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Ajax isn't a technology. It's really several technologies, each flourishing in its own right, coming together in powerful new ways. Ajax incorporates:
1) standards-based presentation using XHTML and CSS;
2) dynamic display and interaction using the Document Object Model;
3) data interchange and manipulation using XML and XSLT;
4) asynchronous data retrieval using XMLHttpRequest;
5) and JavaScript binding everything together.
Thursday, March 10, 2005
A New Approach to Web Applications
Posted by Duraionly at Thursday, March 10, 2005
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One of our favourite shops in Castelnuovo di Garfagnana, which we sometimes visit for its very extensive Thursday market, is the arts shop situated just south of the Rocca Ariostesca.
Apart from its artist's equipment and framing the shop has a very extensive collection of paintings and objects d'art which should please all sorts of taste. I found the examples from Dariush, the painter of Iranian origin, particularly delightful and they not excessively priced.
There are plenty of other things and it would be a strong will to escape from this cave of attractions without at least one purchase.
What did we buy (or rather me)? It was a case of paints and brushes which I gifted to Sandra, again at a very reasonable price.
I'll let you know how those brushes transform the paints into little masterpieces. Meanwhile, we remind you that there are still copies of our book 'Septet' available at the Shelley House in Bagni di Lucca (see https://longoio2.wordpress.com/2016/02/27/septet/).
Enjoy your Easter week! The weather here is brightening up every day. No troublesome storms here (cross fingers…)

subset: commoncrawl


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The federal government ran a $60 billion deficit in June and is already more than $900 billion in the red this fiscal year, but there is some bright news: basic government spending appears to be dropping, the Congressional Budget Office estimated Monday.
CBO said the government has paid out $2.7 trillion so far in fiscal year 2012, about the same level as it had by this point in fiscal year 2011. But when technical adjustments from the 2008 Wall Street bailout are subtracted, spending has actually dropped 2 percent.
That news comes after a year and a half of fierce battles between Republicans on Capitol Hill, who have fought for deeper spending cuts, and President Obama, who has fought for more money for his priorities.
CBO said Medicaid, education and unemployment benefit spending are both down significantly, chiefly because Mr. Obama's stimulus has winded down and its higher spending levels are expiring. Defense spending is also down in 2012...
It has been said that President Obama on Friday "walked back" a statement earlier in the day that "the private sector is doing fine."
But in truth, the president doubled down, explaining again his argument that the only real problem that the private sector really has is the decline in government hiring as federal stimulus funds have dried up.
The attempt at a do-over was more noteworthy to most because the president flubbed again in trying to undo his previous flub, saying "It is absolutely clear that the economy is not doing fine. That's the reason I had the press conference." (Imagine if George W. Bush had said that he held a press conference to fix the economy.)
But that was just a slip. Obama really meant that he held the press conference to try to spur Congress to act on his latest re-offering of a stimulus or at least to remind voters that he is offering a plan to keep the sputtery economy propped up.
Republican presidential front-runner Mitt Romney issued a bruising broadside attack Wednesday on President Obama's credibility, saying he is running a stealth campaign to deceive American voters and challenging the nation's news editors to be serious referees in this year's election.
"I find myself missing the presence of editors to exercise quality control. I miss the days of two or more sources to a story, when at least one source was actually named," Mr. Romney said, addressing the annual convention of the American Society of News Editors in Washington.
The challenge to the press and the newly emboldened attacks on Mr. Obama come a day after Mr. Romney swept primaries in Wisconsin, Maryland and the District of Columbia and appeared to have put himself on firm footing as he pushes to wrap up the Republican presidential nomination.
"The American Recovery and Reinvestment Act that I will sign today -- a plan that meets the principles I laid out in January -- is the most sweeping economic recovery package in our history." -- President Obama at the Feb. 17, 2009 signing of his stimulus first stimulus package in Denver.
The deteriorating situation in the Middle East may end up making this election an unexpected battle over foreign policy.
Given the new dangers and uncertainties sewn by the Arab Spring last year, particularly the emboldened regime in Iran and the anxiety in Israel, the chances for a regional conflagration are higher now than at any time since U.S. troops, now withdrawn, invaded Iraq in 2003.
That could bring $5 gasoline, economic disruption and a severe testing of old alliances.
Two months after President Obama proposed a $447 billion jobs-stimulus bill, the Senate on Thursday finally found a part on which it could agree: a $30 billion package that promotes the hiring of veterans and ends an unpopular withholding requirement for government contractors.
The 95-0 vote may be the high point of the jobs debate because it exhausts the few planks of Mr. Obama's plan that enjoyed support of both Republicans and Democrats. And that area of agreement is slim — together, the two provisions account for less than 10 percent of what Mr. Obama wants passed.
Still, senators stopped to marvel at the small outbreak of bipartisanship, which has been all too rare in recent years.
"The American people will win, and for one day at least, partisanship will lose," said Sen. Scott Brown, Massachusetts Republican.
It was the fourth vote the Senate has held on either a piece or the whole of the president's plan but the first to be successful.
GOP presidential candidate Mitt Romney said Monday that Vice President Joseph Biden's comments tying passage of the White House jobs proposal to lowering the nation's rape and murder statistics were "strange."
"Vice President Biden has had a bit of a language-control problem over the years and this just adds to the list of very strange things he has said," the former Massachusetts governor, vying for front-runner status in the GOP race, said in an interview on The Washington Times-affiliated "America's Morning News" radio program.
Mr. Biden has "probably forgotten that the new stimulus plan the president has introduced has been turned down by the Democrats in the Senate. His own party has turned it down," Mr. Romney said. "Because they looked at the first stimulus and it did not work...
Federal Reserve Chairman Ben Bernanke on Friday stopped short of signaling further action to boost growth, but said it was critical for the economy's health to reduce long-term joblessness.
"It is clear the recovery from the crisis has been much less robust than we had hoped," he said in remarks prepared for delivery to an annual Fed retreat.
Bernanke said the Fed will meet for two days in September instead of the planned one to mull its options to provide additional monetary stimulus, among other topics...
A liberal lawmaker from Oregon is speaking out against President Barack Obama and saying he may lose his 2012 re-election bid.
During a break between town hall meetings in Eugene, Oregon, Rep. Peter DeFazio (D-Oregon) recently told KGW-TV that President Obama is "not [doing] so good."
"I think it started really with his stimulus package, which I voted against," DeFazio speculates. "And I remember the original stimulus that came out of the House would've built a lot more stuff, would've put a lot more people to work"...
The influence of the Tea Party is about to endure a critical test, as lawmakers enter the second chapter of their deficit-reduction plan after approving a record increase in the debt ceiling.
Conservative Republicans have been conflicted over the 11th-hour compromise and the course of the debate as a whole. While they claim credit for shifting the conversation in Washington from stimulus to deficit reduction, Tea Party lawmakers and activists were disappointed with the result of the debt-cap talks.
In the end, 66 House Republicans and 19 Senate Republicans, many of them Tea Party aligned, opposed the package out of concern that it didn't go far enough...
(CNSNews.com) - Twenty-eight months ago—on Feb. 13, 2009--Congress passed a $787-billion economic stimulus law and sent it to President Barack Obama who signed it while declaring it would create or save 3.5 million jobs.
This Saturday, in his weekly address, President Obama pointed to his predecessors for causing problems in the economy and indicated a full recovery would not come soon.
"I wish I could tell you there was a quick fix to our economic problems," Obama said. "But the truth is, we didn't get into this mess overnight, and we won't get out of it overnight. It's going to take time"...
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Paulina Kakides Associates, Artist Management Division | An AGMA Franchised Management | Email:
Lincoln Towers, 205 West End Avenue, New York, NY 10023 | Tel: (212) 362-5842 | Fax: (212) 362-4601


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Aleta Jacobson
Artist, Designer, Instructor
Aleta Jacobson is an award-winning collage, acrylic and mixed media artist living and working in Southern California. Aleta's love for artistic expression developed at an early age. The child of a highly creative family, Aleta's earliest tools were crayons and her brother's art books. As a student, Aleta leaned more toward artistic pursuits, often skipping other classes to hang out in her art teacher's room and do art.
Aleta studied art at Riverside City College, Citrus Community College, and California Polytechnic University at Pomona. Before college, she studied art in Europe for two months. She began creating commissioned art in the 1970's for friends and loved ones. In addition, she has studied under artists such as Skip Lawrence, Christopher Schinks, Sylvia Megerdichian, Gerald Bromxmer, Robert Burridge, and Chris Cozen. Aleta is now a working artist, teacher, and designer who specializes in creating powerful collage, mixed media, and acrylic paintings using a variety of tools and materials, including art tissues that she stains by hand. In addition, Aleta creates and sells beautiful jewelry with found objects, beads, crystals, and handmade metal pieces. In her art, Aleta aims to find the beauty and creativity in everyday ephemera, incorporating found objects and cast-off bits of material in her work. She enjoys using these materials to emphasize the beauty in the everyday.
Aleta is inspired by life events, current events, and the environment. While her work is predominantly abstract in nature, she still seeks to allow the viewer's imagination to find familiar images and themes. She creates her work using the same basic design principles and structure that artists have traditionally used. Each piece typically evolves from a thought, a vision, a memory, a photograph or a scrap that moves her. She counts many of the great 20th Century Collage and Mixed Media artists, such as Pablo Picasso, Georges Braque, Robert Motherwell, Nathan Oliveira, Richard Diebenkorn, Kurt Schwitters, and Raymond Saunders as influential and inspirational to her work.
Aleta demonstrates throughout Southern California, teaches art lessons and group classes, and facilitates open studio time for art students of all ages. She has forty years experience working with children, first as a preschool teacher, Girl Scout leader, and room mother, now as a private art instructor for children as young as 4 and teens as old as 18. In 2016, she had the pleasure of collaborating with the Ovitt Family Community Library in Ontario, California on a series of art workshops for children and teens as part of the Library's STEAM curriculum. While Aleta is passionate about teaching art at any age, she finds particular satisfaction in teaching children the fundamentals of art, for their unbridled creativity and eagerness to learn. Further, she is a firm believer in the educational enrichment of an arts education in fostering creative problem solving and higher order thinking. In educating student artists of all ages, she can give back to her community, using art to bring individuals together in shared experience and bringing artists together to share and talk about art. Aleta believes that the key to improvement in the arts is creating every day and communing and sharing with other artists, rather than confining creativity to a solitary space.
Aleta's work has been exhibited in shows, local galleries and various collections nationally since 2000. Most recently, Aleta's work hangs on the walls of the refurbished City of Riverside convention center. She has also been published in North Light Books' Incite: Dreams Realized, their second edition, Incite 2: Color Passions, and Incite 3: The Art of Storytelling. She has also been published in Green Craft and Somerset Studio, imprints of Stampington Magazine. You can see more of her work at her home studio Claremont, California as well as various other shows and galleries around the Inland Empire. Email firstname.lastname@example.com for more details.
511 Art Studio
When Aleta Jacobson began her professional arts business, she wanted to establish a place in the Inland Empire where all artists, regardless of skill level or age, could explore their creativity and grow as artists in a safe, judgement-free zone. To this end, she established the 511 Art Studio and ran it out of her home in Claremont, CA. Classes, workshops, and individual lessons were offered and held around her dining room table until the demand exceeded capacity and she was compelled to open a stand-alone space in Upland, CA.
The newly dubbed 511 Art Studio operated at full capacity for six years, inviting artists and instructors of all mediums and techniques to participate in this arts-focused, community-building society with day, weekend, and sometimes week-long workshops that encouraged students to explore new avenues for artistic creation. The studio would later become an approved vendor for local homeschooling charter schools as well as a venue for Speak Easy art parties and children's birthday parties.
When the business complex that managed the studio's facility increased rent and fees, Aleta was forced to make the decision to move the business back to her home in Claremont and resume classes from her home studio space. Aleta counted this as a positive change, however, as she would then be afforded more time to work on her own art. She now conducts lessons under her name, Aleta Jacobson, artist, designer, instructor. While the business name and location may have changed, the same commitment to arts education for all ages has not. Students can still enroll in Tuesday Open Studios and private lessons where the receive individual, intensive instruction in whatever medium they wish to pursue.
To find out more about Aleta's classes, click the Contact tab and fill out the request form for a timely response!


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Dear Constant Reader,
Happy Friday! It sure is cold out there! I mean, Boston is nowhere near as bad as the Midwest, but it's still No Fun At All. Here's a tip to help you get through the day.
Eat a good breakfast.
Your mother was right! Don't skip breakfast, especially when you've got a busy schedule. My favorite breakfast food is delicious, filling, good hot or good, has room for creativity, and is super easy to make — overnight oats.
At its simplest, overnight oats are just equal parts old-fashioned rolled oats and liquid. Don't use instant oats because you'll end up with mush. Don't use steel-cut oats because they won't soften enough. For the liquid you can can use milk (of any sort), fruit juice, or just plain water.
Put your oats and liquid in a container with whatever toppings and seasonings you like, cover, and stash in the fridge overnight. In the morning, eat. It's that simple.
In the evening, I pour a half cup of oats and a half cup of liquid in a Pyrex container (as seen to the right), then add my toppings. I pop the lid on, stick it in the fridge, and ignore it until morning. I prefer my oats warm, so I microwave them for a minute or so (hence the glass container). But you can grab them right out of fridge and dig in.
Topping the oats is where thing get fun. You can add fresh or dried fruit, nuts, seeds, spices, fresh greens or herbs. I know oatmeal often has sweet toppings, but give savory oats a try.
A few suggestions:
Mina's standard
Oats and water, pinch of salt. Toss some frozen mixed berries on top. In the morning the berries are thawed and when I nuke the oats, they turn into fruit compote. Sometimes I add a dash of natural cocoa powder for a hint of chocolate. It's not sweetened, so only use it along with fruit, unless you like a bitter-tasting breakfast (just ask me know I know…)
Autumnal oats
Use apple cider for the liquid and add chopped apples, toasted walnuts, and dried cranberries. Sprinkle with a little cinnamon.
Savory sesame oats
Make the oats with water and add a splash of soy sauce and a dash of sesame oil. Top with sesame seeds and chopped scallions.
Almond Joy oats
This one is basically dessert.
Make the oats with milk. For true decadence, use chocolate almond milk (personally I think it's a bit much). Top with toasted shredded coconut, toasted slivered almonds, and a few dark chocolate chips. If you warm this one, the chips get all melty and ooze through each bite.
Like this tip? There are lots more in Miss Mina Murray's Little Book of Better Burlesque.
These writings and other creative projects are supported by my Patrons. Thank you so much! To become a Patron, go to my Patreon page.


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Greene S. A 23-year Experiment in Sustainable Team Science: The Health Care Systems Research Network. Oral presentation at 2017 SciTS Conference. Clearwater Beach, FL. Jun 13, 2017. Multi-Site Health Research Collaborations
Online at: http://www.scienceofteamscience.org/2017-agenda.
Real-world health care delivery systems provide
unique advantages for conducting research
on how to improve health of individuals and
populations. These systems offer assets including:
automated data from electronic health records
and health care claims; a stable population base
that can be observed in both across time and
care settings; and the ability to study the impact
of myriad changes in how care is organized,
financed, and delivered. The Health Care Systems
Research Network (HCSRN) was conceived in 1994
by leaders from six research centers embedded in
delivery systems including Kaiser Permanente and
many others. Since then, the HCSRN has grown to
include 20 health systems with ability to conduct
multi-site clinical trials, epidemiologic studies,
and comparative studies of health care services.
Many features of the HCSRN have contributed to
Day 2: Tuesday, June 13
SciTS 2017 Conference: Building the knowledge base for effective team science. 41
its success, and also provide instructive guidance
for other research initiatives. This presentation will
examine the factors that have contributed to the
HCSRN's longevity, as well as potential risks to the
team-based multi-site collaborative model.
Governance: The HCSRN has a representative
governance structure, wherein each member has
a designate on the Board of Governors. The Board
provides leadership, pursues strategic imperatives,
stewards the network assets, and collectively
advises its members on scientific priorities. In 2016,
the HCSRN hired an inaugural Executive Director
recognizing the need for a full-time position
empowered to lead the network, ensure visibility,
and provide stability as Board members come
and go. The Board sets the tone for the Network,
creating the organizational ethos. As such, it
strives for a balanced and ecumenical approach to
sharing opportunities, such as the opportunity to
lead large research projects.
Research Funding: The HCSRN has been productive
with respect to securing research dollars from
federal and other sources, and in its ability to
inform and influence care. In particular, the
HCSRN spawned several condition-specific
multi-site research networks in cancer, diabetes,
mental health, aging, pharmacoepidemiology,
and cardiovascular disease. In 2012 alone,
HCSRN member research centers received $340
million in federal funding, as well as funding
from other sources. An initial focus on a Cancer
Research Network (CRN), funded by the National
Cancer Institute, was the cornerstone initiative
that allowed the HCSRN to develop a robust
collaborative infrastructure that enabled studies
ranging from cancer prevention to survivorship
and end-of-life care. Central to this infrastructure
was the discovery that cancer studies were
frequently reusing the same research data
elements (patient demographics, variables
characterizing diagnosis and treatment, utilization,
etc.). Hence, CRN leaders elected to build a
federated data warehouse that could be re-used
for multiple projects without re-work.
Data: A common data model is the backbone
of the HCSRN's Virtual Data Warehouse (VDW).
It is virtual in that local health system data
remain in place at a local data warehouse, using
standardized processes for improving data quality
and validity, and governance of data sharing. Each
HCSRN site incorporates information from EHRs
and other clinical and administrative sources into a
set of VDW data tables with standardized variable
names, labels, definitions, and coding. Again, given
that diverse studies have a relatively unified set
of data needs, with perhaps 80% being common
from study to study and 20% being de novo data
collection, the VDW frees individual projects to
develop new variables to address specific scientific
questions. Thus, both the content and organization
of the VDW continue to evolve, as does the
HCSRN's sophistication and knowledge base about
using its data.
Culture of collaboration: The importance
of a network comprised of peers cannot be
understated. HCSRN sites provide one another
with complementary domain and disciplinary
expertise (e.g., some sites have a deep "bench"
of biostatisticians or health economists who can
collaborate with sites that lack this expertise).
Shared learning is a shared value, and an annual
research conference enables collaborators to come
together in a common venue to learn not only
research results, but methods and approaches that
are uniquely pertinent to delivery system research.
Securing the Future: Given a growing focus on
the "triple aim" in health care of better outcomes,
better experience, and lower cost, the HCSRN is a
vital cog in the wheel of comparative effectiveness
research. Identifying ways to sustain the network
in an uncertain funding climate is our next great
challenge, but leveraging our culture, data, and
infrastructure are central to evidence-based care.
Oral presentation
SciTS 2017 Conference, Presentation, Health Care Systems Research, Team Science, Science of Team Science
Narrow your search by
resource type or goal:
Team science experts write about current issues in the field.
Email this page


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Complete your daily
Safe Start Health Check screening.
Arts, Faith and Humanities
Written by Mike Thee
June 2, 2014
Seattle University will facilitate an important dialogue this month when it hosts "The Welcome Table: Interfaith Women in Dialogue in Catholic Higher Education." The biennial conference is being presented by the National Association for Women in Catholic Higher Education (NAWCHE) June 18-20.
NAWCHE began at Boston College in 1992. Five years ago, Seattle University became the organization's home institution, and our very own Mary-Antoinette Smith, associate professor of English (right), serves as its executive director. NAWCHE's objectives are to facilitate support of one another; create, organize and disseminate work for justice in the academy; and provide a forum for members to speak out on matters relevant to women's issues in the academy, especially those concerns unique to Catholic institutions.
"We're very excited about hosting this conference, which includes a wide range of themes and topics of interest and importance to us a Jesuit and Catholic institution concerned with issues pertinent to the academic, administrative, spiritual and personal lives and well-being of women and our allies at Catholic institutions of higher education."
Smith stresses the inclusive nature of the conference and NAWCHE itself. "This conference will offer inviting and open forums for dialogues and sharing in communal opportunities to listen, support, and create the kinds of allyship and solidarity that is the hallmark of NAWCHE."
Three of our colleagues will keynote the conference, bringing a diversity of perspectives to the conversation: Jodi O'Brien, professor of sociology and Wismer Professor (tentatively titled "Stained-Glass Ceilings: Religion, Leadership, and the Cultural Politics of Belonging"); Connie Kanter, chief financial officer and vice president of finance and business affairs ("Orthodox Jew Adopts a Jesuit"); and Sonora Jha, associate professor of communication/journalism ("Transforming Scholarship: Social Justice, The Story, and the Jesuit Institution").
More than 80 presenters and attendees have registered for the conference thus far, including SU faculty, staff, undergrads/graduate students, and alumni; as well as presenters from Loyola Marymount, Santa Clara University, St. John's University, Regis University, Our Lady of the Lake University, University of Detroit Mercy and the University of Dayton.
The conference will also feature a book reading with contributors to Unruly Catholic Women Writers: Creative Responses to Catholicism , in addition to screening two films, "The Invisible War" and "Grace at the Margins: A Social Justice Musical."
Currently comprised of 25 institutions and counting, NAWCHE continues to grow. Smith says the organization is planning to expand its membership and engage with international Catholic institutions of higher education in the next few years.
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Looking for an economical sturdy hand pipe? Well, look no further, because this Black pipe with Rasta colored mushrooms hand pipe is a steal for the quality you'll get. Ya man!
Height: 5"Perc: 11Arm Tre Perc (Green, Dark Green or Gray)Bowl Size: 14mmJoint Size: 14mm (Clear)Angle: 90º
The perfect addition to any piece for better diffusion.
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Never touch a hot banger again without knowing if it's cool or not. The Thermochromic quartz banger is a thermal banger that will change in color depending on whether or not it is hot or cool.
You will begin to see the color of the quartz particles change from a bright yellow color to a deeper orange color when it is extremely hot. It will take a short time to get to understand how this thermochromic quartz banger functions.
These quartz bangers are a favorite amongst many users and will be sure to become a staple in your accessory collection.
This Engraved Designer Flat Top Quartz Banger Nail is a new style of quartz banger that features a unique design and is just freaking cool as heck. The flat top design allows you to use a variety of different carb caps to increase vaporization and flavor. Specs:
Because of the many different unique styles this banger comes in, please include a note of a style you would prefer. If for any reason that specific style is not in stock we will send you a specialty pick.
This device unlocks the true power of concentrates, providing the clearest expression of the potency, flavor, and effects of the plant they're derived from. This means you get the most efficient and enjoyable experience, faster and easier than ever before, with no learning curve.
Beginner or expert, small or big loads, flavor or big clouds, no matter how you like to consume there is a perfect setting for you. Sesh-mode also lets you extend your session, creating the first social dab experience
Compare this to the 3-minute process of heating and cooling times with typical dab rigs. This means more consumption and less waiting.
The SmartWare automatically adjusts heat times if your bowl is still hot. This provides a more consistent experience during repeated use and sesh-mode.
The discreet light band provides battery and heat cycle indicators when needed, and conceals itself when they're not. Haptic feedback keeps your timing spot on so you're getting the perfect hit.
The battery fully charges in 2 hours when using the supercharger. It lasts around 30 dabs.
This thermal quartz banger nail features a double wall design which allows you to vaporize more concentrates at lower temperatures and enables you to easily direct your air flow using a bubble carb cap.
Unlike a traditional quartz banger where too much wax can flood your dab rig, this thermal banger contains all your wax inside the inner cup to prevent any from leaking out into your rig. This ensures that none of your precious concentrates are wasted.
To maximize vaporization we recommend using a bubble carb cap. To keep your new quartz nail clean, simply clean it after each use with a cotton swab.
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Sculpture of a ram's head carved into a French natural stone
A beautiful artisanal and French realisation !
This ram's head is carved by our craftsmen within our workshops located near Avignon. Sculpted by hand into the stone of Estaillades, the white stone of the Luberon, this sculpture shows a beautiful natural patina.
A unique decorative element that will bring some character to your home.
-- Other models are available (bull, lion, horse, wild boar, gargoyles, eagle, ...) --
: 65 cm
Width : 40 cm
Depth : 50 cm
1500 €Réf. SCM012Contact us
about this product
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Exhibition Submission Time
Here we go dupalings, our first exhibition of the year.
We are incredibly excited to announce that we are now accepting submissions for our 4th Week Exhibition 'DEPICTING PROTEST'
The exhibition seeks to highlight to work of students, societies and activist groups involved in protesting the status quo. Movements like Take Back Trinity, Strike for Repeal, Take Back the City, Pride and the End Direct Provision marches (among others!) have been to the forefront of the public conscience recently.
Photographers can get to the frontlines of these protests and offer a unique perspective of the movement through their pictures. This is a fantastic opportunity to see your photographs displayed to a professional standard, so we strongly encourage you to submit your work. Thanks to Trinity Societies C.S.C. for supporting this 4th Week event.
Here's how it works:
– You can submit up to 4 images.
– Photos should be no less than 1MB
– JPEG or PNG only
– They don't have to be new, we want to showcase the photographer just as much as their work! If you have some older shots you feel are some of your best, send them our way.
– You can suggest how your work should be displayed.
– We will consider all submissions.
Please email your submission to email@example.com with the subject line "PROTEST 2018". Be sure to include your name and the captions required for each photograph. Good luck!!


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Okay, maybe getting ready to nerd out is a little more appropriate… but still. Geeking out and nerdery is about to commence.
Here's what's about to come up:
- I'm hopping a train this afternoon and will be visiting my super amazing boyfriend, Jaron, for a few nights. (So excited!)
- Jaron has an invite to Lego Universe. It's in private beta right now. And um, yes, I am going to make sure I get to check it out too. (Girlfriend perks, right? I mean, I showed him Glass before sending him an invite…)
- Jaron is also having a super awesome party on Saturday. It'll be a day of gaming. Different games in various rooms. Sadly, though, I'll be missing this. (boo)
- …HOWEVER… I get to see Jaron that night and for the whole day Sunday, which happens to be his birthday! So we're going to spend the day celebrating.
- I now have a book of the complete works of Charles Perrault — the French writer who did all those fairy tales before the Brothers Grimm… You know, back when fairy tales didn't always have the "happily ever after"…
- I also got a book of Grimm fairy tales… and for good measure, a collection of H.P. Lovecraft. (I've read a handful of Cthulhu graphic short stories, figured I need to read the original.)
- I'm talking with a writing program here in the city. There is a good chance I might be starting a course next week. I've felt this ever stronger tug at my heart that I've neglected my writing for far too long. I'm tired of ignoring that. I want to work on my craft and get back in the game.
- Writing = researching = AWESOME. I love researching. I love learning. If I could continue taking course forever, I would. In an instant. One of the main reasons I've been getting fairy tale books is because of a story I'm working on… it's inspired by Perrault's Petit chaperon rouge (Little Red Riding Hood).
Also other things I'm excited about… Attempting to distract Rachel long enough to steal her new copy of Endless Ocean. It's a game that lets you explore the ocean waters. It's prompting kids and adults to think more about things outside of their community bubble. Wildlife conservation is a HUGE thing to me. Ocean conservation is a very, very large part of that. We ignore our ocean ecosystems, and we're going to seriously f- up our world because of it. Anyway. The game looks awesome. (Yes, I'm jealous that Brand About Town isn't sending me things like this. I mean, come on, huge nerd here. I love video games. Grew up on them. I've got a Nintendo track jacket — and not just the Wii Fit Plus one they gave me — and for 2/3rds of college I carried around a Nintendo remote messenger bag. They're missing out on a great nerd right here. But that's not the point. The point is I'm going to attempt to snag Rachel's game, and return in one piece.)


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Articles in Shiraz Cabernet and Moscato
Barmah Park Shiraz Cabernet
Inky red black. Spicy dark cherry and plum fruit with the Cabernet providing a leafy, minty lift. Fleshy and concentrated with very ripe dark fruit, fresh acidity and fine tannins. The finish is intensely minty and peppery with noticeable but...... Read full article
Trofeo Estate No.85 Moscato Rosa
by Trofeo Estate on
As a limited release this cheeky pink Moscato entices the senses with a delicious lolly shop nose and mourish flavours. An easy drinking drop and low in alcohol. Perfect on a sunny deck or beach with seafood or cheese or the girls!... Read full article
Trofeo Estate Moscato Oro
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Enjoy as an aperitif, digestive or just because it's delicious. This delightfully aromatic, low alcohol Moscato offers fresh fruit flavours on the palate with a subtle yet refreshing spritz on the finish.... Read full article


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It's time for our favorite monthly series, Coolest Creations by YD Kids! Each month we showcase some of the impressive final projects created by Youth Digital students. These projects reflect all the hard work our kids put into their courses, as well as some of the tech skills and software they learned along the way.
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text: SAVE Korean Pop (KPop) boy band Big Bang is coming to the Philippines for the second time at Mall of Asia Arena on July 30. The band, comprising of G-Dragon, T.O.P, Taeyang, Daesung, and Seungri, made their debut on August 19, 2006 and immediately made an impact in the KPop scene. A year later, they launched their breakthrough single "Lies", and even won several awards at the 17th Seoul Music awards, bagging awards like "Artist of the Year", "Song of the Year", and "Best Male Group". Their success went beyond South Korea, as they were equally successful in Japan, even performing a Japanese song entitled "Number 1". The said song was playing on Japanese radio stations, and the album, which has the same name, peaked at number 3 at Japan's Oricon daily album chart. Big Bang's members has made solo projects, and even had a collaboration with KPop Girl group 2NE1 for the song "Lollipop". Among 2NE1's members is Sandara Park, who is one of the more popular Star Magic Quest contestants. Park has made several movies and television specials for ABS-CBN. Now on their second world tour (and second visit to the Philippines), Big Bang's success is enough reason on why they are worth the hype. Tickets, ranging from General Admission to VIP Dance/Seated, are available at SM Ticket Outlets (470-2222) or online at smtickets.com.


text:
F'up of avr-gcc: New Features?
It would be wonderful if values of variables could be inspected during a debugging session. In my experience, this works less than half the time. I don't know whether AStudio's debugger or gcc's debug output is to blame, but from the fact that this situation didn't seem to improve going from AStudio4 to AStudio6, I tend to suspect that the compiler output files don't contain enough supplimental debugging information to let a debugger work.
And, yes, I'm talking about debugging optimized code (you know; the kind you MUST build if you want _delayXs() and perhaps other features to work). I know this is pretty arrogant of me, especially as I haven't the time to construct my own tools, but it seems to me that if *I* can figure out what's in the 16-bit variable gleemFleeble by "simply" opening a Disassembler window and reverse-engineering the code to deduce which register pair got assigned, then maybe the compiler that decided which registers to use should have mentioned that to the debugger.
I can imagine that better symbolic debug hints are probably hugely difficult to generate, but I think they'd be hugely appreciated, too.
This feature is already there.
For example, it you compile a module like
void f (void) { int iiiii = 12345; }
with -g3 then the variable and its value are present in the debuging information "" with
- -gdwarf2 -gstrict-dwarf
There is a DWARF browser written by Tom Tromey that works as Emacs extension. In the rare case you don't like Emacs, it's still easier than writing your own DWARF browser...
void f (void) { int iiiii = 12345; }
- avr-gcc -c -Os -g3
<2><3c>: Abbrev Number: 3 (DW_TAG_variable) <3d> DW_AT_name : (indirect string, offset: 0x7c): iiiii <41> DW_AT_decl_file : 1 <42> DW_AT_decl_line : 3 <43> DW_AT_type : <0x4a> <47> DW_AT_const_value : 12345 <2><49>: Abbrev Number: 0 <1><4a>: Abbrev Number: 4 (DW_TAG_base_type) <4b> DW_AT_byte_size : 2 <4c> DW_AT_encoding : 5 (signed) <4d> DW_AT_name : int
Use a contemporary debugger that makes use of this information and does not hide it from you.


text:
I started the college search process during my sophomore year of high school (due to much encouragement from my guidance counselor father). So by my senior year, I had narrowed down my options to a solid top five. I had spent hours poring over college search engines that allowed me to limit my results based on certain characteristics. I knew exactly what I wanted from a school: a small, intimate community with a strong liberal arts program. I wanted to be just a few hours from home, be exposed to a lot of clubs available to join and explore, and (of course) have access to high-quality dining facilities.
Among the top five that I would eventually submit applications to, my favorite college was the College of St. Rose, a small private university in Albany, New York. St. Rose met all of my qualifications for a college: it was the perfect size (with an undergraduate student body of just under 3,000), the perfect distance from home (two hours—close enough to visit but not too often), and it had a welcoming, friendly atmosphere to match the jaw-droppingly gorgeous campus. (Also, a fun fact: Jimmy Fallon attended the College of St. Rose before his comedy career took off, and he earned his honorary degree in 2009.) Overall, it was my dream school.
At the bottom of my list was the University at Buffalo. Despite being turned off by the size of this absolutely huge school (UB's undergraduate population alone is nearly 20,000, almost double of all my other college options combined), I kept it on my radar due to the fantastic honors program. The first time I visited, I was completely overwhelmed by the size of it; it was impossible to keep my sense of direction as my tour guide deftly led us past building after never-ending building. The campus was busy and fast and loud and felt like far more than I could ever handle. I finished the tour saying "no way" to ever willingly returning to that intimidating institution.
Today, I'm midway through my third year at UB, and I couldn't be happier with my decision.
I had kept UB in mind for financial reasons (despite my unfortunate first impression) and returned for another visit during my senior year. On this second trip, I felt the exact opposite of what I felt the first time: I fell head-over-heels in love with Buffalo. Whether it was the tour guide or the weather or the extra year of experience I had under my belt, or even merely my state of mind, I knew this was the place I wanted to spend the next four years of my life.
The biggest lesson I learned from my college search was that what I expected I would want and what actually made me happy could be two entirely separate things. I thought I'd be happiest at a small school like the College of St. Rose, but it turns out that I'm so in love with UB that I couldn't imagine experiencing college any other way. There was a huge difference between my expectations and my reality, and I'm so grateful for that.
Obviously, there are make-or-break aspects that have to be given priority when choosing a college. I know that I wouldn't have been happy at a school on the other side of the country because I'd prefer to stay a little closer to home. But is it a big deal whether the school has every single quality I desire? It turns out that it didn't. Most of my preferences and "college search engine settings" were more flexible than I realized, because what really mattered to me was the atmosphere of the school, and ultimately, what I would make of it.
However, I truly believe I would have been happy at any college, because the entirety of the college experience is what you make of it. I think it's more about the mindset of the student going into college than the nitty-gritty specifics of the school itself. When I first started my college search, I applied to four tiny schools and only one big one, because I thought I'd be happiest in a smaller college community. So when I came to UB, I simply built that close-knit community for myself by getting involved in groups and programs that would connect me to other people who shared my interests.
Instead of letting myself be intimidated by the size of UB, I made the choice to make the most of it. As a freshman, I spent hours exploring and adventuring around the sides of campus I wasn't yet familiar with. I've grown to appreciate the diversity of my classmates, who come from all corners of the globe. I don't let myself be overwhelmed by the new faces of strangers I see every day, because I know that we still feel like a community, especially during big events like football games and snowstorms. I am learning to take advantage of the vast list of opportunities made available to me by a big college, whether it be clubs to join, majors to choose from, or career opportunities to pursue.
I found my dream college, and I'm so happy I didn't go there. Not because I'm particularly happy to not be at the College of St. Rose—it is an amazing school—but because I am so glad that I ended up here at the University at Buffalo. It wasn't what I expected, but UB has been so good to me that if I could go back, I wouldn't change a thing.


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Tucked away in the heart of the Midwest is an up-and-coming city that I recently had the opportunity to explore. Omaha, Nebraska is the Heartland of America and very proud to be.
Category: nebraska
Road Trip: Chicago to Denver
I decided to make the most of this time, and here is how I explored 4 major cities in 3 days!


text:
An initiative of
The USAID/Twiyubake program developed a learning agenda to determine the impact of saving incentives on the resilience of vulnerable households in 2018. This learning brief explores the following questions: Do incentives catalyze and sustain savings rates over time? Does incentivizing savings result in higher investment trends among households?
Key findings from this learning brief include:
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As both practice and discourse, craftivism implies questions of mobility: nomadic knitting while on public transportation; use of mobile technologies to organize yarn-bombing brigades; the installation of needlework in public, urban spaces. It follows what Sheller and Urry (2006) have described as "the new mobilities paradigm," suggesting that increasing physical travel, the simultaneous growth of the internet and mobile telephony, and the international flow of consumer goods are putting issues of 'mobility' at centre stage. With these developments and a conception of mobility as having important implications for modern life, social relations, activism, and connections to space and place, this study examines the relationship of craftivism and mobility, asking how might the practice, politics, and culture of craftivism intersect with questions of mobility (and immobility)? Through an analysis of craftivism's feminist roots and a series of illustrative examples, this study elaborates mobility as a conceptual frame, knitting and purling it with the craftivist movement and questions of urban space, networks, assemblages, and mobile media and technologies.
A vibrant, multi-colored piece of knitting snakes around a parking meter in Montreal's Mile End neighbourhood. A tree in the city's St. Louis square wears "Stellar Fruits"[1] (Figure 1), the trunk wrapped with a wide fabric cuff, adorned with oversized textile blueberries, and a set of raspberry-coloured globules that drape over the tree's broadest branch, like ripe, pillowy fruit, plump with juice and ready to be picked. Each piece is tagged with a pink heart pierced by two knitting needles as crossbones, a sign that Tricot Pirate has been here.[2]
Figure 1. Stellar Fruits © Tricot Pirate
"The Knitted Mile" (Figures 2 & 3),[3] a textile version of the painted yellow centerline that divides most roadways, was stitched together in 2008 from the contributions of ninety knitters from around North America. Embroidered with the slogan "slow labour, good results," the entire mile-long stretch of bright yellow needlework was laid out on a road to raise awareness of the fast pace of modern life – an example of collaborative knitting and textile street art. In May 2006 in Copenhagen's main square, a World War II tank was covered from cannon to caterpillar (Figure 4)[4] with more than 4,000 pink squares, woven together from the handiwork of hundreds of knitters as a symbolic act of protest against Denmark's involvement in the Iraq war (along with the United States, the UK, and other European nations).
Figure 2 & 3 The Knitted Mile © 2008 Robyn Love
Yarn bombing, knit and crochet graffiti, and collective knit-ins are acts of 'craftivism,' a termed coined by Betsy Greer in 2003 to signify the merging of crafting and activism. In her words, "craftivism is a way of looking at life where voicing opinions through creativity makes your voice stronger, your compassion deeper and your quest for justice more infinite."[5] Combining a do-it-yourself ethic, the covert movement of street art, and needlework, craftivists bomb urban spaces and inanimate objects as a means of art and consciousness-raising – sometimes political, sometimes humourous, sometimes dazzling, but always unexpected. In a similar vein, collective knit-ins juxtapose the act of knitting, which is "generally constructed as a feminine and domestic craft […] with its sheer out-of-placeness at protests, undermining accepted ideas of protesters as violent, and offering, what is seen, at least to knitters, as a constructive approach to activism that encourages interpersonal interaction and everyday resistance" (Robertson, 2007, p. 210).
Figure 4 Pink M.24 Chaffee © 2006 Marian Jorgenssen
Although not necessarily overtly expressed, the practice and discourse of craftivism imply questions of mobility: nomadic knitting while on public transportation; use of mobile technologies to organize and execute yarn-bombing brigades; installation of needlework in public, urban spaces; and the recording and publishing of knit graffiti or knit-ins by mobile devices. It follows what Sheller and Urry (2006) have described as "the new mobilities paradigm," suggesting that increasing physical travel, global transportation networks, the simultaneous growth of the internet and mobile telephony, the international flow of consumer goods, and many other examples are putting "issues of 'mobility' [at] centre stage" (p. 208). With these developments and a conception of mobility as having important implications for modern life, including social relations, activism, communication, patterns of experience, and relations to space and place, this study seeks to explore the relationship of craftivism and mobility. At its most basic, what does it mean to think of craftivism through the purview of mobility? Or, said another way, how might the practice, politics, and culture of craftivism intersect with questions of mobility (and immobility)? Further, how does the craftivist movement spread and multiply? What are its networks and connections? How do craftivists engage with urban space? And, how might mobile technologies and media articulate with craftivist practice? To examine these questions, this paper considers a number of illustrative examples of yarn bombing, knit and crochet graffiti, and the international community of guerilla textile artists participating in the craftivist movement, seeking to establish their relationship to mobility.
I will return to these questions shortly; but first, I'd like to trace a brief history of craftivism to the present in an effort to situate its politics, feminist roots, and media, offering some insight into the nature of the practice.
Craftivism: A brief history
The practices of radical crafting are not new. Writing on craftivist history, Kirsty Robertson (2010) reminds us that craft as a subversive form was used both as a method of feminist expression and critique of the male-dominated art world in the 1970s and 80s, with artists such as Judy Chicago and Joyce Wieland creating textile work that upset the "phallocentric and abstract-dominated art world," noting that feminist "artists using embroidery, knitting and sewing attempted to unsettle the ease with which expectations of domesticity and child rearing were imposed on many female artists" (p. 184). Moreover, Robertson points to crafts' political history as means of resistance and activism, citing crafts' important role in numerous 1970s and 1980s political actions, including that of knitters involved in the Women's Peace Camp protest, staging a near 20-year opposition to the installation of American cruise missiles at Greenham Common Royal Airforce Base in England (p. 189).
Yet knit-ins and revolutionary knitting circles are not just a thing of the past. More recently, acts of radical crafting have expanded their tactics, reach, and politics. Since 2000, knitting as form of protest has positioned itself among some of the most volatile clashes of the political-economic establishment and global activist organizations. In The Revolution Will Wear a Sweater: Knitting and Global Justice Activism (2007), Robertson describes a scene at the Summit of the Americas in Quebec City in April 2001, where, amidst more than 50,000 protesters, tear gas, and riot police, "a group of people sat in a circle, knitting" (p. 209). An act of protest – seemingly entirely out-of-place – gained potency as a disruptive, unexpected yet peaceful gesture, where knitting as activism sought to raise consciousness as an act of resistance, weaving together the collective, anti-globalization politics and craft as a means of solidarity, in order to foreground, according to the protesters, the handmade as inherently anti-capitalist. Organized by the New York-based Activist Knitting Troupe, the Quebec City knit-in against the Free Trade Area of the Americas Agreement was followed by other similar protests mounted against G8 summits and US Republican conventions. Another group, the Revolutionary Knitting Circle of Calgary, Alberta,[6]
brought together knitters to expressly protest the G8 summit held in nearby Kananaskis Country in 2002, and they've continued to express their politics through collective knitting, "organizing a series of events including the knitting of peace armbands, black flags to represent Iraqi civilians killed, and socks with intarsia lettering calling for peace in Arabic and Hebrew" (2007, p. 211).
Contemporary knit-ins and the sister practices of yarn-bombing and knit and crochet graffiti mark (at least in part) a modern-day incarnation of what Rozsika Parker famously called The Subversive Stitch (2010 [1984]), her seminal work of feminist art history that reconsidered the decorative arts – the crafts of embroidery, knitting and weaving, in particular – interrogating their status as trivial practices associated with the feminine and domesticity. Bringing the crafts out of the home and into public space, Parker critiqued the art world's marginalization of the decorative arts as "lowly women's work," pointing out the so-called fine arts' deeply institutionalized misogyny. In the book, Parker reveals how women in the 1970s and 80s subverted the decorative arts as statements of feminist politics. Examples such as Kate Walker's 1978 deliberately defiant embroidery sampler 'Wife is a Four Letter Word' (Figure 5; Parker, 2010, p. 205) marked the tensions for 1970s feminists between the constraints of the feminine and that of needlework as creative resistance, noting that "embroidering the personal as political was, above all, intended to challenge the subordination and oppression of women" (p. xv). Today, using knit and crochet graffiti as a means of consciousness raising and as a surprising juxtaposition of employing decorative arts in urban, public spaces may no longer be a singularly feminist gesture, however its second-wave feminist lineage is undeniable.
Figure 5. Wife is a Four-Letter Word Source: Parker, R. (2010 [1984])
Yet, the contemporary practice of yarn-bombing and guerrilla textile work – bringing craft out of the home and into the streets as urban artistic and political expression – arguably owes equal debt to the culture and practice of street graffiti as to its feminist roots. Under the cover of darkness, graffiti's renegade reputation was earned through the spray painting of symbols, tags and, more recently, stenciled artwork – most notably in the political statements of the UK's mysterious Banksy. But, where male-dominated graffiti is often associated with vandalism, gang markings, and individual credibility gained by tagging hard-to-reach places, knit and crochet graffiti employ the inspiration from graffiti toward a divergent cultural formation, where a largely female contingent of knitters perform a collectivist approach to crafting expressly non-violent politics in their work. Indeed, the impermanence and sheer unexpectedness of knitwork installed in urban settings tends to be bound up with positive messages and progressive politics and considered a non-violent form activism. "We don't knit for hate, we knit for change" (Gonzalez, 2011), says Magda Sayeg, yarn-bombing pioneer and founder of Austin, Texas-based Knitta, Please! (aka Knitta).[7]
As craftivist acts, knitting and crocheting also represent a kind of tactical media, a form of resistance and social struggle characterized by Garcia and Lovink (1997) as "media of crisis, criticism and opposition." Alessandra Renzi (2008) integrates this line of argument further by noting some of the recurring tendencies of a tactical media to include temporality, use of available resources, collective work, polymorphism, wit, and the overlapping of art and politics (p. 71). Moreover, knitting as handwork is tactile in its very nature, where the looping and purling of wool emerges into cloth, textured and physically palpable. Our human instinct is to feel its contours between our fingers. In this light, craftivism represents a merging of media – both tactile and the tactical. The wooly mischief of yarn-bombing and activist textile work – the DIY materials and physical needling, the stitching together of multiple crafters' work, the stealth job of collective installation – draws on both the tactile and tactical in various capacities, intentionally eluding precise definition and enabling craftivists to express their dissent and to trouble systems of power through their ever-changing approaches, locations, and tactics.
Craftivism and Mobility
So what does all this have to do with mobility? Mobilities research is an emerging field elaborating conceptual, theoretical, methodological, and discursive terrains of an area that is itself in motion – morphing and changing while scholars put pen to paper in an effort to grasp its developments and articulate moments in the field's trajectory. Moreover, at first blush it may seem that craftivism and mobility are only loosely related, through an intuitive sense of implied connections or weak ties. I have pondered this question at length, and it has led me to consider the questions through a framework of 'multiple mobilities,' conceptually articulated by Sheller and Urry as a notion of fluid interdependence. The concept of multiple mobilities represents not a 'new grand narrative,' nor a view that can isolate discrete boundaries or separate spheres, but "suggests a set of questions, theories and methodologies rather than a totalizing or reductive description of the contemporary world" (2006, p. 210). This idea of multiple mobilities and fluid interdependence, in my view, invokes a set of articulations and assemblages that may connect the diverse lenses through which craftivism and mobility might intersect, including such possible layers as spatial, informational, social, technological, mediated, and presumably others.
Sheller and Urry's notion of multiple mobilities casts a broad net to include the physical movement of people and goods; transport networks; digital, wireless, and fixed infrastructures and technologies; mobile telephony, networked computers and the world wide web – all of which have some bearing on a possible analysis. For the purposes of this study, however, I specifically probe three concepts: (1) urban space; (2) networks and assemblages; and (3) mobile technologies and media. These three thematic nodes offer lenses through which to contemplate the relationship of craftivism and mobility, relative to my research questions and congruent with Sheller and Urry's framework of multiple mobilities and fluid interdependence.
Urban Space
How do craftivists engage with urban space? Space, and more precisely urban space, marks an important point of intersection between mobility and craftivism. Sheller and Urry reconcile the need for a new mobilities paradigm by arguing that social science has largely neglected to consider questions of mobility as central to its inquiry. Rather, researchers have assumed a sedentary position, which the authors critique, faulting much of current social science research as having "largely ignored or trivialized the systematic movements of people for work and family life, for leisure and pleasure and for politics and protest" (p. 208). If we think of daily patterns of movement – riding the metro to work or school, walking through an urban plaza on the way to our favorite café, boarding a plane to visit friends, attending a conference or experiencing a new city – we quickly realize notions of mobility as bound up with questions of space. An examination of "how the spatialities of social life presuppose both the actual and imagined movement of people from place to place, person to person, event to event" is practically embedded in much of craftivist work (Sheller & Urry, 2006, p. 208). Yarn-bombers seek to disrupt daily patterns of life through the staged intervention of installing knitwork on the inanimate structures of urban life – park benches, stop signs, parking meters, railings, and sometimes, more spectacularly, statues, iconic buildings or historical landmarks. Yet their work only comes alive when animated by the mobility of people through these urban spaces, when the "shock of the new" (Barthes, 1997) jolts people out of routine. Indeed, the spatialities of social life are upset by craftivist interventions, which force a new contemplation of everyday patterns of movement embedded within public, urban space. This public dimension of urban space compels us to recall that such space is commonly understood and has been theorized as a shared social milieu and linked to notions of democracy and citizenry (see Habermas, 1989; Fraser, 1993). However, it is also one that has been deeply problematized by critical theorists as wrought with questions of access, privilege, and power. And, importantly for craftivist work, public space has been conceived of as a site of struggle – as spaces where social discourses and counterdiscourses circulate. Feminist geographer Doreen Massey (1994) argues that public space is socially constructed and that "social relations are inevitably and everywhere imbued with power and meaning and symbolism" (p. 3). As such, craftivists are constantly negotiating the geography and social relations of public space to practice their resistance and to counter the hegemonic structures embedded within public space.
Further, like graffiti artists, yarn-bombers assume urban space as the canvas for their artistic and political expression. Yet, their practice inherently necessitates recognition that mobility and its expression through urban space presuppose significant and highly embedded immobile infrastructures. These fixed infrastructures of urban space, along with the socio-technical systems of transport, are essential for organizing the physical movement of people and goods through space, underscoring that "mobility is always located and materialized, and occurs through mobilisations of locality and rearrangements of the materiality of places" (Sheller, 2004).
The stealth movement of craftivists taking to the streets and bringing craftwork into public space by tagging the urban landscape or engaging in collectivist knitting as political activism serves to contrast the standardized order of the city and movement through it. Through a process of dérive (Debord, 1967), or, perhaps more aptly, de Certeau's (1984) notion of 'spatial tactics,' we can further situate craftivist practice, urban space, and questions of mobility as a set of fluid interdependences. De Certeau elaborated a theory of spatial tactics as a "metaphor to analyse everyday spatial practice," mobilizing one aspect of the two-part couplet of 'strategic' and 'tactical' approaches to space, which he appropriated from military discourse (Tonkiss, 2005, p. 138). Through this conceptual device, de Certeau opposes the overarching order of the city to the range of invisible moves that make up everyday urban life, suggesting that "in between the lines on the grid, ordinary users of the city tell spatial stories […]; individuals 'speak' the city by moving through it" (Tonkiss, 2005, p. 138; see also Renzi, 2008, pp. 76-81). This approach highlights the power relations and differentials between the official order of the city and people's colloquial use of it. Yarn-bombers, such as the Dutch collective Knitted Landscape,[8] rely on such tactical use of space to make their commentary, knitting delicate flowers and multi-colored mushrooms and leaving them in the urban landscape, bringing colour and a sense of living, breathing organic form to spaces of concrete and steel (Figure 6). As one member of Knitted Landscape puts it: "The landscape changes for us, and the landscape changes for other people also. They look at it differently because there's something there that is strange, that can make them smile and think 'what person leaves a thing like that?'" (Moore & Prain, 2009, p. 86).
Figure 6. Knitted Flower © 2007 Knitted Landscape
Craftivists' tactical appropriation of space necessitates not only a consideration of the urban landscape but also an equal recognition that people are moving through that space and their physical mobility enables them, at times, "to make their own spatial meanings, producing urban space in canny and idiomatic ways" (Tonkiss, 2005, p. 138). We don't always take the beaten path; in fact, sometimes we choose to take the scenic route, or we take a shortcut through an alley or diverge from our normal course because of a special memory or particularly secret affection for a hidden garden or an eclectic piece of urban architecture. We don't always cross at the lights, and sometimes we play games and choose a random path not knowing where it might lead. Yarn-bombers appropriate the subjective mobility of urban dwellers and express their fondness for the element of surprise, hiding their knitted creations on occasion in unsuspecting locations, so that only those that stray from the norm will encounter them. And, of course, on other occasions they choose to gallantly subvert the official order of the city by making a bold statement front and centre, like when yarn-bombers Knit The City tagged an iconic red phone box in the direct sightline to London's Big Ben tower (Figure 7). With the capacity to transform the experience of urban space, the act of tagging attempts to reengage urban dwellers with their everyday landscape in new and novel ways, where space and mobility come together in a state of fluid interdependence.
Figure 7. Telephone Cosy © 2009 Knit The City
Networks and Assemblages
From the materiality of urban space to physical and virtual spaces of community and collectivity, this next section questions how the craftivist movement spreads and multiplies. What are its networks and connections? Here again we consider the idea of fluid interdependences and multiple mobilities as a conceptual frame through which to view craftivism as mobility, articulating it with the notions of networks and assemblages. One of the most striking aspects of the craftivist movement has been the speed and vast dispersal of the practice. Contemporary knit-ins and the world of knit and crochet graffiti are part of an international craftivist movement.[9] Collectives have gathered in all corners of the globe for knit-ins and yarn-storms alike. Combining physical travel with installation needlework has become a significant part of the movement's activity and also part of its creed. Sabrina Gschwandtner, author of KnitKnit (2007), notes that,
Since 2005, Knitta, Please! has been traveling the globe, handcrafting wooly legwarmers for statues, colorful cozies for fire hydrants and striped hats for outdoor chess pieces. They channel the current knitting trend into international guerrilla art, inspiring other knit graffiti groups in Sweden, Japan and South Africa. Their most impressive feats to date include yarn-bombing the Great Wall of China, tagging the Notre Dame and wrapping half of Seattle's Monorail.[10]
From bombing the Great Wall and Wall Street's bull to knitting-in from Bulgaria to Boston, craftivists have sought to expand the reach of their woven work and activism beyond their own localities or territorial borders.
They have done this through the formation of a broad community, powered by both personal relationships of close proximity and face-to-face contact and online connections networked through information and communication technology. The traditional idea of the network as a system of nodes (places) and paths (connections between places) is further complicated within the new mobilities paradigm (see also de Souza e Silva & Frith, 2010). Indeed, the contemporary networked society embraces a host of considerations and mobilities, including: the increased aeromobility of physical travel; the flow of information and images; one-to-one and many-to-many communications, including e-mail, SMS, and VoIP (Voice over Internet Protocol); and mobile telephony and other network-enabled communications. Furthermore, craftivists have embraced the use online social networks like Facebook, Twitter, and Ravelry.com, a social network expressly for knitters. Sheller and Urry describe these multiple mobilities relative to the new networked society, noting, "it involves examining how the transporting of people and the communicating of messages, information and images increasingly converge and overlap through recent digitisation and extension of wireless infrastructures" (p. 212). Importantly, they underscore the significance of this convergence and fluid interdependence, arguing that rather than examining these as discrete categories, it is necessary to "begin from the complex patterning of people's varied and changing social activities" (p. 213).
This complex patterning of social activity, or what Wittel (2001) terms "network sociality," is vital to craftivists' ability to connect and for the movement to spread. How craftivists form their social networks and the vast and varied expansion of the movement's activities do not fit into a neat and orderly box. Rather, they reflect a fluid set of interdependences that assemble and disassemble relative to the flows and connections of craftivists and their activities, where questions of social relations, space, time, technology, and mobility are in flux, assembling around a particular yarn-bombing project or an organized knit-in and then disassembling or reconfiguring the assemblage, in turn.
Wiley et al. (2010) pick up on this notion and build, in part, from Sheller and Urry's examination of the 'mobilities turn' in social science research, extending the analysis by drawing on assemblage theory (Deleuze & Guattari, 1987), social network theory, mobility studies, and media ecology analysis to formulate a model of "assembling social space." Forsaking the notion that social space is anchored in geographic, political or legal terms of a specific territory or nation-state, Wiley et al. "define an individual's social space as the sum of the social relations, geographic mobilities and emplacements, and communication networks that link that individual into a specific constellation of assemblages" (p. 342). This idea of a constellation is crystallized in the model through four interrelated concepts: assemblages, networks, activities, and subjects. Applying Wiley et al.'s expanded model to the craftivist community, assemblages are formed when individuals or groups of radical knitters and textile street artists (the subjects) are linked "via networks and activities to particular arrangements of bodies, technologies, and materials in order to do something" (p. 344). Here, "doing something" ranges from group knitting in public spaces, to yarn-bombing the urban landscape, to knitting-in in protest of the political-economic establishment. Based on the examples discussed, craftivists express their art and politics in various ways: as a response to the dehumanizing qualities of the urban environment; as opposition to war, globalization, and consumerism; or as a means to cultivate awareness and community to combat the isolation and alienation of the fast pace of modern life. Yarn-bombers and radical knitters occupy a hybrid model of socially networked space, forming traditional social networks via knitting groups that emerge from existing personal networks, such as family and friends, work colleagues, or other shared-interest leisure groups, and via online social networks that attract like-minded and motivated individuals interested in participating more fully and being part of a wider community. The community grows by word-of-mouth and over the internet, as links form between individuals and multiply as a networked web of social relationships, actualized through participation and craftivist practice.
The impressive Pink M.24 Chaffee project, which I described in the introduction, provides a fitting example to illustrate the constellation of assemblages, networks, subjects, and activities that converge in Wiley et al.'s model. The World War II tank was covered with more 4,000 pink knitted squares, each measuring 15 x 15 centimetres, as a means of craftivist protest against Denmark's entry in the Iraq war. An international network of volunteer knitters crafted each square separately. Below, Marianne Jørgenssen comments on the assemblage for the project:
People were invited through [London's] Cast Off Knitting Club, from friend to friend either by word of mouth or over the internet, and by a number of knitting groups made for this specific project, or other already existing knitting groups. The physical and personal acknowledgement in all of these knitted patches are, when joined together, a powerful visualization of thoughtfulness. The main impression of the knitted tank is that it consists of hundreds of patches knitted by many different people in different ways: single colored, stripes with bows or hearts, loosely knitted, closely knitted, various knitted patterns […]. They represent a common acknowledgement of a resistance to the war in Iraq.[11]
The project reflects the complementary ideas of fluid interdependences and assemblages. Jørgenssen describes the various networks – both physical and virtual – that came together to contribute to the project, linking subjects, networks, and activity (knitting distributed across many pairs of needles, near and far) into a particular assemblage to achieve the project's political and artistic objectives. Moreover, she notes that the knitted contributions were then stitched together by a local group of five volunteers (Figures 8 & 9) and that passers-by in Copenhagen's main square also helped to stitch the pieces together as the tank was covered in its pink blanket, extending the assemblage even further to include an element of spontaneous participation. To this end, Wiley et al., argue that,
assemblages in this model, are the bundles of arrangements and logics that shape a subject's (whether individual or collective) emplacement, mobility and connectivity […]. Assemblages are compositions of heterogeneous elements 'deducted from the flows' and made to function according to a certain set of logics. As these elements are brought into relations of composition with one another, they constitute a specific territory for a certain duration […]. (2010, p. 344)
The Pink M.24 Chaffee reflects the organizational, mobile, networked, and temporal arrangements of such an assemblage bound around the distinct objectives for the project. Its very composition necessitates the participation and linking of social networks, the distributed activity of the knitting production, and the positioning of the tank in urban, public space under certain material and temporal conditions relative to the artistic and political aims of protesting the war in Iraq. Furthermore, the immense scale of the project is visually arresting; the symbolic use of knitting and the color pink all play into a certain set of logics undergirding the ideological discourse of the assemblage, which, by Jørgessen's account, allows for the possibility of "knitting your opinions." Together, it was the social relations, networks, technologies, activities, and a common ideological commitment form a specific assemblage that enabled the Pink M.24 Chaffee project to come to life.
Figures 8 & 9. Pink M.24 Chaffee © 2006 Marianne Jørgenssen
Articulations with Mobile Media and Technologies
This assemblage model described above inevitably begs the question of how mobile media and technologies might articulate with craftivist practice? It follows – with the understanding of people as increasingly mobile, both physically and virtually – that a set of interdependent media, tools, and technologies, enabling organization, coordination, and communication are being mobilized by craftivists as essential to their practice. Radical knitters and yarn-bombers are networked and linked via a host of mobile technologies and media, assembling and disassembling around craftivist activities of both large and small scale. Moreover, miniaturized, privatized, digitized, and mobilized machines (phones, laptops, and cameras, for example) and the software and networked technology of the internet are becoming increasingly interwoven into daily life (Sheller & Urry, p. 221). Mobile smart phones, GPS-enabled mapping, WiFi, mobile digital photography, web sites and blogs, and the use of annotation and metadata are just some of the technologies and media that articulate with craftivist practice. These media and technologies enable a layer of informational data to be overlaid on craftivist activities fluidly articulating with the individuals, material practice, networks, and fixed and digital infrastructures that underpin the conditions of the new mobilities paradigm. Specifically, in what follows, I look at examples of mobile digital photography, digital mapping, and hybrid analog-digital annotation that articulate with yarn-bombing and guerrilla textile activities.
The use of the mobile photography – images shot using cell phone digital cameras – is one of the most pervasive uses of mobile media associated with craftivism and an integral aspect of recording and sharing the practice. These photos become the visual evidence of an ephemeral practice, captured by the yarn-bombers as documentation of their installations, which can remain in place for a long while or can be quickly removed by authorities or the curious. Passers-by will also often take photos with their mobile phones as a means of capturing a political disruption or unexpected visual surprise in the urban landscape. They will then circulate the images more widely by posting them to a social network site or photo-sharing website. Indeed, these photos are often uploaded to a photo-sharing site by way of a mobile application that enables the posting of images directly from the phone's camera roll to a social network. Flickr.com, the early leader of web-based photo-sharing, is one of the most trafficked properties on the internet today with a global traffic ranking of #34 and more than 320,000 other web sites linking into the property, according to Alexa.com.[12] . A search on the site for yarn-bombing yields nearly 5,500 results.[13]
Another example includes one of Knitta's most recent yarn-bombing projects – an installation in the plaza in front of the Blanton Museum in Austin, Texas called "Knitted Wonderland" (Figure 10). Here, the trunks of ninety-nine trees are wrapped in orange, pink, turquoise, and olive-colored knitted "sweaters." Digital photos were taken and uploaded to Flickr by numerous individuals, including organizer Magda Sayeg and those involved as knitters, crocheters, and weavers in the project, along with others who happened upon the project and took photos to share with their own networks.
Figure 10. Knitted Wonderland © 2011 Shawn Thomas
A pool of over 1,200 images of "Knitted Wonderland" has been uploaded to Flickr to date.[14] For example, a photo entitled "Knitted Trees" was uploaded by user Shawn Thomas to his Flickr stream.[15] Two additional detail photos of the yarn-bombed space are also included in the stream, and they are part of the larger pool because they were specifically tagged with the keywords "knitted" and "wonderland." The imagery circulates from its point of capture through its mobility in virtual spaces via the internet and the act of networked photo-sharing applications and websites. Flickr has also developed mobile applications available on the Apple App Store and BlackBerry's App World that enable immediate uploading to the site from smart phones with built-in camera technology to instantly share imagery while on the go.
These technologies enable craftivists to open up a hybrid space where physical space is overlaid with digital information (de Souza e Silva & Frith, 2010; de Souza e Silva, 2006). Craftivists augment their work by adding contextual information and metadata to digital photography when posting images to Flickr, including tagging each photo with relevant keywords, and assigning them to digital galleries and shared pools that can be browsed or searched directly. Flickr's metadata fields also provide figures representing image views, comments, favorites, and the number of times a photo has been added to a gallery, generating web-based analytic data and using metaphors, vocabulary, and participatory actions now common to social networking and media-sharing websites. Moreover, these images can be geo-tagged and mapped using Flickr's mapping functionality, which is further enhanced by its integration with Yahoo!'s NAVTEQ technology (Figure 11), allowing for additional layers of mapping including a country and state map, a road map indicating major and minor roadways, and finally a satellite image map where one can zoom in to view the exact coordinates and physical location of the mapped point of interest.
Figure 11. Map of Knitted Wonderland @ the Blanton © Flickr/Yahoo!
Magda Sayeg, founder of Knitta, also uses digital mapping on her personal website – specifically, an interactive e-map as a graphical interface – as a means to geographically pinpoint the precise locations of her craftivism around the world. In the 'Gallery' section on her site, a bright pink world map is dotted to indicate the cities where she has installed knit graffiti and yarn-bombing (Figure 12).[16] Each dot is hyperlinked to a gallery of images that further detail the guerrilla textile work in situ, recording instances of her yarn-bombing work moored to various fixtures in public urban spaces. This type of mapping may not always fully integrate mobile technologies with location awareness and GPS capabilities. It does, however, make use of geo-tagging and keywording to connect information about the city and physical geographic location within that city where the yarn bomb and knitted street art are installed. Given the ephemeral nature of this work, a digital photographic record linked to mapping software and graphical interface that is geo-tagged aids in capturing and archiving these moments of guerrilla craftivism.
Figure 12. E-map of Knitta's Yarn-bombing Locations © 2010 Magda Sayeg
Lastly, a consideration of annotative media and technology as articulating with craftivism illustrates that knit graffiti artists typically mark their work with a physical tag or unique signature that links the installed needlework to them as the creator(s). Most often, the tag includes their street name such as Knitta, Tricot Pirate, or Knit The City and an indicator on how to acquire more information by listing their web address, Twitter handle, or Facebook page. Lemos (2010) distinguishes between electronic and material annotations as "ways to 'write' the urban space," describing the former as "new ways to produce invisible annotations using the power of mobile technologies and networks to index to data to location," and the latter as forms of "physical annotations, such as posters, stickers," or what he calls "analogical locative media" (p. 406). Yarn-bombing's use of urban electronic annotations enables a layer of informational territoriality beyond physical space, coupled with physical tags and stickers, to form a hybrid of analog and digital modes of annotation. The physical tag annotates the street name of the yarn-bomber and directs one to a digital space where more detailed information is available, not fully exhausting the interactive possibilities of electronic annotation yet recognizing the interplay between physical tagging and the augmented informational capacity of digital media and technologies. In this way, annotation makes it possible to connect a curious onlooker to added content – visual and informational – about the yarn-bomber and her or his work.
Together, these examples of mobile media and technologies demonstrate how acts of yarn-bombing and radical knitting move beyond traditional conceptions of locality or territorial borders, invoking mobility as central to how uses of digital photography, mapping and geo-tagging, and modes of electronic annotation contribute to the opening of hybrid spaces and informational layering as key to an understanding of craftivism and mobility.
A consideration of craftivism through the purview of mobility yields no clearly demarcated boundaries or tidy categories. It does not pretend to have exhausted the discourses of activism through craft, nor the cultural politics, power relations, or social implications of expressing resistance or enacting interventions through yarn-bombing or collectivist knit-ins. Rather, this study has opened up a space to elaborate mobility as a conceptual frame, articulating it together with the craftivist movement and questions of urban space, networks, assemblages, and mobile media and technologies. The remarkable advancements in communication and information technology, the pervasive social connectivity enabled through the internet and mobile technologies, and increases in the physical and digital movement of people, information, and goods underpin the new mobilities paradigm, which has formed the conceptual and analytical backbone to this study. It reflects the amplified environment of connectivity, mobility, and the productive capacity of a networked world, making evident points of intersection with craftivism.
With a creative ethos, DIY ethic, and a desire to create change through the art and politics of everyday resistance and activism, craftivists have embraced the new mobilities paradigm and it has become entangled within the heart of their work. Through their transformation of urban space and the use of spatial tactics as intervention, the capture and posting of mobile photography, digital mapping and annotating, the formation of community through personal and online social networks, and the composition of distinct assemblages to execute yarn-bombing brigades or radical knit-ins, mobility and craftivism are expressly complicated far beyond a point of implied connection.
Yet, is it critically important to also recognize how privileged social spaces, access to technology, media literacy, and questions of class, economics, gender, and labour are not erased by this study. Rather, they remain productive questions for the field of mobility studies; ones where the work of feminist geographers, theorists, and cultural critics can lend great insight. The social conditions of craftivism in an ever-increasingly mobile society cannot ignore the implications for those who experience the 'gates' of immobility – limited expression, physical travel or technological access, within the broader inequalites of global capitalism characterized by the relocation of the textile industries to the developing world and rampant first-world consumerism. These conditions, as Kirsty Robertson suggests, may have largely contributed to the current resurgence of knitting and sewing and ideas of radical crafting as intervention (2010, p. 199). Yet, I would add that craftivism is further complicated by the fluid interdependences of connectivity, immediacy, social networking, technological devices, and other innovations that have put questions of mobility at center stage. Furthermore, today's craftivists knowingly or unknowingly draw from the space opened up by 1970 and 80s feminists, where craft's subversive artistic and political potential was seized. Considering the feminist dimension of craftivism alongside questions of mobility also opens up the possibility for broader feminist insight on mobility studies – ensuring that questions of gender, privilege, and power are in play in research, theory, critique, and method. Together, all of this yields a highly-heterogeneous and complex bundle of historical, social, and political-economic conditions that mark the contemporary craftivist movement, bound up and contributing to emerging field of mobilities research, while leaving no shortage of additional directions for future research.
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