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Home >> Course Descriptions >> College of Arts and Sciences
Introduction to Physical Geology
Three semester hours. (FL)
An introductory study of Earth's composition, structure, and internal and external physical processes. Designed to fulfill laboratory science core curriculum requirements. Must be taken concurrently with GEOL 1103.
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Welcome to Watch List, where we identify five things on TV to watch while you stay at home and are subjected to merciless questioning during your own Supreme Court confirmation hearing. Is it true you smoked weed in college? It IS, isn't it? YOU ARE A NATIONAL DISGRACE. LET'S GO!
LOUIE – 11:00PM (FX) Oh man, have I been looking forward to this. After a sour experience working on his own HBO sitcom, comic genius Louis CK returns to the form with his own FX comedy.
The reviews are glowing, and why wouldn't they be? You won't find a more honest voice in comedy, and CK is keeping even closer to his own personal experiences this time around. He essentially plays himself, and the show is built around interstitial segments of CK doing standup, just like when Seinfeld began its initial run. The result should prove to be one of the funniest comedies on TV. ANTICIPATION: VERY HIGH!
RESCUE ME – 10:00PM (FX) It's a big premiere night for FX, with CK's new show debuting late and Denis Leary's cutting firefighter drama airing an hour beforehand. When last we left Leary's character, he'd been shot. In tonight's episode, Tommy has visions of the afterlife. I doubt it will look anything like that really bad Robin Williams flick that had Cuba Gooding in it.
Be on the lookout for Peter Gallagher and Peter Gallagher's eyebrows in the fourth episode this season. ANTICIPATION: FLAMEY!
CHOPPED – 10:00PM (Food Network) Will you people STOP making French toast? "What I'm gonna do for dessert is I'm gonna make a French to…" STOP. Do not make another piece of French toast. No more French toasts and no more Napoleons. That grumpy Alex Guarnaschelli lady will eat you if you do it again. ANTICIPATION: THEY'LL MAKE FRENCH TOAST ANYWAY!
10 WAYS TO KILL BIN LADEN – 8:00PM (History Channel) I like option number eight: Slowly lower him into a vat of battery acid and rat urine. REAL slow. That would really be my preference. ANTICIPATION: REVENGE PORN!
2010 MUCHMUSIC VIDEO AWARDS – 8:00PM (Fuse) Miley Cyrus hosts and also performs. Watch as she fells an oak using only her teeth! ANTICIPATION: AGE INAPPROPRIATE GYRATIONS!

subset: commoncrawl


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The figures for graphics chip sales during Q1 are in, and it seems both Intel and Nvidia gained a little at AMD's expense during the quarter.
According to market watcher Jon Peddie Research (JPR), Intel's market share hit 49.7 per cent, up from 47.7 in Q4 2008. Nvidia's share also rose sequentially, from 30.6 per cent to 31.1 per cent.
AMD, by contrast, saw its share slide, from 19.3 per cent down to 17.1 per cent, JPR said.
The other players - VIA, SiS and Matrox - also experienced declines, but so small are their shares with respect to the majors - 1.1 per cent, 0.9 per cent and 0.1 per cent, respectively - there's not much in it.
For instance, JPR said VIA shipped 840,000 units in Q1 - the same number as it sold in Q4 2008. Intel, by contrast, shipped 37.2m graphics chips. Nvidia sold 23.26m and AMD 12.81m. The Q4 totals were, respectively, 34.59m, 22.20m and 14.00m.
Overall, shipments increased 3.3 per cent from Q4 2008's 74.28m units to just 74.87m, the result, JPR said, of lower-than-expected shipments in the last six months of 2008, itself the result of moves by vendors to reduce their inventories in the face of the global economic downturn and reduced sales to end-users.
Come Q1 2009, and while World+Dog wasn't buying as many new machines as they did a year ago - then, shipments hit 94.88m units - sales were sufficient to cause machine manufacturers to start buying GPUs again.
That said, JPR said it isn't expecting the market to begin bouncing back until Q3/Q4 - look to Windows 7 and Mac OS X 10.6 Snow Leopard to drive sales - and vendors won't see shipments reach 2008 levels until sometime next year. ®


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Lenny Bruce is most often known as a pioneer in the industry but for me he was much more. He was my father.
He had a connection with his audience and 42 years later it still exists. My hope for the website is to honor my father and what he stood for.
His undying belief in the first amendment and standing up and speaking about racism and bigotry all the social viruses that existed and still do.
This is a different time. We can make a difference and make this a happier kinder and gentler world. He was so funny enjoy what you read see and hear.
with love,
Kitty Bruce


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We had a reader ask the following question:
"You previously wrote about electing out of deferred farm sales where the farmer could elect to include the income for a March delivery contract into the previous year to increase his taxable income in the previous year. I deferred my payment on my 2011 grain until 1/3/12. Can I elect to show part of this income on my 2011 taxes. "
When a farmer sells their grain on a deferred sales contract into the next year, they can elect out of the installment method on the grain that is covered by that particular sales contract. The key point is that they have to elect out of all of the grain covered by the contract or none of it.
In the question, the bushels of grain covered by the contract for delivery on January 3, 2012, all of that grain would have to be reported as income in 2011 if he elects out of reporting it in 2012. He cannot elect to report part in 2011 and part in 2012.
That is why we suggest having multiple smaller deferred sales contracts so you can pick the best one to defer if you need to.
For example, let's assume the farmer above had sold 25,000 bushels of corn for $150,000 delivered on January 3, 2012. He can elect to report all of this income in either 2011 or 2012, but it has to be all in one year or the other. Now, let's assume he entered into 5 separate 5,000 contracts at $30,000 apiece. Under this example, he can elect out of 1, 2, 3, 4, or 5 of these contracts to bring in $30, 60, 90, 120 or $150,000 of income into 2011 if he so elects. By spreading the contracts this way, he has five times the flexibility than having one contract.


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KingTut's Garden is a marijuana dispensary storefront in Las Vegas, Nev servicing the local Las Vegas region and surrounding communities. KingTut's Garden has 0 different cannabis strains and infused products on their menu.
This dispensary has not added any specials.
Disclaimer: Medical cannabis science is in a continually evolving state. To ensure Ibudtender.com has the most up-to-date information available, we constantly update our site to reflect the latest information. The information provided is not intended to treat, diagnose, cure, mitigate or prevent any diseases. All information available has not evaluated by the FDA and any claims by any product companies are not endorsed by Ibudtender.com or any of its subsidiaries. Do not use this material to diagnose or treat a health condition or disease without consulting a qualified healthcare provider.


text: You are here: Home>Groups>Dore Oral History Group Dore Oral History GroupMy locationGet DirectionsLocation SheffieldWebsite http://www.dorevillage.co.uk Dore Oral History Group is linked with Dore Village Society. The group aims to collect the recorded memories of people living and/or working in Dore throughout the 20th and early 21st Centuries. TagsDore (2)oral history (27)people (48)places (69) GroupsAnston Conservation SocietyArchaeological Research Services Ltd.ArcHeritageARTEAMUSAston cum Aughton History GroupBarnsley Family History SocietyBeighton Historical SocietyBengali Women's Support GroupBolsterstone Archaeology and Heritage GroupBradfield Historical SocietyBradfield Parish Council ArchivesBrinsworth and Catcliffe Local History GroupBroomhill Local History GroupBurngreave Local History GroupChapeltown and High Green ArchiveConisbrough & Denaby Main Heritage GroupConisbrough & Denaby Main Local History GroupCrookes Local History GroupCudworth Family History GroupCudworth Local History and Heritage GroupCusworth Hall MuseumDarfield Area Amenity SocietyDearne Valley Archaeology GroupDinnington and District Historical SocietyDoncaster & District Family History SocietyDoncaster Museum and Art GalleryDore Oral History GroupDore Village SocietyEcclesall Local History GroupEcclesfield Conservation and Local HistoryEcclesfield Parish Council - History BranchFriends of Abbeyfield ParkFriends of Barnsley CemeteryFriends of Bishop's HouseFriends of Boston Castle and ParklandsFriends of Burngreave Chapel and CemeteryFriends of Ecclesall WoodsFriends of Edward CarpenterFriends of Gillfield WoodFriends of Hoyland Lowe Stand PrioryFriends of Hyde Park CemeteryFriends of Lynwood GardensFriends of Manor Fields ParkFriends of Monk Bretton PrioryFriends of Moorgate CemeteryFriends of Norfolk Heritage ParkFriends of Sheaf Valley ParkFriends of Sheffield CastleFriends of Sheffield CathedralFriends of Sheffield Manor LodgeFriends of the Botanical Gardens (FOBS)Friends of the Doncaster Grand TheatreFriends of the Masbrough Chapel and Walker MausoleumFriends of the Old Town Hall, SheffieldFriends of the Porter ValleyFriends of Walkley CemeteryFriends of Wardsend CemeteryFriends of Wincobank ChapelFriends of Wincobank HillGleadless Valley Local History GroupGreen Estate at Sheffield Manor LodgeGrenoside and District Local History GroupGrenoside Reading Room Trust and Old School CharityHallamshire Historic BuildingsHandsworth Historical SocietyHeeley City Farm: Community HeritageHeeley History WorkshopHunter Archaeological SocietyKirk Sandall St. Oswald's Friends GroupKiveton Park and Wales History SocietyMaltby Local History SocietyManor Castle Village GroupMexborough and District Heritage SocietyMosborough History GroupNether Edge History GroupNorton History GroupNorton Lees Local History GroupNorwood, Bishopsholme and Shirecliffe Local History GroupPenistone History GroupRawmarsh and Parkgate Local History GroupReading SheffieldRivelin Valley Conservation GroupRoggins Local History GroupRotherham and District Civic SocietyRotherham Archaeology SocietyRotherham Family History SocietyRotherham Heritage AssociationRotherham Local History SocietySheffield and District Family History SocietySheffield Babel SongsSheffield Community Heritage Forum (SCHF)Sheffield General Cemetery TrustSheffield History Facebook GroupSheffield History ToursSheffield Macmillan Unit for Palliative Care: Oral History and Photography ServiceSheffield Young Archaeologists ClubShire Brook Valley Heritage GroupSouth Yorkshire Archaeology ServiceSouth Yorkshire Biodiversity Research GroupSouth Yorkshire Trades Historical TrustStannington Local History GroupStocksbridge and District History SocietySwinton Heritage SocietyThe Broomhall CentreThe Healing Word - A Cancer Support Group for Word LoversThe Historical Association: Sheffield BranchThe Memories Club; Pitsmoor Methodist ChurchThe National Fairground ArchiveThe Old Dronfield SocietyThe Ranmoor SocietyThe Sahitya PressThe Sand HouseThe South Yorkshire Industrial History SocietyThe Time TravellersThe Victorian Society, South Yorkshire GroupThorpe Hesley Local History SocietyThurgoland Local History GroupThurnscoe Family History GroupTime WalkTodwick Historical SocietyTotley History GroupTreeton Local History GroupWadsley and Loxley CommonersWath Community History GroupWessex ArchaeologyWhiston Heritage SocietyWoodsetts Local History GroupWorsbrough Local History SocietyYorkshire Main Commemorative & Heritage TrustYorkshire Vernacular Buildings Study Group Explore by keywordThese are the most popular keywords used on the site..Worsbrough (1)places (69)preservation (1)St. Oswalds (1)museum (1)Northern Soul (1)horticulture (1)Kirk Sandall (2)dance (1)ampitheatre (1)View all keywordsShare thisFacebookTwitterPinterestemail


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Future of value-based purchasing uncertain, benefit from lessons
Homecare Direction, February 14, 2020
This is an excerpt from a member only article. To read the article in its entirety, please login or subscribe to Homecare Direction.
This is an excerpt from a member only article. To read the article in its entirety, please login or subscribe to Homecare Direction.
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World press supports News Agencies in dispute with BCCI
Will the BCCI remain stubborn or will they budge? The latter seems unlikely as of now.
The World Association of Newspapers and News Publishers (WAN-IFRA) and the World Editors Forum have joined the protest against Indian cricket authorities, who have locked out reputable photographic news agencies from the high-profile India-England cricket series that began on Thursday.
"It is simply unacceptable for the Board of Cricket Control for India (BCCI) to take it upon themselves to refuse accreditation to legitimate news agencies, and to tear down the traditional role that independent news media plays in bringing sport news to the public," said Jacob Mathew, President of WAN-IFRA and Executive Editor and Publisher of the Malayala Manorama Group of Publications (Kerala) was quoted as saying by a media release.
"Photos are an integral part of news coverage. Because of this unfortunate decision, photographic coverage will be disrupted and cricket fans are being deprived of their right to choose their news sources," he said.
"These restrictions are a serious challenge to media freedom."
The BCCI has locked out international photo agencies, including Getty Images, Action Images and two Indian photo agencies. The decision to refuse accreditation led to a decision by Thomson Reuters, Agence France-Presse and Associated Press to suspend reports about the tour as well as pictures. The Press Association, national agency in the United Kingdom, is also not supplying photographs.
The Society of Editors in the United Kingdom has also protested against the move.
WAN-IFRA, based in Paris, France, and Darmstadt, Germany, with subsidiaries in Singapore, India, Spain, France and Sweden is the global organisation of the world's newspapers and news publishers.
It represents more than 18,000 publications 15,000 online sites and over 3,000 companies in more than 120 countries. Its core mission is to defend and promote press freedom, quality journalism and editorial integrity and the development of prosperous businesses.
WAN-IFRA is a member of the News Media Coalition, an international organisation and network focusing on the specific threat to legitimate editorial, press and publishing freedoms from the controls placed on news-gathering and news-distribution practices by the organisers of major events of public interest.


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Turner Classic Movies will devote Tuesdays in September to a wide array of films focusing on Jewish history and heritage, from Al Jolson's 1927 "talkie" The Jazz Singer, to the Nazi war crimes drama Judgment at Nuremberg to the Barbra Streisand-Robert Redford romance The Way We Were.
The films will be introduced and discussed by TCM host Robert Osborne and Dr. Eric Goldman, Ph.D., an author and adjunct professor at Yeshiva University, and an expert on Yiddish, Israeli and Jewish film.
Theme evenings include "The Evolving Jew" and "The Immigrant Experience" (Sept. 2), "The Holocaust" (Sept. 9), "Israeli Classics" and "The Jewish Homeland" (Sept. 16), "Tackling Prejudice" (Sept. 23) and "Coming of Age" (Sept. 30). For a full schedule of films in the showcase, go to tcm.com.
Here's a TV Guide Magazine preview:
Subscribe to TV Guide Magazine now!


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Don't forget to use your turn signal in New Mexico. Our cops are waaaay into butts.
Bill de Blasio becomes New York City's first Democratic mayor in 20 years. Some say his son's impressive Afro made the difference.
Toronto Mayor Rob Ford admits to smoking crack, but it was probably when he was "in a drunken stupor," so no big deal.
Teachers who complain about students on social media should probably stop doing that. Especially if their status update contains the words "I can just kill these kids."
But here's a perfect student: a 240-year old mechanical boy that can be programmed to write just about anything.
And the Metropolitan Detention Center faces more overcrowding: This time it's from 30,000 pounds of unpopped popcorn.


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I know someone who doesn't take such good care of her body. It's not that she's overweight, but she drinks like a fish and subsists on Wheat Thins and Diet Pepsi, among other things. I want to tell you the same thing I tell her when she asks for my dietary advice.
We look at fat person and think, "That person sure looks unhealthy." But what makes up someone's health? Is it just their weight? Absolutely not! Weight is just one of many indicators about the state of our health. Since we adults tend to be very visual we believe what we see, and we can see if someone is fat or thin. However, we cannot see the insides of our bodies without cutting them open. You have probably never seen the inside of one of your arteries, and you probably have no idea if your liver is shriveled up and sickly or if your kidneys are enlarged and diseased.
I am a big believer that our insides tell the story of our health before our outsides do. If you could get a camera and run it through your arteries right now, you'd probably be shocked to see signs of coronary artery disease. Autopsy studies done on children who died from accidental deaths (like car accidents) found that children as young a 4 years of age had signs of coronary artery disease! Unless you eat like a purist, it's a sure thing that you do too.
We can't see our insides, so we forget about them. But since we are so visually oriented, try imagining this scenario going on inside of our bodies: Our insides (organs, blood, immune system, etc) work their tails off to keep us healthy. We throw sugar, salt, fat and chemicals down our throats, and our insides become like a firefighting department, racing into gear to save us from ourselves! Alarms and bells are going off everywhere! Imagine, after eating a meal made up of salt, sugar, fat and chemicals, all your organs screaming to each other, "AAAACCCCKKKKK! Saturated fat coming down the pipes! Oh No! 2,000 mg of SALT coming our way! Watch out! Yellow #11 and Red #7! HEEELLLLPPPP!! All hands on deck!"
They do a great job of handling all this stress we put on them, but over years and years of abuse, they eventually wear down, and they start crying out for help. In the early stages, these cries for help can show up in the form of fatigue, weight gain, and inability to concentrate, among other things. Later on, if we ignore these cries for help, they become screams, and this is when we start peeing every 15 minutes … and find out that we have diabetes, or we have chest pain … and find out we're having a heart attack.
What would your pancreas look like if you could open up your body and see it? What would your heart look like? Your arteries? Your brain, liver, kidneys, ovaries, prostate, etc? Would they be pink and healthy and happy? Or would they be showing the signs of how hard you are making them work?
A healthy vegan diet is so easy on our insides. When we eat fruits, vegetables, whole grains and beans that don't have a lot of added salt, sugar, fat or chemicals, our insides can practically process our food while they sleep. These foods digest quickly, leaving healthy vegans feeling energetic and alert, not bogged down or groggy. They are naturally low in calories and fat yet provide huge amounts of nutrients, including (yes!) calcium and protein. As a result, vegans are trim, vibrant, need less sleep, have tons of energy, and in my opinion, are generally quite a happy lot.
So the next time that soda, chips and candy (even the vegan brands) are calling out your name, go consult with your insides: Do you really want to put them through so much pain when they have worked so hard to keep you alive all these years? If you're mindful enough to remember to ask, the answer will assuredly be "no."


text: Job Discussion Forums :: View topic - questions about teaching in Spain! Get TEFL Certified & Start Your Adventure Today! Job Discussion Forums"The Internet's Meeting Place for ESL/EFL Students and Teachers from Around the World!" FAQ Search Memberlist Usergroups Register Profile Log in to check your private messages Log in questions about teaching in Spain! Job Discussion Forums Forum Index -> Spain View previous topic :: View next topic Author Message dwightirwinJoined: 17 Aug 2004Posts: 2 Posted: Wed Aug 18, 2004 3:39 pm Post subject: questions about teaching in Spain! Hi everyone. My wife and I are exploring the possibility of going to Spain to teach. We would be taking our courses in Canada (and yes, it is the best country in the world for all you doubters!) in September and October and hopefully be in Spain by November. We would be looking to teach or tutor until May because we want to travel the rest of Europe, before coming back to Canada in mid-July. My question is -- are there short-term jobs available in November and is tutoring a viable alternative to teaching in a school? I'm assuming most of the school jobs will be filled by November, that's why I'm asking. Our TESOL school (Global TESOL College) has said it's easy to find jobs, but they don't want to deter anyone from taking their course either, so I figured you folks may have a more realistic view of the situation in Spain (likely Barcelona). And, is there anything else my wife and I should be wary about? Thanks for your help. Dwight Back to top Display posts from previous: All Posts1 Day7 Days2 Weeks1 Month3 Months6 Months1 Year Oldest FirstNewest First Job Discussion Forums Forum Index -> Spain All times are GMT Page 1 of 1 Jump to: Select a forum Where to Begin----------------General DiscussionNewbie ForumCurrent Events ForumTechnology ForumOnline Teaching Forum Africa Forums----------------General Africa Forum Asia Forums----------------CambodiaChina (Job-related Posts Only)China (Off-Topic)Hong KongIndiaIndonesiaJapanMalaysiaPhilippinesSingaporeTaiwanThailandGeneral Asia ForumVietnam Caribbean Forums----------------General Caribbean Forum Europe Forums----------------Czech RepublicFranceGermanyGreeceItalyMacedonia and the BalkansPolandRomaniaRussia & C.I.S.SpainTurkeyUkraineUnited KingdomGeneral Europe Forum Latin America Forums----------------ArgentinaBrazilChileColombiaCosta RicaMexicoMexico (off-topic)PeruGeneral Latin America Forum The Middle East Forums----------------BahrainEgyptIsraelKuwaitOmanQatarSaudi ArabiaUnited Arab EmiratesGeneral Middle East Forum North America Forums----------------General North America Forum Oceania----------------Australia/New Zealand You cannot post new topics in this forumYou cannot reply to topics in this forumYou cannot edit your posts in this forumYou cannot delete your posts in this forumYou cannot vote in polls in this forum This page is maintained by the one and only Dave Sperling. Contact Dave's ESL Cafe Copyright © 2018 Dave Sperling. All Rights Reserved. Powered by phpBB © 2001, 2002 phpBB Group Teaching Jobs in China


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A Scottish-Themed Greeting for Manifold Greatness and King James
Because North Carolina has a strong Scottish heritage, we decided to highlight King James's own Scottish heritage in our Manifold Greatness opening celebration at Cameron Village Regional Library in Raleigh, North Carolina.
The afternoon began with a performance of highland dancing by the Triangle Scottish Dancers, a local group that is part of the Scottish Cultural Organization of the Triangle (SCOT). Highland dancing differs from country dancing in that the latter is performed by couples who walk around each other in patterns, much like American square dancing. Highland dancing, in contrast, is performed by individuals and involves very intricate footwork. It is similar to the Irish dancing that was popularized by the "Lord of the Dance".
Most highland dance groups are made up of girls and young women, as is the case with our group. More than one attendee remarked on how nice it was to see a group of girls performing together in such an accomplished way. Even the bagpipe player is a teenage girl.
After the dance performance in the atrium, the piper played while the dancers led the crowd upstairs to the exhibit room. There refreshments were served while North Carolina Symphony harpist Anita Burroughs–Price performed music from the Jacobean era, and told attendees about the history of the harp from its beginning as an outgrowth of the hunter's bow to the modern harp we know today.
During the harpist's break, SCOT member George Birrell gave a talk about kilts and read some Scottish poetry. George and Anita then collaborated on an impromptu duet, Anita playing the harp while George recited the words to "Auld Lang Syne," a Scottish song with words by the poet Robert Burns. An earlier version of the song has been attributed to Sir John Ayton, a scholarly advisor to King James.
Eventually, the afternoon of music, food, and dance drew to a close. One of the comments left on the white board in the exhibit room summed it up: "Great display. Absolutely spiffing!"
Sue Scott is Arts and Literature Librarian at Cameron Village Regional Library, Raleigh, North Carolina.


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The answer to yesterday's Grand Slam puzzle is 'south'.
When the Bear deciphers each of the first two answers for his son, he also gives two critical clues: "On his words you must dwell, for you've seen them elsewhere" and "Follow his glance". He is hinting at the solution methodology: scanning the verse for an earlier occurrence of the owl's words, and from there looking in the direction that his eyes indicate to identify a key letter.
Here's the step-by-step instructions for deciphering the Owl's replies:
- Separate each of the Owl's replies into four segments as indicated by the dashes in his words. Example: the Owl's answer "Ou-fte-ten-ore!" is thus separated into 'Ou', 'fte', 'ten', and 'ore'.
- Then take each segment and find where you had previously seen the given letter pattern. Some appear multiple instances within the puzzle - take the first instance in each case. Example: the first segment of the first answer is 'Ou'. Do a word search for 'ou' in the poem and it first occurs in the 4th line, in the word 'journey'.
- Next, make note of where the Owl glances after giving his reply. In the first case, he glances to the left, so look at the letter to the left of where the word segment appears. Example: The letter to the left of 'ou' in the world 'journey'' is 'j'.
- For the last step, take the resulting four letters that correspond to each of the four word segments, and put them together. In each case, the four letters will spell out the first four letters of one of the choices (you will notice the Cub always phrases his questions as multiple-choice rather than open-ended). Example: The four segments in the Owl's first answer spell j-a-s-m for 'Jasmine'.
Below is the breakdown of each of the Owl's replies, starting with the Cub's first question:
Cub's question: "Which one of my loves will make the best mate: Matilda or Eve, or Jasmine or Grace?"
Owl's reply: "Ou-fte-ten-ore!"
Direction of Owl's glance: to the left
Word Segment Previous Occurrence Resulting
Ou "My journey ends here" j fte "For after tonight" a ten "Now listen my son" s ore "I continue no more" m
Meaning of Owl's Reply: j-a-s-m, or 'Jasmine'
And the Cub's second question:
Cub's question: "Should I move by the light of the sun or the moon?"
Owl's reply: "Fro-wo-who-peri!"
Direction of Owl's glance: to the right
Word Segment Previous Occurrence Resulting
fro "from a cub to a bear" m wo "A week in the woods" o who "'Wh-wh-whoo!' was the call" o peri "a whispering howl" n
Meaning of Owl's Reply: m-o-o-n, or 'moon'
And now...for the last question. You'll notice in the Owl's reply, each word segment is 4 letters long. And after he speaks, the Owl crosses his eyes. As with the previous two questions, you have to take your cue from this, meaning you look 'between' each word segment.
In other words, each 4-letter segment must be divided into two 2-letter sub-segments, and as before search the text for where the two subsegments appear somewhere in the poem, but this time with a single letter between them. This is the letter you must pull, as follows:
Cub's question: "Which way should I head: north, south, east, or west??"
Owl's reply: "Depa-alne-jorn-afer!"
Direction of Owl's glance: to the middle
Word Segment Previous Occurrence Resulting
depa "you mustn't despair" s alne "but alone you must go" o jorn "My journey ends here" u afer "For after tonight" t
Meaning of Owl's Reply: s-o-u-t, or 'south'
Congratulations to Mr Customer, UBragg, Fanerman, Berkowit28, J Steve, Quadsevens, Jose, and Gil Gamesh for their correct answers, in that order.
Updated PCS Ranking - and puzzle prize awards ceremony - coming soon. Next off-day puzzle: Monday, June 15, 7am!


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Oh, what 12 months can bring. We're all wiser and better-looking now, but we can't say 2012 was all serious business. They say that truth is stranger than fiction, and here are some stories that prove that old saw correct.
Virtual locker insanity and the long HP train wreck
It's hard to imagine a crazier story than the continuing saga of Kim Dotcom and Megaupload. The action-movie-gone-wrong raid on his leased mansion and the inflatable tank that showed up in his yard afterward were just the warm-up. Since then, the Megaupload case has created public embarrassment for the New Zealand and US governments—and a larger platform for the antics of Dotcom, some of which border on performance art.
There was Dotcom's defiant tweeting after he made bail, his strange visit from the Woz, and his launch of a new music player service that would provide users free music in exchange for voluntarily installing what amounts to malware on their PCs. He even looked to bribe the whole country of New Zealand by offering to provide every resident of New Zealand subsidized broadband.
Meanwhile, the case against Dotcom has become increasingly troubled thanks to revelations that New Zealand's government illegally spied on Dotcom and that the raid on his mansion was also illegal because the warrants were invalid. The case is costing the small island nation more than any other legal case in its history. And, in the US, the Department of Justice is still refusing to give Megaupload users access to their legitimate content. The Megaupload saga could continue to provide schadenfreude and just plain strangeness well into 2013.
Speaking of continuing stories, the saga of Hewlett-Packard's descent into corporate hell has been a reliable source of schadenfreude and strangeness for years. With CEO Meg Whitman at the helm, things haven't been as scandalous or preposterous as they were under her predecessors. But while the ship of fools in HP management may be steering away from totally running aground, it's clear that the company's keel is already bent.
In October, Whitman gave a presentation to analysts that tried to air all of the company's bad news in one sitting, admitting the company's "significant execution miscues" over the past few years and plotting a course for restructuring by 2016. But a month later, when the company announced its quarterly and annual financial results, HP's management also announced an $8 billion accounting write-off when they discovered in an audit that former CEO Leo Apotheker had paid too much for the software firm Autonomy—at least $5 billion too much. HP then accused former Autonomy CEO Mike Lynch and his team of fraudulently inflating the value of their company by cooking the books a bit.
Meanwhile, HP is still embroiled in a lawsuit with Oracle over the database vendor's decision to drop software support for HP's Itanium platform in future releases; a court found that Oracle had breached a contract, but the case still has to move forward to a damages phase. It's a Pyrrhic victory in many ways for HP, as nearly everyone else in the software industry has jumped ship on Itanium support already. And a significant amount of HP's dirty laundry got aired by Oracle during discovery.
~Sean Gallagher
Scrubbing the Internet clean
From comment trolls to ethically-challenged hackers to bona fide terrorists, everyone uses the Internet, Gangnam Style remixes and all. Because there's no one central authority online, the Internet remains a mish-mash of all that is good and evil in the world. Sure, a few less savory sites may get shut down, but most of the time, they survive. Coming up with a proportional, fair, and free speech-protecting way of addressing controversial or illegal online websites remains a hugely difficult project.
That's why it was awfully surprising to us when we caught wind earlier this year of a publicly-funded European Union project to create a fantastically vague "guideline or gentleman's agreement" that would "counter the illegal use of [the] Internet" by terrorists. How would that work? No one knew.
As we reported back in August 2012, "CleanIT" received a €400,000 ($428,000) grant from the Prevention of and Fight against Crime Programme of the European Commission to study the creation of a system that would flag (and presumably ban) "terrorist" websites hosted in the EU. Besides the fact that this project would do nothing to actually remove baddies' sites outside the EU, the entire scheme raised a number of questions, notably, "What is a terrorist website, anyway?" and "Will judges be involved?" A leaked document in September 2012 showed a number of eyebrow-raising proposals including ones like "governments must disseminate lists of illegal, terrorist websites" and "Internet companies must allow only real, common names" and "at the European level, a browser or operating system-based reporting button must be developed."
Despite our critiques of this project, however, CleanIT and its EU money have invited yours truly to moderate a panel during the group's last conference in Brussels in late January 2013, when the entire project is schedule to wrap up. We'll be pleased to bring you that story early next year. ~Cyrus Farivar
A very merry un-retirement
When Apple's famous engineering head Bob Mansfield announced his retirement in June of this year, Apple-watchers were both surprised and saddened. Mansfield's influence on the engineering team for the last 13 years has been significant, and he's well-known as a great leader to work with at Apple. That's why, when Apple announced two months later that Mansfield was actually staying on board, the head scratching began.
The company never outwardly explained the reason for Mansfield's reversal, but when iOS software head Scott Forstall was shown the door a couple of months later, insiders claimed that Mansfield reversed his decision because of Forstall's exit from Apple. Or at least that was part of the reason; Mansfield was reportedly very serious about his retirement, but Apple may have made him an offer he couldn't refuse. Still, the clincher was apparently Forstall—the two managers' styles clashed when it came to "discussing" software and hardware strategy. "It wasn't a him-or-me situation," one source told AllThingsD. "But, put it this way, I think Bob was much more willing to commit to two more years once he knew Scott was on his way out." ~Jacqui Cheng
Filtered food for $1 billion
Instagram users were blindsided in April when the service announced that Facebook would acquire it, and for no less than one billion dollars. The collective wail from Instagram users was swift. Instagram's roots are with the hipsters who want nothing more than to share grainy, filtered pictures of craft beer and Bon Iver concerts with their followers—but when Facebook swept in with all those zeroes, Instagram's staff and founders could hardly be expected to turn the offer down.
Facebook has largely kept Instagram at arm's length, and Instagram has continued to develop, releasing Web profiles and a new filter. But despite Zuckerberg's promises that he would maintain Instagram's relations with Twitter, Twitter recently booted Instagram out the door from its onsite galleries, restricting Instagram photo-viewing to external links only.
Then, just this month, Instagram released new Terms of Service that brought full circle some of the fears its loyal users have held since the acquisition was announced. Among the choice clauses, some of which were later reversed: "To help us deliver interesting paid or sponsored content or promotions, you agree that a business or other entity may pay us to display your username, likeness, photos (along with any associated metadata), and/or actions you take, in connection with paid or sponsored content or promotions, without any compensation to you." Welcome to Facebook Sponsored Stories—we mean, Instagram ads. Population: you and your pictures.
~Casey Johnston
1. Destroy fresco, 2. ???, 3. Profit
Ars covers a lot of copyright and royalties issues concerning digital media, but the story of Cecilia Giménez, 80-something restorer of the Ecce Homo fresco in the Santuario de Misericordia Church in Borja, Spain, induced many a "WTF?" reaction among our staff. Giménez, who inexpertly tried to restore the painting, botched the job and ended up with a monkey-like Jesus image that quickly became an Internet meme.
But the truly amazing part was that months after Giménez had gained unwanted notoriety from 4chan and Reddit and then the world, the elderly woman and her family hired lawyers to secure royalties from the church, which had been making lemons out of lemonade by charging meme tourists money to see the fresco. Everyone's out to make a buck, even the little old lady from the church whose centuries-old painting she destroyed.
~Megan Geuss


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June 14, 2011
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BOTHELL, Wash. – UW Bothell honored Woodinville's Heather Griffin and Issaquah's Sean Alley at its commencement ceremonies June 12. Griffin received the President's Medal. Alley received the Chancellor's Medal.
President's Medalist Heather Griffin graduated Summa Cum Laude with a Bachelor of Arts in Interdisciplinary Studies. Griffin received the medal from UW President Phyllis Wise.
The eleven-year journey that Griffin took to get her degree was marked with personal sacrifice and a high level of performance. Her grade point average of 3.99 demonstrates that performance.
Chancellor's Medalist Sean Alley graduated with a Bachelor of Arts in Global Studies. Alley received the medal from UW Bothell Chancellor Kenyon Chan.
Raised in the greater Puget Sound area, Alley enlisted in the Navy, where he became an operations specialist and surface search and rescue swimmer. Upon completing his military service and entering UW Bothell, Alley continued his commitment to his fellow servicemen and servicewomen.
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About UW Bothell: The University of Washington Bothell combines the benefits of a small campus with the resources and prestige of a world-renowned university. Offering over 30 degrees, options, certificates and concentrations, its curriculum emphasizes close student-faculty interaction, collaboration among students, and hands-on learning.For more information, visit www.uwb.edu.


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Australia's Don Bradman makes his way back to the pavilion through crowds of well-wishers after helping his team to victory with an unbeaten 173 on the final day. Australia set a new test record (which stood until 1975) by scoring 404 in their second innings to win the game.
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Richard Morris's supercar photography has been featured here on Jalopnik before. It turns out he shoots, edits, and produces video too. This is his showreel for 2011. His images of a Lotus on a B road, an Ariel Atom on a racetrack—or vice versa!—have a way of wishing away office partitions for an endless spring afternoon and something with little weight, perfect balance, and lots of yellow on its fiberglass exterior, be it paint or the setting sun.
You can follow Richard on Twitter, and see more of his work on his site Parabolique, or on his Flickr page.


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charm (someone) with (something)(redirected from charming one with)
charm (someone) with (something)
To enthrall and interest someone with something. During my visit this weekend, the school tried to charm me with activities and future internship opportunities, but I'm still just not interested in going there. She's no fool, so you'll have a hard time charming her with money alone.
See also: charm
charm someone with something
to enchant or fascinate someone with something. He charmed her with stories of his house on the beach. She charmed him with her bright smile.
See also: charm


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referencing and end note
Hello Library,
I have download end note from UTS library, i'm looking at what it has formatted my reference as and comparing them to how the library formats them and it's differnt. Specifically Governement docs and research it Endnote formats the aurthor's name instead of the goverment body in full. What am i doing wrong, or is this going to be ok for submission?


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Piet Mondrian (Dutch, Amersfoort 1872 - 1944 New York)
Brabant Farmyard, 1904
Signed, lower right: PIET MONDRIAAN
Oil on linen board mounted on canvas
15 11/16 x 19 in. (39.8 x 48.3 cm.)
Mrs. F.F. Prentiss Fund, 1967
The tight composition and simplified forms of Brabant Farmyard may seem to anticipate the geometry and balance of Mondrian's later abstract paintings. Yet in 1904, Mondrian's aims and models were principally those of a realist painter. The pastoral subject, muted palette, and deft, direct brushwork of Brabant Farmyard reflect Mondrian's early connection to the Hague School of naturalistic landscape painting in turn-of-the-century Holland.
Mondrian began to paint open-air landscapes in the region of the Amstel and Gein rivers in the early 1890s. These early watercolors and oil sketches are deeply inflected by the grey-brown tonalities and wistful, picturesque subjects of the Hague School, a mode of naturalism that combined the pictorial precepts of seventeenth-century Dutch landscape with the direct execution and atmospheric effects of late-nineteenth-century French painting (for an example, see Anton Mauve's Snow Storm, ca. 1880, AMAM inv. 66.17).1 By the early 1900s, many of Mondrian's landscapes were also influenced by the bold, sliced compositions, high horizons, and large, flattened brushstrokes of the Amsterdam painter George Hendrik Breitner (1857-1923).2 Simple forms, planar abstraction, and a geometric arrangement of the parts within the whole are evident in a few landscapes by Mondrian before 1904; yet these qualities did not become consistent principles of Mondrian's work until the Brabant landscapes of 1904-5.3
Mondrian was drawn to the Brabant region in southern Holland for its stark, rural simplicity. He made a brief visit to the region in late 1903 and returned in January 1904, when he found modest lodging in the town of Uden, and did little else but paint until his departure in February 1905. He focused on a few select subjects: simple farmyard scenes, cow studies, and studies of the long, low, steep-roofed farmhouses characteristic of the region.4 These remarkable oil sketches and watercolors bring out the formal structure of their subjects, rather than their anecdotal or picturesque possibilities. The farmyard views are spare in incident, and are placed in a close, frontal relationship to the viewer.5
In the Oberlin canvas, the buildings are rendered in terms of clearly defined shapes, from the three large color planes of the roof in the center to the sharp point and broad curve of the roof on the right. The edges that join and separate earth, objects, and sky are emphasized in strong, repeated horizontals; these are answered by the vertical rhythms of the doors and windows, the sections of the façade and roof, and the eight white legs of the cows. Thick touches and short lines of bright pigment--in the building's overhang, in the cow's head, and just under the curve of the roof at right--enliven an otherwise uniform pattern of brushwork.
A. Kurlander
Piet Mondrian (Mondriaan) was born in 1872 in Amersfoort, into a family active in artistic and political circles. Mondrian's father and brothers were all competent painters, and he studied under his uncle Frits Mondriaan, who was a career painter in The Hague. Later he studied at the Rijksakademie van Beeldende Kunsten in Amsterdam and became a member of the St. Luke's and Arti and Amicitiae groups in Amsterdam in 1897. During this period, Mondrian's painting incorporated elements of Symbolism, Impressionism and the Hague School of painting, and the native Dutch landscape was his most common subject.
Mondrian's landscapes became more abstract during a stay in Noordbrabant in 1904 in paintings such as Brabant Farmyard. An exhibition of Vincent van Gogh's work in Amsterdam in 1905 also had a profound impact. A further interest in anthroposophy and theosophy convinced Mondrian that painting could express natural form and simultaneously embody a spiritual dimension. In 1909 Mondrian had a major exhibition at the Stedelijk Museum in Amsterdam, which established his reputation as a leading Dutch avant-garde artist. During this period, Mondrian was generally labeled a luminist, and by 1910 the influence of Cubism can be seen in his painting.
In 1910, Mondrian moved to Paris where he met Diego Rivera, Fernand Léger, and Georges Braque. During his Paris stay, and later after his return to Amsterdam because of World War I, Mondrian's work became progressively more abstract. After the war, Mondrian was closely associated with the De Stijl movement until 1925. Mondrian's painting became more elemental: a series of diamond-shaped canvases reduced compositions to several lines and planes of color. His use of bold primary colors and black grids gained Mondrian the reputation as the most modern of the modern artists--especially in the United States, where he received sustained private patronage, and was included in the important Cubism and Abstract Art exhibition held in 1936 at The Museum of Modern Art in New York. Mondrian fled the rise of Nazism and moved to London in 1938, before seeking refuge in New York in 1940. In New York he created a series of large works including his last completed painting, Broadway Boogie Woogie (1942-3; The Museum of Modern Art, New York). In 1942, The Museum of Modern Art committed itself to a major Mondrian exhibition, which was held in 1946, two years after the artist's death.
S. Jost
General References
Holtzman, Harry, and Martin James, eds. Piet Mondrian: The New Art - The New Life: The Collected Writings of Piet Mondrian. Boston, 1986.
Bois, Yve-Alain, et al. Piet Mondrian 1872-1944. Exh. cat., The Museum of Modern Art, New York; National Gallery of Art, Washington D.C.; Haags Gemeentemuseum, The Hague; and published Boston, 1994.
Schapiro, Meyer. Mondrian: On the Humanity of Abstract Art. New York, 1995.
Henkels, Herbert. In The Dictionary of Art. Edited by Jane Turner. Vol. 21. London and New York, 1996, pp. 850-57.
Collection Mr. and Mrs. Simon Maris (from 1919)
J. Winterink, Amsterdam (from 1959)
With Gallery "Monet," Amsterdam (from 1960-61)
With Sidney Janis Gallery, New York, from whom purchased in 1967
Santa Barbara Museum of Art, 1965. Piet Mondrian: 1872-1944. 7 May - 20 June (also shown at Dallas Museum of Fine Arts, and Washington [D.C.] Gallery of Modern Art). Cat. no. 10.
Art Gallery of Toronto, 1966. Piet Mondrian: 1872-1944. 12 February - 20 March (also shown at Philadelphia Museum of Art, and The Hague, Haags Gemeentemuseum). Cat. no. 25.
's-Hertogenbosch, Noordbrabants Museum, 1989-90. Piet Mondriaan: Een Jaar in Brabant 1904/1905. 10 November - 14 January. Cat. no. 12.
Piet Mondrian: 1872-1944. Exh. cat., Santa Barbara Museum of Art, 1965, cat. no. 10.
Welsh, Robert P. Piet Mondrian: 1872-1944. Exh. cat., Art Gallery of Toronto, 1966, cat. no. 25.
Wolanin, Barbara A. "Brabant Farmyard by Piet Mondrian." Student paper, Oberlin College, 1968.
de Mooij, Charles C. M, and Maureen S. Trappeniers. Piet Mondriaan: Een Jaar in Brabant, 1904/1905. Exh. cat., Noordbrabants Museum, 's-Hertogenbosch, 1989, pp. 38-39, 47, cat. no. 12.
Technical Data
The fairly thick pigment was applied in a fluid, wet-on-wet manner on a fine white ground. The ground was identified as a mixture of lead white and chalk via polarized light microscopy in 1984. An x-radiograph of 1984 revealed no underdrawing, but several vertical brushstrokes in the barn and areas of dark green paint in the sky suggest changes in design. The varnish coat is thin and glossy.
The work was lined onto linen canvas in the early twentieth century with an aqueous adhesive. Some inpainting (of an unknown date) is evident in the sky, and is scattered in small areas throughout the painting. In 1984, small flakes in the upper right edge were stabilized. The work is in excellent condition.
1. See Mondrian and the Hague School (exh. cat., Whitworth Art Gallery, University of Manchester, 1980), for a well-illustrated account.
2. See, for example, Op het land (The Countryside), 1902-03, The Hague, Haags Gemeentemuseum; reproduced in Robert P. Welsh et al., Piet Mondriaan, The Amsterdam Years (exh. cat., Haags Gemeentemuseum, The Hague, 1994), p. 62.
3. Robert P. Welsh et al., Piet Mondriaan, The Amsterdam Years (exh. cat., Haags Gemeentemuseum, The Hague, 1994), p. 61.
4. Robert P. Welsh, Piet Mondrian's Early Career: The "Naturalistic" Periods (New York, 1977), pp. 66-67.
5. See Charles C. M. de Mooij and Maureen S. Trappeniers, Piet Mondriaan: Een Jaar in Brabant, 1904/1905 (exh. cat., Noordbrabants Museum, 's-Hertogenbosch, 1989-90) for a large selection of Brabant landscapes.


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Business News
Plastic bags are making a comeback, thanks to COVID-19
(BUSINESS NEWS) Plastic bags are back, whether you like it or not – at least for now.
Single use plastic bags are rising like a phoenix from the ashes of illegality all over the country, from California to New York. Reusable bags are falling out of favor in an effort to curtail the spread of COVID-19. It's a logical step: the less something is handled, generally, the safer it is going to be. And porous paper bags are thought to have a higher potential to spread the virus through contact.
It's worth mentioning that single use plastic bags are considerably more
environmentally efficient to manufacture compared to paper, cloth, and reusable plastic bags. Per unit, they require very little material to make and are easily mass produced. It also goes without saying that they have a very short lifespan, after which they end up sitting in landfills, littering streets, or drifting through oceans.
In the grand scheme of things, it's hard to deny that single use plastics have the potential to be as dangerous to humans as COVID-19. Coronavirus is a very immediate existential threat to us in the United States, but the scale of the global crises that stem from the irresponsible consumption of cheap disposable goods, also cannot be overstated. The Great Pacific Garbage Patch isn't going anywhere. (And did you know that it's just one of many huge garbage patches around the world?)
So… what exactly are we going to do about the comeback of plastic bags? Because to be honest, I used to work in grocery retail, and it is difficult and often unrewarding. So, I wouldn't exactly love handling potentially contaminated tote bags all day in the midst of a pandemic if I were still a supermarket employee. You couldn't pay me enough to feel comfortable with that – forget minimum wage!
I used to have a plastic bag stuffed full of other plastic bags sitting in my kitchen, like American nesting dolls, before disposable plastics fell from grace. (I'm sure some of y'all know exactly what I'm talking about.) This bag of bags was never a point of pride. It got really annoying because it just kept growing. There are only so many practical home uses for the standard throw-away plastic shopping bag. Very small trash can liners; holding snarls of unused cables, another thing I accumulate for no reason; extremely low-budget packing material; one could get crafty and somehow weave them into a horrible sweater, I guess.
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Even if we concede that disposable plastics are a necessary evil in the fight against COVID-19, the fact remains that they stick around long after you're done with them. That's true whether you throw them out or not.
I'm not trying to direct blame anywhere. Of course businesses should do their best to keep their customers and staff safe, and if that means using plastic bags, so be it. Without clear guidance from our federal government, every part of society has been fumbling and figuring out how to keep one another healthy with the tools they've got at hand. (…Well, almost every part.)
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Business News
Scammers are taking advantage of the unemployed
(BUSINESS NEWS) In a country that's been stricken by higher-than-ever levels of unemployment, scammers have found a unique way to target this vulnerable demographic.
With unemployment rates reaching unprecedented levels in recent months, it's a fairly safe bet to say that there's something that many of us currently have in common: we need a job. While these levels are slowly starting to decline, already down to 11.1 percent in June from an all-time high of 14.7 percent in April, the need for steady gainful employment is still great for many Americans. That's what makes the newest scam making its rounds particularly vile.
There's a common misconception that people who get scammed largely deserved their misfortune. Whether it's presumed that they got greedy, they fell for something that was too good to be true, or they were looking for an easy way out, it's both unfair and unkind to make these snap judgements of victims of scammers. When it comes to scammers, there's only one party to blame for these wrongful actions — the scammers themselves.
And with literally millions of people looking for a job right now, these scammers have found a new round of susceptible people to target. It's a fairly well documented fact that scammers have a knack for knowing who will be easy prey, and this latest scam is no different. According to a report from the Better Business Bureau (BBB), scammers have ramped up their efforts to separate desperate job seekers from what's left of their meager funds.
This scam is nothing new, but it has surged in popularity with the sheer number of people looking for jobs in today's economy. Dubbed the "employment scam," it can take on many forms, but the end result remains the same. At the end of the day, if a person is bilked out of their money, then the scammer has won.
What does this scam look like, and how can you safeguard yourself from falling prey to it? Please note that anyone — from all walks of life, no matter your age, your sex, your race, or any other factor — can become a victim of a scam. The only way to protect yourself is to be aware of the scam and recognize the signs of it. If a potential employer asks any of the following of you, then there's a good chance they're a scammer:
- You are required to pay the so-called employer for your own training up front.
- You are expected to give up your banking/personal info for a credit check.
- You are overpaid by a fraudulent check and told to wire back the difference.
- You are told that you need to pay for expensive equipment to work from home.
Please note that these scammers can spoof legitimate companies. They may try to pass themselves off as real-deal businesses; they've even tried to emulate the BBB itself. And when you refuse to follow through with their demands, they will double down and might even become hostile and aggressive, resorting to threats and cajoling. It's important to not cave in; once they start bullying you, they know the gig is up.
The BBB also notes that coronavirus has created a "perfect storm" for scammers, but there are a few things you can do to protect yourself. They advise that you avoid social isolation, as that can make you more vulnerable to scammers. When in doubt, seek out a friend's feedback. Sometimes a reality check can make all the difference in whether or not you become a mark. Do a little bit of digging online before you accept an "offer" or share personal information. And finally, be prudent. No matter how many warnings the BBB puts out each year about scams, the only person who can really protect you from getting scammed is just one person…yourself.
Business News
American Express' cash back program helps members support small businesses
(BUSINESS NEWS) Between now and September 20th, AMEX is providing $50 in credits to their cardholders to support local businesses.
It's no secret that coronavirus has been nothing short of devastating for small businesses. Even with the Small Business Administration (SBA) offering financial relief in the form of the Paycheck Protection Program (PPP) and the Economic Injury Disaster Loan (EIDL), many small businesses are still struggling to keep their doors open. So far, the numbers have been astronomical — to the tune of some 100,000 small businesses closing down permanently, according to a report from the National Bureau of Economic Research — and they're expected to continue to rise as the pandemic drags on.
With that in mind, American Express has come forward with their own disaster relief program of sorts. Between now and the 20th of September, the credit card company will be offering a cash back rewards incentive for their cardholders. The program is fairly simple and straightforward: for every $10 (or more) that you spend at a small business, Amex will give you a $5 statement credit on your account. This can be repeated up to ten times, for a total of $50 in rewards. Not bad, huh? But the question remains: what's a mere $50 in the grand scheme of things, and will it actually help out small businesses in the long run?
Well, first and foremost, $50 is no small chunk of change. For most of us, it's a fairly decent perk, especially since it requires us to do what we would have done anyway (shop at local businesses). Whether you feel like getting takeout from your local mom-and-pop restaurant, you're going to pick up a few groceries for dinner tonight at your corner market, or you need to take Fido in for a checkup at your neighborhood veterinary clinic, these activities all count toward the reward program. You're literally getting paid for shopping locally. Easy peasy.
And secondly, historic data does prove that these incentives do work. Amex rolled out their first small business reward program back in 2010, called Small Business Saturday®, as a response to the mass consumerism of Black Friday. In 2015, the SBA decided to get in on the fun and joined forces with Amex, sponsoring the program. Even better, a study from 2019 revealed that a whopping $19.6 billion was funneled back into local economies thanks to the initiative. So while "just" $50 may not seem like much, it adds up to impressive numbers when seen from a more macroscopic perspective.
This isn't the only program that has Amex's name standing behind it, either. The company is also the driving force behind the Stand for Small program, which unifies larger businesses who are offering their own helping hand to smaller businesses. Whether you're looking for assistance in managing your expenses, or you're in need of help in growing your online presence, the Stand for Small program was designed to help make this possible. Large names like Amazon and eBay are included in the ranks that have rallied behind Stand for Small, lending clout to this program.
So what's a little extra $50? Is it worth it to you? Sure, the intentions of some of these companies may be somewhat less than magnanimous — there's no arguing that there's something in it for them, as well — it doesn't change the fact that in an economy that's been crippled by COVID-19, they're actually doing something instead of just sitting there idly and waiting for someone else to take action.
That, at least, has to be worth something. And if you're wanting to get your hands on a share of the cool fifty bucks courtesy of Amex, they'd like to remind you that you do need to enroll in the rewards program no later than July 26. If you don't, you may miss out on your opportunity to help keep small businesses afloat (while also enjoying an extra $5 in your pocket here or there), courtesy of American Express.
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Kiki Smith (American, b. Nuremberg, Germany, 1954)
Untitled IV (Shield), 1990
15 7/8 x 17 15/16 x 7 in. (40.4 x 45.5 x 17.8 cm)
Roush Fund for Contemporary Art, 1991
Kiki Smith's sculpture of a pregnant belly exemplifies the fascination with and investigation of the functions, processes, and gendered character of the human body that have played a vital role in contemporary art since the 1980s. This belly (or "shield") circumvents the stigmatized representation of the female body by offering a particularized experience of the physical fact of pregnancy.
Untitled IV (Shield) is the last in a series of four pregnant bellies, each a unique cast in plaster taken from the body of one of the artist's friends.1 Each of the four has a hand-modeled, shieldlike rim, and each is tinted to resemble the color of skin. Although shown together in 1990 at Fawbush Gallery in New York City, Smith conceived of the Shields as independent works.
With these four works, Smith entered the highly charged, politicized debate over the representation of the female body. Traditionally depicting woman as seductress (as in Modigliani's Nude with Coral Necklace, AMAM inv. 55.59), images of the female nude have been subject to harsh critique since the mid 1970s by feminist artists and art historians for objectifying the female body.2 Smith boldly tackled one of the most taboo subjects in this arena--the pregnant nude body. Despite the fact that we are all a product of the birthing process, images of pregnancy are rare in Western art. Notwithstanding a handful of such images by modern women artists--for example, the German artist Paula Modersohn-Becker at the turn of the century or Alice Neel in the 1970s3--the prohibition against representing such portentous female bodily processes still exists.
In the Oberlin sculpture, Smith largely avoids the politics of representation by foregrounding the phenomenological experience of the protruding belly and its topography. As one approaches the work, it appears less like a device for general bodily defense and more like a shield to protect a very particular and present belly. The almost tactile experience of viewing the hairs, skin pores, and goose bumps, as well as the protrusions of the baby's body, give a powerful sense of corporal presence. Even the elastic band of the model's underwear is visible.
Smith's work is not without political content, however. Although she works intuitively and from a deep personal level, she also acknowledges the political and social ramifications of her pieces. In an unpublished interview with art historian Elizabeth Otto, Smith discussed the Oberlin Shield in terms of such feminist issues as reproductive freedom and suggested that it could be considered a defensive shield to protect rights that could be taken from us.4
P. Mathews
Work reproduced with permission of Kiki Smith
Kiki Smith was born in Nuremburg, Germany in 1954. She is the daughter of the late Minimalist sculptor Tony Smith (1912-1980). After working individually for several years in New York City, Smith joined the alternative artists' collective Colab (Collaborative Projects, Inc.), participating in their activities and exhibitions from 1979 to 1982. Her interest in bodily parts manifested itself as early as 1979, and by 1985 she was certified as an Emergency Medical Technician. The experience of training to be an EMT reinforced her interest in the body: "It is physically very beautiful to look at the exposure of the insides and outsides at the same time."5 By the mid '80s, her underground reputation for creating strange, quirky drawings, prints, and sculptures that focused on bodily fluids, secretions, systems, and parts began to surface. Smith's first major New York gallery show at Fawbush Gallery in 1988 won her great acclaim and launched her national and international reputation. She remains in the forefront of the art world today, with frequent solo exhibitions in the United States and Europe.
Smith's approach to her subject matter is poetic, emotive, and frequently melancholy. Her large crystal sperms (made of glass) are objects of beauty; her paper sculptures, mostly figures of women, hang delicately and often mournfully from ceilings.6 Her images--of the womb, the digestive tract, the nervous system, hair (for example the lithograph, Untitled, 1990, AMAM inv. 91.27)--project humor as well as pathos. Around 1990, Smith began to create lifesize figures in bronze or colored wax. Mostly female, these figures are haunting in their sense of loss: leaking milk or sperm, trailing blood or feces, bent on their knees, with an external spine or slashed skin that exposes red-tinted flesh beneath.
Smith's choice of materials is distinctive and integral to the object's effect on the viewer. She works on paper and with cast glass, bronze, plaster, terra cotta, papier mâché, cloth, and other media, and frequently adds embroidery, weaving, and inks to her works. Prints, which she began making in 1989, as well as installations, are also central to her creative production.
General References
No single, major text has yet been written on Kiki Smith, but numerous catalogue essays from major institutions give homage to the power and beauty of her work.
Kiki Smith. Exh. cat., Wexner Center for the Arts, The Ohio State University, Columbus, 1992. With essays by Claudia Gould, Linda Shearer, and Marguerite Yourcenar.
Kiki Smith. Exh. cat., Whitechapel Art Gallery, London, 1995. Essay by Jo Anna Isaak.
With Fawbush Gallery, New York, from whom purchased in 1991
New York, Fawbush Gallery, 1990. No cat.
Otto, Elizabeth. "RE: Production--Art and Medical Images of the Pregnant Body." Queen's Feminist Review 4 (1996), pp. 79-86, esp. pp. 83-85, ill. p. 86, fig. 2.
Technical Data
The sculpture is made of plaster, cast in a mold made from a pregnant woman's abdomen. The edge of the sculpture, projecting out about 4 cm, appears to have been cast on to the abdomen form. On the reverse side of the cast, a fabric/cord material is visible, which probably was used to reinforce the plaster. The reverse of the cast is hollow and the artist's finger marks are visible where the plaster was smoothed into the model. The surface of the cast is painted a pale flesh color. Some brown accretions are present on the exterior of the abdomen form. A thick pink accretion on the lower edge of the cast may be paint or nail polish.
The sculpture is suspended from a metal chain, with each end embedded in a large glob of white plaster, added after the cast was made. (Red stains in the plaster are likely rust stains from corrosion of the embedded chain.) A piece of picture wire is attached to the chain and is used to suspend the cast from a screw in the wall.
The plaster cast is in good condition with the exception of a few scratches and some minor imperfections.
1. As of 1993, the other three works were located: in the collection of the artist, with the dealer David McKey, and in a private collection; from an unpublished interview in 1993 by Elizabeth Otto with Kiki Smith, in the museum files.
2. John Berger (Ways of Seeing [London, 1972]) made a connection between pornographic and high-art images of the female body as early as 1972. Since the late 1970s, artist Mary Kelly has refused to include images of women in her work, because, in her opinion, such images inevitably elicit stereotypical responses.
3. Paula Modersohn-Becker, Self-Portrait on her Fifth Wedding Anniversary, 1906, oil on board, Bremen, Ludwig Roselius Collection; although she was not yet pregnant, she painted herself as such. Alice Neel, Pregnant Maria, 1964, oil on canvas, and Margaret Evans Pregnant, 1978, oil on canvas, both at New York, Robert Miller Gallery.
4. Unpublished interview in 1993 by Elizabeth Otto with Kiki Smith, in the museum files.
5. Cited in Kiki Smith (exh. cat., Whitechapel Art Gallery, London, 1995), p. 32.
6. Untitled (1989, paper, collection Eileen and Michael Cohen) depicts the figure of a woman from the waist down, with an umbilical cord with a baby at the end hanging from between her legs. Untitled (1992, paper and ink, Fawbush Gallery) represents a full-skirted woman with drooping head and long, hanging hair.


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Field Day: the post-mortem has been hotly debated on the DiS boards and beyond – click here to add your own opinion on the mishandling of certain on-site facilities – but what's important to not overlook is the quality of the line-up. Here, DiS focuses solely on exactly that, a key aspect of the event that should, save for a few flies in the overall ointment, have made the first-ever Field Day, held on August 11 at London's Victoria Park, the all-dayer of this summer.
All words by Samuel Strang, Chris Alcxxk, Tom Milway, Charles Ubaghs and Mike Diver
Arriving early to make the most of the eagerly awaited festivities, DiS edges right to the front of the (main) Eat Your Own Ears stage to catch the last part of Caribou's set. Successfully walking the line between Dan Snaith's shoegazing ways and his more psychedelic tendencies, it's a blissful, sunny performance that serves as the perfect start to the day. The set culminates nicely with new album standout 'Melody Day', leaving DiS all smiles. Across the site at the Adventures in the Beetroot Field tent, something doesn't appear to be working for The Strange Death of Liberal England. Whether it's the setting, or they're just having an off one, the band lack intensity and appear to be forcing their way through their usually epic posturing.
DiS bolts from Strange Death's flailing, dashing over to the Homefires stage to catch some mid-afternoon folk. Laura Marling is already sounding like an accomplished chanteuse. Slicker solo than accompanied by her backing band, her well-crafted songs and emotive vocals manage to expose the likes of Kate and Lily as pure flash-in-the-pan amateurs. Shortly after, Devendra Banhart-collaborating American troubadours Vetiver lull us with charming summery folk ditties.
Fridge's first live performance in five years fails, somewhat predictably given their archaic post-rock noodlings, to set pulses racing, although by this time temperatures are rising through frustration as much as anything else – the queues are beginning to snake out of control. Deep breath and a shady sit down – sounds from around the site melt into a liquid centre and the enveloping effect is both annoying from a clarity perspective and pleasurable from a WTF point of view. It's like having a festival across a few adjoining back gardens, this. Best skip as close to the front as possible from now on. But Fridge: great band back when, and perfectly accomplished now, but… we want something a little more jolly.
Finding Lightspeed Champion playing an unannounced, not-far-from-busking set on the otherwise near-deserted Band Stand is one of the highlights of the day. With his acoustic guitar running through the factual smallest Marshall stack in history (one of these, here), a drummer, violinist and backing vocals from Emmy the Great, the highlights of his melodramatic pop folk set are a brace of Weezer covers and new single/future classic 'Galaxy of the Lost', all delivered with a lot more 'authentic' musicianship than you'd expect from an ex-Test Icicle.
With a professional-enough set by the always chirpy GoodBooks leaving us cold despite the scorching sun, DiS wanders the grounds awaiting a little inspiration. It doesn't quite come from James Yorkston, whose muted folkisms over at Homefires are drowned out, rather, by the pulsing beats emanating from the nearby Bugged Out tent. The Concretes draw a sizeable crowd to the Beetroot Field tent, and their feel-good melodies gets agitated souls seeing the bright side once more. Forget that hour-queue for a pint, kids: get down the front and bop-hop on one foot to some luscious Swedish pop. Back to Bugged Out, and Chromeo are everything you'd hope for them to be. If their Hall-and-Oates-on-heat shtick doesn't do anything for you on record, then this'd likely be excruciating. If, however, flying Vs, slap bass and vocoders have a special place in your heart, this is where the party starts. It's just two guys jerking around over a backing tape, but with enough charisma to make you feel like an extra in a living, breathing episode of Miami Vice. Which is basically what live music should be about, isn't it?
Wandering over to Bloggers Delight's (literally) tiny disco, DiS stumbles across Our Disco's Nadia Ksaiba spinning a choice selection of post-disco-punk-house etc, including Hot Chip's ace remix of Junior Boys' 'In the Morning'. It's a fairly odd setting for forward-thinking dance tunes, but that doesn't stop the micro tent from filling up with afternoon gurners. Meanwhile, on the main stage, something a little jerking this way comes…
Leave it to Foals to inject some excitement into EYOE stage proceedings, after a meh set from The Aliens. Their dance-fuelled yelps, shouts and agit-rock have a potent effect on the sun-worshippers, because they're suddenly off the ground en masse and paying close attention to Yannis and his avant-pop crew's onstage antics. Having only recently returned from the New York studios of Dave Sitek, with newly recorded debut album under their collective arm, the quintet flail around the stage looking like they want to physically take out one of the 20 photographers in front of them; their songs, each superbly tight, appear to blend into one. Some might see this as a failing – are Foals a one-trick pony? (Please pardon the pun) – but today their set is an obvious highlight. It's delightful, and great fun – leave the scepticism to one side for the time being, at least until the album drops next year.
Interval, and a little female input into proceedings: critical darlings and rightfully so, the four ladies of Electrelane prove once again why they still matter four albums down the line. Playing highlights from the likes of The Power Out and this year's No Shout, No Calls collection, their wall of sound and Glenn Branca meets Stereolab guitar skronk leaves more than one person shouting for more by the end of their brief set on the Beetroot Field stage. Adem's sing-along strum-pop is followed on the Homefires stage by another of the day's success stories: Archie Bronson Outfit. The Cardinal and his cohort reiterate the opportunity the festival environment provides for an act like them, one that has undeservedly escaped underappreciated off the back of such a remarkable record as Derdang Derdang. Come the close of events their name seems to be mentioned in every passing conversation as truly proving their worth, despite the plug being pulled on them for peddling such metaphorical filth (and the fact they exceeded the sound limits), with onlookers content that these gentlemen deserve a full outing to do them justice.
A change of musical tact: in his current incarnation, Matthew Dear - perhaps better known as remixer and electro producer Audion - fronts a semi-live band, Big Hands. He's bound to attract comparisons to James Murphy and LCD Soundsystem, but his is a sleeker, more minimal sound, and his onstage charisma more traditionally charming. He attracts a decent crowd to the Beetroot Field stage, but is unfortunately pitched into direct competition with one of the day's biggest attractions: Battles.
So, back to the main stage. Peering over the plethora of tangled wires we're not quite sure whether we're watching a dance act or an indie band up there; to DiS's right, some fashionista attendees snort coke from the back of a credit card, expecting the next half-hour to relive them from their minds. But, while we have much love for Battles, today they're flattened by poor sound. The likes of 'Tras' and 'Atlas' screw with your head in all the right ways, but with the band obviously unsettled by on-stage short-circuitings, their delivery is half as frenetic as what it usually is. With the crowd protesting for the sound to be raised, the thundering drums of 'Atlas' - eagerly received by the audience who respond with a sea of arms pumping the air and leaping in time to drummer John Stainer's heavy drumbeats - send those close enough to hear properly skipping away gleefully. All minds, firmly intact this time out.
The freshly-streamlined Mystery Jets use their main stage platform to run through hits past and future – 'Zootime' (probably one of the most fucked up and unique debut singles of any top 20 band in history) and the like reminding us why we loved them so much in the first place; two new offerings whet the appetite for the Erol Alkan-helmed second album. One, 'Hideaway', is propulsive, dancey synth rock that will doubtless attract the N* R*** label at some point. The other, 'Flakes', is a powerfully mesmerising ballad, certain to become one of their best-loved songs. Over on the Beetroot Field stage, Late Of The Pier sound like they're making a good noise from outside of the packed tent. They certainly draw an impressive crowd.
With feathers spat at the tailback reaming from any stall to satisfy swallow or sip desires, under circus-top pretence Angus Andrew is found conducting himself as ringmaster for the evening, irking gestures silencing discontent caused by their lack of punctuality as Parisian beatniks Justice's splintered drones echo from across the park. Despite the soft whines there is a menacing brutality to it all. 'Plaster Casts Of Everything' rips in like a conventional nuisance after 'Be Quiet Mt Heart Attack' opens Liars' set – on a now-rammed Beetroot Field stage – with solemn grace. After sound troubles spoilt their recent showcase show at White Heat with melody drowned in an overbearingly grating distortion, this evening – again with a fourth affiliate joining proceedings – is for most the first opportunity to see how their set is a finely formed beast comprised of equal parts noisenik obscurities and popular melodrama. They truly are the highlight of the day, relentless and ferociously able to get the crowd jumping like a bunch of drug-addled ravers at a twisted warehouse party. Andrews, looking like some art-rock preacher man in an all-white suit, leads the band and the audience through a blistering set. Exhilarating to watch, they tick off every box defining what a band should be and create a few new boxes of their own along the way. Positively essential.
While Four Tet brings Homefires to a close after a pair of well-attened sets from Mercury nominees Bat For Lashes and a Super Furries-stripped Gruff Rhys, it's left to French electro-house duo Justice to top the main stage bill. While the intricacies of their recent Cross album are lost on a post-Liars swarm with cloth-eared reception, those venturing up front and personal find themselves instantly engrossed. They save their best 'til last as a re-working of their mahoosive remix 'We Are Your Friends' is eased out for all to thrust their glow sticks in the air to. Hearing the likes of 'Waters Of Nazereth' fairly loud in a field full of people is pretty ace, but overall the pair fail to live up to previously witnessed performances, their Field Day-ending set hardly doing their recorded output justice. Ha! A pun…
And home. See you next year.
Photography by Holly Erskine.