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From Head to Toe, Young to Old: 26 Knit and Crochet Accessories
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Knit Pull-Through Wrap
By: Cynthia Yanok for Red Heart Yarn
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Red Heart Yarn designs beautiful free knitting patterns, and this Knit Pull-Through Wrap is no exception. With a classic cable pattern mixed in with the seed stitch, this wrap is great for autumn and spring. Wear it on its own or keep it closed with a belt, either way you'll love the finished result.
ABBREVIATIONS: K = knit; mm = millimeters; P = purl;
st(s) = stitch(es); * = repeat whatever follows the * as
indicated; [ ] = work directions in brackets the number of
times specified.
Size: Wrap measures 17½" x 70".
GAUGE: 16 sts = 4"; 29 rows = 4" in Seed st with larger
needles. CHECK YOUR GAUGE. Use any size needles
to obtain the gauge.
C4B = Slip next 2 sts to cable needle and hold in back, K2,
K2 from cable needle.
C4F = Slip next 2 sts to cable needle and hold in front, K2,
K2 from cable needle.
- Knitting Needles: 5mm [US 8] and 5.5mm [US 9].
- RED HEART® "Super Saver®": 3 skeins 400 Grey Heather.
- Cable needle, yarn needle.
With smaller needles, cast on 75 sts. Work in Seed st as follows:
Row 1 (Right Side): K1, * P1, K1; repeat from * across.
Rows 2-6: Repeat Row 1.
Change to larger needles and cable and Seed st patterns:
Row 1 (Right Side): [K1, P1] 6 times, [P2, K5, P3, K5, P2] 3 times, [P1, K1] 6 times.
Row 2: [K1, P1] 6 times, [K2, P4, K5, P4, K2] 3 times, [P1,
K1] 6 times.
Row 3: [K1, P1] 6 times, [P2, K13, P2] 3 times, [P1, K1] 6 times.
Row 4: [K1, P1] 6 times, [K2, P4, K1, P3, K1, P4, K2] 3 times, [P1, K1] 6 times.
Row 5: [K1, P1] 6 times, [P2, C4B, K1, P3, K1, C4F, P2] 3 times, [P1, K1] 6 times.
Row 6: Repeat Row 2.
Row 7: Repeat Row 3.
Row 8: Repeat Row 4.
Repeat Rows 1-8 for Seed st and Cable patterns until 10" from beginning, end wrong side row.
Divide for Slits
Keeping continuity of patterns, work across first 29 sts; drop yarn and attach 2nd skein of yarn, work across next 17 sts with 2nd skein of yarn; drop yarn and attach 3rd
skein of yarn, work across last 29 sts with 3rd skein of yarn. Working each section separately and staying in pattern, work slits for 6½", end with a wrong side row. Now work across all sts with one skein of yarn until 69" from beginning. Change to smaller needles and work 6 rows of Seed st across all sts. Bind off in pattern
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Summit State Bank Reports 15% Increase In Profitability And Declaration Of Dividend
SANTA ROSA, Calif., Oct. 31, 2013 (GLOBE NEWSWIRE) -- Summit State Bank (Nasdaq:SSBI) today reported net income for the quarter ended September 30, 2013 of $1,121,000 and earnings per share of $0.23, an increase of 15% in net income and 21% in earnings per share over the quarter ended September 30, 2012. The regular quarterly dividend of $0.11 per share was declared for common shareholders.
The Board of Directors today declared an $0.11 quarterly common stock dividend to be paid on November 25 to shareholders of record on November 15.Net Income and Results of Operations The Bank had net income of $1,121,000 and net income available for common stockholders of $1,087,000, or $0.23 per diluted share, for the quarter ended September 30, 2013 compared to net income of $977,000 and net income available for common stockholders of $883,000, or $0.19 per diluted share, for the quarter ended September 30, 2012. For the nine months ended September 30, 2013, net income available for common stockholders was $2,934,000 and diluted earnings per share was $0.61 compared to $1,986,000 and diluted earnings per share of $0.42, for the nine months ended September 30, 2012. "We experienced a nice uptick in loan and core deposit growth in the third quarter resulting from the addition of a number of high quality new banking relationships through the hard work and focus of our community banking team. Establishing and building customer relationships that include loans and core deposits as part of our Summit Way focus remains our top goal, which will continue to drive our long term success and further increase franchise value," said Tom Duryea, President & CEO. Net interest income increased 2% to $4,078,000 in the third quarter and $12,263,000 for the nine months ended September 30, 2013 compared to prior year periods as more earning assets offset the declines experienced in the net interest margin. Average earning assets increased 5.7% between the quarters and 9.4% for the nine month periods while the net interest margin declined to 3.82% for the third quarter and 3.87% for the first nine months of 2013 compared to 3.96% and 4.15% in the 2012 periods.
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subset: commoncrawl


text:
East Riddlesden Hall
Historic Site, £2.90-£5.70
01535 607075
Bradford Road,
West Yorkshire,
Also at this Venue
Events at this Venue
|Sat 14 - Wed 18 Feb
|Half Term Outdoor Fun
|Sat 14 - Wed 18 Feb
|Riddlesden Reflections
|Mon 16 Feb
|Half Term Fun 'Make a Bird Feeder'
|Sat 21 - Sun 22 Feb
|Half Term Outdoor Fun
|Sat 21 - Sun 22 Feb
|Riddlesden Reflections
|Sat 28 Feb
|Riddlesden Reflections
East Riddlesden Hall offers visitors a taste of a typical West Yorkshire manor house. Going into the Hall feels like walking through someone's home; it has a cosy lived-in feeling, and creates a relaxing atmosphere where visitors can feel at ease examining the exquisite embroideries and blackwork, oak furniture and pewter.
The Hall is valued for the sense of peace and tranquillity that is experienced on turning through the gate off the busy Bradford Road. The arresting first impression is of a silhouetted, blackened, stone, gabled house, viewed across the reflecting waters of the pond and framed by mature beech and sycamore trees. The impact is accentuated by the blank-eyed stare of the ruined Starkie Wing, which is aged by industrial grime. The large barns are reminders of the site's former use as an agricultural estate covering 1,200 acres of Riddlesden.
This award winning attraction offers you a lot to discover and explore. We are more than a historic house and barn; we have an array of beautiful gardens surrounding the property, from a wild garden to formal gardens and herb border. From our car park you can explore our fields and our stunning Riverside Walk, a perfect place to stretch your legs or walk the dog. Our facilities for visitors include a playground for youngsters, a bird hide and apiary, and you can also indulge yourself in our gift shop and our newly refurbished Tearoom.
Opening details
Last Admission to the House is 4pm, Last Service to the Tearoom is 4:15pm and gates are locked at 5pm.
From 8th November to 21st December the Hall and gardens will be closed. Tearoom and shop open weekends only 11am-4pm
Free to all National Trust members and under 5s, £6.30 Adult Gift Aid, £3.20 Child Gift Aid (16 and under), £15.70 Family Gift Aid (2 adults, up to 3 children).
£5.70 Adult Standard, £2.85 Child Standard (16 and under), £14.25 Family Standard (2 adults, up to 3 children).
£5.00 Group Adult (minimum 15 people)
By Public Transport:
Off Bradford Road on the 662 bus route between Bradford and Keighley. Alight at Granby Lane.
: 2 miles from Keighley station
- Baby changing facilities
- Coach parties accepted
- Credit cards accepted (no fee)
- Disabled access
- Disabled toilets
- Education/study area
- Facilities for groups
- Facilities for educational visits
- Gift shop
- National Trust Property
- On-site catering
- On-site light refreshments
- Picnic site
- Public toilets
- Wheelchairs available
- Facilities for conferencing
- Facilities for corporate hospitality
- Children welcome
- Dogs not accepted (except guidedogs)
- Smoking not allowed
- Facilities for hearing impaired


text:
Metal Gear Scanlon 2 - Part 13
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Dimensions recaptures enough of Geometry Wars' thrills to stand as the best new dual-joystick shooter in quite a while.
The little mushroom man finally gets his name on the marquee, and the result is a charming, unique, and puzzle-heavy adventure.
Nintendo's all-stars assemble once again, resulting in one of the best reasons to own a Wii U (and eight GameCube controllers).
Game »
consists of 16 releases.
Released Nov 15, 2011
Arkham Knight, developer Rocksteady's return to the Batman series, takes place one year after Arkham City. It promises to expand the open world from the previous game, allowing players to drive the Batmobile through Gotham City's streets.
When Gotham City's slums have been transformed into a secluded super-prison, it's up to Batman to uncover its conspiracy in the sequel to 2009's Batman: Arkham Asylum.
Batman: Arkham Asylum puts you behind the cowl of the iconic Dark Knight, fighting his way through Arkham Asylum to stop the Joker from enacting a sinister plot that would have grave consequences for Gotham City.
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The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM, is aired this Wednesday afternoon at 4pm (that's London time.)
My guest tomorrow will be Patrick Stevenson-Keating, a designer who creates objects and experiences that communicate and make the most sophisticated theories in physics more tangible.
We will be talking about some of the objects he designed. Starting with the Quantum Parallelograph which explores the possibility of alternate realities and encourages people to discover their own alternative lives. We will also discuss the world's first handmade particle accelerator which Patrick crafted using hand-blown glass bulbs, a pump, a voltage of 45,000V and electrode. The device helps us understand better what the much fussed about Large Hadron Collider is all about.
Patrick Stevenson-Keating has graduated from the Dundee Product Design course, and he is now running his independent studio practice in Shoreditch as well as working as an associate at international design firm Superflux.
The show will be aired this Wednesday 4th of June at 16:00. Early risers can catch the repeat next Tuesday at 6.30 am. If you don't live in London, you can listen to the online stream or wait till we upload the episodes on soundcloud.
I met Dave Young at the small but very efficient exhibition Movable Borders: Here Come the Drones! at Furtherfield in London a few weeks ago.
The title of the show is pretty self-explanatory. Because, yes! The drones are indeed getting closer. Nowadays UAVs aren't just shooting at terror suspects and innocent civilians in Afghanistan, Pakistan, Yemen and Somalia, they also have civilians uses such as monitoring orangutans and other endangered species or helping farmers check the condition of their crops which is obviously valuable and exciting. But drones are also enrolled to increase control and surveillance over our heads: the German railway network is deploying them to combat graffiti-spraying 'gangs' and a European commission document suggests that, in the coming years, drones could be used in crisis management, law enforcement, border control and firefighting. Human right activists are calling for "greater clarity and transparency about when and how these tools are deployed." Eric King of Privacy International also told The Guardian that "the secretive way in which surveillance drones have been put into operation, and the failure of the police to recognise and address the human rights issues involved, has created a huge potential for abuse."
The exhibition addressed these issues with projects that range from the chillingly premonitory Bit Plane by Bureau of Inverse Technology (1997) to Young's most recent research projects. One of them is TELEWAR, a book and video made in collaboration with The Force Of Freedom (the book is available for free in PDF and it makes for a very informative reading about the uses and impacts of new warfare technologies.)
As part of the TELEWAR project, the group of artists were also showing military patches used on drone programmes. You can get some for cheapo on ebay and if you really are into creepy military patches, i can't recommend enough Trevor Paglen's collection of Emblems from the Pentagon's Black World (more in I Could Tell You But Then You Would Have to be Destroyed by Me.)
But let's get back to business because the reason why i wanted to interview Dave Young is that a couple of weeks ago he headed the workshop Movable Borders - The Reposition Matrix at the Furtherfield gallery.
Participants were invited to contribute to Movable Borders, Young's ongoing research project that investigates shifts in the permeability of territorial and political boundaries and the role that technology plays in the 'reterritorialisation' of the borderline.
The workshop focused on the use of cybernetic military systems such as remotely piloted aircraft (drones) and the Disposition Matrix, a dynamic database of intelligence that produces protocological kill-lists for the US Department of Defense. Together, participants were challenged to collaborate on developing a cartography of control: a map of the organisations, locations, and trading networks that play a role in the production of military drone technologies.
Since i only had a brief chat with Dave Young at the opening of the Furtherfield show, i decided to ask him a few more questions via email:
Hi Dave! The Reposition Matrix aims to create an "open-access database that geopolitically situates the organisations, locations, and trading networks that play a role in the production of military drone technologies." First of all, i'm curious about the source of the information that you collect through this project. Where do you find it? I guess some of it must be hard to come by? Concealed? supposed to remain out of reach of the public?
The fascinating thing about this project, for me at least, is how one public thread of information begins an almost overwhelming process of unraveling. A mention of a drone crash in a very public news source leads to the military crash report subsequently released under an open government initiative, which then mentions an external non-military public company involved in the piloting of the drone that day, who publishes some information about their involvement in military operations in their annual reports, and so on. The information is perhaps not deliberately concealed as such, but is hidden in the mass of documentation, hyperlinks, and search terms provided on governmental and corporate websites. Past participants have often expressed their surprise at what is deliberately revealed by companies - on their social media profiles, for example. These companies are often proud of their contributions to national defense efforts, and occasionally can be perhaps a little over-generous in the information they volunteer online. In the context of a single Facebook post, a corporate image can seem innocuous, but when cross-referenced with the correct secondary source, you can begin to reveal something otherwise concealed.
And how is the open-access database going to be kept alive? How and who updates it? Where can we read it?
The database is being compiled and added to by me personally at the moment, but I am developing a collaborative framework for use in the workshops which I will test out over the next few weeks. The database will be made available over the Summer (date to be announced!), and will form the basis for future workshops.
Another thing i've been wondering about is the way that you handle the data you find. Most of it i guess is obviously genuine information but how about the data coming from conspiracy theorists, or from people who have an interest at spreading as much dis-information as possible, etc? Is this something you consider?
This is an interesting question, and often leads to a good discussion in the workshops about how to filter sources. Participants have to debate what is important, and what can be considered trustworthy - or indeed if a fabricated theory can indeed be an important part of the map.
Most of the information participants work with is released 'genuinely' - as I said above, through official channels by public companies or governmental open data programmes, although it is important to place these too within the context of an agenda. The trustworthiness of the information we work with is always up for debate, and can be divisive amongst the participants, but in general, what tends to happen is we treat each thread of information as part of a wider network. Curiosities discovered during the workshop will corroborate or conflict with each other. This is where the world map becomes a useful interface for physically aggregating the found information, as participants can immediately begin to see a formalisation of their research, and can ask questions of it as it develops.
The drones and the US kill list seem to be far away from the kind of culture and preoccupations we have in Europe... Or are they? How much impact does the Disposition Matrix (a database that United States officials describe as a "next-generation capture/kill list." ) and drone program have in Europe? Why should it matter to us?
I think for the participants of the workshop it quickly becomes apparent that the production and military use of drones is truly a global issue. Washington quickly has links to London, Berlin, The Hague, Seoul, UAE, Turkey - the list goes on (and on...) What we can see emerging at the moment are the formation of alliances, power blocs that collectively invest in drones and share them and the information they collect as a trans-national resource. It is interesting to attempt to unpack this and examine how such alliances function as a network of power and control.
As for the disposition matrix, the use of an algorithm or protocol to compile a capture/kill list is really something worth having an open and frank discussion about. To me it really speaks of a wider societal shift which I find problematic, specifically these processes of monitoring and individuating populations. Indeed a well-treaded debate with many unresolved fundamental issues, but despite this, it can only be said that it is becoming increasingly embedded in governmental thinking.
Also, it is important to explore how and where these technologies function - while it is unknown for now how much impact the disposition matrix has in Europe, similar protocols are becoming increasingly pervasive here, particularly in countries such as the Netherlands, the UK, Germany, France, to name but a few. They may not be applied to such direct efforts as targeted killing, but they do appear to operate in welfare systems, immigration control, predictive policing, among others.
You recently organized a workshop at Furtherfield in London. Participants were invited to investigate drones and the Disposition Matrix. Can you describe briefly what happened? What the participants managed to achieve?
The workshop opened with a discussion framed around a few specific questions I wanted to put to the participants, as I was keen to encourage a critique of some of the conventional ideas regarding the use of drones that appear regularly in news reports. The participants were very open, willing to engage and question each other which was fantastic. Their backgrounds were quite diverse too, with a mix of artists, academics, social scientists, etc, and the ensuing discussion really reflected this. Following that, the participants formed small groups and began to work together on the world map. Each group worked with their own base document, researching its contents and trying to visualise its geopolitics through this process of mapping.
So, one example is a group who began looking at Wikileaks cables detailing US fears that Iran was using 'proxies' to get components required to build their own drone and evade trade embargoes. They began to draw the trading networks Iran had allegedly built up onto the map, criss-crossing West Asia, North Africa, Europe, and Japan.
What is interesting is where different groups collided on the map - important nodes in the network predictably appear in Washington and the FATA regions of Pakistan. Often some surprising locations pop up too, usually reflective of the backgrounds of the workshop participants as they try to investigate any connections between the drone war and their own politics and places of origin.
I'm also fascinated by the description of Google Boundaries, "a series of images taken by the Google Streetview car as it encounters border checkpoints. The project is an investigation into the geopolitical systems that influence Google's streetview product, re-situating its task of mapping the streets of the world as being an invasive, territorial act." Could you explain what you meant by that? And how you came to investigate border checkpoints through the eyes of the Google Streetview car?
The Google Street View car has famously made the debates about privacy and digital rights visible - people who in the past felt perhaps unthreatened by Google's data-harvesting all of a sudden saw it as an invasive act. They could suddenly see their own houses - perhaps even themselves outside, in all their vulnerability. I became more interested in this idea of Street View as a colonialisation while researching The Reposition Matrix. When you zoom out as much as possible with Google Maps, you can see the territories that have Street View - a strange hierarchical geography revealed by a blue overlay on the map. Recently, Iran have announced they will release their own "Islamic" version of Google Earth as they see Google's services as a threat to their national security, so there are strong territorial politics at play here: http://www.guardian.co.uk/world/2013/apr/10/iran-plans-islamic-google-earth
I know this is still a work in progress but what have you discovered so far?
I started by trying to "road-trip" across the US-Mexico border control using Streetview. You can't pass through them like you often can in Europe - frequently the Street View car seems to get as close as possible to the border then turn back at the last moment. It is interesting to examine historically contested borders - the Israel 1949 Armistice Borderline shows a border control officer looking straight at the Street View car, gun hanging from his shoulder.
Examining the border crossings begins to illustrate the materiality of Google's task, and the beuraucratic issues operating in the background. Despite Google's omnipresence in the cloud, the Street View car is often caged in by boundary politics. They are regularly adding new Street View data to the map, so I'll be curious to investigate how this changes over time.
Any upcoming projects, areas of investigation or exhibition you want to share with us?
There are some more Reposition Matrix workshops coming up over the following months - Dublin as part of the Glitch Festival on the 15th June, another one at V2 on July 6th, Share conference in Croatia 18-20 July. People are of course very welcome to get in contact and come along to the workshops if they'll be in the right place at the right time! More information available on http://movableborders.com.
There are some more projects that are part of the Movable Borders series, following on with these investigations of alternative territorialisations and geographies. One of them requires some research into the history of cocktails and mixology, which I am particularly excited about...
Thanks Dave!
More images of the workshop at Furtherfield.
The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM, is aired this afternoon at 4pm (London time.)
Today i'm talking with artists, curators, writers Ruth Catlow and Marc Garrett who, 16 years ago, founded Furtherfield, an organization with a very strong online and offline presence. Furtherfield.org is an online community where artists, theorists and activists meet and talk about art, technology and society but Furtherfield is also an art organization with a gallery located in Finsbury Park that invites the public to discover and reflect upon digital/networked media art and social changes.
The conversation has been fascinating: Ruth and Marc talked about the early days of the internet in London, about the legendary Backspace (now a Starbucks as Alison and Jon from Thomson and Craighead informed me yesterday), about how they've been curating exhibitions and events with the help and feedback of their large community for years, etc.
Finally, they discussed unmanned aerial vehicles. Their new show, Movable Borders: Here Come the Drones!, opens at the Furtherfield Gallery in Finsbury Park this Saturday afternoon. I'll be there and hope to meet some of you.
The show will be aired today Wednesday 8th May at 16:00. The repeat is next Tuesday at 6.30 am (yes, a.m!) If you don't live in London, you can catch the online stream or wait till we upload the episodes on soundcloud.
Movable Borders: Here Come the Drones! will open from Saturday 11 until Sunday 26 May 2013. The opening is on Saturday 11 May 2013, 2-5pm.
Finally, Furtherfield has a fund raising campaign going on. I can't think of a better cultural cause to support right now.
Image on the homepage: Spinning Desktop by Antonio Roberts. I nicked it from another of Furtherfield's upcoming show: Glitch Moment/ums.
For some reason, i always forget to check the programme of lectures and exhibitions taking place at the Architectural Association School of Architecture in London. And when i do, it's bliss and joy on every floor. Right now the institution is showing Cultural Hijack, an exhibition which presents a series of provocative interventions which have inserted themselves into the world, demanding attention, interrupting everyday life, hijacking, trespassing, agitating and teasing. Often unannounced and usually anonymous, these artworks have appropriated media channels, hacked into live TV and radio broadcasts, attacked billboards, re-appropriated street furniture, subverted signs, monuments and civic architectures, organised political actions as protest, exposed corporations and tax loopholes and revealed the absurdities of government bureaucracies.
Some works are openly political, others are more playful. Some have been designed to be used by people whose needs are otherwise overlooked, others are clever pranks. Cultural Hijack brings art out of the galleries and into the street. Which imho is always a good thing if you want to reach people who are not already convinced and content with your artistic, cultural or political ideas.
Cultural Hijack unfolds over three chapters: a slightly messy and crammed exhibition documenting the artworks in videos, photos, installations and artists' talks; a series of live-interventions around London; and CONTRAvention, a weekend of lectures, symposia, screenings, participatory actions, interventions, dinners and debate that will close the programme later this month. I'm spectacularly annoyed to miss that one as i won't be in town that week.
So let's wipe off a tear and make a quick selection of the works included in the exhibition.
Chicha Muffler Black Cab: yes, that one does exactly what it says on the tin. Instead of rejecting smoke, the modified exhaust of the cab provides a service of mobile hooka.
My jaw almost dropped to the floor when i saw the description text and the video for Visual Kidnapping. Street artist Zevs cut out a 40ft woman from a Lavazza billboard in Alexanderplatz, Berlin and 'demanded' a 500,000 Euro donation to the Palais de Tokyo art center in Paris for her return. Which he apparently obtained.
With the same haircut, twelve members of Ztohoven took a portrait pictures and using the Morphing software they merged every two faces into one. They applied for new Ids with these photos, but each of them used the name of his alter-ego. They lived for 6 months under someone's else identity, voted in the elections, travelled outside of the country, obtained a gun license or one of them even got married. After this period, they revealed theirs secret identities and documented the whole operation in an exhibition in Prague. The police confiscated their ID's and arrested co-founder of Ztohoven Roman Tyc for failing to show his ID card which was at the time part of the exhibition.
Paolo Cirio is showing the irresistible Loophole for All, a service to democratize offshore business for people who don't want to pay for their riches. It empowers everyone to evade taxes, hide money and debt, and get away with anything by stealing the identities of real offshore companies.
You can buy the identities of offshore companies on the website of the project Loophole4All.com at fairly low costs.
Cirio also interviewed major experts and produced a video documentary investigating offshore centers to expose their costs and to envision solutions to global economic injustice.
For his series of Minaret performances, Michael Rakowitz stands on a rooftop at the five designated times of prayer with a megaphone and an alarm clock that plays the entire adhan (the call summoning Muslims to prayer) from an embedded digital chip.
Electronic Disturbance Theater's Transborder Immigrant Tool hacks cheap GPS mobile-phones to install a device for helping Mexican immigrants cross the U.S.-Mexico border, providing them navigation, poetry, the location of highways, border patrols and water left by Border Angels in the Southern California desert.
EPOS 257 crafts oversized bullets that he fills with paints then shoots at commercial billboards and architectures using an extra-long shooting instrument. Each piece is both a unique abstract painting and a gesture of reverse takeover.
An 'old' one i was ignorant about: The Clandestine Insurgent Rebel Clown Army [or CIRCA], an army of professional clowns who protest against corporate globalisation, war and other issues.
I'm sure you know this one already. I still find it as charming as ever: Matthias Wermke & Mischa Leinkauf's In Between ("Zwischenzeit") used homemade handcars that can be folded into backpacks to sneak into Berlin's U-bahn and navigate it at night.
Matthias Wermke & Mischa Leinkauf, Zwischenzeit Trailer
Cultural Hijack was curated by artists Ben Parry and Peter McCaughey. It runs daily at the Architectural Association School of Architecture, London, until 26th May 2013. The final weekend will be dedicated to CONTRAvention, a series of lectures, symposia, screenings, participatory actions, interventions, dinners and debate.
The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM, is aired this afternoon at 4pm (London time.)
Designers and biohackers Raphael Kim and Funk are in the studio with us today to talk about the London Hackspace, a community owned, non-profit organisation where members come to meet, create and fix things individually or together. A hackerspace obviously involves much coding but there's a lot more going on: there's also laser cutting, soldering, drilling, woodworking, sewing, 3d printing, learning, tinkering, repairing and pizza eating. The space even welcomes a small bio-hacking lab.
A few weeks ago, the London Hackspace moved to a new, brighter and much bigger location on Hackney road. HSL is the largest hackerspace in the UK, with hundreds of members. And if you're not one of them the space opens its doors to visitors every Tuesday evening.
The show will be aired today Wednesday 1st May at 16:00. The repeat is next Tuesday at 6.30 am (yes, a.m!) If you don't live in London, you can catch the online stream or wait till we upload the episodes on soundcloud.
Today is the last day to witness All Rise, the week-long performance from Liberate Tate at the Tate Modern gallery. Filming devices strapped on to their chest, performers are reading aloud sections of the transcripts of the trial which started in February in New Orleans and sees BP stand accused of gross negligence over the Deepwater Horizon disaster, the largest accidental marine oil spill in the history of the petroleum industry.
The performance marks the third anniversary of the disaster but it also questions the sponsorship of Tate by the oil multinational. Each day, three different performers are whispering courtroom transcripts from the BP trial. The videos are streamed live for anyone who can't make it to the Turbine Hall and other exhibition rooms of the institution.
Two years ago Liberate Tate performed Human Cost in the Duveen Gallery in Tate Britain, where a naked man curled up on the floor had oil poured all over him. And last year the group delivered a 16.5 metre wind turbine blade to the gallery, along with documents officially gifting it to the nation as piece of art. '
Strangely enough, Tate itself triggered the artistic protest. Liberate Tate was indeed founded during a workshop in January 2010 on art and activism, commissioned by Tate. When Tate curators tried to censor the workshop from making interventions against Tate sponsors, even though none had been planned, the incensed participants decided to continue their work together beyond the workshop and set up Liberate Tate.
Now the performance interested me for two reasons: the trial against BP isn't receiving the major international coverage i would have expected (even though the damages to human health and the environment are still very much felt, even though the clean-up is far from being finished and even though the local communities are still struggling to recover from the economic devastation.) The second reason is that, like many people working in art, i find it difficult to make up my mind: is it really so bad to take some dirty money to support the art community? Do we really have a choice in these harsh times of cuts in the art funding?
Mel Evans of Liberate Tate has kindly accepted to answer my questions about the performance.
Liberate Tate has been protesting since 2010 but has been achieved so far?
Well, over 300 artists and cultural workers have signed their name to letters calling on Tate to drop BP sponsorship in the press. Over 8000 Tate members and visitors have petitioned Nicholas Serota to end the sponsorship deal with the oil company. And, at the 2012 Tate Members' AGM, a full hour of the session was filled with diverse voices calling for Tate to disclose more information on the sponsorship deal and heed members' perspective on it. For Liberate Tate, their performance interventions are now held in Tate's archive: a mixed response, but a recognition of significance nonetheless. More and more artists have gotten on board with the call for change, including Conrad Atkinson who has numerous works at Tate, and Raoul Martinez, who has been exhibited as part of the National Portrait Award. Beyond this, we regularly hear tell of Tate staff at all levels sharing our concerns with BP sponsorship at Tate.
Because of Liberate Tate, I (and i'm sure many members of the public) am now acutely aware of the sponsorship and entering the exhibition space with a sense of guilt...
Liberate Tate doesn't intend to make anyone or any visitors feel guilty: our slogan is Love Tate Hate Oil.
We want to raise the question, what does a future look like beyond oil? What role does culture have in shaping oil? And what democratic processes are available in a public body such as Tate to question the social legitimacy given to an oil company whose global impacts are devastating lives and livelihoods? We welcome anyone's participation in this questioning, and this gathering of momentum to push for a shift in this cultural sphere. The arts have moved away from tobacco and arms sponsorship; likewise they will shift from oil, we simply insist it is sooner rather than later.
But it is not a sense a guilt we wish to generate, but rather one of possibility - often this is the question the arts often ask, how do we understand the world, how might we understand it differently, and what might we make possible. Just because oil is a feature of our every day lives does not mean we cannot question it - in fact it is when something is so pervasive that we must consider it more.
In these times of cuts in public funding, corporate sponsorship seems to be a reasonable option. What right do we have to judge Tate and decide where they can and cannot take the money to produce and exhibit contemporary art?
Pressure on arts institutions to make deals with corporations is certainly premised by the Tory-Lib Dem government as justification for the cuts. The opportunity for sponsorship and the impact of the cuts is felt very differently according to organisations sizes however: smaller arts organisations have lost everything through the ACE cuts, and have little opportunity for corporate sponsorship, because business is only interested in the notoriety of allegiances with big name institutions. With Tate as the key example, all of their corporate income from events and sponsorship amounts to a minimal percentage of their overall income. Tate has refused to dispose figures on the BP deal, but we estimate it to be £500,000 - a minuscule slice of Tate's budget. From Tate's own figures we know they still receive about 35% state funding, and raise almost half via Tate Enterprises in their shops, cafes and restaurants. The picture of the corporate knight in shining armour saving the flailing arts institutions is a total misnomer. It is in fact the CEO of Tate Enterprises Laura Wright who has led the way in securing Tate's financial stability.
The tip of a turbine blade is carried over the Thames from St Paul's Cathedral by Liberate Tate for the artwork The Gift in Tate Modern's Turbine Hall 7 July 2012 Credit: Martin LeSanto-Smith
Last year, Tate wasn't too pleased about the wind turbine blade that you offered them as a gift. How is Tate reacting to this year's performance?
The Gift was probably our most confrontational performance to date. It was certainly the largest! Over a hundred people and a 16.5 metre wind turbine blade...It feels good to go in absolutely the other direction with All Rise, and make a work that is quiet, small, unobtrusive. All Rise is really about the ripples a performance can make. Over this week we've drawn in audiences from around the world who can watch the three performers move around Tate Modern via live stream every day 3-4pm GMT+1. On the first day Tate staff questioned what we were doing, but now we have been told no-one will interfere. Visitors notice us and ask questions as performers pass them in the gallery, or stop and listen to the legalistic text of the trial whispered by the performers, but we're not obstructing anyone in any way, so I think there's little grounds to ask us to leave. Tate might also be aware that should they eject us, we have news media on speed dial. Overall, allowing this piece to grow into the space has been great, and unlike The Gift, we're able to bring our questions back to the terrible harm still being felt since the BP Gulf of Mexico disaster, at the same time as inviting Tate visitors, members and staff into a conversation with us.
What do you say when people claim that BP has no influence about what is exhibited in the galleries anyway?
It's very hard for us or them to make an absolute measure on BP's curatorial influence. The presence of a sponsor can censor silently even if not directly - any cases of which would be surely fiercely hidden from view. Several artists note numerous cases in which they have seen BP related censorship take place. Liberate Tate was itself founded during a workshop at Tate in which BP sponsorship was raised when staff sent an email to the organiser stating "to be aware that we cannot host any activism directed against Tate and its sponsors". Beyond that. I see the question also being about, what impact does BP have on Tate by its presence and association? What does Tate become, despite presenting itself as a politically savvy, progressive institution, by association with BP?
And what can we, general public, do to help 'liberate Tate'?
Go to Tate and raise the questions. Write to Tate. Make art about BP at Tate. Speak to Tate staff you know and ask them what they think. This is an art movement for change that affects us all as artists on some level - we have a stake in the values that influential contemporary art institutions uphold, and it is for us to shape those values in our work. See you in the gallery, challenging the presence of BP in whatever creative way you see fit, be it on feedback forms or something more adventurous! And get in touch at liberatetate [at] gmail.com or @LiberateTate on Twitter if you want to connect with us and what we're trying to do.
Thanks Mel!
If you've missed All Rise, i'd recommend that you check out Tate à Tate, Liberate Tate's alternative audio tour of the London Tate galleries.


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Time Never Wasted
- Written by Dan Zubrzycki
- January 20, 2012 at 11:49 pm
- 0
Consultants are perpetually encouraged to maintain a facade of permanent work-mode. However, often we can gain our most valuable connections with clients when the walls come down a little, we stay just a few minutes after the lunch meeting ended and suddenly our client-consultant relationship is that much closer. A tight relationship benefits both parties, lets look at scenarios where you can take look to develop that kind of bond.
Since time immemorial, food and drink have been a staple of deep, meaningful connections. When we gather around food, the walls automatically drop a little. Now, the opportunity that most people miss is the extra fifteen minutes, the extra drink that brings the relationship from purely business to a bit more friendly allows for a new level honesty and communication that any business relationship will benefit from.
Showing up a few minutes early to a meeting or sticking around a few minutes after will give you the chance to exchange a bit with your client. Don't be afraid to take these opportunities. They benefit the long term relationship so long as you aren't overstaying your welcome. If you can gauge the availability, a pleasant conversation with your client after a meeting certainly cannot hurt.
Rather than just handing your business card out at a conference or networking event, take the time to actually engage a new client or a fellow consultant. Take steps to manicure your relationship-building abilities and at these large events you'll find your network expands exponentially. One name leads to another, my friends.
The fact of the matter is that we don't always judge people on their technical skills. Increasing your reputation will in large part come from your ability to be a relatable, well liked individual who also gets their work done. We are social creatures and approve of people who socialize well. Play the all-work-no-play card and you're not as likely to develop an extensive network of references.
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You can't blame him for taking a better paying, more satisfying job where he's likely to face a lot less criticism and far fewer institutional roadblocks, but MTA Chairman Jay Walder sure did pick a lousy time to resign.
Then again, any time is a lousy time for a skilled manager to leave the constantly beleaguered transit agency. Perennially on the edge of bankruptcy, continually having to repair aging infrastructure, always the target of disparagement from all sides, the MTA lurches from one problem to the next like a train in a curving tunnel. But Walder was making great strides in improving the agency's finances, updating its technology and overseeing major capital projects that had long been in the works.
He just presented his final budget plan, a $12.7 billion proposal that puts off fare hikes for another two years. As before, he managed to slice hundreds of millions of dollars off original spending projections, a laudable accomplishment.
But as painful as they are to the working class and poor, more fare increases are inevitable, whether now or later. As it stands, the MTA is still bleeding money, despite Walder's many improvements in how it operates. That's largely because for every dollar it costs to run trains and buses, riders are only contributing 60 cents. Drivers, conversely, are paying three times as much in tolls as it takes to maintain the bridges they use. The estimated 8.5 million people who use the subway and bus systems simply must contribute more to the cost of their transportation — though increases have to come gradually to ease the burden as much as possible.
Where Walder's going, they have even better ways to bring in money. He'll be heading Hong Kong's Mass Transit Railway Corp., a profit-making entity that functions more like the Port Authority of New York and New Jersey than it does the MTA. That's because like the Port Authority, the MTRC holds profit-making assets like commercial properties, whereas the MTA does not. And that's why it could afford to lure Walder with a salary believed to be at least three times as much as the $350,000 a year he is paid now.
It will be difficult for Gov. Andrew Cuomo to find someone nearly as qualified as Walder to replace him. Whoever it is will first have to work out contracts with the 60-odd unions that represent the agency's 66,000 workers. But it's crucial to the future of New York City that Walder's gains not be lost, that his successor be as dynamic and creative a leader as he has been — and that he or she be chosen as soon as possible.


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Team Crag takes Second in Bike Commute Challenge!Posted on October 27, 2011 | No CommentsI know that most of our posts here relate to the work we're doing in the office, but this one is about how we get to the office. Every September, the Bicycle Transportation Alliance organizes a bike commute challenge around the state of Oregon, pitting...
Appeals Board Rejects Air Permits for Offshore Drilling in the ArcticPosted on January 4, 2011 | No CommentsLate last week, the Environmental Appeals Board (EAB or Board) in Washington, DC rejected two air permits issued by the Environmental Protection Agency (EPA) to Shell Oil for proposed offshore drilling projects in the Arctic. The Crag Law Center represented local Inupiat organizations in...
Crag Files First of Its Kind Lawsuit on Ocean AcidificationPosted on May 14, 2009 | No CommentsThe Crag Law Center today filed the first lawsuit seeking to address ocean acidification caused by carbon dioxide emissions. Crag filed the case on behalf of its client, the Center for Biological Diversity. Oceans readily absorb carbon dioxide emissions from power plants and other human...


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find me on fb: https://www.facebook.com/NarcissaGreyPhotography
deviantart: http://narcissagrey.deviantart.com/
excellentissimoFeb 2nd Reply
thank you! :)Feb 2nd Reply
Wow amazing work!Feb 1st Reply
thanks, I'm glad you like it! :Feb 2nd Reply
You are most welcome dearFeb 2nd Reply
Your art is very inspirational to all of us artists and at Shadowness we like to thank our amazing artists for all they do, to show our appreciation for you, your artwork has been featured in todays Daily Inspiration #1061
thank you so much for the feature! :Feb 2nd Reply
great shot...the eyes are breath takingFeb 1st Reply
thank you :) and yes indeed, her eyes are ;)Feb 2nd Reply
quite hypnotic indeed, nicely doneFeb 1st Reply a friend
thank you, I'm glad you like it! ♥Feb 2nd Reply
Congratulations, NarcissaGrey!
On behalf of my fellow gallery moderators, I am happy to share the news that your beautiful creation was selected for the Daily Feature Award and is now in rotation on the front page of Shadowness!
This piece can be seen under the "star" menu at the top of every page, and it will also be featured in the next issue of "Daily Inspirations"! fb.com/shadowness
oh my, thank you so much, I'm happy to be featured! :')Feb 2nd Reply
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March 22, 2013
IMb Services Update
PostalOne!Û Release 34.0.0 Deployment will require an extended maintenance window to complete all software updates. There will be a PostalOne! Û outage from 12 midnight through 9 a.m. CT, Sunday, April 7, 2013. A mandatory Mail.datÛ client download will be available immediately following the software update.
PostalOne! Release 34.0 Deployment to Test Environment for Mailers (TEM) will occur on Monday, April 8, 2013, and PostalOne! TEM will be unavailable from 7 a.m. through 3 p.m. CT.


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The Kandinsky Effect CD Release: Synesthesia
Posted on June 11, 2013Conceived on Pariss cosmopolitan jazz scene, forged on the road in America, and informed by international currents in electronic music, The Kandinsky Effect is a jazz power trio for the 21st century. The trans-Atlantic band, based in New York City and Paris, makes its Cuneiform debut with Synesthesia, a roller-coaster ride of an album marked by fierce grooves, subtle electronic textures, intricate metrical shifts, and a commitment to empathic group interplay.
Featuring Warren Walker on saxophone and electronics, bassist Gal Petrina, and drummer Caleb Dolister, The Kandinsky Effect explores a distinctive swath of sonic territory, inspired by similarly electronica-laced ensembles like Kneebody and Jaga Jazzist. With a long history as a cutting edge format, the saxophone, bass and drums trio is usually employed by horn players looking to explore harmonically unfettered improvisation. The Kandinsky Effect finds a different kind of freedom in the lack of a chordal instrument.
Steeped in improvisation and various post-bop vocabularies, the trio has honed a sound described by the Los Angeles Times as bracing, electronically tweaked jazz. Its an approach that erases distinction between front line and rhythm section, as all three musicians constantly direct the musics flow.
I didnt start with any kind of a theory or concept, says Walker, 32, who wrote eight of the albums 11 tracks. This is what I wanted to hear. As a saxophone player, oftentimes you play the head and the solo, and then youre out while the band plays on. When I started the band, I wanted to use the effects so that I was fully engaged with the band all the time, where I can comp, add chords and noises."
The album opens with the rough and tumble Johnny Utah, which has little to do with Keanu Reeves surfer/FBI agent in the beloved 1991 film Point Break, except maybe a brooding sense of momentum, a relentless drive enhanced by clattering percussion breaks. Like several of Walkers tunes M.C. moves sleekly through a series of sections, each built upon a different rhythmic theme or motif. In the same way, Walking sounds more like a series of helter-skelter sprints over broken ground than a leisurely stroll. One of our goals when we play through odd time meters is to give it as much fluidity as possible, Dolister says. We try and work on ways to keep the changing meters from being too jarring. A lot of that has to do with how we write and approach playing together. When we encounter a section thats a little to weird we rework it so its more cohesive.
One of the ways to approach odd time meters is to not make it feel so jaggedy, Dolister says. We work really hard so the music doesnt come across as jarring. A lot of that has to do with how we write and approach playing together. When we encounter a section thats a little to weird we rework it so its cohesive.
While the band excels at acceleration, The Kandinsky Effect also knows how to slow down, playing melodies that ooze and saunter. On Walkers Cusba, the band displays a knack for mysterious balladry, with a coolly disquieting theme. The atmosphere gets thicker on WK51 with the clattering march-time snare chatter building cinematic tension, the coiled calm before a deadly confrontation. The album closes with If Only, another ominously serpentine line with subtle layered effects that make it clear the trio has absorbed lessons from Bjork, Squarepusher, and Aphex Twin in developing a lapidary but spacious sound. With purely acoustic instruments, sonic vocabulary is somewhat limited to the available tambours and polyphonic capabilities of each specific instrument, Dolister says. For example, with the saxophone you would typically only play one pitch at a time. But with a lot of the effects we use, were creating harmonic layers, and tweaking the tones. The result is we get a lot more sound and we get to mimic some of the electronic music we like.
The Kandinsky Effect came together in Paris in 2007 when Walker, Petrina and drummer Gautier Garrigue started performing together as the Warren Walker Trio. The process of fully rechristening itself took about a year. Casting about for a moniker that reflected the bands collective nature, they reluctantly borrowed the surname of the seminal Russian abstract painter. After a brief spell as the Kandinsky Trio, the band realized that a long-running chamber ensemble already existed with that name, which led to its current tag.
The Kandinsky Effect released an eponymous debut album on SNP Records in 2010 that earned enthusiastic reviews. All About Jazz called The Kandinsky Effect an organic, forward-thinking record, noting that First and foremost, despite (or maybe because of) their disparate backgrounds, all three musicians are on the same page, and their communication on this record borders on the telepathic. Not long after the release came out, drummer Garrigue left the band. The SNP label was led by drummer/composer/producer Caleb Dolister, whom Walker knew from his college days in Reno.
Walker had wanted The Kandinsky Effect to tour more in North America, and Dolister, and now based in NYC, seemed an ideal choice to fill the drummer chair and provide a state-side anchor for the Parisian band. With Dolister on board, The Kandinsky Effect embarked in 2011 on extensive tours of the USA and Canada. It also performed that year at several prominent international jazz festivals, including the Reykjavik Jazz Festival in Iceland, and the Angel City Jazz Fest in Los Angeles, which garnered extensive press.
Over dozens of shows performed in North America and Europe, the well-travelled trio of Walker, Petrina and Dolister had honed their collective sound to a fine polish. In September 2011, the transatlantic met in a studio mid-way between New York and Paris " in Rejkavik, Iceland! " to record their new album. The result was Synesthesia, The Kandinsky Effects second release, and the groups first recordings on American-based, internationally-distributed Cuneiform Records. Featuring 11 captivating tracks (8 composed by Walker, 1 by Petrina and 2 by Dolister) that are simultaneously rhythmically gorgeous, groove-laden, compositionally interesting and immediately accessible, Synesthesia promises to spread the sensory magic of The Kandinsky Effects transatlantic jazz worldwide.
The Kandinsky Effect maintains an active performance calendar, appearing at both festivals and clubs worldwide. The group did a month-long tour of Canada and the USA in 2012, and will celebrate Cuneiforms release of Synesthesia with extensive European and North American tours in 2013.
Conn-Selmer Press Releases
December 16th
John Stoner to receive 2014 Music Industry Award at the 68th Annual Midwest Band and Orchestra Clinic
For Immediate Release Conn-Selmer President and CEO John Stoner is receiving the 2014 Music Industry Award at the 68th Annual Midwest Band and Orchestra Clinic on Wednesday, December 17, …
October 13th
Muncie Schools Become Conn-Selmer School Programs
Muncie, IN – The last 6 months have been very exciting for high school band members in Muncie Community Schools. This past summer, Muncie Central High School and Muncie Southside High …
October 2nd
Make-A-Wish delivers dream of saxophone to Anna Copley
Clutching an exquisite Selmer Paris baritone saxophone, Anna Copley beamed from the stage of the Martin Woldson Theater at the Fox, and the packed house burst into applause. When she showed…
September 23rd
Conn-Selmer introduces new Selmer 400 Series student saxophones
Conn-Selmer is pleased to introduce the new Selmer 400 Series student saxophones. Available in an alto and tenor saxophone, the 400 Series redefines the student saxophone. Rich in features …
September 4th
Racine Unified Becomes Conn-Selmer School
Racine, WI – Racine Unified School District located in Southeastern Wisconsin has just over 20,000 students. Through the administration and school board, the District has decided to in…


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AnnetteL on 7/13/2002 6:59:00 AM More reviews by AnnetteL
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A lovely matte formulation, very light and not at all drying. This colour is a warm rose - not my favourite shade (it looks a little salmon-y on me), but I'm so impressed with the delicate formula it gets a 4 anyway.
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As the 10th anniversary of the Iraq invasion passed last week, many pundits reflected on what they'd gotten wrong: the missing weapons of mass destruction; the difficulty of the occupation; the fact that it lasted longer, costing more in lives and treasure, than any advocate predicted in 2003. The United States, where a majority of citizens once favored the war, is now a country where a majority regards it as a mistake, and that change in perception has been reflected in the press. But unapologetic hawks remain, and their counternarrative shouldn't pass without comment.
Max Boot says there's no need to apologize if you were wrong about weapons of mass destruction. Charles Krauthammer asserts that the Iraq War had been won by the time Americans elected Barack Obama, who was given one task -- secure the Bush Administration's gains -- and botched it. And if you read just one column from the unapologetic hawk faction, make it Mark Steyn's effort in National Review. Seeing his past arguments beside his present positions shows why the neoconservative approach to foreign intervention is doomed: Its success, if possible at all, would require Americans to embrace a fantastically expensive neo-imperial foreign policy with which they'd never willingly go along without being tricked.
Steyn's position is that the United States erred by leaving Iraq, because "the unceasing drumbeat of 'quagmire' and 'exit strategy' communicated to the world an emptiness at the heart of American power." An awareness that America lacks "credibility" and "will" is what caused crowds to attack U.S. embassies and the consulate in Benghazi without fear of retribution, he argues, adding, "Once you've started a war, you have two choices: to win it or to lose it. Withdrawing one's 'support' for a war you're already in advertises nothing more than a kind of geopolitical ADHD."
It's an argument echoed by a lot of neoconservatives, who insist that if only America had the focus and will to keep fighting, victory would be ours. As they see it, even if the Iraq War ends up leaving America in a weakened geopolitical position, that won't be the fault of the people who advocated for it or the Bush Administration appointees who bungled its execution. It'll be the fault of politicians like Obama who lack the will to fight, their pathetically war-weary constituents, and the defeatist media that reported on the conflict in a way that sapped national morale.
What neoconservatives never seem to understand is that you go to war with the citizenry that you've got. Urging a war of choice that requires more years of fighting to win than the citizenry will permit is itself an error. If guys like Steyn didn't realize, when they were calling on the U.S. to invade Iraq, that Americans would tire of fighting there after a decade of conflict, thousands of troops killed, and hundreds of billions of dollars spent, they should blame themselves for missing the obvious. If America looks weak for failing to win the war, we have Iraq hawks to blame for urging a war that required far longer to win than a democratic citizenry was ever likely to want to fight (and that might well have been unwinnable regardless of how long we remained an occupying force).
The Iraq hawks would be culpable even if they'd encouraged war without making any predictions about its likely cost. Instead, the hawks spent the pre-war period assuring Americans that victory would be sure and swift; proclaimed "Mission Accomplished" soon after the invasion; and started speculating in those heady days about regime change in Iran and Syria. It isn't ADHD that caused so many to support the invasion only to turn against the occupation. Many of the Americans who changed sides were misled by the faux-assurance of writers like Steyn, who puffed themselves up as if they were speaking obvious foreign-policy truths, openly mocked academics and pundits who warned of impending calamity, and most incredibly, continue all these years later to act as if subsequent events have vindicated their analysis. The hawks who say we'd do well to stay in Iraq and secure Bush's victory aren't winning converts in part because their predictions about how the war would unfold have been proven so spectacularly wrong by events -- without their admitting it -- that no one takes them seriously.
While his peers penned reflective apologies last week reviewing everything that they got wrong, Steyn spent his latest piece quoting old columns as if his judgment has been prescient all along:
Three weeks after Operation Shock and Awe began, the early-bird naysayers were already warning of massive humanitarian devastation and civil war. Neither happened. Overcompensating somewhat for all the doom-mongering, I wrote in Britain's Daily Telegraph that "a year from now Basra will have a lower crime rate than most London boroughs." Close enough. Major General Andy Salmon, the British commander in southern Iraq, eventually declared of Basra that "on a per capita basis, if you look at the violence statistics, it is less dangerous than Manchester."
Ten years ago, expert opinion was that Iraq was a phony-baloney entity imposed on the map by distant colonial powers. Joe Biden, you'll recall, advocated dividing the country into three separate states, which for the Democrats held out the enticing prospect of having three separate quagmires to blame on Bush, but for the Iraqis had little appeal. "As long as you respect its inherently confederal nature," I argued, "it'll work fine." As for the supposedly secessionist Kurds, "they'll settle for being Scotland or Quebec." And so it turned out. The Times of London, last week: "Ten Years after Saddam, Iraqi Kurds Have Never Had It So Good." In Kurdistan as in Quebec, there is a pervasive unsavory tribal cronyism, but on the other hand, unlike Quebec City, Erbil is booming.
What of the rest of the country? Iraq, I suggested, would wind up "at a bare minimum, the least badly governed state in the Arab world, and, at best, pleasant, civilized and thriving." I'll stand by my worst-case scenario there. Unlike the emerging "reforms" in Tunisia, Libya, Egypt, and Syria, politics in Iraq has remained flawed but, by the standards of the grimly Islamist Arab Spring, broadly secular.
Even if we accept this self-serving history at face value, it's easy to see how it could turn some Steyn readers into war-weary non-interventionists -- if you spent 2003 to 2005 believing that there was no need to worry about humanitarian devastation in Iraq, because its streets were as safe as London and its politics were superior to every other nearby country, you might've start wondering circa 2007 why so many Americans had to keep dying as part of an open-ended occupation.
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Hazelwood History
Hazelwood's history begins in 1890 when the school was established as a boarding school for boys aged 8 - 13 by Edward Baily. Edward and his wife Ruth, bought the land from the Titsey Estate as he loved the views of the Weald and the Ashdown Forest. He thought the site was healthy and bracing. Mr Baily invested a large percentage of his first term's income in buying, and planting, a forest of trees around the site. Some of these trees sadly were lost in the Great Storm of 1987 as was the original chapel building, destroyed by one of Mr Baily's falling trees!
The first 38 pupils were accommodated and taught in a purpose-built Victorian building that remains at the centre of the School today. In 1962 the School was bought by Tim Dowling and merged with his Bickley Hall School in Bromley, Kent - resulting in the double motto and double badge so familiar to our pupils. Hazelwood School became a registered charity and was incorporated as a limited company in 1968. Girls were first admitted to the school and a Pre-Prep department established in 1978. Boarding continued at the school until 1999.
In March 2009, Hazelwood merged with Laverock School to build upon the strengths of both in creating a united school where pupils will have extensive opportunities to develop and maximise their potential. The Larks Nursery was established at the Laverock site in the heart of Oxted providing exemplary care and development for children from three and a half months to four years.
Although the school has grown and developed significantly over the years, the ethos remains the same. The Head and all staff work unstintingly to ensure the nurturing environment which allows pupils to flourish.
We would love to hear from past pupils of Hazelwood and Laverock. Please email firstname.lastname@example.com with your memories and news of what you are doing at present. Thank you.
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Nov. 15 (Bloomberg) -- Berkshire Hathaway reported a stake in Exxon Mobil valued at about $3.7 billion as Warren Buffett's company disclosed its largest new holding since IBM in 2011. Julie Hyman reports on Bloomberg Television's "In The Loop." (Source: Bloomberg)
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The county seat, Bradenton Florida is the largest city in Manatee County with 53,000 residents. Its charming downtown district is the hub of county government, industry and the arts. Originally known as the Village of Manatee, Bradenton was later named after Joseph Braden, whose entrepreneurship has made the area a center of agriculture featuring tomatoes, cut flowers, and for more than 100 years, the world's largest juice producer, Tropicana. Bradenton is the headquarters for Champs Sports,... more Bradenton Florida information
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Originally published September 20, 2013 at 8:38 PM | Page modified September 21, 2013 at 12:46 AM
Storm routed, on the brink of elimination
Playing the league's best team in a building where it hasn't won in more than three years, the Storm could not stop the Minnesota Lynx from pulling away in the second half for an 80-64 win in the opener of this best-of-three Western Conference semifinal at the Target Center.
Special to The Seattle Times
Minnesota @ Storm in the Tacoma Dome, 2 p.m., ESPN2
MINNEAPOLIS – Visiting teams won the first three Game 1s in the WNBA conference semifinals on Thursday and Friday.
The Storm, facing probably the toughest task Friday night, failed to make it 4 for 4.
Playing the league's best team in a building where it hasn't won in more than three years, the Storm could not stop the Minnesota Lynx from pulling away in the second half for an 80-64 win in the opener of this best-of-three Western Conference semifinal at the Target Center.
With KeyArena unavailable due to a scheduling conflict, the Storm must beat the Lynx in Game 2 on Sunday at the Tacoma Dome to force a deciding Game 3 back here Tuesday night.
When these teams met in last year's conference semifinals, a 86-79 double-overtime victory by the Storm in Game 2 set up a classic Game 3 at the Target Center, won by the Lynx, 73-72. But that Storm team had Lauren Jackson and Sue Bird. This one, without them, has lost all five games to the Lynx this season.
"We need to put together 40 minutes against this team," said Tanisha Wright, who had 13 points. "They're a talented bunch, but they haven't seen us play for 40 minutes yet."
Friday, it was more like 20 minutes — the first 20. The Lynx, running on almost every Storm miss, pushed a four-point halftime lead to 22, 80-58 with 2:18 to play.
Minnesota's Maya Moore, after shooting 1 for 9 from the field in the first half, sank 5 of 6 in the second to finish with 17 points. Seimone Augustus had 19 points and Rebekkah Brunson 18 for the Lynx. Temeka Johnson led the Storm with 14, with Tina Thompson adding 10 points and eight rebounds.
Counting last year's conference semifinals, the Storm has lost 10 straight to the Lynx here since a 73-71 victory on July 17, 2010.
"What they do to you is, when you turn the ball over, they can score on you quick," Storm coach Brian Agler said.
Agler liked the way the Storm hung in through the first half, despite committing 10 turnovers and being outrebounded 9-1 on the offensive glass. Johnson's length-of-the-floor drive for a layup with 1.2 seconds left annoyed Lynx coach Cheryl Reeve, who emphasized defense at halftime.
"We just got a three-point play (from Lindsay Whalen), and we let Temeka Johnson go coast-to-coast on our defense, having a foul to give," Reeve said. "Possession after possession we missed assignments defensively. We talked about how it was going to be our defense that was going to win us this game, and we needed to do it better."
Minnesota did. The Storm managed only 28 points in the second half on 37.9 percent shooting. Moore scored nine points in the third quarter, finishing with a top-of-the-key three-pointer over Thompson with 1.8 seconds left as the Lynx took a 62-48 lead into the fourth quarter.
"That was a heck of a shot," Agler said. "Tina had good pressure on her, and she jumped up and knocked it down.
"We did a solid job on (Moore) in the first half. In the second half, she separated herself, and it doesn't take much of a mistake. We have to be disciplined and focus to stay in place with her."
The Storm may only have one more chance to get it right. If not, the retiring Thompson's storied WNBA career will end in a building where she has never played.
"They'll be just as unfamiliar with it as we are," Thompson said.
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KTVU Rocked By Early Morning Earthquake - Posted October 27, 2011
"We are having an earthquake right now," KTVU anchor Pam Cook declared this morning, the sound of rumbling punctuating her announcement. "We are having an earthquake at this ver... [TVSpy]


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While there's no shortage of zombie commercials and marketing gimmicks floating around these days, Sears has come up with one of the coolest yet. With high production values and plenty of suspense, this 79-second spot looks more like a George Romero flick than an ad for Diehard car ...
What's more fun than running through a five-kilometer obstacle course in the woods? Running through a five-kilometer obstacle course in the woods... while being chased by zombies! The event is called Run For Your Lives, and while it doesn't actually involve, you know, "real" zombies (which ...
Mighty Car Mods shows us how to prepare our vehicle for a zombie attack – Click above to watch video after the jumpAnyone can mod their car for speed or handling. Those things might not be so helpful when the inevitable happens – our unavoidable future apocalypse full of brain-eating ...


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The Blue Jays and Tigers played 19 innings of baseball on Sunday (the second game to last that long in as many days). The day included a Ruthian ceremonial first pitch, a Jose Reyes game-tying single and some Joey bats walk-off magic.
Oh, and during the 17th inning, Ryan Goins and Nick Castellanos participated in what could be the first mid-game, inter-dugout rock, paper, scissors tournament in the history of rock, paper, scissors tournaments.
Looking fly, Mr. Castellanos.


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NJ Supreme Court Rejects Same-Sex Marriage Case
July 26, 2010 - 1:52 PMThe New Jersey Supreme Court has declined to hear a case from six same-sex couples seeking the right to marry, saying the case needs to wind its way through the lower courts first.
Gay couples unsuccessfully sued New Jersey four years ago for the right to marry. They claim that by creating civil unions, the state has not fulfilled a court order to treat them the same as heterosexual couples seeking to marry.
The Supreme Court said Monday that it cannot consider whether the civil union law provides equal rights to gay couples until there is a trial record.
The justices were split 3-3, one vote shy of the four needed for the motion to be granted.
(Copyright 2010 Associated Press. All Rights Reserved. This material may not be published, broadcast, rewritten, or redistributed.)
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From Amazon
Vagabond, the second entry in the "Grail Quest" sequence, has been eagerly anticipated by those who read the first book, and it doesn't disappoint. Thomas has managed to survive the battle of Crécy. Still nursing his wounds, he is dispatched by the king on a mission to look into the matter of his father's inheritance, which is obscurely connected to the Holy Grail. This most precious relic of the Christian faith is a much sought-after object, offering the power of total victory in war to its owner. But Thomas finds himself in the middle of a battle against an army invading the North of England, and other shadowy forces pursuing the grail are prepared to slaughter anyone who stands in their way. In the ruins of his birthplace, Thomas discovers more about his father, and a dangerous voyage to France brings him up against his cousin and arch-enemy, Count of Astarc Guy Vexville. The stage is set for a merciless showdown.
Thomas is a protagonist drawn quite as pithily as his much-loved predecessor, and the sheer verve of Cornwell's storytelling here is irresistible. We are plunged into a distant age: bloody, colourful and dangerous. Roll on, volume three! --Barry Forshaw --This text refers to the Hardcover edition.
From Publishers Weekly
The Hundred Years War is the bloody backdrop to this second volume of Cornwell's new series about the search for the Holy Grail (after The Archer's Tale). Like its predecessor, the novel follows Thomas of Hookton, an archer in the English army in the 14th century. Thomas is the bastard son of a recently murdered priest whose family claims it once possessed the Holy Grail. No one is certain the Holy Grail actually exists, but many believe it does, and kings are waging war and committing murder in the search for it. Thomas has a book of his father's, written in Latin and Hebrew, which might reveal clues to the Grail's location, if only he could make head or tails of it. But others are aware of the book's existence, and Thomas's motley enemies and rivals-including Guy Vexille, the French cousin who murdered his father; Bernard de Taillebourg, a Dominican Inquisitor who loves his job; and Sir Geoffrey Carr, a treacherous English knight-are all hot on his trail. The beleaguered young hero must also fight mercenaries, Scots and Frenchmen in gruesome, long-drawn-out battles. Cornwell is meticulous about historical facts and period detail, and his descriptions of butchery with arrow, mace and battleaxe are nothing if not convincing. As expected, the book culminates with battlefield slaughter on an epic scale. Cornwell fans will eat this up.
Copyright 2002 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Copyright 2002 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Cornwell here picks up where his successful The Archer's Tale left off, taking young Thomas of Hookton on shipboard for a little naval warfare even as he continues his quest for the man who murdered his father and stole a priceless relic.
Copyright 2002 Reed Business Information, Inc. --This text refers to the Paperback edition.
Copyright 2002 Reed Business Information, Inc. --This text refers to the Paperback edition.
'What a very fine writer Mr Cornwell has become' The Economist
About the Author
Bernard Cornwell worked for BBC TV for seven years, mostly as producer on the Nationwide programme, before taking charge of the current Affairs department in Northern Ireland. In 1978 he became editor of Thames Television's Thames at Six. Married to an American, he now lives in the United States.


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Introducing Alienware Alpha—more games, more thrills. Coming soon to your living room.
The Alienware 13 with optional Graphics Amplifier gives you ultimate gaming anywhere, without sacrifice.
The Alienware Area-51 with Intel® Core™ processors features unmatched power in a groundbreaking design.
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Esquire's Summer Preview Special 2011
Things to do outside. And inside. And on the road. Also, bocce. All for summer, and all hosted by the lovely Sarah Sanguin Carter.
PLUS: Get More Summer Movies >>
Bon Iver, Bon Iver, Bon Iver
At first it might seem as though it could take all summer for you to crack the code. The hooks aren't obvious. At all. And whereas Bon Iver mastermind Justin Vernon unfailingly built each song on his debut to a crescendo moment, that's not the formula this time around. Tunes like "Minnesota, WI" and "Towers" subtly ebb and flow, hinging on what seem more like pressure changes than temperature changes.
Start here: Sure to be remixed, covered, and reappropriated to death, "Calgary" is the album's sole moment to hint at Vernon's recent collaborations with Kanye West. Subtle electronic whizzes, lively drums, and a swooping chorus add up to an unlikely pop anthem.


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Free Friday: Holiday Freebies!
The Holidays are here! It's officially last-minute, so before you embark on your shopping missions this weekend, check out these great, Holiday Free Friday freebies brought to you by PennySaver USA!
There's only 3 days left to enter for your chance to win a $200 VISA Gift Card in the PennySaver Holiday Gift Card Giveaway Contest. Five lucky winners will each get a $200 VISA Gift Card!
FREE Seasonal Beverage at Peet's Coffee & Tea: Print or show this coupon on your mobile device, to get a free small seasonal beverage with the purchase of an Artisan Baked Good, Simply Oatmeal or Fresh Food Item. Please see coupon for full details. Offer expires 12/28/2014.
FREE Jamba Juice Drink or Smoothie: From now trough 12/31, when you purchase $25 worth of Jamba Juice gift cards, you'll get a free Jamba Juice smoothie or drink.
FREE Papa John's Pizza: Purchase $25 in Papa John's gift cards this season and you get a free Large 1-Topping Papa Johns Pizza. Offer valid through 12/31/2014.
FREE Kids Craft at Lakeshore Learning: On Saturday, December 20th from 11am to 3pm, children ages 3 and up can create their own free Festive Card Holder at Lakeshore Learning Centers. Kids will love to make this themselves, and it'll be a great addition to the Holiday Decor around the house to hang their Holiday cards from family and friends!
FREE Events at Barnes & Noble: Visit barnesandnoble.com to check out the free storytimes and events, featuring The Night Before Christmas and Rudolph the Red-Nosed Reindeer!
FREE Home Depot Kids Workshop: Register now for the free Kids Workshop at Home Depot on Saturday, January 3rd, 2015. Kids will get the chance to build their own free mini sled! Spaces fill up fast, so register now!
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Hollywood legend Denzel Washington has revealed how the big studios in Hollywood are more concerned with making money off of the back of successful franchises, than they are financing new and original movies. Denzel claims that he is fine with that and he understands why they have to do business that way.
Washington explained, "Studios are now owned by big corporations, so all the decisions are made in a completely different way. The mid-majors, places like Summit, are like what studios used to be. The big studios are more interested in their big tent-pole movies and farm out the rest of it and take distribution deals... You can't rely on the studios, you have to know where to go to find it." Denzel then revealed how he and director Robert Zemeckis took a pay cut for new movie Flight.
He added, "Bob Zemeckis and I took one-tenth of our usual salary but almost 40% of the back-end - so if it hits, ker-ching. If not, we still made the movie we wanted. It's called 'showbusiness'. I don't have a problem with that. Five years ago we might have got $70 million to make it - now they're looking for Mission: Impossible 6 or Twilight 4. Studios will take the credit for smaller movies if they get Oscars but I get it, we're in tough economic times."
Denzel Washington can currently be seen in the movie Safe House, alongside Ryan Reynolds, while the Robert Zemeckis directed movie Flight is expected to be released later this year.