text:
Green Torque is capable to offer its customers a leading-edge below listed products and solutions. Our solution is based on high-quality; high-performance offerings that can help the customer achieve enhanced productivity, increased business agility, and greater competitive advantage. Our potential customers can have confidence in the proposed approach because Green Torque has assisted customers across the region with the successful deployment of business solutions. We are committed to customer’s success and are confident that our solution addresses the customer a business requirements.
Converged infrastructure is combining server, storage, and networks into a single framework, help to transform the economics of running the datacenter thus accelerating the transition to IP storage to help build infrastructures that are “cloud-ready”. The combination of storage and compute into a single entity is known as converged storage.
Converged infrastructure operates by grouping multiple IT components into a single, optimized computing package. Components of a converged infrastructure may include servers, data-storage devices, networking equipment and software for IT infrastructure management, automation and orchestration. Organizations use converged infrastructure to centralize the management of IT resources, to consolidate systems, to increase resource-utilization rates, and to lower costs. Converged infrastructures foster these objectives by implementing pools of computers, storage and networking resources that can be shared by multiple applications and managed in a collective manner using policy-driven processes.
Green Torque, being an HP Authorized Channel Partner is capable of implementing such IT infrastructure Solutions.
In computing, virtualization is the creation of a virtual (rather than actual) version of something, such as a hardware platform, operating system (OS), storage device, or network resources. Virtualization can be viewed as part of an overall trend in enterprise IT that includes autonomic computing, a scenario in which the IT environment will be able to manage itself based on perceived activity, and utility computing, in which computer processing power is seen as a utility that clients can pay for only as needed. The usual goal of virtualization is to centralize administrative tasks while improving scalability and overall hardware-resource utilization. With virtualization, several operating systems can be run in parallel on a single central processing unit (CPU). This parallelism tends to reduce overhead costs and differs from multitasking, which involves running several programs on the same OS.
Virtualization allows an IT manager to manage systems with more flexibility and control, at a lower cost, with added security. Disaster recovery plans are a built in part of virtualization because virtualized images can recover all of a systems’ servers. Virtualization also allows a manager to set up multiple systems, easily, at a faster rate that also reduces costs.
Flexibility and Control: Virtualization is an extremely flexible option because it allows IT managers to expand, shrink or move the virtual computer without modifying the hardware. With virtualization data can be moved without affecting access to the data. Data is no longer bound to a physical hard drive like a desktop which gives companies more flexibility to grow their data field or change in their file storage environment.
Environmentally Friendly: Virtualization reduces the number of servers a company uses which decreases the energy it takes to operate and cool the servers. Without virtualization many data centers run at only a fraction of their capacity and thus are very inefficient at converting electricity into IT work. Virtualization reduces energy use by helping systems run at peak performance and optimize energy use. The reduced about of servers decreases energy while maintaining the same processing power. IT managers are also allowed to turn off computers from a centralized location in order to not waste electricity and money. All of this means a significant improvement in IT efficiency and reduction in greenhouse gas emissions.
Cost Benefit: In computing, the benefits of virtualization are primarily reducing the hardware costs by upto 70%. Organizations can dramatically increase the efficiency of their existing data center through virtualization and potentially avoid the massive cost of building a new one. With virtualization, instead of buying new computers every 3-5 years, older computers can run new applications though the virtualized server. Sometimes companies only run one application on a server because they don’t want to risk the application failing and crashing the other computers. With virtualization, computers becoming a multi-tasking one and multiple servers into a computing pool that can adapt to large workloads. Another added cost benefit is a reduction in time it takes to send out patches and updates. Virtualized machines can be turned off from a centralized location which also reduces utility costs.
Virtualization is a long lasting solution to reduce the hassles IT managers face with managing, securing and upgrading computers. Through a virtualized system it’s easier to keep desktops updated and secure and the cost benefits and environmental benefits companies reap from upgrading to a virtualized system are an added bonus. Green Torque has the competence to assist customers to evaluate, migrate or deploy “virtualization”. Thus convert your IT Infrastructure into complete Virtual environment. Green Torque has partnered with Microsoft, VMware & Citrix to provide Virtualization Solution to its customers.
Structured cabling is the design and installation of a cabling systems that will support multiple hardware uses systems and be suitable for today’s needs and those of the future. Green Torque has proven its structured cabling capabilities by accurately installing the system to customer requirements of today and of tomorrow. The system can be catered for and whatever hardware you choose to add will be supported.
Green Torque’s Structured cabling design and installation is governed by a set of standards that specify wiring data centers, offices, and apartment buildings for data or voice communications using various kinds of cable, most commonly CAT5e, CAT6, and fiber optic cabling and modular connectors. These standards define how to lay the cabling in various topologies in order to meet the needs of GT’s customers, typically using a central patch panel , from where each modular connection can be used as needed. Each outlet is then patched into a network switch for network use or into an IP or PBX telephone system patch panel.
Lines patched as data ports into a network switch require simple patch cables at each end to connect a computer. Green Torque follows color coded patch panel cables to identify the type of connection, though structured cabling standards do not require it except in the demarcation wall field.
Cabling standards demand that all eight conductors in Cat5e/6/6A cable are connected, resisting the temptation to ‘double-up’ or use one cable for both voice and data. IP phone systems, however, can run the telephone and the computer on the same wires.
Collaboration in the workplace is when two or more people (often groups) work together through idea sharing and thinking to accomplish a common goal. It is simply teamwork taken to a higher level. Teamwork is often a physical joining of two people or a group to accomplish a task. With the changes and advancements in technology, such as high-speed Internet, web-based programs, file sharing, email and video-conferencing, collaboration has become a more productive way of doing things. Collaboration in the workplace incorporates teamwork and several other aspects, such as the following: Thinking and brainstorming ideas to provide solutions – This key element brings groups together to offer different perspectives and expertise to solve for common problems. The phrase ‘putting our heads together’ would be a good example of this important element of collaboration. A strong sense of purpose – Groups and individuals who truly collaborate see the value in working together. Collaboration is not forced upon someone. There should be a meaningful reason for working together, and it should benefit both parties or the company as a whole. Equal participation – In corporate America, a collaborative manager or leader may often say, ‘leave your titles at the door.’ Treating everyone as equals when collaborating can open up communication and encourage ideas from all levels of the company or department, not just the managers or directors.

lowercased:
green torque is capable to offer its customers a leading-edge below listed products and solutions. our solution is based on high-quality; high-performance offerings that can help the customer achieve enhanced productivity, increased business agility, and greater competitive advantage. our potential customers can have confidence in the proposed approach because green torque has assisted customers across the region with the successful deployment of business solutions. we are committed to customer’s success and are confident that our solution addresses the customer a business requirements.
converged infrastructure is combining server, storage, and networks into a single framework, help to transform the economics of running the datacenter thus accelerating the transition to ip storage to help build infrastructures that are “cloud-ready”. the combination of storage and compute into a single entity is known as converged storage.
converged infrastructure operates by grouping multiple it components into a single, optimized computing package. components of a converged infrastructure may include servers, data-storage devices, networking equipment and software for it infrastructure management, automation and orchestration. organizations use converged infrastructure to centralize the management of it resources, to consolidate systems, to increase resource-utilization rates, and to lower costs. converged infrastructures foster these objectives by implementing pools of computers, storage and networking resources that can be shared by multiple applications and managed in a collective manner using policy-driven processes.
green torque, being an hp authorized channel partner is capable of implementing such it infrastructure solutions.
in computing, virtualization is the creation of a virtual (rather than actual) version of something, such as a hardware platform, operating system (os), storage device, or network resources. virtualization can be viewed as part of an overall trend in enterprise it that includes autonomic computing, a scenario in which the it environment will be able to manage itself based on perceived activity, and utility computing, in which computer processing power is seen as a utility that clients can pay for only as needed. the usual goal of virtualization is to centralize administrative tasks while improving scalability and overall hardware-resource utilization. with virtualization, several operating systems can be run in parallel on a single central processing unit (cpu). this parallelism tends to reduce overhead costs and differs from multitasking, which involves running several programs on the same os.
virtualization allows an it manager to manage systems with more flexibility and control, at a lower cost, with added security. disaster recovery plans are a built in part of virtualization because virtualized images can recover all of a systems’ servers. virtualization also allows a manager to set up multiple systems, easily, at a faster rate that also reduces costs.
flexibility and control: virtualization is an extremely flexible option because it allows it managers to expand, shrink or move the virtual computer without modifying the hardware. with virtualization data can be moved without affecting access to the data. data is no longer bound to a physical hard drive like a desktop which gives companies more flexibility to grow their data field or change in their file storage environment.
environmentally friendly: virtualization reduces the number of servers a company uses which decreases the energy it takes to operate and cool the servers. without virtualization many data centers run at only a fraction of their capacity and thus are very inefficient at converting electricity into it work. virtualization reduces energy use by helping systems run at peak performance and optimize energy use. the reduced about of servers decreases energy while maintaining the same processing power. it managers are also allowed to turn off computers from a centralized location in order to not waste electricity and money. all of this means a significant improvement in it efficiency and reduction in greenhouse gas emissions.
cost benefit: in computing, the benefits of virtualization are primarily reducing the hardware costs by upto 70%. organizations can dramatically increase the efficiency of their existing data center through virtualization and potentially avoid the massive cost of building a new one. with virtualization, instead of buying new computers every 3-5 years, older computers can run new applications though the virtualized server. sometimes companies only run one application on a server because they don’t want to risk the application failing and crashing the other computers. with virtualization, computers becoming a multi-tasking one and multiple servers into a computing pool that can adapt to large workloads. another added cost benefit is a reduction in time it takes to send out patches and updates. virtualized machines can be turned off from a centralized location which also reduces utility costs.
virtualization is a long lasting solution to reduce the hassles it managers face with managing, securing and upgrading computers. through a virtualized system it’s easier to keep desktops updated and secure and the cost benefits and environmental benefits companies reap from upgrading to a virtualized system are an added bonus. green torque has the competence to assist customers to evaluate, migrate or deploy “virtualization”. thus convert your it infrastructure into complete virtual environment. green torque has partnered with microsoft, vmware & citrix to provide virtualization solution to its customers.
structured cabling is the design and installation of a cabling systems that will support multiple hardware uses systems and be suitable for today’s needs and those of the future. green torque has proven its structured cabling capabilities by accurately installing the system to customer requirements of today and of tomorrow. the system can be catered for and whatever hardware you choose to add will be supported.
green torque’s structured cabling design and installation is governed by a set of standards that specify wiring data centers, offices, and apartment buildings for data or voice communications using various kinds of cable, most commonly cat5e, cat6, and fiber optic cabling and modular connectors. these standards define how to lay the cabling in various topologies in order to meet the needs of gt’s customers, typically using a central patch panel , from where each modular connection can be used as needed. each outlet is then patched into a network switch for network use or into an ip or pbx telephone system patch panel.
lines patched as data ports into a network switch require simple patch cables at each end to connect a computer. green torque follows color coded patch panel cables to identify the type of connection, though structured cabling standards do not require it except in the demarcation wall field.
cabling standards demand that all eight conductors in cat5e/6/6a cable are connected, resisting the temptation to ‘double-up’ or use one cable for both voice and data. ip phone systems, however, can run the telephone and the computer on the same wires.
collaboration in the workplace is when two or more people (often groups) work together through idea sharing and thinking to accomplish a common goal. it is simply teamwork taken to a higher level. teamwork is often a physical joining of two people or a group to accomplish a task. with the changes and advancements in technology, such as high-speed internet, web-based programs, file sharing, email and video-conferencing, collaboration has become a more productive way of doing things. collaboration in the workplace incorporates teamwork and several other aspects, such as the following: thinking and brainstorming ideas to provide solutions – this key element brings groups together to offer different perspectives and expertise to solve for common problems. the phrase ‘putting our heads together’ would be a good example of this important element of collaboration. a strong sense of purpose – groups and individuals who truly collaborate see the value in working together. collaboration is not forced upon someone. there should be a meaningful reason for working together, and it should benefit both parties or the company as a whole. equal participation – in corporate america, a collaborative manager or leader may often say, ‘leave your titles at the door.’ treating everyone as equals when collaborating can open up communication and encourage ideas from all levels of the company or department, not just the managers or directors.


text:
A San Juan Island man was stabbed on March 21 and was flown off for his injuries. The alleged assailant is at large, and the sheriff’s office is currently attempting to locate her.
Watch the Journal for updates to this breaking news story.

lowercased:
a san juan island man was stabbed on march 21 and was flown off for his injuries. the alleged assailant is at large, and the sheriff’s office is currently attempting to locate her.
watch the journal for updates to this breaking news story.


text:
Legalize all drugs. End the drug war. Take the power out of the drug cartels.
Every country needs to legalize it.

lowercased:
legalize all drugs. end the drug war. take the power out of the drug cartels.
every country needs to legalize it.


text:
You want a fast response by email. You don't want to wait days to hear from me. I understand this.
I try to answer every email from this site personally and ASAP.
I pledge to you that I will answer your emails quickly. You will be pleased with how rapid and complete my response is.

lowercased:
you want a fast response by email. you don't want to wait days to hear from me. i understand this.
i try to answer every email from this site personally and asap.
i pledge to you that i will answer your emails quickly. you will be pleased with how rapid and complete my response is.


text:
← Adult Learn to Row course starting 23rd January!
The first of three legs of the Winter League was held on Sunday the 15th January, with 16 Cantabs crews racing. Cantabs filled the top 3 places with m1 and m2 crews in 1st and 2nd, and Hills Road close behind in 3rd place, setting the crews up well for the rest of the league! Other notable results were the j18 double of Klaus and Callum which was the second fastest double overall and John Hale setting the fastest time for a single overall. The womens squad also hold the lead in im2 coxed fours with a close race set up with city for the next rounds. Well done to all those who raced and good luck for the remaining legs!

lowercased:
← adult learn to row course starting 23rd january!
the first of three legs of the winter league was held on sunday the 15th january, with 16 cantabs crews racing. cantabs filled the top 3 places with m1 and m2 crews in 1st and 2nd, and hills road close behind in 3rd place, setting the crews up well for the rest of the league! other notable results were the j18 double of klaus and callum which was the second fastest double overall and john hale setting the fastest time for a single overall. the womens squad also hold the lead in im2 coxed fours with a close race set up with city for the next rounds. well done to all those who raced and good luck for the remaining legs!


text:
This paper will address the teaching of art. But to begin I'd like to ask you a question: Can you juggle? Specifically, can you juggle five balls?
In case you answered no, I'll tell you how. Start with three balls in your dominant hand—let's assume your right—and two in your left hand. All tosses should make a high arc to the opposite hand. First, throw out of the hand holding three balls. The second toss should come out of your left hand, shortly after throwing the first. The third toss should come out of your right again. If you've done this correctly, the first throw should be coming down towards your left hand, so toss ball number four up the same path as ball number two and catch ball number one. Ball number two should then be coming down towards your right hand, so throw ball number five up the same path as one. You now have ball one in your left hand and ball two in your right, opposite where they started. So follow the previous steps, but in reverse. Then repeat. The balls follow a figure-eight pattern.
Now that you have the instructions, I'll ask you again: can you juggle five balls? Allow me to presume that the answer is still no. Juggling is not a philosophical or theoretical activity. It is not even primarily a mental one. It is a physical one made possible by an understanding about how your body works and a few million stored memories about movement and physics. Your conscious mind, by design, takes all this for granted. The neurological components activated in juggling are working in a manner that one cannot really call "thinking." The only way to accomplish it is by intelligent practice. Starting with learning to juggle three balls, or even one, would be a decent idea. The theory flows forth from practice, not the other way around.
By saying so, I wish to counter the idea that conceptualism ought to be introduced early on in the college art curriculum. For the purpose of this paper, I am not going to distinguish between conceptualism (an approach to art primarily dominated by ideas), critical theory (the interpretation of art objects according to postmodernist analytical models), critical thinking (which unfortunately has become a euphemism for critical theory in certain settings), and conceptual thinking (a horrible coinage that aspires to make the inculcation of critical theory sound like a respectable enterprise). By the time they reach the student, all of these impulses translate to an idea-driven art practice. After a dozen years of teaching art, I have come to the opposite conclusion: that a serious fine art education should embrace its roots in the physical. We should teach art more or less like dance, or juggling. The student should spend the bulk of his time acquiring techniques, and implementing those techniques in a way that interests him. It makes sense to favor the former early on and the latter later on.
Along the way we should encourage the student to think. Note that I did not say that we should teach them conceptual thinking. Neither did I say that we should teach them critical thinking. They're already thinking, and we ought to invite them to do it more, and do it better. But we're looking to turn them into great artists, not great thinkers, and the former hardly depends on the latter. Mostly we need them to labor, to put their talents to use. We need them to act.
In 2003 I was teaching art in Miami, and I had the opportunity to speak on a panel discussion with a variety of art educators. At one point I lamented the fact that a friend of mine, a figurative marble sculptor, had recently moved back to New England. Consequently, no one could teach figurative carving in marble in the entire lower half of the state of Florida. Smirking, the panel moderator let out a derisive huff of air. He then verbalized his objection to my remark: that a contemporary art education shouldn't privilege "fetish materials"—he actually called them that—and asked hypothetically why contemporary art students wouldn't be equally well-served by learning how to make sculptures out of, say, shoes. There's a simple answer to this: marble provides more possibilities of form. You could sculpt a shoe out of marble. You could not sculpt a realistic human figure out of shoes. One might ask, legitimately, whether we ought to teach both carving and assemblage. But that's not what Professor Shoe, as we'll call him, was suggesting. He was disparaging a medium and the techniques that go with it.
Techniques are not merely uses of tools. They represent a holistic understanding about the interactions of tools, materials, and the myriad details of human feeling that together give us the stuff of art. Too, a technique is not merely the way that one manifests an idea. Techniques define the space in which one can form ideas.
Paul Graham, in his seminal book on the programming language Lisp,1 makes an important assertion: "Programming languages teach you not to want what they cannot provide." I would suggest that mediums do this in general. You can use marble to produce outcomes of such enormous variety as to dwarf the possibilities of shoes. The converse is also true: mediums teach you to want what they can provide. Once you gain a certain amount of familiarity with plastic medium like marble, you start to imagine creative possibilities that would never have occurred to you before you learned to carve. The materials don't merely serve the imagination—they fire the imagination. Technique, seen properly as a relationship between desire and materials, causes new possibilities to appear to the artist. The materials not only have limitations, but potentialities. Stated poetically, materials have their own mind, and the artist interacts with that mind.
So why would someone argue against marble in favor of shoes? I learned subsequently that this notion derives from a particular reduction of postmodernist boilerplate. The idea, briefly, says that since the Western tradition of art-making values the carving of marble, and the Western artistic heritage is guilty by association with Western peoples and their often deplorable behavior over the course of several centuries, the denigration of marble carving qualifies as progressive. I have since seen the same opinion expressed by others whose preferences tend towards critical theory. The notion has at least two problems. First, in logic, we call this a genetic fallacy. Second, it amounts to arguing against possibilities in favor of hobbling yourself.
The Western tradition also produced the five-ball cascade, and while I've never seen anyone try to characterize the figure-eight pattern as a fetish shape or damn the pattern as a Western cultural construct, one could do so via the same genetic fallacy. Why not throw all the balls in a big circle, which was the native practice of China, according to the few depictions we have? The answer becomes instantly clear if you try it. The shower pattern, as we call the big circle, requires you to throw five balls consecutively with one hand before you make the first exchange, which is extremely difficult. Why privilege balls over, say, shoes? Because shoes fall in an irregular way, and they won't roll or bounce, and therefore provide fewer possibilities for manipulation. It turns out that the traditional techniques have an enormous wealth of information in them.
If you're a teacher, and a student comes to you interested in making assemblage sculpture out of shoes, you'll give him information about epoxy and thrift stores and working in an area with good ventilation. If a student comes to you interested in figurative marble carving, you'll give him information about chisels, and making drawings for different aspects of the final work, and covering your head so your hair doesn't get cut by marble shards. At least that's what you'll do if you're worth anything as a teacher. The irony of Professor Shoe is that he imagined himself as a progressive teacher who wouldn't force a future shoe sculptor to work in marble. He failed to see that he had become its mirror-image: a retrogressive teacher who would force a future marble sculptor to work with shoes.
Six years later, this kind of Oedipal thinking persists. Brett Sokol, reporting for New York Magazine on the graduate (or possibly postgraduate) school currently under development in Miami that will take the name Art + Research, quoted Yale instructor Henry Madoff saying, "Most art is conceptually based now. It's art based on an idea. It didn't turn out that the twentieth century's most influential artist was Picasso. It turned out it was Duchamp. ... We don't need to do foundation courses, how to draw, how to sculpt."2 This is true, in a way, presuming you don't want to draw or sculpt. The departure of one of the only people in the state who can carve figuratively in marble only constitutes a loss if you care about what he does. But one of the few things everyone agrees on in art education is that art school ought to generate more possibilities for the student. Certain things only become possible after an apprenticeship to one's craft. Drawing turns out to be one of them. If you can't draw, you never learn to want the things that drawing makes possible. Madoff's quote is not only description, but self-fulfilling prophecy. It aims to replace an arguably restrictive tradition with a demonstrably restrictive innovation. The supporters of this innovation don't see it that way, but like Professor Shoe, they can't.
There are a couple of reasons for this. The first is that no creature succumbs to habit quite like the assimilated rebel. As Hannah Arendt put it, "The most radical revolutionary will become a conservative the day after the revolution." Railing against the hoary medium of marble, in all its Eurocentrism, phallocentrism, and oligarchic implications, apes writers who had their heyday in the early '90s and are now, if they're still alive, critiquing allegedly insidious hegemons from lofty, tenured perches in academia. A side effect of the institution of tenure causes fashionable ideas to remain in place long after intellectual hemlines have changed altitude, and a generation of students of these tendentious thinkers have cycled through college on their way to all manner of positions in the art world, including museum curatorships. Conceptualist curators demand conceptualist work, thus obliging educators to teach conceptualism to prepare their students for the art world. (Indeed, what self-identified progressive teacher doesn't want a position near the front, wherever that may be?) This is the second reason that conceptualist teachers don't see their innovation as restrictive: the road to conceptualism is paved with good intentions.
Conceptually-driven instructors substitute an easy kind of freedom for a hard one. When Professor Shoe challenged the place of marble in an art curriculum, he did so as an effort to expand beyond the traditional conception of art. He, and a lot of teachers like him, have invested heavily in the idea of infinitely increasing options. The modernist project consisted, at heart, of efforts to attain quality at the expense of previously known traits about art. Its prototypical examples come from postwar abstraction, which achieved the heights of art despite its jettisoning of what had been understood for hundreds of years as a picture. The conceptualist project seeks to establish the identity of objects as art objects at the expense of previously known traits about art. Instead of seeking the essence of art's quality, it seeks the essence of art's identity. Its prototypical examples are the readymades and collages of Duchamp. Contemporary objects that trace their lineage back to Duchamp's art pranks (and not, notably, his more crafted works) try to defy expectations of what art is supposed to look like, adopting a similarly anti-traditional stance. The theme of the 2008 Whitney Biennial was "lessness,"3 the title of a dreary rant by Samuel Beckett,4 and it encouraged the display of arrangements of detritus that hardly evinced human involvement, the most casual standards of photography, and happenings so devoid of originality or distinctiveness from the background of normal life that they could only be recognized as art by context. The Whitney Biennial opened during the inaugural show of the New Museum in its new building, entitled "Unmonumental," with largely the same aesthetic priorities.5 Then in October the Guggenheim opened "theanyspacewhatever," featuring artists for whom "an exhibition can be a film, a novel, a shared meal, a social space, a performance, or a journey."6 We're witnessing an effort, a hundred years in the making, to legitimize ever-increasing kinds of objects as art, starting with a bottle rack and culminating in a shared meal. This is a kind of freedom, a freedom of possibilities, maximized to an absurd scale that moots a discussion about marble carving. But it's a dissipated freedom that gives rise to exhibitions as lethargic as their titles. As is typical of perversions of modernism, it starts with the observation that intense labors do not necessarily result in the best art, runs it through the standard equine-vehicular reversal, and proceeds on the assumption that minimal labors result in good art.
But where there is only freedom of possibility, there is effectively no freedom at all. There's another kind of freedom that we need to address as teachers: the freedom of ability. I have the freedom of possibility to juggle six balls: circumstances, opportunity, and the general conception of juggling all permit it. But it's not going to happen, because I physically can't do it. Against a background of freedom of possibility, which is more or less given, one has to develop freedom of ability by dint of practice—physical repetition of skills with the desire to produce a particular outcome. We should recognize that we are dealing with an entirely different sort of freedom here. I can actually demonstrate the juggling of five balls, and even witnessing my doing so does not enable you to do the same, because juggling does not operate in the realm of ideas. Ideas can be communicated. Technique must be embodied. The profound pleasure of juggling five balls is available to you only secondhand, as an observer. The same is true of drawing, painting, and sculpting to the extent that you can't do these things. The common point about contemporary art practice, that manufacturing skills can be outsourced to artisans while some conceptual savant directs production, like Jeff Koons, for instance, results in a second-hand kind of art that can be thought about endlessly but is physically and emotionally lacking. It befits an art world that doesn't regard materials as legitimate unless supported by a conceptual framework. But there's a longstanding tradition, to which I adhere, that conceptual frameworks are not legitimate unless supported by the heartfelt use of materials. And while good art does not necessarily need a conceptual framework—as far as I can tell, good art does not necessarily need any particular thing—conceptual frameworks need materials or we're talking about philosophy instead of art. So there are not two sides to the equation, nor an agreeable midpoint somewhere. Time spent dealing with issues is time spent not making art. Such time may be fruitful and healthy, but we ought to see it for what it is—a break in the action.
So we need non-virtual classrooms where we let students serve their apprenticeships to their materials, occasionally picking up their tools for them so they can see how things are done, and letting them return to work. Our authority derives from a longer time spent in our own apprenticeship to materials, which we will never fully satisfy. Incrementally, the students develop technique. As technique builds, the materials start to suggest their own possibilities. The upward launch of art comes from freedom of ability. Freedom of possibility is the launch pad—necessary, to be sure, but not notable in itself. Freedom of possibility doesn't demand an apprenticeship. It needs simple establishment as policy. The students will take it from there. As for ideas, we ought to encourage a love of reading, writing skills, and articulate presentation. These three virtues self-evidently correlate to conceptual skills, whereas the willy-nilly introduction of issues into studio syllabi promises nothing of the sort.
Technique, understood correctly, is a form of freedom. A good education in art emphasizes technique because a good education, in the broadest sense, emphasizes freedom. If we mostly stick to teaching technique, we stay away from the question of what a student should be doing, which frankly is none of our business, and keeps us on the task of maximizing the student's capabilities, which is. The education of ideas as envisioned by Professor Shoe threatens to do the opposite. One could characterize the conceptualist mindset as an effort to prioritize ideas over technique, or stated conversely, an effort to drive the priority of technique below that of ideas. Freedom will follow suit.
1. Paul Graham: ANSI Common Lisp, Prentice Hall, Upper Saddle River, NJ, 1996.
2. Brett Sokol, "Miami Art Machine," New York Magazine, April 27, 2008.
3. Henriette Huldisch, curator, writing in the catalogue for the 2008 Whitney Biennial.
6. Nancy Spector, curator, on guggenheim.org. The title is taken from Gilles Deleuze, "who used the term 'any-space-whatever' to describe a cinematic moment defined by multiple perspectives that are unmoored from the coordinates of time and space."

lowercased:
this paper will address the teaching of art. but to begin i'd like to ask you a question: can you juggle? specifically, can you juggle five balls?
in case you answered no, i'll tell you how. start with three balls in your dominant hand—let's assume your right—and two in your left hand. all tosses should make a high arc to the opposite hand. first, throw out of the hand holding three balls. the second toss should come out of your left hand, shortly after throwing the first. the third toss should come out of your right again. if you've done this correctly, the first throw should be coming down towards your left hand, so toss ball number four up the same path as ball number two and catch ball number one. ball number two should then be coming down towards your right hand, so throw ball number five up the same path as one. you now have ball one in your left hand and ball two in your right, opposite where they started. so follow the previous steps, but in reverse. then repeat. the balls follow a figure-eight pattern.
now that you have the instructions, i'll ask you again: can you juggle five balls? allow me to presume that the answer is still no. juggling is not a philosophical or theoretical activity. it is not even primarily a mental one. it is a physical one made possible by an understanding about how your body works and a few million stored memories about movement and physics. your conscious mind, by design, takes all this for granted. the neurological components activated in juggling are working in a manner that one cannot really call "thinking." the only way to accomplish it is by intelligent practice. starting with learning to juggle three balls, or even one, would be a decent idea. the theory flows forth from practice, not the other way around.
by saying so, i wish to counter the idea that conceptualism ought to be introduced early on in the college art curriculum. for the purpose of this paper, i am not going to distinguish between conceptualism (an approach to art primarily dominated by ideas), critical theory (the interpretation of art objects according to postmodernist analytical models), critical thinking (which unfortunately has become a euphemism for critical theory in certain settings), and conceptual thinking (a horrible coinage that aspires to make the inculcation of critical theory sound like a respectable enterprise). by the time they reach the student, all of these impulses translate to an idea-driven art practice. after a dozen years of teaching art, i have come to the opposite conclusion: that a serious fine art education should embrace its roots in the physical. we should teach art more or less like dance, or juggling. the student should spend the bulk of his time acquiring techniques, and implementing those techniques in a way that interests him. it makes sense to favor the former early on and the latter later on.
along the way we should encourage the student to think. note that i did not say that we should teach them conceptual thinking. neither did i say that we should teach them critical thinking. they're already thinking, and we ought to invite them to do it more, and do it better. but we're looking to turn them into great artists, not great thinkers, and the former hardly depends on the latter. mostly we need them to labor, to put their talents to use. we need them to act.
in 2003 i was teaching art in miami, and i had the opportunity to speak on a panel discussion with a variety of art educators. at one point i lamented the fact that a friend of mine, a figurative marble sculptor, had recently moved back to new england. consequently, no one could teach figurative carving in marble in the entire lower half of the state of florida. smirking, the panel moderator let out a derisive huff of air. he then verbalized his objection to my remark: that a contemporary art education shouldn't privilege "fetish materials"—he actually called them that—and asked hypothetically why contemporary art students wouldn't be equally well-served by learning how to make sculptures out of, say, shoes. there's a simple answer to this: marble provides more possibilities of form. you could sculpt a shoe out of marble. you could not sculpt a realistic human figure out of shoes. one might ask, legitimately, whether we ought to teach both carving and assemblage. but that's not what professor shoe, as we'll call him, was suggesting. he was disparaging a medium and the techniques that go with it.
techniques are not merely uses of tools. they represent a holistic understanding about the interactions of tools, materials, and the myriad details of human feeling that together give us the stuff of art. too, a technique is not merely the way that one manifests an idea. techniques define the space in which one can form ideas.
paul graham, in his seminal book on the programming language lisp,1 makes an important assertion: "programming languages teach you not to want what they cannot provide." i would suggest that mediums do this in general. you can use marble to produce outcomes of such enormous variety as to dwarf the possibilities of shoes. the converse is also true: mediums teach you to want what they can provide. once you gain a certain amount of familiarity with plastic medium like marble, you start to imagine creative possibilities that would never have occurred to you before you learned to carve. the materials don't merely serve the imagination—they fire the imagination. technique, seen properly as a relationship between desire and materials, causes new possibilities to appear to the artist. the materials not only have limitations, but potentialities. stated poetically, materials have their own mind, and the artist interacts with that mind.
so why would someone argue against marble in favor of shoes? i learned subsequently that this notion derives from a particular reduction of postmodernist boilerplate. the idea, briefly, says that since the western tradition of art-making values the carving of marble, and the western artistic heritage is guilty by association with western peoples and their often deplorable behavior over the course of several centuries, the denigration of marble carving qualifies as progressive. i have since seen the same opinion expressed by others whose preferences tend towards critical theory. the notion has at least two problems. first, in logic, we call this a genetic fallacy. second, it amounts to arguing against possibilities in favor of hobbling yourself.
the western tradition also produced the five-ball cascade, and while i've never seen anyone try to characterize the figure-eight pattern as a fetish shape or damn the pattern as a western cultural construct, one could do so via the same genetic fallacy. why not throw all the balls in a big circle, which was the native practice of china, according to the few depictions we have? the answer becomes instantly clear if you try it. the shower pattern, as we call the big circle, requires you to throw five balls consecutively with one hand before you make the first exchange, which is extremely difficult. why privilege balls over, say, shoes? because shoes fall in an irregular way, and they won't roll or bounce, and therefore provide fewer possibilities for manipulation. it turns out that the traditional techniques have an enormous wealth of information in them.
if you're a teacher, and a student comes to you interested in making assemblage sculpture out of shoes, you'll give him information about epoxy and thrift stores and working in an area with good ventilation. if a student comes to you interested in figurative marble carving, you'll give him information about chisels, and making drawings for different aspects of the final work, and covering your head so your hair doesn't get cut by marble shards. at least that's what you'll do if you're worth anything as a teacher. the irony of professor shoe is that he imagined himself as a progressive teacher who wouldn't force a future shoe sculptor to work in marble. he failed to see that he had become its mirror-image: a retrogressive teacher who would force a future marble sculptor to work with shoes.
six years later, this kind of oedipal thinking persists. brett sokol, reporting for new york magazine on the graduate (or possibly postgraduate) school currently under development in miami that will take the name art + research, quoted yale instructor henry madoff saying, "most art is conceptually based now. it's art based on an idea. it didn't turn out that the twentieth century's most influential artist was picasso. it turned out it was duchamp. ... we don't need to do foundation courses, how to draw, how to sculpt."2 this is true, in a way, presuming you don't want to draw or sculpt. the departure of one of the only people in the state who can carve figuratively in marble only constitutes a loss if you care about what he does. but one of the few things everyone agrees on in art education is that art school ought to generate more possibilities for the student. certain things only become possible after an apprenticeship to one's craft. drawing turns out to be one of them. if you can't draw, you never learn to want the things that drawing makes possible. madoff's quote is not only description, but self-fulfilling prophecy. it aims to replace an arguably restrictive tradition with a demonstrably restrictive innovation. the supporters of this innovation don't see it that way, but like professor shoe, they can't.
there are a couple of reasons for this. the first is that no creature succumbs to habit quite like the assimilated rebel. as hannah arendt put it, "the most radical revolutionary will become a conservative the day after the revolution." railing against the hoary medium of marble, in all its eurocentrism, phallocentrism, and oligarchic implications, apes writers who had their heyday in the early '90s and are now, if they're still alive, critiquing allegedly insidious hegemons from lofty, tenured perches in academia. a side effect of the institution of tenure causes fashionable ideas to remain in place long after intellectual hemlines have changed altitude, and a generation of students of these tendentious thinkers have cycled through college on their way to all manner of positions in the art world, including museum curatorships. conceptualist curators demand conceptualist work, thus obliging educators to teach conceptualism to prepare their students for the art world. (indeed, what self-identified progressive teacher doesn't want a position near the front, wherever that may be?) this is the second reason that conceptualist teachers don't see their innovation as restrictive: the road to conceptualism is paved with good intentions.
conceptually-driven instructors substitute an easy kind of freedom for a hard one. when professor shoe challenged the place of marble in an art curriculum, he did so as an effort to expand beyond the traditional conception of art. he, and a lot of teachers like him, have invested heavily in the idea of infinitely increasing options. the modernist project consisted, at heart, of efforts to attain quality at the expense of previously known traits about art. its prototypical examples come from postwar abstraction, which achieved the heights of art despite its jettisoning of what had been understood for hundreds of years as a picture. the conceptualist project seeks to establish the identity of objects as art objects at the expense of previously known traits about art. instead of seeking the essence of art's quality, it seeks the essence of art's identity. its prototypical examples are the readymades and collages of duchamp. contemporary objects that trace their lineage back to duchamp's art pranks (and not, notably, his more crafted works) try to defy expectations of what art is supposed to look like, adopting a similarly anti-traditional stance. the theme of the 2008 whitney biennial was "lessness,"3 the title of a dreary rant by samuel beckett,4 and it encouraged the display of arrangements of detritus that hardly evinced human involvement, the most casual standards of photography, and happenings so devoid of originality or distinctiveness from the background of normal life that they could only be recognized as art by context. the whitney biennial opened during the inaugural show of the new museum in its new building, entitled "unmonumental," with largely the same aesthetic priorities.5 then in october the guggenheim opened "theanyspacewhatever," featuring artists for whom "an exhibition can be a film, a novel, a shared meal, a social space, a performance, or a journey."6 we're witnessing an effort, a hundred years in the making, to legitimize ever-increasing kinds of objects as art, starting with a bottle rack and culminating in a shared meal. this is a kind of freedom, a freedom of possibilities, maximized to an absurd scale that moots a discussion about marble carving. but it's a dissipated freedom that gives rise to exhibitions as lethargic as their titles. as is typical of perversions of modernism, it starts with the observation that intense labors do not necessarily result in the best art, runs it through the standard equine-vehicular reversal, and proceeds on the assumption that minimal labors result in good art.
but where there is only freedom of possibility, there is effectively no freedom at all. there's another kind of freedom that we need to address as teachers: the freedom of ability. i have the freedom of possibility to juggle six balls: circumstances, opportunity, and the general conception of juggling all permit it. but it's not going to happen, because i physically can't do it. against a background of freedom of possibility, which is more or less given, one has to develop freedom of ability by dint of practice—physical repetition of skills with the desire to produce a particular outcome. we should recognize that we are dealing with an entirely different sort of freedom here. i can actually demonstrate the juggling of five balls, and even witnessing my doing so does not enable you to do the same, because juggling does not operate in the realm of ideas. ideas can be communicated. technique must be embodied. the profound pleasure of juggling five balls is available to you only secondhand, as an observer. the same is true of drawing, painting, and sculpting to the extent that you can't do these things. the common point about contemporary art practice, that manufacturing skills can be outsourced to artisans while some conceptual savant directs production, like jeff koons, for instance, results in a second-hand kind of art that can be thought about endlessly but is physically and emotionally lacking. it befits an art world that doesn't regard materials as legitimate unless supported by a conceptual framework. but there's a longstanding tradition, to which i adhere, that conceptual frameworks are not legitimate unless supported by the heartfelt use of materials. and while good art does not necessarily need a conceptual framework—as far as i can tell, good art does not necessarily need any particular thing—conceptual frameworks need materials or we're talking about philosophy instead of art. so there are not two sides to the equation, nor an agreeable midpoint somewhere. time spent dealing with issues is time spent not making art. such time may be fruitful and healthy, but we ought to see it for what it is—a break in the action.
so we need non-virtual classrooms where we let students serve their apprenticeships to their materials, occasionally picking up their tools for them so they can see how things are done, and letting them return to work. our authority derives from a longer time spent in our own apprenticeship to materials, which we will never fully satisfy. incrementally, the students develop technique. as technique builds, the materials start to suggest their own possibilities. the upward launch of art comes from freedom of ability. freedom of possibility is the launch pad—necessary, to be sure, but not notable in itself. freedom of possibility doesn't demand an apprenticeship. it needs simple establishment as policy. the students will take it from there. as for ideas, we ought to encourage a love of reading, writing skills, and articulate presentation. these three virtues self-evidently correlate to conceptual skills, whereas the willy-nilly introduction of issues into studio syllabi promises nothing of the sort.
technique, understood correctly, is a form of freedom. a good education in art emphasizes technique because a good education, in the broadest sense, emphasizes freedom. if we mostly stick to teaching technique, we stay away from the question of what a student should be doing, which frankly is none of our business, and keeps us on the task of maximizing the student's capabilities, which is. the education of ideas as envisioned by professor shoe threatens to do the opposite. one could characterize the conceptualist mindset as an effort to prioritize ideas over technique, or stated conversely, an effort to drive the priority of technique below that of ideas. freedom will follow suit.
1. paul graham: ansi common lisp, prentice hall, upper saddle river, nj, 1996.
2. brett sokol, "miami art machine," new york magazine, april 27, 2008.
3. henriette huldisch, curator, writing in the catalogue for the 2008 whitney biennial.
6. nancy spector, curator, on guggenheim.org. the title is taken from gilles deleuze, "who used the term 'any-space-whatever' to describe a cinematic moment defined by multiple perspectives that are unmoored from the coordinates of time and space."


text:
Labour MEPs hailed new EU targets on waste recycling and said the UK must not weaken the ambitious measures if it leaves.
The European Parliament today backed the binding targets on landfill, packaging and other waste, which include: recycling targets for urban waste of 55 per cent in 2025, 60% in 2030 and 65% in 2035; a ceiling to limit landfilling to 10% of all waste for all EU countries by 2035; recycling targets for general packaging waste of 65% by 2025 and 70% by 2030; and recycling targets for plastic packaging waste of 50% by 2025 and 55% by 2030.
Governments will also be required to enhance the take-up of reusable packaging by increasing measures such as deposit schemes; bring in mandatory measures to reduce food waste; and work to halt the generation of marine litter.
Producers, meanwhile, will be subject minimum mandatory requirements for extended producer responsibility schemes, and they will have to take responsibility for collecting or taking back their already-used products, and also for sorting and treatment of their recycling.
“To protect the environment and create a more sustainable future we need to increase recycling rates and reduce waste disposal, and the only way this can be achieved is by working together and applying common standards. The new, binding targets will reduce waste and promote re-use, efficiency, durability and recycling, protecting the environment and bringing down costs.
“The measures to introduce deposit return schemes are also paramount – five-and-a-half billion plastic bottles are not recycled every year in the UK: forty-three per cent of the total. Plastic bottles are a third of all plastic pollution in the sea and continue to harm marine life – the Tory government must stop dragging its feet and urgently introduce such a scheme in the UK.

lowercased:
labour meps hailed new eu targets on waste recycling and said the uk must not weaken the ambitious measures if it leaves.
the european parliament today backed the binding targets on landfill, packaging and other waste, which include: recycling targets for urban waste of 55 per cent in 2025, 60% in 2030 and 65% in 2035; a ceiling to limit landfilling to 10% of all waste for all eu countries by 2035; recycling targets for general packaging waste of 65% by 2025 and 70% by 2030; and recycling targets for plastic packaging waste of 50% by 2025 and 55% by 2030.
governments will also be required to enhance the take-up of reusable packaging by increasing measures such as deposit schemes; bring in mandatory measures to reduce food waste; and work to halt the generation of marine litter.
producers, meanwhile, will be subject minimum mandatory requirements for extended producer responsibility schemes, and they will have to take responsibility for collecting or taking back their already-used products, and also for sorting and treatment of their recycling.
“to protect the environment and create a more sustainable future we need to increase recycling rates and reduce waste disposal, and the only way this can be achieved is by working together and applying common standards. the new, binding targets will reduce waste and promote re-use, efficiency, durability and recycling, protecting the environment and bringing down costs.
“the measures to introduce deposit return schemes are also paramount – five-and-a-half billion plastic bottles are not recycled every year in the uk: forty-three per cent of the total. plastic bottles are a third of all plastic pollution in the sea and continue to harm marine life – the tory government must stop dragging its feet and urgently introduce such a scheme in the uk.


text:
Allow 1 business day for order processing and shipping confirmation - this processing time is not included in delivery times.
Gabies Boutique Inc. uses Canada Post for shipping.
Gabies Boutique Inc. only uses shipping methods that allow for package tracking. Gabies Boutique does not ship by regular or air mail service.
International orders: Delivery surcharges may apply. You will be notified by email of the additional charge for your approval.
Shipping rates do not include brokerage fees, taxes, tariffs or duties. Gabies Boutique does not pay these fees for the customer. Please check with your local government agency to determine the applicable tariffs.
Postage costs may be added to the total order once parcel size, and location are determined.
Returns will be accepted within 20 days of the original purchase.
Returns must be sent regular post and arrive postage and customs paid.
Shipping or customs COD returns will not be accepted.
Shipment from outside Canada via UPS, FedEx or any other courier company will result in customs charges that will be deducted from your refund.
Tights, hair accessories, make-up, books/magazines, earrings, undergarments, clearance items, pointe shoes, and special orders are final sale.
Other merchandise must have the original tags attached, boxes in as new condition, no ribbons or elastics sewn on, and merchandise must be in the same new condition as when sent.
Any items returned that are not in the same condition as when originally shipped will be sent back to the customer with an additional freight and handling charge.
On returned merchandise the shipping and handling fee will not be refunded.
Just like in our store, we are committed to making your online transaction safe, secure and confidential to the highest standards available.
We do not share or sell data. We collect billing and shipping information in order to process your order and deliver it to its destination. This information is used only by Gabies Boutique Inc. and the couriers we use for the purposes of fulfilling your order.
Personal information collected through this site is used only for our internal purposes. We will not sell your personal information, or authorize third parties to use such information for any commercial purpose, without your prior consent.
We do not automatically collect personal information such as your name, address, telephone number or email address. Such information will be collected only if you provide it to us voluntarily in order to order products, enter a contest or promotion, or sign up to receive newsletters etc. We don't require that any personal information be provided in order to view our website.
personalize the delivery of information and recommend products to you.
Your personal information may also be used to create statistics about GabiesBoutique.com that we use to measure our performance. These statistics do not contain any information that could identify you personally. Gabies Boutique Inc. does not sell your personal information to any organization for any purpose.
We do send email. We will send you email at regular intervals to ensure that you are always kept up to date on the status of your order. From time to time we send additional e-mails out to inform our customers of specials or promotions that they might be interested in. You can choose not to receive the e-mails by selecting safe unsubscribe button located at the bottom of the e-mail. Or you can send an email to Nicole@gabiesboutique.com and request to be removed from our list.
When you decide to register an account your account information is secured by password protection assigned and maintained by you. If you forget your password, this information is only released to your specific email address recorded in your account profile. It is not given out in any other situation without identity verification provided by you. The account information contains the billing and shipping addresses, phone numbers and email address provided and maintained by you as well as your order history. Credit card information is not included in this file.
By using gabiesboutique.com you are consenting to the collection and use of personal and account information by Gabies Boutique Inc, for the purposes set out in this policy.
Your use of the gabiesboutique.com website is expressly conditioned on your acceptance without modification of the following terms and conditions (the "Terms and Conditions"). By using gabiesboutique.com you indicate your acceptance of these Terms and Conditions.
Gabiesboutique.com website, its design, text, graphics, content, video, audio and the selection and arrangement thereof are the property of Gabies Boutique Inc. and are protected under the copyright laws of Canada and other countries. None of the content on the GabiesBoutique.com website in whole or in part may be reproduced, republished, distributed, displayed, sold, transferred or modified without the express written permission of Gabies Boutique Inc.
By agreeing to use this site and its information you agree that Gabies Boutique Inc. (and its agents, officers, directors, subsidiary and employees) are not liable for damages of any kind that accompany or result from your use of GabiesBoutique.com website. Gabies Boutique Inc. makes no representation or warranty of any kind, express or implied, regarding GabiesBoutique.com and/or any material or information provided on the website, all of which are provided on an "as is" and "as available" basis. Gabies Boutique Inc. does not warrant the accuracy, completeness, currency, reliability or suitability of the operation of GabiesBoutique.com or any of the content or data found on the website and expressly disclaims all warranties and conditions.
Gabies Boutique Inc. does not warrant that the function of the website will be uninterrupted or error free, that defects will be corrected, or that this site or the server that makes it available are free of viruses or other harmful components. Gabies Boutique Inc. does not warrant or make any representations regarding the use or the result of use of material on this site in terms of its correctness, accuracy, and reliability or otherwise.
Gabies Boutique Inc. is not responsible for late, lost, incomplete, illegible, misdirected or stolen messages or mail, unavailable network connections, failed, incomplete, garbled or delayed computer transmissions, on-line failures, hardware, software or other technical malfunctions or disturbances or any other communications failure or circumstance affecting, disrupting or corrupting communications.
Gabies Boutique Inc. assumes no responsibility and shall not be liable for any damage to, or viruses that may affect your computer equipment or other property on account of your access to or use of Gabies Boutique Inc. or your downloading of any material, data, text, images, video or audio from GabiesBoutique.com. In no event shall Gabies Boutique Inc. be liable for any injury, loss, claim, damage, or any special, exemplary, punitive, direct, indirect, incidental or consequential damages of any kind arising out of or in any way connected with the access to or use ofGabiesBoutique.com or content found therein.
GabiesBoutique.com website may not, in whole or in part, be copied, distributed, republished, uploaded, posted, reproduced or transmitted in any way without the prior written consent of Gabies Boutique Inc.
You may download, display and print material presented on the GabiesBoutique.com website for your personal, non-commercial use only, provided you don't delete or change any copyright, trade mark or other proprietary notice.
You are prohibited from contributing, posting or transmitting any infringing, unlawful, threatening, libellous, defamatory, obscene, indecent, inflammatory, pornographic or profane material or any material that could constitute or encourage conduct that would be considered a criminal offence, give rise to civil liability, or otherwise violate any law.
GabiesBoutique.com reserves the right to limit quantities, refuse orders, terminate accounts, and/or cancel orders in its discretion, including, without limitation, if GabiesBoutique.com believes that customer conduct violates applicable law or is harmful to the interests of Gabies Boutique Inc. or any Third Parties.
In its sole discretion, in addition to any other rights or remedies available to GabiesBoutique.com and without any liability whatsoever, GabiesBoutique.com at any time and without notice may terminate or restrict your access to any component of GabiesBoutique.com.
All remarks, suggestions, ideas, graphics, or other information communicated to GabiesBoutique.com through or by reason of this site by email or otherwise (collectively the "Submission") will forever be the property of Gabies Boutique Inc. If you provide GabiesBoutique.com with a Submission you grant Gabies Boutique Inc. a non-exclusive, royalty free, perpetual, irrevocable and fully sub-licensable right to use, delete, reproduce, modify, adapt, publish, translate, create derivative works for, distribute and display such Submission throughout the world in any media, now known or hereafter developed, and you waive all moral rights in the Submission. You also grant Gabies Boutique Inc. the right to use the name you submit with the Submission, if any, in connection with Gabies Boutique Inc. rights hereunder.
You have read the GabiesBoutique.com Privacy Statement, the terms of which appear on GabiesBoutique.com, and are incorporated into these Terms and Conditions, and agree that the terms of such Privacy Statement are reasonable. You consent to the use of your personal information byGabiesBoutique.com and / or third parties in accordance with the terms of and for the purposes set out in the GabiesBoutique.com Privacy Statement.
The GabiesBoutiquecom website may contain links to other websites which are provided solely as a convenience to you and the inclusion of any link does not imply endorsement, investigation or verification by GabiesBoutique.com of the linked website or information contained therein. GabiesBoutique.com is not responsible for the content of any other websites and makes no representation or warranty regarding any other websites or the contents or materials on such websites.
Prices posted on GabiesBoutique.com may differ from those in store. Gabies Boutique Inc. stores and GabiesBoutique.com each offer limited-time sales, special promotions and items at the regular low prices. Due to competitive market pressures, prices are subject to change. GabiesBoutique.com reserves the right to correct, at any time, any pricing errors.
Any products purchased fromGabiesBoutique.com are delivered to you by a third party delivery company, pursuant to a shipping contract. The risk of loss for such products passes to the purchaser at the time of delivery by GabiesBoutique.com to the third party shipper.
Gabies Boutique Inc. reserves the right to, without notice; change the GabiesBoutique.com website, including the Terms and Conditions of use of GabiesBoutique.com.
You shall indemnify and save harmless Gabies Boutique Inc., its officers, directors, employees, consultants, representatives and agents from and against any claim, cause of action or demand, including without limitation reasonable legal, accounting and other professional fees, brought as a result of your use of GabiesBoutique.com.
The relationship between GabiesBoutique.com and you will be that of independent contractors and neither of us nor any of our respective officers, agents or employees will be held or construed to be partners, joint ventures, fiduciaries, employees or agents of the other as a result of these Terms and Conditions or use of GabiesBoutique.com.
These Terms and Conditions and the performance of the obligations and enforcement of the rights herein shall be governed by the laws of the Province of Ontario, Canada. You consent and submit to the exclusive jurisdiction of the courts located in the City of Newmarket, in the Province of Ontario, Canada, in all disputes arising out of or relating to the use of GabiesBoutique.com and these Terms and Conditions.
These Terms and Conditions, together with those incorporated or referred to herein constitute the entire agreement between us relating to the subject matter hereof and supersedes any prior understandings or agreements (whether electronic, oral or written) regarding the subject matter and may not be amended or modified except in writing or by GabiesBoutique.com making such amendments or modifications available to it pursuant to the Terms and Conditions.

lowercased:
allow 1 business day for order processing and shipping confirmation - this processing time is not included in delivery times.
gabies boutique inc. uses canada post for shipping.
gabies boutique inc. only uses shipping methods that allow for package tracking. gabies boutique does not ship by regular or air mail service.
international orders: delivery surcharges may apply. you will be notified by email of the additional charge for your approval.
shipping rates do not include brokerage fees, taxes, tariffs or duties. gabies boutique does not pay these fees for the customer. please check with your local government agency to determine the applicable tariffs.
postage costs may be added to the total order once parcel size, and location are determined.
returns will be accepted within 20 days of the original purchase.
returns must be sent regular post and arrive postage and customs paid.
shipping or customs cod returns will not be accepted.
shipment from outside canada via ups, fedex or any other courier company will result in customs charges that will be deducted from your refund.
tights, hair accessories, make-up, books/magazines, earrings, undergarments, clearance items, pointe shoes, and special orders are final sale.
other merchandise must have the original tags attached, boxes in as new condition, no ribbons or elastics sewn on, and merchandise must be in the same new condition as when sent.
any items returned that are not in the same condition as when originally shipped will be sent back to the customer with an additional freight and handling charge.
on returned merchandise the shipping and handling fee will not be refunded.
just like in our store, we are committed to making your online transaction safe, secure and confidential to the highest standards available.
we do not share or sell data. we collect billing and shipping information in order to process your order and deliver it to its destination. this information is used only by gabies boutique inc. and the couriers we use for the purposes of fulfilling your order.
personal information collected through this site is used only for our internal purposes. we will not sell your personal information, or authorize third parties to use such information for any commercial purpose, without your prior consent.
we do not automatically collect personal information such as your name, address, telephone number or email address. such information will be collected only if you provide it to us voluntarily in order to order products, enter a contest or promotion, or sign up to receive newsletters etc. we don't require that any personal information be provided in order to view our website.
personalize the delivery of information and recommend products to you.
your personal information may also be used to create statistics about gabiesboutique.com that we use to measure our performance. these statistics do not contain any information that could identify you personally. gabies boutique inc. does not sell your personal information to any organization for any purpose.
we do send email. we will send you email at regular intervals to ensure that you are always kept up to date on the status of your order. from time to time we send additional e-mails out to inform our customers of specials or promotions that they might be interested in. you can choose not to receive the e-mails by selecting safe unsubscribe button located at the bottom of the e-mail. or you can send an email to nicole@gabiesboutique.com and request to be removed from our list.
when you decide to register an account your account information is secured by password protection assigned and maintained by you. if you forget your password, this information is only released to your specific email address recorded in your account profile. it is not given out in any other situation without identity verification provided by you. the account information contains the billing and shipping addresses, phone numbers and email address provided and maintained by you as well as your order history. credit card information is not included in this file.
by using gabiesboutique.com you are consenting to the collection and use of personal and account information by gabies boutique inc, for the purposes set out in this policy.
your use of the gabiesboutique.com website is expressly conditioned on your acceptance without modification of the following terms and conditions (the "terms and conditions"). by using gabiesboutique.com you indicate your acceptance of these terms and conditions.
gabiesboutique.com website, its design, text, graphics, content, video, audio and the selection and arrangement thereof are the property of gabies boutique inc. and are protected under the copyright laws of canada and other countries. none of the content on the gabiesboutique.com website in whole or in part may be reproduced, republished, distributed, displayed, sold, transferred or modified without the express written permission of gabies boutique inc.
by agreeing to use this site and its information you agree that gabies boutique inc. (and its agents, officers, directors, subsidiary and employees) are not liable for damages of any kind that accompany or result from your use of gabiesboutique.com website. gabies boutique inc. makes no representation or warranty of any kind, express or implied, regarding gabiesboutique.com and/or any material or information provided on the website, all of which are provided on an "as is" and "as available" basis. gabies boutique inc. does not warrant the accuracy, completeness, currency, reliability or suitability of the operation of gabiesboutique.com or any of the content or data found on the website and expressly disclaims all warranties and conditions.
gabies boutique inc. does not warrant that the function of the website will be uninterrupted or error free, that defects will be corrected, or that this site or the server that makes it available are free of viruses or other harmful components. gabies boutique inc. does not warrant or make any representations regarding the use or the result of use of material on this site in terms of its correctness, accuracy, and reliability or otherwise.
gabies boutique inc. is not responsible for late, lost, incomplete, illegible, misdirected or stolen messages or mail, unavailable network connections, failed, incomplete, garbled or delayed computer transmissions, on-line failures, hardware, software or other technical malfunctions or disturbances or any other communications failure or circumstance affecting, disrupting or corrupting communications.
gabies boutique inc. assumes no responsibility and shall not be liable for any damage to, or viruses that may affect your computer equipment or other property on account of your access to or use of gabies boutique inc. or your downloading of any material, data, text, images, video or audio from gabiesboutique.com. in no event shall gabies boutique inc. be liable for any injury, loss, claim, damage, or any special, exemplary, punitive, direct, indirect, incidental or consequential damages of any kind arising out of or in any way connected with the access to or use ofgabiesboutique.com or content found therein.
gabiesboutique.com website may not, in whole or in part, be copied, distributed, republished, uploaded, posted, reproduced or transmitted in any way without the prior written consent of gabies boutique inc.
you may download, display and print material presented on the gabiesboutique.com website for your personal, non-commercial use only, provided you don't delete or change any copyright, trade mark or other proprietary notice.
you are prohibited from contributing, posting or transmitting any infringing, unlawful, threatening, libellous, defamatory, obscene, indecent, inflammatory, pornographic or profane material or any material that could constitute or encourage conduct that would be considered a criminal offence, give rise to civil liability, or otherwise violate any law.
gabiesboutique.com reserves the right to limit quantities, refuse orders, terminate accounts, and/or cancel orders in its discretion, including, without limitation, if gabiesboutique.com believes that customer conduct violates applicable law or is harmful to the interests of gabies boutique inc. or any third parties.
in its sole discretion, in addition to any other rights or remedies available to gabiesboutique.com and without any liability whatsoever, gabiesboutique.com at any time and without notice may terminate or restrict your access to any component of gabiesboutique.com.
all remarks, suggestions, ideas, graphics, or other information communicated to gabiesboutique.com through or by reason of this site by email or otherwise (collectively the "submission") will forever be the property of gabies boutique inc. if you provide gabiesboutique.com with a submission you grant gabies boutique inc. a non-exclusive, royalty free, perpetual, irrevocable and fully sub-licensable right to use, delete, reproduce, modify, adapt, publish, translate, create derivative works for, distribute and display such submission throughout the world in any media, now known or hereafter developed, and you waive all moral rights in the submission. you also grant gabies boutique inc. the right to use the name you submit with the submission, if any, in connection with gabies boutique inc. rights hereunder.
you have read the gabiesboutique.com privacy statement, the terms of which appear on gabiesboutique.com, and are incorporated into these terms and conditions, and agree that the terms of such privacy statement are reasonable. you consent to the use of your personal information bygabiesboutique.com and / or third parties in accordance with the terms of and for the purposes set out in the gabiesboutique.com privacy statement.
the gabiesboutiquecom website may contain links to other websites which are provided solely as a convenience to you and the inclusion of any link does not imply endorsement, investigation or verification by gabiesboutique.com of the linked website or information contained therein. gabiesboutique.com is not responsible for the content of any other websites and makes no representation or warranty regarding any other websites or the contents or materials on such websites.
prices posted on gabiesboutique.com may differ from those in store. gabies boutique inc. stores and gabiesboutique.com each offer limited-time sales, special promotions and items at the regular low prices. due to competitive market pressures, prices are subject to change. gabiesboutique.com reserves the right to correct, at any time, any pricing errors.
any products purchased fromgabiesboutique.com are delivered to you by a third party delivery company, pursuant to a shipping contract. the risk of loss for such products passes to the purchaser at the time of delivery by gabiesboutique.com to the third party shipper.
gabies boutique inc. reserves the right to, without notice; change the gabiesboutique.com website, including the terms and conditions of use of gabiesboutique.com.
you shall indemnify and save harmless gabies boutique inc., its officers, directors, employees, consultants, representatives and agents from and against any claim, cause of action or demand, including without limitation reasonable legal, accounting and other professional fees, brought as a result of your use of gabiesboutique.com.
the relationship between gabiesboutique.com and you will be that of independent contractors and neither of us nor any of our respective officers, agents or employees will be held or construed to be partners, joint ventures, fiduciaries, employees or agents of the other as a result of these terms and conditions or use of gabiesboutique.com.
these terms and conditions and the performance of the obligations and enforcement of the rights herein shall be governed by the laws of the province of ontario, canada. you consent and submit to the exclusive jurisdiction of the courts located in the city of newmarket, in the province of ontario, canada, in all disputes arising out of or relating to the use of gabiesboutique.com and these terms and conditions.
these terms and conditions, together with those incorporated or referred to herein constitute the entire agreement between us relating to the subject matter hereof and supersedes any prior understandings or agreements (whether electronic, oral or written) regarding the subject matter and may not be amended or modified except in writing or by gabiesboutique.com making such amendments or modifications available to it pursuant to the terms and conditions.


text:
Day 8: We woke at 4:30 am and were out the door by 5:30 am. We walked by ourselves until we came across the first coffee bar then we meet all the others in our group. Made good time so we were not in a hurry. As we were leaving the coffee bar the Polish women asked if we were interested in praying a rosary together. We joyfully accepted and we all took out our rosaries from our packs. The rosary was multilingual: Polish, Slovak, English, Italian and German, while walking through Spain! It was great to pray together.
We walked as a group most of the morning together. The Polish sang songs and we shared stories. We arrived early in Caldas de Reis and had lunch while we waited for the hostel to open. We had a local sandwich that we called a “popeye” sandwich because the top piece of bread had a hole in it with an egg cooked in. Dad would make those when I was young, we called them Popeyes!
we got some rest in the afternoon and rose to the smell of pasta sause. Armando, from Italy made the group pasta for dinner. It was delicious! We also met a mother and daughter from Houston, Texas in the kitchen than night. After dinner I celebrated Mass for the group outside. A Portuguese family joined us, they had two boys with them, one in high school and one in college. Good young men.
After Mass we walked to the hot springs and soaked our feet for a while. Upon returning to the hostel a few of us played a game of keep-a-way soccer with a local boy playing in the street. He was pretty good, we may see him go pro someday!
Day 9: We woke at 5:30 am and were out the door at 6 am. The hostel we stayed at was not the best so we were itching to get up and on our way. It was very hot! We walked with the group out. Dad met 3 young men from Spain who were on Camino together. They had been friends since they were 5 years old. It was a tough few years of college and they needed to get away and spend time together. The Camino was a perfect fit.
Today we met many others and the trail began to be more crowded as we got closer to Santiago. We took a slight detour to a Franciscan Monastery about 5 km out of our way. It was well worth it. However, since we took the longer route, when we arrived at the albergue in Padron there was not enough room for our group of 10 to stay together. Desiring to stick together as a group this last night we walked into the city hoping to find accommodation. Not too long in our search we met a man who had an apartment for rent that could accommodate us. What a gift! It was a very nice apartment.
That evening we joined the local church for Mass and I concelebrated with two young Polish priests. After Mass several of the old women in the parish came up to my dad and I and shared how grateful they were to have us join them for Mass. they loved to see young priests!
We finished the day with a nice Romanian salad prepared by Adina and Alex. We were all exhausted. Tomorrow is another day on the Camino!

lowercased:
day 8: we woke at 4:30 am and were out the door by 5:30 am. we walked by ourselves until we came across the first coffee bar then we meet all the others in our group. made good time so we were not in a hurry. as we were leaving the coffee bar the polish women asked if we were interested in praying a rosary together. we joyfully accepted and we all took out our rosaries from our packs. the rosary was multilingual: polish, slovak, english, italian and german, while walking through spain! it was great to pray together.
we walked as a group most of the morning together. the polish sang songs and we shared stories. we arrived early in caldas de reis and had lunch while we waited for the hostel to open. we had a local sandwich that we called a “popeye” sandwich because the top piece of bread had a hole in it with an egg cooked in. dad would make those when i was young, we called them popeyes!
we got some rest in the afternoon and rose to the smell of pasta sause. armando, from italy made the group pasta for dinner. it was delicious! we also met a mother and daughter from houston, texas in the kitchen than night. after dinner i celebrated mass for the group outside. a portuguese family joined us, they had two boys with them, one in high school and one in college. good young men.
after mass we walked to the hot springs and soaked our feet for a while. upon returning to the hostel a few of us played a game of keep-a-way soccer with a local boy playing in the street. he was pretty good, we may see him go pro someday!
day 9: we woke at 5:30 am and were out the door at 6 am. the hostel we stayed at was not the best so we were itching to get up and on our way. it was very hot! we walked with the group out. dad met 3 young men from spain who were on camino together. they had been friends since they were 5 years old. it was a tough few years of college and they needed to get away and spend time together. the camino was a perfect fit.
today we met many others and the trail began to be more crowded as we got closer to santiago. we took a slight detour to a franciscan monastery about 5 km out of our way. it was well worth it. however, since we took the longer route, when we arrived at the albergue in padron there was not enough room for our group of 10 to stay together. desiring to stick together as a group this last night we walked into the city hoping to find accommodation. not too long in our search we met a man who had an apartment for rent that could accommodate us. what a gift! it was a very nice apartment.
that evening we joined the local church for mass and i concelebrated with two young polish priests. after mass several of the old women in the parish came up to my dad and i and shared how grateful they were to have us join them for mass. they loved to see young priests!
we finished the day with a nice romanian salad prepared by adina and alex. we were all exhausted. tomorrow is another day on the camino!


text:
With custom-built facilities to accommodate Mediations of all sizes and complexities, Durham Reporting can always provide what you need.
We offer 16 boardrooms and breakout rooms of various sizes up to 25 people, with high-quality soundproofing for complete privacy from nearby parties.
A free-of-charge light lunch is provided daily for all bookings. Full breakfast and/or lunch can be catered at your option. Complimentary snacks and beverages are available throughout the day, including premium quality coffee, tea, juice, soft drinks, fresh fruit, healthy fruit and nut bars, and fresh-baked cookies and muffins.
Transcription, Reporting and Administrative services are also available.
Since 1997, Durham Reporting & Mediation Services has played host to employee union, professional association, and corporate mediations of all types. Flexibility is our speciality – we can accommodate last-minute bookings, weekend and holiday scheduling, and extended bookings into the late hours. Trust our experience to support your needs.
Call us today to learn more or use our online forms to request quotes or schedule a room booking.

lowercased:
with custom-built facilities to accommodate mediations of all sizes and complexities, durham reporting can always provide what you need.
we offer 16 boardrooms and breakout rooms of various sizes up to 25 people, with high-quality soundproofing for complete privacy from nearby parties.
a free-of-charge light lunch is provided daily for all bookings. full breakfast and/or lunch can be catered at your option. complimentary snacks and beverages are available throughout the day, including premium quality coffee, tea, juice, soft drinks, fresh fruit, healthy fruit and nut bars, and fresh-baked cookies and muffins.
transcription, reporting and administrative services are also available.
since 1997, durham reporting & mediation services has played host to employee union, professional association, and corporate mediations of all types. flexibility is our speciality – we can accommodate last-minute bookings, weekend and holiday scheduling, and extended bookings into the late hours. trust our experience to support your needs.
call us today to learn more or use our online forms to request quotes or schedule a room booking.


text:
I love watching the moon. I’m not fanatical about it like some people are, but when I see the moon it makes me happy.
My favorite is winter, when I’m walking in the par before sunrise and I can watch the moon phases changing daily. It is definately one of the coolest things ever to watch grow and fade.
But occasionally summer has its perks too. A few nights ago I could see the moon through my study window. Looking practically straight up between the house next door and the ancient trees in my yard, I could see it clearly with little puffy, nightime clouds hanging around.
For some reason the moon makes me feel closer to everything, while the stars make me feel farther away. I’m not talking about size, but about connecting.

lowercased:
i love watching the moon. i’m not fanatical about it like some people are, but when i see the moon it makes me happy.
my favorite is winter, when i’m walking in the par before sunrise and i can watch the moon phases changing daily. it is definately one of the coolest things ever to watch grow and fade.
but occasionally summer has its perks too. a few nights ago i could see the moon through my study window. looking practically straight up between the house next door and the ancient trees in my yard, i could see it clearly with little puffy, nightime clouds hanging around.
for some reason the moon makes me feel closer to everything, while the stars make me feel farther away. i’m not talking about size, but about connecting.


text:
As part of our “Spreading Our Wings” campaign, students, teachers, alumni and families are sharing their stories, telling what MMS means to them and how Montessori education lifts up children, our community and our world.
When did your MMS story begin?
In 1996, my son started at MMS in the Primary Program. I was involved in the school as a parent, reading to the children and caring for the school’s pets. In 1999, I joined MMS as an assistant in the Lower Elementary class. Although I loved my former career as a veterinary technician, MMS gives me the opportunity to hopefully make a difference in the life of a child by encouraging a passion for learning and an appreciation and ability for compassion and tolerance.
What is your role at MMS?
I am director of the MMS after-school Plus Program. I also teach zoology, botany and knitting. I am an expert splinter-extractor, caretaker of the school pets, and love telling the students stories of my childhood.
What impact has MMS made on your family?
The main goal I had for enrolling my son at MMS was to encourage his love of learning (Robert went all the way through Middle School at MMS.) He recently graduated with a master’s degree in history and continues to explore his passion for that subject as an historian at the Craik-Patton House. MMS has been the catalyst for decades-long friendships with the families and staff that we have met.
MMS really is a family. We care about each other in a way that I have never experienced anywhere else that I have ever worked or attended school.
What is your hope for our students?
I hope that my students develop a love of learning throughout their lives, compassion, responsibility, critical thinking, skills, patience, an appreciation of diversity, and a desire to make the world a better place for everyone.
I’ve always thought you can tell quite a bit about a person by their bookshelves. So, here are a few of my favorite children’s books: Yertle the Turtle and The Sneetches by Dr. Seuss, A Wrinkle in Time by M. L’Engle, The Hundred Dresses by E. Estes, The Mysteries of Harris Burdick by Chris Van Allsburg, The Secret Garden by F.H. Burnett.

lowercased:
as part of our “spreading our wings” campaign, students, teachers, alumni and families are sharing their stories, telling what mms means to them and how montessori education lifts up children, our community and our world.
when did your mms story begin?
in 1996, my son started at mms in the primary program. i was involved in the school as a parent, reading to the children and caring for the school’s pets. in 1999, i joined mms as an assistant in the lower elementary class. although i loved my former career as a veterinary technician, mms gives me the opportunity to hopefully make a difference in the life of a child by encouraging a passion for learning and an appreciation and ability for compassion and tolerance.
what is your role at mms?
i am director of the mms after-school plus program. i also teach zoology, botany and knitting. i am an expert splinter-extractor, caretaker of the school pets, and love telling the students stories of my childhood.
what impact has mms made on your family?
the main goal i had for enrolling my son at mms was to encourage his love of learning (robert went all the way through middle school at mms.) he recently graduated with a master’s degree in history and continues to explore his passion for that subject as an historian at the craik-patton house. mms has been the catalyst for decades-long friendships with the families and staff that we have met.
mms really is a family. we care about each other in a way that i have never experienced anywhere else that i have ever worked or attended school.
what is your hope for our students?
i hope that my students develop a love of learning throughout their lives, compassion, responsibility, critical thinking, skills, patience, an appreciation of diversity, and a desire to make the world a better place for everyone.
i’ve always thought you can tell quite a bit about a person by their bookshelves. so, here are a few of my favorite children’s books: yertle the turtle and the sneetches by dr. seuss, a wrinkle in time by m. l’engle, the hundred dresses by e. estes, the mysteries of harris burdick by chris van allsburg, the secret garden by f.h. burnett.