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After a mind bending 30 minutes of this she pulled my pants and underwear off and stood up to mount me.
Well I don't know what it was; too much excitement on her part or to much wine but she fumbled her step and came down knee first on my balls.
Damn things keep getting in the fucken way.
Needless to say I almost swallowed my tongue and withheld puking.
She was sorry, as was I.
It took a while before I could get back into the right frame of mind.
The 2-3 bowls we smoked helped before I pushed her on her back, there was no way I was going to let her get on top after her last attempt.
I went over her body slowly with my hands and mouth before getting on top and pushing inside her.
After finding a rhythm we both enjoyed we settled in to some serious fucking.
I could feel her finger nails digging into the left side of my back as her lips begged me to fuck her cunt.
I don't know what it is about dirty talk, it just makes me go mad and I fucked her harder as her moans fueled me on and deeper inside her.
As our bodies slammed each other I could hear someone knocking on the shop door down stairs but I was so into what we were doing I ignored it and said nothing.
My head was getting lighter as I was about to empty myself inside her and the fucken phone rang.
I hoped it wasn't my mother.
She put her hand on my face and panted to me that it might be her son so while I was still buried in her she reached over and answered the phone.
She hummed and haa'd then said she was too tired and sleeping but would see him in the morning at 7am then hung up.
She raised her legs and wrapped them around me, using her heals on my back to push me deeper inside her.
I asked her if her son wanted to come over?
She said it wasn't her son.
It was her fiancé.
So you see Gypsy, I would have been more than happy to have stayed and play pillow wrestling all night long but there seems to have been a fiancé in the picture who just happens to be the brother of one of my friends and was coming by in the morning.
Well over the next 5 seconds a bunch of thoughts went through my head but in the end of it the fact was that the fish was in the pond and I wasn't pulling it out until I was done and that was what happened.
Later while laying on top of each other she tried to explain a bunch of things to me like she wasn't going to marry him and he knows it kind of talk.
In the past he has called her his girl friend and she has said no she wasn't in front of him.
I backed off years ago but she has been pursuing me for four years now and I had been finding ways to stay a few steps ahead while trying to understand the whole picture before I got someone hurt.
Until now that is.
Around 1 am I decided to leave and get the car back to my parents.
I got dressed and she walked me down to the front door.
She opened the door and a cool breeze swept in and we stood there looking at each other.
She was still naked and she stepped into my arms kissing me for ten minutes before she let me leave.
On the way home I decided to stop and get something to eat at a Shawarma joint and parked the car for 5 minutes and ran in then out to find an $80 parking ticket on the windshield.
Then the phone rang and my mother was on the other end calling to tell me there was an army of people parked on my door waiting for me to come home.
What's next I thought to myself?
When I got home and let everyone in to drink what beer was left in my fridge the phone rang and it was CZJ calling to see if I got home safe and to make sure I wasn't upset with her.
I told her everything was fine and I would talk to her later and hung up to deal with the Keystone druggies in my kitchen.
I woke up in the morning wide-awake and staring at the ceiling wondering how I managed to go back 20 years instead of ahead like I have been trying to for so long.
I like CZJ but I noticed she drank a lot.
My ex used to drink like that and when she did she got violent.
She is the only person who has ever stabbed me and she did it twice and both times because she had no more booze and blamed me.
I backhanded her the first time and thought I killed her but all she did was laugh and asked me for some money to get a bottle.
The second time she smashed the empty bottle and rammed it into my side then ran out the door.
It was her addictions that drove us apart.
Her excessive drinking and cocaine use that finished it and when I see a woman drink that much all the time I think back to those years and the hell I went through.
I hardly drink any more and not only for what it does to your liver but more because of the volatile disposition it leaves you in when you drink to much.
I have seen more angry drunks than angry pot smokers.
In fact I have never seen someone get high on pot and go ballistic.
They usually pass out and eat everything in the fridge when they wake up.
I got out of bed and took a shower to wash the night before off of my body and went down and made some blueberry pancakes for breakfast with some scrabbled eggs and bacon.
When the pancakes were done I walked next door and dropped some off to my mother because she likes them and says the ones my father makes are like freebies and you need a chainsaw to cut.
I looked at the clock, it was 10:30am and I was going for Dim Sum at 1pm so I didn't want to eat to much but I was starving so I ate everything and hoped it will be digested by the time I was to meet K.
She was a nice lady who's husband left her as soon as her daughter left home to go to school in the states.
She later found out that for years he was sleeping with everyone but her and once the last kid was gone; so was he with her best friend.
This is all according to her, I am sure there is a bigger picture.
We met where I always go for Dim Sum because I think it's one of the best places in the city for it and rather inexpensive.
Dim Sum for those of you who don't know it a buffet where the servers walk around with carts filled with dozens of different types of dumplings and finger foods.
Think of it a sample feast because there are only a few on each plate you could share with your guests instead of having to buy just a plate of one thing.
I met her at the front door and we walked upstairs together to stand in the long waiting line.
Like I said there is a constant flow of about 200 people here all the time.
We got a table by the window and sat down.
She had never been out for Dim Sum before so I explained to her you choose by sight and not a menu.
I asked her is she had any allergies and she said she could eat anything thing so eat we did.
The first cart came by and we picked out some shrimp dumplings and meatballs made from ground up shrimp with some bbq pork buns.
Everything is steamed not fried in this restaurant except for the deep fried squid.
She was very shy so I did most of the talking trying to knock her out of the shell she was in.
I told her to try the hot sauce, which made her eyes bulge and reach for my green tea.
After getting our fill we sat around and I learned a little more of what she does and where she grew up.
She doesn't drink but likes smoking pot sometimes so after paying the bill we walked down to her car and drove over to my place.
We sat on my couch together while I rolled a joint and passed it to her to light as I rolled another one for use to have after.
As we smoked she looked around the immediate area and saw that I have a passion for plants as they are everywhere you look.
I told her they were easier to deal with than fur balls.
Then she saw my movies and looked through them commenting on a few and asked her is there was one she would like to see and she pulled out "The Da Vinci Code' and said she read the book but never seen the movie.
I didn't mind so I popped it into the DVD player and sat back to watch.
I asked if she wanted some popcorn and she said no but that she would like to cuddle if it was ok.
I didn't mind so we stretched out on the couch together to watch the movie.
It was when the cops took off on a wild goose chase from the Louvre that she started rubbing my leg and then kissing was close behind that.
All of a sudden the movie wasn't important any more and we moved on to playing with each other but it was weird.
She wouldn't really let me touch her.
Kiss her yes but not touch.
She rubbed my cock but when I touched her boob she pushed my hand away.
I could feel her fingers pulling down my zipper then tried to slip inside but it was a little tight so she had to undo my belt and pants.
With easier access to the family jewels she pulled in out and bent her head down.
I felt like an inflatable doll laying back getting my cock sucked and not being able to reach out and grab what I like.
This isn't acceptable for me.
I need to be able to touch some flesh to get me cranked up but she wasn't having any of that and just kept licking or pulling at me with her lips.
As I got harder she started to suck more and more until it fucken hurt and I told her to lighten up but she took that as a sign to crack up the Hoover and try to suck my balls through my cock.
I could almost feel my butt caving in before I pushed her back and told her clearly to slow down.
Last time I let a woman go to town on me like that I was pissing blood for a week and I sure as hell wasn't going through that again.
I told her maybe she should lay back and let me play with her but she said she didn't want me to, only to suck my cock.
Hmmmm, it's not what I'd like but I can't make her do what she doesn't want to so I lay back but I told her to take it easy.
That's all I need for her to suck so hard I end up crapping out of the wrong hole.
She sat there for about fifteen minutes playing with me while I thought of everything I could to make myself come and end this.
Have I mentioned I don't really care for getting my dick sucked all that much?
It took the memory of my second grade school teacher to finally get me to squirt something out.
It could have been a kidney stone too who knows but it was over and I could hide iut again from Countess Suckula.
We sat there watching the credits go by on the screen when the phone rang and who was it but that lovely woman who gave birth to me and OH she needed me.
So I told K I had to go to my mother's place and she thanked me for brunch and left.
I spent the rest of the weekend looking at my pee every time I went to the washroom just to make sure.
The guys bugged me later saying maybe it was a guy dressed as a woman.
I told them to shut up I know it was a woman.
I'm pretty sure it was.
That's it, any.woman who wants to kiss me from now on has to get naked first.
Monday rolled around and I decided I would go for a walk down to city hall and see if I could weasel my way out of the parking ticket I got on the weekend.
As I was walking down the street my cell went off and it was CZJ calling to see what I was up to.
I told her about the ticket and that I was on my way to deal with it.
She said she was on her way to an embassy to drop off some antique silverware but wanted to know if she could see me for a late lunch.
I didn't have anything else to do so I said I would call her when I was done at city hall and then call her back.
It was a beautiful day with the sun high and not a cloud anywhere.
As I walked down the street I spotted a woman straddling a cement barrier having lunch.
She was beautifully tanned and her bronze boobs were trying to bust loose from her tight fitting top.
As I got closer she smiled at me and I returned the favor and then she said it's been a long time Walker.
Now let me tell you a few things.
I may forget to eat but I don't forget a nice set of hooters like that, EVER.
Even squinting I couldn't recognize her
I appologised and told her I couldn't place her face.
She said she was J such and such's daughter.
I sat there thinking hard then I took a closer look at her and it clicked in.
OMG it had been 23 years since I saw her last and she was about 14 then.
Her father and I ran together for years and he died hard not well.
I remember when he ask us to shoot him and not let him rot away as he was doing but none of us could do it but we kept him stocked with drugs until the cancer finally ate his brain away.
The last time I seen her was at his funeral.
I asked her what she was up to and she said she was working for the government now but for 5 years worked as a stripper to get her through school.
She had the body for it that's for sure.
We talked for ten minutes until she looked at her watch and said she had to go back to work but asked me for my number so I gave her my home number and she said she would give me a call on the weekend.
I went to the court house and saw a really nice judge, kinda cute too.
I smiled at her and coughed up some cock and bull story and managed to get the $80 ticket reduced to $40, which was fine by me.
After telling her I'd be in to pay for it on Friday I went outside and smoked a joint on the bench while watching the cops walk in and out of the court building.
I know, I'm bad but I was bored and it's fun watching the cops trying to follow their noses to the source which they can't because the whole area around there is alike a wind tunnel swirling around all over the place.
After butting out the joint I called CZJ and told her I was coming by.
She was waiting for me at the door to let me in when I arrived and wrapped her arms around my neck and kissed me.
I could taste the wine off of her lips.
She pushed me back on the couch as soon as we got upstairs and lit a bowl and passed it to me but I declined.
I had a nice buzz going and I was comfortable with it so I told her she could finish it if she liked.
When she was done we headed off to the restaurant in the market area of the city.
At the restaurant she swallowed 60 ounces of beer and ate 10 fries.
I basically carried her back home then put her on the couch where she passed out for a couple of hours while I watched TV wondering what the hell I was getting myself into.
So after three dates with three different women I found myself in three different situations with the same conclusion.
The world is nuts and I must be nuts for wanting to take part in it.
Besides lots of sex I got a chipped tooth, crushed balls and my ass almost suked clean through my body.
Aw well, there's always next week
Maybe I should just get a dog.
Have a nice weekend while I go find a plunger and see if I could pull my ass back out again


text:
Separate names with a comma.
Discussion in 'Model 3' started by Scott Franco, Apr 4, 2016.
What it said. Any chance of wangling a Fremont factory tour because I am on the M3 wait list??????
Sure, you and 300,000 of your closest friends.
Doesn't hurt to ask. I know X reservation holders that don't currently own an S can get one. Obvs there's a lot less of them and they've put down a lot more money for a much more expensive car, but you should just shoot them an email to ask: [email protected]
And they said no. Ah well.
If you have a friend with a Tesla...go as his/her 'date'.

subset: commoncrawl


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Sunday, August 12, 2012
Tuesday, August 10, 2010
Out of the corner of my eye.
The latest exhibition at the David Roberts Foundation is a huge opportunity for the curators selected from the Goldsmiths MFA Curating course to create a group exhibition with resources that would normally be beyond that of most students at this stage of their careers. The exhibition, titled The Moon is an Arrant Thief, brings together work from the 1960's to the present day and in the hands of curators Thom O'Nions, Luiza Teixeira de Freitas and Oliver Martinez-Kandt is a wonderfully balanced collection of works that flows around the gallery spaces of the David Roberts Foundation. One might expect in the hands of young curators a riot of bold, brash statements but this exhibition shows a maturity from the curators to create space with which these subtle, quiet works can speak for themselves.
The first work one sees on entering the gallery is Roman Ondak's 'The stray man', this video piece sees an unknown man slowly strolling back and forth, loitering on the street and occasionally peering into the large windows of an office building. We watch as the scene unfolds but in this scene there is no payoff just an act of supposition on the viewers part as to the view that is seen by the man we are watching, he cranes his neck and shades his eyes but one feels that the important sight inside is only partially viewed. Viewing this we are in a strange dance with the man we watch on the screen. We cant see at what he is looking and might question whether his act of looking is an inducement to others to look or a genuine need to see something which is just beyond real sight inside the building.
Adjacent to this piece is Joelle Tuerlinckx punched paper holes scattered on the gallery floor in a square, one might add to this disruption of the linear pattern as we become aware of our feet scuffing and pushing the fragments of paper as we pass through the piece which then gradually scatters and spreads underfoot during the duration of the exhibition. As with many of the works in the exhibition the work can seem only a part of a wider story or piece of information. The works make us question the honesty, integrity or veracity of documentation and the views of histories contained within.
Robert Kinmont's 'My Favourite Chair' is simply hung on the wall, a fragment, a remnant of the chair back, a wholly personal historical document. Reconfigured as an art object Kinmont elevates this loved domestic object into something more significant to us as viewers, and presumably to elevate it's standing to something equivalent to the comfort that it once provided to the artist in whichever provenance this was acquired from and manner this seemingly generic object assumed in its life of use. Kitty Kraus configured glass sheets are another generic made significant, placed together from glass sheets of the same dimensions different configurations provide a wider visual interpretation of this amalgam of transparent and clean almost seemingly unreadable material. It is the multitude of visual rhythms created that elevate the materials.
In the downstairs gallery Tim Etchell's neon states "Let's pretend none of this happened" it is a sinister, isolated statement, free from any further information one might build multiple narratives to explain the back story to this boldly simple, glowing statement. Juxtaposed with Rosa Barba's "It's Gonna Happen" at the other end of the gallery one can see the hands of the curators in the formation of this suite of collected works. Barba's work presents a screen with words that contain a story, each line of text appears like an isolated segment of a narrative, like a description of a films screenplay in transcribed speech and with descriptors of scenes. The words appear and are then replaced by the next line, the passage of time between each seems to obliterate the story.
There are stories within all the artworks but rather than dripping with information and the heavy burden of history these collected works bear only a lightness of happening, they are objects which are not so much viewed and experienced as witnessed, documented and re-interpreted.
Labels: David Roberts, Joelle Tuerlinckx, Luiza Teixeira de Freitas, Oliver Martinez-Kandt, Robert Kinmont, Roman Ondak, Rosa Barba, The Moon is an Arrant Thief, Thom O'Nions, Tim Etchells
Wednesday, June 23, 2010
The Golgonooza Scrapbook
Tuesday, April 20, 2010
River's Voice
Bill Fontana's latest installation at Somerset House is a true journey, Fontana has charted the life of the river from its upper tidal reaches to the sea through many facets of sound that make the rivers voice. A multitude of speakers set around the vaults that surround the Somerset House courtyard are not just integrated but insinuated into the architecture. Descending the stairs to the vaults we step into a truly believable soundscape, in the distance the sound of a wailing foghorn rises into the sky above us. We hear the sound of bubbling water emanating from some subterranean structure, a ghostly inner world with the water almost breathing. Dripping through structures, the surrounding air fizzes with sound, this underground space with its dusty bricks absorbs the soundtrack, alters its frequencies and then emits the rivers history back to us. The multiple rhythms within spaces both interior and exterior can be felt through the recordings, under the large arch at the riverside entrance to Somerset House and within sight of the Thames speakers relay the sound of water constantly lapping under the floor in dialogue with the river adjacent, the sound of the traffic disrupts the voice of the river but rather than dominating it weaves itself into the recording as if attempting to join with it.
In Fontana's hands the Thames is imbued with spirits, we feel the river as relentless, unstoppable and immortal. References to our interaction with the river in the sounds and video projections of buoys, the cables of the millennium bridge, tolling of warning bells and the clanking of chains one begins to see the river not as a benign, passive presence, but a living breathing entity, one which we speak to every day, one that gave birth to our city and will be here in all its incarnations to ultimately claim the city from us, it is protector and taker of life. One thinks of the river as place of history with its traces marked and etched into its surroundings but with this installation it also becomes a predictor of the future. Film projections of the sites of engineering along the river are a microcosm of our lives intertwined with the river, the cables of the millennium bridge hum a meditative song for the Thames, almost a tribal call. The quality of the sounds Fontana presents resonate at frequencies we would normally overlook at the edges of the sound spectrum. The river is quiet but relentless and beautiful.
The interior spaces of the vaults reflect and absorb sound, from high frequency, harsh and piercing through easily recognisable mid range to sub-audible felt as vibrations through our bodies and the surrounding architecture. A sub-bass boom channels round a vaulted arch of a tiny room and its pulse vibrates through the body, we feel the power contained within the rivers watery body. We see and feel the Thames for what it is, beautiful and gentle but with monstrous power and danger lurking within. The impression of river as a living being is finally reinforced as we hear the cry or wail of a taught chain that moors a ship.
Exiting the installation I hear seagulls, my mind drifts to thoughts of the mouth of the river, of estuarine mudflats, the end of the rivers journey and into the sea beyond only to find that rather than emitting from a speaker it is the sound of real gulls overhead. Swooping, sheltering inland from some coming storm in the territories I had just imagined, a paramagical and poetic impression of the great River Thames insinuated into my understanding somewhere between the real and the imagined from Fontana's recordings and the reality of my existence just a few yards from the rivers banks.
Labels: Bill Fontana, installation, Somerset House., sound
Saturday, March 06, 2010
Looking at maps one can go on journies, in our minds we can travel from place to place, geographical truths can make way to fantasies. The landscape and built environments can become a fantasy of our imagination, the real can meld with the fictional landscape we create around the points of truth to become something altogether more expansive than just a chart or map might at first appear. The manner in which a map is annotated suggests to the viewer many readings even though the information is replicated in scale and format in many other printed forms, colours of roads, the detailing of topography and even variations in typeset for the names of places depicted can alter our perception of how the real geography may manifest itself.
Kathy Prendergast has employed maps in her art works for some time now and her alterations and adaptions of maps subvert their very use into something more poignant and reflective. For her current exhibition at the Peer Gallery she takes a variety of maps from around the world and using black ink obscures names and geographies leaving just the white dots of settlements left unobscured. Reaching out of this thick covering of black ink, the remaining settlements appear as constellations, like early humans we seek to create shapes recognisable through this dotted information. One might assume this is a starry eyed optimism in urbanism or perhaps a simple meditation on the immensity of the landscape that surround us.
Within this blackened, flattened inky landscape the printed ink underneath when caught by light glows almost golden but then is lost once again to the shadows, colour fights to permeate the darkness of the inky black covering. Scale is lost, information obscured. Across this suite of works of maps from a variety of different countries one observes the flow of settlements, the landscapes integration of differing population densities within its larger physical body. The maps return us to the true geography rather than the pared down easily recognisable flat chart or chartings of an easily recognisable map, framed and behind glass the maps show even more than usual its surface of ripples and folds the maps become like the landscape itself, a flowing physical mass, the dots of human activity a recognition of humanity existing in a larger powerful physical environment.
Labels: ink on paper, Kathy Prendergast, maps, Peer, The Black Map
Monday, February 15, 2010
Monumental Humanity
Entering the Grand Palais in Paris the word grand doesn't do the space justice, it is a huge unwieldy piece of palatial architecture that dominates you the moment you step inside, to ask an artist to fill this space with one unique installation is a tough ask. Christian Boltanski, however is one artist that can take on a space such as this and claim it as his own. This huge public building is the scene once more of Monumenta, each year an artist is asked to create a work for the space and this year Boltanski is the invited artist.
Arriving inside the space one is confronted by a huge wall constructed from rusting metal boxes, each box is individually numbered, the accumulation of numbered, ageing boxes suggests the contents are the personal effects of now unnamed and unknown thousands. It is a quietly ominous introduction to an experience that does not scare but quietly unsettles and pervades the huge space with ghosts of memories that one can feel but not know. Beyond the wall the large space contains a sea of clothing, hundreds if not thousands of various jackets, jumpers, shirts and coats placed in large rectangular patterns across the floor. They fill the floor from one side of the space to the other like the apocalyptic scattered remnants of passing humanity, a discarded sea of lost souls. At each corner sits a speaker emitting the sound of an individual heartbeat, pulsing in its own unique way it is the fingerprint in sound of a chosen soul. At the far side of the space is a mechanical hand plucking more clothing from a mountain of heaped clothes, dropping slowly it hovers at the peak, picks a handful raises it slowly skywards and then opens dropping the selected rags back onto the heap. Bodies of jackets and arms of shirts flutter as they drop and rest once more at the top of the mass, the selected appear at the mercy of a hand of fate choosing at random and then discarding once more to the unknown masses below.
Underlying this spectacle is the thunderous echoing regular pulse of collected heart beats, moving beyond audible sound to actually send vibrations through the room, this soundscape which is constantly being added to by the collecting of volunteers of visitors heartbeats it beats an ominous rhythm, a regular sonic wave like monstrous footsteps or an intermittent but never ending thunderclap rumble.
The environment Boltanski creates is unsettling and might suggest a future after humanity but also celebrates all individuals and their uniqueness and the beauty of our collective existence. To this viewer it appeared as some melancholic poem to our souls, a bizarre monument to humanities passing yet to happen but foretelling that point when the last human is lost to the earth and a warning against complacent assumptions of mortality both individual and collective.
Labels: Christian Boltanski, Grand Palais, installation, Monumenta
Friday, February 05, 2010
Lurking in the Background
The title of Magali Reus's exhibition "Background" at ibid projects says it all really, initially the viewer might question exactly what these suite of works is really all about. It is when you take the time to step back from the work and observe the environment of the gallery rather than just focus all your attention on the works that Reus's intentions seem much more clear. The work is ambiguous, frustratingly so perhaps, too pared down and simple, but after some time there is some charm in the quiet works present in the gallery. It is when the works are viewed as the background to a much larger environment that they become more readable and enjoyable to be around. In the video piece that gives its title to the exhibition we see a group of men in a desolately sparse landscape with nothing more than flat gravelly earth and heaps of sand. Dressed in army styled clothing they perform a series of stilted, choreographed activities like some form of choreographed physical training exercises. Occasionally the film switches to sculptural elements that have been placed around the set, the film briefly focuses our attention away from the group to a flash of sunlight on some small sheets of metal placed on the ground. The camera fixes on detailed shots of the movement of the feet of the players as they ascend the heaps of sand, we notice the scars in sand from their movements. Man, the environment and the materials we construct around appear as nothing more than a choreography. The contrived, measured performances seem somewhere between directed and improvised but somehow free as well. We might imagine that in their place in the group we are part of a play of the world in which the seemingly individual responses and freedoms are in fact determined and controlled by others.
The largest of Reus's sculptures on show is composed of two green rectangular blocks on an aluminium frame set into and spanning between two walls, the paintwork on the blocks looks impeccably and cleanly finished but on second glance this appears to be a falsehood in our understanding of the scene that this sculptural piece sets. Propped against and extending away from the wall and the frame the blocks project into the gallery space with a large overhang, the blocks appear to bow under their own weight and this clean, simple construction no longer appears as robust and immaculate as first thought.
All of the sculptural works begin to unfold in the same manner, simple clean objects are assembled and finished in a quiet manner but despite the varying materials all these assemblages give a very strong initial impression of solidity. The eye is always drawn finally to the spaces around, beneath or adjacent to the sculpture itself. Two punched aluminium sheets are secured to the wall by a single screw at the top, however the eye casts downwards to the bottom of the sheets as they warp and bow from the wall creating shadows. In another piece one painted piece of board sits propped against the wall with another resting on it inset in the top right hand corner. The large bottom sheet is light green and the top is dark, reflective like a mirror, the large sheet is bowed, it appears fragile but also solid.
There are two further sculptures in this suite of works and they too create seemingly coincidental insights into the environment around the works, all works are very static however they imply strongly movement, transition. Those that appear solid are warping and bowing at the extremities of the piece and the eye shifts away from these sculptural forms to the multiple shadows cast across the galleries walls and floor. They appear ambiguous but also suggest very personal assumptions and responses by the viewer.
Leaving Reus's work one begins to question the environment around us. We might ask whether what appears around us is "real". Reus perhaps suggests that all is posed, contrived, choreographed and that our sense of control of our lives is in truth at the mercy of forces and influences that we can barely see or feel.
Labels: assemblage, ibid projects, Magali Reus, sculpture
Friday, December 04, 2009
The End of Ideology?
struggles of the late 19th and twentieth centuries.
The exhibition Re-Imagining October at the Calvert 22 gallery displays works by artists from the former Soviet states and artists from outside these states who had visited the former Soviet Union. Most of the works in this exhibition are stunningly produced and accomplished. Natalia Nosova's beautiful black and white photographs from her series "Baku 2007" document the scratched graffiti on the walls of monumental architecture in the city Baku. One stone-carved wall depicts a seemingly idealised revolution era scene of workers united which is now defaced and seemingly irrelevant with the passing of time. Alexander Soukhorov's "Russian Ark" film of 2002 shows scenes of a grand palace thronging with with the regal and military classes of eighteenth century Russia, the actors glide around in highly orchestrated and costumed scenes of contrived and decadent power. Vadim Zakharov's "Red Square behind Black Square" photographic series are subtly composed with the Black Squares evoking concepts of censorship.
One feels that many of the artists have a love/hate relationship with the Soviet past, the references within much of the imagery in the works shows a pride in the greatness of the old order but also pain at the excesses of the State.
The work that affects most deeply is Kristina Norman's video document of the events that unfolded after her placing of a "Gold Soldier" in the place of the removed "Bronze Soldier" at its original site in the Estonian capital of Tallinn. This site sees the placing of flowers on 'Victory Day' , the 9th of May by Russian inhabitants of the city at what is seen as the grave of Red Army soldiers. For Estonians the statue represented Soviet oppression and occupation and since independence the Russian population of Tallinn see this as a site of Russian identity. In this post Soviet world the integration of all communities into a newly independent Estonia is still a difficult process. Norman's act of the placing of this replica statue was not intended to determine a specific solution or attendant with either Russian or Estonian sympathies but to simply reference the current feelings of alienation of the Russian population of modern Estonia and the continuing need for resolution with the past for both Russians and Estonians. As the film unfolds the events we see as the police arrive to remove the statue and Norman who remains at the scene remind one of the excessive force and implacability of the Soviet era authorities replicated by their Estonian successors.
Beyond the view of the era of the Soviet Union and its history within these works ones thoughts return to the end of that era, the supposed death of ideology and the current global political world. The scenes depicted in Kristina Norman's film do not only evoke memories of Soviet authoritarianism and its new Estonian incarnation but also remind one of the surveillance culture and kettling of demonstrators on London's streets, the aggressive manner of the 'liberating' forces in Iraq towards the civilian population, the suppression of anti-government protestors in post election Iran amongst many others. When the Soviet Union dissolved and the new international political world was imagined we perhaps thought we had seen the last of footage of such excessive authoritarianism by the state but in this new world free of ideology we have seen as much if not more. The old struggle has ended but some methods of that regime remain and have influenced others in their passing from that one nation to many others.
Labels: Alexander Soukhorov, Calvert 22, Kristina Norman, Natalia Nosova, Re-Imagining October, Vadim Zakharov
Monday, November 16, 2009
"Please Stay Off The Tracks"
For the present time the Barbican Curve gallery is a dark, dimly lit bunker space, scattered with dust, reminiscent of a Second World War or Cold War past with the various remnants of an industrial and military installation. A historical space of discarded machinery, tools, furniture, workshops and small offices. Polish artist Robert Kusmirowski's re-imagined installation slots into the existing brutal concrete of the Barbican's interior with references of films, the fictions of Harry Palmer's world in "The Ipcress File" or "Funeral in Berlin", but also a seemingly real post-miltary reality emptied of people, abandoned, like the day after an atomic or nuclear attack. Dripping memories, a place of power stripped as history moved on.
This is an Art in which the viewer immerses themselves in an environment. The conceit of the work, constructed to alter perception, taking part in a visual theatre or cinema, one suspends belief and steps from the outside rational world of a dispassionate art viewer into the theatre of this experience. In this space denuded of its military personnel we are viewers of a seemingly real post conflict military installation, voyeurs of an exciting but ultimately doomed history.
Just as I explore further into this absorbing and unsettling space a voice comes out of the darkness "Please stay off train tracks", not a shout from a unseen participant in this theatrical space but a jolt back into the real world, heading towards me is a black shirted Barbican employee. Chastened and with all enjoyment removed my thoughts move from the unsettling beauty of Kusmirowski's work to a failure of art to be allowed to truly and honestly communicate.
I fail to believe that the artist would wish that the full exploration of his constructed space be restricted but now in the hands of an unimaginative host one sees an inability for a true experience to be gained. Is art not to be explored but just viewed from a knowing distance? Surely to curtail the exploring of a viewer is missing the point of such an installation, this implies a lack of honesty, integrity or true respect of the artist, the work or the viewer to determine for themselves what the work should be. What would have been a beautiful, poetic and thought provoking immersive experience is denied.
This artwork should be poked, prodded, scratched and explored, reality suspended and recreated so that one might believe that only the space we have found ourselves in exists until we once more re-enter the real world outside of the gallery, but unfortunately for this viewer and in a manner that does not best serve the ambition of the artist this opportunity was denied me.
Labels: Barbican Curve, installation, review, Robert Kusmirowski
Thursday, September 24, 2009
Life in Progress
Labels: installation, Matts Gallery, Paul Carter, review
Wednesday, September 23, 2009
Before & After
Labels: Big Deal "Botoxed 69", works
Thursday, September 10, 2009
TangentProjects at HTAP
80 Kingsland Rd, E2 8DP (next to Flowers East)
3-13 September 2009
Private view 6-9 pm on 2 September
Tues - Sat 12-8 pm, Sun 2-8 pm, Thurs open late 'til 9 pm
Hackney Transients Art Project (HTAP) is pleased announce 2 forums accompanying in/flux, an exhibition of new works of art and design exploring everyday experience as a catalyst for critical/creative practice.
A combination of formal presentations with relaxed discussion, these forums will explore characteristics distinguishing Hackney's cultural terrain. Everyone welcome; divergent opinions encouraged. Refreshments will be served at the intermission. Please bring a blanket or cushion to sit on.
Forum One: Hackney's Cultural Hybridity: Past, Present and Future
Thursday, 10 September: 6 - 8:30pm
Part A: 'in/flux - Reflections and Process'6 - 7pm
Part A of this forum will sketch HTAP's engagement with themes of transience, mapping, individual narratives and everyday experience. It will focus on the project's interest in Hackney as a complex of communities that weaves together the cultures and imaginaries of people from all over the world. Contributors to HTAP's oral history archive will recount specific experiences through which they recognised Hackney as "home". These retellings will be followed by a round table among artists and designers featured in in/flux. This discussion will consider Hackney's cultural hybridity as manifest in the exhibition.
Part B: 'The Cultural Terrain of Contemporary Hackney in 2020'7.30 - 8.30 pmImagine yourself 11 years into the future. What does Hackney look like today, in 2020, and why? This group thought experiment will speculate about the impact of Hackney's current development on its future. Come and share your imaginings as we contemplate Hackney's present as it's past.
Forum Two: Aesthetics and Ethics: Models of Socially Engaged Practice
Saturday, 12 September: 3 – 5:30
Part A: 'Collaborations, Collectives and Everyone Else: Hackney-based Art and Design Groups'3 - 4 pm Profiling the work of five Hackney-based art, design and curatorial groups, this forum highlights dynamic and self-organised initiatives impacting the borough's culture. Each group will share its practice through a short presentation followed by a brief Q&A.
Part B: 'Beyond "Happy Clappy Interactivity": Some Challenges of Socially Engaged Practice'
4:30 – 5:30 pmBuilding on Part A, Part B of this forum considers challenges characterising socially engaged practice as well as specific strategies and tactics that artists, designers and curators are using to work around them. Questions/comments/concerns submitted in advance will propel this informal discussion. Please email your contribution to firstname.lastname@example.com by 10 September for inclusion.
Curated by Marsha Bradfield and Miriam Kings and produced by Lucy Tomlins, in/flux presents works by Alison Barnes, Marnie Baumer, Matt Blackler, Clemmie James, Matthew Krishanu, Tamara Lesniewska and Kim Alexander, Christine Mitrentse, Barry Gene Murphy, Lucy Tomlins and Charlotte Young.
Labels: Talks, TangentProjects
Wednesday, September 09, 2009
Heart Lands
Labels: Heart Lands, Kitchen Sink, The School Creative Centre, works
Tuesday, September 08, 2009
When Words Fail Me...
The Campaign for Drawing have been encouraging us to use this valuable skill for ten years. Their current Now We Are 10 exhibition at the Idea Generation gallery collects a number of works from their supporters and patrons that are to be auctioned to raise funds for their future activities, however as well as the importance that these extra funds will make to the campaign it is worth reflecting on the sheer variety and forms of drawing that are on display, amongst the usual suspects of Quentin Blake, Steve Bell, Gerald Scarfe and Sir Norman Foster are many younger artists and illustrators. The diversity of the works on show are evident and as a viewer it would be easy to indulge ourselves by heading straight to our favourite artists works. The Campaign shows its ability to continue to enthuse and encourage us to the practice of drawing by showing the multitude of possibilities that drawing can provide. This multitude of styles and possibilities need not necessarily encourage us to draw well or better but to just pick up a pen, pencil, crayon or inky finger and communicate through drawing. It is when we see architectural sketches or elevations, satirical cartoons, life drawings and botanical studies sat side by side in this display that the endless possibilities for all of us to use even the most rudimentary forms of drawing as simple, instant and accessible means of communicating to others present themselves.
The works in this exhibition are many and varied but the quality is high considering the over one hundred works available in the auction taking place on the 17th September, with works by the likes of Adam Dant, Paula Rego and Martin Rowson and with lesser known artists donating some extremely unique and high quality works one hopes that the auction will be a success for the Campaign. As importantly though is that with the campaign's Big Draw events continuing through October that we are encouraged to think about using the opportunities drawing provides, when speech, language and the written word fail to communicate our thoughts clearly drawing will always be the one activity that we can rely on to explain our thoughts and ideas in the widest and most accessible way.
Labels: Campaign for Drawing, Idea Generation, Now We Are 10, review
Thursday, August 27, 2009
Big Deal "Botoxed 69"
Labels: Big Deal "Botoxed 69", C22 Pop Up, invite


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Today's Courier Herald Column:
It's hard to beat somebody with nobody. The list of Republican somebodies on the 2014 ballot will be extensive. Presumably, Governor Nathan Deal, Senator Saxby Chambliss, Lieutenant Governor Casey Cagle, and the cast of other Republican statewide elected officials will be on the ballot. They will have plentiful war chests of campaign cash, a statewide network of organized county party organizations, and the full complement of the trappings of incumbency.
Democrats, meanwhile, begin the campaign with no statewide elected officials, barring an upset in the one Public Service Commission race for which they managed to field a candidate. Instead of high dollar fundraisers to attract the cash from those who wish to remain on the good list of the well connected they are having Hip Hop/R&B dance nights with a $20 cover to raise money. Their senior party officials have had a public feud over direction, finances and management issues. Evidence of the party's organization outside I-285 is scarce. And the bench of candidates in waiting to take on the long list of Republican incumbents is….well, minimal is about as charitable of a word one can construct.
The bench was effectively cleared when the top talent available in 2010 declared political suicide missions in attempts at higher offices. Labor Commissioner Michael Thurmond left a relatively safe spot at Labor Commissioner in a quixotic attempt to oust a much more popular Senator Johnny Isakson. Attorney General Thurbert Baker was unable to even make it to the nomination for Governor, with Democrats yielding to the attempted comeback of former Governor Roy Barnes.
The clearing of the Democratic bench has left little machine in place to raise funds, and few with extensive name identification. Nonetheless, Democrats looking ahead to 2014 will no doubt take inspiration from President Bill Clinton, who addressed their Convention in Charlotte this week as the party's favorite son.
When he announced for President, his opponent had some of the highest job approval ratings ever recorded and had just won a war after building a huge international coalition. Two years later, he was President because almost no one else wanted the job when he lined up to take it.
Georgia's emerging Democratic leaders would be wise to avoid listening to those who whisper the Bill Clinton parallel into their ears. Clinton had a national party ready to deliver money and votes to an eventual candidate, whereas the current Democratic Party of Georgia has yet to prove it can extend its reach beyond the 404 area code.
All three names most often mentioned as the future of the party reside inside Atlanta's perimeter highway, the major island of Georgia's Democrats surrounded by a red sea of Republicans. Mayor Kasim Reed, Senator Jason Carter, and House Minority Leader Stacey Abrams all have statewide potential, but frankly, are needed in their current positions past 2014 to establish a viable alternative for Democratic Governance if the party is to again emerge as a credible contender in Georgia's policy debate.
Reed has shown an understanding of statewide issues and a willingness to work across party lines and substantial geographic distances to solve Georgia's problems. His assistance to expand the Port of Savannah is well documented. His attempt to help the Atlanta region solve its traffic problems may not have ended the way he wanted, but if Republicans are still searching for a solution in 2018 when the Governor's seat is again open, he can at least point to a pro-active solution that wasn't.
Senator Carter, meanwhile, is among the legislative leaders willing to buck Republicans with specific pro-active policy alternatives. He is largely credited with slowing the Governor's reforms to the HOPE scholarship in 2011, and based on a banner flying over Sanford Stadium during UGA's home opener, it appears Democrats will continue to rally around this message.
Abrams has thus far been more willing to work with Republicans, carving out planks within Republican legislation to make it more favorable to her Democratic constituency. She remains well respected within the legislature on both sides of the aisle, but has yet to achieve the statewide name ID that Reed carries as the Mayor of Georgia's largest city or Carter who has deep roots in rural Georgia that come with a Presidential pedigree.
While each shows great potential for future leadership, each is also relatively young. There is plenty of time for them to grow in their current roles, perfect an actual agenda, and reconnect with the parts of the state that can no longer identify with the national Democratic Party.
In the mean time, Democrats need to patch relations with South Georgia social conservatives who feel alienated by current party leadership. 2014 should be a year to field candidates that represent more than the neighborhoods surrounding Emory University or South Atlanta. While preparing to move the party forward, Democrats should probably take one cycle to look backward.
Anyone know what Sam Nunn is doing these days?


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[ Building Biotech-Creating Opportunities in the BC Bioeconomy ]
Building Biotech 2018 Thursday, Sept 27, 6:00pm Coast Coal Harbour Hotel View Event Details (http://thesbn.ca/Events/2018-19/building-biotech-2018)..MORE
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Tuesday, June 27th, 2017 5:30-7:00 pm, at BC Cancer Research Centre, Dorothy Lam Boardroom, 1st floor View Event Details (https://thesbn.worldsecuresystems.com/Events/2016-17..MORE
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text:
So, I just have to give a shout out for Porter.
Since he turned one last Monday, it was decided (as with the other kids) that he would be weened in short order.
Well, he doesn't like that and has been going through withdrawals. As part of the mourning process, he has taken up walking. He took his first real steps today.
I guess we have another Dallin on our hands. Going straight to walking and by-passing the crawl (unless you consider his modified army crawl a real crawl).
Sunday, March 29, 2009
Porter - weened and walking
So, I just have to give a shout out for Porter.
Posted by FRED aka Nathan at 11:16 PM
2 comments:
- Marti said...
Way to go, Porter! Gotta keep those parents of your on their toes, and walking is easier to keep up with the sis & the bros!
- March 31, 2009 at 2:04 PM
- Darcey said...
You go, Porter! Crawling is way overrated anyway.
- April 1, 2009 at 1:14 AM
Subscribe to: Post Comments (Atom)


text:
Apply for help
The Fifeshire Foundation considers applications for help from people
who are in hardship and domestic crisis.
We also consider applications from agencies that support local people in crisis.
We can only make funding decisions at our monthly meetings - and not in between meetings.
For information on the dates of our monthly meetings, and the cut-off dates for applications, visit our events page.
14 December 2018
8 February 2019
5pm 25 November 2018
5pm 25 January 2018
If you can't make the cut off date, or have any questions about applying please contact Rachel Swarbrick on Ph 027 334 3374. Or text us and the Manager, Rachel, will call you back.
Please note we have a new application form, available as a PDF or Word document, which you can download via the buttons below. We now require all applications to include a budget worksheet, signed by a budget advisor, or you must confirm household income and expenses. Please contact us if you need to discuss this.
Personal needs
We can consider applications for a wide range of items for both adults and children, such as clothes, shoes, glasses, driving lessons and licence fees.
Household costs
We can also fund household needs such as food (we provide Countdown cards), firewood, furniture, bedding, baby gear, heaters, fridges and washing machines.
Critical bills
Critical bills such as bond, rent, power bills, or cellphones that are needed for safety reasons.
All applications for help with power bills must attach a current budget signed by a budget advisor, or a letter to say one will be provided by the meeting date. Where we help with power bills, we will strongly recommend people arrange regular payments to their power company.
Travel or transport
Important travel or transport, driving lessons or test fees, baby buggies, car seats, bikes or bike seats.
GP bills. Simple dental work (such as fillings/extractions) for pain relief.
Children's costs
Stationery, uniforms, camps, holiday programmes and respite care. Prams, cots, car seats and bikes.
Organisations that support people in financial and/or domestic hardship. Please provide 2 signatures from your organisation and a copy of your most recent financial statements.
Please be realistic
We would love to help everyone, but with approximately 35 monthly applications, and a budget of about $13,000 each month, we just can't. So please be realistic and apply for the priority and the amount that will best help in the immediate situation. You are welcome to call us if you're unsure about your application: Ph 027 334 3374
Things we don't fund
Applications with no evidence of hardship
We do not fund people who are not in hardship and domestic crisis. This is why applications must state household income or benefit levels, number and age of dependents, and other relevant factors.
Applications with insufficient information
Please include any quotes, bills or accounts related to the application, so that we can make an informed decision, and make payments afterwards if the application is successful. Applications without the necessary information will be returned.
Automotive repair and maintenance costs
This includes car repairs or car running costs.
Organisations' basic running costs
This includes rent, power, telephone, and office equipment. We cannot fund organisations' wages costs as these amounts are also beyond our means.
Things that have already happened
This could be a school camp that has already finished, or an account that has already been paid. We do, however, help with bills that are overdue or in arrears.
Application process
Download our form and please read it carefully. You may like to have someone help you fill it in. You are welcome to include a letter of support with your application.
Tell us about the need or crisis
Please describe the situation or crisis as much as you feel able to. Applications are strictly confidential because we know this information may be sensitive.
Describe the current circumstances
This includes noting the number and ages of members of the household. Please note any other relevant factors such as health, special needs, housing, work or debts.
Include copies of bills, accounts or quotes
Your application will be returned if this information is missing. Please include full information and quotes so that the Trustees are able to make an informed decision, and so we are able to make a payment if your grant is successful.
Individuals must include 2 signatures
Please give 2 signatures from people who support the application, e.g. budget advisor, WINZ, support/social worker, doctor or nurse, minister, employer, lawyer, teacher or principal. NOT family or friends. Also, if applicable, please confirm that no WINZ grants or advances are available.
Organisations must include 2 signatures
Please provide 2 signatories from your organisation, a resolution from your committee and a copy of your most recent financial statements.
Important dates
Return the completed Application Form by the 25th of the month to the Fifeshire Foundation at
Fifeshire House, Trafalgar Square, Nelson
or post to
Fifeshire Foundation
PO Box 907, Nelson
We let the contact person know the result a few days after the meeting. Fifeshire Foundation meets on the first Friday of each month, but there is no meeting in January.


text: What is this tiny blue box with question mark in it when I try to run some apps. I have downloaded three different games tonight and tried to run them on my Lg Optimus M and when the app begins to run, the screen changes quickly to all black with a tiny blue box in the middle that has question marks on it. What does this mean? I was at the site called Appbrain and successfully downloaded two jet fighter games, one called Sky Warrior and another called sky warrior Force, and then I tried opening a third game called "heli strike" after successfully downloading it, all three have given me the black screen with the blue box instead of the game beginning, What does this mean? Is it because I am running 2.2? Or maybe these apps wont run on LG Optimus M? IDK Has anyone any info on this tiny blue box with the question marks when you try to run a newly installed game? Please advise.... over,


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DLBA adds 12 Downtown events for 2010
2010-02-16 · By Editor
Follow the success of 2009 events such as the New Year's Eve Harbor jump and Summer And Music, the Downtown Long Beach Associates (DLBA) will produce more than 10 free, high-profile public events in 2010 designed attract consumer traffic.
The DLBA's 2010 event calendar includes the return of many popular events, including the Taste of Downtown, the 2nd Annual Long Beach Bike Festival, the widely-acclaimed Summer And Music series and the 2nd Annual Latin American Parade & Festival.
"Our goal is to build on the success of events that have proven to have a positive impact in the past," said Kojian. "By creating a variety of opportunities for visitors and residents to experience many facets of the Downtown, we're able to showcase our urban center in unique ways while helping to generate additional revenue for the business community."
The slated events are expected to draw more than 75,000 attendees and generate a direct economic impact of up to $1.5 million for Downtown Long Beach throughout the year. The introduction of the DLBA's Annual Calendar affords businesses greater opportunity for planning to customize their marketing and promotional initiatives in order to take advantage of anticipated crowds.
In addition to producing these scheduled events, the DLBA's Marketing and Special Events Task Force will review requests and provide in-kind sponsorship support to groups planning select events in the business district, thereby leveraging the DLBA's resources to further enhance the image of Downtown Long Beach.
"The DLBA has a long history of supporting community-oriented groups in their efforts to bring events into Downtown Long Beach," said Richard Lewis, DLBA Executive Committee member and Chair of the Marketing & Special Events Task Force. "We look forward to continuing the collaborative work that has helped to cultivate so many wonderful events over the years."
The Downtown Long Beach 2010 Calendar of Events is as follows:
- March 24-25: Taste of Downtown at the Waterfront
- April 15: Tecate Thunder Thursday
- May 7-9: Long Beach Bike Festival
- May 14: Pink Party
- June-August: Summer And Music (SAM)
- June 22-23: Taste of Downtown in the East Village
- September 15-16: Taste of Downtown on Pine Avenue
- September 25: Latin American Parade & Festival
- October 31: Halloween in Downtown
- November 11: 7th Annual State of the Downtown
- December 1-24: Festival of Lights
- December 31: New Year's Eve
A copy of the 2010 Annual Calendar of Events is available for download on the DLBA's website at www.downtownlongbeach.org. For more information, call (562) 436-4259.


text:
RALEIGH, NC (WTVD) --It's official, Tom Dundon is the majority owner of the Carolina Hurricanes.
According to team officials, the sale closed Thursday just two months after Dundon signed a purchase agreement to buy the stake in the franchise from longtime owner Peter Karmanos Jr.
On Friday, the Hurricanes held a news conference to introduce their new owner.
During the conference, NHL commissioner Gary Bettman said the franchise "isn't going anywhere."
Dundon, 46, is the former CEO of Dallas-based lending firm Santander Consumer USA.
He's also an investor in the Top Golf chain of golf and entertainment facilities and a key financier of a new golf course in Dallas, ESPN reports.
READ MORE: Tom Dundon becomes majority owner of Hurricanes as sale closes


text:
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|christchurch cathedral - dec 2010
the single hardest things about living abroad is that there is always potential to be away from your family when something of significance happens - today we learned that christchurch has again sustained an earthquake. this will make three (plus the multitude of aftershocks) in six months.
le boy's family live in christchurch. and so my family now lives in christchurch too. thank god they are ok.
the photographs of destruction - places we stood not even two months ago, reduced to rubble - are reminders of the fragility of this life. 65 people have died so far, and it is unknown how many more are injured or trapped in buildings. it is night now, and it must be terrifying.
|christchurch cathedral feb 22, 2011 - freerepublic.com
1 I love the Lord because he hears my voice
and my prayer for mercy.
2 Because he bends down to listen,
I will pray as long as I have breath!
psalm 116:1&2 (NLT)


text:
SANTA CLARA, Calif. — February 16, 2017 — Hortonworks, Inc. ® (NASDAQ: HDP), a leading innovator of open and connected data platforms, today announced that Pinsight Media, a mobile data company, is leveraging Hortonworks Data Platform (HDP™), Hortonworks DataFlow (HDF™) and Hortonworks professional services to enhance how it ingests data from mobile network operators. HDP and HDF will improve the scale and the speed at which Pinsight's Data Management Platform (DMP) ingests and processes data.
Launched in 2012, Pinsight uses verified, network-level data to fuel intelligent brand decisions. To establish itself as the leader in this space, Pinsight required an agile, scalable platform that allowed it to manage a massive data lake of verified, first-party data from mobile networks.
"We ingest over 60 terabytes of data daily from over 30 unique sources across 65 million devices, making us the elite source for network-level data," said Jason Delker, Chief Technology and Data Officer at Pinsight. "As such, we needed a platform that aligns with our commitment to volume, veracity, velocity and variety of the data. Only Hortonworks Data Platform provides both the agility and scale we need to let our clients be more precise in their targeting and more efficient with their ad buys."
To establish its first HDP cluster, Pinsight relied on the deep subject matter expertise of Hortonworks professional services. Since then, the volume, veracity, velocity and variety of Pinsight's data has significantly scaled. The company continues to rely upon Hortonworks professional services to help optimize its architecture for both batch and streaming analysis. Pinsight Media now manages a data lake on HDP. That lake supplies the ad tech industry with verified, first-party data straight from the network. This offers the most real, up-to-date view of people and their genuine behaviors, resulting in precision targeting, minimized waste and higher campaign ROI.
Pinsight is currently architecting capabilities to stream analytics and create advertising logs from its partners. Using connected data platforms from Hortonworks, including Apache Spark and HDF, Pinsight can collect and aggregate advertising event data from both in-house and third party sources. This capability serves to increase the speed at which Pinsight lands behavioral and persistent location data, reducing data fragmentation and increasing real-time ad delivery.
"The combination of HDP and HDF helps telecommunications providers to store new types of data, retain that data longer and join diverse datasets together to derive new insight," said Sanjay Kumar, General Manager of Communications & Media at Hortonworks. "Pinsight is a great example of a mobile data company who has harnessed the value of its data to drive business transformation, and we look forward to continuing to work with them for even more success."
To learn more about how Pinsight Media is using HDP and HDF, read the case study and watch the video at https://hortonworks.com/customers/pinsight-media.
About Pinsight Media
Pinsight Media is the leading provider of verified, first-party mobile data. The company works directly with marketers to fuel intelligent brand decisions by providing actionable insights about their target customers.
The Pinsight Media Data Management Platform (DMP) ingests over 60 terabytes of data daily from more than 30 unique sources across 65 million devices. Its data science experts use a proprietary method to combine verified, first-party data with mobile web, app and location data to understand the persistent behaviors of a brand's best customer, pinpointing those who have the highest propensity to respond. This helps maximize spend, minimize waste and refine the marketing messages.
About Hortonworks
Hortonworks is an industry leading innovator that creates, distributes and supports enterprise-ready open data platforms and modern data applications that deliver actionable intelligence from all data: data-in-motion and data-at-rest. Hortonworks is focused on driving innovation in open source communities such as Apache Hadoop, Apache NiFi and Apache Spark. Along with its 2,100+ partners, Hortonworks provides the expertise, training and services that allow customers to unlock transformational value for their organizations across any line of business.
Hortonworks, Powering the Future of Data, HDP and HDF are registered trademarks or trademarks of Hortonworks, Inc. and its subsidiaries in the United States and other jurisdictions. For more information, please visit www.hortonworks.com. All other trademarks are the property of their respective owners.


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(CNN) -- Voters in California went to the polls for a special election Tuesday to vote on budget measures designed to reduce the state's growing deficit, which has been called a "financial Armageddon."
California residents are voting to decide on measures that could impact the state's growing deficit.
Residents weighed in on six propositions -- a mixture of tax changes, borrowing, reforms and shifting of funds -- to determine the rigorousness of budget cuts for the next year.
If the propositions fail, the governor said he will have to make cuts to schooling and health care and would likely need to release a large number of inmates from the state's prison system.
California Gov. Arnold Schwarzenegger and legislators have been wrangling for months over how to close the deficit.
Despite a budget agreement reached months ago, the deficit would hit $15.4 billion at the start of the new fiscal year in July, even if all measures are approved Tuesday. If the measures are defeated, the deficit would inflate to $21.3 billion, Schwarzenegger's office said last week.
California resident and iReporter Melissa Fazli told CNN she was upset to even be voting on these provisions and thought politicians should have been making these decisions.
"It's just not right. We voted these people in in order to stand up for us and make the decisions that needed to be made and they dropped the ball," she said. "And they just passed it on to us." iReport.com: Fazli expects Schwarzenegger will be disappointed
Pollsters expect statewide voter turnout may not even reach 30 percent. iReport.com: Low turnout in California election
Some voters expressed voting fatigue, while others said the complexity of the issues on the ballot could be responsible for a low turnout. In addition to budgetary issues, residents will also vote on an open seat in a Los Angeles-area state Senate district and the open Southern California congressional seat vacated by U.S. Labor Secretary Hilda Solis. iReport.com: California special election a waste of taxpayer's money
A CNN photographer spent two hours Tuesday morning waiting for voters at two polling places in Los Angeles and encountered just one.
Schwarzenegger was in Washington on Tuesday.
"I did vote absentee," the governor said. "I'm looking forward to the outcome tonight." Is the governor failing California? »
California GOP chairman Ron Nehring said he didn't think the governor's absence would change anything.
"I think that the outcome of today's election is clear," he said. "Propositions 1A-1E are going to be defeated, and that's going to occur regardless of where the governor happens to be."
There is one provision, however, that seems to be gaining some traction.
James Safarik, a retired Los Angeles County engineer, told the Los Angeles Times for the most part, he's indifferent about all of the provisions.
"Except for the one that says not to grant politicians pay raises," he told the Los Angeles Times. "That one, I can vote for."
Proposition 1A deals with increasing contributions to the state's rainy day fund -- reserve money to use during difficult times. It would also extend tax hikes for up to two years and place a cap on spending. Proposition 1B would mandate payments to schools to restore cuts, but will only be enacted if proposition 1A passes.
Proposition 1C would allow borrowing against lottery money as a way to avoid more cuts. Propositions 1D and 1E, if approved, would transfer money for children's and mental health services, for budget needs.
Proposition 1E, the one Safarik favors, would not allow raises for public officials if the state is expected to end the year with a deficit.
If all measures fail, Schwarzenegger warned he will have to take drastic measures to help with the budget crisis.
That includes shortening the school year by a week and a half, cutting tens of thousands of education jobs, eliminating health insurance for nearly a quarter-million low-income children, laying off 1,700 state firefighters and withholding $2 billion from local governments, which could trigger cuts in law enforcement and other services.
A defeat of the provisions could also mean 38,000 inmates in the California prison system may be freed and the state may be forced to sell the notorious San Quentin prison -- home to Scott Peterson.
"If they are non-serious or nonviolent, non-sex offenders, we could save in general funds about $53 million in 2009 to 2010," the governor said.
About half the prisoners who may be freed are illegal immigrants, Schwarzenegger said.
"Releasing all the undocumented immigrant prisoners to the federal custody could save us another $182 million for 2009 to 2010," he said.
But that plan is one that has some people, including Lance Corcoran of the Peace Officers Association worried.
"The reality is that people don't get to the California prison by accident and most of our offenders have nine felony convictions before they have ever seen the inside of the prison," Corcoran said. "There is concern that we are just dumping people back into communities and those communities are going to be at risk."
CNN's Casey Wian and Ted Rowlands contributed to this report.
All About California • Arnold Schwarzenegger


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As we prepare our forum for the eventual upgrade to XF2, the blogging system may undergo so changes. Read More Here.Dismiss Notice
times are changing...
Published by story_teller in the blog story_teller's blog. Views: 116
Times are changing, or am I?
I feel like I have learn't and changed so much over the years but I wonder, am I just adapting? My goals are still the same as they were when I was a child, they are still unachieved. But I'm not anywhere near where I started, the environment, the people around me, everything is different, people and places have changed. But I don't think I have, I adapt to who and what is around me, but when left to my own devises and uninfluenced by anyone, I still spend that time doing exactly what I used to do as a child. I'm not going to specifically admit to what some of those activities might be, but I still write poems, read, fly kites and plenty more of what I used to do as a child. Maybe I'm old fashioned, I'd be more than happy tucked up in a little house somewhere raising my kids loving my partner, I have a horse or two in the paddock and a billy hidden out the back deck and I would be set!!!!
So I don't aspire to have a career and really don't care enough about money, I'm happy getting buy, some say I'm lazy, I say they are greedy, we do we want more than what our parents gave us, like it wasn't good enough (without starting a fight about who had the roughest ride in childhood) generally speaking why do parents tell children they deserve more like their parents trying there ultimate hardest wasn't ever good enough? A few generations down the track and now we are all, working and socialising all at the same time, our life is kept in our phones and laptops and it seems our heats might just stop beating and the sky's might start melting if our phones run out of battery in an untimely fashion....
I'm 27 I have no children and own nothing much at all, this isn't my lap top I'm using, and not my studio I'm hanging out in, I'm not anything close to being married and my mother is telling me I must settle down before it's to late? ummm a few questions?
By settle down? settle, that word could be taken a few ways now couldn't it? and what is it we all settle down for, or into?
What is the rush, must I settle down, must I start having babies just because I'm nearing 30? but I don't have a job, or a fixed abode? or savings or a healthy lifestyle, why are you suddenly encouraging me to rush into this if I was 16 it would be a very different type of settle down now you would be demanding would't it??
Anyway's that was a muddle to rant out, but I just wanted to say in my own little way!
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Tuesday, September 1, 2015
This position has been filled.
The Office of the Clerk for the United States Bankruptcy Court for the District of Vermont provides administrative, operational, and technical support to the federal bankruptcy court in Vermont. The Chief Deputy Clerk is a senior management position that assumes the duties and responsibilities of the Clerk of Court in the Clerk's absence...
Position Announcement (pdf)


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Did you read today's front page stories & breaking news?
From the Blogosphere
Microservices – Cloud Architecture for Digital Businesses | @CloudExpo #Cloud #Microservices
Netflix has pioneered a revolution of the very nature of software, de-composing monolith apps into a suite of Microservices
Dec. 30, 2015 09:00 AM
Microservices - Cloud Architecture for Digital Businesses
In a VentureBeat article the author describes 'the future of enterprise tech', describing how pioneering organizations like Netflix are entirely embracing a Cloud paradigm for their business, moving away from the traditional approach of owning and operating your own data centre populated by EMC, Oracle and VMware.
Instead they are moving to 'web scale IT' via on demand rental of containers, commodity hardware and NoSQL databases, but critically it's not just about swapping out the infrastructure components.
Netflix have also pioneered a revolution of the very nature of software itself, de-composing monolith applications into a suite of Microservices, enabling high velocity digital innovation.
Netflix OSS
They are challenged not only to distribute a massive volume of media across the global Internet to millions of customers, each generating a fluctuating demand for streaming resources, they are also required to innovate at high speed too, improving and adapting their service and business model in response to equally effective competitors.
Therefore what is interesting about their case study is how their technology strategy enables both. Through their pioneering of best practices like 'Microservices' and 'Continuous Deployment' they are able to both service this gigantic volume of media distribution, and also frequently update the business platform that performs this function, improving the user experience, optimizing performance and so on.
To best exploit the web scale capabilities that Amazon Cloud services offer, Netflix entirely re-engineered their approach to building and deploying software, becoming the poster child for the approach now known as Microservices.
Not only did they share their experiences of doing so, through blogs and presentations, they also literally published them as reusable Cloud best practices, distributing the components they developed to make this possible as open source software. This Medium interview provides a comprehensive background that led them through this path.
Organizations like Nike then adopted the same approach enabled by these building blocks to enjoy the same benefits of increased, rapid innovation, and the considerable opportunity is that any other organization is able to harness these same capabilities for the same results.
Microservices Continuous Delivery
Sam Newman offers this 114 slide presentation on the Principles of Microservices. They are described to bring many powerful benefits although Gene Hughson argues that microservices aren't for everyone.
It's often criticized simply as old wine in new bottles, simply re-branding what is an existing architecture, the SOA (Service Oriented Architecture), however as expert Martin Fowler describes in this comprehensive guide that is typically an approach for integrating monolith applications often using an Enterprise Services Bus.
In contrast microservices are an entirely different approach for how these monolith applications are built in the first place, specifically:
"the microservice architectural style is an approach to developing a single application as a suite of small services, each running in its own process and communicating with lightweight mechanisms, often an HTTP resource API."
Naturally a key dynamic of microservices is that they are small units of code, with some arguing this can be defined specifically as 10-100 lines of code, however this isn't a hard rule and really the principle benefit is derived from the modular approach.
The nature of monolith software development means that even small changes require the entire monolith to be re-deployed each time, a cumbersome approach that slows the product development life-cycle considerably.
In contrast the key feature of microservices is a modularity that enables each individual microservice to be re-deployed on its own, making them ideal for the high velocity change rates desired of a shift to DevOps and Continuous Delivery approaches.
Organized around Business Capabilities
Microservices, Containers and Multi-Platform Development
Nate Slater, a Solution Architect with AWS Startups explores this question, providing an insightful overview that sets the scene through the history of web application design that leads up to this evolution.
He makes the point that because microservices are intended to deliver one specific business function via minimal resource requirements, those requirements can be met in an optimized fashion through delivering them via a Docker container.
"It is this isolation between containers running on the same host that makes deploying microservice code developed using different languages and frameworks very easy. Using Docker, we could create a DockerFile describing all the language, framework, and library dependencies for that service."
Nate also makes the same critical point that Martin Fowler does, that De-centralized Governance is possible where you can 'use the right tool for the right job', such as using Node.js for a simple report page or C++ for a service that requires more demanding real-time processing. Nate echoes this, adding other scenarios that might be better met through Python or Ruby.
The post Microservices – Cloud Architecture for Digital Businesses appeared first on Cloud Best Practices.
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Radio Verulam's drivetime show blog. Danny Smith presents the show weekdays from 4pm - 7pm on 92.6FM or online at www.radioverulam.com
Friday, 16 March 2012
Brilliant Things Marie and Greg
Tonight we were joined in the studio by two of The Brilliant Things, Marie and Greg. The Brilliant Things are a great band from Dublin and we were honoured that they came in and were very funny and talented guests.
They played a couple of tunes for us, including one of their BBC Radio 2 playlisted hits 'Dance', and took some time out of their busy schedule to physically threaten Danny. However, they did it with charm and a twinkle in their eye so we'll let them off!
If you want to know more about the band then you can visit their website here.
Posted by Chris Aikman at 17:32
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The pin came from the blog of Danielle Daws, and it's a fabulously handy way to store the blending sponges we use with Distress Inks.
Here's my previous storage system:
A colour chart, and plastic storage boxes with each sponge in its own little divider. Neat, but not so handy. Every time I wanted a new sponge I had to pull the box out of the shelf (I had two boxes, and I was always pulling out the wrong one...Murphy's Law, right?).
Here's the new system:
Very accessible, and very pretty. I stamped each colour using a Prima washi tape stamp in 5 x 5cm squares, laminated the sheet and added half a Velcro dot to hold the sponge in place.
Now I just need to make some wall space so these can hang right where I need them.
A morning well spent I say! Thanks for looking.


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Square Heroes Comes Up Flat | Review
If there's one problem I find consistent in while reviewing indie games, it's that those that rely on an online community or presence are difficult to review. Square Heroes is a game that seems to be too new, too underground for its own good. Recently Greenlit on Steam, there's a chance this turns around soon, though, so I tried to do what I could to get a feel for the game through it's single-player "Tournament" mode. While I'm not certain it's a fair representation of what playing online would be like, I think it gives enough to examine the potential of the title.
Square Heroes takes the form of an arena-style combat game. Players create their 'Hero', essentially boiling down to picking a color for an anthropomorphic square. Other customizations, of course, open up down the line, consisting of hats and weapon loadouts. Players take to the field in standard arena games. Deathmatch and 'Gnome Hunt' (essentially a checkpoint capture) were the modes I had a chance to try out, with team varieties featuring as well. Levels are also populated by mindless enemies to be defeated for coins.
What I got to try of Square Hero was actually a bit fun, if somewhat lacking. The graphics and sound aren't particularly engaging, but the play is quick and the controls are pretty responsive when using a gamepad. Mouse and keyboard is another option, but I didn't care to try it out. Each round consists of the player(s) battling each other on a map full of enemies. Killing enemies — or other combatants — will earn you coins, which gradually unlock the other weapons you've got equipped for use during play. Weapons become available for equipping as the character levels up by gaining XP in battles.
Rounds in Square Heroes, in typical arena-game fashion, can be to a number of kills (or captures) or on a timer. The single-player tournament is divided into three-room tiers, each utilizing a different map, with a mix of game modes to play against bots. Each time I tried the online feature, no games were found. The AI faced in the tournament can be tough, but it's not especially intelligent and certainly nothing like facing human opposition. Still, it's an amusing diversion to pick up for short bursts and play.Things can get pretty hairy with some of the weapons available as you level up and expand your arsenal.
All in all, Square Heroes could be a fun pick-up-and-play once the number of players picks up, which a Steam release could bring. The team at Gnomic Studios is, according to the Greenlight page, working on adding in achievements and other finishing touches before it goes live, but in the meantime, the game is available for $9.99 directly from the developers or at Desura. There's certainly a lack of polish to it, but with the right competition and some practice, it could be worth it for those interested in quick, easy arcade-style play.


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ABA Renames Tournament Series to the Weekend Bass Tour
Athens, Ala. – American Bass Anglers announces the renaming of its Weekend Series to the Weekend Bass Tour. The Weekend Bass Tour consist of 20 divisions with 5 divisional events each with a Boater/Co-Angler format. Professional crews will continue to operate these divisions for the weekend bass angler as it has done for years.
Each of the divisions will host 4 one-day divisional events and 1 two-day divisional championship. Divisional one-day events have an entry fee of $200 for boaters and $100 for co-anglers. First place can earn as much as $13,000 from winnings and sponsor bonuses. Two-day divisional championship entry fees are $300 for the boaters and $150 for the co-anglers. First place at a two-day divisional championship could earn as much as $16,000 from winnings and sponsor bonuses.
From Divisional Championships, anglers advance to Regional Championships with a 100 percent payout. Top boaters from each Regional Championship qualify for the $100,000 first place and top co-anglers will qualify for the $50,000 first place at the 2014 National Championship.
ABA will provide several enhancements for the 2014 season such as;
• Increased payouts
• No online entry handling fees
• Only an ABA membership required with new benefits
• New Division(s)
• Very special news coming soon on the 2014 Championship
The Weekend Bass Tour 2014 schedule will be announced in early October and registration will begin October 21, 2013.
About American Bass Anglers
ABA was formed in 1974 as the Military Bass Anglers Association and continues its pledge to offer low-cost, close-to-home tournaments to all weekend anglers nationwide. In addition to the newly named Weekend Bass Tour, ABA offers the American Fishing Tour, the American Couples Series and Military Team Bass Tournaments. For information about ABA, contact Morris Sheehan, president, email@example.com, (256) 232-0406


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Hi, how's it going? It's been awhile, hasn't it?
In between moving house (again! two times in a month), starting a full time, I'm-a-real-adult job and living my life I seemed to have dropped off the blogosphere. Or maybe it dropped me. Either way, hello!
Today I bring to you a lovely, gentle flavoured shortbread recipe that I thought up one day when living back at my parent's house in my nomadic (read: chaotic) period between rental houses. It features one of my favourite flavours in the world - eucalyptus. The smell of eucalyptus is, without a doubt, synonymous with home, the bush and the sun, and for that I love it.
Combined with lemon and poppy seeds, the result is a slightly zesty, mildly sweet and buttery soft shortbread. Delish. Hugo actually tried to convince me the other day I told him vehemently that I didn't like shortbread.
PUH-lease, see below.
Lemon, Poppyseed and Eucalyptus Honey Shortbread
Makes 12
125g butter
40g caster sugar
1 egg
60g eucalyptus honey
zest from 2 lemons
200g plain flour
1/4 teaspoon baking powder
pinch of sea salt
1/2 cup poppy seeds
Cream together butter, sugar and the egg until light and fluffy. Add in the honey and lemon zest.
Sift in flour and baking powder and gently mix until combined (don't mix the dough too much as you will get a tough bikkie) Roll the soft dough out into a log like shape, wrap in gladwrap and chuck in the freezer for about 30 mins to harden up. Pre-heat oven to 180 degrees celsius.
Grab the dough out of the freezer. Scatter the poppy seeds on a clean bench and roll the dough in the seeds to evenly cover. Slice the log into 1.5cm circles. Place on a lined baking tray and bake for about 12-15 minutes until golden.


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Listen to S.U.P.E.R., the latest track from Rock City. The cut dropped on Friday, December 11th, 2009. Rock City's future brightens with every new release, and S.U.P.E.R. certainly isn't an exception. It's a fitting addition to a solid catalogue that Rock City has been developing since stepping foot in the game. We're excited to hear more.
Have you heard Rock City's Intro? If you're down, make sure to visit Rock City's profile page for the newest info, news, songs, and mixtapes.
What do y'all think of this joint?


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I started yesterday at 15.00 and I have now walked to Tønsberg! But remember even though it is great with press. I is not about what I can do or what I'm doing, but it is about sustainability and conserving ecosystems amongst people, animals and nature so that it can last for generations to come.
Support Nanofasa www.nanofasa.com and press donate.


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Happy December 1st! For everyone who celebrated Thanksgiving, I hope you survived your relatives, copious amounts of turkey, and unhealthy quantities of pumpkin pie. I feel like I am going to be eating leftover's until Christmas.
And no, you are not allowed to judge me even though it's only 2PM (New York time) and I am already on my second slice of pumpkin pie.
Just a quickie nail post today to share some awesome nail polish deals for Cyber Monday. I feel like we usually don't get deals this good, but this year, many businesses are offering between 20%-40% off, along with sales that will stretch from Black Friday to Cyber Monday. This list was put together by Refined and Polished and lists over 20 stores offering crazy discounts on nail stuff.
Small warning...some of the deals have already expired so pay attention to the details. For example, one Australian company is offering 40% off their polishes expiring on December 1st at midnight. I was ecstatic until I tried to check out and my coupon code didn't work. After several minutes of tantrums, my boyfriend suggested that it's probably because it's already December 2nd in Australia (close to 6AM). Damn New York time. But there are still some great bargains out there! So say thank you to Refined and Polished for being awesome and check out the sale list. Some of my favorite brands are Girly Bits, Pretty Serious, and Dollish Polish. Merry Christmas to me!
Oh and before I forget, here is some nail art! Just because.
The base for this manicure is a lovely pale gray which I purchased from one of my favorite indie sellers, LynbDesigns, who can be found on Etsy. I think she is actually having a sale this weekend too.
I was particularly proud of my thumb, which I think came out cool. I used some of the individual larger sparkles from the Color Club polish and placed them individually on my thumb nail. And the stripes on my ring finger and thumb were done free hand using a small nail striper.
Like what you see? Check out my other designs on pinterest and tumblr : )
I hope you get some awesome bargains!
Let me know what you end up purchasing! : )
LynBDesigns - Eloquent Dust (base)
Sally Hansen - White On
Sally Hansen - Black Out
Color Club - Orna-minted (silver glitter)
Cosmetic Arts - aquamarine sparkle (I feel like these polishes never have actual names)