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@postaday 128; #postaday2011
A quiet Mother's Day at home. An opportunity to relax, call my own mother, work through piles of paperwork. I'm not complaining. I cannot stand going out to eat on Mother's Day or Valentine's Day. Restaurants make big money and it's not because you're sitting at a table for hours nursing a bottle of bubbly and delightfully savoring appetizers, soups, salads, main courses, desserts and aperitifs! Nope. Shuttle in, shuttle out. Take the order, one iced tea refill, pop out the check, bus the table. Honestly, the best way to make money in a restaurant is to turn over tables. I prefer not to be rolled in and out like that.
I am disappointed that the weather didn't cooperate and I didn't get to roll on my bicycle for miles and up lung-busting hills. As a result, while it poured outside, I took care of paperwork that had been collecting dust far too long. How relentless is the river of credit card solicitations and junk mail? I gleaned through stacks and stacks and then discovered some bon appetit magazines I had yet to drool over. So as soon as I'm through with this blog entry, I'll thumb through those in search of inspiration for what to make for dinner tonight.
There's something about motherhood, about parenting, that keeps me on the edge of my seat. There is nothing a kid of mine would do that I haven't done already. NOTHING. I dare say neither of my two daughters will even approach the evil achievements of my youth. I wasn't really evil, but when you spend most of your childhood herded by nuns, you start believing purgatory is the best afterlife you'll get.
This morning I made Belgian waffles and bacon for the girls, drizzled in maple syrup. The promise of whipped cream was dashed when I retrieved the can from the garage refrigerator and found it empty. One of my littles had been hitting the sweet cream. When I was a teenager I used to hit up my dad's cigarettes and stash of sweet vermouth. So when he wanted Manhattans… See? My kids cannot even begin to approach my lows. I knew instantly which child was guilty. I talked to her about it, and she was appropriately repentant. But there's sure to be something else I'll discover. There always is, my heart will sink, and we'll have a talk. I would have appreciated talks when I was a kid. Instead I got beaten a lot.
I shared with a friend of mine some good news about Kid2. I sometimes wonder if other people go through what we do when it comes to raising kids. He advised me to find humor in situations as I guide my children through the world. "…Love and humor, trust and optimism. Even when we get it wrong, we get it right." No one raises children because they know how. The whole distance, from the time we conceive our children to the time we close our eyes one last time, is a dynamic, pulsating, living laboratory. I'm constantly looking for the best results possible. It is really, really nice when I get positive feedback from people who encounter my kids in the wild. Apparently, I'm doing alright. It happens more often than not. So I think it's safe to say that I've earned this year's Mother's Day badge.
And the gang just stepped out to see "Thor." I get a pass, FTW!


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Rooster Teeth's Red vs. Blue is one of the early pioneers of the machinima genre and has the distinction of being the longest running web series to date. While online video game media has shifted away from scripted content towards more spontaneous live streaming experiences, Red vs. Blue remains a massively popular and beloved web series. Following a massive cliffhanger at the end of season 13, this latest season follows the steps of a reporter seeking the truth about what happened to the Reds and Blues to cause their apparent turn to villainy.
Austin based filmmaker Joe Nicolosi was brought on to write and direct the 15th season of Red vs. Blue. Nicolosi is best known for popular YouTube comedy videos such as HELL NO – The Sensible Horror Film, The Matrix Retold by Mom, CSI Legoland, and The Mushroom Kingdom, which was screened at South by South West. He also worked on an episode of Red vs. Blue during season 14, an anthology of stories unrelated to season 13's finale.
Season 15 kicked off this past month and CFG Games had an opportunity to chat with Mr. Nicolosi about the new season, his inspirations, and more. Season 15 is available now on the Red vs. Blue YouTube channel and for Rooster Teeth First members.
Can you introduce yourself and your background in the entertainment industry?
My name is Joseph Nicolosi. I'm a writer and director based out of Austin Texas. For the last few years I've been directing short films for the internet and TV commercials. Now I'm writing and directing season 15 of Red vs. Blue.
You've created a wide variety of short films using different mediums like stop motion, CG, and live action. Do you have a personal preference?
I personally love jumping around. I really like doing a short film that's animated in After Effects and doing something live action. I also like doing things in VR. I'm motivated by challenges and learning things. I think "Oooh how am I going to do a short film that combines stop motion with live locations." That's as important to me sometimes as the actual story itself. Figuring something out and becoming an expert in something I don't know anything about. So to answer your question, I like jumping around, like that song, Jump Around.
Is there a particular medium that you find most challenging?
Well the most challenging thing now is that I've never directed anything that had so much computer generated scenes. I am now here working on Red vs. Blue, learning about how to put together an action scene beginning to end. Action, fight choreography, mocap, and all the things that go into that. So for me that's really, really exciting because to a degree I'm learning how to make a 3D animated movie, which is something I've never done before. I've sort of worked in other forms of animation but nothing like this, so it's really freaking awesome. Then of course making movies using Halo 5 in itself is its own unique thing.
So does this season mostly use Halo 5 graphics or in house visual effects?
It is a balance for the last several seasons of Red vs. Blue. I'll go ahead and say half, about 7 or 8 seasons, there's always been a mix of Halo graphics and completely original 3D material peppered in. Sometime there'll be a character flipping a middle finger and sometimes it's the entire scene. Red vs. Blue has always been a mix and this season is no exception to that.
How did you get involved with Red vs. Blue?
I've been working in Austin Texas for about 10 years making short films and comedy videos. There's been a company in town doing sort of the same stuff with an overlapping audience to a certain extent. So I started talking to Burnie [Burns, founder of Rooster Teeth] years ago back when I was getting my start in this town. We met and talked about the future of the internet, YouTube, and all the fun, exciting projects we were working on. Since then, I've worked on a number of Rooster Teeth short films and projects in a directing or writing and directing capacity, but never as a full-time employee. It's always like on the outside helping from time to time. Then there was an opportunity to get involved on a deeper level and I absolutely jumped on it because all the people here are amazing. I was excited at the chance to not be the lonely Han Solo freelancer anymore. I really liked the idea of joining the bigger organization.
Was that a difficult transition for you from working alone to working with a big team?
Yes and no. I was accustomed to a certain lifestyle of sleeping in and never wearing my pants. My work would always be going and then not be going on. Here I have to get up in the morning and put on pants. Then I go to work and work…and then go home and not work, which is definitely really weird for me. I'm used to a more jellyfish lifestyle where I have no bones, where I'm kind of always working and never working. All the ways it's been an adjustment has been positive. I definitely feel like a more fulfilled human being now that I'm not just working in my pajamas from my bedroom floor because I was too lazy to get up.
You've mentioned that your college professor introduced you to the series. Did Red vs. Blue have a big influence on you back then?
Yes, absolutely. I first saw Red vs. Blue when I was a young, impressionable film maker in my first animation class. The thing that was very eye opening for me was that it was a bunch of people who were making their own sci-fi comedy series and doing it in a way that didn't cost a lot of money. Also, doing it in a way that didn't have the permission of some giant corporation, well at least at first, anyways…it was very punk rock. It was like hearing the Ramones play and never hearing punk music before. That was a huge influence for me and I was like "That's what I want to do, I want to make my own stuff." and not get permission from anybody, not spend a lot of money, and tell the stories that I think are funny. So absolutely a huge influence on who I was as a filmmaker and who I've become as a filmmaker.
Who are some of your favorite characters in the series?
I'm a big softy for Grif. I feel like if I were in the world of Red vs. Blue I would make the kinds of decision he makes. I don't see myself as the kind of person to volunteer to fight ever, but I would be the person to volunteer to take a second lunch or take an additional nap. I really like Sarge because in terms of writing for a character he's the most fun to write for. A lot of Sarge's lines starts with him saying something, then he keeps talking, and by the end of his really long line he contradicts himself twice. Obviously those are really, really fun to write. Of course, fan favorites like Caboose are always awesome. I think to a certain extent I've gotten to the point where these characters live in my head, like they've all rented rooms in the hotel of my brain. They just say things now, I don't have to write for them anymore. I just put them in a situation and they're going to tell me what happens.
So they're like a part of you now?
Yeah, yeah, for better or worse, they're definitely a lot more sarcastic than I am. [laughs] So I tend to say things in social situations that I really wouldn't say before. I'm more anti-conflict than say Church would be.
How does this season tie into the dramatic finale of season 13?
The events of season 15 take place about 10 months after season 13. This season chronically happens after Chorus and everything that happened at the end of Chorus influences the characters and where they are right now in their lives. In terms of a direct sequel to the conflict, situation, and all that, Chorus has been resolved and this is the next step in the characters' lives. I would say that it has a big influence on who and where they are right now, but not necessarily what they'll be doing next.
Why did you decide to have the new season follow the perspective of a journalist?
Actually I don't think that idea originated with me. I think that was an idea from the early days before the season. I had a lot of meetings with Miles [Luna, Head Writer of Animation] where we talked about where things were going to go. At some point he mentioned there was a cut storyline about a journalist coming to Blood Gulch. That gave him the idea that maybe a character in this season could be a journalist. I sort of loved that I idea because it would give me a chance to have a few episodes that would ramp up to the real story of the season. That was sort of what the function of these first episodes have been. It's a way to reintroduce certain things, getting certain exposition out of the way, and creating a long runway for what's about to happen. I'm probably saying too much, but whatever!
A lot of the early writing for this season happened in September, October. After the election in November, journalism, journalists, truths and facts are suddenly words that more weight than they did when the story was first brainstormed. I don't want this season to come off as some kind of political statement or agenda. The only reason why it might feel that way to some people is because those words have a certain mass now that they didn't when the season originated. That being said, I'm not completely blind to what's happening in the outside world and I'm sure it has some small influence on the way certain things are worded or how certain characters talk, but it's definitely not my agenda to have a big movie about journalism right now.
Without giving too much away, the early episodes have a few throwbacks and cameos for long time fans. Will there be more in the coming episodes?
Yes, there will be. I'm not going to say who or where, but there will be a few more of those. When I was thinking about the season and what the story was going to be, I sort of looked at every character that appeared on the show and thought about what part they may play. So yes, we may see more soon.
You're credited with writing and directing Season 15; was it a challenge going from writing one episode in season 14 to producing an entire season?
Sort of. I've written a lot of screenplays before for indie films, so it was basically taking what I learned about writing a feature and adapting it to these characters. I think this season is a mix between a movie and TV season, so I've had experience in both. Writing something long is a challenge but also super fun.
As someone who writes comedy, are there writers and comedians you admire?
Absolutely, I think Dan Harmon is brilliant. I'm a huge fan of everything he's done since he made Laser Fart in 2001. Laser Fart and Red vs. Blue were the two bottom parts of my influence pyramid. I'm a big movie guy. I like going to film festival and watching weird foreign films. So I have a few influences that are a little more random. I'm a big fan of this movie called Stingray Sam that came out a couple of years ago. It's sort of a sci-fi musical comedy web series. Also, a Town Called Panic. I also love a New Kids Nitro, a Belgium sketch comedy movie that's sort of like trailer park boys meet Hot Fuzz.
Who are your favorite directors?
From currently working directors who hold that throne, there's no one higher than Edgar Wright. He's pretty much the most fascinating director working today from the perspective of who can combine comedy with spectacle in a way that nobody has before. He can tell a joke and the joke could be an explosion or the joke could be Nick Frost shooting a finger pistol out of his cop car window. I also like Adam Wingard, I think what he did with You're Next is awesome.
In terms of personal projects, are you working on anything else right now?
I would say this is keeping me pretty busy. I had a couple of projects I was working on before I started here that I'm trying to keep on life support just so they're not totally dead. There's that feature film that's kind of like Superbad that takes place at Hogwarts, a fantasy high school comedy. Then a couple of other projects with friends that I've been developing, but nothing that you'll see anytime soon.
Do you play Halo? If so, which one is your favorite?
I wonder if I'm contractually obligated to answer this question in a certain way…I don't think I am! [laughs] I don't play Halo! I think I played Halo 1 and 2 back in college. Now, I don't actually play a whole lot of console games. I play a lot of Kerbal Space Program, Civ 5, and The Witcher 3, but not a lot of shooters. I can say I play Gears of War because that's Microsoft, right? I love Gears of War.
So now we're at season 15. Any signs that the series is coming to a close? Or do you think the series will go on for a while?
I don't know, I'm not sure. I kind of don't think the series is ever going to end. I think it's like the X-Men, you know? X-Men has been going on since the 60s. Sometimes it gets rebooted, sometimes there's spin-offs. The X-Men core team has been together for a really long and sometimes those team members change and evolve. There's something about the formula of these idiot space marines having adventures out there in the big wide galaxy that gives you an nearly infinite playing field.
So…any word on Season 16? [laughs]
[laughs] What's that? I can't hear you, you're breaking up.
Sorry, had to ask!
Aww man you actually want me to answer that question? I have no idea. [laughs] We'll see how this one goes. The guys took a big risk on a new guy for this season so we'll see how everything goes. If I don't fuck it up too bad maybe you'll see me again, who knows?


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Guest Curator: Domenico de Clario in collaboration with Ren Walters.
Born in Mildura in 1928, Wes Walters was an artist who practised many disciplines. Throughout a long career he was at once a graphic designer, Archibald prize-winning portrait painter, sculptor, draughtsman, printmaker, abstract expressionist and landscapist. In the post‑war era in Australia Walters defied the linearity of the specialist stance that most Australian artists took up, revelling instead in manifesting visual and artistic ideas in whatever discipline he decided would best articulate them. In so doing, Walters' diverse modes of creative expression may be seen as a precursor to the multi‑disciplinary practice currently defining the approach of countless contemporary artists.
Viewers of Wes Walters: the art of the pre‑cursor will gain an appreciation of Walters' unique approach to creative processes and a sense of his unorthodox yet logical practice.
Opening 5.30pm, Friday 7 December at Mildura Arts Centre
Exhibition Friday 7 December – Sunday 3 March
In Conversation… with Domenico de Clario, David Thomas and Ren Walters
11am, Saturday 8 December
See the parallel exhibition Wes Walters: the art of the pre-cursor (the studio)
Opening 7.30pm, Saturday 8 December at Museum of Innocence Mildura
Exhibition: Saturday 8 December – Sunday 3 March
museum of innocence mildura, 33 Deakin Avenue, Mildura
Curatorial Statement
What is a precursor? Simply a forerunner, the one that dares to run ahead of convention, the one that might also be the mapmaker for others, reading the ground, seeing things many miss, having the courage to delve into the unknown. Is there an art to being a precursor? Probably not, as running ahead of the times requires improvisation simply because the journey takes one into the unknown. No chance to construct an art, nor a technique nor to prepare oneself in any way. One simply relies on what one carries within and dares to measure oneself against whatever unfolds. When contemplating Wes Walters and his legacy, one cannot help concluding that his art indeed constituted the lifework of a precursor, whose beat was attuned to a sound that came from ahead of the game. Not from behind nor concurrently to it, but consistently ahead of it.
How and when did this project begin? When did its animating proposition, that of examining one of the most intriguing practices of the last fifty years in order to restore it to its rightful position in the history of recent Australian art, arise? Perhaps it began as far back as the early 1970's, but in order to give the reader an opportunity to gain an insight into that world and why Wes Walters' presence as an artist so challenged and intrigued both myself and many other art-world observers and practitioners, I need to describe the context in which Wes and I played out our lives.
In 1969 I dropped out of Melbourne University architecture studies (interestingly fifteen years earlier Wes had dropped out of the Gordon Institute of Technology's architecture degree course), oppressed by the narrow ambitions of a faculty that styled itself on British models. In desperation (although I had promised myself I would never go to art school) I enrolled in the National Gallery Art School, then housed in dusty studios above the State Library of Victoria in Swanston Street, hoping to have my skepticism about the value of an art education overturned. I survived for two weeks, initially buoyed by John Brack's supportive welcome. But not even his support was enough to tether me there, so I embraced the uncertain life of an anonymous, young artist, strangely comforted by the truthfulness of how spaciously liberating such uncertainty could be.
When on the back of some early success I was paradoxically offered a teaching position in 1973 as a tutor-demonstrator, it could only have come from the Preston Institute of Technology, the art school that was then widely regarded as the most unorthodox in Australia, and certainly in Melbourne's art circles was considered to be the most provocative of all its art schools, which then numbered six.
This 'ahead-of-its-time' thinking about art was generated by the energy of those who at that time randomly gathered together in only a handful of locations in Australia, and many of these were either PIT students or staff. These locations included the cavernous spaces of Bruce Pollard's enormously influential Pinacotheca Gallery in Richmond; at PIT itself, then a single building, lost among the cow paddocks of Bundoora; at the Mildura Sculpturescapes organised by Tom McCulloch, Director of the Mildura Art Gallery, unfolding over a week on the site of a former landfill on the banks of the Murray River; during the myriad events that Noel Sheridan initiated and facilitated inside the shell of an old building in Adelaide, known as the Experimental Art Foundation, and inside the Sydney artists-run space known as Inhibodress, set up by Peter Kennedy, Mike Parr and Tim Johnson, whose brief life (1971-72) belied its significance for many young Sydney artists and its lasting influence on the Australian contemporary art world.
Among the lecturers at PIT in 1973 was Dale Hickey, then a luminary painter and installation artist; David Tolley, who taught ceramics and sculpture and doubled at night as an experimental musician and double-bass player for the Brian Brown Quartet, then the leading improvisatory jazz performers in the country; Peter Booth, a painter who fearlessly journeyed into unknown spaces; Mike Brown, very much the quintessential multidisciplinary artist and revolutionary; Ken Conner, LA-based US West Coast painter of cool; Lou Kuppers, Dutch traditionalist sculptor of immense skill; Don James, a ceramicist of great talent; Normana Wight, a highly skilled print-maker and legendary photographer Henry Talbot.
From the early 1980's, this group would be joined by Greg Moncrieff, Joseph de Lutiis, Danny Moynihan, Betty Churcher, Anne Stephen, Charles Merewether, Terry Smith, Irene Barberis, Peter D. Cole, Micki Allan, Peter Kennedy, Lynn Quintal, Rosemary Stone, Rod Bishop, Bert Deling, John Dunkley-Smith, Mimmo Cozzolino, Bill Gregory, Jeff Makin, Nick Mourtzakis, Mirka Mora, Rosslynd Piggott, Zen artist and teacher Andre Sollier and many others. This unique mix of varied views and talents functioned as a powerful crucible for students and teachers alike and would end in 1992. (1.)
Students who went on to gain an international reputation included Robert Hunter, Maudie Palmer, Paul Boston, Robert Rooney, John Nixon and an endless treasure trove of creative beings. Despite PIT's reputation as an under-funded, bravely courageous, yet poor working-class cousin to the city art schools many of its former students have since then made a productive place for themselves, within both the national and international art community.
My interest in Wesley Walters as the 'enigma artist', the artist whose practice no one quite knew how to assess because of the impossibly wide range of mediums he unhesitatingly explored, was kindled in early 1973 when his son Ren Walters enrolled as an art student at PIT. Over the next few years (and indeed since then) Ren and I engaged in a number of productive conversations in which, beyond discussing his progress in the course, he described to me a little of his father's practice and how its extreme manifestations through various modes and mediums challenged his understanding of how an art practice might evolve.
Paradoxically, though Ren had enrolled at PIT, Wes was critical of its pedagogy and of art school education in general. (Much later Wes was invited to teach at Prahran College, but lasted only a year because he would not comply with its pedagogical directives.
Among the many students who vehemently protested at his dismissal was the soon-to-be anointed doyen of Australian landscape painting, Philip Hunter; art critic and author Christopher Heathcote; painter Terry Taylor and multidisciplinary artist Susan Stamp). Wes' rejection of PIT's approach puzzled me because it actively embraced the creative studio processes Wes himself engaged in.
Upon reflection it seems clear now that Wes was rejecting all creative instruction/tutelage in favour of practice being simply given over to instinct. Trusting the moment and riding the wave of insightful energy that would at times overtake him; gliding on its back into whatever shore it might deposit him, dumping him even unceremoniously. But this is where his courage assisted him and he was prepared to pay the cost that resulted from the occasional bout of inevitable disorientation.
This innate explorative urge was of course tempered by the consummate technique that Wes had refined over time, which distinguished all of his artistic output. The knowledge that he could safely turn to technique as each challenging question arose not only meant that the outcome would take on the facile and glossy look he was seeking to avoid, but also implied a kind of surrender in the struggle with his own facility.
Wes needed the outcome to be forged in the crucible of conflict between the two polarities he so uniquely embraced as the possessor of both an enormous technical facility and a fearlessly explorative urge. In brief, nothing less than a primal conflict, generated by an empirical knowing needing to affirm its supremacy over an instinctive feeling.
This narrative, of opposites within the creative self engaging in a struggle for supremacy began, through my discussions with Ren about his father's practice, to subtly insinuate itself into my own sense of what an artistic practice could contain, and I understood that the contradictions arising from the pursuit of seemingly disconnected approaches to the creative act were simply challenges that had to be faced up to and explored, not summarily discarded as being irrelevant or too difficult to manage.
I remember that at this point I would often conjure up in support of my evolving convictions one of the aphorisms I had found in Ralph Waldo Emerson's volume titled 'Self Reliance', in which the transcendentalist philosopher and essayist had proclaimed, as he sat on the edges of Walden Pond, that 'a foolish consistency is the hobgoblin of little minds'.
I found that line most comforting in times of doubt, and of course so affirming of Wes' approach.
These views increasingly found themselves in sympathetic company at PIT and underpinned our approach to teaching. Wes Walters' influence in this regard is difficult to quantify, but his undeniable presence in the art community as an active example of this approach to art, certainly substantiated what we at PIT were attempting to achieve.
The Australian art world was then infinitely smaller and basically consisted of a dominant mainstream made up of those artists who were favoured by a handful of critics, public gallery directors and even fewer collectors, all supporting each others' views. A tiny number of individuals made up a fragmented and ultimately inconsequential group of those who countered the values, processes and outcomes of the artists who made up the mainstream.
Of course there were always the exceptions; Sydney Nolan, Arthur Boyd, Fred Williams and a number of others uniquely challenged well-established parameters and were rewarded with both critical and financial success. This success depended though on the continuity of their genuine inquiry, based as it was on a particular visual 'brand' that had evolved over time, such as the consistency of the range of their palettes, the mythologies they chose to explore and on a quantifiable progress through their chosen journey, perceived as productively successful by those who enjoyed the artists' output both as collectors and as ultimate definers of its cultural significance.
Wes did not belong to either this group or to the small group of highly adventurous, if socially and financially disadvantaged, artists.
From the moment he was awarded the Archibald Prize in 1979 for a portrait of Philip Adams, an enormously influential event for an artist's career, Wes could have rightly expected to receive both the financial rewards and the critical acclaim that usually accompany such success.
But maintaining the consistency in his practice that would canonize that kind of success was beyond his capacity. Wes would not, could not, act out the role imposed on him through his success; he was too much the irreverent precursor, compelled to ignore the parameters that would have guided him into safer territory.
For the paradox is this; as a uniquely gifted artist Wes possessed a skill level and a knowledge of the technical aspects of both drawing and painting uncommon to most and could have constructed a productive and rewarding life journey from that unique talent. Paradoxically in a sense Wes did; he was a uniquely successful portrait painter, as this exhibition illustrates, and a popular graphic designer and sought-after advertising creative, normally described from the 1950's as a 'commercial artist'. But both his temperament and compulsive seeking for the substance that animates the core of each artist guided his practice steadily away from the safety of what he knew and directly, even fearlessly, into the unknown realm of feeling.
And so, way ahead of his time, from the late 1940's through to the new millennium, Wes's practice indeed evolved as possibly one of the very first multidisciplinary practices an Australian artist has constructed.
An understanding of the subtle yet highly significant nexus between doing and being is crucial in constructing the self-determination artists must arrive at sooner or later. I believe Wes sensed this difference very early in his career and chose the uncertainty that accompanies a simple being instead of the predictability that distinguishes the eminently quantifiable aspects of doing.
To live out such a conclusion with integrity through one's life such a choice requires considerable integrity because this path may well lead to relative obscurity instead of the glittering success (ultimately shallow though it may be) that accompanies an extreme narrowing of one's research.
Back to Emerson for a moment; the philosopher never clarified the difference between a foolish consistency and a wise one, and of course there are a number of examples of how one might live a creative life with insightful consistency. I immediately think of Giorgio Morandi and how for most of his life he lived with his three sisters inside the small apartment in Bologna he was born in, painting through his entire career the same selection of bottles, candlesticks and vases in his bedroom studio, walking the same streets day after day to and from the art school he taught in.
Though the range of his experiences was so narrow Morandi achieved an extraordinarily simply purity through the plasticity of his forms and tones, a timelessness of inquiry though his refusal to be seduced by the glittering forms of the outer world.
I think of Emily Dickinson and her solitary life serving her family, while musing on the strange uniqueness of the universe through her exquisite poems, exalting the gorgeous nothings* she would come across in her meandering walks through the fields; trifles, leaves, twigs, bird-life, the forms of passing clouds.
A foolish consistency as opposed to an insightful one surrenders the exploration of one's inner substance to a mindless tethering to form. The wise consistency distinguishing the lives and the works of those I have described above, beyond countless others, does not surrender the exploration of substance but simply aligns its endless variations according to a particular beat.
The world was infinitely simpler from the late 18th through to the middle of the 20th century and our current quests are rendered more complex by having to navigate the cultural and moral confusion, even the chaos, that we currently inhabit.
This project attempts to find a space in which we might appreciate anew and consequently reassess, through the ample evidence that can be seen on the walls of MAC and MIM, the range and daring of Wes Walters's practice, a quest probably impossible to propose and construct during his lifetime, primarily because the prism through which art-making was critiqued (revealing only form and appearance, not substance and intention) obscured the true value of his achievements.
This leads one to ask what role coherent branding plays in both the making and the appreciation of art, and the subsequent conferring of merit upon the work and the individuals that can best conjure up excellence in that regard.
Is the primary purpose of significant art to simply ask questions by avoiding the inclusion of ready-made answers within the work? In this way the wise artist leaves us wondering and prompts us as a consequence to search for the empowering response inside ourselves. Some art is capable of simultaneously asking a question and supplying what might appear, at best, to be a provisional answer.
But it is not the rule, and in a sense this double-function does a disservice to the onlooker, depriving him or her of the joy of arriving at an answer for oneself, reciprocating in that way the generosity of the artist as the first action of what in the end is a collaborative experience.
For no significant art can coherently exist without an inquisitive audience, left to find meaning and significance beyond what the artist provides within the work. Otherwise we are reduced to acolytes, having no choice but to be in simple agreement with the artist's view.
Many artists do succumb to the temptation of providing a response to the question they ask, and at times they do so successfully. Wes did not succumb, believing that asking was enough, and as a result we are left to gratefully ponder the many questions he so articulately posed.
The one that best encompasses his inquiry rightfully illuminates the core of his life's work and it might be articulated in this way: can we more deeply define and determine cultural value, perhaps better understanding the human journey as an empathetic and insightful communion of souls, if we dare to blur the line between doing and being, ultimately confusing the boundary between maker and onlooker?
Domenico de Clario
November 2018
Footnote 1 The PIT, at the direction of then federal minister for education John Dawkins, after various dalliances with other institutions finally amalgamated with RMIT, and ultimately its School of Art relinquished its presence on the Bundoora campus and in 1996 moved to Swanston Street.


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Bad against...[edit]
- Aphotic Shield effectively nullifies Primal Roar's single-target initiation on allies.
- Even being initiated by Primal Roar, Borrowed Time can make Abaddon extremely difficult to kill.
- Untouchable negates Inner Beast's attack speed bonus, making her hard to kill even if stunned by Primal Roar.
- Enchantress can also take control of Beastmaster's summons.
- Having many summons out will cause Echo Slam to deal extra damage.
- Illuminate clears Beastmaster's summons and is effective against his push.
- False Promise effectively nullifies Primal Roar's single-target initiation on allies.
- Purifying Flames kills Beastmaster's Hawk instantly and Boar with two casts.
- Reactive Armor is very effective against Beastmaster's summons during laning stage and entire game.
- Timbersaw can quickly clear Beastmaster's summons with his nukes.
- Cold Embrace mitigates Primal Roar's single-target initiation on allies.
- Winter's Curse can turn Beastmaster's summons and Inner Beast against his teammate.
- Chen can take control of Beastmaster's summons, especially Necronomicon units.
- Heroes with strong dispels can remove Primal Roar's stun: Abaddon, Slark, Oracle.
- Heroes with Linken's Sphere as core item: Weaver, Morphling, Medusa.
- Heroes with AoE abilities are a bane to Beastmaster's summons: Storm Spirit, Magnus, Pangolier.
- Linken's Sphere blocks Primal Roar, making Beastmaster much less useful.
- Aeon Disk's passive automatically dispels Primal Roar's stun.
- Battle Fury's cleave clears out Beastmaster's summons in no time.
Good against...[edit]
- Beastmaster's Hawk can find Monkey King easily while he is sitting on tree.
- Beastmaster's Wild Axes can knock out Monkey King from tree.
- Beastmaster's Boars drastically reduce Monkey King's attack speed, making it harder for him to gain Jingu Mastery stacks.
- Inner Beast helps Beastmaster's team destroy Supernova quickly.
- Primal Roar takes Sven out of the fight completely, even with Black King Bar.
- Attacks from Boars and Inner Beast will quickly wear down Refraction.
- True Sight provided by Level 3 Necronomicon can see Templar Assassin in Meld.
- Beastmaster's Hawk can find Tinker easily while he is pushing or blinking into trees.
- Primal Roar and the slow from Boars makes kiting Tiny very easy.
- Primal Roar and the slow from Boars makes kiting Troll Warlord very easy.
- Primal Roar and the slow from Boars makes kiting Ursa very easy.
- Mana Break can deplete Wraith King's mana and prevent him from using Reincarnation.
- Wraith King's lack of area effect spell makes him easily overwhelmed by Beastmaster's summons.
- Heroes who are highly dependent on Black King Bar can be countered with Primal Roar.
- Heroes who rely on split-pushing can be caught by Beastmaster's Hawk and Primal Roar.
- Heroes who rely on high mobility are especially vulnerable to Primal Roar: Storm Spirit, Ember Spirit, Queen of Pain.
- Channelled spells are easily interrupted by Primal Roar even with spell immunity: Black Hole, Shackles, Epicenter.
Works well with...[edit]
- Lifestealer can Infest the Hawk or the Boar, and jump out for an ambush attack.
- Inner Beast makes short work of towers, since it gives treants additional attack speed.
- Beastmaster's early ganking and pushing strategy goes hand in hand with Phantom Assassin's potential to snowball.
- Primal Roar helps Phantom Assassin with lockdown and guarantees kills.
- Beastmaster's Hawk gives vision over faraway enemies, letting Spirit Breaker target them with Charge of Darkness.
- Inner Beast gives Spirit Breaker some much needed attack speed.
- Inner Beast supplements Sven's low base attack speed.
- Tinker can use Boots of Travel to teleport to Hawks and Boars, allowing him to split push and gank.
- Inner Beast makes up for Tiny's very low attack speed, allowing him to destroy buildings in no time.
- Dark Rift can target Hawks and Boars, allowing Underlord to rapidly teleport his team for split pushing or ganking.
- Beastmaster's Hawk is a good scout for Roshan.
- Inner Beast works well with Fury Swipes, especially when Overpower is on cooldown.
- The long stun from Primal Roar gives certain heroes time to land difficult abilities:


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Last week The Blogging Angels went on their first top-secret mission. The location: The NYC Microsoft offices. The Background: To learn all about the new Avatar Kinect and demo the technology. The Mission: To create our own Avatar Kinect project and show it off to the world today – July 25th, official launch day.
I have owned an XBox and Kinect since the Kinect debuted late last year. My daughters love it and though our downstairs neighbors might not be so enthralled with the fact that they ARE the controller – jumping, running, stomping – I think it's amazing. The Kinect is truly one of those technologies that makes you feel like the future is now. It's every science fiction film turned into reality. And that is even more true with the Avatar Kinect.
We decided to film an intro to our podcast using Avatar Kinect. The four of us, each in our own homes in and around NYC, created avatars – styled, dressed and primped them. Though I had to change out of my original fab outfit when Amy and I showed up on our virtual talk show set wearing the same red dress. A virtual fashion horror!
We had to rehearse our timing to land in the talk show set in order. It took a few rounds of practice to get our schtick together. We are used to talking over one another – that's part of our charm – and the Avatar Kinect is like an etiquette teacher, it doesn't like that. But, luckily for us, it is all for girls that raise their eyebrows and talk with their hands as much as their mouths. We had a ball trying out the various sets – I think gabbing in space was our fave. I can only imagine where this is going to lead. The potential for creating an avatar and having these pseudo face to face discussions is endless. It really is a new horizon.
Check out our new podcast intro and let me know what you think!


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West End Boston MA Neighborhood
The West End is a neighborhood of Boston, Massachusetts, bounded generally by Cambridge Street to the south, the Charles River to the west and northwest, North Washington Street on the north and northeast, and New Sudbury Street on the east. Beacon Hill is to the south, and the North End is to the east.
The West End borders the Charles River between the Longfellow Bridge and the Charles River Dam Bridge. The Charlesbank Playground runs along the bank of the river, but is separated from the rest of the neighborhood by Storrow Drive, a large crosstown expressway.
Today, the West End is a mixed-use commercial and residential area. A few non-residential areas were spared from the urban renewal of the 1950s, such as Massachusetts General Hospital, the Charles Street Jail, and the Bulfinch Triangle—a small section surrounded by Causeway, Merrimac, and North Washington Streets. Massachusetts General Hospital and the Charles Street Jail are located in the northwest section, while Government Center which was the former site of Scollay Square, comprises the southern section. Most of the northern section is covered by North Station and the TD Garden.
The character of the area prior to the urban renewal can still be seen in existing commercial and mixed use building of the Bulfinch Triangle. Here there are a few pubs and restaurants that feed off the traffic traveling to and from Faneuil Hall and the Garden. The residential areas that have been rebuilt are primarily upscale highrises, though the neighborhood is currently making strides to re-establish the close knit community that once was. The West End Museum currently has a permanent exhibition outlining the history of the neighborhood and its residents, while the West End Community Center hosts classes and events, in addition to putting on the annual West End Children's Festival.


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I really love any excuse to work in Photoshop, so when another Mom and I decided to move forward with putting together a new local food allergy support group I jumped on the opportunity to put together the logo.
I usually have some wild ideas in my head, but my photoshop skills are pretty basic which usually limits me a bit (more like a lot,) and I know "real pros" probably use Illustrator for this type of work and while I have dabbled in it a bit, I just find it really scary, so with Photoshop I stay. I am self-taught in both Photoshop and Illustrator and I google a lot of how-to's along the way but I usually come out with an end result I am pleased with.
For this logo I put together 17, yes 17, different versions and while they couldn't all make the cut I kind of wished I could have two different logos and interchange them, but we all know that's just silly. So, without further adieu…. I am so excited to share our final logo: Thank you to everyone who commented to help us select the logo, I am pleased with the final outcome and excited about the progress we are making.


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Get Out of Your Office to Foster Happier Employees
I had the chance the other day to talk with John Heer and get his thoughts one year after he won the prestigious Harry S Hertz Leadership Award, given by the Baldrige Foundation to leaders who exhibit behaviors that have inspired, encouraged, challenged, and empowered others to achieve performance excellence.
Heer is the current owner and lead at P3 Leadership, LLC, a consulting company that believes that world-class results come from the focus on people who have a passion and a purpose.
John believes that the most important approach to improving a company's bottom line is to focus on the people and culture. He defined culture simply as "how employees and leaders behave when no one is looking," and talked in detail about how he used the principles of servant leadership to foster an improving culture.
In our discussions, I specifically asked him how a new leader could engage employees. His first response: "Get out of the office" and engage front line employees. He talked about his own experiences in the mostly centralized setting of a hospital-based health system. Here are three examples:
[if !supportLists]- [endif]Find employees where they gather and work and take a few minutes to interact….
[if !supportLists]o [endif]John talked about how he would walk up behind the desk of a nursing unit and start asking questions – how's the day going? Anything interesting going on? Leaving these questions opened ended allowed the responders to decide if they wanted to talk about an interesting patient personality, a resource need for their job, or life away from work.
[if !supportLists]- [endif]Eat lunch with different employee groups without bringing the PPT or a specific message.
[if !supportLists]o [endif]Eating for a few minutes with 4 to 10 employees on a regular basis, 2-3 times per week if possible, gave John not only the insight to the people he was eating, but also provided others watching a key understanding of his leadership style and commitment to the organization. He specifically noted the difference between called lunch meetings ("Town Halls", etc.) and simply going to the cafeteria, buying lunch, then randomly choosing a table to sit down and interact while eating.
[if !supportLists]- [endif]Be personally active with New Employee Orientation.
[if !supportLists]o [endif]John spent up to 2 hours every other week talking with new employees to the organization. He talked about the culture, the critical success factors, how decisions are made, the ability to personally affect a customer's life, and more. John viewed this time not only to ensure people heard from him personally what was important to him about culture, etc., but also to provide an immediate example of how he was willing to take the time to show his focus on employees and their value to the organization.
Of course, getting out of the office and talking with employees is easier when the company has a centralized office setting. It can be more of a challenge to interact in a multi-office or remote work-from-home setting, but the idea is the same. Engaging employees is simply about time, attitude, and commitment.
In a virtual environment, an organizational leader should still be using technology on daily basis to interact with employees in a personal way. Even if they only talk business, picking up the phone, using an online chat room, video conferencing, etc., will all enhance the personal nature of the relationship more than email or simple 'meeting only' conference calls.
Whether in a centralized or remote setting, leaders who make a concentrated effort to get away from the traditional meetings and behind closed doors office work and spend time interacting with the staff are more likely to have employees who are engaged with a sense of belonging.


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In 2000, I bought a home with a great skylight that sheds lots of light inside. However, the skylight started to leak shortly after moving in. I hired a roofer who fixed the leak, repaired the ceiling, and re-painted the area. The problem seemed to be resolved, but now it has returned again. I looked around the skylight and found lots of mold and also damaged portions of the ceiling. I plan on hiring a roofer, again, to fix the problem. But, I'm wondering if there is anything else I can do to stop it from happening a third time? Would it be better to just remove the skylight to prevent the continuous leaking?
Jackie B. ~ Stratford, CT


text: ALTe Powertrain Technologies has a three-year deal with Remy Electric Motors. Remy's powerful motor is now being used in a fair amount of vehicles coming to market, and Remy will be working with ALTe on plug-in hybrid technology for commercial, government, and utility end users. Initially, conversion specialist ALTe will focus solely on light- to medium-duty delivery trucks, vans, and shuttle buses.


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Acting Shakespeare at the Central Library 2017
In February, The Hobart Shakespeareans performed Ian McKellen's Acting Shakespeare at the Central Library of Los Angeles.
Scenes from Henry V, Hamlet, The Winter's Tale, Macbeth, and The Tempest were mixed with spectacular music to thrill the audience.
Special thanks to all our friends at the library for making this possible.


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Find your Physician for Medicals
Since everyone is getting medical requests these days. Please visit the CIC website below to find the physicians in your area to conduct the medical exams. Just select the country where you are located and a list of pane physicians will be displayed to you. You should be able to select the one most convenient for you.


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When I was a child, I remember playing games like "Cowboys & Indians" or "Cops & Robbers." Of course, being a little girl, I preferred to play house or play store. I think back on that natural sense of playfulness and creativity. I wonder why it is that we so quickly shift from that spontaneous, natural playfulness into an attitude of seriousness about life. When we get "serious" we shut out the playful child. We start to think that this dream is reality. Our lives are given over to the energy of fear.
We fear that if we don't take it all seriously, our needs won't be met. It's a tricky illusion. When we believe it's real, it is real.
At some point, I had to say no. I just couldn't take it all seriously anymore. It was killing me, killing my spirit, killing my soul, killing the nourishing life force within me. That life force needed the freedom of a child's playful mind. It took years to fully make the transition. I had to keep saying no to anything fearful or serious and say yes to love and life. Yes to playfulness. Yes to the child's beginner's mind.


text: remkin Report post Posted March 21, 2015 (edited) Just took a look at Toronto's schedule remaining. We're picking 5th. (baring trade or lottery win). Every game Toronto has except two are against a team trying to make or stay in the playoff race. We're going to get a very good player, just hope there isn't a run on forwards. Edited March 21, 2015 by remkin Quote Share this post Link to post Share on other sites


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He was fondly called the people's President for being the first President in the country to connect with the youth via the internet.
He was named the 'Missile Man' of India for his contributions in the field, he redefined the Presidency during his tenure from 2002 to 2007. He often spoke to children and the country's youth – inspiring them to think big in life; he also penned a number of books.
Sadly, Dr Kalam succumbed to a massive cardiac arrest and breathed his last on 27 July 2015 while delivering a speech at IIM Shillong.


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Trashwiki.org:How to participate
Trashwiki loves participation. Every dumpster diver or freegan can contribute. Don't know how?
- Add your knowledge to Trashwiki. Just click edit or create a new page. Ask administrators (on their discussion pages) if you don't know something, or discuss issues in discussion sections on pages (far upper menu, second link from the left).
- Create an account and describe yourself and your dumpster diving activitity - and edit articles while you're logged in.
- Upload pictures.
- Add maps.
- Improve language style (most active contributers are not native English speakers), spelling, fix typos...
- Spread the word - Trashwiki might have helped you dumpster dive more, other divers might not be aware of the project yet - or people might even have never dumpster dived before. Trashwiki can help them get them into diving.
- Link to http://trashwiki.org/ - from your blog, from Facebook, from Twitter, from anywhere - just note that it's much better to only link to the main page, as the rest of the project is not indexed by google.
- smth more?
|This article or its section is a stub. You can help by expanding the article.


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PowerCADD 8 Translator External
About This Section of our Site
This section of our PowerCADD User Learning Center is dedicated to the discussion of the PowerCADD v8 translator external. The translator external is used to read (open) and write (saves) drawings using the AutoCAD *.DWG? and *.DXF? file formats for use in PowerCADD. Review links at the bottom of this page for all related articles.
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Call for expressions of interest
The EU Delegation to Iceland is looking for a house or an apartment to take into long term lease or to purchase. The premises will serve as official and private residence for the Head of Delegation.
The purpose of the research is a gross area of around 300 - 550 m² that will be fitted-out by the applicant in accordance with the instructions by the delegation if required.
It should be situated in the following post code arears:
The building should have easy access by road. Garage or parking space for the private use of the tenants should be available at building's boundaries. Sufficient number of parking possibilities for guests should be available in the building's proximity.
The premises will have a double function, it is:
1. the private home of the Head of Delegation and his/her family;
2. the venue for official entertaining and representation under the terms of the Vienna Convention
There should be a clear separation between the representation and the private area of the residence. As venue for official representation the residence needs to have facilities which allow the invitation of larger groups of people. As private accommodation it needs to provide all facilities that allow a normal family life.
The private area of the residence is normally sufficiently big to accommodate different family compositions.
Ideally the following conditions should be met:
1. Functionality
Reception area
A typical residence should have the following rooms in the reception area:
• the entrance hall and reception area should provide sufficient space for official receptions for at least 50 guests;
• the dining room should seat at least 14 people and should be close to the kitchen;
• the kitchen area should be suitable for the size and function of the residence;
• guest toilets.
The following features are optional but nonetheless desirable for the reception area:
• if possible, a cloakroom beside the entrance;
• if possible, a guest room;
• depending on the climate and on local custom, the residence may also feature a covered terrace, a porch and a swimming pool.
Private area
The private accommodation should be separate from, and if possible independent of, the reception area. A typical residence should have the following rooms:
• a master bedroom;
• two or three bedrooms for children and dependents;
• a guest room (if there is no such room in the reception area);
• one or more bathrooms;
• a family room;
• equipment rooms;
• a garage or car port.
The following features are optional but nonetheless desirable for the private area:
• a room that can be used as an office (alternatively, this may be in the reception area);
• a small kitchen;
• laundry area;
• cellars and storage areas.
The premises must be compliant with all local building standards and regulations, in particular in terms of occupational health & safety, fire prevention and anti-seismic construction codes. The overall quality of finishes as well as the technical and mechanical equipment facilities should be in line with EEA and international standards.
The residence should be available for occupation, after fitting-out works completion on 01/01/2018 at the latest.
The submitted proposal should provide:
Detailed information on rental / purchase conditions, including rental / purchase price.
Proposals must be submitted:
a) either by post or by courier not later than 15/05/2017, to the address indicated hereunder.
b) or delivered by hand not later than 16.00 on 15/05/2017 to the address indicated hereunder.
c) or by email : firstname.lastname@example.com
For further information please liaise with the delegation at phone number +354 520 3399
Address of the delegation:
European Union Delegation to Iceland
Aðalstræti 6, 4th floor,
101 Reykjavík, Iceland


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Winner of Weekend Contest 'Was Palm's strong Treo sales due to RIM?'
Congratulations to Michael, the winner of this Weekend Contest where we asked our readers whether or not the strong Treo sales from Palm in the 3rd Quarter were due to RIM's legal issues or just strong market demand. Michael's thoughts on the strong sales numbers were pretty much on par to the other respondents. That RIM left the door open for Palm and they didn't let up at all, introducing the new 700w and going on a major marketing blitz.
For his troubles, Michael receives the new Ka-Glom game from Magmic. To learn more about Magmic, visit their website:


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Hexagon Metrology: Direct Representation in Hungary
Hexagon Metrology, Cobham, Surrey, UK, acquired the long-term sales partner Kompakt-GÉP Kft. in Hungary. The partners look back on 25 years of cooperation. As of now the business will be handled through the formed legal entity, Hexagon Metrology Kft.
Through the direct presence the company will strengthen the service and sales in Hungary as well as better market the full range of the group's metrology product offerings.
Hexagon Metrology Hungary will be part of the Central European regional organization, led by Holger Fritze, and will be located in Budapest. At the same place also a Precision Center will be run. At the new location customers will have the chance to explore a wide range of the Hexagon Metrology product portfolio and to participate in training and workshops. Hexagon Metrology Hungary will be responsible for all sales and services in the country as well as supporting major key accounts and established distributors.
Would you like to subscribe to our Newsletters on plastics technology and profit from the latest information?
Looking for a new challenge? Check out our jobs market!
Patents encourage innovation: Stay on the ball with the latest innovations in the plastics industry in our patents section.


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Mega Gems Online Slot
Mega Gems Slot Game Review
Mega Gems is a 5-reel, 3-row, and 10-payline video slot from BetSoft casino games developer. It's a pleasant looking arcade game, packed with nice features.
The Wild symbol is represented by a neon figure of seven glowing hexagons joined together. This Wild icon expands to fill up the entire reel on which it appears, on its way creating a whole load of winning combinations to benefit your financial situation in the game. The Wild can appear on reels 2, 3 or 4. Once activated, the feature will trigger a Free Respin, and in case more Wilds show up during the respin, more of the latter will be awarded.
3 Jackpot symbols appearing on reels 2, 3, or 4 will help you win the progressive jackpot prize. However, there's one condition only: you have to make sure your betting options are set to the maximum.
By the way, you can wager as low as 2 cents and go up till € 100, trying to win the jackpot of 200 000 coins!
The slot performs just great, but there's one little thing that might be bothering you: you can do nothing on earth to trigger Free Spins, 'cause they're not available in this game. No worries, though, you'll be having a plenty of free respins to feel satisfied.
Overall, Mega Gems is a fancy looking slot with various animated mini actions, bringing lights and colors to your leisure life. And the gemstones on your reels look real fab! You will only wish you could put one of them in a ring.
Play Mega Gems slot online for free at SlotsUp.com, don't forget to browse our gallery to check out more of the free casino slots by BetSoft and other 3D slots online.