Snow was here. It will be gone. And then back again.
Take it slow driving to work today.
September 11 saw snowfall as a cold front tracked across the south Peace yesterday evening.
Snow fall with total amounts of about 10 cm was expected.
A cold front will track across the BC South Peace region this evening bringing unseasonably cold temperatures.
"Rain will quickly change over to snow this evening as the front passes," accurately predicted the Weather Network Tuesday.
Snowfall accumulations of 10 centimetres were expected tonight across the BC South Peace, also along Highway 97 between Pine Pass and Chetwynd. The snow could make travel difficult over some locations. Environment Canada predicts an end to the snow ending this morning, a cloudy Wednesday with 60 percent chance of flurries. By Thursday, a low of minus 6 is expected.
Night Cloudy periods with 40 percent chance of flurries. Low minus 4.


text:
Dancing in the middle of the storm
In Charleroi, Belgium, they catch the wind. They unleash it at high speeds on the users of that wind: a group of international skydivers at the World Cup indoor skydiving. With a speed of about 300 kilometers per hour, the wind comes from below from the tunnel in the Airspace Charleroi. Ryan Christie, a Brit who lives in the Netherlands for five years, dives through the side doorway into the transparent vertical tube and the wind blows him upwards. His freestyle show begins.
Ryan Christie in the windtunnel in Charleroi
He turns, he tumbles, he floats, he slides and he dances on the wind. Everything in control and coordinated.
The free fall from an airplane is an adrenaline rush in the open air for many people. For Christie, the indoor variant is a way to unwind in the midst of a storm. The roaring wind around him blows that tranquility in. "I'm more likely to produce serotonin than adrenaline," he says with a smile. "I can really go into a meditative state, like I'm a magnet and silently draw the world into me."
And meanwhile, Christie is in a competition, in which his exercise is judged by a jury. The freestylers, who perform their exercises to music, attract the most attention from the public at the World Cup, which is also a European Championship. When the number one in the standings, 19-year-old Kyra Poh from Singapore, is pulled into the tunnel, the fans scream and clap frantically. As a professional skydiver, Poh can be found in a wind tunnel every day. She dances in the middle of the storm: balanced, apparently weightless. "It is my mission to take the sport to a higher level, so that there is no need to make comparisons with gymnastics or figure skating or diving. It's all true, but skydiving is a sport in itself. I've been doing this since I was eight and always try to get better with a new choreography and tricks."
Freestyle is just one of the categories of skydiving. Sofia van der Vlist (27) and Rick Verbunt (33), involved in City Skydive Utrecht, are part of the Chaotic Motion team that competes in the formation part (FS4). The goal is to complete as many routines as possible in 35 seconds. "All movements and all exercises are known, but the order in which they should be shown is only drawn the night before the game. Then we have to determine how we are going to make transitions," says Van der Vlist.
The order of those routines has to be in your head. And so everyone practices 'dry'. Everywhere in the building in Charleroi are tufts of turning and tossing skydivers, who visualize the exercise; tapping each other, sometimes lying on wheeled carts set up in a special rehearsal room. Once in the tunnel, where the wind speed is lower than in freestyle, there must arise an automatism of grasping, tapping and twisting that hopefully looks like a flowing dance. "Our arms and legs are the helm, with which we can steer in all directions."
A team consists of four people, the fun is evident. After the exercise, there is often a hug with colleagues and a high five. "That is the image and the power of the sport, yes," says Verbunt. "We also have a lot of fun, but we are also performance driven. If the helmet visor goes down in the waiting area, we're in game mode, then it has to happen. The chemistry has to be right. All the better we did well here with a stand-in."
Within the skydive dance there are all kinds of variations that make good teams champions. The Americans of the winning Arizona Airspeed are professionals and, unlike the Dutch teams, can live off their sport. They make over 700 jumps a year and master the fast rotation to make the figures down to the last detail. The variations fly through the tunnel at an astonishing speed. Arizona Airspeed doesn't just dance in the wind, it plays with the wind. And then they just let it go again.

redpajama_set_name: RedPajamaCommonCrawl


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Degree/Diploma Certificate to be legalized/attested for showing in foreign when people go to foreign for various reasons. For Immigration, studies and for jobs, people will require the authentication of Degree/Diploma certificate from proper authorities, which needs to be done with immediate effect. To go out to foreign the certificate holds much importance, if either of the candidates/spouses/child needs to go to of residence or service. Before this process can be finalised, the certificate attestation/legalization is required, which is possible to be done in Karimnagar, through our agencies.
Attestation of Degree/ Certificate which issued from Karimnagar. Attestation from Foreign Embassy after the Attestation of Ministry of External Affairs and Sub Divisional Magistrate, New Delhi. It is genuine and valid process for the Abroad. SDM Attestation is not valid for some specific countries means there are very specific as they require the state level attestation on the Karimnagar issued Educational Certificate prior to the Attestation from their Embassy.
There are many option for obtain Embassy/Consulate Attestation services in Karimnagar, which allows people to obtain the true certification for certificates. With this certificate Attestation in Karimnagar ready, people in the neighborhood can now prepare for their visits to country. There will not be any problem with Degree certificate Attestation in Karimnagar, because the EAS make sure that all the criteria are fulfilled, before accepting to do the Attestation of documents.
Legalization also known as Authentication or Attestation on certificate of Telangana State is the process, which has to be completed in an Original Degree / Commercial / exports certificate for the use of it in Foreign country. This Telangana Certificate Attestation or Legalization is the true and accurate representation of the facts or authenticity of that specified Certificate of State Telangana. Attestation of Telangana State Certificate means – the action of bearing the witness on it to affirm to be correct, genuine. Certification Service is a consulting service that provide services to the public for Attestation/legalization certificate of Telangana. Attestation report is a report which expresses a conclusion about the reliability of a specified certificate of Telangana State.
Karimnagar issued Degree/Commercial/Exports Certificate Legalization Company in Karimnagar (Telangana) for all type of Legalisation Service from Karimnagar.


text:
#ifdef AWS_MULTI_FRAMEWORK
#import <AWSRuntime/AmazonServiceException.h>
#else
#import "AmazonServiceException.h"
#endif

/**
 * <p>
 * Batch request contains more number of entries than permissible.
 * </p>
 */
@interface SQSTooManyEntriesInBatchRequestException:AmazonServiceException
{
}

-(id)initWithMessage:(NSString *)message;

/**
 * Returns a string representation of this object; useful for testing and
 * debugging.
 *
 * @return A string representation of this object.
 */
-(NSString *)description;

@end

redpajama_set_name: RedPajamaGithub


text:
Aberdonians remember their favourite gigs at historic Capitol Theatre
Opening in 1933, the Union Street haunt hosted film showings and stage shows for decades. Stars like Queen and Tina Turner graced its stage in its heyday before it closed in 1998.
16:37, 27 MAR 2022
Updated 16:24, 28 MAR 2022
The former Capitol Theatre is now an office building (Image: Wikimedia Commons - lhhigl)
Aberdeen's Capitol Theatre was one of the city's prime event venues for much of the 20th century.
The building which formerly hosted the theatre is now an office space, although it retains its grand exterior from the old days.
When we took to Facebook to ask Aberdonians to tell us the best gigs they had seen at the venue, a huge range of answers came through.
From the Rolling Stones to Freddie Starr and from Wham! to AC/DC, the only common theme was that users had fond memories of the place's golden age.
The Rolling Stones in concert at the Capitol Theatre (Image: Mirrorpix - Daily Record)
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Tanya Morrison recalled when Mick Jagger and his legendary bandmates came to town in 1982, as well as the visits of a host of '80s artists.
She wrote: "At the Capitol I have seen the rolling stones, U2, Siouxsie and the Banshees (3 times there), Joy division, Buzzcocks, SLF, Police and Motorhead to name a few but Bauhaus in 1983 or 82 was spectacular, atmosphere and stage show amazing. It was a great venue"
Belting the hits to crowds at the Capitol Theatre (Image: Mirrorpix - Daily Record)
George Michael and co's 1983 performance stuck out for Amanda Penrose. She told us: "Saw the first night of Whams Club Fantastic tour on Sunday the 9th of October 1983. Was my second ever concert.
"Bucks Fizz that same year in the April was my first. Also I saw Sing here in 1986, Level 42 October the 2nd 1991, Squeeze September 23nd 1993 and 1995, Jools Holland in 1996, Mike and the mechanics in 1997 and the Hollies in I think 1996 and the Bootleg Beatles in the late 90's as well."
David McCracken remembered a short but sweet time listening to Celtic rockers The Pogues in 1988, saying: "Witnessed 30 spellbinding minutes of The Pogues before being thrown out - hugely enjoyable evening."
And Melanie Lockhart remembered a visit in the mid-'70s by Scots crooner Andy Stewart, hailing the star as a 'master entertainer'.
The maverick Aberdonian known as the 'Scottish samurai' who forged modern Japan
Five Aberdeen whisky bars that are ideal to enjoy a quick dram in


The answer is principals / principles (because school bosses = principals and standards = principles), but how can I tell which one? The last 3 letters intersect another word, so if I could get that word it would help, but unfortunately I don't know the answer to that.
Is there anything in the clue that would indicate which word it's looking for, or must I be able to answer the other clue before I know which exact answer it is.
I understand the talk part refers to a phonetic clue, but couldn't it refer to either of them (i.e. school bosses talk vs talk of standards)?
I checked the answers in the back and the correct answer is actually principles.
If forced, I would generally attempt to resolve it as Eric Tressler's answer does, but if that doesn't work, you're essentially helpless.
The word "talk" is not actually ambiguous here; "[talk of] standards" being a homophone of "principles" makes sense, and then we have a clear division "School bosses / [talk of] standards". This makes "principals" the clear solution.
If instead we had "school bosses talk", not only is that extremely awkward and probably an invalid way to signify a homophone of "school bosses", but "of" is left as a filler word that does nothing.
Taking "principles" as the answer would imply a very bad clue with a filler word, versus no issues if "principals" is the solution.
in which case the spelling is the same.


Send me an email, or let's connect on Facebook or Instagram, I'd love to hear from you! For media or image license inquiries, please include the name of your organization and your phone number. Fine art prints are currently available on a limited-release basis.


Welcome to our Special Projects page!
Here you will find out about various projects our children have been involved in that enhance and broaden their learning experiences.
There may be a focus on social aspects or team building. All are designed to encourage independent thinking. Many of our special projects are featured in the Image Gallery.
Click here to see images from the WE Day that some chidlren from the school took part in.
Four of our children attended this day at the Greater London Assembly (GLA). We are very proud of their passion and enthusiasm. To read the full letter we received from the Mayor of London's Office please click here.
If you click on the image at the top right of this page, you will be able to see our children in the main hall of the GLA.


text:
The School of Missions Mobilization, also known as El Instituto de Movilización Misionera is located in Matachi, Chihuahua, Mexico. It has been established, and is administrated by Hillside Missions Organization in Richmond, Virginia. The school's purpose is to become a community of men and women prepared to reach others. The primary goal of the school is to equip Latin-Americans to establish Christian community among unreached people groups.

History
The inauguration ceremony of the School of Missions Mobilization was in March 2007, and the first generation of students graduated in March 2009. The invitation to work with the school is open, and applications are currently being accepted by the school's leadership board. The website states that anyone who speaks Spanish, and who would like to be involved in an Evangelical Christian Church is encouraged to get involved with the school.

The Program and Curriculum
The school is an interdenominational project supported by both churches and individuals in Mexico. It offers a one or two-year residency program during which the students study missions subjects and theology. They live in dormitories on the school's campus. After graduation, students go into the mission field for a minimum of two months to get field experience to pair with the training they have received from the school.

References

External links
 IMM website (English version)
 Hillside Missions website

Christian missionary societies
Missions in Mexico

redpajama_set_name: RedPajamaWikipedia


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text:
Prof. Dr. Matthias Franke
Director Institute Branch Sulzbach-Rosenberg
Prof. Dr.-Ing. Matthais Franke
On 1 March 2021, Professor Dr.-Ing. Matthias Franke took over the management of the Sulzbach-Rosenberg branch of Fraunhofer UMSICHT. Franke graduated in engineering from the University of Rostock with a degree in land culture and environmental protection and subsequently received his doctorate in waste management. At the Fraunhofer Institute branch in Sulzbach-Rosenberg and its legal predecessor, the ATZ Development Centre, he headed the department of recycling management for over 10 years. His main areas of work include the development of waste management and resource strategies as well as the energetic and material recycling of waste and residues. More recent fields of research that Matthias Franke has established at the Institute are the chemical recycling of composite materials such as electronic scrap or glass and cohel fibre-reinforced plastics, as well as the decontamination of construction waste via thermal processes. Since 2017, he has been an honorary professor at the School of Chemical Engineering at the University of Birmingham. Since 2009, he has held a lectureship at the School of Life Sciences at the Technical University of Munich, where he teaches waste management in the international degree programme "Sustainable Resource Management".
since 3/2021
Director Fraunhofer UMSICHT, Institute Branch
since 2019 Member of the ERA Energy from Waste Policy Commission of the Energy Research Accelerator, University of Birmingham, UK
2018 - 2020 Deputy Director Fraunhofer UMSICHT, Institute Branch
since 2017 Honorary Professorship at University of Birmingham,
School of Chemical Engineering
2013 - 2019 Member of the board German Association for Waste Management
since 2010 Member of German Association for Waste Management
2009 - 2020 Head of Department Recycling Management, ATZ Entwicklungszentrum (until 2012), since 2012 Fraunhofer UMSICHT, Institute Branch Sulzbach-Rosenberg
since 2009 Lecturer at the Technical University of Munich – International Study Course on Waste Management
2006 - 2009 Deputy Head Department Biological Process Engineering, ATZ Entwicklungszentrum, transformed to Fraunhofer UMSICHT, Institute Branch Sulzbach-Rosenberg
2000 - 2006 EuRec Technology GmbH Merkers, Germany,
Manufacturer of mechanical waste treatment plants
2000 - 2004 University of Rostock, Graduate Research Assistant, leading to the Dr.-Ing.
1995 - 2000 University of Rostock, study of land cultivation and environmental protection, leading to the Dipl.-Ing.
Publications Prof. Dr. Matthias Franke (publica.fraunhofer.de)
Hon. Prof. Dr.-Ing. Matthias Franke
Fraunhofer-Institut für Umwelt-, Sicherheits- und Energietechnik UMSICHT
An der Maxhütte 1
Publications in Fraunhofer Publica
Fraunhofer UMSICHT Institute Branch Sulzbach-Rosenberg - Prof. Dr. Matthias Franke
Online in Internet; URL: https://www.umsicht-suro.fraunhofer.de/en/about-us/Directorate/matthias-franke.html


text:
Campus Fossil Hunting
Situated as it is smack-dab in the middle of Indiana's stone belt, Indiana University is naturally a limestone-rich campus. Today on a short walk, I snapped several photos of fossils sitting right out in the daylight, in the stones comprising walls along our lovely arboretum. They're probably unnoticed by the vast majority of passersby with their eyeballs glued to the little glowing screens in their hands. Though I must concede that these photos are thanks to my recent upgrading to a new phone: I now have a great camera on me at all times.
This is all Mississippian limestone, therefore composed mostly of fragments of corals, crinoids, blastoids, and brachiopods. Glorious.
Labels: indiana
A Selection of Etsy Dinosaurs
I've said before that finding good dinosaur crafts and prints is a hit-and-miss operation. But it just makes the good ones shine brighter.
Mitchell Seymour runs a shop called Dinorawrs, featuring charming watercolor illustrations of prehistoric animals. This piece, featuring a raucous brood of Microraptor is a good example of what you'll find.
Picking one piece to share was difficult! I could have easily chosen his take on the azhdarchids eating infant dinosaurs meme, his literal play on the name of Bambiraptor, or his reclining Estemmenosuchus.
Though I've shared her work before, I couldn't write this without including Sharon Wegner-Larson, a frequent commenter here and a fellow blogging graphic designer. Her Omegafauna shop expands on her BFA thesis project of paleo-themed textiles.
Joanna Barnum did this cool tribute to the State Dinosaur of Maryland, Astrodon johnsoni.
Her shop is full of terrific science-art, and should be of special interest for Darwin fans.
If you're looking for nice dino-themed stationery, Etsy seller Sian's shop Drawosaur creates whimsical greeting cards with frolicking dinosaurs that should appeal to the legions of fans our friend Niroot has amassed.
Yeah, I've got one, too.
Couldn't let this opportunity to hawk my own wares pass, could I? At any rate, if you have a favorite Etsy seller specializing in dinosaur merchandise, let me know in the comments. I'd love to do another post like this.
Labels: craft, design, etsy, illustration
Vintage Hypothetical Dinosaur Art: Dougal Dixon in Dinosaurs!
Yes, it's Dinosaurs! magazine yet again. But you can hardly blame me - I do have the whole anthology, after all, and it's an absolute treasure trove (not to mention a provider of handy filler while I wait for my next eBay-purchased 1980s dino book to arrive).
This week, we'll be paying special attention to one of the more unorthodox features that appeared during the magazine's run. It would seem that Dougal Dixon was quite heavily involved in Dinosaurs! - he is one of the few authors to be name-checked in the final issue - which isn't really surprising. 'Prolific' doesn't even begin to describe this guy, who has heaps of popular dinosaur books to his name - ranging from the quite conventional to the utterly bonkers. This article tends more towards the latter.
Oh yes - alternate history. Dixon actually produced a book dedicated to these specul-o-saurs, but Dinosaurs! was where I came into contact with them. Positing a world in which the Cretaceous/Palaeogene extinction didn't happen, Dixon tries to imagine how the nonavian dinosaurs would have continued to evolve. The results are...mixed. The bizarre creature above - apparently a hadrosaur descendant - doesn't get things off to a good start. Hadrosaurs relied on their large caudofemoralis muscles to propel themselves away from predators, so why has its tail evolved into a giant quill?
Still, Dixon does produce some much more plausible hypothetical dinosaurs. A fluffy, arboreal theropod with an elongated finger? Wait - didn't that actually exist? It's amusing now to think that someone's vision of a hypothetical modern-day theropod was essentially real and lived over 100 million years ago. That's palaeontology for you.
Speaking of things that are 'amusing':
A 'pandasaur' evolved from hypsilophodonts may be taking convergent evolution a little too far - particularly as it looks so much like a panda, binocular vision, stumpy tail and all. "You would almost think that [the pandasaur] was some kind of giant panda," the author notes - apparently unaware of the actual giant panda. The wasp-eater just seems a little pointless, given that the arboreal dinosaur already featured looks considerably more plausible (what's with the tiny hands?), and would almost certainly be just as capable of eating wasps. If it existed. Which it did. Sort of.
While a nonavian, flamingo-like theropod is plausible enough, it's something that could easily have evolved in the Mesozoic (alongside the filter-feeding pterosaurs) - still a hypothetical dinosaur, but not one that could only ever have existed in the Cenozoic. And, well, even if mammals hadn't become the dominant large land animals, who's to say that flamingoes wouldn't have evolved anyway? One might say that the 'Is it true?' box hints at this very conclusion...
Ah, now this is more like it. Back in the early 1990s, it was still a widely-held belief that tyrannosaurs evolved from allosaurs as part of a 'carnosaur' lineage. As such - and in the context of Tyrannosaurus rex being the largest known theropod - it seemed that as the animals got larger and larger, their forelimbs got smaller and smaller. Hence, here we have a 17-metre long behemoth, shaped like a shoebox, with no arms whatsoever. It's safe to say that it looks pretty ridiculous. The complete loss of the forelimbs is actually quite plausible (it's easy to see abelisaurs losing them given a few more tens of millions of years), but why the stumpy, columnar legs with the retroverted toes? Even the largest theropods had the standard flexed legs, and theropods weighing upwards of five tonnes evolved multiple times in separate lineages. Still, such thinking can probably be explained by the popular lumping of all large theropods as 'carnosaurs' at the time.
And finally...on the left we have an evolved troodont that plays dead in order to lure potential prey items, before striking out with its sickle claw. It doesn't take a lot of thought to discern a slight flaw in that strategy, namely that it would also likely attract any gigantic, box-shaped, toddling predators in the vicinity. Oh well - at least it's not a 'dinosauroid'. Meanwhile, on the right we have a hummingbird as reimagined in someone's terrifying, drug-fuelled waking nightmares. Brrrr.
While some of the thinking behind these creations was a little faulty even for the early '90s, what the nonavian dinosaurs might have been like had they survived into the modern day remains an interesting, if utterly pointless, thought to ponder, and Dixon was quite prescient in that at least one of his creations, it transpires, did really exist. Kinda. One thing seems quite certain - were it not for the end-Cretaceous extinction event, you and I would not be here today. Because Hitler would have won World War II. It's just science.
Labels: Dinosaurs magazine, vintage dinosaur art
I reckon it's about danged time to hop on the dinosaur blog carousel and see what our beloved compatriots have been up to lately.
ART Evolved unveiled their mega-huge new Feathered Dinosaur gallery a couple weeks ago. It's a veritable mountain of saurians in dandy plumage, so if you've not visited it yet, do it. I had a submission too, a lil' Caudipteryx.
Brett Booth had an unveiling of his own at Carnosauria, where he shared his cover for G.I. Combat #1.
I'm sure Andrey Atuchin didn't intend it, but he gave me a little birthday present this year: a new illustration of Rubeosaurus.
At Dinosaurpalaeo, Heinrich shares an exchange with some animatronics artists who approached him to improve a Plateosaurus model in the process of being built. More of this, please! Clicking a link to a new exhibition of animatronic dinosaurs is almost always rewarded by the urge to hurl. To spend so much time and so much money and still get things so wrong...
Wondering about the sauropods of the British Isles? Nobu's got you covered at Paleoexhibit. A series: 1, 2, and 3.
Victoria Arbour has interviewed Federico Fanti at Pseudoplocephalus, asking about recent research about a nesting oviraptorosaur fossil.
Learn about Scott Hartman's process of revising his Acrocanthosaurus skeletal drawing.
Mark Wildman writes about the famous fashion statement of the iconic Stegosaurus at Saurian.
At the RMDRC Paleo Lab blog, Anthony Maltese writes about the excavation and prep of an enormous specimen of the Late Cretaceous fish Xiphactinus, nicknamed Lois.
I find good dinosaur crafts about as rarely as I find fossils in my Indiana backyard. But if you dig through enough lazy knockoffs, crummy pre-renaissance illustrations, and thoughtless silhouette, you can find gold. This week, my friend Larry Buchanan tipped me off to a set of invitations by Christine Wisnieski. Really charming illustrations that do not suck.
Christine Wisnieski's dinosaur party inviations. From designworklife.
Finally, in the filthy lucre department, my Cafepress shop is now chock-full of dinosaur fashion. Check it out, and I swear that I will only spend the money on honorable pursuits like betting on cat juggling.
Posted by davor at 5:17 PM No comments:
Ain'cha Anchiceratops?
Anchiceratops ornatus skull at the Royal Tyrrell Museum. Photo by Ricky Romero, via Flickr.
The Royal Tyrrell Museum youtube channel recently posted a nifty thirty minute lecture from Jordan Mallon, "Variation in the Skull of Anchiceratops." For your enjoyment:
The Tyrrell does a super job of sharing stuff like this on their channel, so don't be a dillweed, subscribe already. Recent videos include one on the mosasaur Prognathodon and the sea-faring ankylosaur found last year at the Suncor mine. Also, Mallon is a DeviantArt member, so hop on that when you get the chance.
Labels: anchiceratops, royal tyrrell museum, video
Vintage Dinosaur Art: Collins Gem: Dinosaurs and Prehistoric Life
I know what you're thinking and, yes, I probably will start sticking the word 'vintage' in inverted commas soon. After all, 'vintage' doesn't just mean 'old' - as a label it also indicates sophistication, refinement and a certain timelessness. Whereas most of the art I feature (I can't speak for David, obviously) is just cack from unwanted books that I snap up in exchange for three buttons and a short length of twine on eBay. And in that spirit, here's Dinosaurs and Prehistoric Life from the Collins Gem series!
The 'Gem' books from publisher Collins(/HarperCollins) were tiny, pocket-sized compendiums of fascinating facts on child-friendly topics. Back in 1989, the printing presses spat out this fairly average little dinosaurs-and-all-that book, with text by Beverly Halstead and illustrations by Jenny Halstead. Both of which are quite bland, with a few eccentricities to liven things up. Much like my writing for Love in the Time of Chasmosaurs. A lot of the illustrations are clearly based on those by more established artists, notably Burian and Sibbick, as in the below illustration of swimming 'brontosaurs' (as B. Halstead insists on calling them).
Just some fat old sauropods paddling along. Wait a minute, those heads look a little peculiar...
Moving on, then. B. Halstead is quite insistent that all of the 'carnosaurs' were scavengers (with one notable exception, but we'll get to that) - not just Tyrannosaurus, but all of them. Specifically, Allosaurus and Megalosaurus are provided as examples of creatures that were "most likely not active hunters but rather scavengers", with the following evidence given:
"...the remains of a brontosaur's tail [have been found] with scratch marks made by the teeth of carnosaurs, together with some broken teeth. It is clear that a carnosaur was eating bits of meat off a brontosaur tail - a hunter would have been concerned with ripping open a dinosaur and wolfing down the entrails, not picking at what was left of the tail."
The idea of a predator opportunistically scavenging being completely preposterous, of course. J. Halstead provides a skulking vision of Megalosaurus, Neave Parker-stylee.
As if the treatment of its Jurassic theropod kin wasn't cruel enough, Tyrannosaurus suffers the indignity of being described as a fat ol' farm animal with big teeth. Apparently, the terrifying tyrant reptile "waddled along just like a goose...at about 4kph (2.5mph)", presumably while taking tiny baby steps. B. Halstead also believes that teeth "just like steak knives" would only have been good for tackling "inert flesh". Because, well, have you ever used a steak knife on a live cow? EXACTLY. At least, judging by this illustration, the lazy bastard tyrannosaur had a pretty colour scheme going on.
Stop the presses, though, for there is at least one 'carnosaur' in this book that gets a favourable press. What's more, it had only recently been described when this Gem was published. That's right - it's the British spinosaur Baryonyx. Although B. Halstead notes that its narrow jaws and conical teeth had been interpreted as being similar to those of "fish-eating crocodilians", he considers the idea that such a large creature could have subsisted on fish as being nonsense. Rather, B. Halstead is keen on the idea that
"...the specialisation of the skull was so that they could thrust their heads into the body cavity to drag out the entrails - 'Claws' [a popular nickname for Baryonyx at the time] was...a specialised visceral feeder."
You heard it here first. Probably. Even though it's in a book from 1989. In any case, we are subsequently treated to an unusually gory, graphic and grim depiction of Baryonyx ripping an Iguanodon corpse to bits. Happily, the popular ornithopod maintains its characteristic thumbs-up gesture, even while being feasted upon by specialised intestine scoffers.
Fortunately, B. Halstead has no eccentric opinions on Archaeopteryx - following the long-established consensus view that it evolved from other theropod dinosaurs. Unfortunately, J. Halstead opted to go for the 'stick-on fingers' look so favoured by artists who are apparently unaware of what a bird's skeleton looks like. I do like a blue Archaeopteryx, though...
...certainly much more than I like a beaked, distressed-looking Sordes. Apparently, pterosaurs shouldn't be classified as reptiles because they've been found to have had a furry covering. Good old fashioned paraphyletic taxonomy - donchaluvit?
The following image makes it probable that, at least on a few occasions, J. Halstead just couldn't be bothered. The poses match up quite well with the real fossils, but the dinosaurs themselves look...horrible. Nevertheless, I couldn't help but note the similarity of this Velociraptor to the one featured in Know the World of Dinosaurs. Could it be that one is merely a copy of t'other, or is it simply coincidence - a case of artistic laziness/tight deadlines/lack of advice from the 'consultant/s' convergently producing a similarly snub-nosed result? It's one to ponder, that.
And finally...Lystrosaurus just loves to be eaten. What does it care? It pretty much dominates the planet! Until next time...
Labels: vintage dinosaur art
The Great Backyard Bird Count 2012
We should just change the name to Love in the Time of Chickadees, shouldn't we? Yes, this is another post about extant avian theropods, but what can I say? If apologies are required, I give them willingly, though if you'll indulge a little whining I'll let you know that this semester has been a real bear. In addition to my school work proper, I'm working on an (almost done) catalog for our school's graduating MFA class, which is my first cover-to-cover book design. Exciting, but a mountain to climb. Still, I regret the scarcity of my posts here lately, and I'll try to correct it when possible. Anyway, back to those little theropods.
This weekend is The Great Backyard Bird Count, an annual event "that engages bird watchers of all ages in counting birds to create a real-time snapshot of where the birds are across the continent." Today, I was able to do three observations of fifteen minutes or more, thus meeting the minimum requirement. The feeder in my dogwood tree was full of oiler seeds, the suet cage was stocked, and I'd spread some seed for the ground foragers to have at. Here are the results of the three periods, all dutifully reported at the count's website.
Count 1
Mourning Dove: 2
American Crow: 2
Black-capped Chickadee: 2
Tufted Titmouse: 1
White-breasted Nuthatch: 2
Carolina Wren: 1
Northern Cardinal: 3
Tufted Titmouse, by me. From Flickr.
Red-bellied Woodpecker: 1
House Finch: 3
Black-Capped Chickadee, by me. From Flickr.
Downy Woodpecker: 1
Dark-eyed Junco: 3
White-Breasted Nuthatch, by me. From Flickr.
All in all, the usual suspects came by, with a few lamentable absences, including a nice, big Northern Flicker, the gang of Goldfinches, and blue jays. Still, a satisfying little foray into citizen science. Speaking of which, have you heard about the American Kestrel Partnership? In its early stages, it's an attempt to bring citizen scientists into the task of collecting data that will be used to study why American Kestrel populations are declining in some eastern states in the US. It's also the inspiration for my next project in my screenprinting class, so this won't be the last you've heard of it here.
Nightmares of a six foot turkey
One of the most common complaints of the stick-in-the-mud 'I heart the 1990s' crowd regarding fully feathered-up restorations of (predominantly) dromaeosaurs is that they end up resembling some form of oversized, toothy poultry, typically chickens or turkeys. Obviously, this is absurd foremost because there are plenty of birds with better public images to choose from when making such a comparison. On the other hand, it also implies that the person lodging said complaint hasn't been around turkeys recently, because turkeys are awesome. The little brat in Jurassic Park clearly didn't consider that even a literal six foot turkey would be potentially bloody terrifying. Particularly if it had long fingers with huge claws to grab you with.
More than this, turkeys - being very familiar and common domestic birds (I'm referring to Meleagris gallopavo here) - are excellent for education. Tom Holtz wrote a superb guest post for Dave Hone's Archosaur Musings back in 2009, which included a handy diagram illustrating the dinosaurian traits of a turkey's skeleton. In addition, their often quite grotesque and fantastical facial protuberances (which Darren Naish has blogged about before) are a perfect demonstration of how sexual selection can produce some truly bizarre results, and also how a living animal can look very different from what its skeleton might imply. While pointing out how this can be applied to palaeoart is not remotely new (SV-POW did it ages ago, for example, and one can point to a lot of Luis Rey's work), there's no harm in delivering a timely reminder now and then.
Really, though, this whole post was just an excuse to publish photos of some freaky freaky turkeys. And here they are. These specimens are to be found roaming free in Tilgate Park Nature Centre. Enjoy! And try not to picture a man-sized turkey waving its gigantic snood in your face. It'll give you nightmares.
Labels: birds, turkeys
Vintage Dinosaur Art: I-Spy Dinosaurs and Prehistoric Animals
Last week, a canny commenter noted that, of late, I have been stretching the definition of the word 'vintage' somewhat. Contrary to what one might expect - pleasantly matured, refined artworks from the history of palaeoart - I was just peddling a load of 1990s nonsense featuring dinosaurs working for the police. Will I learn my lesson, and switch to true historical works? Of course not. So here's a book from 2001, although almost entirely (bar one page) unchanged from its original 1991 edition, and featuring a lot of art considerably older than that. So maybe I can redeem myself.
(I am a bit tired though, so forgive me if it's a short 'un...)
I-Spy Dinosaurs & Prehistoric Animals is the natural successor to I-Spy with David Bellamy: Dinosaurs. (Sometime around 1990-91, Michelin - they of the tyres - acquired the rights to the I-Spy series.) However, it is also a completely different book - while the Bellamy book featured original illustrations, much of the artwork here has been cribbed from other places, some of it even dating back to the 1950s. As in many early '90s dinosaur books, this can result in some bizarre juxtapositions, where archaic-looking art from the likes of Zdenek Burian is placed directly opposite a much more modern-looking restoration - as below.
While the Corythosaurus restoration on the left was hopelessly obsolete even by 1990 (even if it remained a superb artistic accomplishment), the juvenile Parasaurolophus sculpture on the right remains astonishing. In fact, it looks like a taxidermy specimen. Typically, there is a strange, uneasy mix of old and new at play here. 'Strange' is certainly the best way to describe some of the dinosaurs on show. The grotesque, if beautifully painted, zipper-mouthed man-in-suit tyrannosaurs on the cover are one thing, but inside we are treated to the likes of this:
Ignore the very Bakkerian Deinonychus (with only three toes) and feast your eyes on that gangly, pin-headed Struthiomimus. Still, while the animals' anatomy looks very suspect, the artist has skillfully created a stirring scene, with ominous, billowing dark clouds and a threatening tyrannosaur that is the focal point of a pale, haunting glow (which certainly increases its resemblance to Godzilla). I often think that what's missing from a lot of palaeoart today is this sort of invocation of mood, perhaps because finding someone with the required artistic and scientific talents is very rare.
Of course, some illustrations are a little more light on the redeeming features. Quite why this artist saw fit to give Protoceratops a mouth full of pointy teeth, I guess we'll never know (maybe they were inspired by bargain bucket dinosaur toys?). At least the animal is recognisable. Some of the most old-fashioned illustrations in this book - that aren't used in an historical context - enter a terrifying Twilight Zone of saurian mutants that pretty much defy explanation. Which is where the Bizarro-world ankylosaurs come in. Oh yes, them again.
Once upon a time, certain scientists thought that ankylosaurs might have had sprawling limbs. Somehow, this was transmuted into them having very short limbs. And a stumpy tail, and no neck. Either that, or they were just confused with glyptodonts. In any case, the Ankylosaurus in the above illustration looks utterly, utterly weird, and pretty much defies explanation. How did anyone ever think that they looked like this? That said, it's hard to fault the artist's technical skill - these spiky little bundles of fun look worryingly plausible as real animals. It's easy to imagine them curling up to hibernate in a bonfire.
And finally - old and new ideas in the same image.
The plesiosaur launching its snaking neck through the air to grab a Pteranodon looks hopelessly out of date, but the Pteranodon itself has a covering of pterosaur fuzz in keeping with more modern restorations. Neatly sums up popular prehistory books in the early '90s, I think.
David Christian's Big History
Enthusiasts in natural history need little convincing as to the value of paleontology and other avenues of research into the deep past. We have a seemingly innate attraction to artwork and writing which can conjure images of lost vistas teeming with prehistoric life. We look around, and where others see gravel, building stones and fuel for our engines, we see the evidence of Earth's deep history. It's an immense field to explore, which can be daunting. But it's a benefit, too, as it offers all manner of peculiar areas where we can engage our interests. There are those vulgar sorts like us, who find the draw of the saurians irresistible, but there are myriad other hooks to grab those with the right strain of curiosity. And that's a good thing, because a deep understanding of humanity's place in the cosmos allows us to make better decisions about how to manage civilization.
That's a message we try to deliver here, no matter how silly things get. Luckily, there are people like David Christian out there, doing a much better job of it.
A tip of the hat goes to Jeff Martz for mentioning this on Facebook, and to Greg Laden, who posted this video on his blog last spring.
#HoosierScientist
Gee whiz, for a state without a sliver of Mesozoic strata, Indiana sure has settled in here. Hope you all are not tired of my use of this space to improve my home state's science communication culture yet. Time permitting, I plan on moving my Indiana content to its own page here; that way it's accessible and updateable, but not intruding so rudely in the main flow of dinosaur content. Thanks to those of you who have offered a word of support in comments as well as on Twitter, Google Plus, and Facebook.
I'll keep this quick. In yesterday's post, I bemoaned an apparent lack of a motivated science communication community in Indiana. I asked Tony Martin, he of Great Cretaceous Walk and Life Traces of the Georgia Coast fame and a fellow Hoosier, if he knew of any other Indiana natives communicating science on Twitter. He didn't, which led to him inventing the hashtag #IndianaScientist. I thought it was a good idea, so I cooked up a little graphic.
I really have no clue how to get a hashtag off the ground (in fact, urgently wanting to raise awareness about something I care about this deeply has laid bare just how tiny a reach I actually have). But for now, I'm posting this in hopes that more science boosters, communicators, educators in Indiana get involved on Twitter and other social media networks. Maybe even represent the state in numbers at ScienceOnline 2013! How novel!
I've also started a public list on twitter called Hoosierscientist. I've got four folks on there, including Indiana natives and those who came to Indiana and are contributing to science. I hope to see it swell.
Once again: my Indiana Anti-Creationism graphics are available on flickr in a variety of sizes, and I will make print-ready files available to anyone who wants them! Please distribute widely. Hell, I've even got a banner for the new Facebook timeline in there.
Labels: #hoosierscientist, indiana, science, science communication, science education
An update from Indiana
Yes, more about my home state's current flirtation with muddying its science classrooms with creationist teaching. This post will serve as an update about the SB 89's progress as well as a clarification on an amendment which has been somewhat misinterpreted in the blogosphere.
SB 89 passed, with 28 of 50 state senators agreeing with sponsor Dennis Kruse that our school districts should have the option to require the teaching of competing theories of the origin of life to counterbalance those offered by science (video of the short proceedings available here). I especially appreciated the impassioned arguments of Sen. Karen Tallian, who kicked royal ass. It was personal to her, and it was affecting to hear her stand up for the constitution. "I can't even believe we're even considering this," she said. "We made this decision more than 200 years ago. I speak for the Constitution, and the Constitution sheds a tear today that we're even talking about this."
This does not constitute a law, not yet. As the NCSE reports in the above-linked story, "The bill now proceeds to the Indiana House of Representatives, where its sponsors are Jeff Thompson (R-District 28) and Eric Turner (R-District 32), who is also the house speaker pro tem."
This is idiotic, wasteful legislation. It's depressing that it was proposed, considered, and passed.
Before the bill came up for vote, it was amended by my own state senator, Vi Simpson. It states that the "curriculum for the course must include theories from multiple religions, which may include, but is not limited to, Christianity, Judaism, Islam, Hinduism, Buddhism, and Scientology." This is indeed part of the bill now moving to the House. Various folks around the web, uninformed of the amendment's intention, have interpreted it as another example of the bill's stupidity. At Pharyngula, PZ Myers aims his scorn at Simpson's language in particular, writing that "They really don't get it. None of them are science, and they shouldn't be taught as if they were." PZ (and the creator of the cartoon included) is missing the point; this wasn't meant to improve the bill, make it more legally palatable, or soothe offended parties. It was intended to torpedo the bill. I have yet to hear back from Simpson regarding her intention, so this is nothing more than an educated guess based on her track record.
Here's the rub: even if PZ and others are missing the intention of the amendment, they're not missing its ultimate effect. Though I was tickled by the effort - and hearing Kruse include Scientology in the array of creation stories that may be taught was pretty funny - the fundies called Simpson's bluff. They know too well that there is only one creation story any school district in Indiana is going to favor in its curriculum. As Kruse himself admitted in regards to the amendment, "It wasn't something I initiated and I wanted, but it does open the door I think for the potential of allowing all religious views to be taught. To make it so it might stand up even better in a court challenge". Mr. Kruse: RELIGIOUS VIEWS DO NOT BELONG IN SCIENCE CLASSROOMS. Also, a middle finger held aloft to you for taking for granted the work of generations of scientists who make your comfortable American life possible.
Imagine being an upright science teacher put in such a position. What's next? Shall we dispense with the germ theory of disease? I mean, it's but one possible explanation for sickness, and perhaps our young children should have the choice to believe that their sniffles and coughs are actually the work of gremlins in Tudor gowns (that's what believe, and I'm highly put off that my views are not represented in our science curricula).
Better yet, imagine a young science teacher looking for a place to teach. What incentive would she have to come to Indiana? The vicious irony of it is that rural districts that would benefit greatly by giving their children a well-rounded science education would be the ones most likely to undermine it by watering down their science classes with lessons in the supernatural.
I also continue to be disappointed by the lack of a truly motivated science communication community in Indiana. Bloomington, in particular. For a research institution, Indiana University seems to have a remarkably passive community of scientists. The single post about SB 89 on the Facebook page of the Hoosier Association of Science Teachers garnered a single comment. One. Maybe I'm wrong about science teachers in these districts. Maybe it's not a big deal. Or maybe I'm just not looking in the right places or tuning to the right channels. If so - and I truly hope so - correct me. If you're an Indiana scientist or science communicator who is active on the web, let me know and I'll follow you (as well as the legion of others like you who must be hiding somewhere).
Labels: creationism, education, indiana, schools, science communication
Love in the time of chasmosaurs
I'm sure you've long been wondering - what would chasmosaur love look like? Well, thanks to deviantArtist Durbed (aka Arioch, aka Josep), you need wonder no more.
'Chasmosaurus love'. © Durbed 2012.
Oh dear. Don't forget to give Durbed's gallery a visit sometime, and yes, we did feature his work before.
Posted by Marc Vincent at 8:00 AM 11 comments:
Labels: ceratopsians, chasmosaurus, hot dino sex, paleoart
Vintage Hypothetical Dinosaur Art: Dougal Dixon in...
Vintage Dinosaur Art: Collins Gem: Dinosaurs and P...
Vintage Dinosaur Art: I-Spy Dinosaurs and Prehisto...


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Increase GST rates for higher tax collection: Rathin Roy
The silent fiscal crisis has hit us owing to a shortfall in tax revenues, but the government was in denial. It has been unable to collect taxes due to a shortfall in corporate taxes, central excise, customs revenue and goods and service tax (GST) and this year, the fiscal deficit has increased from 3.3% to 3.8% of the gross domestic product (GDP). I suggest that GST rates should be higher if the government wants to collect taxes," said Rathin Roy, director, National Institute of Public Finance and Policy (NIPFP), Delhi.
He was speaking at a panel discussion on Union Budget 2020-21 organised by the Pune International Centre (PIC) in Pune with Pradeep Apte, professor, Gokhale Institute of Politics and Economics (GIPE); KL Dhingra, director, National Institute of Bank Management (NIBM) and Shubhashis Gangopadhyay, research director, India Development Foundation (IDF) present at the event. The programme was chaired by economist Ajit Ranade. Vijay Kelkar, vice-president, PIC and Prashant Girbane, director PIC were present at the event.
"It was a contractional budget as the government could not show how it was maintaining its expenditure levels," said Roy.
Shubhashis Gangopadhyay, said, "We talk about deficit, but have no clue why it needs to be in check. Investment to GDP ratio is rising and consumption on GDP ratio is falling and we talk about purchasing power parity (PPP) in everything. Agricultural income was supposed to double in 2014, but we are still 'working' over it. Considering the education sector, a lot of money goes to standalone institutes, which have no students below the age of 25 instead of government universities, where fund for research is desperately needed."
Pradeep Apte stated, "The economic survey talks about non -productivity of several economic legislations and ease of doing business, but ignores the agriculture sector."
"We were expecting stimulus package and revival of GDP from the budget. Everything is a part of the economy whether it is new tax regime, affordable housing, education or MSME sector and the government has focused on most of these sectors especially the banking sector and NBFCs by giving them liberty and credit support. The government is also restructuring loans for micro small medium enterprises (MSME) sector and is trying to provide it with quest equity, which can increase the leveraging capacity of the sector," said KL Dhingra.
Vijay Kelkar added, "There has been no quick-fix in the budget on how to handle the economic crisis. We have to admit that we are in 'growth recession' and it is a huge problem. We require macroeconomic adjustments and interconnecting measures to deal with the present crisis."
Source- Hindustan Times.
The post Increase GST rates for higher tax collection: Rathin Roy appeared first on GST Station.


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1900s Fatherhood vs Today
In 1900, fathers prayed their children would learn English.
Today, fathers pray their children will speak English.
In 1900, if a father put a roof over his family's head, he was a success.
Today, it takes a roof, deck, pool, and 4-car garage. And that's just the vacation home.
In 1900, a father waited for the doctor to tell him when the baby arrived.
Today, a father must wear a smock, know how to breathe, and make sure there is space on the video camera.
In 1900, fathers passed on clothing to their sons.
Today, kids wouldn't touch Dad's clothes if they were sliding naked down an icicle.
In 1900, fathers could count on children to join the family business.
Today, fathers pray their kids will come home from college long enough to teach them how to work the computer and set up their email.
In 1900, fathers pined for old country Romania, Italy, or Russia.
Today, fathers pine for old country Hank Williams.
In 1900, fathers shook their children gently and whispered, "Wake up, it's time for school."
Today, kids shake their fathers violently at 4 am shouting: "Wake up, it's time for hockey practice."
In 1900, a father came home from work to find his wife and children at the supper table.
Today, a father comes home to a note: "Jimmy's at baseball, Cindy's at gymnastics, I'm at the gym, pizza's in the fridge."
In 1900, fathers and sons would have heart-to-heart conversations while fishing in a stream.
Today, fathers pluck the headphones off their sons' ears and shout, "WHEN YOU HAVE A MINUTE..."
In 1900, a father gave a pencil box for Christmas, and the kid was all smiles.
Today, a father spends $800 at Best Buy, and the kid screams, "I wanted Xbox!"
Last Updated: Jun 16,2018
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Catholics must counteract 'refusal to welcome' migrants, speakers say
By Cindy Wooden • Catholic News Service • Posted March 6, 2018
ROME (CNS) — The Catholic Church and Catholic agencies that work with migrants and refugees around the world are called to educate, advocate and seek alternative host countries in the face of a growing "refusal to welcome" newcomers, as the Vatican secretary of state defined the situation.
Opening the plenary assemble of the International Catholic Migration Commission March 6 in Rome, Cardinal Pietro Parolin, Pope Francis' top collaborator, decried how "the most economically advanced" nations, especially those who "undeniably owe a great deal of their development to migrants," are now trying to close their borders.
At a time when migrants and refugees are fleeing increasingly "terrible experiences" and encountering violence and abuse on their journeys, Catholics feel a particular responsibility to welcome the stranger, he said.
Pope Francis, he said, encourages Catholics to move away from "attitudes of defensiveness and fear, indifference and marginalization — all typical of a throwaway culture — toward attitudes based on a culture of encounter, the only culture capable of building a better, more just and fraternal world."
The cardinal urged Catholic agencies and bishops' conferences to provide fact-based information that will help "dispel many unfounded prejudices and fears regarding the reception of foreigners. Without ignoring the many commitments that such welcome requires, you will also help promote a balanced and positive perception of migration."
Anna Rowlands, professor of Catholic social thought and practice at Durham University in England, told the conference that Catholic social teaching — which has included teaching about migration since the late 1800s — is about promoting the common good "as a practice, not just a theory."
A primary resource for theological reflection on migration, she said, is the Bible, which is "a book of migration stories," stories about the forced or voluntary movement of peoples and of migration as a call from God or a sign of sinful human activity.
In promoting a conversation about migration, particularly in countries where there is increasing hostility toward migrants and refugees, she said, one needs to talk not only about the needs of the people arriving, but also about the disorientation currently experienced by citizens of countries that traditionally welcomed migrants.
In the teaching of Pope Francis, Rowlands said, responsibility for the failure to welcome migrants and refugees does not lie with political leaders alone, but with civil society and all its members who have lost the sense of responsibility for each other that makes a society truly civil.
Carol Batchelor, director of the Division of International Protection for the U.N. refugee agency, told the conference there are 66 million refugees or forcibly displaced persons in the world today — "the highest number ever" — and that a refugee child's average wait for resettlement is now 17 years, "their entire childhood."
Faced with such figures and with hyperbolic rhetoric about who those refugees are, "Who wouldn't be afraid," she said. Abstractions — just giving statistics, even statistics demonstrating how migration benefits nations — will not help people overcome their fear, she said. They need to hear the voices of the refugees and get to know them.
"Despite all of these challenges," Batchelor said, by working together, "we can have a collective response that works, but only if we collectively believe it."
Michele Klein Solomon, director of the Global Compact for Migration of the U.N. International Organization for Migration, said the "single greatest challenge" facing those who assist migrants is "the demonization of migrants and refugees, and this discourse that is so damaging: blaming individuals, labeling individuals as criminals, as threats, as terrorists, as coming to society to try to take social services, to take jobs."
The truth is, she said, that some 258 million people are living outside their homelands, which is just 3.4 percent of the global population; most of them are not in need of special assistance or protection and they overwhelmingly migrated through safe and legal channels.
The anti-immigrant sentiment has been felt very concretely by organizations traditionally involved in resettlement, including the International Catholic Migration Commission, which for decades helped migrants and refugees move to better lives in the United States or Latin America or Europe.
Walter Brill, the organization's director of operations, said that through its office in Istanbul, the ICMC was resettling about 7,000 people in the United States each year. "Unfortunately, this has come almost to a standstill" under the Trump administration, even while millions of Syrians remain displaced.
From October through the end of February, the commission managed to resettle only about 100 people, he said.
"It is not enough to complain; we have to appeal to other states to do more," he said.
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Hiwi may refer to the following languages:
 Guahibo language, a Guahiban language of Colombia and Venezuela
 Waia language, a Trans-Fly language of Papua New Guinea
 Waboda language, a Trans–New-Guinea language spoken in the Fly River delta, Papua New Guinea


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HOME ESSAYS slums of manila
slums of manila
Topics: Urban design, Urban decay / Pages: 10 (2288 words) / Published: Oct 15th, 2013
The Slums of Manila: Cutting-Edge Poverty?
Because of the industrial revolution, the invention of the automobile, and the consequent development of freeways, cities worldwide have expanded into the countryside. As though it were a conspiracy of the automobile and fuel industry, the government, and private developers, suburbanization even now continues to damage the city. It has not only affected the physical fabric, but has also significantly affected the lives of its people. Most importantly, suburbanization has disturbed the environment, effectively contributing to the problems of global warming.
In the past two decades, as a response to suburbanization, uncontrolled urban growth, and global warming, several concepts on urbanism and urban design have surfaced. These include New Urbanism, Transit Oriented Developments (TODs), Planned Unit Developments (PUDs), and very recently, Sustainable Urban Design.
New Urbanism is a European influenced planning paradigm started in the United States in the late 1980s by a group of Architects and Urban Designers led by Andres Duany and Peter Calthorpe, to address the problems of suburban sprawl seen as a result of five decades of poor planning and unregulated growth. The concept proposes a vision of the future that combines the best of the past with the realities and modern conveniences of the present. Simplified, New Urbanism intends to restore the "sense of community" by recreating the fabric of old, tightly knit, compact towns and villages while still accommodating the modern day machines- the automobiles- that caused their destruction.
Closely related to New Urbanism are Transit Oriented Developments or TODs, conceptualized to focus on the transportation sector. TODs are communities with a central core anchored by a transit stop, either of light rail or express bus systems. Surrounding the stop is a civic plaza with commercial, institutional and office spaces. Outside the core are medium to high density
Bibliography: Books 1. Calthorpe, Peter. The Next American Metropolis. New York. Princeton Architectural Press. 1993 2. Clark, David. Urban World / Global City. London. Routledge. 1997 3. Dacanay, J.E.; Hila, M.C.A.; Perez, R.D. Balai Vernacular: Images of the Filipino's Private Space. Pasay City. Sentrong Pangkultura ng Pilipinas. 1992 4. Katz, Peter. The New Urbanism, Toward an Architecture of Community. New York: McGraw-Hill, Inc. 1994 Essays / Surveys 1. Ayala Land, Inc. Pedestrian Survey. 1995 2. Corpuz, Arturo. The Relevance of New Urbanism to Philippine Urban Development. Philippine Institute of Environmental Planners (PIEP) Conference. Antiolo City. 1999 3. National Center for Transportation Services. Study on Mass Transit Systems in Metro Manila. 1998
I believe there isn't a specific person or group of people to be blamed for the dangerous living condition in slums. There could have been people that had the ability to help improve the living conditions in slums, but they didn't. What is the reason? Money. The world revolves around money; it did then, still does now. Money played a huge part, but there is also a problem, news and information did not travel around easily. To get an article published in the newspaper, you needed the approval of the….
Slums
Slums Introduction A Slum refers to informal settlements within urban areas or cities. The informal settlements depict inadequate housing and miserable condition with reference to living standards (Meade p 43). In the slums, numerous individuals seek housing facilities within small living spaces. The slums also lack basic local authority services such as sanitation, collection of waste, water, drainage systems, street lighting, and emergency roads. Most slums also lack schools, hospital, and public….
Slums: India Mumbai Slum
A slum, as defined by the United Nations agency UN-Habitat, is a run-down area of a city characterized by substandard housing, squalor, and lacking in tenure security. According to the United Nations, the percentage of urban dwellers living in slums decreased from 47 percent to 37 percent in the developing world between 1990 and 2005.[1] However, due to rising population, and the rise especially in urban populations, the number of slum dwellers is rising. One billion people worldwide live in slums[2]….
Anaylsis of the Slum
the New World. Aluísio Azevedo depicts the conflict and synergism of the mixing of these two worlds in The Slum. The Slum is the story of a neighborhood where members of both worlds collide, forced to interact with one another and it becomes a microcosm of the entire country. The characters in this community each represent a facet of the two worlds. By looking at each character and the slum itself, it is possible to decipher Brazil. To gain status in Brazil there is a need to create the right impression….
slums in India
THE CONDITIONS OF PEOPLE WHO LIVING IN INDIAN SLUMS The definition of "slum" varies from country to country. In India, The Slum Areas Improvement and Clearance Act of 1956 defines 'slum areas' as places where buildings: are in any respect unfit for human habitation; and are by reason of dilapidation, overcrowding, faulty arrangement and design of such buildings, narrowness or faulty arrangement of streets, lack of ventilation, light, sanitation facilities or any combination of these factors which….
Life in the Slums
Life In The Slums Plan Intro: Life is tough living in the slums, but I 'm used to it now so it 's not as hard as it was when we first moved here. Especially considering we were looking to come to the city for a better lifestyle, and to have a better chance for my parents to get a job, and for my siblings and I to go to school. My name is Anikal and I 'm 13, I have 3 older brothers, and one younger sister. Para 1: living conditions and hygiene and population density Moved to Mumbai 4 years….
Slums in Mumbai
toll on individuals living in slums in poor areas such as Mumbai. Since Mumbai is a pretty expensive place to live in, it is home to some of the world's richest and poorest people. "Today, over half of Mumbai's population of over 15 million lives in settlements, occupying only 8% of the city's area" (Anand and Rademacher). It is the largest slum in the world. The government thinks it is best to get rid of the slum because the land is very valuable, but demolishing this slum would cause disastrous effects….
Dharavi Slum
Dharavi Slum Location Dharavi slum is located in Mumbai, in India. The area is shown the photograph to the above. Characteristics and Conditions Mumbai has thrived economically in the recent years and now has one of the highest property prices in the world. Despite this the majority of the population live in squatter settlements such as Dharavi. In one square mile of Dharavi there are one million people and many more people arrive to live in the same cramp conditions. The 'homes' found in Dharavi….
life in slums
Essay on the condition of people living in Slums (355 Words) by Puja Mondal Essay Essay on the condition of people living in Slums! The parts of the cities, where these slums are located, are quite congested, as they are over populated. The conditions of the slum areas in metropolitan cities have deteriorated to such an extent due to the high density of population that the people there hardly enjoy even the basic amenities. The lanes are narrow and the houses are nothing but a single….
Kibera Slum
Kibera Case Study:- [pic] Kibera is a slum divsion in the City of Nairobi, Kenya. It is located 5 kilometres from the city centre. It is the largest slum in Nairobi and the second largest in Africa. A 2009 population and housing survey reported that Kibera's population as 170,070. It is hard to acccurately compute the population due to the fact that the slum hasnt been officially reconised by the Kenyan government. Furthermore because it is a slum, residents may not be able to read or write….
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Are you just putting up with Irritable Bowel Syndrome, but wish you didn't have to?
You may be one of the many people with IBS who suffer in silence. Often people feel embarrassed talking about it and just try to organise their lives around it as best they can. IBS may not be life-threatening, but it's certainly life-challenging. Maybe you fear going out unless you know exactly where there will be toilets in easy reach. You may be like the many sufferers of IBS who severely restrict their social life, or are held back at work, because you're constantly worried that you might not be able to get to a toilet in time. Maybe you just accept that you need different size clothes to cope with times when the bloating is really bad. Maybe you have got used to feeling tired all the time, when you sleep badly and when you get stomach cramps and back ache. The symptoms of IBS vary from person to person, but especially when you've had them for a long time, they can be really depressing.
Don't suffer in silence anymore! There is more you can do to help manage the symptoms of IBS. You might well have tried the classic treatments of peppermint tablets, or endless anti-spasmodics and anti-diarrhoeals, or eliminating certain foods from your diet. They can certainly be of some benefit, but you may have found that they don't go far enough. If so, you should definitely consider hypnotherapy.
IBS isn't just a physical condition, it has psychological elements to it as well.
Although it's generally thought that stress doesn't cause IBS, stress can trigger and make the symptoms worse. Research has also shown that people suffering from IBS often put a lot of pressure on themselves and can tend to be perfectionists, self-critical, very conscientious and take on a lot of responsibility. That's why some of the things you may already have done to help with your symptoms might not have been as effective as you would like. Hypnotherapy has been shown to help with both the physical symptoms and the psychological elements of IBS.
Typically, an average of six sessions of hypnotherapy could help you get the upper hand on your IBS.
If you have a diagnosis of IBS from your doctor and want to find out how hypnotherapy could help you, contact Anne Williams.


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Conflict Anthropology
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Dr Matthew Leonard B.A (Hons), M.A. PhD. is a conflict anthropologist and modern conflict archaeologist. He studied at the University of Bristol and his work explores the corporeal engagement with twentieth and twenty-first century conflict. His doctoral research focused on the subterranean worlds of the Western Front during the First World War and he continues to conduct regular archaeological and anthropological research in France and Belgium. Matthew is a member of the Durand Group and works with several commercial, academic and governmental organizations with regard to the centenary of the First World War. He has been widely published both commercially and academically and he has contributed to numerous television documentaries on various aspects of the First World War.
He can be contacted either by clicking here or via the Contact page and on Twitter @mgpleonard.
Conflict Anthropology WordPress.com.


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Category Archives: cmog
Richard Whiteley Joins The Studio at Corning Museum of Glass
Posted on October 17, 2019 by admin |
Richard Whiteley: Senior Program Manager at The Studio
Celebrated Australian artist Richard Whiteley joins The Corning Museum of Glass Studio as the Senior Program Manager, responsible for developing and managing new glassmaking programming. Richard has spent his life working with glass, developing a fascination for the material when he began apprenticing in stained glass at the age of 16.
Most recently, Whiteley has been working as Associate Professor: Head of the Glass Workshop and Foundation Studies at his alma mater, the Australian National University's School of Art & Design. He earned his Bachelor of Visual Arts degree from ANU and then went on to earn an MFA in sculpture from the University of Illinois-Urbana.
Whiteley works primarily in kiln-cast glass and has presented more than a dozen exhibitions in the last decade. His work is represented in the permanent collections of many public institutions worldwide.
"We have experts in nearly all aspects of glassmaking working at The Studio," said Amy Schwartz, Director of The Studio. "Now Richard will bring to us his extensive knowledge of kiln casting. I look forward to working closely with him to develop exceptional programming that will excite artists from across the world and entice them to come further their work here at The Studio in Corning."
"The Corning Museum of Glass represents the very best in glass scholarship and research experience," said Whiteley. "Throughout my career, I've been impressed with the quality and impact of the Museum's projects and programs. It's a real privilege to be invited to join this exceptional team. This is a once-in-a-lifetime opportunity, and I'm looking forward to making a contribution and shaping the conversations around glass."
Whiteley joined the Museum on October 14.
Posted in cmog, corning museum of glass
Glass Art Remembrances of 9/11
Posted on September 8, 2016 by admin |
On September 11, 2001, nineteen terrorists hijacked four commercial airplanes. In a coordinated attack, these events forever changed the face of modern-day America. Artists, like all of us, struggled to comprehend the unfathomable destruction and loss of innocent life. They responded the way they knew best – through their art.
Eric Fischl; "Tumbling Woman, Study," 2012, glass, 12 x 18 x 14 in.
Artist Eric Fischl's somewhat controversial homage to the 9/11 victims, was expressed in his "Tumbling Woman" sculpture series. The awkward, unnatural pose — the woman is on her back, her legs lifted and held together to her left side — is meant to evoke the bodies that leapt from the World Trade Center towers. It's a powerful, striking, vulnerable visual -particularly in glass – even without knowing the reference. Fischl said he felt an urgent responsibility to address the terrorist attack through his work, for the public, to help people make sense of what had happened. That is what art does at its best, he said, adding he saw his sculpture as "a sincere gesture of expressing the pain and vulnerability. Those feelings were part of the tragedy."
Michael Janis; "The Tower", 2009, glass, glass powder imagery, steel, 19 x 37 in. (photo by Pete Duvall)
In a similar tribute theme is Michael Janis' "The Tower" from his tarot series of glass panels. That piece was selected in 2009 to be part the Corning Museum of Glass' (CMOG) 'New Glass Review'. Tina Oldknow, CMOG's curator of modern glass from 2000-2014, and the senior curator of modern and contemporary glass from 2014 until her retirement in September 2015, wrote this commentary on the Janis artwork and how the submissions that year showed a narrative influence. She wrote:
"To introduce my narrative category…(t)he more literal representations included the stories told by Debora Coombs, Ian Mowbray, and especially Michael Janis. … On the other hand, a truly big and dangerous event is depicted in Janis's "The Tower" Tarot Card. Anyone familiar with the tarot knows that the tower, the 16th card of the major arcana, does not bring glad tidings. I was impressed by Janis's powerful, sad, and appropriate interpretation of this card as a literal reflection of the tragic events of September 11, 2001."
On this 15th anniversary of the 9/11 attacks, we are reminded that art can document a time and place forever, as it often represents an exploration of the human condition. It's a memory device that tells a story that is multi-layered, complex and paradoxical. The stories told through art are vulnerable to interpretation and thus keep the moment alive.
Recalling the devastation that came that day is painful for many. Yet we must remember the past, or we deprive ourselves of its lessons for overcoming our present struggles and divisions.
Posted in 9/11, cmog, michael janis, new glass review
Corning Museum of Glass Appoints New Curator of Modern and Contemporary Glass
Posted on February 18, 2016 by admin |
The Corning Museum of Glass (CMoG) today announced the appointment of Susie J. Silbert as curator of modern and contemporary glass. An independent curator, writer, and historian, Silbert has developed an encyclopedic knowledge of glass, and strong connections to people in the field. In her new role, Silbert will be responsible for the acquisition, exhibition, cataloguing, and research of the Museum's modern and contemporary collection, a period ranging from 1900 to the present day. She will also oversee the programming of the 26,000-square-foot Contemporary Art + Design Galleries, part of a 100,000-square-foot addition which opened in March 2015. Silbert will join the Museum on April 18.
Silbert fills the position following the retirement of Tina Oldknow, who was curator from 2000-2015.The modern and contemporary glass collection contains close to 18,000 objects, and expands annually through gifts and acquisitions.
With a background in craft, design, and glassmaking, Silbert has a passion for interpreting the built world. In her current role as an independent curator, Silbert has partnered with institutions and arts organizations including Parsons The New School for Design, UrbanGlass, Houston Center for Contemporary Craft, and the Center for Art in Wood, amongst others. She has worked on numerous exhibitions featuring diverse media, and has contributed to exhibition catalogues for the Museum of Fine Arts, Houston and the Chrysler Museum. Silbert has also worked with galleries and artists, most notably holding the position of curator and collaborator at the studio of glass innovator, Mark Peiser. She currently teaches history of glass at Rhode Island School of Design, and is a board member of the Furniture Society. She was also named a finalist for the inaugural American Craft Council Emerging Voices Award (2014) and an Emerging Leader of New York Arts (2014-2015).
Read more at the Corning Museum site.
Submit for CMOG New Glass Review
Submit Your Work To CMOG's New Glass Review
Published by The Corning Museum of Glass, New Glass Review is an annual survey of glass in contemporary art, architecture, craft, and design created in the previous year by emerging and established artists, as well as students. The works are chosen by a changing jury of curators, artists, designers, art dealers, and critics.
The Museum invites artists, craftspeople, designers, and architects worldwide to submit images of new works using glass. The deadline for submissions to New Glass Review 37 is October 1, 2015. Fee = $20.
Submit online – click HERE for link.
Posted in cmog
History and Evolution of Studio Glass Lecture Oct 5th
Posted on September 30, 2013 by Michael Janis |
© Erwin Eisch / CMOG
Whats going on in the photo above?
Is it a new 8 member boy band created from TV show "X Factor"? No.
Still photo from the latest sequel to a Hollywood slasher/gore film? Nope.
Some Portland hipsters gathering at a coffee café that doubles as a low-carbon-footprint bike shop? Wrong Again.
European glass innovator Erwin Eisch made the 8 mold blown works as a tribute to Harvey Littleton in 1976. Eisch's non-traditional approach to glassmaking had a profound impact during the formative years of the American Studio Glass movement, and his relationship with American glass pioneer Harvey K. Littleton forged an important link between European and American studio artists working in glass.
Want to know more about the history of Studio Glass? This Saturday, October, 5, from 1 pm, the Debra Ruzinsky of the Washington Glass School will talk and show images presenting a broad international survey rooted in the early days of studio work. Works by artists Sybren Valkema, Edris Eckhardt, Michael and Francis Higgins, Libensky and Brychtova, Ann Wolff, Erwin Eisch, Kyohei Fujita, Vera Liskova, to name a few early & influential artists — such as female glass artist Asa Brandt, who has been called the "Harvey Littleton of Sweden".
This free talk is a great way to know who and where glass has come as we move boldly into a new future of the medium.
BLUE MADONNA by Ann Wolff
What Came Before / A Slide History Of The Studio Glass Movement
Lecturer : Debra Ruzinsky
When : Saturday,October 5th
From:1 pm
Cost : Free of charge…RSVP to: washglassschool@aol.com
Where: Washington Glass School
3700 Otis Street, Mount Rainier, MD 20712
Oh, and the titles of the Erwin Eisch heads:
(A) Littleton the Gentleman: mirrored inside, with glasses, with marble base. (B) Littleton the Poet: with glasses and beanie. (C) Littleton the Teacher: mirrored inside, glassblower painted on right side of head; set on square black base. (D) Littleton, Man of Frauenau: cold painted in facial area and around base with scene of town. (E) Littleton the Worker: applied band of colorless glass across nose and around head, square black base. (F) Littleton's Headache: painted with bandages surrounding head and chin area, etched in other areas, square black base. (G) Littleton the Fragile. (H) Littleton's Spirit: with collar and tie.
Posted in cmog, debra ruzinsky, erwin eisch, harvey littleton, history, studio glass movement
Call For Entries: New Glass Review 35
Posted on June 24, 2013 by Chip Montague |
Each year, the Corning Museum of Glass conducts a worldwide competition to select 100 images of new works in glass. Objects considered excellent from any of several viewpoints- such as function, subject matter, aesthetics, and technique – will be chosen. The works are chosen by a changing jury of curators, artists, designers, art dealers, and critics.
The deadline for submissions is October 1, 2013. In late November or early December, a jury selects 100 images from the submissions. New Glass Review is published every spring by The Corning Museum of Glass in conjunction with Neues Glas (New Glass), published by Ritterbach Verlag, Frechen, Germany, and GLASS: The UrbanGlass Art Quarterly, published by UrbanGlass, Brooklyn, New York.
You can apply online – (2013 is the last year for paper applications). Click HERE to jump to Corning's online application. Entry deadline – Oct 1, 2013.
Posted in cmog, new glass review
Harvey K. Littleton and the Studio Glass Movement
Posted on December 14, 2011 by Michael Janis |
In 1962, two groundbreaking workshops led by artist Harvey K. Littleton and glass scientist Dominick Labino introduced artists to the material of glass as a medium for artistic expression. Littleton and Labino presented their development of a small, portable furnace and low temperature melting-point glass, providing artists access to glass and glassblowing techniques for the first time. These workshops kickstarted the Studio Glass movement, which emphasized the artist as designer and maker, with a focus on making one-of-a-kind objects.
In celebration of the 50th anniversary of the American Studio Glass movement, in 2012, a number of museums will be mounting exhibitions on the history and origins of the movement.
The Corning Museum of Glass has two exhibitions that opened November 17, 2011 and will run through January 6, 2013.
In the Spring 2012: Chazen Museum of Art (University of Wisconsin, Madison) has an exhibition planned, and there is an exhibition planned for November 2, 2012 thru December 21, 2012 at the: Visual Arts Center of Richmond (Richmond, Virginia)
The man called the father of the Studio Glass Movement was not at first a glass artist. Littleton was born in 1922 and raised in Corning, New York. Throughout his childhood, he had many opportunities to observe glassworking processes and to learn about the properties of glass at the Corning Glass Works. His father, Dr. Jesse T. Littleton, known as J.T., was an expert in the infrared properties of silicon and the first physicist to join the newly established research team at Corning Glass Works headed by Dr. Eugene C. Sullivan.
J.T. Littleton often discussed the properties of glass as dinnertime conversation, and Saturday morning visits to the glassworks were routine for Littleton when he was young. In 1936, he and his brothers witnessed, with his father and many others, the dramatic failure of the first casting of the 200-inch mirror for the Hale Telescope at Mount Palomar in California.
Littleton's mother, Bessie Cook Littleton, was instrumental in developing Corning's Pyrex cookware. J. T. Littleton had the idea that Corning's low-expansion borosilicate glass, which had been developed for use in battery jars (used in rural areas before widespread electrification), could be used for cooking. He took home a battery jar that had been cut into a round, shallow pan, and he convinced his wife to bake a cake in it. Her success led to the development of Corning's Pyrex housewares.
After receiving a master of Fine Arts from Cranbrook Academy of Arts Harvey Littleton embarked on the career of potter. Littleton received recognition for his work as a ceramicist in a national exhibition sponsored by the American Crafts Council at the First International Exposition of Ceramics in Cannes, France.
In 1959 he began to investigate the possibility of glass as a medium, and in 1960 had melted glass and cold-worked lumps of cullet. In the summer of 1962 the Toledo Museum of Art invited Littleton to lead a glassblowing workshop. It was in that seminar that Littleton introduced the idea that glass could be mixed and melted, blown and worked in the studio by the artist. Up to that time it was widely believed that glass objects could only be made in the highly structured, mass-produced world of the glass industry where the labor of making glass is divided between designers and skilled craftsmen.
With Littleton's active encouragement and promotion, glass programs sprang up at universities, art schools, and summer programs across the country during the late 1960s and early 1970s; and the Studio Glass movement became an international phenomenon. What began fifty years ago as a small group of artists who shared an interest in glass as an artistic material has grown into an international community of thousands."
In 1984, his daughter, Maurine Littleton opened an art gallery committed to artists working in glass and ceramics in Washington DC's historic Georgetown neighborhood.
Rizzoli Publications
Maurine advised on Joan Falconer Byrd's new book : "Harvey K Littleton: A Life in Glass" – This new book has many previously unpublished archival photographs and a detailed chronology. Images and the history of Littleton's early ceramic and glass vessels and his richly colorful glass sculptures, among them the late "Lyrical Movement" series are detailed in this beautifully designed book. The book includes work by his close friend and European counterpart Erwin Eisch and his former student and much-celebrated glass artist Dale Chihuly.
Below is "Pioneers of Studio Glass" – a video that was produced by WGTE Public Media for the Art Alliance for Contemporary Glass. It is a fascinating look at the 1962 Toledo Workshops where Harvey Littleton and Dominick Labino first experimented with making glass outside of the factory setting.
Pioneers of Studio Glass from corecubed on Vimeo.
Posted in "a life in glass", "maurine littleton", 1962 workshop, 50th anniversary, cmog, dale chihuly, erwin eish, harvey littleton, joan falconer byrd, madison, studio art glass, toledo
CMOG "New Glass Review 33": A Call for Entries
Posted on August 9, 2011 by Chip Montague |
Corning Museum of Glass has posted its annual Call for Entries in the museum's New Glass Review publication. All glassmakers, artists, designers, and companies are invited to participate in New Glass Review 33. Only glass designed and made between October 1, 2010, and October 1, 2011, may be submitted for this annual survey.
From CMOG's website:
Each year, The Corning Museum of Glass conducts a worldwide competition to select 100 images of new works in glass. A committee drawn from designers, artists, curators, and critics makes the selection. The publication is intended to keep its audience, which includes museums, artists, libraries, collectors, scholars, and dealers, informed of recent developments in the field. Objects considered excellent from any of several viewpoints—such as function, subject matter, aesthetics, and technique—will be chosen. The objects selected will be published in color with the names of the makers and brief descriptions of the pieces.
Participants are requested to complete the entry form, submitting a total of three digital images illustrating one work per image. Slides and transparencies will not be accepted. Three images of different pieces are preferred, although participants may send multiple views of one or two pieces. Digital photographs, which should be made using the highest-resolution setting on the camera, must be of actual objects designed and made between October 1, 2010, and October 1, 2011.
The New Glass Review competition will be judged in early December. All entries, accompanied by a $20.00 USD entry fee, must be postmarked no later than October 1, 2010, and sent to: New Glass Review Curatorial Department The Corning Museum of Glass, One Museum Way Corning, New York 14830-2253, USA.
For more info – click HERE.
For a look at some of the winners of New Glass Review 31 – click HERE.
Posted in cmog, corning museum of glass, new glass review
Glass Sparks: Jeff Zimmer
Posted on January 25, 2011 by Chip Montague |
Washington Glass School alumn Jeff Zimmer had returned to the school for a visit in January. Now a resident of the UK, Jeff lives in Edinburgh, Scotland, where he received a MDES in Glass & Architectural Glass, at the Edinburgh College of Art, (ECA), where he is now an instructor.
In the UK, Jeff has been making quite a name for his artwork – recently featured in the British Glass Biennale and shown in a collaboration between Contemporary Applied Arts & Contemporary Glass Society This year he will be exhibitng at the Perth Museum and Art Gallery, in the UK .
Jeff's work was selected to be part of the Corning Museum of Glass' New Glass Review 31. Tina Oldknow, Curator of Modern Glass, The Corning Museum of Glass said of his work:
"… glass is not immediately apparent in Jeff Zimmer's '1/1000th the Distance between Me and You (in a Deadrise)', but it is an essential part of the work. A dark and dramatic object, it is constructed of 22 layers of enameled and sandblasted glass in a light box. In the obscured photograph, an object in the distance that emerges from black clouds under a clearing sky can be faintly discerned: is it a ship or something else? Using a box of cut glass sheets, Zimmer creates the depth and luminosity of a painting, but it is an image that undoubtedly changes every time it is viewed, depending on the angle and the ambient light."
While at the Glass School, Jeff worked on a piece that will be shown at the WGS 10th Anniversary Exhibition to be held this May at Washington, DC's Longview Gallery.
A strong narrative is created by meticulously layering imagery made from enameled and sandblasted glass.
The layered composition works in a tremendously subtle way; the depth of field changes as the viewer moves around the work, allowing one's perception to shift and migrate.
Jeff evaluates and modifies each individual layer of glass as he fires the enamel onto the glass sheets.
Jeff constructs a box of glass for presentation, and installs LED lighting to illuminate the panels.
The box-like construction of each work creates an almost cinematic experience of space, volume and depth. One is drawn in by the emergent light from beneath the horizon or trailing into the distance like a wake.
Check out the final piece – titled "Fog Of Communication" at the 10th Anniversary Show!
Click HERE to jump to Jeff's website.
For other glass artist profiles:
Diane Cabe
Sean Hennessey
Teddie Hathaway
Elizabeth Mears
Allegra Marquart
Jackie Greeves
Posted in "new glass review 31", 10th anniversary, british biennale, cmog, eca, glass spark, Jeff Zimmer
Founding Director of Corning Museum of Glass Dies at 83
>Thomas S. Buechner, who was the founding director of the Corning Museum of Glass and was the director of the Brooklyn Museum in the 1960′s, died on Sunday at his home in Corning, NY. He was 83.
Mr Buechner, a painter and illustrator, served for 10 years as the director of the Corning Museum of Glass before becoming director of the Brooklyn Museum in 1960. At 33, he was one of the youngest museum directors in the United States. He recently had a retrospective of his artwork exhibited at Alexandria's Principle Gallery.
Click HERE to jump to the NY Times obit on Thomas Buechner.
Posted in brooklyn museum, cmog, corning museum of glass, thomas s buechner
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