suffer from this issue, with the sound being at least half a second quicker than the picture. There is a syncing option available through the TV menu where you can manually sync the sound and picture, but this was no good in this case due to the inconsistency of the issue. On contacting LG customer support I was told that I needed to buy new HDMI 1.4 cables for all of my devices. I haven't tried this yet, so can't comment on if it works.
The 1080p Full HD picture is stunning when watching blu rays or HD channels - easily the best I've seen. However, the TV does suffer from a considerable motion judder issue. Whenever the image moves quickly on the screen the motion judder lasts a few seconds and can render the picture virtually unwatchable for that time. However, an upgrade to HDMI 1.4 is meant to fix this issue too.
Another bugbear is the sound quality. Now, on all flatscreen TVs the sound quality isn't the best, but it seems that when manufacturing this TV, the sound was of secondary importance to LG. It is tinny at best, but the real problem comes when the volume is turned up a notch or when some bass manages to come through - the TV sounds like it is vibrating. After some online research and an inspection of the TV I found that this was due to one of the bolts in the TV stand. If you mount your TV to the wall this won't be an issue, but if you can't do that and have to use the stand, you may find that, like me, you have to buy a separate sound system to bypass the awful sound on the TV. Unlike my previous TVs I have also found that volume levels differ wildly between different channels - on some channels the volume level is find around 13, but on one channel I watched recently I had to put the volume up all the way, and I was still struggling to hear it.
Despite all of these issues, this TV is not all bad. As I mentioned, the HD picture quality is amazing. The 3D is also much better than I expected it to be. I feel that 3D is usually little more than a gimmick, but for certain films and TV shows this TV provides a completely immersive experience that I would definitely recommend. The TV comes with 4 pairs of 3D glasses which are colourful and fairly comfortable. Through the Smart TV menu you can access a range of free 3D content such as documentaries, cartoons and concerts, as well as some VOD 3D content. The 3D is definitely the best thing about this TV and there is also an option to convert non-3D content in to 3D - it's a nice little feature which works quite well, but as the source is not true 3D it is nowhere near as good as the dedicated 3D programming available.
The Smart TV functionality is good and easy to use, although I find that I rarely use it. If I had a criticism I would say that it doesn't feel particularly slick. You can find various apps such as BBC iPlayer, twitter and you tube (which are free) and LoveFilm and Netflix (which you need to subscribe to). You can also browse the internet, although this is quite fiddly. Thinking that I would use this functionality more, I purchased the Magic Remote to make it easier. It works a little like a wii controller, but instead of a bar to put on top of the TV it is controlled by a small box that plugs in to the back of the TV. The problem with this is that the lead provided isn't big enough for the box to stretch to the middle of the TV, making the control of the curser difficult as it is off-centre. Additionally, the Magic remote is not compatible with other devices and generates error messages when they are turned on. For that reason I rarely use it and wouldn't recommend it.
In conclusion, although I regret buying the TV, if you can get around the various sound and picture problems, it's a good unit with a great HD picture and 3D. For me, however, this isn't enough.
Me and my boyfriend treated ourselves to this TV for christmas. Every other TV in our house is a Samsung so another Samsung seemed like an obvious choice but when looking on the internet we decided on the LG 3D Smart Tv and do not regret it.
I do not know a lot about 3D technology but from a little research I understand there are two types used by manufactures these are active and passive, LG use passive which is the same they use in the cinema. The picture is both crisp and bright and doesn't give either of us a headache. Also the TV included 4 pairs of glasses and extra pairs are cheap. I am very happy with and impressed with the picture when playing a 3D blu-ray/dvd or a 3D channel but I do not use the 2D to 3D conversion feature on the TV as it isn't very good.
I didn't know what to expect when it came to it being Smart Tv, I had never used one and have been told that they can be difficult to use. I was pleasantly surprised at how easy the menu is to use but must admit that I do not use half of the things one there but it is great for things such as Netflix as we no longer need to go through a games console. Also I have an app on my tablet that I can use to control the TV and as a keyboard but I don't use that a lot either.
I think the TV itself is a very good looking piece of tech, the screen is surprisingly thin and the stand looks nice and is surprisingly sturdy. The sound is good but as we are impressed with the TV we are investing in a LG sound bar and subwoofer.
Overall I am very happy with this purchase and would recommend this TV to anyone who is looking for a 3D TV that is great value for money and great to watch. Although I do not use all of the features I am sure some people would enjoy and get use of the all.
After having a 32" for our main TV for over five years, it made a huge difference to see the 47" LG in our living room. Itsscreen colours are vibrant and crystal clear and knocks the socks off our older television.
Its 3D is quite literally a crowd pleaser, as we showed each of our friends its capabilities when they visited by playing the short sample film that comes with the TV. I can't ask for better as things not only 'pop out' of the screen but also show great depth in scenes you feel you can step into!
Its downfall is what we call 'banding' -- dark still patches like looking through a darkened screen -- when watching fast moving sport in block colours (like football on green pitches) or in bright colours (like skiing on white snow). The onscreen updates still haven't fixed this. Also there are some audio/visual problems like voices being out of sync with the mouths. Yet again, no updates have helped with this.
For everyday average use this TV is a delight, something you love to show off to friends. But for other uses, like sport, it lets itself down somewhat. If we didn't get the TV when it was on offer we might've thought about getting a different model..
I am surprised how good it is. I buy it last year and I can tell from the moment that we assemble it on the wall (that was very easy).Wonderful TV, you can get the best 3D experience (3D visual and 3D sound) on this amassing LG 47LM620T on a very big screen. The menu is extremely easy to handle. The colors on the screen are very natural. It is a smart TV so you can always go to the internet and you can watch movies without downloading them.The 47" LG 47LM620T it is a great value for money. I will recommend to anyone who want to watch movies.
There is a few different TV's that I have been considering buying recently and after spending a few months researching I finally bit the bullet and bought this one and hopefully by the end of my review you will know why and if I am happy with the purchase.
The LM620T is one of the cheapest models from LG's cinema range 2012 TV's, and really if you want to be making the most out of these screens the 47inch is the smallest screen you should be looking at. Unfortunately with LED's the next highest after 47inch is the 55inch which is a little too big for me, although I did find a couple of 50inch LED's from Samsung but they never quite hit the spot with me.
In terms of the features this is pretty much standard across the whole LG cinema range, and it's all based around an intuitive user interface. Especially with it being a smart TV that is what it is all about. You can access your apps, the TV, contents from external hard drive and the works all from the home screen. They call it a smart TV but the thing is asides from the apps(which I will talk more about later), it isn't really any smarter than using the menu system that all televisions before had, unless you need it broken down for you like a baby in an interface.
So in terms of the Apps, the main and to be honest only app I use is BBC Iplayer. This is a great app, although it isn't anything exclusive to LG so please if this is the reason you want the TV, then realise Samsung and all other smart TV's have Iplayer. There is an app for Lovefilm and Netflix, but I don't use these as well as other random apps that you can download. I've had a browse through and there is not really anything useful at all. Likewise with the games available, it is a little pointless if you have a PS3 and I guess if you have kids they may enjoy the games but not for me.
So on to the main reason I bought the tv, the quality of the picture. This is really excellent considering it is one of the cheaper LG smart tv's. Don't be put off by what you see in the shops as they are not using ideal feeds and often non HD feeds for the display models. In terms of standard definition this isn't great and pixelated but I bought this for the HD and it delivers easily. It is sharp and vibrant, although some may state that it is over vibrant and less lifelike than a Samsung, but you can change the settings away from the pre-set modes like Cinema, Vibrant and Game. In terms of the game setting please make sure you use it when playing on the PS3 to avoid any lag as it really does make a difference.
For price it really does vary and there are offers going all the time and I am quite wary of putting a price down as this review may get viewed in a year's time and they will be put off by the price but in actual fact the TV may be a lot cheaper. Currently (Jan 2013) expect to pay around £650 for this which is value for money at this time.
A lot of people buy this for the 3D, and I am not one. To be honest I think it is a bit of a gimmick. This TV has not changed my mind, yes it kind of work, is it 3d though, well not really. It's a bit like a pop out book and just I don't see the point. It doesn't really add to my experience and can't say I will be using it often. The 2D-3D converter for non 3d converter is the most pointless aspect I have ever seen and really makes little to no difference at all, which isn't surprising as the source content isn't 3d.
If you spend a bit extra you can get extras that are needed like the dongle which is a must if you want the internet on the TV, so you need it for Iplayer. Also there is an optional magic remote which I don't think is worth it. It loses its novelty pretty quickly.
Overall this is a very good TV, and I bought this for good sharp picture quality and that is exactly what I got. Yes there is a lot of extra bells and whistles and this may fascinate some others, but please base your purchase around if you are happy with the quality of the picture rather than the smart TV features.
I decided to buy this telly because it was bigger than my old one and due to the 3D option and the fact it's a smart tv, I figured it was good value for money. It comes with 4 sets of 3D glasses...which you think is good value. However, these free pairs of 3D glasses are nothing more than the ones you get when you go to the cinema. They have a black lens and so the picture colour isn't as great as it would be with the other type of glasses. The only good thing about them is that they come in snazzy colours which is a nice touch. The 3D works really well and the telly will transfer a 2D image into a 3d image which some 3D tellies don't do...they only process program's that were made in 3D. This means there is no need for a 3D DVD/blueray player which is an added bonus and saves some pennies. The size of the tv is fab!! It's sleek and looks fantastic!! The sound quality isn't the best however, but lg customer services have been very helpful and are sending an engineer out to ensure there are no problems. I have yet been unable to try the Internet on the telly because (after buying an lg dongle at a high price) it doesn't seem to want to connect to the router. Lg's answer was to move the hub closer to the telly or the telly closer to the hub!! It's not a huge problem for me as I have by vision and so can access lots of on demand program's anyway. Overall I would recommend this telly to others. It has a great picture, looks great, the 3D is superb, the interface and remote are easy to use, and its good value for money :)
I bought this TV as an early Christmas present for my husband and I. It was slightly more money than I wanted to spend but as it was 3D and came with 4 sets of 3D glasses and it's a "smart" TV with 1080p full HD and my husband said it had a very good refresh rate I thought I'd go the extra mile... I'm so glad I did.
The TV was well packaged and easy to assemble onto the stand, it just screws in. The menus are easy to navigate and it's easy to find your way around everything to set up the TV exactly how you want it. It also comes with extra fittings so that you can convert things you want to hook up into USB to make it easier as there's no scart socket but we didn't have an issue with that.
We upgraded from a 32" LG. The new fancy 47" links wirelessly through your wifi so you can view films from a laptop (when it's on and in a different room) direct through the TV without the laptop being hooked up to the TV. Another bonus is that you can plug an external hard drive into the TV and access all the menus easily from the TV remote control, there's no fiddling hooking it to the laptop and then the laptop to the TV, you can literally just plug it into the TV and away you go! An added benefit of this is that you can pause watching a film from the laptop or hard drive with the remote so you don't have to get up to pause on the laptop. There's also wireless streaming of Netflix and Lovefilm (if you want to use them as they are chargeable from the individual sites) as well as others, which can be done direct from the "smart" application installed on the TV.
The 3D aspect can be turned on or off in the menu very easily and it's nice to have the option to do this though we use it very rarely. The picture quality is wonderful - my father in law came round to watch a film with us and he said it was like seeing the film for the first time (it was Avatar we put on too, one of his favourites!). The picture was clear and all the action sequences were very clear with no blurry parts. The sound is also excellent, the speakers are very good and the sound can be turned very loud - not so good for neighbours!
The only downside I have found is when I hook my Nintendo Wii up to the TV the picture isn't great. It's watchable, but not as clear as if you're watching the TV or a film. It's slightly crackly as though the connection is a bit faulty so we will have to investigate that.
Having said that, I would definitely recommend this product to anyone who is looking for great picture quality and who finds it a hassle to watch films through a laptop / external hard drive. This TV makes everything very simple and it's very easy to use.


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I've been on a gift kick lately! Baby showers, birthdays, bridal showers, graduations.... this time of year is always full of said events, right? I can't always MAKE a gift, but I was able to work it in for two lucky girls:
This fun banner and matching banner card was whipped up in an afternoon for a cousin who is graduating from high school. I hope she finds a spot in her dorm room at Case Western Reserve for it! So this is for the 18 year old...
And for the newborn:
A stroller quilt and two drool bandannas for a Friend's new baby girl to arrive this summer!
I just can't get enough of the drool bandanas! Eli has two and he wears them daily... teething just makes babies drool a lot, so why not stay dry in style? I love the pattern - two bibs whip up in 15 minutes or less! Its from the book Simple Sewing for Baby - if you're a beginner sewist, pick it up, you won't be disappointed!
Oh man, and this yellow Henna Garden fabric is one of my favorites... I had to sneak it into the quilt, and I love the robins egg blue binding... not too girly, but still feminine.
And HAPPY SUMMERTIME!
We went from 40F degrees to 90F in about a week, but who cares! Its time for boating, beach, pool, and the zoo!
We went from 40F degrees to 90F in about a week, but who cares! Its time for boating, beach, pool, and the zoo!


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THE unknown details of the 1914 Goostrey Rose Queen have come to light thanks to an article in the Guardian about this year's queen.
Reading an article about Catherine Flanders being chosen to be the 2014 Queen prompted Bill Eyres from Knutsford to get in touch with the Rose Day organisers to tell them about his mother Maud Kennerley who was crowned exactly 100 years ago.
Bill filled a gap in the Rose Day history when he revealed that he is mum was Rose Queen in 1914 and he has donated a large framed photograph of Maud, her crown and the bible she was presented with on her big day to the Goostrey archive.
The Committee has used these items to create the annual shop window display to promote the event in the run up to Rose Day which this year takes place on Saturday, June 28.
Sue Mottershead, Chairman of the organising committee said: "We were delighted to hear about Maud and are so pleased that villagers will have a chance to see Bill's memorabilia before it is placed in the archive."
On Saturday more than 200 children will take part in the procession from Booth Bed Lane to the school which will start at 1pm.
The ceremony which will see Catherine, accompanied by her attendants by attendants: Elizabeth Titchener; Amy Keeling; Jemima Laniado; Rebecca Goodwin and Ellen Memmott, crowned Rose Queen will begin on the school field at 2pm.
For the fourth time since 2005 children and teachers from Goostrey's twin school in South Africa - the Elizabethfontein School in the Western Cape will be taking part in the festivities and will give a demonstration of traditional African dance.
The Tug-of-war competition which proved so popular at last year's event will again be the main attraction on the field following the crowning ceremony and Maypole Dancing by Year 2 at Goostrey School.
Rose Festival Chairman Sue Mottershead said: "Rose Day is a very special event in Goostrey's calendar and we hope all the children and their families enjoy another memorable day."
In the evening there will be a Ceilidh on the school field.


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Some more pics that I have worked on recently more from Silver Creek Falls.
I think the reason most of the stuff is in black and white is because last time I was there I was shooting Film so I brought me back to the 'good ol' days' of film and so I kind of metered for differant tones. All n all I had alot of fun hiking around and taking as many pictures as I wanted. Well tell me what you think. Well enjoy!


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On June 16, 2011 at exactly 4:00pm, apple.com released the "final" trailer for the motion picture; Harry Potter and the Deathly Hallows Part 2. As you all know this is the last installment of the Harry Potter Franchise. With the Deathly Hallows Part 2 it comes finally full circle for this great story that has enchanted the world.
The trailer begins with a glimpse of Lily Evans in her home in Godric's Hollows maybe sometime before October 31, 1981 (for those who don't know, Harry's parents died on October 31th), or maybe the same day. In this particular moment it shows us Lily telling little Harry that he needs to be strong and remain safe. We also see two glimpses of the first movie, Harry Potter and the Sorcerer's Stone, when Harry's wand chooses him as his master in Ollivanders Wand Shop in Diagon Alley and when the first years arrive at Hogwarts on the boats in the Black Lake. We also see a glimpse of a scene from Prisioner of Azkaban; Harry and Hermione in the surroundings of the Whomping Willow and other glimpse; the journey to the cave with Dumbledore in Half-Blood Prince.
Then a comparison of the Quidditch Pitch in Half-Blood Prince tryouts and the Quidditch Pitch in Deathly Hallows Part 2 beeing burn down by Death Eaters. We also see Harry maybe moments after he finds out of Remus and Tonks deaths or maybe when he finds out Fred's Weasley death. Then we see Lord Voldemort lying on the floor maybe on the forbidden forest moments after he launch the killing curse on Harry. After this we see some scenes of other movies of Harry Potter such as:
- -Lord Voldemort on Little Hangleton in Goblet of Fire
- -Death Eater on the Hall of Prophecy in the Department of Mysteries in Order of the Phoneix.
- -Severus Snape on Occlumency classes on Order of the Phoneix.
- -Dementor on the Hogwarts Express in Prisioner of Azkaban.
- -Voldemort on the Ministry Autrium in Order of the Phoneix.
- -Gregorovitch in his wand shop in Deathly Hallows Part 1
- -Dumbledore in the Cave with the Inferi in the Half-Blood Prince.
- -Harry on the Astronomy Tower when Snape killed Dumbledore in The Half-Blood Prince.
- -Voldemort testing the Elder Wand in Dumbledore's white tomb at the end of Deathly Hallows Part 1.
At 0:42 seconds the trailer show us Hogwarts surrounded by Dementors. After this we see glimpse of Snape memories in the Prince's Tale, this particular memory takes place in the headmaster office. Then it show us Lord Voldemort telling Lucius Malfoy "bring him to me", this is clearly the moment when Voldemort ask Lucius to bring Snape to the Crystal House to talk about the Elder Wand. We also see the trio with the two goblins in Gringotts on their way to the Lestrange Vault to aquire the Horcrux. Then I assume that the trailer show us Hermione and Harry hiding outside the Crystal House listening the conversation between Voldemort and Snape. Then the trailer show us the trio escaping on the dragon's back and jumping into a lake.
-"Hogwarts is threatened, Man the Boundaries, Protect us!" -Minerva McGongall
The Army of Death Eaters can bee see on a hill near Hogwarts with Lord Voldemort, Bellatrix Lestrange and Pius Thicknesse. Then wee see maybe one of the most exciting moments of the battle of Hogwarts, the transfiguration of the suits of armor by Minerva McGongall, after this we see Minerva standing at the main entrance of the school with Molly Weasley.
Then we see what seems like Draco Malfoy about to enter the Room of Requirement, the trio in battle, Harry watching the castle maybe one last time before his journey into the Forbidden Forest, Remus Lupin and wife Nymphadora Tonks trying to hold hands moments before their death with Horace Slughorn line on the background, "its a suicide mission.", Voldemort attacking the protective shield the professors put arround the school with Bellatrix on the right and Nagini on his left, Ginny Weasley on the Covered Bridge, the trio in Hogsmade, Professor Flitwick with the suits of armor, the shield of Hogwarts disintegrating and Voldemort in the Forbidden Forest.
At 1:20 the Death Eaters army launching spells to the castle from a large distance, glimpses of the battle in the Entrance Courtyard, maybe the people of Hogsmade running down the hill, the Death Eaters with agiant marching on their way to the school, Ron and Hermione in the Room of Requirement, Lucius Malfoy on the Viaduct Bridge maybe escaping the battle with his family and we also see a bunch of Dementors on a bridge with a dead giant.
At 1:29, Voldemort on the Astronomy Tower trying to catch Harry with his cloak, a glimpse of the scene where Harry arrives at Hogwarts with the Order of the Phoneix and demands Snape to tell everyone how he killed the man who trusted him, after this we see the scene of Dumbledore's death in Half-Blood Prince. Then at 1:35, Death Eaters walking towards Hogwarts, Voldemort in battle, the castle in battle, Harry in a corridor, Molly Weasley in the Great Hall maybe after or before she kills Bellatrix Lestrange, Ron and Hermione in battle, a shot of the covered bridge and the shield desintegrating, Goyle's death and the trio with Blaise and Draco escaping the Room of Requirement.
Between 1:44 and 1:46 we see the ghosts of Remus Lupin, Sirius Black, James Potter and Lily Evans in the Forbidden Forest before Harry's "death", Voldemort in battle, Neville after or before he cut's Naginis head, Ginny in the Entrance Courtyard with the rest of the Staff and Order of the Phoneix, the Acromantulas in battle, Harry in battle and a Lord Voldemort face in fire on the Great Hall.
Then we see between 1:51 and 1:54 Harry and Voldemort jumping off a cliff, a Death Eater smashing through a window, glimpses of Harry and Voldemort final battle around the school, a short glimpse of the Entrance Courtyard in fire, Horace Slughorn launching a spell to the sky, Ginny and Harry kiss in the Marble Staircase, Bellatrix in the Great Hall, the Covered Bridge collapsing with the Snatchers, Death Eaters trying to penetrate the protective shield, the tsunami in the Chamber of Secrets, Voldemort in battle and Aferboth Dumbledore's huge patronus.
Finally, at the end of the trailer we see:
- -Molly Weasley launching the Killing Curse to Bellatrix Lestrange.
- -The Suits of Armor.
- -duel at the Astronomy Tower.
- -Voldemort and Harry crawling for their wands.
- -Voldemort Vs, Harry.
- -Harry Potter at the gates of the castle in the battle.
Definitely a GREAT TRAILER! Can't wait to see this movie.


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Yep great to see. Hoping to hit up a game soon. Trying to decide which one. Need to get my George jersey after allThis quote is hidden because you are ignoring this member. Show Quote
This is the best Pacers team in my life easily. Quick Bird Hire Reggie as a shooting coach so we can give him a ring.


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Nothing speaks of urban style as swiftly and effectively as a good pair of sunglasses. These iconic fashion items, so redolent of warm pleasant summers, have filtered their way into the mainstream fashion world and become as essential an accessory as a leather wallet for a man or a nice purse for a lady. Designed simply to shield one's eyes from the sun's glare, and so minimize squinting and the consequent crow's feet which line your temples and add weary age onto your face, sunglasses are now a constant of the fashion world. The various types and styles are part of many iconic fashion images: Tom Cruise and his Top Gun Aviators, Bono and his "Fly" shades, Michael Jackson's peerlessly ice-cool pair at the 1984 Grammy Awards (when he walked away with a record eight titles), and more recently Paris Hilton's outsize frames.
So, even as the summer winds down (unless, of course, you're an Antipodean, in which case it's just getting started!), there's always a demand for chic, stylish sunglasses. Nowadays, the predominant designer brands and styles are Ray Bans, Oakley, and Wayfarers, as well as the niche skiing and snowboarding pairs. Within these ranges, though, there's a plethora of looks and fashions to choose from, to suit every taste and facial shape. You can choose larger, rounded frames, or smaller and squarer shapes; you can choose from metal or plastic frames; most sunglasses have dark lenses, but all manner of colors are available from red to yellow to bluer to brown, while mirrored and polarized sunglasses retain their ice-cool look; you can even choose heart-shaped and other novelty frames, if you like.
Here at DHgate.com we have thousand of sunglasses products – in fact, over 25,000 listings on our website! With prices starting as low as $0.17 per piece (yes, that really was $0.17 per pair of sunglasses!), you're sure to find pairs to suit your customers and which offer good profit margins.
Check out our forum for more product ideas and discussions.
Photo courtesy of Google.


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2017 Harley-Davidson Motorcycle Street Rod. More Power and Aggressiveness


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You don't earn the NMMA's Innovation Award for following status quos: you earn it for challenging them. Boston Whaler's dual console 230 Vantage received the win for reimagining the possibilities capable in a 23-foot boat. For starters, seating is top-notch: the uniquely convertible port lounge seat with storage faces either forward or backward, so you can face your guests or watch the sports action behind the boat. Bow seating is expansive and ergonomic as well.
And even as it delivers incredible comfort and rugged luxury, the 230 packs a wallop in terms of power and capability. For wakeboarders and skiers, the watersports tower and standard 225-hp Mercury Verado FourStroke engine offer thrills for days. Anglers can head offshore with confidence; the impressive optional fishing boat package adds a 14-gallon livewell, a raw-water washdown, transom-mounted rod holders and more. And as a yacht tender, it's in a whole different class than any inflatable or RIB. Thanks to the Vantage's accessible head featuring a molded sink with drain and lockable entry door, and a new high-capacity Yeti cooler, every crew can journey longer and farther in comfort.
The Company offers the details of this vessel in good faith but cannot guarantee or warrant the accuracy of this information nor warrant the condition of the vessel. A buyer should instruct his agents, or his surveyors, to investigate such details as the buyer desires validated. This vessel is offered subject to prior sale, price change, or withdrawal without notice.
846 S. Wellwood Ave
Lindenhurst, NY 11757
United States


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Santiago proud of Puerto Rico's run in Classic
GLENDALE, Ariz. -- Hector Santiago was stationed in front of the television, along with his fiancée, when the 2013 World Baseball Classic championship between the Dominican Republic and Puerto Rico began Tuesday night.
If Santiago had made a different decision a few months ago, he could have been pitching for Puerto Rico in this deciding battle. Instead, the 25-year-old opted to remain with the White Sox.
Santiago has no regrets over the decision, even with the surprise push to the championship by Puerto Rico.
"It's your goal in baseball to play in the big leagues. That's always your No. 1 priority," Santiago said. "If I had to do it again, I would still make the same choice knowing I had the chance to make the team and probably playing with Team Puerto Rico had a chance to mess this opportunity up over here."
There might have been some sort of small doubt in Santiago's mind about breaking camp with the White Sox, but the truth is that the versatile southpaw was and is a veritable roster lock. The more specific opportunity afforded to Santiago stood as the fifth spot within the White Sox rotation.
John Danks, coming back from Aug. 6 arthroscopic shoulder surgery, is healthy but not getting the desired results either in the velocity area or command. Those issues have Danks beginning the season on the disabled list, giving him a chance to further build up arm strength.
Santiago and Dylan Axelrod remain the two replacement options, but Axelrod looks to be the favorite as the fifth starter. Even if Santiago knew these results ahead of time, he wouldn't have changed his decision.
Not playing for Puerto Rico doesn't lessen the pride Santiago has for the team or his appreciation for what the team accomplished.
"I know every single person on that team, so you really are just watching your friends," Santiago said. "I was happy for them. I talked to [Puerto Rico manager] Edwin [Rodriguez] and told him congratulations. It was great. He was like, 'We wish you were here, but I respect you for the decision you made. That's your career and what it's going to be in the long run.'
"Definitely it would have been nice to be there. Hopefully, I break camp with the team and in four years get a chance to play with Team Puerto Rico at that time."
Scott Merkin is a reporter for MLB.com. Read his blog, Merk's Works, and follow him on Twitter @scottmerkin. This story was not subject to the approval of Major League Baseball or its clubs.


text:
I played one of my first league type games last year and I was very nicely informed I was doing falling putts. The guy said he wouldn't call them, but others would. The guy was really nice about it, but it was still frustrating. You learn to putt a certain way, with a bit of follow through, pretty naturally. The you find out it's illegal and have to relearn to putt. I looked it up and found the rule when I got home.
I was never any good at putting, so it's not a huge deal, but my 2 cents, this is a bad rule. It may have implications at pro levels, but for a recreational player who may want to play a league or tournament for the first time, a non-intuitive rule that significantly changes the muscle memory you have put into the game is a bad idea. It makes the game less accessible and less friendly to newbies.


text:
Doug Ashford
Associate Professor (Proportional-Time)
Doug Ashford is an artist, author and a teacher. He has worked as an educator in many settings: from public high school to graduate programs, professional seminars and community organizations. He has been part of The Cooper Union for more than twenty years, where he has taught 3-dimensional design, sculpture, and other courses and seminars. Since 1996 Ashford has organized the Interdisciplinary Seminar, a collaboratively run school-wide forum committed to the critical re-definition of visual practices.
In 1981 Ashford became a member of the artists' collective Group Material, his principal art practice until 1996. Group Material produced over fifty exhibitions and public projects internationally, using museums and other public spaces as cultural arenas in which audiences were invited to imagine democratic forms. Prominent in this history are the exhibitions: The Castle (documenta 8, Kassel, Germany, 1987), Democracy (The Dia Art Foundation, New York, 1988) and AIDS Timeline (The Berkeley Art Museum 1989, Wadsworth Atheneum, 1990, The Whitney Museum, 1991). Group Material's work in exhibition production, public cultural display, and the aesthetic mobilization of politics continue to affect the world of visual culture and other disciplines. The complete work of the group has recently been published in Show and Tell: A Chronicle of Group Material, (Julie Ault, ed. Four Corners Books, 2010). Since 1996, Ashford has gone on to make paintings, produce exhibitions and publish articles independently, with his creative labor primarily located in the classroom. His most recent publication is Who Cares (Creative Time, 2006), a book project built from a series of conversations between Ashford and an assembly of other cultural practitioners on public expression, beauty, and ethics. Recent exhibitions of paintings include the Sharjah Biennial 10, (2011) and Abstract Possible, Malmo Konsthall; Museo Tamayo and other locations (2010-12) and dOCUMENTA 13 (2012)
1958 Born 8 July, Rabat Morocco
1981 BFA, The Cooper Union for The Advancement of Science and Art
Teaching Experience:
1988 - Present Faculty, School of Art
The Cooper Union for The Advancement of Science and Art, NYC.
(presently: Associate Professor, Proportional-time)
1992 - 2004 Graduate Faculty
MFA Program in Visual Arts, Vermont College, VT.
(Faculty Chair and Academic Director, 1999 to 2004)
1997 Visiting Professor
Antioch College, Yellow Springs, OH
1993-94 Visiting Professor
Photography Department, Mason Gross School of Art, Rutgers University , NJ.
1992-93 Visiting Professor
Graduate Program in Sculpture, Rhode Island School of Design. RI.
Other Educational:
2009 External Reviewer for the UCLA Dept of Art, Academic Senate Program Review; report to the Senate.
Advancement Reviewer, Gregg Bordowitz, Art Institute of Chicago
Public Presentations:
2009 - Moderator, symposia in conjunction with Free as Air and Water, The Cooper Union School of Art. NYC
- Lecturer, "The New Productivists" Museu D'Art Contemporani de Barcelona (MACBA), Spain.
- Panelist, "1980's Think Tank" Harvard Art Museum, Cambridge MA.
- Participant, Transpedagogy, Contemporary Art and the Values of Education, MOMA.
- Panelist, "Tainted Love" La Mama Galleria, NYC.
2008 - Lecturer and Panelist, "Disruptions: The Political in Art Now" Museum of Contemporary Art, Chicago; The University of Chicago Open Practice Committee/ Dept of Visual Arts.
- Panelist, "Protest and Survive, The Legacy of Collective Action"PS1/MOMA, (in conjunction with WACK! Art and the Feminist Revolution)
2007 - Visiting Artist, Syracuse University, College of Visual and Performing Arts
- Visiting Lecturer, Columbia University, MFA in Visual Arts, Critical Issues Seminar.
2005 - Co-organizer, Moderator and Panelist, "Who Cares." Creative Time, NY. (three organized conversations on beauty and ethics published into a book of the same title, 2006)
- Visiting Artist, The School of The Museum of Fine Arts Boston.
- Panelist, "A Conversation with Critical Art Ensemble", City University, NY.
- Respondent, "The Impact of Patriot Act on Art," 2205 CAA Conference, Atlanta, GA
2004 - Visiting Artist, Yale University, School of Art, Graduate Critiques.
2003 - Visiting Artist, Universidad Politecnica de Valencia, Spain.
- Visiting Artist, Yale University, School of Art.
2002 - Visiting Lecturer, Bard Center for Curatorial Studies.
- Visiting Lecturer, School of the Arts, MFA in Visual Art Program, Columbia University.
- Visiting Artist, The Merz Academy, Stuttgart, Germany.
2001 - Symposia Participant, Encuentros de Arte Publico, Universidad Politecnica de Valencia, Spain.
- Visiting Lecturer, MFA Program, Purchase College, NY.
2000 - Symposia Participant, Education, Information, Entertainment, Academy of Fine Arts, Vienna.
- Visiting Lecturer, Columbia University, MFA in Visual Arts
1999 - Visiting Lecturer, Maryland Institute College of Art, Baltimore.
- Visiting Lecturer, University of California, Los Angeles, Art History Dept.
1998 - Lecturer, Public Showings, a conference on public culture and issues of display, University of Wisconsin, Milwaukee. Spring 1998.
1997 - Visiting Artist, School of Art, University of Hamburg, (with the Kuntsverein Hamburg)
- Visiting Artist, Fine Arts program of The University of Montana.
- Panelist, Kuturbeholde Hamburg and the Kunstverein Hamburg, Germany.
1996 - Panelist, Point of Entry, public art projects of the Three Rivers Arts Festival, Pittsburgh, PA
(publication, video)
1996 - Panelist, Conversations on Culture, Conversations at the Castle, Arts Festival of Atlanta
- Critic in Residence, School of Art and Design of The University of Illinois at Chicago
- Visiting Lecturer, Fine Arts Program, New York University
1995 - Visiting Artist, Novia Scotia College of Art and Design, Halifax
- Visiting Artist, The School of Art, Carnegie Mellon University, Pittsburgh PA
1994 - Participant, Summer Projekt im Kunstverein Munchen, Germany
- Lecturer, "Lead, Follow or Get Out of the Way", Kunstlerhaus Stuttgart, Germany
- Visiting Critic, University of California at San Diego MFA Program
- Lecturer, California Institute of the Arts, CA
(events prior to 1994 available on request)
Published Writings:
2009 "The Miniature and the Model, On the Paintings of Jochen Klein" Artscape Magazine, #00, Feb/March 2009, pp 6-11. (republished essay)
2008 "HaHa as a Catalyst for Collective Memory"in With Love From Haha, Essays and Notes on a Collective Practice. White Walls Inc, Chicago, Il, 2008. pp. 10-19
2007 "Rebellion Without A Goal, On the Work of Sharon Hayes" in After Before The Near Future. Hernandez Chong Coy, Sophia, ed. Art in General, NYC, 2007. pp 21-5.
2006 "Finding Cythera: Disobedient Art and New Publics." in Who Cares, Creative Time, Inc., pp.15-20.
"Aesthetic Insurgency", in System Error: War is a Force that Gives us Meaning. cat. to the exhibition. Siena. pp.99-119.
2005 "Notes for A Public Artist." Public Space Anthology, Copenhagen University, p.112-20.
2001 "Notes on the Pedagogical Importance of Failure", essay on MFA education and the Vermont College Program, Education, Information, Entertainment, Ute Meta Baur, Ed.; Editions Selene, Vienna, 2001.
2000 "Airport Photos", essay on the emotional economy of photography, The Saint Ann's Review, Brooklyn,NY, Vol.1 No.1, 2001.
1998 "The Exhibition as Artistic Medium", annotated documentation of seminar taught at Antioch and the exhibitions that resulted from it. Art Journal, Vol.57, No. 2, Summer 1998.
"A Boy in the Park, or, The Miniature and the Model", essay on the relationship between Jochen Klein's paintings and the work he did with Group Material, in the book Jochen Klein, Wolfgang Tilmans ed., Walter Køenig Publications, Cologne, 1998.
1997 "Democracy is Empty", interview with Mierle Laderman-Ukeles, Documents, no. 10, (NY, NY.), pp. 23-30, Fall 1997.
"Notes for a Public Artist", essay on the nature of community based art practices and their appropriation by urban renewal agendas, in the exhibition catalogue Public Art is Everywhere,Hamburg, Germany: Kunstverein in Hamburg and Kulturbeholde of Hamburg), pp.110-125, 1997.
1997 "The Monument Lover", essay on loitering as a model for artistic practice, in Offentlicher Raum, Helmut Draxler, ed., Verlag Anton Pustet, Salzberg, 1997.
"storage/displayed," review of an installation by Martin Beck for Texte zur Kunst , Cologne, 1997.
1991 "A Project by Group Material", artists' project, Art Journal, Vol. 50, No. 3, 1991, pp. 38,-39.
1990 "Group Material's AIDS Timeline", Afterimage, Art & Auction, Art in America, Art New England, ARTFORUM, Arts, Contemporanea, High Performance, October, Parkett and Shift, Dec. 1990, (for Day Without Art 1990).
"Group Material", artist pages, Artpapers, January/February 1990. pp.38-9. (Atlanta, GA)
(events prior to 1994 available on request)
Exhibitions, Installations and Public Projects by Group Material (selected):
2009-10 Flashback: Revisiting the Art of the Eighties, Kunstmuseum Basel, Winter 2006, (catalogue)
The People's Choice, Isola Art Center. Milan. Spring 2006
Bright Lights Big City, David Zwirner Gallery, New York, NY. Summer 2003
Micropolitics, EACC, Castello de Plana, Spain. Spring 2003. (publication)
AIDS Timeline, The Magazines, organized for Dire Aids, Promotrice delle Belle Arte, Turino, Italy,
Spring 2001 (publication)
Antagonisms, Casos d'estudi, Museu D'Art Contemporani de Barcelona (MACBA), Summer 2001.
AIDS Timeline, The Magazines, organized for democracy!, Royal College of Art, London, Spring 2001. (publication)
Around 1984, P.S.1 Contemporary Art Center, Long Island City, NY. Summer 2000
1997 Bridge, The map Is Not the Territory. Galerie Dorrie Preiss, Kunstraum Fleetinsel and other locations, Hamburg, Germany. (publication, video)
1996 Brochure, a redesigned publicity program for the Three Rivers Arts Festival, for Points of Entry: A Community Based Public Art Project, Pittsburgh, PA, Spring 1996
1994 Market, The Kunstverein in Munich with subway project; publication, Spring 1994, (catalogue)
Campaign, Centre D'Art Contemporania Santa Monica, Barcelona, Catalan, April - September 1994. (organized for "In Public", catalogue)
1993 Tomorrow, The San Diego Museum of Contemporary Art, October - December 1993
Democracy Wall, Boston, The Museum of Fine Arts, Boston, October, 1993 - January 1994 (organized for "In and Out of Place", catalogue)
1991 Cash Prize, Advertisements in The Seattle Post-Intelligencer, November 1991 (organized for "In Public: Seattle", catalogue)
AIDS Timeline (New York, 1991), The Whitney Museum, New York City, April - November 1991 (organized for the Whitney Biennial, catalogue)
Collaboration, The Allen Memorial Art Museum, Oberlin, OH, October, 1990 -January, 1991 (organized for "Social Studies: 4+4 Young Americans", catalogue)
1990 AIDS and Insurance, a public installation on bus advertising space produced for Real Art Ways, Hartford, CT, September-November, 1990
AIDS Timeline (Hartford, 1990), Matrix Gallery, The Wadsworth Atheneum, Hartford, CT, September-November 1990, publication.
Democracy Poll, a public installation on subway billboards, electronic billboard, insert to newspaper produced with the Neue Gesellschaft fur Bildende Kunst, Berlin, June-July 1990
Your Message Here, an exhibition on billboard spaces throughout the city produced in collaboration with Randolph St. Gallery, Chicago, IL, March- June 1990
AIDS Timeline, Matrix Gallery, University Art Museum, University of California at Berkeley, November 1989-January 1990, publication.
1989 Shopping Bag, (distributed in local shops and department stores) Kunsthalle in Hamburg, Germany, October 1989 (organized for "D&S Ausstellung", catalogue)
Unisex, The Lesbian and Gay Community Center, New York, June 1989 (organized for "The Center Show")
AIDS and Democracy, Neue Gesellschaft fur Bildende Kunst, Berlin, January 1989 (organized for "Vollbild, AIDS" a traveling exhibition, catalogue)
1988 Democracy, The Dia Art Foundation, New York, September 1988-January 1989 (for full documentation see Democracy: A Project by Group Material, Brian Wallis, Ed. Bay Press, 1991
Inserts, Advertising supplement to the Sunday New York Times, New York, May 1988
1987 The Castle, Museum Fridericianum, Kassel, Germany, June 1987, (organized for documenta 8, catalogue)
Constitution, Temple University Gallery, Philadelphia, PA, October 1987
Resistance- Anti-Baudrillard, White Columns, New York, February 1987, publication.
1986 Arts and Leisure, The Kitchen, New York City, May 1986
Liberty and Justice, The Alternative Museum, New York City, February 1986
1985 Alarm Clock, Festival Hall, London, England, November 1985 (organized for The Other
Messages to Washington, The Washington Project for the Arts, Washington, D.C., September 1985
MASS, traveling exhibition: Hallwalls, Buffalo, NY (1985); Spaces, Cleveland, Ohio; The New Museum, New York City; Studio Museum in Harlem, New York City
Democracy Wall, Chapter Arts Centre, Cardiff Wales, May 1985
Americana, The Whitney Museum of American Art, New York City, March 1985 (organized for the Whitney Biennial, catalogue.)
(list for Group Material exhibitions prior to 1985 available upon request)
Exhibitions of Individual Work:
2006 "When Artists say We." Artists Space, NY.
2005 "There's a City on My Mind.",Southfirst:Art, Brooklyn NY.
"A Knock at the Door." Seaport Museum, NY
1997 "A Museum for Antioch", produced in collaboration with students of "The Exhibition as Artistic Medium", Yellow Springs, Ohio. Summer.
1994 "The Label Show: Contemporary Art and the Museum", The Boston Museum of Fine Arts, February .
1988 "Unknown Secrets, Art and The Rosenberg Era". Palmer Museum of Art; Aspen Museum; and others.
"Benefit", White Columns, New York, NY.
Benefit Auction, The New Museum, New York, NY.
"Constitution", Temple Gallery, Tyler University, Philadelphia, PA. (by Group Material)
1987 "Lost Facts". Minor Injury Gallery, Brooklyn, NY. (with students from Boys and Girls High School)
"The Castle". Museum Fridericianum, Kassel, Germany. (by Group Material for documenta 8; catalog)
"Home". Camera Lucida, Sydney, NSW, Australia. (solo installation).
"Resistance, Anti-Baudrilllard". White Columns, New York, NY (by Group Material).
1986 "Post-pluralism". Mission Gallery, New York, NY.
"Liberty and Justice". The Alternative Museum, New York, NY.
"MASS". The New Museum, New York, NY; LACE, Los Angeles CA and other locations.(by Group Material).
"The Public Art Show". Nexus, Atlanta, GA. (catalog)
"Seen and Heard". PS 122 Gallery, New York, NY. (with students from Boys and Girls High School)
"Whose Govt.?". Spectacolor Light Board, The Public Art Fund, New York, NY.
"Political Art Now". Aspen Art Museum, Aspen, Colorado.
1985 "Situations". The Museum of Modern Art Advisory Service, various locations.
"Alarm Clock". Festival Hall, London, U.K. (by Group Material)
"20/20". B.K. Smith Gallery, Lake Erie College, Painesville, OH.
"A.D., The Influence of Christianity on Contemporary Art". WORK Gallery, New York, NY. (by Group Material)
"Americana". The Whitney Museum of American Art, New York, NY. (by Group Material for The Whitney Biennial; catalog]
"Disinformation". The Alternative Museum, New York, NY. (catalog)
"Studio Artists 1984-85". The Clocktower, New York, NY. (catalog)
"Corners". The Rotunda Gallery, Brooklyn, NY.
1984 "Motives". Hallwalls and The Albright Knox Gallery, Buffalo, NY.
"Selections". Artists' Space, New York, NY. (catalog)
"Timeline". PS 1, Long Island City, NY. (by Group Material for Artists' Call Against US Intervention in Central America.)
"34: 83-84". The Clocktower, New York, NY. (catalog)
"Call and Response: Art on Central America". Colby College Museum of Art, Waterville, MA.
"American Fair". Danceteria, New York, NY.
"An Exhibition for Artists' Call" WORK Gallery, New York, NY.
1983 "Persuasions". The Kitchen, New York, NY.
"Subculture". The IRT Subway trains of New York, NY. (by Group Material)
"Looks at Books". ABC NO RIO, New York, NY.
"Contemporary Perspectives". Center Gallery, Bucknell University, PA. (catalog)
"Reading History". Printed Matter, New York, NY. (solo installation)
"Preparing for War". Brooklyn Army Terminal, Brooklyn, NY.
"Not For Sale". The El Bohio Community Center and surrounding streets, New York, NY.
"Resistance". Danceteria, New York, NY.
"Newspace". PS 122 Gallery, New York, NY.
(exhibitions previous to 1983 available upon request)
2009 - Thomas, Elizabeth, ed. Matrix/Brekeley: A Changing Exhibtion of Contemporary Art, interview w/ Doug Ashford ,and Allison Smith, pp.270-277.
2008 - Mohaiemen, Naeem. Collectives in Atomised Time: Doug Ashford and Naeem Mohaiemen, Idensitiat, Catalonia. 2008. pp.39-85.
- Larson-Walker, Lisa. "Democracy When?" interview w/ Doug Ashford. New City Paper, Chicago, Il, Oct 23 2009. p.16
- Thompson, Nato, ed. A Guide to Democracy in America. Creative Time Books, NYC, 2008. pp.23, 28-31, 40-43.
2007 - Kurtz, Steve. "Doug Ashford", BOMB Magazine. Spring 2007. pp. 78-9.
- Stimson, Blake and Shollette, Gregory, eds. Collectivism After Modernism. Univ. of Minnesota, Minneapolis, 2007. pp. 10, 133, 206-7, 247.
2006 - Bishop, Claire, ed. Participation, pp. 135-7
- Ashford, Doug, Wendy Ewald, Nina Felshin, and Patricia C. Phillips. "A Conversation on Social Collaboration"Art Journal, Summer 2006. pp. 58-82
- Ashford, Doug, et.al. Who Cares, produced by Creative Time and DAP.
- Kaiser, Philipp, Ed. Flashback, (catalogue to the exhibition) Basel, Switzerland. 2006. pp.111-12.
2005 - Bishop, Claire. Installation Art, A Critical History Routledge, London. 2005. pp. 110-13, 115.
2003 - Cameron, Dan. Interview, w/ Group Material, ARTFORUM, April 2003, p.198.
2001 - Lavin, Maud. Clean new World, MIT, Cambridge, 2001. pp. 94-107.
- Pearson, Jesse. Interview, Index Magazine, April/May 2001, pp.94-100.
2000 - Finklepearl, Tom. Dialogues in Public Art, MIT, Cambrige, 2000. pp.419-20.
1999 - Philips, Lisa. The American Century: Art & Culture 1950-2000, W.W.Norton & The Whitney Museum of American Art, New York, 1999. pp. 288, 290-92, 293, 355.
- Riemschneider, Burkhard & Grosenick, Uta. eds. Art at the Turn of the Millennium, Taschen, Cologne and New York, 1999. pp. 198-201.
1997 - Pearlman, Jeanne (ed.). "Three Rivers Arts Festival: Points Of Entry", Ram Publications, Santa Monica, 1997 pp.22-26, 52-63 ,.
- Haditirto, Rania. "From Fetish to Exhibit", The Antioch Record, June 20, 1997.
- Kwon, Miwon. "One Place After Another: Notes On Site Specificity, "October 80, Spring 1997. p.108.
1996 - Kwon, Miwon. "Three Rivers Arts Festival: Pittsburgh, PA", Documents, no. 7. and reprinted
in Texte zur Kunst, Fall 1996.
- Sandler, Irving. Art of the Post-Modern Era, Western Press, Boulder, 1996. pp. 219-20, 377, 465.
1995 - Avgikos, Jan. "Group Material Timeline: Activism as a Work of Art" in But is It Art?; Nina Felshin, ed.; Bay Press, Seattle. 1995, pp. 85-116.
- Lacy, Suzanne. "Mapping the Terrain: New Genre Public Art, Bay Press, Seattle, 1995. pp. 223-4.
1994 - Romer, Stefan. "Markets of Resistance", Kunstforum, Bd. 125, Jan./Feb., 1994, pp. 384-5.
- "Market", (catalog to the exhibition), designed by Group Material, Kunstverein in Munchen, Munich. 1994.
- Temin, Christine. "Art that Makes an Exhibition of Itself", The Boston Globe, April 27, 1994, pp. 61, 66-7.
1993 - Trevor Fairbrother and Kathryn Potts, "Group Material", In and Out of Place: Contemporary Art and the American Social Landscape, (exhibition catalog), The Museum of Fine Arts, Boston, 1993, pp. 40-47.
- "Group Material: Democracy", Copyshop: Kunstpraxis & Politische Offentlichkeit - Ein Sampler von Burobert, Edition ID-Archive: Berlin, 1993, pp. 69-72.
- "The Therapeutic State", self published by the artists' collaborative Critical Art Ensemble, 1993.
- McQuaid, Cate. "Sense of Place", The Boston Phoenix, October 22, 1993, p.22.
- Dezell, Maureen. "Propping Up the Wall", The Boston Phoenix, October 2, 1993, p.2.
- "Group Material: AIDS Timeline," From Media to Metaphor: Art Aboout AIDS, Independent Curators Incorporated, (catalogue to the exhibition), New York, 1993, pp.9-17.
1992 - Shamash, Diane. (ed.) "Group Material: Cash Prize", In Public: Seattle 1991, (catalog), Seattle Arts Commission, 1992, pp. 8, 39.
- Atkins, Robert & Sokolowski Thomas R. (ed.) "From Media to Metaphor, Art About AIDS"(catalog to the exhibition), Independent Curators Inc., New York 1992, pp. 9-17.
1991 - Wooster, Ann Sargent. "Cube With a View", Afterimage, Oct., 1991, pp. 15-16.
- "Group Material", Bijutsu Techo Monthly Art Magazine; Vol. 43, No. 647, Tokyo 1991 pp. 176-188.
- "1991 Biennial Exhibition" (catalog to the exhibition) Whitney Museum of American Art, March 1991, pp. 46-47; 127.
- Brown, Elizabeth A. "Social Studies: 4+4 Young Americans", (catalog to the exhibition), Allen Memorial Art Museum, Oberlin. Oct. 1991.
- "Upcoming in October In Public: Seattle, 1991; Group Material", (interview by Doug Lauen), Seattle Arts, Vol. 14, No. 10, October 1991, pp. 8-9.
- Reisman, David. "Looking Forward. Activist Postmodern Art.", Tema Celeste Art Magazine, Jan/Feb. 1991, pp. 58-62.
1990 - Wallis, Brian, ed.; Democracy, A Project by Group Material, Bay Press, Seattle. 1990.
-"The Decade Show", (catalog to the exhibition), The Museum of Contemporary Hispanic Art, The New Museum of Contemporary Art, and The Studio Museum in Harlem, p. 30.
- Schwendenwien, Jude. "AIDS Timeline Mixes Matches Ideas", The Hartford Courant , November 4, 1990. p. G6.
- Appley, John. "Collective Artwork Is Focus of '4+4' Exhibit", The Plain Dealer, October 26, 1990.
- Miller-Keller, Andrea. "Group Material, AIDS Timeline (Hartford, 1990)", (brochure to the Matrix Exhibition series) , Wadsworth Atheneum, Hartford, CT, Sept. 1990.
- Cullinan, Helen. "Oberlin Project Rally Passes 1st Round", The Plain Dealer, September 8,
- Rizzo, Framk. "An Education About AIDS", The Hartford Courant, September 7, 1990. sec. C, pp.1,3.
- Bulka, Michael. "Your Message Here", New Art Examiner, Summer 1990. p.39.
- "Hingehen Und Schauern", Prinz (Berlin), June 1990, p. 10.
- Porges, Maria F. "Group Material", Shift , Vol. 4, No. 1, 1990.
- Berkson, Bill. "AIDS Timeline", Artforum , March 1990, p.168.
1989 - Hegewiisch, Katerina. "Mut zer Kleinen Geste", Frankfurter Allegemeine, (Frankfurt) December 12, 1989.
- "Group Material", Wolkenkratzer Art Journal no.6, November/December 1989.
- Drobnick, Jim. "Dialectical Group Materialism", Parachute , (interview) Oct/Nov/Dec 1989, pp. 29-31.
- Helfand, Glen. "AIDS Reality Enters Art," Artweek, November 30, 1989. p.1.
- Bonetti, David. "AIDS Timeline Gives Hard Facts With Visual Flair", The San Francisco Examiner, November 24, 1989. p. C11.
- Helfand, Glen. "Brave New Material", San Francisco Weekly, November 22, 1989. pp. 1,13.
- Moormon, Margaret. "The Great Art Education Debate", Artnews , Summer 1989, p. 124.
- Denson, G. Roger, "Group Material, 'Education and Democracy'", Artscribe, May, 1989, pp.84-85.
- Jones, Bill. "Graven Images", Arts Magazine, May 1989. pp.73-7.
- Trend, David. "Beyond Resistance", Afterimage, April 1989.
- Staniszewski, Mary Ann. "Arte, SIDA y Activism", Lapiz, February 1989. pp.18-19.
- Decter, Joshua. "Group Material", Flash Art, March/April 1989, p. 111.
- Staniszewski, Mary Ann, "The New Activism", Shift, Vol. 3, No.1,1989 pp.9-11.
- Wilson, Beth . "Political (Mono)culture," Fad Magazine, February 1989, No.12, p. 52
- Hess, Elizabeth. "Safe Combat in the Erogenous Zone," The Village Voice, January 10, 1989, p.79
- Levin, Kim "It's Called Denial," The Village Voice, January 17, 1989, p.87
- Olander, William. "Material World", Art in America, Jan 1989, pp. 123-128,167.
- Spector, Nancy. "Democratic Vistas", Artscribe, Nov/Dec 1988, p. 10.
- "Vollbild, AIDS," (catalog to the exhibition), NGBK, Berlin, January 1989.
1988 - Trend, David. "Back to School," Afterimage, December 1988, pp. 18-19.
- "Des Emblemes Commes Attititudes", (catalog to the exhibition), Ecole Superieure D'Expressions Plastiques, Tourcoing, Belgium. November 1988.
- Alaton, Salem. "NY Artists Get Vocal About Politics", The Toronto Globe, October 20, 1988.
- Critical Art Ensemble. "Group Material, An Interview", Art Papers, Sept/Oct 1988. pp. 23-29.
- Smith, Roberta. "Working the Gap Between Art and Politics," The New York Times, September 25, 1988, p.33.
- Wye, Deborah. "Committed to Print", (catalog to the exhibition), The Museum of Modern Art, Jan. 1988, pp.8,18,106.
1985-87 - Brenson, Michael. "When the Show Dwarfs the Art", The New York Times, July 5, 1987.
- Isaak, Jo-Anna. "Documenta 8," Parachute, December/January/February 1987-88, p.30.
- Wood, William "A Circular Insanity," Vanguard, September/October 1987, pp. 21-28.
- "Anti-Baudrillard," File Magazine, #28 part 1, 1987, pp. 109-119.
- Sherlock, Maureen. "Documenta 8: Profits, Populism and Politics," The New Art Examiner, October 1987, pp. 22-25.
- Marmer, Nancy. "Documenta 8: The Social Dimension?" Art in America, September 1987.
- "documenta 8", (catalog to the exhibition), documenta Gmbh., Kassel, Germany, 1987.
- Jones, Ronald "Group Material," Flash Art, May 1987.
- "Constitution", (catalog to the exhibition), designed by Group Material, Temple University, Philadelphia, PA.
- Miller, John "Baudrillard and His Discontents," Artscribe, May 1987.
- Fisher, Jean. "Group Material," Artforum, October 1986.
- "Liberty and Justice," exhibition catalog, The Alternative Museum, May 1986.
- "Arts and Leisure," exhibition catalog, self published by Group Material, February 1985.
- Brunner, Helen, ed. "WPA Document", Washington Project for the Arts, May 1986, p.69.
- Artists/Teachers Concerned, (eds.), "Seen and Heard, (catalog to the exhibition), April 1986, p.3.
- Tillmann, Lynn. "Group Material" (interview), The Village Voice, Oct. 15, 1986.
- Jones, Ronald. (essayist) "The Public Art Show" (catalog to the exhibition), Jan. 1986.
- Brenson, Michael. "Art: PS 1 Show" The New York Times, Nov. 1985.
- "1985 Biennial Exhibition" (catalog to the exhibition) Whitney Museum of American Art, NY, March 1985, pp.46-47; 127.
- Lawson, Thomas & Morgan, Susan. (essayists) "Contemporary Perspectives" (catalog to the exhibition), Bucknell University, Oct. 1984.
- Miller, Marc & Moore Alan. (eds.) "ABC NO RIO DINERO" Collaborative Projects, New York, N.Y. pp.22,27,133,135.
-Chomsky, Noam & Herman, Edward S. (essayists) "Disinformation: The Manufacture of Consent" (catalog to the exhibition), The Alternative Museum, NY, March 1985, p. 10.
(bibliography prior to 1985 available on request)


text:
803.03F states: A disc thrown in water shall be deemed to be at rest once it is floating or is
moving only by the action of the water or the wind on the water.
This, I assume, means that if a disc is thrown into a creek and washed several hundred feet downstream, it is to be played from where the majority of the group last spotted it above dry ground, with a one-stroke penalty.
However, if the stream is previously ruled casual, what then? Should it simply be played from the bank away from the basket where it was last above dry ground, with no penalty? What if it entered the water behind a pine tree, blind to everyone at the tee? Majority-rule estimate of where it landed?


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Green Lanterns Series 2, Ghostbusters and Master of the Universe Classics...
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Mattel surprises fans with a huge product reveal! Read on...
Green Lantern Classics – Wave 2
An official look at the second wave of dedicated Green Lantern comic-style figures. Includes interchangeable heads and hands on the two Green Lantern characters (Nautkeiloi and Medphyll), as well as the two Red Lantern characters (Skallox and Night Lik).
Night Lik is an all new character created by the Four Horsemen and named by Geoff Johns. He will appear in an upcoming issue of Green Lantern, but appears first as a Mattel toy in the Green Lantern Classics line.
This wave also includes a 3-pack of mini-characters: B'dg as a Green Lantern, Dex-Starr the Red Lantern, and Despotellis the Sinestro Corps member. The sixth and final figure is a Green Lantern movie preview figure, in movie style. For now, Mattel can only show it in shadow...
Panthor - March 2011 Club Eternia Monthly Figure
Back at SDCC, Mattel showed a helmet in the display case. They can finally reveal that this spectacular large-scale beast is its owner. Includes saddle, newly sculpted head, and an all-new vintage style removable mask.
Ghostbusters Courtroom Peter
This new 6" scale Peter Venkman figure is the first single-carded Ghostbusters 2 figure. Comes with a brand-new Scalari Brother Ghost figure with swappable feet (flying feet and standing feet). NOTE: This figure will be released in January and Ghostbusters 2 Winston with Slime Blower has been moved out (release date TBD).
Walmart-Exclusive DCUC 2-Packs from Wave 1
All new 2-packs of previously-released DCUC figures available only at Walmart. Just like all other previous 2-packs, these packs contain figures and accessories only, not the Collect and Connect figure parts. Packs include Gentleman Ghost/Hawkgirl, and Superman/Parasite.
MOTUC vs DCUC - Wave 2
Originally shown at SDCC, the next two MOTUC 2-packs feature original art from DC Comics and a collectable poster of both characters fighting it out. Packs include Hawkman vs Stratos and Aquaman vs Mer-Man.
MOTUC Weapons Pak Great Wars Assortment (Above Left)
The product was shown at SDCC and now here's the package. It'll be available November 15th 2010.
MOTUC Weapons Rack (Above Right)
Coming spring 2011. Please note, this item will not be included in 2011 Club Eternia subscriptions.
Source: MattyCollector.com