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Stitching in the Stacks: Librarian-Inspired Knits—Pre-orders available!
By Sarah Barbour On May 21, 2013 · 1 Comment · In Uncategorized
Daily Worth, Ramit Seethi, and Me
By Sarah Barbour On May 3, 2012 · Leave a Comment · In Uncategorized
Sarah BarbourKnitting and crochet designer/teacher and stay-at-home mother to three lovely little girls. Recently relocated to Oregon from the Illinois and enjoying my new life as a West Coaster.
Stitching in the Stacks
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Blogs I LikeDull Roar
Alex Tinsley scares me a little but I secretly want to be like her.
I Have Cancer; What's Your Excuse?
Holter Graham acts, runs marathons, and—oh, right—has cancer.
Jumping in Puddles
Illustration by Alison Kolesar, who happens to be my cousin (not that I'm biased or anything).
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You won't be sorry.
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More than you ever wanted to know about my sense of humor
Need I say more?


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New Day, New Heroes
Tonight's Lineup
Rollins, ss
Utley, 2b
Werth, rf
Howard, 1b
Burrell, lf
Victorino, cf
Feliz, 3b
Ruiz, c
Hamels, p
New Day, New Heroes
Series got off to a good start last night with a win over the Braves, moving us closer to "There is only one October." As has been the case recently, there were new heroes:
**J. A. did a great job in his second start. He showed the poise of a veteran.
**Golson was a September roster addition because of his speed and defensive skills. The speed paid off last night when he went first-to-third on a wild pick-off throw as a pinch runner. When Werth grounded to third, Golson broke on contact and beat the throw home to put us up 3-2.
**Pat capped the inning and sealed the victory with his 251st career homer.
**The bullpen did the job again, this time Rudy, Scott and Mad Dog. Scott is 3-0 since joining the Phillies. He's picked up 3 wins throwing 12 pitches. That's incredible!
Emotional Night
Scoreboard watching was in order last night for the 36,000-plus fans. The place erupted when the Cubs went ahead of the Mets, 6-2.
Happ got a standing-O from the towel-waiving throng and Pat got a curtain call following his crushing homer. Pat acknowledged the fan enthusiasm in his post-game remarks.
The atmosphere duplicated the final week of last season.
BIG Error
Phillie Phanatic blew it last night. Chase hit a foul ball into the third base stands in the third inning and the Phanatic dropped it. Official scoring on the play: E-Phanatic.
In Town
The New York Post and New York Times had reporters at the game. The Timers writer is doing a story on Howard as an MVP candidate.
National TV
FOX has chosen Saturday's game with the Marlins for a national telecast, meaning the game will be changed from 7:05 p.m. to 3:55 p.m. Phillies fans around the country will be able to see their favorite team.
This Date
In Phillies history….
Historic notes may not be of interest to the mass audience but here's one that bears mentioning:
9/23/16: RHP Grover Cleveland Alexander pitches 7-3 and 4-0 complete game wins in doubleheader vs. Cincinnati at Baker Bowl. He walked one in setting a club record with his 16th shutout. Wonder how many pitches Alexander threw.
It is amazing that a pitcher can throw complete games in a doubleheader. What is even more amazing, the first game took 1 hour, 29 minutes, the second, 1:07.

subset: commoncrawl


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A selection of weights for shore fishing, including Breakaway Leads and Impact Leads, Impact Flattie, Bomb weights and Gemini Leads
Shore Fishing Tackle Accessories - Weights
We have lots more products in store than currently displayed here. If you can't see what you are looking for, please contact us for advice. We can also take your order over the phone (01323) 460441.


text:
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In the remote Ardeche area of France, hidden behind a door described in this film as being akin to a bank vault, lies the Chauvet Cave which, aside from being remarkably beautiful on a geographic level, are home to the oldest cave drawings known to man. Additionally, inside the cave are countless skeletons of cave bears, now extinct, making this remarkably well preserved underground cavern quite an important discovery. Found in 1994 and quite rightly put under lock and key by the French government shortly thereafter, in hopes of preserving its current state for research, very few people have ever had the opportunity to explore the Chauvet Cave. Intrepid legendary filmmaker Werner Herzog, however, managed to get permission to bring a small crew with him on a trip through the cave for one of his recent documentary projects, aptly titled Cave Of Forgotten Dreams.
Herzog's film begins with a brief history of the cave's discovery, noting how it was found when some explorers were trying to figure out the source of some air coming out of the ground in the area. The cave was essentially sealed roughly thirty thousand years ago when it appears that a landslide cut off access to it, leaving its contents untouched and away from elements that might damage it. To preserve the cave, the aforementioned door was built and metal pathways have been constructed very carefully inside the cave, avoiding stalagmites and stalactites alike with the utmost care to ensure that nothing gets altered or ruined inside. From here we hear Herzog interview a few experts, scientists and archeologists, each of whom give their input on the cave and discusses their feelings on it. From there, we tour the cave along with Herzog's crew, aided by lights that do not emit heat and often times with low grade consumer HD video cameras guiding the way (the area is too small to bring larger cameras into).
While this documentary lacks the personality of, say, something like Grizzly Man, the film still captivates thanks to the power of its subject. Herzog literally takes us somewhere we're never going to get to go, almost as if on a voyage back in time. The drawings themselves are amazing to see, and show everything from lions and bears to a strange rendering of what appears to be a naked woman morphing into some sort of bison. Scratch marks from animals that at one point lived in the cave can still be found, while one prolific cave dweller with a broken baby finger managed to decorate different parts of the cave with his palm prints - all of which are still very much in plain view and have not visibly deteriorated at all. Of course, Herzog being Herzog, the director also manages to capture some gorgeous shots of the surrounding area and throws in some interviews with the odd eccentric perfume expert here and there just to add character, but the bulk of the film's interest will be found in the footage of the drawings themselves.
Herzog's narration is very matter-of-fact but his personality and wanderlust shines through here and is at times infectious. You can tell that he's quite grateful for the opportunity to have made this film but still manages to keep things somewhat scholarly without ever getting too dry. There's just enough science here to balance things out but the footage is what will keep you watching. All of this is set to a magnificent score courtesy of composer Ernst Reijseger which mixes up cello and stringed instruments with interesting choral arrangements pretty much perfectly. The score is never heavy handed or overly dramatic, instead it complements the footage and the feature beautifully. The end result is a film that, if not Herzog's crowning achievement (just what that will be remains to be seen, thankfully!), is never the less quite an amazing accomplishment.
Cave Of Forgotten Dreams is presented in AVC encoded 1.78.1 widescreen in 1080p high definition in both 2-D and Blu-ray 3-D versions. Video quality is generally quite good but given the way that the movie was shot it's not quite reference quality. Herzog and his small crew were only able to use special lights that didn't emit any heat inside the cave and a lot of the footage is shot on small, consumer grade HD video. As such, some scenes are a little noisy and not quite as razor sharp as the best high definition presentations can be, and there are some instances where there's a bit of shimmer. The good outweighs the bad here, however, as the paintings show up with a lot of detail and texture, really giving you a great idea of how they might appear in the cave itself. Some of the outdoor scenes where the camera, mounted to a remote control helicopter of some sort, zips around the valley surrounding the cave, look very impressive. The disc is well authored, showing no print damage (it's a digital to digital transfer after all) and providing nice, lifelike color reproduction.
Audio chores are handled nicely by the English language DTS-HD 5.1 Master Audio mix, with optional subtitles provided in English SDH and Spanish. This isn't an overly complicated track, as the film's audio is basically just Herzog's narration and some interviews over top of some music, but you can't overstate the importance of that music and the effect that it has on the movie. Thankfully the score is reproduced here quite beautifully, using surrounds nicely to fill in the room and really bringing a lot of emotional depth to scenes where they otherwise might not be there. The dialogue and narration is presented nice and clearly, though it should be noted that when certain interviewees speak in a foreign language (usually French), narration overtop of them translates their dialogue into English.
The main supplement on this release is a Herzog directed short film called Ode To The Dawn Of Man (39:01, HD), which is a look at the making of the score used in Cave Of Forgotten Dreams and which documents the studio musicians and chorus hard at work on the project. Composer Ernst Reijseger appears throughout and this gives us some insight into his creative process and what makes him the interesting composer that he is. Aside from that, there are menus and chapter stops and the film's original theatrical trailer (also in HD).
Herzog has made more involving documentaries than this but that doesn't really take away from this film - it's fascinating and fairly involving and it offers us a rare glimpse into one of the most historically significant finds of our time. The Blu-ray offers this exceptional film a solid transfer and excellent audio and throws in a bonus Herzog helmed documentary that relates to the feature for good measure. Not a documentary for everyone, but Herzog fans and those with an interest in archeology and ancient history should consider this release highly recommended.
Ian lives in NYC with his wife where he writes for DVD Talk, runs Rock! Shock! Pop!. He likes NYC a lot, even if it is expensive and loud.


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Experience counts for something in JR embezzling incident
On March 16, JR West pressed charges against a 50-year-old employee who allegedly embezzled ¥86 million. The unnamed worker, who was hired by the railway company in 1980, when it was still part of Japan National Railways (JNR), worked in the ticket office of Akashi Station on the JR Sanyo Line. He has been accused of printing out fake teiki (commuter passes) for which he gave out equally fake refunds that ended up in his pocket. All in all, he carried out this fraud 659 times and supposedly spent the money on gambling and other "entertainment" activities. But what's more interesting is that he didn't do it alone. He apparently enlisted the assistance of seven other staff members who confessed that they felt pressured into going along with the scheme because of the accused's seniority.
The suspect first started the racket when he was working at Asagiri Station on the same line. He would issue fake passes and then dispense refunds for the passes after the imaginary customers who purchased them reported they were defective. Since these passes are issued by vending machines, the salesperson keeps the supposedly defective pass and refunds the money, which the customer uses to buy a new one. Under such circumstances the salesperson has to write a report for the refund and then later someone has to verify the refund report with the returned pass, but somehow the employee figured out that no one ever actually did this. In fact, he probably could have continued the scam indefinitely if another employee in JR Nishi Nihon who worked on the Takarazuka Line hadn't been caught doing the same thing, thus causing management to look a little closer at records to see if it wasn't more widespread. Apparently it was. Even before they caught the Akashi embezzler, investigators discovered an employee at Osaka Station who had pilfered ¥32 million.
But none of the other embezzlers used underlings to help them bring in more cash. A JR executive told reporters that the seven accomplices were contract workers in their 20s, meaning their employment was not guaranteed. When questioned about why they agreed to participate in the scam, they said the accused, who was their supervisor, made it impossible to refuse. They knew it was wrong, but believed that if they didn't obey his orders they'd lose their jobs. After five years they are given the opportunity to become regular employees, but if they don't they aren't rehired, since contract workers are limited to four rehirings. One of the seven stopped working for JR before the incident came to light.
After JNR went private in 1987 and the company was split into several regional railways, many older workers were laid off. Some sued and are still fighting to get their jobs back, but in any case JR West didn't hire many new graduates in the subsequent decade, which means there is a wide age gap in the company's ranks. At Akashi Station, for instance, eight of the 41 employees are in their late 40s and 50s, while the rest are in their 20s. Most of these younger employees are contract workers who have to renew their employment every year. The hourly wage is about ¥1,000 (following a three-month probation period during which they earn ¥890 an hour). JR didn't reveal what the accused employee's salary was, but according to Nenshu Lab, a wage research group, the average salary for a full-time JR West employee, regular or not, is ¥6.73 million. In 2005, however, the average salary was ¥7.24 million, which would seem to indicate that more contract workers have been hired as older workers retire.


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As expected, the Democrats took big losses in the midterm Congressional
elections on Tuesday, holding on to the Senate but losing the House. It
is typical for the party of the President to lose some seats in midterm
elections, and it is doubtful
that this election result represents the beginning of another
conservative era. But the Democrats' losses were big by any measure.
The overwhelming reason for the Democrats' losses was their failure to take the necessary measures to ensure a robust recovery from the recession.
This is a case where it clearly would have been better to fight for something that you want, and lose, than fight for what you don't want, and win. Had the Democrats fought for a stimulus large enough to move unemployment to more normal levels over two years – and lost the battle in Congress – they would at least have a case that they tried and were stymied by the Republicans.
Of course, the Republican mantra that the American Reinvestment and Recovery Act of 2009 act didn't do anything but pile up debt is sheer nonsense. The non-partisan Congressional Budget Office has estimated that between 1.4 and 3.3 million more people were employed by mid-2010, because of the stimulus.
But it was not enough. As my colleague Dean Baker has pointed out, the federal stimulus – after subtracting the state and local government budget tightening – amounted to about one-eighth of the private demand that our economy lost from the bursting of the real estate bubble.
The economy is always an important issue in national elections, but seldom more important than it is today – with 9.6 percent unemployment, millions more underemployed or dropped out of the labor force, and millions of Americans losing their homes. But our politics today – year round, not only during election season -- is based primarily on manipulating voters through media and advertising, rather than trying to explain even a minimal amount of substance to them.
The Democrats would have done better by telling the truth from the beginning: not only that they inherited this mess but explaining that it would take a huge amount of government spending to restore full employment. Enough to make up for the private spending that was lost. And that the alternative was – well, we are looking at it. This is not rocket science.
The irony is that our economy remains in a situation where we could spend this money without even adding to the public debt burden. This may seem like magic but it is not. When the economy is this depressed, with high unemployment and unused capacity, the Federal Reserve can create money and loan it to the Treasury – and such money creation does not cause any problem of inflation. In fact, since 2007, the Fed has created more than $1.4 trillion and used it to buy mostly mortgage-backed securities from Fannie Mae and Freddie Mac. But inflation is still running at just 1.1 percent annually – a level that is too low, even for the Fed.
Now the Fed is talking about creating more money and using it to buy long-term Treasury bonds. Since the interest on these bonds will return to the treasury, there is no cost to the taxpayer. This money creation can be – and could have been – used to finance enough job creation so that there would be no question about our economic recovery.
By failing to stimulate economic recovery, the Democrats gave Republicans a populist card on a platter, which the Republicans played, with pitchforks held high and torches blazing. With unemployment and economic insecurity generating mass anger, the Republicans paid little price even for extremist excesses. In this election, the Democrats' one big mistake on the economy outweighs any others.
Failure to Enact Bigger Stimulus Was Fatal Mistake
As expected, the Democrats took big losses in the midterm Congressional
elections on Tuesday, holding on to the Senate but losing the House. It
is typical for the party of the President to lose some seats in midterm
elections, and it is doubtful
that this election result represents the beginning of another
conservative era. But the Democrats' losses were big by any measure.
© 2010 McClatchy Tribune Information Service
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Phone – 888.424.3336
Email – email@example.com
701 Tecumseh Road
Clinton, Michigan 49236
Dried, ground root of the esteemed Asian water lily, treasured for contributing to respiratory health. A pleasant and quick way to take this renown health food. A macrobiotic staple. Boil a teaspoonful for three minutes and sip while hot. Very low sodium, fat free, and gluten free. Glass jar. Eden pure, authentic, unadulterated.
Eden Lotus Root Tea Powder, or 'kohren' in Japanese, is made from the root of the lotus, harvested during the winter when its nutrients are most concentrated in the root. After harvest the roots are washed, chopped, sun-dried, and sifted to remove any tough fibers and ground into a fine powder prior to packaging.
Lotus Nelumbo nucifera or Nelumbium nuciferum is a member of the water lily family that grows in shallow ponds throughout Asia. Its flower has long been revered as a symbol of humanity's wish for enlightenment and rebirth, rising from the muddy root and bursting forth with glorious beauty. Lotus is usually cultivated for its root or "rhizome," but the entire plant is edible. The root of the lotus grows horizontally in the mud in segmented, oblong bulbs, two to three feet long. Inside the segments are hollow tubes, or air passages, that run the length of it in a symmetrical pattern. Traditional Oriental holistic practitioners often attribute this root's ability to support lung health, in part, to its physical similarities to this body system.
Eden Lotus Root Tea is naturally processed in Japan in the traditional manner used for centuries. It contains no additives, preservatives or artificial dyes.
To make Eden Lotus Root Tea boil a teaspoonful in a cup of water for three minutes and sip while hot.
|Lotus Root Tea
|Item Number
|100% Lotus Root Powder
|Case Quantity
|Package Size
|2 oz
|Package Size Metric
|50 g
|UPC Code Each
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|Eligible for Flat Rate Shipping
|Very Low Sodium
|Yes, 35mg or less per serving
|Fat Free
|Yes, less than 0.5 g per serving
|Gluten Free
|Wheat Free
|Non GMO


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Quite often, sadly often, I write here: one of the great old gentlemen has gone. Today, it is one of my great old gentlemen.
My very dear godfather has died. He was eighty-nine, and had been in rotten health for years, but he kept buggering on in the most doughty and astonishing fashion. I had come to think he would live forever, as each new diagnosis was somehow survived.
He was one of the tremendous generation that fought in the war. He served with the Welsh Guards, and would sometimes say to me startling things like: 'Well, after the war I went back and blew up bridges and things. Great fun.'
I had no idea about the blowing up of bridges, and he did not elaborate. I thought it must have been some hush-hush sabotage job, and I wish now I had asked. I wish so many things. I had been meaning and meaning to ring, but kept putting it off. He was so tired and ill and I thought I did not want to bother the poor old gentleman. Now I think: you fool, you should just have picked up that damn telephone. Now it is too late. I remember that regret with my father too, although the last time I had tried to call him he could not speak because he was watching the 3.30 at Kempton. This still makes me laugh.
The dear old godfather was loyal and funny and true. We used to write each other long letters and whenever I was in London he would take me out to lunch and talk in a very loud voice about kings and dukes, to the slight astonishment of the other patrons. He adored kings and dukes, and queens too. He liked dead, historical ones, about whom he wrote, and alive, actual ones, with whom he sometimes dined. He was a glorious, calamitous snob, carrying a very unfashionable delight in lineage. If he asked me to a party he was giving, he would tell me who else was coming, giving them all their full titles. He loved achievement too: this one won that prize for fiction, he would tell me, or that one won the Military Cross. And yet his snobbishness was not a horrid thing. He liked poshness as people like football or art, but he loved those of us who were not duchesses too.
His friendship with my father always astonished me. He had known Dad since my fa was a schoolboy; the godfather taught at the school my father attended. He then met my mother quite separately and was delighted when they married. He came to the house often, and I have an enduring childhood memory of him sitting in the sun, in a deck chair, wearing his immaculate panama hat with its Welsh Guards band. His love for my mother was perfectly explicable – she was elegant and graceful and a perfect hostess and looked like Grace Kelly. But Dad was a roisterer and boisterer, a singer of songs, a crazy rider of chasers, a drinker, a gambler, a teller of bawdy tales. The respectable, academic godfather seemed a most unlikely person to take to such a man. Yet they adored each other. They were good companions for many years – the wild, larger-than-life horseman, and the small, precise historian. I think what it really was was that my father made the godfather laugh and laugh, in a way, perhaps, that the duchesses did not, quite.
He was a very splendid old gentleman, funny himself, in a wry, intellectual way. He was kind and generous and thoughtful. He encouraged me in my writing, even though my early, appalling novels must have made him wince a little. 'I never knew people drank so much coffee,' was all he said, of those terrible first books, in which my characters did spend an awful lot of time in espresso bars. He was quietly proud of his own work, but never grew puffed up when his historical biographies were awarded prizes. He loved his Welsh Guards with a passion, but apart from the thing about the bridges, did not speak of his war fighting. I wish I had asked more about that too. What courage he must have had then; I think of it now. I saw it in his later years, as he stoically faced one illness after another. 'How are you?' I would say. 'Oh, you know,' he would reply. 'Still here.'
For all my regrets, I am glad that not many months ago, I did write him a letter telling him what a marvellous godfather he had always been, and how much I loved and appreciated him. He did not do shows of emotion; as it was with so many of that mighty generation, understatement was his hallmark. But I wrote anyway, even though he would have thought the words a little excessive, because I wanted him to know.
I wanted to mark the passing of this remarkable man, but as always, I feel that these paltry scratches on the page do not quite capture him, or do him justice. I miss the good old men and wish they were not going. I shall miss this one sorely. I hear his voice in my head as I write. He would laugh, and tell me not to grow melancholy, but to keep buggering on, just as he did. And so I shall, in his honour.
I usually do not put up other people's pictures, being keenly aware of copyright. I hope that, on this occasion, Eric Roberts, who took this lovely and very characteristic photograph, will forgive me.


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We're excited that you are taking part in our comprehensive wellness program sponsored by you or your spouse's employer through Interactive Health. We look forward to joining you on your wellness journey.
You've been inactive for a bit. For your security, we will automatically sign you out in about 1 minute. You may choose "Stay Signed In" to continue or "Sign Out" if you're done.


text:
Double row idlers
Along with guiding the belt in drives, idlers should allow a flexible drive layout with sufficient belt wrap angles for each driven unit. Double row idlers do so with a robust, greased-and-sealed-for-life design. Grease is selected to ensure maximum service life and is optimized for outer ring rotation.
- Timing belt drives
- Accessory belt drives
- Extended service life
- Low belt drive noise and friction
- Greased and sealed for life
- High design flexibility
- High temperature performance


text:
(written from a Production point of view)
Whitney Hall is an actress who played a Risian waitress in the Star Trek: Enterprise first season episode "Two Days and Two Nights". As a background actress she received no credit for her performance and was identified by the name tag of her costume which was sold off on the It's A Wrap! sale and auction on eBay. [1]
Hall performed in the 1979 television movie Jennifer: A Woman's Story alongside Kate Mulgrew, Robin Gammell, and Momo Yashima. She served as stand-in on the comedy High School High (1996, with Louise Fletcher, John Neville, Marco Rodriguez, Nicholas Worth, and Rachelle Roderick) and stood-in for Shirley MacLaine on the television drama The West Side Waltz (1995, with Camille Saviola and Rick Fitts), on the television comedy These Old Broads (2001, with Joan Collins), on the comedy Carolina (2003), on the comedy In Her Shoes (2005), Rumor Has It (2005), and on the comedy Valentine's Day (2010), Hall also served as stand-in for Lynn Redgrave, Lily Tomlin, and several other actresses. [2]


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The Harry Potter play parody "Potted Potter" is magically returning to New York City.
Producers said Wednesday that off-Broadway's Little Shubert Theatre will once again house the 70-minute parody of the entire book series starting May 30. It will leave Sept. 1.
Written and performed by Daniel Clarkson and Jefferson Turner, the play made a stop in New York last summer and has played to thousands in the United Kingdom, America, Australia and Canada.
The show, which bills itself as "The Unauthorized Harry Experience" is a fast-paced, tongue-firmly-planted-in-cheek romp through J.K. Rowling's seven books about the boy wizard and his adventures. There's even some audience participation in the form of an attempt at a game of Quidditch, the popular sport in Harry's wizarding world.
Online: https:// www.PottedPotter.com


text: icon-left-font(2) Bhuvanesh on July 22, 2018 Posted by Bhuvanesh A podcast junkie on a mission to make podcasts great. All Posts Leave a Reply Cancel reply Your email address will not be published. Required fields are marked *Comment Name * Email * Website Notify me of new posts by email.


text:
rhysgregory necesitaba un nuevo diseño de camiseta y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 72 diseños de 16 diseñadores freelance.
I'm a current student at the University and I'm looking to help new students (freshers) get to know one another by using these t-shirts.
Once a winner is chosen, I want your contact details so that I can in touch encase I need revisions + other work done. Thank you.
The t-shirts are being designed for new students... (freshers) in a way of introducing them to student life.
i'd like the design in .ai format as well as a high quality jpeg. Graphic must be vector and all text must be converted to curves. Design limited 3 colours – In another separate .ai and .jpeg file I want a list of questions.
Graphic must be suitable for a colour and also white garment.
I have provided examples of other Fresher T-Shirts as well for you to take a look at, something with a similar design would be great. Include the following:
• Text – "Aberystwyth Freshers Week 2010"
• The use of 'Welsh Dragon' graphic.. I don't want this being the 'focus' of the design, but fit into design well. The text above should be the main focus of the design.
• Potentially using a similar silhouette based upon my other 'Aberystwyth' Design in this new design. (similar to that example design from another university which I have included, it's in black and white).
• Looking for a nice Bold Font for the text.
• I quite like that black and white '2010' example design I have attached. Perhaps something similar to this, but make it 'Aberystwyth'....
• Try and be inventive with what you're doing, keep within the colour limit, make sure it looks really good.
Questions to be listed on second half of t-shirt under the logo at the top. This is to encourage Writing on the T-Shirts
• My Name is........
• I'm from............
• Studying............
• Staying at....


text:
The Kansas City Art Institute's spring lineup of artists, designers and scholars who spoke as part of the college's "Current Perspectives" lecture series.
In honor of the college's 125th anniversary, most of the speakers selected for the spring 2010 series are alumni of KCAI.
A presentation will be given by the 2009 Charlotte Street Foundation Visual Artist Award fellows Dylan Mortimer ('02 painting), Jaimie Warren ('02 printmaking) and Andrzej Zielinski, whose work is featured in an exhibition at the H&R Block Artspace now through March 27. About the 2009 Charlotte Street Foundation fellows: Dylan Mortimer earned his B.F.A. degree at the Kansas City Art Institute in 2002 and his M.F.A. degree from the School of Visual Arts, New York. Employing a range of formal, cultural and conceptual languages, Mortimer has most recently merged the iconographies and vocabularies of Christianity and hip-hop culture in a continued investigation of how religious beliefs, popular culture and social norms do and do not comfortably relate. Jaimie Warren is a photographer, curator and performance artist who makes theatrical, humorous, self-portraits in different scenarios and locations. She received her B.F.A. degree in 2002 from KCAI. In addition to candid, snapshot style photographs documenting her own life and surroundings, Warren is the creator of Whoop Dee Doo, an ongoing curatorial and performance-based project that creates a wild platform for diverse community talents and participants in a kid-friendly, faux public access television program format. Andrzej Zielinski received his B.F.A. degree from the School of the Art Institute of Chicago in 2002 and his M.F.A. degree from Yale University in 2004. His current work consists of paintings of laptops, paper shredders and ATM machines.
Fatimah Tuggar ('92 sculpture) is a multidisciplinary artist who uses technology as both a medium and a subject in her work to serve as a metaphor for power dynamics. She combines objects, images and sounds from diverse cultures, geographies and histories to comment on how media and technology diversely impact local and global realities. Her work has been widely exhibited at international venues in more than 20 countries on five continents including the Bamako Biennale, Mali; the second Johannesburg Biennale, South Africa; Museum Kunst-Palast, Dusseldorf, Germany; Centre Georges Pompidou, Paris; the 24th Biennial of Graphic Art, Ljubljana Slovenia; Moscow Biennale, Russia; the V Salon CANTV Jovenes, Venezuela; the Istanbul Biennial, Turkey; the Kwangju Biennale, South Korea; and Museum of Modern Art, New York.
Jerry Eisterhold ('72 design) has been president, principal designer and project director of Eisterhold Associates Inc. since its inception in 1980. His company is a nationally recognized exhibit design firm that specializes in museum design. A particular hallmark of EAI's work has been the creative application of media to visitor experiences. Locally, the company has completed the "Harry S. Truman: His Life and Times" exhibit at the Truman Museum and Library, the Money Museum at the Federal Reserve Bank of Kansas City and the "John Baker Film Collection" exhibit at the American Jazz Museum. Other projects include The National Civil Rights Museum at the Lorraine Motel in Memphis, Tenn.; Rosa Parks Museum in Montgomery, Ala.; Walt Disney's Boyhood Home in Marceline, Mo.; Jurassic Park Discovery Center in Orlando Fla.; and EPCOT Innovations in Orlando, Fla. More recent projects include the International Civil Rights Center and Museum, which opens Feb. 1 in Greensboro, N.C., and the National Hurricane Museum and Science Center in Lake Charles, La.
Dan S. Wang is an artist, printer and writer. He earned a B.A. degree from Carleton College in Northfield, Minn., and an M.F.A. degree from the University of Wisconsin–Milwaukee. Wang teaches printmaking as an adjunct faculty member at Columbia College Chicago. His texts have been published in SITE magazine (Stockholm, Sweden), WhiteWalls (Chicago), Art Journal (New York), ARTasiapacific (New York), The Journal for North East Issues (Hamburg, Germany), The Journal of Aesthetics and Protest (Los Angeles) and the exhibition catalog for "Heartland" at the Smart Museum in Chicago. His drawings, prints, sculptures and other projects have been exhibited in two solo exhibitions and in more than 25 group exhibitions. Wang has lectured at The Contemporary Museum in Baltimore; the Salzburger Kunstverein in Salzburger, Austria; the Art Institute of Chicago; the Depot for Kunst and Diskussion in Vienna, Austria; and Documenta 12 in Kassel, Germany. Along with seven others, he co-founded Mess Hall, an experimental cultural space in Chicago. Wang regularly collaborates with a range of art groups, activists and researchers in creating exhibitions, publications and events.
Stuart Horodner is the artistic director of the Atlanta Contemporary Art Center. Prior to moving to Atlanta, Horodner was the curator of the Portland Institute for Contemporary Art in Oregon; director of the Bucknell University Art Gallery in Lewisburg, Pa.; and owner/director of the Horodner Romley Gallery in New York from 1992 to 1997. He was also the founder and co-organizer of Affair at the Jupiter Hotel, an intimate art fair in Portland, Ore., from 2004 to 2007. He has contributed art writing to numerous publications including Art Lies, Art Issues, Art on Paper, BOMB, Dazed & Confused and Surface. Horodner is speaking as part of the 2010 Visiting Critic and Curator Program sponsored by the H&R Block Artspace at the Kansas City Art Institute.
Ezra Johnson was born in 1975 in Wenatchee, Wash., and lives in Brooklyn, N.Y. He received his B.F.A. degree in painting from the California College of Arts and Crafts in San Francisco in 2000 and completed an M.F.A. degree in painting in 2006 at Hunter College in New York. During his M.F.A. studies, he participated in an exchange program with the Universitat der Kunst in Berlin. His work has been shown at numerous exhibitions including solo gallery shows in New York, Los Angeles and Turin, Italy. His first solo museum show was at the Hammer Museum in Los Angeles in 2007.
MK12 is a Kansas City-based design and filmmaking collective with acclaim in both commercial and artistic arenas. MK12's work constantly challenges the boundaries between narrative structure and experimental storytelling via juxtapositions of live action, graphic design, nostalgic influence and new technologies. The firm was founded in 2000 by a group comprised primarily of KCAI alumni. MK12 has been sought after to direct numerous commercial and network-based projects and also has provided graphic design and animation for feature films such as "Stranger than Fiction" and "The Kite Runner." The studio's experimental and short film catalogue has been featured in many international film festivals and has been published in design and trade journals worldwide. Most recently, their short film "Overload" — a collaboration with New York-based painter Brian Alfred — was inducted into the Guggenheim's permanent collection. MK12 continues to produce original content for television and cinema, and its most recent film, "MK12's History of America," proved to be its most ambitious work to date, merging experimental design and traditional storytelling to dramatic effect. More information about this and other projects can be found at mk12.com.
Tonight's roundtable discussion will be based on the exhibition "Arrival/Departure," curated by Maria Elena Buszek, assistant professor in the School of Liberal Arts, and Jonah Criswell, assistant director of admissions and a 2005 KCAI painting graduate. The exhibition, which will be on view April 9 through May 22 at La Esquina, brings together early-career artists who see Kansas City as a site from which they came into contact with the art world. In this roundtable, led by Dr. Buszek, several of the exhibition's artists will discuss their time in (and, in some cases, return to) Kansas City, the prestigious national and international graduate programs, residencies and exhibitions in which they have participated, and the role KCAI played in their creative evolution. All of the artists in the exhibition are graduates of KCAI.
Franklin Oviedo graduated from KCAI's School of Design in 2004. While in school, he was selected to assist with the school's rebranding project. After graduation he joined Bernstein-Rein Advertising as an art director and graphic designer. In 2008 he left Bernstein-Rein and joined with two business partners to run Liquid 9 and :31 in Kansas City, Mo. Liquid 9 is a production and post house that handles all aspects of the commercial video production process. Services include motion graphics, editorial and original music. :31 is a creative boutique with its niche in the entertainment industry. In its short history, :31 has branded a Canandian music television channel, shot several music videos, one of which received a "MTV u Woodie Award," and designed album packaging for the number-one-selling independent recording artist in the United States. Throughout his career Oviedo has worked with clients such as Warner Bros., Bombay Sapphire, Tech N9ne, McDonald's, Sprint, Bayer, Kasil Jeans, AUX TV and Lee Jeans.
Christy Georg has been called "a sculptor of wit and ingenuity, clearly in the tradition of Jean Tinguely and Bruce Nauman, but brilliantly original in her use of existential humor to invigorate the works" by sculptor Rob Fisher. Born in Chicago and raised in Houston, she received her M.F.A. degree from Massachusetts College of Art and her B.F.A. degree in sculpture in 1997 from the Kansas City Art Institute She also studied glassblowing at the Pacific Northwest College of Art. She has exhibited widely, having solo exhibitions at the Contemporary Artists Center in North Adams, the Roswell Museum, Gettysburg College, the University of Massachusetts at Lowell and the Trustman Gallery at Simmons College in Boston. She has been awarded 15 art residencies in North America including SculptureSpace, Fine Arts Work Center, Roswell AIR program and the MacDowell Colony. She is a 2006 recipient of a Visual Arts Sea Grant from the University of Rhode Island and 2009 recipient of a Blanche E. Colman award from the Mellon Foundation. This summer she will have a solo show at the Khyber Institute for Contemporary Art in Halifax, Nova Scotia.
Mark Newport is an artist and educator living in Bloomfield Hills, Mich. Newport's work has been exhibited throughout the United States, Canada and Europe, including solo exhibitions at The Arizona State University Art Museum, The Cranbrook Art Museum, The Chicago Cultural Center and here gallery in Bristol, England. His work has been recognized with grants from the Creative Capital Foundation, the Arizona Commission on the Arts and the Herberger College of Arts at Arizona State University. It is included in the collections of The Whitney Museum of American Art, The Cranbrook Art Museum, The Racine Art Museum, 4Culture in Seattle, City of Phoenix Public Art, Microsoft and Progressive Insurance. The Greg Kucera Gallery and Lemberg Gallery represent his work. Newport is the artist-in-residence and head of fiber at the Cranbrook Academy of Art. He earned his B.F.A. degree at the Kansas City Art Institute in 1986 and his M.F.A. degree at the School of the Art Institute of Chicago in 1991.


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JB: In your paper, "The Design of C++0x" published in the May 2005 issue of the C/C++ User's Journal, you note that "C++'s emphasis on general features (notably classes) has been its main strength." In that paper you also mention the most change and new features will be in the Standard Library. A lot of people would like to see regular expressions, threads and the like, for example. Could you give us an idea of new classes or facilities that we can expect to see in C++0x's Standard Library?
BS: The progress on standard libraries has not been what I hoped for. We will get regular expressions, hash tables, threads, many improvements to the existing containers and algorithms, and a few more minor facilities. We will not get the networking library, the date and time library, or the file system library. These will wait until a second library TR. I had hoped for much more, but the committee has so few resources and absolutely no funding for library development.
JB: Have you or others working on C++0x had a lot of genuinely good ideas for new classes or facilities? If so, will all of them be used or will some have to be left out because of time and other constraints on developing a new standard? If that is the case, what would most likely be left out?
BS: There is no shortage of good ideas in the committee or of good libraries in the wider C++ community. There are, however, severe limits to what a group of volunteers working without funding can do. What I expect to miss most will be thread pools and the file system library. However, please note that the work will proceed beyond '09 and that many libraries are already available; for example see what boost.org has to offer.
JB: When would you expect the C++0x Standard to be published?
BS:The standard will be finished in late 2008, but it takes forever to go through all the hoops of the ISO process. So, we must face the reality that "C++0x" may become C++10.
JB: Concurrent programming is obviously going to become important in the future, because of multi-core processors and kernels that get better at distributing processes among them. Do you expect C++0x will address this, and if so, how?
BS: The new memory model and a task library was voted into C++0x in Kona. That provides a firm basis for share-memory multiprocessing as is essential for multicores. Unfortunately, it does not address higher-level models for concurrency such as thread pools and futures, shared memory parallel programming, or distributed memory parallel processing. Thread pools and futures are scheduled for something that's likely to be C++13. Shared memory can be had using Intel's Threading Building Blocks and distributed memory parallel processing is addresses by STAPL from Texas A&M University and other research systems. The important thing here is that given the well-defined and portable platform provided by the C++0x memory model and threads, many higher-level models can be provided.
Distributed programming isn't addressed, but there is a networking library scheduled for a technical report. That library is already in serious commercial use and its public domain implementation is available from boost.org.


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Gardens can be outdoor classrooms and provide unique learning opportunities for people of all ages. Farmer D visits Morningside Elementary School in Atlanta where students help him install an edible garden while learning where their food comes from, how to plant and grow fresh vegetables, and the pleasures of being outside. Once the school garden is set up, it becomes an outdoor classroom for science, math, language arts, English, and other classes. (Michael Lindsay/MNN)
Want more? Check out our special sections on education, family, food, and gardening.
Farmer D: Hey, I'm Farmer D. I'm over here at Morningside Elementary School. We are in the process of transforming their courtyard into a vibrant, edible garden. We've got a great group of volunteers out today from Whole Foods Market and from the school. We've been working on this project for many months now. It's a pretty dynamic design. We've got five pie-shaped beds with wooden beds, with paths in between them, so they're all custom cut in design. And then we've got about five nice 3 X 6, big, deep, raised cedar beds, and then three 2 X 8 raised cedar beds here in the Native American garden. There's quite a bit going on in this garden. It's a really cool space. The benefit of a school garden is that the youth that go to school -- this is an elementary school -- can actually come out and learn about where their food comes from, and the science classes, the math classes, the arts, language arts, social studies, they all use the garden for teaching different aspects of their curriculum. We have all of these kids coming out to actually -- all the classes will plant. You guys are all going to be farmers this morning. So, some vegetables like it hot, like the tomatoes, and the peppers, and the okra. And some like it cold, like beets, and cabbages, and collards, and kale, and lettuce. Do you guys like lettuce?
Farmer D: Yeah, no. Some of you do, huh? Every month, they have a produce of the month. So they -- we have something coming in, in the garden. Like, coming up here in October, it's going to be sweet potatoes, and that one day in the month, we source local sweet potatoes from Georgia, organic, from Georgia farms, preferably organic, but definitely local sweet potatoes. So, the whole school has kind of a theme around this produce of the month, and so that the kids learn about what foods come into season when. They're going to be planting kale, and cabbage, and lettuce, and carrots, and beets, and a whole bunch of more fun stuff. It's been fun but very challenging. I'm going to get back to work and help these guys out.
Daron Joffe is not your typical farmer. Joffe is a 30-something eco-entrepreneur with more than a dozen projects around the nation. Actress Jennifer Garner thinks his turnips "rock" and billionaire entrepreneur Sir Richard Branson wants him to develop an organic farm at his exclusive New Jersey spa. Known as Farmer D, Joffe also creates Farmer D Organic Compost out of green waste from Whole Foods stores in the southeast U.S. In addition to innovative internship programs that help at-risk youth learn about agriculture, Joffe is involved in creating and sustaining small organic farms in developments around the U.S. Want to know more? Watch all the In the Field videos with Joffe on MNN.


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Total U.S. money market mutual fund assets fell $12.32 billion to $2.679 trillion for the week that ended Wednesday, according to the Investment Company Institute.
Assets of the nation's retail money market mutual funds fell $4.89 billion to $911.05 billion, the Washington-based mutual fund trade group said Thursday. Assets of taxable money market funds in the retail category fell $2.67 billion to $713.17 billion. Tax-exempt retail fund assets fell $2.22 billion to $197.88 billion.
Meanwhile assets of institutional money market funds fell $7.43 billion to $1.768 trillion. Among institutional funds, taxable money market fund assets fell $6.66 billion to $1.687 trillion. Assets of tax-exempt funds fell $770 million to $81.56 billion.
The seven-day average yield on money market mutual funds was unchanged from the previous week at 0.02 percent in the week that ended Tuesday, according to Money Fund Report, a service of iMoneyNet Inc. in Westborough, Mass.
The 30-day average yield was flat at 0.02 percent from last week. The seven-day compounded was unchanged at 0.02 percent. The 30-day compounded yield was also flat at 0.02 percent, Money Fund Report said.
The average maturity of portfolios held by money market mutual funds rose to 48 days from 47 days.
The online service Bankrate.com said its survey of 100 leading commercial banks, savings and loan associations and savings banks in the nation's 10 largest markets showed the annual percentage yield available on money market accounts was unchanged from the week before at 0.12 percent.
The North Palm Beach, Fla.-based unit of Bankrate Inc. said the annual percentage yield available on interest-bearing checking accounts was flat from the week before at 0.05 percent.
Bankrate.com said the annual percentage yield on six-month certificates of deposit was flat at 0.17 percent. It was also flat at 0.27 percent on one-year CDs. It was also flat at 0.42 percent on two-year CDs and flat at 0.86 percent on five-year CDs.


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CM201, Reviewed October 1993
Sentences must vary in length to avoid boring your reader. But the average length should be short. Fifteen to 20 words per sentence would be a good average.
Sentences are getting shorter. Average shrinkage of sentences in English prose from Elizabethan times to 1900 was from one-half to two-thirds. The trend continues, although more slowly.
Short sentences are not enough by themselves. Long sentences are not the chief cause of foggy writing. Fuzzy words block clarity.
Trim the fat from your writing. Fuzzy words, along with unnecessary ones, make your writing difficult to read and understand.
Control sentence length by noticing the number of lines in each sentence. A typewritten line, or a line in average handwriting, averages 10 to 12 words. Remember to vary sentence length, but worry about those that run more than two lines.
This principle does not outlaw the use of a complex form. You need both simple and complex forms for clear expression. At times, the complex form may be best. So, if the right word is a big word, go ahead and use it. But if a shorter word does the job, use it.
Of the 10 principles, complexity is the one most violated. Nearly anyone facing a sheet of blank paper begins to put on airs. We use three words where one would do. We can't resist the gingerbread of four-syllable words. We write "utilization" when we could just as well write "use," or "modification" when the short word "change" would do.
Unconscious use of complexity is hard to overcome. The roots of the fault are sunk deep in habit.
Writing shorter sentences usually means you use shorter words.
You need all the words you can master. Perhaps you can get along with a working vocabulary of 5,000 words. But if you want to succeed in our complicated society, you'll be better off with 30,000. However, intelligent people use their large vocabulary only to give clear, exact meaning — never to show off.
Big minds use little words; little minds use big words.
The most familiar words are 10 short ones: the, of, and, to, a, in, that, it, is, I. They make up 25 percent of all that is written and spoken in English.
The 50 words most often used make up 50 percent of written English. The 1,000 most common words turn up 80 percent of the time and the 10,000 words most often used account for 98 percent of all that is written. Remember, there are more than 500,000 words in Webster's Unabridged Dictionary.
Most letters can be cut in half and still say the same thing.
Unnecessary words usually are included unconsciously.
One minute spent organizing a mass of details will save several minutes in its writing. Furthermore, a few minutes spent in going over copy and correcting it will also pay off.
"The fullback hits the line." That's writing with an active verb. "The line is hit by the fullback." In this sentence the verb is passive. The electricity has gone. The snap of action is no longer there. The same idea translated into typical business jargon goes something like this: "The hitting of the line is an activity engaged in by the player acting in the capacity of fullback."
It is better to say "the bull sprang into the sale ring" than to say he "came into the ring quickly" or "came in with a quick jump."
Present design methods are predicated on the assumption that one-piece windshields are preferred by the public.
At present, designers assume the public prefers one-piece windshields.
When an application of wax is made to this surface a brilliance is imparted to it.
Waxing this surface brightens it.
Some grammarians would insist that "write like you talk" is poor grammar. They prefer "write as you talk." But this violates the rule "write like you talk."
"Write like you talk" has its limitations. Most of us do talk rather untidy English. We repeat ourselves. We pause. We hesitate. However, in our speech we do not use long, involved sentences laden with multi-syllable words that usually occur in our writing.
"Write like you talk" also has its limitations when it comes to news writing. Newspapers — many at least — still prefer that news stories be written in inverted pyramid style and in an impersonal manner.
Avoid fuzzy words. "Conditions," "situations," "facilities," "inadequacies" are typical examples.
An engineer might say an alloy is "not fabricable." This is a general term that might mean several things. When asked for a more specific meaning, the engineer might say "the alloy cracks when it is cold-rolled."
Much communication fails because writers ignore readers' beliefs, ignore how they came by them, and how firmly they hold them.
Words are not fixed. They vary in meaning from person to person, the meaning depending upon the experience of that person and the pictures the words call to mind.
Highly abstract terms often are useful for thinking, but they are tricky in communication because they are open to such wide interpretation.
In trying to persuade readers to accept your words, remember that the meaning they give them will be determined entirely by their past experience and purposes.
To get your words read, understood and accepted, you must have a clear understanding of your own purposes and of the purposes of the reader. If these purposes differ, you have two courses for winning acceptance of your message. You must either change your readers' purpose, or you must show them that though your purposes differ in part, they have, at the same time, much in common.
In writing, don't get lost in details.
It isn't enough to write so you will be understood. You must write so you can't be misunderstood.
The style of your writing will grow as you grow.
If you get "caught" writing simply, you have failed. Good writers work within a strict discipline of simplicity. But they introduce enough variety of sentence length, structure, and vocabulary so that the simplicity is not noticed. As a result, readers never think the writing is choppy or childish.
Variety is a main ingredient in the art of writing. Only practice can lead to the facility that produces variety. Being aware of the point, however, helps one gain facility more rapidly.
A trap awaits the inexperienced writer. In the unaccustomed medium of the written word, we often try to impress rather than express. We try to be someone else.
No writing is easy. But we make it more difficult by seeking out long, unfamiliar words, and in writing long, meandering sentences.
The chance of striking awe by means of big words is small. Readers have almost rid themselves of the yoke of past years. Few are fooled by fanciness in language. It's been a long time since any of us have heard anyone say, "I can't understand what he is saying; he must be highly intelligent."
Don't be awed by the rules of grammar. Pay attention to clear expression, and for the most part grammar will take care of itself.
If you want to test the clearness of your writing, you may wish to consider using a "fog index." Fog indexes measure the complexity of writing samples, and often provide a means of calculating the reading or educational level required to understand a particular passage. Some fog indexes are available as computer software programs, or you may do the calculations yourself. Here is an example of a fog index you might try:
Anything over 17, call "17-plus," meaning above the level of a college graduate.
It is important not to over-use the fog index. Use it only occasionally to spot-check your writing. Don't write to make a good fog index score. That will make you write short, choppy sentences. Like these.
Instead, learn and practice using the "Ten Principles of Clear Statement." If you observe these guides to good writing, your writing will naturally grow easier to understand.
The Gunning Fog Index and Ten Principles of Clear Statement are copyrighted by Gunning-Mueller Clear Writing Institute, Inc., and may not be reprinted or adapted without prior written permission.
Order publications online at http://extension.missouri.edu/explore/shop/ or call toll-free 800-292-0969.


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Tiger Woods must really like his new girlfriend, international superstar skiier Lindsey Vonn.
Because, when his life was a mess, Vonn was openly making fun of him and everything he was going through.
In February of 2010, Sean Gregory of Time magazine reported, "America's most famous female athlete [Vonn] comes across as ingratiatingly anti-Woods."
Gregory was with Vonn when she watched Woods' apology press conference where he stood at the podium against the blue curtain back drop. She started cracking jokes about it:
And like millions of Americans, Vonn can't help poking fun at Woods' staged event. When a member of her Vonn-tourage tells her that Woods gave a few friends hugs after ending his statement, she cracks, "They're like, 'Yeah, you're awesome, you go have that sex.' " The room breaks into a laugh. Then she describes a skit she would want to perform if asked to host Saturday Night Live: picture Vonn at Woods' podium, blue backdrop and all. "There's something you don't know about me," Vonn says in a faux solemn, apologetic voice. "Tiger, you're like my idol, and I too have a sex problem." More laughter. "That would be freaking funny."
A lot of people were making fun of Woods during his scandal. But not a lot of people went on to date him.
Woods has a reputation for being unforgiving to people who he believes have crossed him. Either he doesn't know about this, or he's willing to move past it. If it's the latter, it must be true love!
(Woods has a reputation for having a pretty bawdy sense of humor himself. Maybe somehow he can laugh at this now?)
Via: Geoff Shackleford


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As its file extension denotes, BTUninstall.exe is a vital EXE file and it's a component of the software BackTrak developed by Windows Software Developer. The latest version of BTUninstall.exe file is 1.00 and MD5 value is 81ace52551ec6fa99694e2137c1e7362. This error can be seen on Windows XP, Windows Vista, Windows 7, Windows 8 and Windows 10.(more…)
FixOSError.com is a knowledge base that is committed to providing computer users with easy and effective solutions to troubleshoot various computer errors, including DLL errors, blue screen errors and EXE errors, and speed up the overall performance of your Windows operating system. FixOSError.com is supported by a group of enthusiastic computer experts and its goal is to educate and help computer users repair their computer errors and keeping their computer systems error and problem free.


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According to a new press release from the IRS, US Government to Stop Collecting Long-Distance Telephone Tax, it looks like the IRS will stop collecting the 3% federal excise tax on long distance telephone service.
The tax on telephone services was first imposed in 1898. The current rate is 3% of the charges billed for these services. The IRS announcement follows decisions in five federal appeals courts holding that the tax does not apply to long-distance service as it is billed today.
Taxpayers will be eligible to file for refunds of all excise tax they have paid on long-distance service billed to them after Feb. 28, 2003. Interest will be paid on these refunds.
Taxpayers will claim this refund on their 2006 tax returns. In order to minimize burden, the IRS expects to announce soon a simplified method that individuals may use.
According to the report, the IRS doesn't want people trying to find all their old telephone bills, so they have come up with a new "simple and fair" process to help you make your claim. So stay tuned and put this on your calendar to check before those 2006 US taxes become due.
I know a few people who are still using dial-up, and dialing long distance numbers to connect to the Internet, so this will be a big reward for them. As a reminder to those still using dial-up, AOL and others providing dial-up Internet connections and services are raising their prices in an attempt to force people to get off their land lines and onto DSL or cable.
Site Search Tags: irs, us, government, stop, taxes, telephone, dial-up, modem, services, excise, long, distance, reimburse, reimbursement, internet, web, connect, connections, broadband, dsl, cable, moneyback
Copyright Lorelle VanFossen


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Aluminum Delaware State Blank, 18g
Model: KA087
Aluminum Delaware State Blank, 18g
- Height: 40.3mm (1.6")
- Width: 16.7mm (.65")
- Thickness: 18g
- Matte Finish
- May have a sharp edge or two due to their detail.
- Edges can be smoothed out with light grit sandpaper, a file or just thrown in the tumbler for a spell.
- Made in the USA.
- Durable yet stamps like butter!
- Requires lighter hammer strike.
- Lightweight
- Does not tarnish.
- Not for soldering, but great for riveting!
- We recommend a Sharpie or Gilders Paste to darken impressions.
- Silver Black and Liver of Sulfur are NOT recommended.
- We recommend using the screw-down hole punch rather than hole punch pliers.
- Sold individually.
This item does not have any reviews yet.
Frequently Purchased Together


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Drew Magary writes sports commentary for Deadspin, Maxim, GQ and is the author of "The Postmortal."
We're currently living in the Golden Age of Super Bowls, with many of the greatest Super Bowls of all time having taken place within the past decade. It's a glorious time for watching the Super Bowl. Free agency and the implementation of revenue sharing and a salary cap have made for a quality playoff product, filled with shocking upsets and competitive matchups.
It wasn't so long ago, of course, that the Super Bowl was derided for being consistently one-sided. The game was always a rout, the second half was always a bore, and the NFL season would always end on a sour note. And even today, the danger of a terrible Super Bowl still lurks.
There's never much rhyme or reason as to why you end up getting a crummy Super Bowl. Some teams prove unprepared. Some teams have clear and decisive matchup advantages. Some teams find out their starting safety got caught trolling for hookers the night before the game. All of those factors come into play, and all of them threaten to reduce America's greatest sporting event into a four-hour death march.
U.S. & World
Here now are the five worst Super Bowls of the past twenty-five years, along with the reason why each one was so putrid.
1. Super Bowl XXXVII (Bucs 48, Raiders 21)
Why It Sucked: Because the Raiders were too stupid to change any of their audibles when their former coach was standing on the opposite sideline. And because Oakland OL Barrett Robbins went AWOL right before the game. And you know what the shame of it all is? That Raiders team was GOOD! That didn't have to be a terrible game! If Robbins had kept himself together and Bill Callahan had bothered to change colors from RED to GREEN, this wouldn't have ended up being one of the most forgettable Super Bowls of all time. I'd also like to note that the more random your Super Bowl MVP is (Dexter Jackson), the more likely the game was bad.
2. Super Bowl XXVIII (Cowboys 30, Bills 13)
Why It Sucked: Because it was a rematch no one wanted, featuring a Cowboys team that had beaten the Bills by five touchdowns in the previous Super Bowl. This was a desultory, horribly played game, with Thurman Thomas' lost helmet as its defining symbol. I chose this game as the representative of the Bills collection of three straight Super Bowl blowout losses (all of which followed another Super Bowl loss to the Giants that was far more dramatic).
3. Super Bowl XXXV (Ravens 34, Giants 7)
Why It Sucked: Because Kerry Collins picked the wrong day to start playing like Kerry Collins again. And because that wonderful Ravens D deserved a better final test than that.
4. Super Bowl XXIV (49ers 55, Broncos 10)
Why It Sucked: Because it was the most lopsided game in Super Bowl history, and because it served as the low point of the run of terrible Super Bowls during the 80's and early 90's. This is the one people used to point to when they were like, "The ads are better!" I don't think you'll ever see a margin of victory bigger than this.
5. Super Bowl XXIX (49ers 49, Chargers 26)
Why It Sucked: Because the Steelers would have been a better matchup for Steve Young, and because it took all of one minute and twenty-four seconds for the game to be effectively over.
So let us hope we never see the likes of these games again. Giants and Pats, don't let us down.


text: ミリマンとは 会社略歴 連絡先 ニュース & イベント コンサルタント Takanori Hoshino, FIAJ, FSA, CERA, CMAPrincipal, Senior ConsultantTokyo, JPTel: +81 3 52117031E-Mail | Download bio | VCardBiographyPublicationsProfessional DesignationsFellow, Institute of Actuaries of JapanFellow, Society of ActuariesChartered Enterprise Risk AnalystChartered member, Security Analysts Association of JapanEducationBS, Mathematics, Waseda UniversityCurrent ResponsibilityTakanori Hoshino is a principal with the Tokyo office of Milliman. He joined the firm in 2000.ExperienceTakanori has extensive experience in providing consulting services to life insurance companies in Japan and other Asian countries in the fields of embedded value reporting including market-consistent embedded value (MCEV), actuarial appraisal for mergers and acquisitions, U.S. GAAP/statutory actuarial modeling, demutualization, and economic capital modeling. Prior to joining Milliman, Takanori spent eight years with the Dai-ichi Mutual Life Insurance Company, where he was responsible for profit management and corporate planning with the actuarial department and personnel department. He also gained extensive work experience in the United States as a trainee at Lincoln National.AffiliationsMember, Working Group for Future Economic Value-based Solvency Regime, Insurance Accounting Subcommittee, and Practice Development for International Standards Subcommittee of the Institute of Actuaries of Japan Work at Milliman "I was offered a chance to come in, shake things up, create something." Work at Milliman


text:
The thing in question is a quotation that Richard Strauss threaded into "Im Abendrot," the first-published but almost always finally-sung of the Vier Letzte Lieder, the Four Last Songs. Setting a poem by Eichendorff, "Im Abendrot" sings of a couple at the end of their lives, wistfully but peacefully coming to the end of their journey, walking in the sunset, as two larks symbolically flutter up into the sky. "Im Abendrot" is commonly interpreted as the composer's vision of he and his wife, Pauline, accepting their own mortality, a calm farewell to a long and sometimes tumultuous shared life. And anyone who knows anything about "Im Abendrot" knows about the quotation at the end of it, the motive from his own tone poem Tod und Verklärung that Strauss brings in as the soprano surveys the tranquil scene and asks ist dies etwa der Tod? ("Is this, perhaps, death?")
But I'm not referring about that quotation. I'm referring, instead, to the one at the beginning of the song, a bar before rehearsal "C," on the line vom Wandern ruhen wir ("Now from our wandering we can rest"):
Take a look at the accompaniment there:
It's a quote from "Porgi, amor," the Countess's introductory cavatina in Mozart's Le Nozze di Figaro:
I am fairly sure this is not a coincidence. It's the same melody, the same harmony, the same key, even. Strauss knew his Figaro, certainly—he conducted the opera often, and even composed his own idiosyncratic reboot of it in Der Rosenkavalier. Strauss also had Mozart on the brain throughout the 1940s: his 1945 Sonatina no. 2 for winds (subtitled "Fröhliche Werkstatt"), for instance, was dedicated "To the spirit of the divine Mozart at the end of a life full of gratitude." So if one of his own songs, first sketched out a year later, suddenly clears the table to make room for a note-for-note amuse-bouche of "Porgi, amor," I think it's a safe assumption that it's happening on purpose. The question is what it might mean. Here's a recklessly speculative answer: what if it means that "Im Abendrot" isn't about Pauline Strauss after all?
Strauss had been through the mill of love before he finally married. In 1883, he had met Hanuš Wihan, the great Czech cellist, and his wife Dora. Dora (née Weis) was 23, pretty, an accomplished pianist, a friend of Strauss's sister Johanna. The 19-year-old Richard Strauss fell in love with her, and—the Wihan marriage being what it was: strained—Dora reciprocated, to an unknown extent. Even if it never passed beyond flirtation, it was blatant enough for Strauss's father to warn his son, via letter, of the possible professional repercussions of Munich gossip. Given Hanuš Wihan's inclination toward suspicion, the relationship probably contributed to the breakup of the Wihan marriage.
A teenaged whippersnapper in love with an older woman in an unhappy marriage to a jealous husband—where have we heard this story before? That's right, Figaro. No wonder Strauss liked the opera. No wonder, when he came to reimagine the opera in his own Rosenkavalier, it was the Cherubino-Countess pairing that took center stage, in the guise of Octavian and the Marschallin.
Strauss's own real-life version eschewed Mozart's catharsis for a gradual fade: after her divorce, Dora Wihan went into something of a self-imposed exile from Munich, visiting America, teaching piano for a time in Lixouri, on the Greek island of Cephalonia, traveling around Europe. Tracing the Richard-Dora romance becomes a string of hints at missed connections and unfortunate schedules, the ardor all the while cooling from the intimate "Du" to the formal "Die." Still, even though Strauss's affections transferred to Pauline de Ahna, Dora Wihan would always be his first serious love. One of the few extant letters between them dates from well after their romance ended, hints at how the thought of that romance may have lingered:
(Via.) So: is "Im Abendrot" about the prospect of a reunion with Dora as much as, or even instead of, a denouement with Pauline? Is the "Wandern"—together with the "Porgi, amor" quote—a reference to the vagaries of life and career and circumstance that caused Dora and Richard to drift apart? The marriage of Richard and Pauline was certainly something more and deeper than the customary caricature of a tempestuous wife and a bemusedly henpecked husband that has been perpetuated (including around these parts); but the veiled reference to the Countess's unhappiness, to mio duolo ("my sadness"), is still dissonant. At the end of his life (Dora had died in 1938), did Strauss, in some way, yearn to rewind the tape and run it again, to let Cherubino run off with his beloved Countess? Maybe not. Maybe the Figaro quote was a private reference (Pauline, after all, had herself sung the role of the Countess during her operatic career). Maybe it was an admission on Richard's part: a reference to Dora Wihan, after all, but an acknowledgement that the affair was something he had to journey past on his way to a life with Pauline. (The quote is near the beginning of the song.) Maybe it was a happy accident, one that Strauss left in the score because of its emotional congruence.[1]
Dresden, 10 March 1893My dear friend,
Will you be very, very surprised, if a sign of life from me surfaces after such a long time? The reason that presses the pen into my hand is a remarkable one, or rather it is no reason at all, but only an impulse, but why shouldn't one follow an impulse once in a while, even at the risk of being laughed out of court? (Mirth is very good in convalescence, incidentally!) External circumstances: house arrest, sorting out old things, and the letters you sent me at Lixouri came to hand. Inner condition: recognizing the truth of the old saying that the greatest human happiness is the power of memory. Do not be afraid, dear friend, I am certainly not going to become sentimental, but the outcome was that I had to write you a few words, even though it is only a friendly greeting despatched to the far south to tell you how glad I am that you are now fully recovered. Are you very angry with me now, at this unexpected invasion of you retreat from the world? Then punish me and never reply to
Your old
(now truly old)
In the end, we don't know what that quote is doing in "Im Abendrot." And what fascinates me most about the whole idea of this is that we can't know, not for sure. I would love to have found some telling connection, some piece of evidence that would tie "Im Abendrot" and Richard Strauss and Dora Wihan up into a satisfying knot, some smoking gun, but there isn't one—and for that, we can thank Richard Strauss and Dora Wihan. Both of them destroyed their letters to each other—in Strauss's case, an unusual move. The letter I quoted above is one of only four that managed to slip through, three from Dora, one from Richard, all of them dating from the tail-end of their romance and later. That's all we have left to get a grasp on. Everything else is purely circumstantial. The number of objections one can make to the Dora Wihan/"Im Abendrot" theory are formidable—I'm not even sure I believe it, and I'm the one promulgating it—but, then again, Strauss and Wihan made sure that any hypothetical counter-corroborations would be wildly outnumbered to begin with.
History is made out of what is left behind. We think of Beethoven as a composer of painstaking struggle because his sketchbooks survived; we think of Mozart as an effortless divine amanuensis largely because his sketches were mostly destroyed. In some way, the reason that the proposal to link "Im Abendrot" with Dora Wihan is a pretty shaky one—because there's no paper trail left, it is by definition speculation, and because it's about people's personal lives, it is by definition foolish speculation—only increases my affection for the proposal, even as it triggers my skepticism. It's a little re-enactment of the nature of history and historical investigation, the way that, because we rightfully demand evidence for historical arguments, there's an awful lot of actual history that disappears as soon as it happens—simply because it's never recorded—or that disappears down some accidental or purposeful hole along with whatever scrap of document happened to catch its echo. In all too many cases, such disappearances are terrible things, tragic or mendacious or downright criminal. In the case of "Im Abendrot," though, it feels more like a gentle reminder that history is, for the most part, a lot of locked doors, and that it's a minor miracle that we jimmy open any of them at all.
The last glimpse of Richard Strauss and Dora Wihan together that we have comes from 1911, in the run-up to the Dresden premiere of Der Rosenkavalier—in which, tellingly, Octavian, the Cherubino stand-in, does not end up with his older, married lover. Johanna Strauss arranged a get-together between her brother and his wife and Dora, who had settled in Dresden and who, one surmises, Johanna would have preferred to have as a sister-in-law. Pauline's reaction, understandably, was prickly enough that Richard was left to smooth over the family friction. "[Pauline] was very put out in Dresden by the fact that you were always in the company of your friend D.W., whose constant presence even in the most intimate family circle was bound to be burdensome," he wrote his sister (again, via.). "At all events, it was not her intention that you should notice her mood, but it is very difficult for her to disguise her feelings when something has upset her." And then, ironically or not, depending on how much one is inclined to read into a passing quote of Mozart: "She has probably already forgotten the matter: so there is no need for you to refer to it again."
[1] On the Pauline-symbolism side would also seem to fall Timothy Jackson's theory that the earlier lied "Ruhe, meine Seele!," which Strauss orchestrated just after composing "Im Abendrot," was intended to be included in the Vier Letzte Lieder as a prelude to the final song. (For details, see Jackson's essay in Bryan Gilliam, ed., Richard Strauss and His World.) "Ruhe, meine Seele!" was, of course, the first of the four songs published as opus 27, which Strauss presented to Pauline as a wedding present. Then again, the actual composition of "Ruhe, meine Seele!" came on the heel of a series of reckonings for Strauss, not only his engagement to Pauline (which was left in an insecure limbo for a number of weeks as the bride-to-be entertained second thoughts), but also the failure of his opera Guntram—and I have always found it intriguing that Strauss's wedding gift included a song, "Cäcilie," that could just have well as been written for another of his former lovers, actress Cäcilie Wenzel. Perhaps Strauss was in a stock-taking mood: if (and this is even more wildly speculative than the speculation in which I've been indulging) one were to regard op. 27 as one last look at Strauss's pre-Pauline amours, then "Morgen," the last of the set, becomes even more of a departure—having bid farewell to the life that late he led, Strauss takes a deep breath and steps into the tomorrow of marriage. Unlikely, but entertaining to consider nonetheless.


text:
By T. Kelly Wilson
Columbus, Indiana is home to a body of modern architectural achievements far in excess of what would be expected to be found within a city of 42,000 inhabitants. Since 1942, well over 100 works of architecture, landscape architecture, urban design, interiors and public art, produced by internationally known practitioners have been built in the city. In spite of this remarkable fact, the story of this designed fabric has more often been the basis of tourism articles in the popular press than the topic of substantive consideration within the design professions. Attention in occasional New York Times articles, NPR radio pieces, Good Morning America TV coverage, and a sixth place designation amongst cities in the United States for architecture by the American Institute for Architecture, signals that something, indeed, of significance has been occurring here for 70 years. Yet, aside from being promoted as a tool for boosting tourism, little of the architectural or social significance of the modern buildings in Columbus is understood by the outside world.
Image (above): Bartholomew County Public Library I. M. Pei 1966
Even among architects there is scant knowledge of the power of these buildings, even though they form a significant part of the story, for good or ill, of Modern design in the postwar American city. For the new generations of architects graduating from schools of design there is even less awareness, accompanied by a diminishing population of those that were actually involved in the design and construction of these works.
Given that significant works of design by the likes of I. M. Pei, Kevin Roche, Harry Weese, Eliot Noyes, Dan Kiely, Robert Venturi, Alexander Girard, John Carl Warnecke, Gunnar Birkerts, Richard Meier, Norman Fletcher, Deborah Berke, Koetter-Kim, Cesar Pelli, and the Saarinens all exist in one small industrial town, why would this be true? The absence of any critical literature on either the buildings themselves (there is a tourist index book to be found at the Columbus Visitors Center) or the rather remarkable private/public process that lead to the eventual construction of these resources may in part be, to blame. It can be conjectured that a mid-western attitude, and certainly the attitude of the great patron of Columbus, Irwin J. Miller, to avoid public exposure and to not flaunt the air of superior ability, lead to no greater evaluation of either buildings or process than what was required to promote the city's modest tourism.
Images (right): Columbus Post Office, Roche and Dinkerloo associates, 1969
The city, however, now recognizes that the built environment of Columbus faces the consequences of 60 years of physical deterioration and alteration. And, with the passing of Mr. Miller and the departure of his family from the city, the community and its government must now rise to the challenge of developing the resources that would help support and maintain their monuments.
Taking a page out of the Miller play book, the community of Columbus marshaled its considerable resources in civic spirit, raised funds and turned to Indiana University with the offer of partnership to develop a Center for art and design in Columbus. Looking to the precedent of the Savannah College of Art and Design, and hoping to augment Columbus' history with a brave new chapter of creating a place for design where none existed before, buoyed their belief that this city, and its spirit of place, will continue to flourish. Strong stuff. And typical of
the brave thinking Columbus is known for.
At the base of this idea, to create a mid-western center for art and design, are the aging mid-century modern buildings of Columbus. The new Indiana University Center for Art+Design is predicated on the idea that the city is to be viewed as a 'laboratory for design'. The form of design education IUCA+D is now considering proposes to teach students how to think and to invent at the very intersection of the design disciplines, emphasizing the interconnectedness between art and design. This is the very same interconnectedness that existed between the designer Alexander Girard, architects Eero Saarinen and Kevin Roche and landscape architect Dan Kiley that achieved the stunning example of the Miller house. This is also the same interconnectedness that created one of the most brilliant urban spaces to be found in the United States; the Library Plaza of 1969 by I. M. Pei. Pei's Plaza was designed in considerable response to the First Christian church of 1940 by Eliel Saarinen, a response so sophisticated and nuanced that nearly every element of the plaza and the library building with its statue by sculptor Henry Moore is linked to Saarinen's church in a cascade of reinforcing, multivalent and interconnected ideas. A 'laboratory of design' means that students spend considerable time experiencing and analyzing the architecture and urbanism of the city, engaging the ideas and design intentions of these remarkable buildings by drawing, mapping and cataloguing them on site - a significant first step in learning how to design and to invent.
Images (above and below): Bartholomew County Home for the Aged (now home to the Salvation Army) 1959
Without the survival of these buildings, and here I mean more than their physical preservation, which is itself a daunting task, I also mean their design ideas, the premise of this hopeful new chapter for Columbus as a design mecca, will be lost.
Many of the buildings that form the collection of modern architecture in Columbus have undergone, or are about to undergo, physical and programmatic change, with no formalized city ordinance for their preservation in place to guide them. There are certainly instances in architecture where physical change is not recommended, even unwanted. Yet, for many buildings, survival in the city often depends upon intelligent, adoptive re-use - a strategy at the heart of many imaginative works in design and renovation. How might Columbus, then, preserve their buildings, and the design intentions these buildings express, while promoting growth? How would a city understand and choose the most meaningful form of modification to their monuments to keep them alive and avoid becoming, in the words of a well known contemporary architect, an 'architectural petting zoo'.
Seven National Historic Landmark designations are already in place for Columbus architecture, but for the other significant buildings in Columbus (the Library Plaza and the Bartholomew County Public Library by Pei come to mind), what is to be done? To answer this question, Columbus has initiated a community-based solution, a bottom up approach to conservation, by tasking a conservation/preservation consultant with creating a process and a plan that would be construed in accordance with the insight and the agreement of its citizens and stakeholders. And, as Director of the new IU Center for Art+Design, I propose to include within our academic programming new coursework that will inform the education of the designer with the special role of precedent to invigorate and deepen the design process.
The challenge for caring and maintaining these monuments, however, remains; how would the assessment of these buildings as a set of design intentions be made? How would these assessments survive the charges of subjectivity that are surely to follow, and, if an assessment could be identified, how do they become codified into useful rules? Does this also mean there is a body of design experts who are relied upon to make the judgment calls that lie at the heart of the process?
The philosophy of the architecture of Columbus is one that made the creation of radically new ideas possible. This philosophy and the bright, clear belief in the power of the human imagination to create the very best, should also apply to how a city would regard the architectural and urban landscape works that ushered in this formidable concept; that anything is, indeed, possible.
T. Kelly Wilson is the Director and Associate Professor of the Indiana University Center for Art+Design in Columbus. He received a Bachelor of Architecture from Auburn University and a Master of Architecture from Harvard University.
Wilson is an artist and architect, having recently been twice awarded the Paul Rudolph Fellowship at Auburn University. He held an Associate Professorship at Harvard Graduate School of Design since 1996, where he taught design, visual studies and co-directed the Harvard Rome Program. Wilson's drawings and paintings are shown in New York City, Boston, Ma, Columbus, Oh, and Providence, RI. Wilson a principal of 3HG+ an architectural and urban design practice involved with international urban projects in Saudi Arabia, Korea and Vietnam and China.
Wilson has been an invited lecturer at many academic institutions, nationally and internationally, including the Bermuda National Gallery of Art, the Jerusalem Studio School, Israel, and the American University in Cairo. His lectures address the subjects of spatial invention within drawing and architecture, focusing upon the perceptual organization of architecture and the city.
He has held academic positions at Harvard University, Columbia University, Yale University, MIT, Auburn University, Florida University, Northeastern University and the Rhode Island School of Design.


text:
Season 2 Episode #215
Terry Robb; Artichoke Music; Adriene Cruz
Terry Robb; Artichoke Music; Adriene Cruz
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Oregon Art Beat
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Adriene Cruz is known for her vibrantly-colored quilts and other fabric art.
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Kate Power and Steve Einhorn of Artichoke Music run Portland's premier folk music shop.
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Terry Robb grew up with music. Born in Portland, he's played guitar since he was a kid.
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This evening I attended a webinar on the subject of the recent offer from Oracle to existing Documentum customers to trade in their Documentum licenses for Oracle Webcenter licenses. Apart from the shock factor of such an offer I am genuinely interested as Oracle has been something of a sleeping giant when it comes to Content Management. They have bought a vast number of companies but the message has, for some reason, failed to really take off.
Before I go into my observations I must say that I was late for the start of the webinar and my internet connection was very intermittent so whilst I saw the majority of the slides it was clear that a lot of the value came from the voice overs. I'm hoping there will be a recording to watch later on and if there is I will add an updated post if there is something I have missed. I must also say that I have knowledge of the Oracle solutions but I have experience of the Documentum solutions; I don't favour one or the other by default but my greater experience of the Documentum products enable me to have a better appreciation of their strengths and weaknesses.
I've put down what I understood to be the reasons for moving from Documentum to Oracle below:
– Lower labour costs. Oracle are claiming that labour costs will reduce by 93% by moving from Documentum to Oracle. If this is true then it gets my attention immediately. However I do have big reservations on this number, both in its specifics (who can really give evidence of a 93% reduction) and also in its magnitude (just consider that 93% is slightly more than reducing a 10 man team to a 1 man 'team').
– Better Web Experience Management. Yes, I get this. With the purchase of Fatwire Oracle have definitely stolen a march on Documentum. Remember EMC originally looked to Fatwire as a partner and potential acquisition target. Documentum does not do WEM or WCM well, end of. If all you are using Documentum for is WEM or WCM then I'd suggest a move.
– Savings on costs relating to Search. It was discussed on the webinar the new Documentum search tool xPlore and the costs involved in upgrading to this. Yes this will be something which Documentum customers will need to face in the near future but its not a compelling reason to move in my view. Interestingly it was also discussed that the Oracle solution enables search of other repositories…well the same goes for Documentum so not an advantage there.
– Better integration points. This homed in on integration with the core Oracle Apps such as E-Business suite. This is definitely an area which I would expect Oracle to have an advantage over Documentum on but its not an area where they have an exclusive advantage. There are third party products available to enable this integration and with the advent of CMIS I would expect this advantage to be marginalised to a degree. Having said that there was no mention of SAP customers, maybe they should just go for OpenText ;-).
– Better Social and Innovation Capabilities. I'd probably agree here. Documentum's attempts here, Centerstage, have missed the mark for one reason or another and if you're using Documentum purely for this then you're probably not on the right platform, although there are other alternatives to Oracle if you do look around.
– Documentum has limited Use Cases. Took me back a little this one, there is being bold and then there is being bold. With any ECM product you can do just about anything, whether you should do just about everything is a different matter but my experience with Documentum is that it is a very flexible platform, in fact I would say at times its disadvantage is its flexibility as it can become an issue as people try to create a silver bullet with it. I'd be surprised if Oracle is any different, from my knowledge it may have integrations with other Oracle products but it lacks some of the flexibility of an xCP style implementation.
What came out in the Q&A session is that the offer is purely for the Content Server licenses. I don't know of many customers who just use Content Server and do not extend it with something like xCP or Records Manager so there is an interesting challenge to be addressed there.
So where does this leave me?
To be honest I was disappointed. I expected a compelling reason to come out which would help me understand why I can approach Documentum customers and tell them they should move to Oracle. That didn't come out. There are some situations when a move would make sense and some when it would not and for anyone out there who either has Documentum or is looking at buying it you need to do the right research for your situation. Nothing new there, you don't invest in a new ECM, either in a greenfield situation or as a replacement, without a high level of due-diligence.
Oracle remains a strong product in this space and to be honest I think they will continue to strengthen in this space, especially with the acquisitions of Fatwire and Endeca. If you're looking for a new ECM product then it should be one of the ones you look at but make sure you know the capabilities you want from your ECM and map these against the product capabilities.
Final Point
Just a final point on the timing of this offer. Next week is the EMC Documentum conference Momentum. At last year's conference EMC started to talk about their Next Generation Information Server (NGIS). This will be a big change in the product platform and one of the big advantages is that customers will no longer need a 3rd Party database to support their Documentum implementation as they will bundle everything together with their XML Database xDB. What is the relevance of this? The vast majority of Documentum implementations I have seen use Oracle as the back end database. In the future these will not be required. Food for thought.