text:
Member Spotlight
A monthly series where we shine the spotlight on one of our members.
October 2017: Mutable Subject
Q&A with Deanna Peters
Photo by Yvonne Chew
Who is Deanna Peter/Mutable Subject in a sentence?
DP: It's all dance.
What motivated you to start Mutable Subject?
DP: I needed a moniker for the shows and events I'd been self- and co-producing since early on in my career. I also like having a few different nicknames. Blare is another one of them. And, Deanna Peters Dance never sounded right.
What inspires the dance work you create?
DP: Moving, movement, people, bodies, learning what bodies can do, experiencing my body moving, nature, things, abstraction, psychedelia, theory, music.
Describe your company in 3 words:
DP: Not a company.
What projects do you have coming up this season?
DP: As winner of the Iris Garland Emerging Choreographer Award, with fellow performers Justine A. Chambers and Kim Sato, I'm presenting META at Scotiabank Dance Centre Oct 27+28 – my first single-billed show in Vancouver! There will be pre-shows and socials too. I'm collaborating with some intensely fabulous and skilled artists and getting a lot of help from other friends/colleagues.
After META, I'm co-producing DIY@DIV with Kevin Fraser, Jeanette Kotowich, Carolina Bergonzoni and Tara Cheyenne Friedenberg, along with help from the rest of the crew at Left of Main. DIY@DIV is a series of shows and events running alongside Dance In Vancouver, Nov 22-26, featuring new works by Eric Cheung (aka Squidjit), Tara Cheyenne Friedenberg, Jennifer McLeish-Lewis, Joshua Ongcol, plastic orchid factory, prOphecy sun + Luciana Freire D'Anunciação, Daisy Thompson and Lexi Vajda.
In 2018, I'll be dancing in Ziyian Kwan's newest work, for performances at the Vancouver International Dance Festival.
If you weren't in the arts, what career path would you have chosen?
DP: Architect, after a brief college career in highjump.
I am a Dance Centre member because…
DP: They provide programs, services and access to resources that I need to survive as a dance artist.
September 2017: Weightless Body Confidence Coaching
Q&A with Alicia Putinski
Tell us a bit about your company Weightless.
AP: Weightless provides life coaching support to dancers and athletes who desire to improve their sense of body image, find balance with food, strengthen their mind-body connection, and manage challenging emotions. Weightless was born as a result of my journey overcoming body confidence issues, disordered eating, and developing a unique holistic approach to wellness for active individuals.
What motivated you to start Weightless?
AP: I felt inspired to start Weightless due to my own experience, and further by observing how common body confidence issues are. As a former dancer, and later working as a personal trainer, I felt compelled to provide support to dancers and athletes so that more people can find inner peace and strong connection to self.
What is your connection to dance?
AP: At the age of 4, I began dancing and continued on this path for 14 years. Ballet, jazz and tap were my primary disciplines. Nothing brought me more joy than being on stage in a beautiful sense of flow.
What do your hope your clients gain through coaching?
AP: My brave clients connect with me because they feel disconnected to themselves. I desire to help them discover why, let go of issues from the past that hold them back, strengthen their confidence, help them live with more ease, and long term acquire skills to apply ongoing self care to their daily lives allowing them to self heal throughout their journeys.
How would you describe your coaching philosophy in 3 words?
AP: Open, compassionate, unique.
Do you have any seminars or workshops coming up this Fall?
AP: Yes! I am excited to be holding a workshop called "Empowered Self Care". We will be discussing how daily self care from an emotional and spiritual perspective plays a roll in our physical health, while bringing to light ways to practice this.
I am a Dance Centre member because…
AP: Dance is very close to my heart and it's an honour to connect with the dance community. I feel it's important for communities of dancers and athletes to know that they can reach out to someone if they find themselves feeling disconnected in their bodies.
August 2017:
Q&A with AE Wild
Photo by Chris Randle
Tell us a bit about your career in dance.
AEW: I grew up in Calgary, where my first tumbling, tap and ballet classes began to spark a fire in me for the performing arts! Training in almost every style growing up, hip-hop/street styles soon became a favourite genre for me - transforming into my now profession today! I've been lucky enough to work with some big companies such as: The Harlem Globetrotters, SO LOKI, Harbour Dance Centre, Two Four Seven Co, SOULdiers co. and can't wait for what the future holds.
What kinds of classes do you offer the dance community?
AEW: Currently, I offer classes throughout Vancouver and Victoria ranging from beginner to advanced. Whether it be teaching your little one to move and groove, or enjoying a fun workout, I teach everything from drop-in classes to year-round/sessional lessons. (Styles ranging from grooving/ hip-hop, jazz and street jazz)
What do you hope your students go away with after one of your classes?
AEW: My goal is that every dancer has a fun, enjoyable, stress-free dance class, first and foremost. Whether it be a basics class, or an advanced choreography class, I want everybody to feel as though they are learning at the correct level/pace. With the right learning environment, you should leave each class with a new sense of coordination and musicality, all the while feeling more confident on the dance floor!
How would you describe your teaching philosophy in 3 words?
AEW: Outgoing. Upbeat. Relatable
What do you have planned for next season?
AEW: For the next dance season, I am excited to continue offering classes throughout BC, and training among the industries top professionals. From holding beginner adult hip-hop drop-ins to choreographing for projects, my hands will be full with dance this year – there's no doubt about that!
If you weren't in dance or the arts, what career path would you have chosen?
AEW: If I wasn't in the dance industry I think I would probably be a gymnast or a nail artist! Random, but I think I would need a profession that is either artistic in some way or adrenaline filled.
I am a Dance Centre member because…
AEW: The Dance Centre is an amazing hub for all things movement and dance resources. From traveling companies and shows, to workshops, master classes and programs - they offer it all in a great location!
July 2017: Les Productions Figlio
Q&A with Serge Bennathan
Photo by Sylvain Senez
Who is Serge Bennathan in a sentence?
SB: Tall, long dark hair, athletic, with a light French accent.... (but in all seriousness, I am an artisan, a choreographer, painter, writer).
What set you on your path to have a career as a choreographer?
SB: My father, a military man that did not want his son to play in the street. I chose dance.
What inspires the work you create?
SB: I go within myself, so life
Describe your company in three words:
SB: Raw-physical-words
What's coming up for you this season?
SB: The first sketch of Contes Cruels at the Dancing on the Edge Festival on July 13th and 15th. The full work will be presented at the Firehall Theatre end of May 2018. Right now, I am also in creation for Dance Deck presented the 5th and 6th of August. Then, I will go to paint and write, maybe work in Opera which I love also.
If you weren't in dance or the arts, what career path would you have taken?
SB: The question never came to my mind. I am doing what I am supposed to do. Dance saved me.
You choose to be a Dance Centre Member because.
SB: Because it is a home for the art of dance.
June 2017
Q&A with Monica Shah
Facebook page
Photo by Ken Dobb
Who is Monica Shah in a sentence?
MS: I am a dancer and emerging choreographer who performs within both classical and contemporary Indian styles; in my other life, I am a school psychologist who supports students with special needs in elementary and secondary settings.
Tell us about your path into your parallel career in dance.
MS: Dance has always been a central part of my life, and one that I couldn't imagine living without. At one point, I thought I had to choose between my two worlds of dance and psychology. Only in the past few years have I fully stepped into this parallel career path, and now I am pursuing both of my passions in a busy but incredibly fulfilling life.
What inspires the work you create?
MS: While I am committed to refining and deepening my Bharatanatyam practice, I am also drawn to explore a contemporary aesthetic that is a distinct and unique expression of my training. Through mining the classical vocabulary, the movements evolve into those that are authentic and personal to me. This process inspires me to see what I know in a different light.
Describe your work in three words:
MS: Personal. Evolving. Intuitive.
What plans do you have in the coming months?
MS: In June, I'm presenting an improvised work with cellist Clara Shandler for 12 Minutes Max, and a Bharatanatyam ensemble piece for Mandala Arts and Culture. Following that, is the Vancouver premiere of my Indian contemporary solo Blessed Unrest choreographed by Natasha Bakht at Dancing on the Edge, which will be presented later in November for Ottawa Dance Directive's Series Dance 10, in a shared performance with Bakht. As part of that showcase, I will also premiere my first choreographed Indian contemporary dance solo, being developed in Moberly's Summer Studio Exchange program.
Why do you do what you do?
MS: Dance brings me a joy like nothing else can. It fills my soul, excites and inspires me, and makes me feel connected and whole. My reason for pursuing dance and psychology is the same – they are both a part of who I am and what I have to contribute. Abandoning either one would be like losing a piece of myself. Though life can feel hectic at times, I continue to do what I do because it gives me a sense of fulfillment.
You are a Dance Centre member because...
MS: It provides a sense of connection, community, and support in Vancouver's diverse dance world. Plus, I get to make use of beautiful studios at an affordable rate!
May 2017: Nia Technique
Q&A with Jasjit Rai, Nia Practitioner
What is Nia?
JR: Nia is a practice that blends dance styles (modern, jazz, Duncan) with the energy of the healing and martial arts. Practiced to a range of music, it is expressive and joyous. Its soft impact approach allows participants to be barefoot and uses a variety of steps, stances, and whole body movement.
What inspired you to become a Nia practitioner?
JR: I found Nia at a time when I felt a strong urge to "get out of my head". It was as if an inner voice was telling me to expand the range of my life experience. I had also started a business at the time and felt a need to release stress, strengthen my body, and connect with others. I went into my first class as a curious student and walked out knowing I needed to teach and share this powerful practice after feeling all that it allowed me to feel and express. It was one of those life altering moments. It's now been 16 years of teaching.
What do you hope your students take away from your classes?
JR: Most importantly, I hope my students experience a deeper love of their bodies, movement, and self-expression. It is so healing for us to have a space where we can be present to ourselves, access the deep reservoir of energy and wisdom within us, and expand our personal expression.
How would you describe your teaching philosophy in three words?
JR: Presence, feeling, expression.
Do you have any special events coming up?
JR: I am leading a 4 hour Nia playshop on May 7, 2017 titled, "Deepening Intimacy Flowing Energy". People can learn about it at joiworks.com
If you hadn't come across Nia or other dance forms, what career path would you have taken?
JR: I would've likely pursued art and/or design.
You are a Dance Centre member because…
JR: … because I believe in the power of dance, and am grateful that Vancouver has a space for dance professionals and newcomers alike, and appreciate the practical support such as studio rentals and exposure.
April 2017: WAREHAUS dance collective
Q&A with Co-Artistic Directors Akeisha de Baat and Megan Hunter
Photo by Santiago de Hoyos
Who are the members of WAREHAUS dance collective?
MH: WAREHAUS dance collective is Co-Artistic Directed by Akeisha de Baat and Megan Hunter.
When and why did you decide to start a collective?
AdB: Megan and I, plus former collective member Sofija Polovina, decided to keep our momentum going post graduation from SFU, and got in the studio and began creating. We were eager to keep going and didn't want to wait for the opportunities to approach us.
What inspires the work you create?
MH: We are committed to facilitating interdisciplinary projects that can connect artists in different stages of their career. We are passionate about working in process and experimenting with the blending of artistic backgrounds and infusing traditional movement with a contemporary aesthetic. Our vision is to create thoughtful, relevant works to share with different communities both locally and abroad.
What plans do you have coming up this season?
AdB: This June, WAREHAUS is excited to be heading to Toronto to perform Warp and Weft, choreographed by Vanessa Goodman, at the New Blue Emerging Dance Festival!
Describe your work in three words:
MH: Expansive, Feminine, and Personal
If you weren't in dance or the arts, what career path would you have taken?
AdB: I would most likely have a career in physio therapy or health.
MH: I'm passionate about food and wine, so I would most likely be a chef or sommelier or run a B&B or a cafe somewhere with less rain.
You are a Dance Centre member because…
AdB:… because of all of the access and benefits we receive from being a member. The Small Company Subsidy program allows us work in one of the most beautiful studios in the city at a rate we can afford. We are very grateful for programs like these and like 12mm, that facilitate emerging artists making work.
March 2017
Q&A with Olivia C Davies
Photo by David C Wong
You work as an independent dance artist, choreographer and collaborator. Can you tell us about your recent collaboration with the visual artist Anne Riley as part of your DanceLab residency?
OCD: Make space in your life to receive the gifts bestowed upon you. Let go of what no longer serves you. Give back what you can. Working with Anne gave me the chance to look at the way I create from a whole new angle. Together we exchanged stories, poems, ideas, and often we found our conversations circling back to the role of artists in society. An important question came up, does your art save lives?
What inspires the work you create?
OCD: As choreographers, I believe we are transformers of space, place, and time. We are the storytellers of our existence. By sharing stories of transformation, I hope that others may be inspired to reflect on their own personal narratives and be the change they want to see in the world. To me, art is the antidote to the terror that threatens to overtake my Spirit when I pay attention to the sadness and suffering in the world around me.
What plans do you have coming up this season?
OCD: This March, I am co-facilitating Home: Our Way women's writing and movement circles with Sahtu/Dene storyteller Rosemary Georgeson at the Firehall Arts Centre. My piece Crow's Nest and Other Places She's Gone premieres May 7 at the Vancity Culture Lab, as a Dance All Sorts presentation, with an additional show, May 18 at the Evergreen Cultural Centre, Coquitlam. Greed/REsolve, a collaboration with Circadia Indigena Aboriginal Arts Collective, will be presented by Vancouver's Queer Arts Festival in June and we expect to expand the production into a dance film titled "Consequence" with youth engagement for 2018.
Describe your work in three words.
OCD: Conscious. Meditative. Spell-binding.
If you weren't in dance or the arts, what career path would you have taken?
OCD: I would have followed my childhood dream of becoming a very important secretary...an Executive Assistant.
You are a Dance Centre member because…
OCD...it is a fascinating and rich place to call home away from home where dreams becomes reality.|
February 2017: OURO Collective
Q&A with members of OURO Collective
Photo by Teppei Tanabe
Who are the members of OURO Collective?
OC: Cristina Bucci, Maiko Miyauchi, Rina Pellerin, Dean Placzek, Mark Siller, Antonio Somera (when he is in town), and our newest member Braden Penno.
Why did you decide to form a collective?
OC: What started out as a weekly practice between friends, intended to exchange dance styles and influences, became the backbone of our early rehearsals. We realized through these practices that we all shared very open minds when it came to creating from various sources and blending different styles of dance. We wanted to create a positive working environment where all the artists would contribute equally to the work that was being produced and decided to create a collective that would foster that vision.
What inspires the work you create?
OC: We are inspired by each other and each other's respective dance styles (hip hop, breaking, waacking and contemporary). Engaging with artists from various mediums has also expanded our creative process and has given us new tools to play with for our own creation. Other inspirations for our work has come from photography, visual arts, music, video games, Buddhism, personal experiences and a response to what is happening in our environment.
Describe OURO Collective in 3 words?
OC: Patient, weird, accessible
What are you working on this season?
OC: We are currently working on creating our first full length work, yet to be titled. The new work is giving us the opportunity to expand ideas and movement vocabulary that we have been investigating over the past two years as a collective. The piece will premiere on May 25-26 at New Works @ Night at the Orpheum Annex and will also tour to Japan in July 2017!
If you weren't in dance or the arts, what other career path would you have taken?
All of us agreed it would be something that would still stimulate our need to be creative and connect and contribute to our community. Some careers that came up: social worker, RMT, game/graphic designer, naturopathic doctor and nutritionist (which one of our members works as when not dancing).
You choose to be a dance centre member because
OC: To become part of a larger arts community and connect with new artists and audiences.
January 2017: Tango Moderna
Q&A with Dan Falk
Tell us a bit about Tango Moderna and the kinds of classes you offer?
DF: We specialize in Argentine Tango - a modern form which emphasizes improvisation and creativity. On Tuesdays we teach group lessons and hold private lessons on Sundays.
How did you get involved in Argentine Tango?
DF: I began in 2003 along with other dances, mostly Latin. It wasn't until five years later, living in Buenos Aires, Argentina for half a year that I decided to dedicate all of my attention to Argentine Tango.
What draws you to this form of dance?
DF: It's the freedom of and challenge from the dance's improvisation that draws me in, particularly a style referred to as Tango Nuevo, a modern style of Argentine Tango.
What do you hope your students experience in your classes?
DF: We hope students become just as addicted to Argentine Tango as we have.
How would you describe your classes in three words?
DF: Relaxed, creative & well-explained
If you weren't in dance or the arts, what career path would you have taken?
DF: Besides being an instructor of Argentine Tango, I am also an engineer.
You choose to be a Dance Centre member because...
DF: The Dance Centre is not only a place to rent out studio space; they also support their members through advertising, providing resources, and integrating all their members into a community.
December 2016: Dancinema Productions Ltd.
Q & A with Artistic Director Jen Ray
Photo by Newman Productions
What is your relationship with dance and film?
JR: My life has really been a dedication to "Dancinema" before I invented the word out of a necessity to express my vision and communicate with others. Dance & Cinema incorporate many other arts, but I think their most attractive qualities are the endless potential of combinations and their relationships to time, space, memory, technology, and movement.
What was your inspiration for starting Dancinema?
JR: What I do with Dancinema is inseparable from who I am - it's a vocation realized through continued exploration and development. Dancinema Productions Ltd. has quickly evolved to include a variety of dance/film productions, workshops, and events.
What does Dancinema currently create, offer, and facilitate
JR: Through Dancinema Productions Ltd, I'm involved in creation, curation, education, and engagement with the global community. Events include: Discover Dancinema Workshops, CASCADIA Dance & Cinema Festival (Vancouver), CAPITOL Dance & Cinema Festival (Washington), and partnerships with RIFF: Rhythm in Fusion Festival (Dallas) and Taps Alive Festival (Frederick, MD) where I offer "Tapcinema" screenings. Very close to my heart is The JaM Youth Project, a pre-professional tap company with over 60 dancers from 10 states who I work with throughout the year.
Describe Dancinema in three words:
JR: Education, Productions, Events
Tell us about CASCADIA Dance & Cinema Festival.
JR: The Festival grew out of a desire to celebrate quality work, the people who make it, and cultivate an enthusiastic Dancinema community here in Vancouver. The inaugural Festival in 2016 included short and feature film screenings (60 total!), workshops, "The Meeting of Machines" performances, and a special Youth Program. Join us June 30 - July 2, 2017 for a Dancinephile weekend, stay posted on www.cascadiadcfestival.com, and get in touch if you'd like to get involved!
I am a Dance Centre member because…
JR: The Dance Centre is an important part of Vancouver's dance community. Whether it's to rent space for events, take class, or attend performances in the Faris Family Studio Theatre, TDC has been a consistent resource through different phases of my career. The views are always great too, from any of the studios and even across the street from this contempo-historic building.
November 2016: Dancers of Damelahamid
Q&A with Margaret Grenier
Photo by Chris Randle
Tell us a bit about your company Dancers of Damelahmid
MG: Dancers of Damelahamid is an Aboriginal dance company that is founded upon over five decades of extensive work of song restoration. The company has produced the annual Coastal First Nations Dance Festival since 2008. The company's full length dance works have reached national and international audiences and include Setting the Path 2004, Sharing the Spirit 2007, Visitors Who Never Left 2009, Dancing Our Stories 2010, Spirit Transforming 2012, In Abundance 2013, and Flicker 2016.
What inspires the work you create?
MG: I treasure dance as the most significant inheritance I have from my ancestors and it will be a life journey to strive to develop the art form to its potential. For me, dance, song and story have provided a protective environment to address the limitations placed on our Indigenous peoples and create a healing space. We are not only turning to our ancestral knowledge for our own reconciliation but we are sharing and supporting others through our art.
What plans do you have coming up this season?
MG: We will be celebrating the 10th year anniversary of the Coastal First Nations Dance Festival in March 2017. Our company will also be engaging in collaboration with Karen Jamieson Dance to create the duet, Light Breaking Broken, to be presented at 2017 VIDF and at Native Earth in Toronto, ON.
Describe your company in three words:
MG: Intergenerational, fluid, vibrant
If you weren't in dance or the arts, what career path would you have taken?
MG: Rather than a career, I see this work as an inheritance and a gift, therefore in whatever capacity I could, I would always practice dance.
Dancers of Damelahamid is a Dance Centre member because…
MG: The Dance Centre has always been part of the diversity of dance expressions that reflect our communities and has provided an inclusive environment to celebrate and strengthen our art forms. It has been a long relationship for our company that goes back to 2003 and The Dance Centre has been there consistently to support us.
October 2016
Q&A with Ralph Escamillan
You work as a dancer, teacher, and emerging choreographer, how do you manage your demanding schedule?
RE: An organized planner is my life saver, and I like to know what I'm doing at least three months in advance. I prioritize my mental/physical energy to whatever is in front of me, but also, I'm notorious for micromanaging everything... Also: eating, sleeping and taking care of my body helps support my on-the-go lifestyle.
What set you on your path in a career in dance?
RE: Growing up listening to iconic artists such as Michael Jackson, Prince, Madonna and Janet Jackson, I was exposed to the grandeur and the allure of the stage. I've always found comfort in performance and love the need of problem solving that comes with live performance. Finding out about the longevity of contemporary artists, performing at (amazingly) age 60, gave me comfort that if I cared for my body and mind I could create a long lasting career as a performer.
You practice and teach voguing, tell us about this dance form.
RE: Vogue is a street dance form that came from the drag balls of Harlem in an effort to escape the oppression of everyday life and express oneself.
What do you hope your students experience and/or take away from your voguing classes?
RE: I hope they are able to find confidence in their bodies and to be able to own any room they walk into.
How would you describe yourself as an artist in three words?
If you weren't in dance or the arts, what career path would you have taken?
RE: I would be either a chef or a fashion designer.
You choose to be a Dance Centre member because…
RE: ... Of the amazing support The Dance Centre is able to give to artists who cross all genres, ethnicities, and gender.
September 2016
Q&A with the plastic orchid factory
Photo by Chris Randle
Tell us a bit about plastic orchid factory and your new space Left of Main?
pof: plastic orchid factory is an artist-run, interdisciplinary organization that uses the body as a site for social commentary. Left of Main is our new space in Chinatown at Main & Keefer. It's dedicated to the creation and development of dance and live arts practices. We are partnering with MACHiNENOiSY and Tara Cheyenne Performance.
What inspires the work you create?
pof: Not knowing. Diving into something that we don't understand intuitively. Taking risk. Trusting process. Devising stuff. Working with other people. Including other practices. Embracing paradox.
Describe your company in three words:
What's coming up for you this season?
pof: Premiere of Digital Folk at SFUW September 21-25. Partnership wth the Contemporary Art Gallery for a Keg De Souza Exhibit at Left of Main showing from Sept-Nov. Premiere ofI Care What You Think, with The Contingency Plan at the Shadbolt Centre, October 19-22. James goes to Montréal to remount Animal Tristewith Mayday for CINARS in November. Early 2017, finish renovations at Left of Main and welcome the 4th member of the gPod (have a baby). Launch the Obstructions Dance Project with Dumb Instrument Dance, MACHiNENOiSY and The Contingency Plan in the Spring. Continue development on Raïna helps Natalie make a solo in the Summer.
If you weren't in dance or the arts, what career path would you have taken?
pof: We have taken many career paths throughout our development as artists and we no longer separate these activities from our "dance practice". James has worked as a sous chef and as photographer and Natalie works in arts administration and communications. The work we make and the way we choose to make it is the product of our combined histories, skills and interests.
You choose to be a Dance Centre Member because…
pof:Because we are dance artists living and working in Vancouver.
August 2016
Q&A with Linda Arkelian
Photo by Daniel Conrad
Tell us a bit about your career in dance.
LA: My evolution as a dancer unfolded from classical ballet performance to incorporate a wider array of artistic, kinesthetic, and theatrical genres. Dance amalgamates mind, body, and spirit.Two spirals of creation, one moving from the inner sanctum outward and one moving from the outer world inward, enrich and sustain each other.
What kinds of classes do you offer the dance community?
LA:I offer continuous drop in classes in Advanced Ballet, Beginner Ballet, Contemporary Dance as well as "Bringing Artists Together" events amalgamating dance, music, and visual art.
What do you hope your students leave with after one of your classes?
LA:My goal is for my students to not only to leave class feeling invigorated physically and empowered emotionally, but also to leave with a deepened sense of connectivity bonded with the community of dance.
How would you describe your teaching philosophy in 3 words?
LA: Body, a vessel-of-art.
Tell us a bit about the work you have done with dance on film and why it interests you.
LA:I've collaborated on several films which have been screened nationally and internationally. Film enables me to escort the observer on an emotional journey through the work. The viewer sees from many perspectives, sometimes simultaneously and sometimes from behind the performers eyes.
If you weren't in dance or the arts, what other career path would you have chosen?
LA:For many artists dance functions as a form of psychotherapy and healing; therefore, I would follow the path of a spiritual and psychological healer.
July 2016: Tara Cheyenne Performance
Q&A with Tara Cheyenne Friedenberg
Wendy D Photo of Porno Death Cult
Tell us about Tara Cheyenne Performance in a sentence?
TC: Strange and compelling examinations of how we navigate the chaos through text, dance, comedy, pain and image.
Describe your work in three words.
TC: Talking Dancing Tragic-comedy.
What inspires you to work with text and theatricality in your choreography?
TC: Text and comedy are like little doors of understanding that invite the audience in. Then the movement/dance/physicalization can exist in that place where words cannot create the layers of meaning or engagement. I also love words and playing with language and how we understand and misunderstand.
If you were not in dance or the arts, what other career path would you have taken?
TC: Sometimes I think I could have been a doctor. I'm fascinated my the body and the potential for healing….But then I think definitely talk show host.
What's coming up for Tara Cheyenne Performance next season?
TC:Porno Death Cult will be at the Roundhouse Sept 29th and 30th. empty.swimming.pool. a trio between myself, Silvia Gribaudi (Italy) and musician composer Marc Stewart at Scotiabank Dance Centre as part of the Chutzpah! Festival Feb 16-18. Then, I'll premiere my new ensemble piece "how to be" at The Cultch April 11-15 2017.
June 2016
Q&A with dance artist Chick Snipper
Who is Chick Snipper in a sentence?
CS: One sentence??? Ok - here goes with one non-grammatical sentence: artist, mother, grandma, friend, colleague, realist, idealist, worrier and the biggest computer luddite this side of the Rockies.
Tell us a bit about your career.
CS: I have been an obsessive participant in the worlds of dance, theatre and film for a long time. The consistent through line has been my artistic drive to learn and grow, to create whenever possible, to teach and coach, to mentor when asked. Without these creative cycles of challenge, connection and expression, my spirit would be 'lost in space'.
What's in store for your Dance Centre Artist in Residence next season?
CS: The participants and I will be engaged in passing on lineage and knowledge from senior to established to emerging dancer then back in a circle of inter generational discourse, using the creation of phase 1 of my new dance Big Melt as the door in. My hope is that the more junior artists will educate and inspire with their freshness and training techniques, while the more seasoned artists will educate and inspire with our experience and awareness. I am at a stage in my own creative development where it's crucial to let go of (elements of) the old and embrace (elements of) the new in order to be relevant and refine my vision.
Describe your work in three words (or four):
CS: Imagistic, Impressionistic, Emotionally Connected.
If you weren't in dance, what other career path would you have taken?
CS: I started as a social planner doing community organizing and policy development, naively believing that I could affect change. I'm an avid watcher of BBC news and often wish I had the skills and knowledge to work for Medecins Sans Frontieres. But since I am not saving the world, why not sing, dance and act in Broadway musicals? (Admittedly, a somewhat less heroic alternative).
May 2016: The Biting School
Q&A with co-artistic directors Aryo and Arash Khakpour
Photographer Sepehr Samimi
What inspired the creation of The Biting School?
Aryo: Creating works that we don't see in the community. We want to talk about the issues that are not discussed - in ways we like them to be discussed.
Arash: The freedom and the restrictions Vancouver offered us, and our experience of where we came from. The Biting School is the result of the clash of our past with where we are now, our attempt to make sense of it, and to deal with it.
Where did the name The Biting School come from?
Aryo:The name translates the aggression AND the compassion we treat our subjects: with a bite to attack or a love bite. "School" because we have nothing to teach in matters of biting.
Describe The Biting School in three words.
Aryo:Grotesque, tenacious, vulnerable
Arash: Unknown, colored, bang
What's it like working with your brother?
Aryo:When I was a child, I continuously asked my parents to bring me a playmate, a brother, so I won't be so alone at home. It's absolutely humbling and beautiful that my wish came true especially since Arash stays my playmate to this day.
Arash: It's pretty much the best thing. It's challenging and taxing on my brain at times but then I really realize how lazy my brain is - how much I love the brain-pain of figuring things out with him.
If you weren't in dance, what other career path would you have taken?
Aryo: Hostage Negotiator (Crisis Negotiator)
Arash: I'd be a non-professional horseback rider because I am too heavy to be a professional one, I think! Then I would probably study psychology to actually make a living.
What's coming up next for The Biting School?
Aryo + Arash: We will be performing Booth Connection at the rEvolver Festival this May and are expanding our piece Cain and Abel in 2017.
April 2016: Polymer Dance
Directed by Miriam Esquitín and Kristina Lemieux, Polymer Dance has been running since 2012 as a contemporary dance performing group and class aimed at non-professional dancers, offering twice weekly classes. Classes, which are two hours in length, are accompanied with live music and consist of progressive technical training, led by qualified dance instructors, and performance preparation in improvisation. The Sunday class, at Hillcrest Community Centre, is aimed at non-professional dancers with little or no previous dance experience and is taught by Miriam Esquitín. The Tuesday class is for intermediate/advanced non-professional dancers with at least three years of experience and is taught by local dance professionals.
Polymer Dance offers performing opportunities at a mix of traditional and non-traditional venues a few times a year. Performances are in multiple settings, either site-specific, traditional venues, community events or festivals. The performance ensemble will be showcasing a new work as part of the LINK showcase on April 19 and will be hosting their first ever full length Polymer Dance show at the Moberly Arts Centre on June 10. www.polymerdance.com
March 2016: Naomi Brand
Photographer: Marc J. Chalifoux
Naomi Brand is an independent dance artist and writer based in Vancouver. Since completing her MFA in dance from the University of Calgary in 2010, she has cultivated a unique career that spans from working with professional artists to community-engaged work with mixed populations. Recipient of the Lieutenant Governor of Alberta Emerging Artist Award, Naomi's artistic practice reflects her values for diversity, spontaneity and the subtleties of the expressive body. Through her choreographies, she strives to make dance within a context that both creates and speaks to the need for community and connection. Her work has been featured in festivals across Canada, as well as in Poland, Italy and Uruguay. Naomi is on the teaching faculty at of the Shadbolt Centre for the Arts and Joe Ink's Move It! She also sits on the board of directors for The Training Society of Vancouver and is a contributing writer with The Dance Current. Currently, Naomi is an Artist-in-Residence at the Roundhouse, leading a three-year project with the Ageless Dancers, an ensemble of older adults. She is also the co-founder and Artistic Director of the All Bodies Dance Project, an inclusive dance project for dancers with and without disabilities. This spring she is working towards a new production with All Bodies Dance Project and a full evening piece for the Ageless Dancers.allbodiesdance.ca
February 2016: Sujit Vaidya
Photographer Chris Randle
Sujit Vaidya is an independent bhartanatyam performer based in Vancouver. He has performed extensively in the US, Canada, Europe and India. While Solo work is his forte, he has danced in duet and group productions with companies such as Co.ERASGA and Dakshina Dance.
Sujit's choreography shines the spotlight on bharatanatyam and re-imagines the context of its traditional compositions. This was reflected in his most recent work Swapna Maya that pushed boundaries in terms of content and presentation. Through his work Sujit aims to elevate the quality of bharatanatyam presentation, creating an appeal to mainstream dance audiences. His urban sensibilities seamlessly juxtapose an art form rooted in tradition; this is what makes his work unique and interesting. Sujit is not afraid of questioning what is usually expected of a male dancer in the classical arts, and has strayed away from the devotional compositions that are deemed appropriate for male dancers, which he finds one dimensional and limiting. His presentations are both risky and risqué, and he often chooses content considered taboo, seeped in eroticism and sensuality.
Sujit will premier The Longing Courtesan, featuring a live musical ensemble, at VIDF March 8 & 9 at The Roundhouse. This piece will be developed and part of a full length work called Eros, premiering November 4 & 5 at the Norman Rothstein theatre. www.sujitvaidya.com
January 2016: Helen Walkley
Photography by Chris Randle
Contemporary dance artist Helen Walkley has created, performed and taught throughout North America and Europe for thirty-five years in diverse populations and contexts. Recently, she directed studio research together with composer James Maxwell and dancers Josh Martin and Olivia Shaffer and is moving towards the next development of this work.
There are multiple meanings in any given moment, dependent upon the point of view of the experience. This is the pathos and beauty of our existence and can render any heart and mind tender. It is this which compels me to create my work, and it is with this that I go out the door every morning to meet all the incidents of a single day. Everyone's story meets— sometimes colliding and careening—in unarticulated moments as simple as being jostled on a crowded bus. This layering and cross-referencing exposes humanity and is heartbreaking and mind opening.
In this sense my work is transpersonal. My story, if you will, is everyone's story. Through a layering and cross-referencing in my processes there is an energetic transmission through space and time in performance, and each viewer receives his/her own story. Their hearts and minds are touched in a way unique unto themselves, and there is the potential for a sharing of experience.
Dance Centre Member Spotlights 2015
Dance Centre Member Spotlights 2014


text: Hey you guys! Johannah was in town this weekend and decided it would be a great idea to buy a car! She upgraded from her Honda Civic EK hatch into a lightly modified JDM 1999 Nissan Silvia Spec-R with we then drove around for a bit and filmed immediately afterwards. We'll be shooting a full feature episode with her Spec-R soon so keep up with us on Instagram!

subset: commoncrawl


text:
151 E 2nd Street, Perris CA, 92570 (Residential)
Sold Price:
2 beds , 1 Full baths
775 sqft
Status: Sold
Last Updated: 11/22/2017 4:23 PM
Description for 151 E 2nd Street Perris, CA 92570
Two houses two separate APN's sold together. property are in very poor condition and being sold as/is. but are price to sell. great for investor.
Sold Price:
Sold Date:08/21/2015
1 Full
775 (approx)
Two houses two separate APN's sold together. property are in very poor condition and being sold as/is. but are price to sell. great for investor.
Listing Information
Room Information
Family Room
Interior Features
No Fireplace
Exterior / Lot Features
2 Garage Spaces, 2 Parking Spaces
No Pool
Sidewalks, Curbs Walk
Financial Considerations
Listing Price History
Perris Real Estate
Perris is located in California. Perris, California 92570 has a population of 74,971.
The median household income in Perris, California 92570 is $48,591. The median household income for the surrounding county is $56,592 compared to the national median of $53,482. The median age of people living in Perris 92570 is 27 years.
Loading nearby sales and history ...
Ask a Question?
Start a no spam email conversation
My Drive Time
Enter your work address to view actual drive times with traffic for this property
Here is the weekday INRIX Drive Time from this property to .
When you register, you will receive ...
Weekday drive times
Plus all these great features
Register or login today to take advantage of Drive Time
Perris Real Estate
Nearby Communities
Nearby homes for sale
Recent sales nearby


text:
Johnson's Little Gardener's Grow Pot - Moving Mimosa
Johnsons Seeds »Product code: 344954
Purchase Options
Currently unavailable to order. Expected to arrive in 5 days. Want to be notified when stock arrives? Thanks! We'll email you when it's back in stock.
Gift wrap available
Product Description
Kids will love these amazing plants that move out of the way when they are touched - the leaves will quickly fold up. The set includes seeds, peat free compost plastic pot, a fun fact and activity sleeve and stickers to decorate the plant pot. Plant Class: Half Hardy Perennial (HHP).
Related Documents
There are currently no reviews to display for Johnson's Little Gardener's Grow Pot - Moving Mimosa
There are currently no questions to display about Johnson's Little Gardener's Grow Pot - Moving Mimosa.
About Johnsons Seeds
Please see our Despatch & Delivery page for more information on delivery areas, services and charges.


text:
(Recasts with background on Lac-Megantic explosion and other fiery crashes)
By Patrick Rucker
WASHINGTON, April 1 (Reuters) - The U.S. oil industry is not sharing important data on oil-by-rail shipments that may help prevent accidents, a top regulator said on Tuesday, adding pressure to an industry already being scrutinized in the wake of several fiery derailments.
Regulators have sought help from oil shippers and others as they seek answers about why derailments of some trains carrying crude oil have also led to dramatic explosions.
Most notably a 74-car runaway train carrying crude oil from North Dakota's Bakken region detonated in Lac-Megantic, Quebec, last July, killing 47 people.
The same type of Bakken crude has been involved in several other fiery derailments, and officials have warned that the fuel might be particularly volatile.
Cynthia Quarterman, chief of the Department of Transportation's Pipeline and Hazardous Materials Safety Administration, or PHMSA, specifically cited the American Petroleum Institute, the industry's top lobbying group, for not keeping its promise to share data about oil-by-rail shipments.
"More than two months ago, we received assurances from industry that the safe transport of crude oil across the country was a top priority and, to that end, API would begin sharing important testing data," she said in a statement.
"To date, that data has not been shared."
Eric Wohlschlegel, an API spokesman, said the trade group was sharing information with regulators, but he did not provide details.
Lawmakers in Washington as well as state and local officials have turned to the Department of Transportation to get precise information about the possible dangers of moving oil by rail.
Tuesday's statement from Quarterman, who is due to testify to a transportation panel on Capitol Hill on Wednesday, is likely to add pressure on the industry.
In February, Quarterman's agency fined three shippers for failing to classify oil-by-rail cargo properly and she oversees ongoing spot inspections of safety procedures in North Dakota.
"That we're even having this debate about access to information only heightens our concerns about the safety of crude oil trains," said Basil Seggos, a deputy secretary for the environment to New York Governor Andrew Cuomo.
A large share of Bakken fuel moves through New York on its way to refineries, and state officials are scrutinizing the work of refiners and shippers.
The spat between API and regulators may boil down to the meaning of a January letter in which the oil and rail sectors promised to make hauling oil on the tracks safer, several industry sources said.
The American Association of Railroads, a voice for the industry, ordered slower speeds for some oil cargo, a new routing protocol and other steps before March as agreed in the letter.
But officials say API has done practically nothing to fulfill its promise to "share expertise and testing information" with officials or collaborate with PHMSA "on improving its analysis of crude oil characteristics" by the end of February.
"If there is data Administrator Quarterman or anyone else at DOT thinks needs to be shared that is not, please let us know so we can provide it," API's Wohlschlegel said.
Industry lawyers say API might have over-promised by saying it could quickly gather data from its members.
"They seem to have created their own problem by agreeing a deadline and getting the regulator's hopes up for something concrete," said Lawrence Bierlein, a veteran transportation lawyer in Washington.
While it might be politically awkward, Bierlein said, it might be time for API to have a frank conversation with its regulator about what it can deliver.
It can be a challenge for trade groups to present individual companies' data to regulators but it can be done, lawyers said.
The American Fuel & Petrochemical Manufactures, the voice for the refining sector, in February told Quarterman that to sidestep any legal perils it would use a third-party contractor to collect industry information about shipments.
"While this may seem like a cumbersome process, due to the confidential nature information PHMSA requested, this layered approach is necessary," association President Charles Drevna wrote.
Gathering data at arm's length, the trade group wrote, should allow it to satisfy regulators without running afoul of the law.
The running dispute between regulators and the oil industry is likely to draw more scrutiny from lawmakers.
Democratic Senator Charles Schumer of New York said on Tuesday that the lack of industry data should weigh on the minds of officials considering the risks of oil-by-rail shipments.
"This lack of cooperation from the energy industry confirms all of our worst fears of their failure to prioritize safety," said Schumer. (Reporting by Patrick Rucker; Editing by Ros Krasny, Jim Loney, Peter Cooney and Lisa Shumaker)


text:
Effective clinical practice is grounded in effective research. And that is what we do.
For over 35 years now, the Foundation of Physical Therapy has made it its mission to fund and publicize physical therapy research. Over the years, our researchers have helped introduce movement in babies with cerebral palsy, integrate dancing to alleviate ailments in patients with Parkinson's, and develop video games to implement physical rehabilitation.
The work of our funding recipients would not be possible without the support of our donors. Your support will help us continue to elevate the physical therapy profession and work towards creating a world that thrives on mobility. You have the power to make a difference. Join the Power of One with a contribution today.
Learn more about the Foundation for Physical Therapy.


text:
After graduating from Stanford Business School and taking my very first marketing job at Del Monte Foods, I moved to San Francisco and was looking for a new dentist. A co-worker suggested I visit Dr. Leon Feldbrill. "He's kind of a rock and roll dentist," she shared. Not quite sure what that exactly meant, yet being a huge music fan, I scheduled an appointment to visit the good doctor. As I point out in an earlier blog post, Dr. Feldbrill's office looked and felt like a Hard Rock Café, and of course, he is a music fan which led to several interesting discussions about bands, venues and music (and parties – to this day I'm still amazed that when he first looked at my teeth and noticed a slightly chipped front tooth, he nonchalantly asked "Opening a beer bottle?" And of course he was right!
That's the power of word of mouth. A dentist had created something so different than all the other me-too, boring-ass dentists in San Francisco that I gladly followed up with my co-worker's suggestion. To this day, a retired Dr. Feldbrill and I are Facebook friends.
The key to word of mouth marketing is not in building the best website (or launching a mobile app for your business – enough with the mobile apps already!), it's not in offering steep price discounts, it's not in producing slick and fancy TV ads or putting up billboards near the busiest intersections or highways. Nope, believe it or not, the key to successful word-of-mouth support is to do something that gets others TALKING ABOUT YOU. You do something to get noticed. You DO SOMETHING to be considered different. Being average is boring. Being boring is not getting noticed (except in a negative way). Copying what your competitors do is playing it "safe" and accepting
what it's like to be average.
WHAT IF…? A LIST OF IDEAS of HOW TO BE DIFFERENT
It doesn't take much to find ways to be above average.
- What if you offered free coffee or free wine to your customers?
What if you offered free pizza, cooked by the neighborhood pizzeria that you
bartered/ partnered with?
- What if you showed your favorite movies in the waiting room and handed out free buttered popcorn and boxes of candy?
- What if you had free pinball machines and classic video games (such as Pac-Man and Donkey King) in the lobby?
- What if you had a magician or stand-up comedian entertain those waiting in your lobby?
- What if you have an auto repair shop and you gave customers free movie tickets and a ride to the movie theater while the car was being worked on?
- What if you are a fitness trainer who only trains white collar professionals (e.g., CPAs & attorneys) who are often chained to their desks many hours each day?
I find with many types of creative exercises, the more examples I see, the easier it is for me to identify examples that work for my situation. Along those lines, I'd like to help you by sharing the following 10 best articles I've found on the internet about Word-of-Mouth marketing:
- How 22 Successful Companies Fought For Their First Customers
- Not Just A Crock: The Viral Word-Of-Mouth Success Of Instant Pot
- Facebook Adds New Tools to Amplify Word-of-Mouth Recommendations, Boost Response
- 25 Powerful Ways To Increase Your Word-of-mouth Marketing
- Dance festival grows from 5,000 to 30,000 attendees with word-of-mouth marketing
- Word-of-Mouth Marketing: Building a Strategy That Really Works
- 6 Creative (and Cost-Effective) Word-of-Mouth Marketing Strategies
- 5 Steps to Create a Deliberate Word-of-Mouth Sales Referral Program
- How Lush Cosmetics uses word-of-mouth marketing
- 10 Word-of-Mouth Marketing Tactics To Grow Your Business
Focusing your business on a niche is another way you can establish a unique point-of-difference against your competition. When you pick a niche, remember you are usually deciding to serve it at the expense of all other customer groups.
a la the dentist for rock and roll music fans?
a la the auto collision repair shop for Lamborghinis Bentleys, Porsches, or Bugattis?
a la the restaurant that only serves breakfast and lunch?
a la the clothing store for goth and other counter-culture teens?
a la the restaurant for video game fans?
Most business owners are too close to their business to be objective or to identify creative ideas. The truth is, however, that most of you actually do have ideas inside of you that could help with word-of-mouth in your business. One simple way to bring those ideas out of your brain is to apply the "You know what would be cool?" test. Think up some new ideas that make you say "That would be cool if I did…" I suggest you come up with 3 to 5 new ideas then test 1 idea each week and see what your customers say about them. After testing the new ideas, pick the one that works best to create word-of-mouth.
Just decide to be cool, to be noticed to be talked about. Then and only then will you have the strongest foundation to build a local business that owns and that is a leader in your neighborhood. THAT'S the essence of great Local store marketing.
Copywriter, blogger and author, Ashley Ambirge has some mighty fine ideas of how she would establish a local business as a candidate for word-of-mouth and why word-of-mouth can be considered an alternative to SEO.
"Guerrilla marketing" is a term coined by Jay Conrad Levinson who wrote a book in 1984 titled Guerrilla Marketing. In Mr. Levinson's own words, the idea is:
achieving conventional goals, such as profits and joy, with unconventional methods, such as investing energy instead of money.
Guerrilla marketing is generally an alternative strategy to more traditional advertising forms such as print, radio, television and direct mail. While it could be the foundation of your Local Store Marketing strategy, I prefer to use it as one of four pillars. It's also a way to get your business and brand known for being different, which is the foundational requirement of word-of-mouth marketing. While I don't believe most of the ideas in this article will create WOM, they do a fine job of pointing out how you can get creative without spending lots of money.
The examples in this article, however, show ways brands have created temporary word-of-mouth. Temporary word of mouth is a good way to get your brand name known (such as in a launch or startup period) but is often unsustainable. Think of it as similar to getting a newspaper article written about your brand. It's not going to drive new traffic into your store 3 or 6 months later but it will likely get you new tryers and buyers.
What if you hired a marching band to perform outside (or inside) of your business? After football games in Berkeley, and especially after a win, the Cal Marching Band is often seen playing and marching inside one of the most popular bars in town. It usually brings such excitement to the patrons that drink orders (and sales) skyrocket. Henry's Public Grill is a place that alumni talk about as the place to meet for game day spirit.
The following are a list of 10 guerrilla marketing ideas I've assembled from a wide variety of sources:
1. Picket your own business
2. Wrap a vehicle with your brand and logo
3. Conduct a blogger outreach campaign
4. Create a peer-to-peer online challenge (a la the Ice Bucket Challenge or the #nomakeupselfie campaign)
5. Showcase your product in an unexpected or surprising location
6. Create humorous or surprising signage
7. Produce 3-D chalk art of your product
8. Produce "sculpture-style" outdoor signage
Creating a distinctive point-of-difference that prospects, customers and other business owners in your neighborhood is the foundation of an 80 / 20 Local Store Marketing strategy.


text:
Historic Route 66 to Become Solar Roadways First Highway Project
The Missouri Department of Transportation is working with Idaho company Solar Roadways, famously crowdfunded last year with $2.25 million, to pave parts of Interstate 70 and the iconic Route 66 with super strong interactive solar panels. The video above and article below discuss progress on the project dubbed Road To Tomorrow.
Sections of the famous Route 66 highway are set to be paved by solar panels, capable of charging electric cars with energy from the sun. The hi-tech makeover comes as a result of a partnership between the Missouri Department of Transportation (MoDOT) and smart energy startup Solar Roadways, which aims to bring "the history and the…
SHARE the Big News!


text:
GraphicRiver Damask Fabric Background Maker 4641794
GraphicRiver Damask Fabric Background Maker 4641794
Add-on \ Photoshop \ Texture \ Fills \ Patterns \ Miscellaneous
Mock \ Pattern \ Photoshop \ Maker \ Generator \ Colour \ Creator \ Damask \ Embossed
Add-on - Damask Fabric Background Maker 4641794 by Jipito @ GraphicRiver
Add-on \ Photoshop \ Texture \ Fills \ Patterns \ Miscellaneous
Add-on Files Included: Layered PSD, Photoshop PAT; Minimum Adobe CS Version: CS.
Make beautiful embossed Damask style backgrounds for print or for the web with this Background Maker. Comes with 20 hand traced Damask patterns included. Smart Object allows you to quickly change the pattern and it also has a colour adjustment layer to control the colours of your design.
Included in the pack.
- PAT File with 20 original patterns
- Layered PSD File
- Full documentation
- 20 different patterns (or use your own)
- Full colour control on result
- Creates a 2880×1800 pixel 300 dpi embossed backgrounds in seconds
- Good for web or home print
Please rate if you like it!
Kaleidoscope Pattern & Background Generator; Jeans Zipper Actions & Mock-Up Creator; Complete Polo Shirt Mock Up; Gold Chain Jewellery Brushes Kit; 3D Box Packaging Constructor; Jeans Pocket with Logo Creator.
Keywords: background, colour, creator, damask, embossed, generator, maker, mock up, pat, pattern, photoshop.


text:
Administrator: Change is coming. This is apparent in the renewed interest in spirituality and social justice. As such, I have decided to republish this article (first published in 2008 by the Writing on the Wall) to help us better understand
For a Leader by John O'Donohue
I came across this Blessing for a New Leader from the book "Benedictus" by John O'Donohue. May we be inspired and look for these qualities in our future leaders. May you have the grace and wisdom To act kindly, learning


text:
But Marios catalog of victories, titles and records are more than just the result of his immense driving talent. They also reflect his unswerving determination to overcome obstacles and an ongoing fascination with cars and the technology behind them. For Mario, doing it all always included making whatever extra effort was needed to compete on or off the track, whether it meant testing new equipment, re-engineering a problematic car, or driving while injured. Mario Andretti: A Driving Passion is the first complete history of Marios thirty-six-year career. Some highlights include:
Finally, author Gordon Kirby goes beyond the race track to explore Marios early life in post-war Italy, his friendships with fellow drivers, team owners, engineers, and journalists, as well as his familys role in supporting and sustaining his career. Mario Andretti: A Driving Passion brings all of these elements together to create the definitive portrait of the man many regard as the driver of the century.


text:
Reasonably regular successes for three year-olds and, more importantly, an almost guaranteed fierce pace give Bryan Smart's progressive Moviesta an outstanding chance of following up after an impressive length-and-a-half win over Swiss Spirit in the King George Stakes at Goodwood last time.
Victory for the colt would give part-owner, QPR manager Harry Redknapp, his biggest win on a racecourse and his trainer Bryan Smart a first domestic Group One.
Key to the horse's improvement last time was the pace of the race. Instead of pulling like a train, a trait which has cost him twice in valuable handicaps this term, he was much more settled in the early stages.
Instead of being out on his feet at the finish Paul Mulrennan found him full of running and finally expending energy at the right end of a race. "He's in great order," confirmed the jockey who last sat on the Hard Spun gelding last Friday. "He's come out of Goodwood very well and it should be perfect for him; a quick track on which he already has smart form. It's a speed track and he's all speed.
"At Goodwood I missed the break deliberately and they went that fast I was able to switch him off. Take the top two (Shea Shea and Sole Power) out of it and I'm on the favourite. Even with them in the race I would not swap him."
Shea Shea, who bids to give Frankie Dettori a first Group One win post Godolphin, has knocked at the door on both starts since winning the Al Quoz sprint in Dubai, finishing second to Sole Power at Ascot and fourth to Lethal Force at Newmarket.
Sole Power, who gets on so well with Johnny Murtagh, won the race as a three year-old in 2010, but had to wait until the King's Stand for another win at this level. Both are drawn low in contrast to Moviesta who is drawn high.


text:
AMARILLO (TYLER MORNING TELEGRAPH) -- A Tyler man was killed this morning when his plane crashed in an Amarillo neighborhood.
Melanie Hooley McDade told the Tyler Morning Telegraph her uncle 53-year-old Ben Harned IV died in the plane crash.
"The family is just in shock right now," she said crying.
Mrs. McDade said her uncle, who was more like her brother, moved back to Tyler several years ago and got married last autumn.
"He had a business in Amarillo and went back and forth, but I don't know how often he made the trip," she said.
Mrs. McDade said Harned's grandmother once ran the Tyler Woman's Building and many people in Tyler knew him from working in the building with his grandmother.
Additional information will be posted as it becomes available.


text:
Why Having Fewer Friends Could Mean You're Smart
Todd Cole for Lucky
If you can count your friends on one hand, a new study suggests that's a good thing—it could mean you're smart. We might be obsessed with growing followers on social media, but researchers at Singapore Management University have found that the intellectual crowd is happier with fewer friends.
The study, which was published in the British Journal of Psychology and examined by The Washington Post, explores the variables that impact happiness, such as how many social interactions a person has or whether she lives in a dense city. Researchers found that while most people thrive on having multiple close relationships, those who rank higher in their IQ have the opposite reaction. Yes, regularly catching up with a big group of friends makes the more intelligent less happy.
While the results might seem surprising, Brookings Institution researcher Carol Graham believes there's a logical explanation. "The findings in here suggest that those with more intelligence and the capacity to use it ... are less likely to spend so much time socializing because they are focused on some other longer-term objective," she tells The Washington Post. In other words, smart people are likely channeling their efforts into time-consuming top-level tasks, so they find less satisfaction from social activities that draw time away from their work.
For the introverts, the next time you don't want to make the trek out to a social gathering, you have a great excuse! And, if that doesn't sound like you, don't worry. The majority of people still find happiness from having lots of tight-knit friends, so to each her own.
Want to show your friends how much you care? Shop 15 under-$50 gifts your best friend will adore, then visit The Washington Post to read more.
Does this research ring true for you? Tell us in the comments below.


text:
last year I was getting many job offers. This year I lost my job and I have been looking for 6 month now. What's going on ?
Get new comments by email
|Comments (2)
rhl522@*****.*** in Tomball, Texas
99 months ago
You have chosen to join a very cyclic profession based on the good times cycle. Historically the oil and gas EDP buisness rides a cyle. Alot of people don't realize when they get into this buisness that it is feast and famine. It is not as bad as before OPEC but you will still see bust times and times you can't by a job. Atleast it has been for the 42 years I've been in it.
Trent in Texas City, Texas
99 months ago
I blame it on HOPE & CHANGE! I also lost my job i was at for 5 years. I been looking for 3 months now. i just HOPE things turn around soon.
» Sign in or create an account to comment on this topic.


text:
Importing P-card transactions. KASBO 2014 Spring Conference. Background of KCBOE Program. Implemented the program in 2005 with Chase Bank, 2010 moved to 5/3 David Lloyd-Facility Systems Director Began with Facilities Department Today we have 3 corporate accounts, 72 cards.
Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.
KASBO 2014 Spring Conference


text:
Discussion on the Physiology of the Intra-ocular Pressure.
- Type
- Published Article
- Journal
- Proceedings of the Royal Society of Medicine
- Publication Date
- Volume
- 6
- Issue
- Sect Ophthalmol
- Pages
- 31–44
- Identifiers
- Source
- Medline
From MEDLINE®/PubMed®, a database of the U.S. National Library of Medicine. This record was last updated on 07/05/2016 and may not reflect the most current and accurate biomedical/scientific data available from NLM. The corresponding record at NLM can be accessed at https://www.ncbi.nlm.nih.gov/pubmed/19977277


text:
World Food Books is a book shop in Melbourne, Australia.
Founded in 2010, World Food Books is a book service dedicated to the presentation of a rotating, hand-selection of quality international art and design journals, artists' monographs, exhibition catalogues, artists' editions, collected writings and printed ephemera.
Presenting new titles alongside rare and out-of-print publications spanning the fields of contemporary art, modern art, cultural theory, photography, film, poetry, fiction, fashion, architecture, interior design, typography, illustration, politics and much between, World Food Books wishes to encourage active and thoughtful reading, looking, writing, publishing, and exchanging of art and design press, both contemporary and historical.
As well as our book shop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service. We also have outposts at MUMA (Monash University Museum of Art) and Westspace, both also in Melbourne.
World Food Books semi-regularly co-ordinates "Occasions", a program of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
Studio 19, Level 3
37 Swanston Street
Victoria 3000
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Fiction / Poetry
Film / Video
Sculpture / Installation
Performance / Dance / Theater
Sound / Music
Group Shows / Collections
Out-of-print / Rare
Objects / Ephemera / A/V
Signed Books
World Food Books Gift Voucher
World Food Book Bag
Australian Art
Conceptual Art
Minimal Art
Arte Povera
Pop Art
Nouveau Réalisme
Illustration / Graphic Art
Japanese Photography
Ceramics / Glass
Italian Radical Design / Postmodernism
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People's Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - "they talk about the death of art...help! someone is trying to kill me", "my sweet little lamb", "work is a disease - Karl Marx"; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan's Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don't make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
"BLACK PLUMS $1.29 lb."
"Food Bazaar"
"USDA Whole Pork Shoulder Picnic 99c lb."
"RITE AID Pharmacy, with us it's personal."
"H. Brickman & Sons."
"Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn't absolute in Wurtz's work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
at Minerva, Sydney (curated by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
"...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing's face was seared and blackened."
William Gibson, "Count Zero", 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980's, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne's 'Fragments' collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character' and 'personality' in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
1975, Japanese
Softcover, 96 pages, 23 x 25 cm
1st edition, Out of print title / used*,
Published by ? / Japan
$75.00 - In stock -
Great Jean Cocteau catalogue, published in Japan in 1975 on the occasion of a major exhibition of his work.
Rarely seen and very curious Cocteau catalogue, features a wonderful selection of large colour and black and white reproductions of his drawings, paintings, ceramics, and sculptures, along with photographic portraits, texts, biography and bibliography. Texts in Japanese.
First edition.
"Jean Maurice Eugène Clément Cocteau (French, 5 July 1889 – 11 October 1963) was a French writer, designer, playwright, artist and filmmaker. Cocteau is best known for his novel Les Enfants Terribles (1929), and the films The Blood of a Poet (1930), Les Parents Terribles (1948), Beauty and the Beast (1946) and Orpheus (1949). His circle of associates, friends and lovers included Kenneth Anger, Pablo Picasso, Gertrude Stein, Jean Hugo, Jean Marais, Henri Bernstein, Yul Brynner, Marlene Dietrich, Coco Chanel, Erik Satie, Albert Gleizes, Igor Stravinsky, Marie Laurencin, María Félix, Édith Piaf, Panama Al Brown, Colette, Jean Genet, and Raymond Radiguet."
2005, English
Softcover, 335 pages, 22.5 x 16 cm
2005 edition, Out of print title / used*,
Published by D.A.P. / New York
$95.00 - Out of stock
The now scarce 2005 reprint edition of one of the greatest books on film. A classic returns! The original edition of Amos Vogel's seminal book, Film as a Subversive Art was first published in 1974, and has been out of print since 1987. According to Vogel--founder of Cinema 16, North America's legendary film society--the book details the "accelerating worldwide trend toward a more liberated cinema, in which subjects and forms hitherto considered unthinkable or forbidden are boldly explored."
So ahead of his time was Vogel that the ideas that he penned some 30 years ago are still relevant today, and readily accessible in this classic volume. Accompanied by over 300 rare film stills, Film as a Subversive Art analyzes how aesthetic, sexual and ideological subversives use one of the most powerful art forms of our day to exchange or manipulate our conscious and unconscious, demystify visual taboos, destroy dated cinematic forms, and undermine existing value systems and institutions. This subversion of form, as well as of content, is placed within the context of the contemporary world view of science, philosophy, and modern art, and is illuminated by a detailed examination of over 500 films, including many banned, rarely seen, or never released works.
This 2005 edition, published by D.A.P./C.T. Editions, also quickly went out of print and it has not been available since.
Includes Luis Buñuel, Dusan Makavejev, Luis Buñuel, Stan Brakhage, Bruce Connor, Roman Polanski, Vera Chytilova, Alfred Hitchcock, Carolee Schneemann, Peter Watkins, Tony Conrad, Jonas Mekas, Andrei Tarkovsky, Marcel Duchamp, Robert Bresson, Luchino Visconti, Chris Marker, Federico Fellini, Rainer Werner Fassbinder, Kate Millett, John Cassavettes, Shuji Terayama, William Klein, Russ Meyers, Louis Malle, Woody Allen, Yoko Ono, Michelangelo Antonioni, Agnes Varda, Walerian Borowczyk, Andy Warhol, Ingmar Bergman, Jacques Rivette, Sergei M. Eisenstein, Ingmar Bergman, Lindsay Anderson, Roberto Rossellini, Marguerite Duras, Charlie Chaplin, Paul Morrissey, Joseph Losey, Otto Muehl, Hans Richter, Fritz Lang, Jean Genet, Kenneth Anger, Maya Deren, Jean-Luc Godard, Frans Zwartjes, Arrabal, Jack Smith, Stan Vanderbeek, Werner Herzog, Morgan Fisher, Jean Renior, Michael Snow, Robert Frank, Jan Svankmajer, Sam Peckinpah, Paul Sharits, Akira Kurosawa, Yoko Ono, Orson Welles, Frederick Wiseman, Ken Jacobs, Martin Scorcese, Jean Cocteau, Manuel Octavio Gomez, Stanley Kubrick, Norman McLaren, Albert Maysles and David Maysles, to name only a few of the hundreds of film-makers whose works are featured in this essential film book.
1984, English
Softcover, 342 pages, 270 x 280 cm
1st Edition, Out of print title / Used*,
Published by U.M.I. Research Press / Michigan
$70.00 - Out of stock
Softcover edition of "LOOKING CRITICALLY: 21 YEARS OF ARTFORUM MAGAZINE", the heavy 342 page volume anthology of the first 21 years of the world's most important modern and art journal. An incredibly valuable collection of art theory.
Edited by Amy Baker Sandback, designed by Roger Gorman and Mary Beath and published in 1984 by U.M.I. Research Press, this dense volume, bound in hardcover to the dimensions of a copy of ARTFORUM, begins with an Ed Kienholz review at the Ferus Gallery from ARTFORUM's June 1962 inaugural issue, and ends with Barbara Kruger reviewing the film "TRON" for the November 1982 issue. An amazing compendium of articles and reviews from the magazine's important first 21 years, featuring contributions by the likes of John Cage, Robert Morris, Kate Steinitz, Henry T. Hopkins, Don Factor, Robert Pincus-Witten, Dennis Adrian, John Coplans, Hilton Kramer, Harold Rosenberg, Henry Geldzahler, John Cage, Walter Hopps, Ed Ruscha, Allan Kaprow, Robert Rosenblum, Dan Flavin, Boris Groys, Sam Wagstaff, Billy Kluver, Lucy R. Lippard, Robert Rosenblum, Roger Shattuck, Ad Reinhardt, Mel Bochner, Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Barbara Rose, Manny Farber, Michael Fried, Robert Morris, Philip Leider, Hollis Frampton, Carl Andre, Richard Serra, Lawrence Alloway, Barbara Kruger, Jane Livingston, Lizzie Borden, Kenneth Baker, Laurie Anderson, Agnes Martin, Cindy Nemser, Sidney Tillim, Annette Michelson, Rosalind Krauss, Jeremy Gilbert-Rolfe, Roberta Smith, Peter Plagens, Peter Schjeldahl, J. Hoberman, Hal Foster, Richard Flood, Carter Ratcliff, Stuart Morgan, Max Kozloff, Donald Kuspit, Dan Graham, Walter De Maria, Komar & Melamid, Edit De Ak, Lawrence Weiner, Kathy Acker, Robert Mapplethorpe, Anselm Kiefer, Thomas McEvilley, Louise Bourgeois, Ingrid Sischy, and too many more to list. Artists featured include: Josef Albers, Richard Tuttle, Jo Baer, Carl Andre, Ant Farm, Hans Arp, Max Bill, Mel Bochner, Alighiero Boetti, Lee Bontecou, Constantin Brancusi, Bertholt Brecht, Richard Avedon, Francis Bacon, Diane Arbus, Michaelangelo Antonioni, Lynda Beglis, Larry Bell, Terry Fox, James Byers, Rober Barry, Marcel Breuer, AA Bronson, Luis Buñel, Daniel Buren, Chris Burden, Joseph Beuys, Anthony Caro, Marcel Broodthaers, John Chamberlain, Paul Cézanne, Marc Chagall, Jean Cocteau, Merce Cunningham, Sonia Delauney, Walter de Maria, Bruce Connor, Jean Dubuffet, Max Ernst, Walker Evans, Dan Flavin, Marcel Duchamp, Albrecht Dürer, Lucio Fontana, Hollis Frampton, Alberto Giacometti, Eva Hesse, Gilbert & George, Philip Glass, John Cage, Nancy Graves, Dan Graham, Robert Grosvenor, Nancy Grossman, Walter Gropius, Hans Haacke, Hairy Who, David Hockney, Douglas Huebler, Jorg Immendorff, Donald Judd, Jasper Johns, Joan Jonas, Allan Kaprow, On Kawara, Ellsworth Kelly, Edward Keinholz, Paul Klee, Alison Knowles, Joseph Kosuth, Brice Marden, Agnes Martin, André Masson, Henri Matisse, Roberto Matta, Sol Lewitt, Roy Lichtenstein, Barbara Kruger, Jannis Kounellis, Markus Lüpertz, El Lissitzky, Rene Magritte, Robert Mapplethorpe, John McCracken, Mario Merz, Robert Morris, Robert Motherwell, Ree Morton, Louise Nevelson, Barnett Newman, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzio, A. R. Penck, Irving Penn, Francis Picabia, Pablo Picasso, Larry Poons, Ken Price, Yvonne Rainer, Robert Rauschenberg, Martial Raysse, Roman Polanski, Jackson Pollock, Steve Reich, Gerrit Rietveld, Alain Robbe-Grillet, Dorothae Rockburne, James Rosenquist, Mark Rothko, Robert Ryman, Lucas Samaras, Kurt Schwitters, Oscar Schlemmer, Richard Serra, Cindy Sherman, David Smith, Robert Smithson, Michael Snow, Robert Venturi, Wolf Vostell, Andy Warhol, Frank Stella, Saul Steinberg, Karlheinz Stockhausen, Bruno Taut, Jean Tinguely, Anne Truitt, Paul Wunderlich, Lawrence Weiner, Louise Bourgeois, Alfred Hitchcock, and so many more.


text:
Collaborative land use planning and sustainable institutional arrangement for strengthening land tenure, forest and community rights in Indonesia - CoLUPSIA
Project start date:31/03/2010
Project end date:28/02/2014
The specific objectives are to:
- Improve the capacity of stakeholders to collectively design participatory land use plans and natural resource management policies;
- Establish collaborative assessment of land conditions;
- Design land allocation and legally-binding land use plans that all stakeholders are in consensus on,
- Initiate and evaluate specific pilot activities supporting pro-poor financing mechanisms for forest conservation and sustainable management of resources;
- Raise public awareness of the importance of collective land use planning and the value of ecosystem services.
Kapuas Hulu Regency West Kalimantan – Indonesia
Central Moluccas Regency, The Moluccas - Indonesia
Environmental degradation and forest loss are on the rise globally. The effects of this process are felt most acutely in tropical villages. These communities rely on natural resources from neighboring forests for their livelihood. Here, deforestation also means lost ecological services and reduced availability of renewable resources.
Therefore new natural resource management actions such as Reducing Emissions from Deforestation Degradation (REDD) must be designed with land tenure arrangements in mind. Through good land use planning and land allocation and the process of mediation and negotiation of stakeholders about land allocation, development can introduce new institutional arrangements for the various levels of government, local communities and the private sector. These arrangements can also help reduce the sense of disenfranchisemeny of women, minorities and other vulnerable groups.
Economists posit that the Indonesian economy will overtake its western counterparts by 2050. Yet ironically, positive development resulting from that growth rate remains distant for populations in the rural regions where much of the country's wealth-generating natural resources are derived.
The CoLUPSIA project believes the resulting inequity and conflict can be resolved if governing bodies at national, regional and local scales are given more detailed data; and decisions made for these regions are not made on a top-down model but rather through collective discussion.
To ensure informed and collective governance, Centre International for Research in Agronomy and Development (CIRAD, France), and its partners, Centre International for Forestry Research (CIFOR, Bogor), Perkumpulan TELAPAK (TELAPAK, Bogor), HuMA (Natural resource management and Law NGO, Jakarta), TOMA (Environmental NGO, Ambon), Pattimura University (Ambon) and University Gadjah Mada (Yogjakarta) are creating new social and ecological datasets and maps; creating more participatory processes and technics for stakeholder meetings; and advocating for a legal framework to implement the collective vision voiced during stakeholder meetings.
Yves Laumonier (CIRAD), Esther Mwangi, Nining Liswanti, Bayuni Shantiko, Imam Basuki, Popi Astriani, Uceu Unangsih (CIFOR), Emily Fripp, Nicolas Jewell, Danan Hadi, Alfa Simarangkir, Selly Kharisma,Tina Taufiquoh, Moira Moeliono, Sunadi Ravi (COLUPSIA), Tom Silaya, Tine Tjoa (PATTIMURA), Yan Persulessy (TOMA), Steni Bernadinus, Widiyanto (HuMA), Heri Valentinus (RIAK BUMI)
European Commission
Co-funding Cirad-Cifor-Telepak


text:
CHICAGO - Greetings from the perpetual whirlwind of humanity that is O'Hare Airport. I'm laying over in the Windy City for an hour or so on the way to Toronto. It's 77 degrees and sunny outside, but the next fresh air I'll get will be about 20 degrees colder than this north of the border.
While I have a few minutest to spare, let's address a rumor that's been going around for the last few days.
A few people have emailed or tweeted at me asking if I've heard anything about Manchester City possibly playing in Philadelphia this summer. All we know for certain so far is what the club itself has announced, which is that "City will be playing games against a number of high-profile opponents in different cities along the East Coast.
Of course, there aren't that many cities for City to choose from, and Philadelphia now has a credible history of staging big-time soccer games. That includes City's eternal rival, Manchester United, which christened Lincoln Financial Field in 2003.
I've checked a bunch of different websites this afternoon and I don't see any confirmation or even mention of Philadelphia at this time. So while it's certainly possible that this will happen, let's not put too many carts before our horses yet.
The only match that's been published as of now is City vs. Club America of Mexico at the Georgia Dome on July 28. That was reported today by the Washington Post's Steven Goff.
I'll be back later tonight with a preview of the Union game at Toronto F.C. And I'll be liveblogging from BMO Field tomorrow night, so be sure to join me for the 7 p.m. kickoff.


text:
A few weeks ago, we heard about a tablet that Samsung was rumoured to be working on that had a 18.4-inch display – to put that in perspective, that's about the size of the computer monitor that's sitting on your desk. Well, Samsung has teased a tablet at its IFA 2015 press conference, and while the device wasn't detailed at all besides getting the name the Samsung Galaxy View, we've got a pretty good feeling that this will turn out to be the 18.4-inch tablet we've been hearing about.
One of the few things we can make out in the images we've seen is that the Galaxy View has a kickstand – this isn't something that is terribly necessary for the average 8-10-inch tablet, but for a 18.4-inch one, it will be pretty much mandatory. The other details we have heard about the device are that it has a 1920×1080 resolution and has hardware specs that include an Exynos 7580 processor, 2GB RAM, 32GB storage, microSD slot and 5,700mAh. Nothing too impressive, but we suspect this is a device more for the home and classroom than for anything too performance intensive.
What do you think about the Samsung Galaxy View? Let us know your thoughts in the comments below.
Source: Phone Arena


text:
Graduate school is the perfect time to connect with people in industry
Many interviewers ask you to describe an example of a time when you've encountered a problem similar to ones you're likely to solve in the job for which you are interviewing. How will you handle this question?
It is critical to ask questions during job interviews - not only to impress the interviewer, but to gather important information about the company and the position.
Failing to ask questions during an interview could be a crucial mistake as a job candidate. View these recommendations for top company-related questions.
How to Prove Your Top Competencies in 3 Easy Steps
What are your strengths? Why should we hire you? Tell us about a time when you overcame a challenge. Are you ready to answer these common interview questions? Employers want clear, concise examples of your top skills, strengths, and competencies—and they want you to connect the dots between what is on your resume and what they want you to achieve on the job.
How to Overcome Interview Fear
For those who get nervous at the thought of interviewing one-on-one or in front of a panel, there are several helpful methods to ease your mind. Read about 6 ways to overcome interview fear.
Building a Better Job Interview
With a job interview comes a great amount of hope. If you don't hear back after an interview, an inevitable let-down follows as you begin the job search again. Don't let that unhappy ending happen to you...


text: Seller: tomi.knezevic (77) 100%, Location: Kaštel Novi, Splitsko-Dalmatinska županija, Ships to: Worldwide, Item: 322313960123 Knights templar IN HOC SIGNO VINCES bronze ring 12 AD The ring is splitted to three parts! It's known that templars has rised many brothers. After one brother died, other split his ring and every one get one piece, and the last one goes to dead brother, and they belive, that they would once find each other and connect all pieces. In hoc signo vinces (Classical Latin: [ɪn hoːk ˈsɪŋnoː ˈwɪŋkeːs]; Ecclesiastical Latin: [in ɔk ˈsiɲɲo ˈvintʃes]) is a Latin phrase meaning "In this sign you will conquer", often also rendered in early modern English as "In this sign thou shalt conquer". It is a translation, or rendering, of the Greek phrase "ἐν τούτῳ νίκα" en toútōi níka (Ancient Greek: [en tóːtɔ͜ːi níkaː], Greek pronunciation: [en ˈtuto ˈnika]), literally meaning "in this, conquer". This photograph is of a Masonic Knights Templar symbol showing a cross within a crown inside a Maltese cross, which has the Latin phrase, "in hoc signo vinces." The phrase means "in this sign you shall conquer" and was used by Constantine as a military motto in the early 4th Century. The phrase was also used by the original Knights Templar military order that was founded during the Crusades. The Freemasons began using Templar rituals and symbols in the late 1700s. Knights Templar legends and myths are quite popular in movies and books such as The Da Vinci Code, Foucault's Pendulum, National Treasure, and Indiana Jones and the Last Crusade. Some also see parallels between the Jedi Knights of Star Wars and the Knights Templar military order. In this installment of Symbols and Symbolism, we look at the meaning behind the iconic slogan of the York Right Knight Templars – In Hoc Signo Vinces (pronounced – in hohk sig-noh wing-kase). Translated from Latin to read "By this sign thou shalt conquer," the motto, and its corresponding association with the passion cross are, perhaps, a misrepresentation of its original and true intention and an adoption by later Christian military orders in their conquest over the pagan world.Despite its militaristic association, the motto and the symbols it represents have perhaps a far older symbolic meaning into the mysteries of Egypt and beyond. From Mackey's Encyclopedia of Freemasonry: Despite its militaristic association, the motto and the symbols it represents have perhaps a far older symbolic meaning into the mysteries of Egypt and beyond. On the Grand Standard of a Commandery of Knights Templar these words are inscribed over "a blood-red Passion Cross," and they constitute in part the motto of the American branch of the Order. Their meaning, "By this sign thou shalt conquer," is a substantial, but not literal, translation of the original Greek. For the origin of the motto, IN HOC SIGNO VINCES (pronounced "In hoke seeg-noh ween-case" from the Greek) we must go back to a well-known legend of the Church, which has, however, found more doubters than believers among the learned. Eusebius, who wrote a life of Constantine says that while the emperor was in Gaul, in the year 312, preparing for war with his rival, Maxentius, about the middle hours of the day, as the sun began to verge toward its setting, he saw in the heavens with his own eyes, the sun surmounted with the trophy of the cross, which was composed of light, and a legend annexed, which said "by this conquer." This account Eusebius affirms to be in the words of Constantine. Lactantius, who places the occurrence at a later date and on the eve of a battle with Maxentius, in which the latter was defeated, relates it not as an actual occurrence, but as a dream or vision; and this is now the generally received opinion of those who do not deem the whole legend a fabrication. On the next day, Constantine had an image of this cross made into a banner, called the labarum, which he ever afterward used as the imperial standard. Eusebius describes it very fully. It was not a Passion Cross, such as is now used on the modern Templar standard, but the monogram of Christ. The shaft was a very long spear. On the toll was a crown composed of Gold and precious stones, and containing the sacred symbol, namely, the Greek letter "rho" or P. intersected by the "chi" or X, which two letters are the first and second of the name "XRISTOS", or Christ. If then, the Templars retain the motto on their banner, they should, for the sake of historical accuracy, discard the Passion Cross, and replace it with the Constantinian Chronogram, or Cross of the Labarum. But the truth is that the ancient Templars used neither the Passion Cross, nor that of Constantine, nor was the motto "In Hoc Signo Vinces" on their standard. Their only banner was the black and white Beauseant, and at the bottom of it was inscribed their motto, also in Latin, "Non nobis Domine, non-nobis, sed nomini to da gloriam, meaning "Not unto us, O Lord, not unto us, but unto Thee give the glory." This was the song or shout of victory sung by the Templars when triumphant in battle. There are three distinct forms of the cross. The first is called the TAU (more correctly the TAV). It closely resembles the modern letter T, consisting of a horizontal bar resting on a vertical column, the two arms being of equal length. An oak tree cut off some feet above the ground and its upper part laid across the lower in this form was the symbol of the Druid god Hu. It is suspected that this symbol originated among the Egyptians from the spread of the horns of a bull or ram (Taurus or Aries) and the vertical line of its face. This is sometimes designated as the hammer cross, because if held by its vertical base it is not unlike a mallet or gavel. In one of the Qabbalistic Masonic legends, CHiram Abiff is given a hammer in the form of a TAU by his ancestor, Tubal-cain. The TAU cross is preserved to modern Masonry under the symbol of the T square. This appears to be the oldest form of the cross extant. The TAU cross was inscribed on the forehead of every person admitted into the Mysteries of Mithras. When a king was initiated into the Egyptian Mysteries, the TAU was placed against his lips. It was tattooed upon the bodies of the candidates in some of the American Indian Mysteries. To the Qabbalist, the TAU stood for heaven and the Pythagorean tetracts. The Caduceus of Hermes was an outgrowth of the TAU cross. The second type was that of a T, or TAU, cross surmounted by a circle, often foreshortened to the form of an upright oval. This was called by the ancients the Crux Ansata, or the cross of life (as illustrated as the ankh). It was the key to the Mysteries of antiquity and it probably gave rise to the more modern story of St. Peter's golden key to heaven. In the Mysteries of Egypt, the candidate passed through all forms of actual and imaginary dangers, holding above his head the Crux Ansata, before which the powers of darkness fell back abashed. The student is reminded of the words In hoc signo vinces. The TAU form of the cross is not unlike the seal of Venus, as Richard Payne Knight has noted. He states: "The cross in this form is sometimes observable on coins, and several of them were found in a temple of Serapis [the Serapeum], demolished at the general destruction of those edifices by the Emperor Theodosius, and were said by the Christian antiquaries of that time to signify the future life." Augustus Le Plongeon, in his Sacred Mysteries Among the Mayas and Quiches, notes that the Crux Ansata, which he calls The Key to the Nile and the Symbol of Symbols, either in its complete form or as a simple TAU, was to be seen adorning the breasts of statues and bas-reliefs at Palenque, Copan, and throughout Central America. He notes that it was always associated with water; that among the Babylonians it was the emblem of the water gods; among the Scandinavians, of heaven and immortality; and among the Mayas, of rejuvenation and freedom from physical suffering.The third form of the cross is the familiar Roman or Greek type, which is closely associated with the crucifixion of Jesus Christ, although it is improbable that the cross used resembled its more familiar modern form. There are unlimited sub-varieties of crosses, differing in the relative proportions of their vertical and horizontal sections. The third form of the cross is the familiar Roman or Greek type, which is closely associated with the crucifixion of Jesus Christ, although it is improbable that the cross used resembled its more familiar modern form. There are unlimited sub-varieties of crosses, differing in the relative proportions of their vertical and horizontal sections. Among the secret orders of different generations, we find compounded crosses, such as the triple TAU in the Royal Arch of Freemasonry and the double and triple crosses of both Masonic and Roman Catholic symbolism. To the Christian, the cross has a twofold significance. First, it is the symbol of the death of his Redeemer, through whose martyrdom he feels that he partakes of the glory of God; secondly, it is the symbol of humility, patience, and the burden of life. It is interesting that the cross should be both a symbol of life and a symbol of death. Many nations deeply considered the astronomical aspect of religion, and it is probable that the Persians, Greeks, and Hindus looked upon the cross as a symbol of the equinoxes and the solstices, in the belief that at certain seasons of the year the sun was symbolically crucified upon these imaginary celestial angles.