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Jill Jones is excited by ambitious and experimental work
Characterise the school's approach
Architectural education has returned to Hull and is set within the Faculty of Arts at Hull College. This year the first student cohort completed the BA Hons in Architectural Design which has achieved ARB Prescription and RIBA Candidate status for Part I. The exhibition of final year work is small with seven students showing their work.
All projects were set within the post industrial River Hull Corridor in the City and as well as evidencing their skills and knowledge of individual building design the exhibition demonstrates the students' (and schools') exploration of the relationship between architecture and urban regeneration. The model used reflects the lessons learnt from a student trip to Germany in October with many of the students referencing the post industrial site at Zolverein as a generator of their thinking. As you might expect at this level the solutions offered demonstrate a range of achievement, with the better students clearly enjoying the challenge.
Standout unit
The River Hull corridor masterplan and proposed interventions breathe new life into the city – great ambition.
Standout students
Dominic Hornsby and Tom Smith's proposals concentrated on two of the redundant Riverside Mills, recognising them as standout landmarks within the new park.
Dominic's proposal for a new arts community uses an analogy of the original processes carried out on the site to organise the new proposals which include, a large Exhibition Hall which allows for the craning of shipping containers onto high level vantage points for use by start-up businesses, a Rotating Auditorium and a new gatehouse to the site.
Tom's proposal recognises the importance of Joseph Rank's original Mill by offering an alternative to its imminent (and controversial) demolition, by proposing conversion and new build facilities for the Rank Foundation. The proposal acts as a counterpoint to Terry Farrell's Deep building within a new riverside park.
The range of work carried out by all students is ambitious and demonstrates the intent of the school to use the City of Hull as a test bed. In some ways the exhibition demonstrates that both the school and the city are, to use a maritime expression often used in the city, in the 'same boat'. Both are trying to re-establish a position of strength, and the benefits of this new symbiotic relationship between school and City should bring benefit to each.
In a word
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text: My New Jersey client is one of the biggest e-commerce companies on the planet! They are looking to hire up to 8 full-time or contract Android and iOS Developers ASAP! Contract positions pay to $100 per hour and full time positions pay to 120k + strong bonus + stock. Total comp to 155k depending on experience. Relocation assistance provided to applicants interested in full time, salaried employment. H1/B ok, but must be very strong. All positions are 100% on-site during regular business hours. Located a few blocks from the train station, a mere 35 minutes from New York City, they are looking for developers with the following experience: * Strong knowledge of data structures, algorithms, and designing for performance * Proficiency in one or more of the following languages/platforms: Java, Android, Objective C, iOS, C, C++ * Ability to translate concept designs into user interfaces on Mobile devices such as iPhone, Android, Blackberry, Windows Phone, etc * Excellent object oriented analysis and design skills (OOA/OOD) * Understanding of system and application performance limits and characteristics * Sharp analytical abilities and proven design skills * Strong sense of ownership, urgency, and drive Our client will also consider candidates with strong programming fundamentals for full-time employment without mobile background, and will train those that are interested in getting into the space. Please apply in the strictest of confidence. Your resume will not be shared with anyone without your consent. To be considered, please submit your resume and salary or hourly requirements to opensourcestaffing|AT|gmail.com Also… I'm assisting an associate fill multiple full time Android Developer roles in New York City at all skill levels, but mid and senior-level developers hired first. Applicants must have typical Android development experience. Salaries are wide open and dependent on skill. These positions are open to tri-state residents who are authorized to work in the United States. Straight-up Java Developers interested in transitioning to Android development accepted. These are full time, on-site, salaried roles. No telecommuting, sorry. To be considered, please submit your resume and salary requirements to opensourcestaffing|AT|gmail.com Thank you, Beau J. Gould ------------------- Open Source Staffing opensourcestaffing|AT|gmail.com

subset: commoncrawl


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I'm not sure where this reference ranks on the dorky/kitschy/ironic-retro-cool spectrum just now, but in any case I have to confess that as a kid in the late 1970s I watched quite a bit of "The Price is Right," that cavalcade of retail-price estimation hosted for decades by Bob Barker. (I remember being particularly tickled as a preschooler by the game where this Swiss alpine cut-out figure climbed a mountain and often eventually tumbled off the cliff at the top based on how badly the price of various groceries was estimated – which among other things was my introduction to the concept of yodeling and to Swiss culture generally. But I digress.)
Anyway, like Daryl Hannah in "Splash," my young mind fixated on certain phrases, bits of consumer exotica that had no analog in my day-to-day life on a military base in smalltown eastern Canada. One such phrase was "California emissions." Every "NEW CAR!" unveiled on "The Price is Right" came with a laundry list of features breathlessly intoned by the announcer, and the list inevitably ended with "California emissions." I had no idea what emissions were and only the vaguest sense of where California was, but it sounded exciting nonetheless.
As I'd eventually learn, California emissions were an essential but deeply glamourless feature of every car sold in the state, owing to the fact that California's government started regulating the pollutants coughing out exhaust pipes in the late 1960s, far ahead of the rest of the U.S. (and much of the world). Fuel injection and catalytic converters, among other now-common emissions-scrubbing automobile features, began as responses to California emissions standards.
I embarked on this trip down game-show memory lane when I read the other day about another innovation from the California Air Resources Board (CARB) with potentially far-reaching consequences. Last week, CARB approved new Advanced Clean Cars rules that strongly favor the sale of zero-emissions electric vehicles. According to the Rocky Mountain Institute, the new regime could mean one in seven cars sold in California will be an EV by 2025.
This is good news for electric car fans and clean-air enthusiasts alike, but its impact could be greater still. One of the most truly revolutionary sectors in the whole cleantech field is the smart grid – that merger of renewable energy, smart appliances and electric cars that promises to realign the making and use of electricity in the same way (and with some of the same tools) the Internet reinvented telecommunications.
One of the big caveats on smart grids, though, was the scale of the transformation. If power production, energy meters, appliances and cars all needed dramatic reconfigurations to get to the wild, future-tense compound benefits of the smart grid, then who was going to coordinate the shift? Who would jump first? California's Advanced Clean Cars rules might well have just given the automotive industry a big shove toward smart grids.
Not that California's the only jurisdiction where we're seeing movement. In fact, sunny California may be beaten to the pole position in the smart-grid race by windswept Denmark – particularly the tiny island of Børnholm, where the European Union has embarked on recent months on the most ambitious smart grid demo anywhere.
For full details on the project – EcoGrid EU, officially – you can check out the project website or this post at the IBM Research blog. Or, if you'd like a more entertaining and deeply Danish illustration of how it'll work, watch the video below, a scale model of the EcoGrid in Lego form:
California's still more than a decade from one-in-seven EV penetration and the time horizons for amping up EcoGrid from island to continental scale are at least as long, so the smart grid remains a future-tense thing – even more exotic than California emissions were to a kid staring up at the tube from a carpet in New Brunswick. But as the catalytic converter in my trusty 2003 Civic attests, whatever's under the hood in California often winds up driving everyone's car eventually.
To reminisce about the golden age of game shows 140 characters at a time, follow me on Twitter: @theturner.
MNN homepage photos from Shutterstock (EV) and belTRON/Flickr (Price is Right)


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92 Mill Hill Road, Woodstock, NY 12498
Business Hours - Tuesday - Saturday - 1:00 p.m. - 8:00 p.m.
Tattoo artist - Ed Dempsey - has over 20 years tattoo experience.
Get tattooed in a comfortable, clean and private tattoo loft with breathtaking views of the Catskill Mountains, in the heart of the Hudson Valley.
Bring your ideas and let Ed create the custom tattoo of your dreams.
Ed also specializes in cover-ups, tattoo renovation and repair work. Custom artwork created for every client.
Call for an appointment or stop in to talk about your new design.
Original artwork and prints available for sale.Read More


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Events for October 13, 2018
Events Search and Views Navigation
All Day
Open House: 3rd Tamworth Textile Triennial
Open House: 3rd Tamworth Textile Triennial celebrates the open-ended, porous nature of textiles practice today. It introduces a group of artists who have not previously exhibited in the triennial. All are linked in some way to a sense of broader engagement with things outside of themselves and their studios. Many celebrate the process of belonging that...Find out more »
Nicola Bolton | The Garden Palette
Many artists have a deeply rooted connection to their environment and draw inspiration from patterns in nature. Nicola Bolton's The Garden Palette explores the artist's strong affinity for the gardens surrounding her late Victorian era home in Bolwarra as well as her interaction with gardens whilst traveling in the UK and Europe. Photography is integral to...Find out more »
Paul Partos from the MRAG Collection
This exhibition features etchings from the MRAG Collection created by Paul Partos, a Czech born, Australian, abstract artist who participated in two of Australia's landmark exhibitions of Australian abstract art: The Field, 1968 and Fieldwork: Australian Art 1968–2002, 2003. This series of etchings, acquired in 2016 with the assistance of the artist's estate, demonstrate Partos'...Find out more »
Concerning Peace | Various artists
The exhibition was conceived by artists/curators Eric and Robyn Werkhoven in response to the present hostile world events.Twenty seven professional visual artists have been invited to express, interpret and explore their belief for world peace. The exhibition will include all genres of the visual arts – painting, drawing, sculpture, printmaking, photography, ceramics, Video installation. We...Find out more »
Finding Country
Artworks by 45 Aboriginal artists from 32 language groups across Australia from the Maitland Regional Art Gallery Collection Immerse yourself in this selected exhibition from the MRAG Collection: each artwork with its own story is part of the diversity and richness of Aboriginal art and culture found across Australia today. This dynamic exhibition includes bark...Find out more »
2018 Brenda Clouten Memorial Travelling Scholarships for Young Achievers in Visual Arts
This scholarship was established to support a young achiever in visual arts (30 years or under) who is a student or recent graduate at a tertiary education institution in the Lower Hunter (including Newcastle, Lake Macquarie, Maitland, Port Stephens, Cessnock, Muswellbrook and Singleton) to undertake a program of professional development in an international context. In...Find out more »
Art and Heritage Tour
We love sharing information about the Gallery, it's history and the exhibitions on display. Explore the Gallery at your own pace using the free Art and Heritage Audio Tour available as a free appFind out more »
See-Make-Do in the gallery these October school holidays.Find out more »


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70% of UF undergraduates secure employment or plan employment in the state of Florida.
Number of academic departments at UF that offer at least one sustainability-focused or related course.
Whatever you've got your sights set on, that's merely the beginning. As a Gator you'll learn to see beyond the horizon. We measure success not in individual achievement, but where you go from there. Because when reaching your goals is just the starting point, there's no end to what Gators can accomplish.
The challenges facing our world are bigger than one person. One
organization. One university. The Gator Good is our
campaign to combine those efforts and solve those global problems.
Because together, our impact is greater.


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The Florida Supreme Court upheld two death sentences for David Snelgrove for the beating and stabbing deaths of his elderly neighbors in Palm Coast more than a decade ago.
The Florida Supreme Court on Thursday upheld two death sentences for a Palm Coast man for beating and stabbing to death two elderly neighbors more than a decade ago.
It's not the first time the Supreme Court has reviewed David Snelgrove's sentence. The first time the results were better for the 40-year-old. The state Supreme Court in 2005 overturned Snelgrove's death sentences for killing Glyn Fowler, 84, and his wife, Vivian, 79.
But Snelgrove was sentenced to death again in 2009.
Former State Attorney John Tanner, who prosecuted Snelgrove, said the heinous crime deserves the harshest punishment.
"The evidence was overwhelming and substantial, and he deserves the penalty that the judge imposed," Tanner said Thursday in a phone interview. "He killed in cold blood two elderly neighbors who had befriended him, who had even lent him money."
The Supreme Court opinion released Thursday was a revision of an opinion from last year, which also affirmed the death sentences. But the latest revision did not go far enough, according to James R. Wulchak, a public defender who worked on Snelgrove's appeal.
The Supreme Court's revised opinion removed statements from a jailhouse snitch who had been unreliable and untruthful during Snelgrove's trial, Wulchak said in a phone interview. But the snitch's testimony had formed part of the basis for the Supreme Court's decision to affirm the death sentences, he said.
"They just took out the offending language but left the results the same," Wulchak said. "We submit that's a violation of federal due process." Wulchak said the next step will likely be an appeal to the U.S. Supreme Court.
But Tanner said the state Supreme Court got it right.
"Even disregarding what the informant in the jailhouse had to say, there is still sufficient evidence to support the imposition of the death sentences," Tanner said.
A jury convicted Snelgrove in 2002 of the June 2000 beating and stabbing deaths of the Fowlers, who lived across the street from him. Snelgrove broke into their home to rob them and pawned their jewelry to support his cocaine habit.
The jury in 2002 voted 7-5 to recommend Snelgrove be put to death. Then-Circuit Judge Kim C. Hammond followed that recommendation.
But the state Supreme Court in 2005, while upholding his conviction, struck down the death sentences because the jury had provided one sentencing recommendation for both murders.
A new sentencing phase took place in 2008 for Snelgrove. Defense attorneys called witnesses to testify that Snelgrove suffered from brain damage and mental illness. But prosecutors had their own witnesses who testified that brain scans on Snelgrove did not show any brain damage.
That jury, this time by a vote of 8-4, recommended Snelgrove get death sentences for the killings. Hammond in 2009 again sentenced Snelgrove to death.
Wulchak said that since the issue had been pending with the state Supreme Court for about eight months, and denials usually are handed down in a couple of months, he thought the result might be more favorable for Snelgrove.
"I was hopeful that we were going to get some relief for Mr. Snelgrove, but we didn't," Wulchak said.


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LOS ANGELES, May 7 (UPI) -- Trevor Cahill tossed seven strong innings and smacked a go-ahead, two-run triple Monday in Arizona's 9-2 spanking of the skidding Los Angeles Dodgers.
Cahill (2-3) stymied the Dodgers on two runs over seven innings, yielding six hits and three walks while striking out two.
Meanwhile, his three-bagger in the second inning erased a 1-0 deficit and put the Diamondbacks ahead to stay.
Paul Goldschmidt went 4-for-5 with three RBI, including two-run homer, and Cody Ross also went deep as Arizona pounded 15 hits in taking the opener of a three-game series.
Dodgers starter Chris Capuano (0-2) was roughed up for six runs (five earned) on eight hits in a four-inning effort as Los Angeles dropped a fifth straight.
Carl Crawford homered in the loss.


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Everyone enjoys a clean home, but for the elderly or disabled, even simple housekeeping tasks can become unmanageable. An untidy home can contribute to feelings of depression, isolation, and hopelessness – it can even be dangerous, increasing the risk of injury or illness. And it may also be the first sign your loved one in Twin Lakes, Wisconsin, is struggling and needs extra help at home.
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Blank Calendar In Word 2019
The beautiful thing about internet calendar is they are really readily obtained in virtually any computer as long as internet connection are available. A regular monthly calendar has become the downloaded calendars. You might modify your calendar to make it even more personal or something your business may use because of its marketing works. Having a content calendar helps it be simpler to map out what you'll do in the foreseeable future. You now know all you want to create a content calendar and keep your advertising strategies arranged for your year. Now the calendar is not only a device to grasp the date and also can be employed as an individual organizer. Start the Navigation pane to find the calendar created by you and then click Publish to get it printed. The perfect thing about calendars is they're fairly simple to use and intensely flexible.
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Earth from Space: San Benedicto Island
The island of San Benedicto is featured in this Proba image. San Benedicto, located 370 km south of the tip of Baja California Peninsula, is the third largest of the four volcanic islands that make up the Revillagigedo Islands, which were discovered in 1533, in the Pacific Ocean.
San Benedicto, the youngest of the four islands, is approximately 4.5 km long in a north-south direction and 2.4 km wide and contains several volcanoes that have been active during recent geologic time. The Barcena volcano, located on the southern end of the island (seen at the bottom), was formed by eruptions during 1952 and 1953.
Barcena, a-310-metres-high cinder cone, is of special interest to scientists because it is rare to have active volcanoes in the western Pacific east of Hawaii. In fact, Barcena is the first that has erupted in historical times. The eruption, which lasted less than a year, destroyed the terrestrial plant life and eliminated most of the nesting seabirds.
About ten percent of the world's population live near an active volcano. During the 1990 United Nations-sponsored International Decade for Disaster Reduction, 18 volcanoes were selected for special study, but there are at least 600 more that are or may become active.
In this context, monitoring and response initiatives are of paramount importance. Experts in volcanology have called for more volcanoes to be monitored - at present only one in five is. By using satellite imagery, it is possible to detect both the small surface movements, which may herald a volcanic eruption, and to monitor the aftermath.
ESA's Proba satellite acquired this image on 18 February 2006 with its Compact High Resolution Imaging Spectrometer (CHRIS), designed to acquire hyperspectral images with a spatial resolution of 18 metres across an area of 14 kilometres.


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Aimed at graduate and advanced undergraduate students in mathematics, this text covers material from both the algebraic and analytic disciplines and includes coverage of developments; such as the new primality test and other topics of significant interest.Ward, Thomas is the author of 'Introduction to Number Theory ', published 0012 under ISBN 9781852339173 and ISBN 1852339179.[read more]
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Judging by the reaction to Gary Lawless' column in the Winnipeg Free Press, Jets fans really like defenseman Mark Stuart. He's something of a throwback defender; he plays a physical game, blocks a lot of shots, and contributes minimally in the offensive zone.
For a defensive defenseman, Stuart has been used in interesting ways by the coaching staff.
Of interest is the number of offensive zone starts that Stuart has been on the ice for. Gabriel Desjardins tracks this information at Behind the Net, and it turns out that Stuart leads all Jets blue-liners in terms of the percentage of shifts that he starts in the attacking zone (usual partner Zach Bogosian ranks second), which is odd usage for a defensive defenseman. It's particularly odd when one considers the other players on the roster – Stuart's well down the list of offensively capable defensemen, and while Bogosian has shown flashes in the past he is certainly an inferior scoring option to players like Tobias Enstrom and Dustin Byfuglien.
League-wide, among defensemen who have played more than five games, Stuart ranks fourth overall in percentage of starts in the attacking zone. There's an interesting mix of names around Stuart, including a lot of inexperienced defenders (players like Yannick Weber, Adam Larsson, Jakub Kindl and David Runblad, to name four). Also on the list are guys with offensive ability; Marc-Andre Bergeron, Brent Burns and Mark Giordano all make cameo appearances.
The player at the top of the list, though, belongs to a third category. Sheldon Brookbank is an extremely limited defenseman with the Anaheim Ducks who has typically filled a "reserve" role – he's big, mean and can fill a penalty-killing slot, but he's a liability at even-strength. Typically, players that get a lot of offensive zone starts from their coaches get that work because either a) they contribute offensively in a way others don't or b) they're well down on the coaches' list of preferred defensive-zone options. No matter how poor the lighting, Brookbank doesn't fit in the first category; clearly, he's getting those offensive zone starts because the coach wants to protect him rather than because he will fill the net.
It is tempting to label Stuart the same way. He hasn't gotten a sniff of power play time, because the team has a long list of better offensive options on the back end. A lot of the value that he adds comes on the penalty kill – Stuart's playing more than three and a half minutes per night shorthanded – and he brings a physical element that the blue line doesn't get from a lot of other players.
That analysis finds some confirmation in the shot data. In an average hour of 5-on-5 ice time with Stuart off the ice, the Jets outshoot their opponents 27 to 22. In that same average hour, this time with Stuart on the ice, the Jets get outshot 27 to 25.
It's also not a case of Stuart and Bogosian playing against the best opponents. In Monday's game against the Rangers, Stuart's defense pairing barely got a sniff of Gaborik and Richards – instead, they drew New York's second line. He played roughly 20 seconds against Eric Staal when the Jets hosted the Hurricanes. Tobias Enstrom and Dustin Byfuglien are the players drawing top opponents night after night, and they're giving up offensive minutes in exchange – among Jets defensemen, only Johnny Oduya has started a higher percentage of his shifts in the defensive zone than Winnipeg's top two offensive defenders.
That's not to say Stuart doesn't have a role. He is logging heavy minutes on the penalty kill. He has earned the admiration of fans for his willingness to stand in front of a shot – something he's done 21 times, nearly twice as much as the next-best Jets' skater. He plays a physical style, without taking an undue amount of penalties. There is value in those things.
Going back to Lawless' column, it's difficult to agree with the entirety of it. Stuart's physical play is noted, and obviously the coaches see value in it. But the ideas that Stuart is "essential" and keeps getting ice-time because of "trustworthy" play are more problematic. Stuart's usage is not that of a player the coaching staff leans on in key situations. Rather, it's been the usage of a player the coaches like because he can fill a role (physical play and penalty killing) but one that needs careful handling at even-strength.


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Theresa James necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 140 diseños de 11 diseñadores freelance.
Retarded Velvet
We represent a designer fashion label producing a graphically bold, youthful, high-end clothing line. Our blog depicts images that inspire the collection: http://retardedvelvet.blogspot.com/. We like to stand out, inspire others, and explore our creative genius.
We are heavily influenced by classic bollywood posters, the 1980s, Grace Jones, Japanese street style and bright colour/pattern combinations juxtaposed against a refined and couture sensibility. We would prefer to invoke a reaction, positive or negative, than be met with ambivalence.
There is a tangible interplay between the traditional/ethnic and contemporary/pop culture by using elements in unconventional ways; witty vs serious, modern vs classic, raw vs refined. Think clean, sophisticated, rock'n'roll.
Our favorite fashion designers are Alexander McQueen, Rad Hourani, Jean-Charles de Castelbajac: http://www.jc-de-castelbajac.com/; Jeremy Scott: http://www.jeremyscott.com/; and Manish Arora: http://www.manisharora.ws/manish.html
20-40 year old, confident, outrageous, trend-setters with some disposable income working in the creative arts, the public eye, or where image/personality is key. We currently do womenswear but plan on branching out to menswear in the future so the logo should be androgynous.
The target market represents those interested in art, graphic design, industrial design, interior design, theatre, film, fashion, textiles, literature, music, architecture, travel, pop culture and technology.
Fashion is used by the target audience as a form of unique self-expression to push boundaries, experiment and assert their identities. They value originality, innovation, luxury, and risk-taking.
Top three things to communicate to our audience about us:
-Sophistication with a youthful, futuristic, urban edge.
-Luxury through high-quality design, tailoring and fabric selection.
-Coveted, unique, non-commercial feel; the line will not appeal to the masses but those who get it, love it.
We need a logo to represent our new fashion label but nothing literal. We are infinitely open to your ideas - you're the experts.
Logo styles we're interested in:
-Wordmark - preferably all capitals unless the font in lower case looks sweet.
-Letterform mark - capital RV, e.g., a kind of stamp/seal is appealing
-Pictorial mark - need your help with devising something interesting, e.g., a cartoon knife (combines the tough with the soft) or see the Turbo Recordings credit card attached image.
Stay away from cute. No stock photos, clipart or cheesy fonts.
Colour potential: black, red, white, purple, orange, grey, hot pink, fluorescent orange
Combinations include clashing colours + black/grey, e.g., black + hot pink + red or fluoro orange; black + grey + purple + orange, etc.
If the font is graphic enough, it may not be necessary to use colour (just black/dark - see attached FONTS document). Definitely NOT: Green, Blue
The logo will be used on the web, in print and for sew-in garment labels., therefore we will need easily compatible formats like:
-print file format - .ai (CMYK)
-web file format - .jpg and layered .psd (RGB)
Attached are clothing, fonts and logos we are attracted to. Take special note of the REVOLVER logo and the Turbo Recordings credit card image. VERY COOL.
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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Weekly Columns
Weekly Column by Senator Alexander: "Preventing Another Fungal Meningitis Nightmare for Tennesseans"
Posted on May 10, 2013
Last year's fungal meningitis outbreak was a nightmare for Tennesseans. We had more than 150 cases and 15 deaths. We did see some real heroism by state officials with the Department of Health, who discovered the problem and worked to help identify the cause, prevent more people from getting sick, and save lives.
My primary goal in responding to this nightmare was to make clear who is "on the flagpole" – who is accountable – to help prevent this from ever happening again. I have worked to do just that as senior Republican of the Senate Health, Education, Labor and Pensions (HELP) Committee, with legislation I've drafted with a bipartisan group of senators. The committee held a hearing on the proposed legislation on May 9.
Part of the problem that allowed conditions leading to the outbreak was confusion between, and inaction by, the U.S. Food and Drug Administration (FDA) and the Massachusetts pharmacy board over who was supposed to be regulating those businesses that, going forward, will be known as "compounding manufacturers." These are businesses that make sterile products, in advance of a prescription, and sell them across state lines, often to hospitals.
The solution is to determine who is "on the flagpole," and the draft legislation I've developed with fellow members of the HELP committee will make it clear who's in charge of each facility. When I was governor of Tennessee, we had a cabinet meeting in which we discussed a very important piece of legislation, and agreed to get to work on it. When we got back one week later, nothing had happened – so I put a single individual on the flagpole. We were all glad to help him, of course, but it was to his credit if it passed, and it was his fault if it failed. The legislation passed.
I'd like to see that kind of accountability on the meningitis issue. We worked with the FDA, state boards of pharmacy (including Tennessee's), pharmacists, doctors, and hospitals to develop it, and we discussed it this past week in the committee.
The legislation identifies three categories: One for pharmacies, one for traditional drug manufacturers, and a new one for these "compounding manufacturers." States would continue to oversee traditional pharmacies, and the FDA would continue to oversee traditional drug manufacturers.
But the FDA would also be responsible – on the flagpole – for compounding manufacturers. When these compounding manufacturers make sterile products without, or in advance of, a prescription and sell them across state lines, the FDA will be ensuring the safety of those products.
If our legislation becomes law, it will be clear that the FDA is responsible for these compounding manufacturers. The doctor will know that, the customer will know that, the patient will know that, and the FDA will know that.
And Tennesseans will be able to feel more confident that last year's nightmare won't happen again.


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North Texas authorities have arrested the wife of a former justice of the peace who was charged with making a terroristic threat in connection with the shooting deaths of a district attorney and his wife.
Kim Lene Williams was arrested early Wednesday. Online jail records do not list charges against her and efforts to reach Kaufman County Sheriff David Byrnes, county Judge Bruce Wood and others were not successful.
A law enforcement official has said authorities are trying to build a case against her husband, Eric Lyle Williams, in the deaths of Kaufman County District Attorney Mike McLelland and his wife, Cynthia, whose bodies were found at their home March 30.
A probable cause affidavit says Eric Williams sent an email, one day after the McLellands' bodies were discovered, implying there would be another attack if authorities didn't respond to various demands. The email was sent from Eric Williams' personal computer. Authorities arrested him on Saturday and charged him with making a terroristic threat.
He was being held on $3 million bond on that charge.
Williams lost his elected position as justice of the peace after he was convicted of stealing three computer monitors from an office. McLelland and Assistant District Attorney Mark Hasse - who was shot and killed in an apparent ambush outside a courthouse in January - prosecuted that case.
During closing arguments, the prosecutors presented testimony indicating that Williams had made death threats against a former girlfriend and a local attorney.
A jury found Williams guilty; he received two years' probation and lost his law license and position as justice of the peace.
"The good old boy network is gone," McLelland said at the time.


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You don't need to have a panda cub to follow the National Zoo's media strategy. Here are some tips to follow to increase brand exposure.
Water Cooler
4 Ways to Channel Your Inner Bao Bao for Your Media StrategyJanuary 17th, 2014 by Richard Brownell
On Leadership: Things a Great Boss Never DoesJanuary 17th, 2014 by
Whether or not the stifled entry- or mid-level employee wants to admit it, good leadership quells anxiety, even in the face of unsolvable problems.
A Lesson in Communications from Martin Luther King, Jr.January 17th, 2014 by
In honor of Martin Luther King, Jr.'s legacy, here are some of his most memorable remarks on leadership, communication and progress.
8 Best Messages of Gratitude From This Year's Oscar NomineesJanuary 16th, 2014 by
The true goal of all these humble reactions: to bask in the warm glow of positive sentiment. It's the driving force of most actors and brand communications.
5 Questions for Brands to Ask a Potential Content PartnerJanuary 16th, 2014 by Richard Brownell
Brands need to be aware of just what they're getting themselves into when seeking a content partnership with a media group. Here are a few questions brands should be asking potential partners.
Picking the Right PR Tune for a Media TourJanuary 15th, 2014 by Matthew Schwartz
"Duty," the new memoir by former Secretary of Defense Robert M. Gates, was officially released on Tuesday. To plug the book Gates has been making the rounds on the TV talk shows, and then some. His book is a reminder of what communicators need to know about how to conduct an effective media tour.
12 Questions You Need to Ask About Your CSR ProgramJanuary 15th, 2014 by Caysey Welton
Your CSR programs are an equally important communications and marketing strategy, thus it is important you are doing it right.
What Brands Need to Know About Facebook's Latest AcquisitionJanuary 14th, 2014 by Caysey Welton
Communicators should familiarize themselves with the Branch platform and Facebook's new focus on conversations.
The Email Pet Peeves That Really Tick Us OffJanuary 14th, 2014 by Matthew Schwartz
It's a classic in internal communications: Two people are sitting not five feet from one another, but still feel compelled to email each other all day. Can you say "time suck?' The syndrome is one of the more frustrating aspects of internal emails, according to an informal poll of PR News' readers.
2 Crises, 2 Responses, But Only One's EffectiveJanuary 13th, 2014 by Matthew Schwartz
Two separate crises, two separate responses. There are some stark lessons for communicators stemming from how Southwest Airlines and Freedom Industries have reacted to recent events that go to the heart of brand reputation.


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Erskine Bowles and Alan Simpson said in a joint statement Tuesday that the fiscal cliff deal is "truly a missed opportunity" to solve the nation's long-term budget problems. Their full statement:
"The deal approved today is truly a missed opportunity to do something big to reduce our long term fiscal problems, but it is a small step forward in our efforts to reduce the federal deficit. It follows on the $1 trillion reduction in spending that was done in last year's Budget Control Act. While both steps advance the efforts to put our fiscal house in order, neither one nor the combination of the two come close to solving our Nation's debt and deficit problems. Our leaders must now have the courage to reform our tax code and entitlement programs such that we stabilize our debt and put it on a downward path as a percent of the economy.
Washington missed this magic moment to do something big to reduce the deficit, reform our tax code, and fix our entitlement programs. We have all known for over a year that this fiscal cliff was coming. In fact Washington politicians set it up to force themselves to seriously deal with our Nation's long term fiscal problems. Yet even after taking the Country to the brink of economic disaster, Washington still could not forge a common sense bipartisan consensus on a plan that stabilizes the debt.
It is now more critical than ever that policymakers return to negotiations that will build on the terms of this agreement and the spending cuts in the Budget Control Act. These future negotiations will need to make the far more difficult reforms that bring spending further under control, make our entitlement programs sustainable and solvent, and reform our tax code to both promote growth and produce revenue. We take some encouragement from the statements by the President and leaders in Congress that they recognize more work needs to be done. In order to reach an agreement, it will be absolutely necessary for both sides to move beyond their comfort zone and reach a principled agreement on a comprehensive plan which puts the debt on a clear downward path relative to the economy."
- -Hiring More Journalists
- -Providing free memberships to those who cannot afford them
- -Supporting independent, non-corporate journalism


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Dear Colleague
Changes to SABRE and haemovigilance reporting in the UK
You are receiving this email because you are either the registered account holder for your local MHRA SABRE account, or you are on a distribution list within your hospital to receive emails forwarded from your local HTT email in-box. If haemovigilance emails are no longer relevant to your role, please ensure you are removed from your local distribution list.
I am contacting you to let you know that SABRE is changing. Since 2005, MHRA have run SABRE, an online reporting tool to allow reporters to log SAEs and SARs as required by the Blood Safety and Quality Regulations (2005) (as amended) to the Competent Authority. SABRE has additionally provided a way of linking SABRE reporting to reporting to SHOT on their reporting database. The software which enables SABRE is soon to be upgraded to a different software package.
The new software will look and function differently to the existing version but will allow you to meet your requirements as reporters under the regulations. You will still have access to your old reports, you will still have access to the SHOT database via a link from your Workspace and where possible we have removed some functionality and replaced it with new or enhanced functionality. Further details of the changes made, and an updated user guide are attached
We are currently undergoing final testing of the new system which will occur in three phases:
- We will migrate data from old SABRE to new. To do this, SABRE will need to be de-activated during which time you will not be able to log on to SABRE and you will not have access to the SHOT database.
- We will verify that the migration has been successful, and the system is working properly with the new data.
- Assuming the data migration has been successful, we will send you your new log in details.
If the migration were not to be successful, we would reinstate the old SABRE system and contact you with our revised plan for migration.
During the migration period when SABRE is de-activated, reporters will not be expected to report SAEs and SARs as soon as known to meet the regulatory requirements. However, please do not hesitate to contact us by phone if you need any information or want to advise us of serious regulatory matters affecting your ability to function safely.
SABRE will therefore be de-activated from 3pm on Friday 15 June, with migration due to be completed by Sunday 17 June. We will have verified this migration by Wednesday 20 June and would therefore plan to send you your new log in details on or sooner if the process is completed quicker. You will be notified of any significant changes to this plan.
You are encouraged to log into the new SABRE when you receive your new log in details so you can change the temporary password before it expires, even if you dont have anything to report.
If you have any queries or concerns, please dont hesitate to contact me on 020 3080 7336 or reply to this email.
SABRE Quick start guide.pdf
Joint UK Haemovigilance user_guide 2018.pdf


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Stuck Inn VII: Damien Hirst the Excellent Painter
by Charles Thomson, co-founder of the Stuckists art group.
Damien Hirst has exhibited a series of remarkable paintings. They are remarkable for their depth and achievement, remarkable because Hirst, the hitherto superficial arch-conceptualist, has done them, and remarkable because they have been unanimously trashed by every critic in town.
Isolation is the starting point of the spiritual journey
The show, No Love Lost, at the Wallace Collection in London, is a spiritual odyssey, which starts with Floating Skull (1,1), the simple depiction of an isolated skull, the dome illuminated and the mouth lost in the blackness in which it floats. Hirst has likened this to a lonely planet, and, in reproduction, that is exactly how it appears. However, the gallery lighting — which I found appalling, but which is presumably deliberate — reflects beneath the skull off the otherwise-invisible, wide brushstrokes, which, as a result, looked to me just like visible wide brush strokes, though I have been told they look like water (and the skull presumably a fluorescent buoy). It ruins the effect of a distant planetary body and is a clumsy distraction from the essential content of a calm but isolated origin, whose potential remains to be revealed.
A self-portrait: this is the artist's inner world and, he insinuates, ours
This potential begins to emerge in some small works measuring 24″ x 16″, where the skull is set in a simple context of thin lines or rows of small circles. These cautious forays gain in confidence, direction and complexity in bigger paintings, measuring up to 40″ x 30″, the most significant of them on the opposite wall to the small works. A key development is the outline of a table top in the bottom half of the canvas. This gives a geographical location, suggestive of the home or studio environment of the artist. The skull is not one of a corpse, but a self-portrait, demonstrating that externals have been stripped away and we have entered the artist's inner reality, where the material world is experienced more as a phantasm than a solidity, as shown by the thin outlines of an ashtray or cigarette packet resting on the equally insubstantial table. The skull's sardonic expression in Skull with Ashtray, Lemon and Cigarettes (11, 4) inquires if we recognise that this is our reality as well.
The technical painting of the skulls is a combination of suggestion and definition. Ambiguous marks could be either sockets or eyes, and it is the viewer's state of mind which will make the interpretation. An obviously discordant feature is the bright yellow shape of a lemon. It undermines the nihilistic complacency of the proposition that the world is merely spectral, with a vividness of colour testifying that the material reality of the senses cannot be so easily discounted. It poses the question of how two such seemingly different dimensions can co-exist, but does not find a resolution. The yellow paint works aesthetically because it has been applied with just the right touch to leave a slight coarseness round the edges. The cigarette in Skull with Ashtray, Lemon and Cigarettes (11, 4) is delicately captured, whereas the pink lighter is a crude rectangular layer of paint which fails to evoke its subject, and remains just paint in a pink rectangle.
Some of the backgrounds have an unusual effect like a blackboard covered with the misty remnant of wiped chalk. The top area of the paintings is marked out decoratively with restrained rows of circles, dots or diamonds. White lines animate the surface, while evidencing the attempt to make sense of reality by searching for connections within it. The untroubled void of empty space in the first painting in the show has been animated by the yearning to find meaning. The lines are evocative, when they are applied with focused care: the best in this respect are Small Skull with Lemon and Ashtray (12, 2), Skull with Ashtray, Lemon and Cigarettes (11, 4) and particularly Glass of Water and Ashtray (14, 8). Hirst is a psychologically accurate painter and succeeds technically when he paints with deliberation, but lacks virtuoso technique, and even small deviations into showmanship fall short. (A disastrously slapdash, but fortunately small, painting, Skull (13, 19) from 2008, on the far end wall of the room shows how easily he can lose his way.)
A projection of lines in a pie-slice shape coming out of the skull in Skull with Ashtray and Lemon (10, 3) is a spindly irrelevance, which, along with a misjudged small diamond interrupting the vertical line to the right of the skull, is a weakness in an otherwise strong painting. Skull with Ashtray, Cigarettes, Lighter and Shell (9, 5) culminates in a frenetic rationality with a maze of lines, which threaten to annihilate any coherence. It is unfortunate that this effect is undermined by poor application, so the psychological impact of the lines takes second place to the lazy white paint marks and the inept outlines of rectangles and diamonds they define. The delicate tints of the shell, though, hint at a direction which could be explored further.
A less insightful individual and less disciplined artist might well have been captivated by the attraction of this mesh of lines and developed it into further abstraction. This is the point where art becomes artificial and divorced from purposeful engagement. It is very much to Hirst's credit that he dismisses such temptation in his works, and instead develops forms which are a visual representation of inner states.
The paintings described so far (apart from Skull (13, 19)) were made 2006 – 2007. They certainly have interest and accomplishment, although there is at times a hit and miss quality to this. The following paintings from 2008 increase dramatically in size up to 80″ x 51″, and are a major achievement. However, on my first visit to the show, I felt they were not successful and wrote that they had "generally overstretched his abilities." It was only on my second visit that I could appreciate their classical and monumental presence, and even more so during a third visit.
A masterpiece which reaches the limits of rationality and asceticism
One series continues to use the central motif of the skull, and six of these paintings are arranged as triptychs, one such being Men Shall Know Nothing (19, 6), which has a skull in each of the three canvases and evokes the severity of a mediaeval monk's cell. Any excess in the earlier work has been shaved away; the skull represents humanity at the edge of mortality. The top half of each black-blue canvas is covered with a grid of white spots, which tap out a relentless pattern like the clockwork passage of time, making measurement but not meaning. The barely, but neatly, defined table top recurs as a symbol of the domestic interior. The smudged traces of disconnected spinal columns bookend the triptych, and hints of dark green foliage at the bottom of each picture are a reminder of a remote world of nature.
The white lines have the fineness of scalpel cuts, running vertically like scratches on an old film, or radiating with nervous energy from the central skull with the precision of radio waves sent into space but failing to find reciprocation from any distant form of life. There is nevertheless a strong feeling of self possession and resolution, derived from taking the path of self-denial to this extreme, and learning that there is nothing more that can be gained from travelling further along it. It is a statement of both the structure and also the limitation of the rational, a mode associated by Jung with the masculine. It shows the circumscription of the conscious mind. The triptych is a masterpiece, and states memento, not mori, but that enlightenment cannot be gained from asceticism and logic alone.
Its achievement is equalled by The Meek Shall Inherit the Earth (2, 7), the other triptych, also monumental and even more spare, consisting primarily of a skull in each painting (and an additional object, a shark's jaw, in the right hand painting) with spectral white lines, which seem on the point of dematerialising along with the occasional faint objects they indicate — a table top, a glass, a beetle, and, at the bottom of the central painting, what looks like a death mask in an embryonic sac, barely discernible and even less so in reproduction. (It is worth mentioning that many of these paintings do not reproduce well and the dark shades lose much of their presence in print form.)
The acceptance that men shall know nothing appears to have led to the abandonment of the attempt to know anything. There is no grid of relentlessly ticking dots, no hazy spinal columns or hints of vegetation, just white, enervated, diagonal and vertical threads, which create varied divisions of the quiet darkness of the picture surface. The imbalanced composition denies the usual view of the triptych form as a flanked central motif and forces instead the reading of it as a storyboard.
The malformed circle of the shark's jaw in the right hand painting resembles the lips of a mouth that opens to speak, but has no voice. It may or may not have an answer or know a passage to a more fecund place, which may or may not exist as only its absence has been proven so far. There is no anger or passion in this work, only a quiet and humble acceptance of a state of isolation, which Jung identified as an essential rite of passage. The title of the work asserts that what might seem like desolation we should in fact see as patience and expectation.
Other paintings in this series are of less significance, being subsidiary explorations of similar themes. They incorporate a skull, an iguana, and a shark's jawbone. Whereas the use of gridded spots is a masterfully transformative quotation from Hirst's earlier conceptual work, the shark jaws do not always transfer so well into two dimensions, sometimes sitting uncomfortably in the composition as the remnant of old habits.
Skull, Shark's Jaw and Iguana on a Table (21, 13) passes muster, while the neighbouring work, Shark's Jaw, Skull and Iguana on a Table (23, 14) is near-identical, but with the components clumsily pushed together. Iguana with Skull and Shark's Jaw (22, 16) repeats the arrangement, but with a second row of teeth in the middle of the open shape of the shark's jaw, so that it looks as though somebody had accidentally used Photoshop's cloning tool. It is a failed clever idea of the kind that Hirst needs to avoid. When he does, as in Shark's Jaw and Iguana (24, 15), he again achieves an enduring image, albeit a tad weakened by his decision to colour the lizard's tail with Naples yellow. This is also done in the previous three paintings mentioned, where it is even more out of place, an arbitrary intrusion, not being justified either in terms of meaning or aesthetics, and representing only another unsuccessful tentative attempt at a bravura touch.
The confrontation with pagan power antipodal to western Christian culture
A dreamy, wistful and folklorish medium size painting, Woman of the Woods (3, 21) is in a completely different, soft, subdued, suggestive style, which, the title lets us know, is in the realm of the feminine, or more specifically, in Jungian terms, the anima. The gentle encounter with the woman of the woods is the innocuous introduction to a set of four large works, which, though figurative, seem at first sight to be straight out of the studios of Abstract Expressionism, but of a dark intensity, which makes most works of that school look like kindergarten colouring books and even Rothko's sombre effusions lightweight in comparison.
The large skull-themed paintings of a conscious, Christ-less, Christian, ascetic and rational spirituality have here their counterbalance in the potentially overwhelming confrontation with a primeval, pagan and instinctive power from a mostly inaccessible and unconscious domain. In The Birth of Medusa (4, 24), the trunks of trees rise to the top of the painting like flames turned to ice, while a shape in the centre of the image is roughed in with a raw red, suggestive of some corporeal vestige, a bloody embryo or a flayed heart. Thin lines descend like white hot wires. A dark vertical stripe bisects the painting (as it does with the three companion paintings) like a dark generative power from — or a narrow doorway to — an even denser primordial level. When I first saw it, I forgot the genteel surroundings of the museum and entered the reality of the painting to be struck by a moment of fear.
Either side of this painting are Guardian I (6, 25) and Guardian II (7, 23). Both are more complex than The Birth of Medusa and contain the vestiges of the grid of spots which the central painting does not have. More disturbing is the apparition in Witness at the Birth of Medusa (5, 22), where the barely-discernible form of the witness is almost effaced by shredded trees and incessant vertical lines like razors slashing the air and dismembering the comprehension of the figure in the face of what he encounters. The v-shape of what appears to be the beating wings of a bird are above him, either descending with unseen claws about to sink into invisible eyes or arising as the dark messenger of what has been witnessed. At the bottom of the picture there is the faintest outline of a table and an ashtray. The witness is the artist and the setting is where it has been all along, in the familiar everyday, which almost disintegrates in this near-psychotic storm.
The resolution of a spiritual journey, the cosmic in the mundane
Hirst has already declared an agenda of "going more towards Rembrandt and away from Bacon". Rembrandt is noted for his integration of darkness and light. At the end of the show, Hirst's Requiem, White Roses and Butterflies (25, 20), celebrates the grail won at the end of a spiritual odyssey, or, in the Jungian schema, attainment of the self, a state of mind which maintains a balanced dialogue between the ego and archetypal unconscious drives.
The continuation of the colours of dark blue and white relate the painting to the rest of the exhibition. The starting motif of the skull has been transubstantiated into a spray of white roses in a vase, which takes its place alongside settled outlines of a glass of liquid and a cigarette packet on a table top. The constellation of butterflies across the dark depths of the background creates the effect of a star-filled sky, or the emanative force at the creation of the universe. It is a visual equivalent to Blake's "Auguries of Innocence":
To see a World in a Grain of Sand
And a Heaven in a Wild Flower,
Hold Infinity in the palm of your hand
And Eternity in an hour.
After the bleak purgatorial journey and the dark night of the soul, where everything non-essential was stripped away and fearsome power was encountered face to face, it is a celebration of joy, beauty and wonder, a spiritual healing and illumination, a requiem for the death of death.
Hirst's previous conceptual oeuvre stands in contrast to this work as a series of studies for it — literally the concepts which now inform his paintings, where the infinitely more subtle and flexible capability of paint is able to bring his meaning into fruition with a previously unachievable clarity and force of expression. In order to do this, he has on the whole wisely recognised as a painter his limitations, within which he has defined and mastered the approaches and motifs necessary to realise a highly focused vision. This is not the end of the journey, or even the map for it, but rather a first step from one stage of personal and artistic life to the next. As an initial body of paintings it is an outstanding achievement.
The numbering in the book No Love Lost differs for most paintings from the show numbering. The numbers in brackets show the book number first and the show number second.
Read: Stuck Inn VIII: Damien Hirst and the Reactionary Critics
For reviews by other Stuckists of Damien Hirst's work go here.
Charles Thomson was the only person in 10 years to fail the painting degree at Maidstone College of Art. In 1979, he was a founder member of The Medway Poets, and then a full-time poet for 13 years, with work in over 100 anthologies. In 1999 he named, co-founded and has since been the driving force of the Stuckism movement, which now numbers more than 200 groups in 48 countries. He has demonstrated for 10 years outside the Turner Prize, and in 2005 applied under the Freedom of Information Act for Tate trustee minutes about the gallery's purchase of its trustee Chris Ofili's work. This led in 2006 to the Charity Commission's ruling that the Tate had been acting illegally for the last 50 years. His painting satirising Sir Nicholas Serota, whose face peers over a large pair of (Tracey Emin's) red knickers, is a well-known image. He was briefly married to artist Stella Vine in 2001.
First published in 3:AM Magazine: Friday, November 27th, 2009.


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Are Taylor Swift + Carrie Underwood Frenemies?
On the surface, Taylor Swift and Carrie Underwood seem to get along pretty well – but a deeper look reveals that the two blond country sensations aren't exactly BFFs. Does that mean we should brace ourselves for some hair-pulling drama at this year's Grammy Awards?
"I'm not close to her," remarked Underwood about Swift in a recent interview with Allure magazine. "We run into each other at events. We're never in the same place at the same time."
Us Weekly reports that one of Swift's so-called pals made the following statement: "Taylor feels Carrie is always rude to her, so she steers clear of her." However, there might be a reason for this: perhaps Swift is still bitter about the sarcastic jabs that Underwood and Brad Paisley made about her love life – and her music – while hosting the CMA Awards last November.
A source also told Us Weekly that "Grammy execs were ordered to keep the two 'from crossing paths' at the February 10 show 'since they hate each other!'"
Both singers' reps have yet to lend this story any weight; in fact, they maintain that the rumors are "100 percent untrue." Still, we'll be on the lookout for cat fights on the red carpet this weekend!
Watch the Taylor Swift 'Mean' Video


text: UFDC Home myUFDC Home | Help | RSS Group Title: Nativity (The Four Gospels) Title: Black background ALL VOLUMES CITATION THUMBNAILS PAGE IMAGE ZOOMABLE Full Citation STANDARD VIEW MARC VIEW Permanent Link: http://ufdc.ufl.edu/UF00078051/00001 Material Information Title: Black background Series Title: Nativity (The Four Gospels) Physical Description: Image/Photograph Creator: Gill, Eric, 1882-1940 Publication Date: 1931 Subjects Subjects / Keywords: Wood-engraving, BritishBook illustration -- 20th century Spatial Coverage: Europe -- United Kingdom -- England Record Information Bibliographic ID: UF00078051 Volume ID: VID00001 Source Institution: University of Florida Holding Location: University of Florida Rights Management: All rights reserved by the source institution and holding location. Resource Identifier: FG - 36 Contact Us | Permissions | Preferences | Technical Aspects | Statistics | Internal | Privacy Policy © 2004 - 2010 University of Florida George A. Smathers Libraries.All rights reserved. Acceptable Use, Copyright, and Disclaimer Statement Last updated October 10, 2010 - Version 2.9.9 - mvs


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Professional Candle Making Supplies Since 1972
10" Dipping Ring
$30.00 per unit
Heavy duty light aluminum metal frames. Easy adjustments to height. 1" to 15". Makes 14 pairs of tapers at a time.
Product Description
This solid aluminum, light-weight dipping wheel allows you to easily make hand dipped tapers connected together at the tops (one pair). Candle makers who do sculptured candles can use their different color wax tanks to layer in color for carving. After wicking you can dip into any wax container that will allow the unit to fit without spilling wax over the side. This unit is 10" in diameter and allows you to color dip in tanks 12" x 12" and larger. This unit is great for beeswax hand dipped tapers. Fits on to hook on any aluminum carousel wheel or hook arrangement. Grooved wick slots to loop wick over. Solid light weight aluminum frame with threaded center hole with allen set screw. Strong hub and spokes for long lasting use. Connection allows frame to turn when wicking.
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The Pentagon's proposed Total Information Awareness (TIA) project must be watched "very closely" to ensure that Americans' civil liberties do not fall victim to massive data-mining tools that could be used to identify the electronic transactions of potential terrorists, the chairman of a high-profile anti-terrorism commission said Monday.
"This is a program that's designed to begin to accumulate data from a great many sources and accumulate it in one place," said former Virginia Gov. James Gilmore, chairman of the four-year-old Advisory Panel to Assess Domestic Response Capabilities for Terrorism Involving Weapons of Mass Destruction, commonly known as the Gilmore Commission.
"The goal here would be to watch this very closely and make sure that ... there are proper restraints placed upon it so that it's doing the job against terrorism [without] invading the civil liberties of the American people," Gilmore added during a homeland security panel discussion sponsored by the Heritage Foundation. "These are very, very tough issues."
TIA is being developed by a division of the Defense Advanced Research Projects Agency (DARPA). The office is researching ways to sift massive amounts of electronic data in order to track a wide range of "signatures" left by potential terrorists, such as credit-card purchases, pilot's license applications or scientific degrees that could indicate expertise with weapons of mass destruction.
But Gilmore said keeping a watchful eye over such a program could be difficult. "If you're going to have a data-mining organization that's designed to find terrorists and find enemy information on terrorists, then you don't want to tell anybody about it," Gilmore said. "But if you don't want to tell anybody about it, then how do you know what they're doing? So this is a big challenge."
Gilmore said federal, state and local officials also must be vigilant in guarding civil liberties as they implement information-sharing and communications technologies.
"The trick here is to find the best possible approach ... to utilize technology and communication to make sure that information can be properly shared, make sure that cybersecurity is in place so that it is not invaded ... and do all of it while maintaining America's virtues and civil liberties," Gilmore said. "Good luck, but that is the challenge that is before us today."
Bush administration officials are addressing many of those issues as they develop an information architecture for the new Homeland Security Department, according to Lee Holcomb, the White House Office of Homeland Security's director of information infrastructure.
"Our goal is to provide the right information to the right people, all the time," Holcomb said. "That is a tremendous goal, and there are a lot of legal issues, as well as technical issues, in making that happen."


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Union Locks J2200s-pl-3.0 Strongbolt 2200s Bs 5 Lever Mortice Sash Lock 81mm 3in Satin Brass Boxed
Mortice Sash Locks - 5 Lever
The Union 2200S StrongBOLT 5 lever sashlock is ideal for timberdoors hinged on the left or right and they are suitable for doorsup to 54mm thick. The deadbolt is locked or unlocked by the keyfrom either side with the 20mm deadbolt for secure positivedeadlocking and additional resistance against attack.
2200S features an anti-pick, anti-saw and anti-drill security,Chamfered bolt design that increases the performance of the lockunder side load testing. The chamfer of the bolt also makesdrilling attack more difficult, Supplied with covered escutcheon tomatch forend.
The StrongBOLT series of locks are recommended by insurancecompanies, kitemarked to BS3621: 2007 (British Standard) and hasbeen approved by the police Secured by Design initiative. They arealso covered by a 10 Year guarantee.
The radius inner forend for ease of installation, Can beinstalled into many UK mortices without the need for additionalcarpentry or spoiling the edge of the door. The anti-pick andkeyhole protection prevents forced entry by picking and the lockhas hardened steel pins that provide resistance to attack fromsawing.
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Brothers stumble upon massive pot farm
Agents seize 200 marijuana plants at farm outside Taijique
A pair of hunters stumbled on a massive marijuana growing operation and sparked a federal seizure worth millions of dollars.
Investigators pulled about 200 pot plants from a private property near Taijique on Monday where two brothers said they ran into a whole mess of trouble. The brother told police they were out hunting just before dawn when the found the drugs.
"They said they ran right face into large marijuana plants, and as they were looking around, four male subjects start shooting at them with assault rifles," Torrance County Sheriff Heath White said.
Frightened, the pair told police they took off running in different directions.
"They're still very scared, and very shaken up about the whole deal," White said.
Both were able to make it to safety.
Investigators are now on the hunt for at least four men who fled from agents as they surrounded the grow operation later in the day.
"(They are) very armed, very dangerous. They've already displayed they will not go down without a fight, that's very obvious," White said.
Authorities said the 200 plants are worth millions of dollars.
Family members said the brothers are thankful to be alive.
"I hope it wasn't them, and I hope they weren't shot the way I heard," family member Gilbert Barela said. "I am surprised, yeah, because I don't know who would do that here in Tijique -- but, they found it."
Agents said they plan to tear down the plants Tuesday because of their ongoing search for the armed men.
Police said they plan to continue their search through the night.


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"Perhaps the Knicks know by now that the Heat have trouble defending their outside jumpers. They've only made at least 18 3-pointers twice this season, and both of those games were against the Heat.
The Knicks rely on jump shots more than any other NBA team this season. They score 47 points per game on jumpers, representing 46 percent of their points.
The Knicks have done a tremendous job passing the ball and finding open shooters on the perimeter. They've scored more points off catch-and-shoot jumpers this season than any other team (525). And 149 of their 188 catch-and-shoot jumpers are 3-pointers."ESPN
Something we'd talked since day one of the blog. Catching and shooting is great, catching and making is better.The Knicks have surrounded the best post player in the NBA with guys who can catch/make. Will this continue? I don't see it stopping. Slowing down? Sure. But stopping? Hard to figure.


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An adventure is an exciting or unusual experience. It may also be a bold, usually risky undertaking, with an uncertain outcome. Banner made by my soul-mate.
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The battle of wills between Redskins coach Mike Shanahan and ambitiously lazy defensive tackle Albert Haynesworth shows no signs of slowing down. Indeed, the third time was NOT the charm when Haynesworth attempted, once again, to pass his team-mandated physical, this time "injuring" his knee on the third sprint. From the AP:
The two-time All-Pro defensive tackle tried to take the Washington Redskins conditioning test again Monday morning, but he pulled up after three back-and-forth sprints because he felt some irritation in his left knee.
The AP also notes that Haynesworth failed the same test on Thursday, "after taking an extended bathroom break in the middle of it," which might be the greatest thing I've ever read. I can practically picture Haynesworth going to the bathroom, trying to sneak out the bathroom window, only to be too fat to fit through the window and stuck there until rescue crews arrive on the scene with cranes and vats of butter.
Every training camp season produces non-stories like this Haynesworth business, but the Haynesworth story is particularly amusing because both sides are so utterly unsympathetic. Everyone knew the second that Washington threw gobs of money at Haynesworth that he'd become the second coming of Dana Stubblefield. It was practically a given, considering Haynesworth's reputation.
What's hilarious is that Shanahan thinks this bogus fitness test will somehow improve the situation. This isn't the Army. It's not like Haynesworth really NEEDS to pass this test. In fact, Shanny has already indicated he'll probably let Haynesworth practice even if he never passes. So why would Haynesworth even try? He won't, and at some point, the Skins will have to just let him play.
They didn't need to go through all this nonsense with Haynesworth. He earned the distrust of Skins fans a lonnnnng time ago. They could have just quietly reinforced to Haynesworth that he wasn't going to be traded, and then gone on with things. That's what the Bengals did with Chad Ochocinco a few years back, and eventually Ocho fell in line.
U.S. & World
Because he probably feels publicly slighted by Shanny, Haynesworth will now never do likewise. He'll just get fatter and surlier until the team either cuts him, or rents him out to the Navy as an aircraft carrier.
It's fun when teams take a stand against players as a matter of principle, but that rarely gets you anywhere in the NFL. Management in the NFL is usually about gritting your teeth and putting up with the more intolerable aspects of a player in order to get maximum production out of them. That won't happen this year with Albert Haynesworth. The Good Humor wrappers littering the field at Redskins Park are a pretty good sign of that.


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Recently, while on Twitter, I stumbled upon Sharing Notes, a wonderful organization based in Chicago that brings together musicians who want to give of their time and talent to perform for patients at local hospitals. Currently, Sharing Notes musicians perform at three different area hospitals: Prentice Women's Hospital, La Rabida Children's Hospital, and the Ann & Robert H. Lurie Children's Hospital of Chicago. This week I had the opportunity to speak with cellist Allegra Montanari, the organization's Founder and Executive Director. Read on to see what she had to say about the program, its history, its volunteer musicians and much more...
Andrew DeCanniere (AD): To be honest, I hadn't heard of Sharing Notes myself until recently. I just happened to stumble upon it on Twitter. However, the organization itself has been around for a couple of years now, right?
Allegra Montanari (AM): I decided to take action on the idea back in January of 2012, so it's kind of the two year anniversary of Sharing Notes. We have expanded from our initial partnership to three [hospitals] that we now serve, and from one performance a month to six a month, typically.
AD: It seems that it's grown considerably in a relatively short amount of time.
AM: It has. I'm really happy with that. Part of it was my commitment to it, saying 'Okay, now I'm really going to see where this can go,' instead of just 'This is a good idea.' The other component of it was realizing how much need there was for this type of service in the hospitals. Music does incredible things.
AD: It reminds me of this blog entry I recently read. It was written by this person who has been sick for most of her life, and she's been in and out of hospitals for many years. She wrote about what it was like to exist in that kind of isolation. In her case I think it was something like a year long. It's not something that we think about all the time, but when people are in the hospital, they don't really have the same easy access to that.
AM: Right. Exactly. Health is a gift, first of all, but music is also a gift. It's something that, ironically enough, musicians sometimes take for granted. We're surrounded by it. So, part of the reason that I started [Sharing Notes] was to reconnect musicians, focusing primarily on people in my age group who are pursuing careers — twenty-somethings and early thirty-somethings —to remind us of why we decided to do this in the first place. Music spoke to us, and it speaks to other people. It's a gift. We think of that gift, oftentimes, as being for an audience, but as musicians the gift is also for us.
AD: It's obvious that the patients really get something out of the performance, but it's clear that it's tremendously gratifying for you as well. Giving back to the community is something that has always been important to me, and it's great that there are a whole bunch of people out there like your volunteers who want to give back to the community, too.
AM: Thank you. The Sharing Notes musicians are amazing. They are not only talented performers, but they are people with giving and kind spirits who are dedicated and passionate about serving others with their music. I am so thankful for the incredible people who have helped make all of this possible, and for all they have done to share their gifts with those who need them.
AD: I know that, as you had said, the organization was formed in 2012, and that it came out of a desire to give back, but how did the whole thing start? You'd said it had stemmed from this idea of, and desire to, make it easier for musicians to give back to their communities.
AM: It was my desire to give back to my community, along with my frustration at the lack of opportunity to do that. As a budding professional, you're so focused on self-improvement and building a network for jobs, things that are inherently self-centered — not in a bad way, just by necessity — but I wanted to change our conversation, to say as musicians we're not only people who make music, but we're caregivers. We're service providers. So, that started me taking action.
I approached Dean Henry Fogel of the Chicago College of Performing Arts at Roosevelt University, where I was finishing school, and I said that I had this idea. Roosevelt University has this huge social justice mission – through the Mansfield Institute for Social Justice and Transformation, they do incredible work with correctional facilities and school systems. It's a really great program, but the music conservatory wasn't doing anything to follow through on this mission. At the time, I had friends at the Feinberg School of Medicine, and they helped me get connected with some different [hospital venues]. The first partnership that came out of that was the Prentice Women's Hospital, where we play for men and women on three different oncology floors. That's how we got started performing in April of 2012. Since then, we have given 60 performances for our three hospital partnerships, and we have engaged 76 different volunteer musicians.
AD: Well, I think the concept is a wonderful one, and I think that the hospitals are really recognizing the need for it, too, which brings me to my next question. If there are other hospitals who would like to partner with you or musicians who would like to become involved, how can they do that?
AM: The best way is probably to reach out to me through e-mail or through the contact form on our website. That way you can learn more about what we do currently, and if you want to support the mission or get involved, that's the best way to do it.
AD: As far as musicians themselves, are you looking for more volunteers?
AM: We are always looking for more volunteers. Currently about 75 percent of the musicians come from Roosevelt University's Chicago College of Performing Arts. They're our sponsor institution, and it fits part of the vision of Sharing Notes to empower young professionals with values of philanthropy, communication and audience engagement. However, we do engage people from the larger Chicago community — mostly classical artists. We're definitely open to other musicians and we're always looking for new, committed, and dedicated, passionate volunteers.
AD: You spoke a bit about the power of music and the connection that people have to it. How did you decide to be a professional musician? When did you know that this is what you want to do?
AM: I started playing piano when I was around five-years-old. That was mostly because my mother had loved it when she was in middle school, and so she wanted my sister and I to have the chance to learn music as well. I kept my piano studies up, but when I was in fifth grade the local middle school orchestra director came by and brought all of these different instruments — everything from the harp to trumpet to triangle to cello — and I tried everything. From the minute I played the cello, I knew that was the sound I wanted to be making. I loved it. It was just a kind of an 'aha moment,' that went off and I said 'This is it. This is mine. I'm done.' It turns out I had a knack for it somehow, so I kept practicing. I was still academically-oriented outside of music. I thought I was going to go into some kind of science, chemical engineering or something, like my father. Then I got to senior year and my private teacher cautioned me against going into music. She said 'Don't go into music unless you can't live without it,' which was hard to hear. I said 'Okay,' then I auditioned for music schools and the rest is history.
AD: You perform for very different groups, as far as audiences go. There would be a very different dynamic, I'd imagine, between, say, Prentice Women's Hospital and La Rabida Children's Hospital. I know your organization also tailors the performances to the audience, to the age group you're performing for.
AM: I'm glad you brought that up, because that was something I wanted to discuss as well. The whole mission is serving the audience, and in order to do that, you have to figure out what the audience wants and how to bring them into your musical world. How to engage them, how to make them feel better. With different demographics, with different age groups, different walks of life, you're going to have to do that in different ways. When we visit the Prentice Women's Hospital and play for the three oncology wards, most of the patients enjoy the soothing classical music. We actually play in the hallways, so it's not only the audience but also the venue we have to think about with our music. We can't play loud music, because it will actually get in the way of the service of the hospital.
In the La Rabida Children's Hospital, it's a completely different story. You have kids ranging anywhere from one-year-old to 18, and our goal is to help the kids have fun, to bring them into our music in a way that's interactive, it's energetic and upbeat. We do things like the drum circle, where all the kids get to play the drums and learn rhythms. So, they're not only seeing a performance, they're actually a part of it. It's an incredible hospital with incredible caregivers, and we work very closely with the Child Life Department to do these performances, but when you're a little kid, and most of the attention you're getting is related to your illness everyday, to just sit and play a drum is a really fun thing.
AD: It really seems that it's educational, but also just shifts the focus.
AM: Right. Exactly, and there are kids who have developmental delays, so they might not speak or move as other children do, but it's incredible to see how they have changed from the time you start making music to the end of the performance. They light up. They dance. They clap. As musicians, to see that, to be a part of that, it brings you so much joy. It's one of my favorite places to go to in the entire world.
AD: I've done some research since learning about the program, but is there anything else you'd like to share with regards to the organization?
AM: As I mentioned, all of these performances are currently free to the hospitals. It's volunteer- based, so this is something that the musicians are doing on their own time, because they believe in it. Our goal is to empower young professionals. These three different venues give them practice on how to engage an audience, how to adapt and respond within a performance. Sometimes we get requests. That's never something you're going to get in a recital venue of a classical performance.
AD: And, in a way, it has to just be a great change of pace. I was on your website, and if I remember correctly, that sort of informality of the whole thing, and the whole improvisation aspect, are things that were touched upon. That's a pretty different dynamic in and of itself.
AM: Right. It is, but it's something that is becoming more important with the way that we connect to our audiences. That type of engagement is becoming more common, so it's good for us to know how to do.
AD: As far as donating to your organization, do you take donations or how does that all work as far as keeping the organization going, keeping it viable, and perhaps even helping it expand?
AM: We're in the process of some exciting developments in addition to working on covering volunteer costs for transportation and expenses such as flu shots. We want to get a real piano for the Prentice Women's Hospital. Right now we just have a little electric keyboard. We're building a music library, so that our volunteers can check repertoire out from us and don't have to go fishing for some of these tried and true selections that we know. We're taking steps to really improve the service that we give. Donations are definitely appreciated and welcome.
AD: I just wanted to be sure to touch upon that as well, since it is such a worthwhile cause doing such amazing work — and because giving back to the community is something that has always been important to me.
AM: Thank you so much. I know that it's a cause we've all been affected by in some way. Whether it's an extended hospital stay, or having volunteered in the past and understanding the impact that it makes not only on who you're providing the service for, but also you personally, it makes a huge difference. When I was in the hospital with my grandmother last year, one of the most comforting things for her — she didn't know how to work technology, but I had my iPhone, and I had Spotify, and I said 'Grandma, do you want to listen to anything?' She was very sick at that point but she said 'I want to listen to Kiri.' — that's Kiri Te Kanawa, who is one of the most famous opera singers ever — and so we put it on and she just calmed down and she kept clicking the screen so she could see Kiri's face and listened to this music that she loved and she was calm. Almost everyone has been affected by an extended hospital stay in some way — and that we understand that it's not a pleasant place to be, but music can make it much more bearable.
AD: My grandmother was sick for some time too — she actually passed away in 2006 — and we did something similar for her. She had this really old clock radio that hadn't worked for many years. We purchased this new clock radio for her with a CD player and bought a few CDs for her to listen to and we played them for her. It really does seem that music just has this ability to calm a person, an ability to remove them from the situation a little bit — at least in as much as that's possible.
AM: Exactly. It takes you to another place, a much better place.
Allegra Montanari is a cellist and the Founder and Executive Director of Sharing Notes. She lives in Chicago. To learn more about Sharing Notes, to volunteer or to donate to the program, please visit their website or call 313-444-0641. You can also follow Sharing Notes on Twitter and friend them on Facebook.
Photo Credit: Courtesy of Sharing Notes