I got feedback on drafts of my proposal from several people before finalizing it, and this was a big help. In particular, I think others suggested to include a paragraph on Institutional Context (in the intro), and to integrate my experience/qualifications into the narrative as well as including the separate section on prior results.
The part of the proposed research that I describe in most detail is in the first part of Section 3.1 and this is because this was work already in progress that I was more or less convinced would succeed. I have continued the practice of describing including some such work in my grant proposals, because I find it's often the only way of having a really convincing research plan for theory research.
Many of the other research directions were more speculative, and I did *not* actually solve most of the concrete problems described within the span of my CAREER award. (There was substantial progress on some of these subsequent to my CAREER award, often by other people.) Nevertheless, I did work on most of these general topics, and wrote papers on related problems, which I think is just fine as far as NSF is concerned.
I purposely left out a large part of my research (namely on zero-knowledge proofs and topics in cryptography other than pseudorandomness) from the CAREER proposal, to leave open the possibility of other grant proposals.
My "broader impacts" were mostly educational in nature. Nowadays I try to also talk a bit about potential external impact of the research areas, when possible.
I included support letters from people that I said I'd collaborate with (confirming that they intend to collaborate with me). While this may not be strictly required, I thought it might help and couldn't hurt.


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The USSSC is an approved Massachusetts Department of Elementary and Secondary Education professional development provider and planning to offer PD sessions on the following USSSC Divisions to interested teachers summer of 2018. Teachers will be able to design, build, test and learn the Engineering Design processes involved to successfully produce their own teacher example/model in a well equipped Engineering Design lab at Somerset Berkley Regional High School. USSSC PD Sessions will be limited to first 18 participants per session with online registration opening in late spring of 2018. PD certificates are available upon session completion. More info added when available.
Updated on April 8, 2019 © 2014-2019 United States Super STEM Competition,Inc. All Rights Reserved.


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- Counter-Currents Publishing - https://www.counter-currents.com -
Why I Write for Counter-Currents
Posted By Alan Smithee On September 23, 2016 @ 2:46 pm In North American New Right | 11 Comments
Gabriël Metsu, Man Writing a Letter, circa 1664-1666
I grew up in an incredibly small, overwhelmingly Southern Baptist town. The kind of place where almost everyone had some idea of when any given person in town had or hadn't walked up in the main church (stationed straight across from the main grocery store) during the altar call to ask the Holy Spirit to come into their hearts, and "conservatism" meant being among the people keeping track more than anything else.
It was more important that your attitude towards the War on Terror was hope that Jesus and the Holy Spirit would guide George W. Bush to lead our country in "the right direction" (whatever that was) rather than having any sort of meaningful opinions about any of the policies themselves. These people weren't "Praise the Lord and Pass the Ammunition" types; they genuinely hoped that, before it was all over and we did whatever had to be done, as many Muslims as possible would be saved.
Obviously, I had no idea yet what I was, but I sure as hell knew I wasn't that — so it was only natural that my search for alternatives caused me to end up drifting towards the Left. Sure, like many others, I went through a libertarian phase as well. But the influences on libertarianism were heavily Leftist in spirit during this time anyway. Gary Johnson was already stating on record that libertarians are more naturally allied with progressives [2] than with the Right, and this was the predominant mindset of most of the libertarians I personally knew. Regular contributors to the libertarian groups I was in eventually went on to design Left-wing anarchist websites with names like Abolish Work [3].
Save the odd comment from a Walter Block or a Hans-Hermann Hoppe (those crazy old curmudgeonly uncles of the group whose comments people were often fondly amused of, but rarely persuaded by), libertarianism was full of what were essentially just young, naive progressives who disagreed about what economic policies would best achieve progressive goals — people who really meant it when they said they wanted to eliminate the minimum wage so that more black teenagers could get jobs.
In other words, the only alternatives within reach were essentially one or another flavor of leftism. It was either "I want to save Muslims from eternal damnation in Hell for holding the wrong abstract, theological beliefs," or "I want to save Muslims from eternal damnation to a world dominated by U.S. imperialism." I don't think anyone here can blame me for having felt at the age of 20 that the latter option was a hell of a lot less insane than the former (in fact, I still think it is). I didn't end up where I am now because I discovered some new proposition that was being positively declared by some new group, and deciding that I agreed with it. I ended up where I am now because I discovered through experience who my real enemies are.
Had you asked me even a year ago, I never would have imagined that race would become such a prevalent topic in my writing. As I will discuss at length elsewhere, the Trayvon Martin case played an important role in my red-pilling. But the first thing I actually invested energy in writing was a ~100,000 word introduction and tour through philosophy of mind [4] that eventually branched into a detailed analysis of the data from near-death experiences, where I defended the "reality" of these experiences against the claim that it's obvious they're simply the "phantasmagoria of a dying brain."
I did write a couple of articles dealing with race early on. One [5] demonstrated that a given white person is actually more likely to be shot per encounter with police than a given black person is. (The statistic ends up out of proportion to the white and black percentages of the population because there are more "given black persons" ending up in encounters with police than "given white persons" — and as I also show, this is not out of proportion to the black and white crime rates. While this is obvious to most sane people, it isn't inherently obvious that this factor would be completely sufficient to account for the entirety of the black/white police shooting gap, or that the available evidence basically leaves no room for racism as even a supplementary factor alongside it.) The other [6] demonstrated that the war on drugs actually came about because of the agitation of black victims of drug violence, and not because white lawmakers decided to use it as a pretext for jailing non-whites (against the claims of most liberals and libertarians).
But that was it, and as far as I was concerned, that could just as well have been the end of the focus on race in my writings. I moved on to an article [7] discussing a feminist publication's claim that women are "disproportionately victimized" because crime rates are falling faster for men than they are for women, even though there are still more men dying from acts of violence than women, as there have been for decades. (Karen Straughan ended up adding a comment to that one, which I'll admit I was quite proud of.)
Another article [8] discussed the fact that the gender sentencing gap that favors women for lighter sentences than men is much larger than the racial sentencing gap that favors whites for lighter sentences than blacks, in which I made the argument that these statistics prove that "black men in the criminal justice system share more in 'oppression' with white men on account of being male than they share in oppression with black women thanks to their race — and white men share more in oppression with black men on account of being male than they share in privilege with white women thanks to their race." The idea was to work towards building a critique of the "social justice" narrative as a whole; but race, as I still saw it even then, was only a small part of that picture.
Now, I'm not sure if I am technically "a" White Nationalist or not. That probably depends on your definition.
I wrote an essay I titled "Ethnonationalism for Normies [9]" to explain that I do think there are virtues to the position — I don't think ethnonationalists are, by any means, bad people who are doing something inherently dirty by wanting to move towards an ethnonationalist state. At worst, if I were to decide that I didn't want to live in an ethnonationalist state, they would be people who share a preference I happen not to fully share — like people who enjoy loud psychedelic trance music and want nothing more than to go to a place like Burning Man where they can be surrounded by others who share that preference too. Even if that wasn't my own personal taste, why the hell would I want to go out of my way to shut down Burning Man? Someone who would try to do that would be my enemy, whether I had personally planned to attend the event or not.
Even as a libertarian, I always was at least sympathetic when people would express watered down perspectives like "why couldn't we just put a whites-only area over here, and a blacks-only area over there, and an Asian-only area over there, and a mixed area in the middle, and then let people go to whichever one they want? Obviously all of us will end up in the mixed region, but still; why the hell not? If nothing else, then everyone in the mixed area could live in peace and not have to worry about the racists who'd run off to the other regions."
Obviously, it's clear from the content of my articles that I share many concerns held by White Nationalists. The mainstream media and academia do in fact quite often express bias against the white majority and in favor of narratives that imply a worldview in which, simultaneously, all races are exactly the same and only environmental circumstances ever cause us to appear to act differently; and yet whites are uniquely prone to commit evil against everyone else. The races are exactly equal in goodness, strength, truthfulness, and morality! — and yet until the evil white man who unlike everyone else is too stupid and vain to recognize it stepped onto the scene, we all understood this a long time ago.
These narratives would be disastrous if taken seriously, precisely because they are false. We have articles in the mainstream press touting a study that claimed that white conservatives are "more likely to kill you" than Islamic terrorists (which, as I show, is sheer nonsense) and studies claiming that blacks are discriminated against per se in job hiring which are surprisingly easy to refute [10]. This bias is even, in large part, responsible for the very economic crash of 2007–2008 [11] that the U.S. is still recovering from, so it's hardly some small, trifling matter. And yes, there are also undeniably very clear double standards [12] in what we're allowed and supposed to say about the socioeconomic successes of whites versus Jews, and that has to mean something.
Now, it's not that I hold some strong sentimental attachment to civic nationalism deep down inside my heart — I'm just not quite convinced yet that we can't comfortably secure our interests through what Greg Johnson calls "metapolitics" alone — in the cultural realm in which we expose truths like these with intelligence and explain and defend them with integrity — without actually needing to adopt any explicitly "White Nationalist" policies. If, even according to White Nationalists themselves, Jews can do such a great job of securing their own interests in even the most diverse societies as a minority, well . . . why can't we?
I think I actually represent a rather normal, boring everyday "white perspective" in that I don't want to live in places exposed to high levels of crime (well, duh), and I don't want "activists" allowed to block the highways I need to drive on to get to work (well, duh) — but unless and until political violence of that sort enters the picture, I really am approximately as "colorblind" as it's possible for a human to be in my everyday personal relationships.
But now, consider this: I've had extended conversations with Greg about my points of agreement and disagreement with full-blown White Nationalism. These conversations were polite, civil, interesting, and never once devolved into accusations that anyone was a piece of shit because of their perspective. You could argue that compared to mainstream arrangement, I have similar degrees of agreement and disagreement with vegans — I would love to see the kinds of industrial slaughterhouses [13] we have in the United States today wiped off the face of the Earth, and while I ultimately prefer them being replaced with things like holistic grazing [14] rather than exclusively vegan agriculture, that still places me far closer to vegans than mainstream society in terms of what we ultimately want, at least compared to where we are now.
So why is that White Nationalists have welcomed me whereas vegans usually treat me like scum of the earth despite how deeply I share one of the largest planks of their ultimate goals which mainstream society stands against them on? Why don't we find ourselves in even strategic alliances? How many vegan communities do you think would welcome me as a speaker on the horrors of modern concentrated animal feeding operations (CAFOs) if I was open about the fact that I'm actually undecided about adopting a vegan diet?
I think the answer really is as simple as that White Nationalists are ironically far more "tolerant" people as people than the stereotypes would have you believe.
Over the course of the last several months, I've been working through an intensely difficult personal situation. Just recently, my wife has been dealing with resurfacing memories of the childhood rape that left her with lifelong PTSD. And I've been talking openly about my own experiences with mental illness as I battle alternating waves of Tony Soprano-level panic attacks [15], temporary but repeated and serious episodes of chronic fatigue and depression, attacks of something I can't find any explanation for besides auras from temporal lobe seizures [16] that have literally given me half-hour episodes of physical inability to speak, and more.
Based on all of this, one would imagine I would have found a better home somewhere on Tumblr than anywhere within the political "Right." But — I'm sure partly because anyone close to me can see that I am fighting these things, and not just trying to wrap them around me like a blanket as the entire definition of my identity henceforth — I've found a tremendous amount of personal support from people I've met through these political networks (including Greg himself). I've only had a couple of people imply judgmentally that I deserve what I get if I don't just pick myself up by my bootstraps, and because I treated them like human beings and simply explained what I'm actually going through in response to their comments without resorting to self-righteous moral objection because they dared say such an offensive thing, even they ended up joining the ranks of those on my side and sincerely trying to figure out how to help.
And at the same time that I've found those experiences so remarkable for changing my expectations, I've run into two liberals who were sharing those old "Right-wing extremists are more likely to kill you than Muslim extremists" article. In response to their posts of those articles, I linked to my rebuttal (for which I literally read through the entire database and looked at each case that was classified as "Islamic" or "Right-wing" terrorism to see what grounds the authors had for doing so) — and I was immediately faced with spit-spraying screams accusing me of having committed the unforgivable moral sin of racism, and treated like I was either a dangerous monster or a prejudiced idiot with zero possibility of redemption from there on. All this for correcting the statistics on per capita rates of ideologically motivated violence between these two groups that they were interested in first, because of another article that did it badly — an article they liked when they thought its conclusion reflected badly on whites. And as soon as I show that the very numbers they wanted to wave so haughtily around against whites actually do in fact reflect more poorly on Muslims than they do on white conservatives, they immediately act like I'm scum beneath even continuing to converse with.
"Democrats are the real racists"-type arguments might suck as a rhetorical strategy, but to be perfectly frank, I still think there's a large grain of truth to them. They're the ones who are motivated into their conclusions by race itself. They're the reason I can't just write a simple article or two addressing racial topics and move on, because after I write that first couple of articles, from then on what I think about those topics is basically the entirety of who I am to them, whether I want it to be or not.
While we have plenty of room in our regular understanding of the world for the person who holds all the "correct" progressive beliefs about race but is a hypocrite because he still choosee to live in a nice, liberal, secluded white area and effectively acts like a white separatist in his actual private life (like the notorious anti-racist "white" guy Tim Wise [17]), there is no room for the person who doesn't hold all those "correct" progressive beliefs about race and instead holds a whole host of "offensive" ones, and yet nonetheless doesn't "practice racism" in his personal life at all, still treating anyone he's admitted into his personal circle the same regardless of race.
If I were black, would I prefer a Tim Wise who gives a speech with themes I like and then packs up to go sleep at a home placed as far away from me and my town as possible, or a Chuck Norris who would meet me at a Texas Roadhouse to talk honestly about his "offensive" beliefs? The "politically correct" Left is full of Tim Wises, but the "politically incorrect" Right is full of Chuck Norrises, as well. And Leftists really can't seem to wrap their heads around either archetype.
Article printed from Counter-Currents Publishing: https://www.counter-currents.com
URL to article: https://www.counter-currents.com/2016/09/why-i-write-for-counter-currents/
[1] Image: https://cdn.counter-currents.com/wp-content/uploads/2016/09/Man_Writing_a_Letter_by_Gabriël_MetsuSMALLER.jpg
[2] more naturally allied with progressives: http://www.buzzfeed.com/rosiegray/libertarians-and-progressives-team-up-against-nsa-surveillan
[3] Abolish Work: http://abolishwork.com
[4] ~100,000 word introduction and tour through philosophy of mind: https://zombiemeditations.com/2015/05/23/epistemology-of-death/
[5] One: https://zombiemeditations.com/2015/05/02/profiling/
[6] other: https://zombiemeditations.com/2015/05/06/is-the-war-on-drugs-racist-the-surprising-truth-behind-the-black-curtains-of-history/
[7] an article: https://zombiemeditations.com/2015/04/30/conversations-with-feminists/
[8] Another article: https://zombiemeditations.com/2016/04/05/moderate-sentences/
[9] Ethnonationalism for Normies: https://www.counter-currents.com/2016/07/ethnonationalism-for-normies/
[10] surprisingly easy to refute: https://www.counter-currents.com/2016/06/employers-hate-blacks-but-they-love-ebony/
[11] economic crash of 2007–2008: https://www.counter-currents.com/2016/08/how-racial-egalitarianism-wrecked-the-global-economy/
[12] very clear double standards: https://www.counter-currents.com/2016/05/calling-for-a-nazi-social-justice-warrior-alliance/
[13] industrial slaughterhouses: https://en.wikipedia.org/wiki/Concentrated_animal_feeding_operation
[14] holistic grazing: https://www.amazon.com/Letter-Vegetarian-Nation-Sustainable-Environmental-ebook/dp/B01BK3HKNA
[15] Tony Soprano-level panic attacks: https://www.youtube.com/watch?v=Q0YXWpz4KGs
[16] temporal lobe seizures: https://en.wikipedia.org/wiki/Temporal_lobe_epilepsy
[17] Tim Wise: http://amren.com/news/2012/06/not-fair-to-be-white-see-the-unbelievable-new-campaign-sponsored-by-the-university-of-minnesota-duluth/
Copyright © 2015 Counter-Currents Publishing. All rights reserved.

redpajama_set_name: RedPajamaCommonCrawl


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Artist Talk for Chad Attie: Contempt 1.26.14
CHAD ATTIE: CONTEMPT
Deb Klowden Mann: It's so great to have everybody here for Chad's show and his artist talk. For those of you who don't know, though I think you all do, this is Chad Attie and the show is Contempt. There's a lot to talk about with this show: themes of mythology, and love, and childhood, and a lot of places to go with all of it. Format wise, we do kind of a question and answer format,but I definitely love having people jump in with their own questions and having it be much more of a dialogue. So if you feel inspired, please ask some questions. Where I'd like to start is where this particular way of working, this sort of conglomeration of different imagery and different materials and textures and themes started for you.
Chad Attie: First of all, I would just like to thank you all for coming today. I appreciate you all coming to hear about the work. When I was probably around 15, I started collecting children's books. I started also being awareof holding on to my own toys and imagery of my childhood. It was very important to me that those things were not thrown out and kept on shelves. And from that point on, I started collecting and started getting back all this imagery. So I didn't know what I was going to do with it. Anywhere I went on a trip, I would start buying more children's books so it was no longer just the imagery that I had as a child, it started to become something I also started to collect. I also started to collect everything toy-wise. I also started painting at an early age, but I wasn't using any of this imagery. So to fast forward to what's happening now, a couple years ago. So I started making work at an early age, I also started writing children's books at an early age, I started writing stories and illustrating stories, I started making paintings, and I started photographing. It wasn't until about two years ago that I kind of had all this stuff around and I was like fuck it, I've just got to find a way of putting this all into a work. I had these five separate things that I'm thinking about. How do I take this super ball and how do I take this vintage image, this crocheted image that I collected from a little thrift store, and how do I take this Playboy magazine, and how do I take this photograph of a sand castle and fuse all these things into my work? And that was sort of the language that became very important to me. That's what I started doing. I also got to this point where it's like I don't want to hold onto these things anymore; I'm going to use them all. There was nothing that was precious to me. My original Little Prince book that my parents read to me was going to be used in the work, like I was going to tear it in shreds and take out my favorite pages. The porcelains that I had collected, the Hot Wheels, even this piece in the back that's around the corner, The Matterhorn, it's my actual Hot Wheels that I had as a kid and the color combinations were really important to me— they all had different names and characters. So all this stuff that you're seeing is either my actual things, or things that I had collected that were really important to me. At that point, once I didn't care about using it all, this new language was created and I somehow got very excited about all of these things informing me of what I needed to say because all of a sudden, it was no longer about me just making paintings, and me just making separate children's drawings, and me taking these photographs of laundromats. It was like of a sudden it somehow had a place in the art world, these collages. So that's sort of what—some people don't really understand what the connection of all this imagery is. For instance, this was an image from Sleeping Beauty, a vintage book that I had, that I cut her out of and this is a little battleship that's actually a three dimensional toy and I put the two things together and photographed them. So it's all this mix of different time periods and actual imagery that was very important to me.
DKM: So in mixing all those things in terms of materials, did you feel like you had distinct, separate conceptual thematic things that were going into each body of work, and did this kind of putting everything together also shift where you were coming from?
CA: Yeah, I think instead of writing these stories, there was a series of children's stories I did, which I'm still doing, called The Wanderlust, in which this little fellow, the way he's kind of dressed, he's swinging his legs and I could write a story about this. It's this story about this little boy I saw and the ribbon on his feet.
Instead of it just being that, I was able to take that story and put it into the paintings. So it just became much more complete. I didn't feel like I needed to write the little stories anymore or if I did write the stories, the stories went into the piece. So thematically to me, it just became a lot richer.
DKM: So then let's talk a little bit thematically about what we're seeing. I think we should maybe start with childhood a little bit, and children's stories, and the idea that even when you were a child, you tended to hold onto these particular objects. So what is it that you were trying to hold on to then, and what is it you're trying to capture or express with those objects now?
CA: Well then, to me, childhood is just important. Obviously it's just this magical place for a lot of people, and I think that the memories of those things are still important to me. They still resonate. Even with the work now has a lot to do with capturing that magic, but it's also about the magic that exists right now. So it's not just about when I was a child and I went into this cave. It's also about well I also went into a cave yesterday, so how can there be sort of a continuum between the two things? I don't know if that answers your question.
DKM: I think it definitely does. A lot of people come in, and I think because there is so much going on in the pieces, it's interesting to see different people become attached to different things in the work, and see different things in the work. There are people who come in immediately and are drawn to these kind of idealized landscapes that are in the work, and feel like that's something they can enter into, and there are people who definitely immediately find the toys, and there are people who immediately believe all the work is about love. And talking to you, all of those things are all true to some extent. Is there in this particular body of work, sort of one theme that kind of stood out more? Was it about of looking at love through the lens of a child? Was it sort of a combination?
CA: I think all of the work is about love. You know, as sappy as that might sound. I mean it's not about love working, but it's definitely about love. It's about the things that I love. Wanting to love something and that thing being unattainable. That to me is in a lot more ways is more interesting to me than love. Also you and I have talked about this, just that theme of desire and how potent that is. I think that all those things are true that you said. It's about unrequited love. It's about desire. It's about loss of love. It's about wanting true love. It's about a child's love of their world. It's about a child's loss of their world; you know that loss of innocence. So there are sort of all of these levels to it. Somehow the toys are a constant connection to the childhood. Either my childhood, or I have two children, so that's also a big element in all this work.
DKM: I will say that my favorite part in our installation of the show was when Chad's son came in and–I think most of you have seen his sculpture in the back–and pointed at one of the figures in that sculpture and said, "That's mine." I think that there is a definite attachment to objects in this work, and I think that when people are looking at the work, it seems that it brings up the kind of things you want as a child, and also maybe the recognition that it is difficult to access that kind of desire as an adult, and I wonder about that in relation to the way you treat your surfaces. The light box as surface is sort of perfectly finished, but there's still the cuts and the spaces that you can almost see into, but not quite. And I wanted to ask about that in relation to desire. Is there kind of a refusal going on there, not allowing the viewer to actually enter a space completely?
Chad Attie The Matterhorn (detail) 2013 mixed media 58 by 37 by 24 inches
CA: I think that part of what you said, is that there's the part that makes it tangible, but then there's sort of a part that separates from it which you see in all the work. There's windows that kind of open up, there's little glimpses of people and not all of them. That has to do with yes, part of you desires something, but you can't have it. There's also certain things that are sort of untouchable. There is this barrier distance and there's also this element of voyeurism to a lot of it which part of me just wants to desire and actually doesn't want the intimacy, there's also that element. Some of that is just exploring that. It's just sort of you get that peek, you get a taste, but there is a distance between you. That's what I'm saying about the voyeuristic, there might be a little window, circle, or cave you just catch a little glimpse and maybe that glimpse is totally satisfying. I mean, I can give you an example. I love driving in the car and just catching a glimpse of somebody. I don't want to talk to that person, I don't want to know anything about them, but just that little moment of like the hand sitting out the window framed by the car and circles. You're getting a little window into their life and those things are all around us, and that's to me just as magical. It's beautiful, it's there, in other words there is sort of a separation, but it's a lot about that. It's not necessarily about a specific relationship; it's about sort of appreciating and desiring and not having rough times.
Chad Attie Contempt 2 (detail) 2013 mixed media 48.5 by 120.5 by 5 inches
CA: A little bit. Yeah I was. The texture was very very important to me and a little bit of how this started, just to kind of tell you, I was working on these paintings. I was using sort of an ice pick to scratch into the paintings and often it would go through the paintings. I didn't really want to be doing that, so then I sort of started building them up with paper and part of that for me was I am a very tactile person so I want to be really using the knife; I want to be physically touching the different textures. That's sort of where the tearing and the ripping kind of began. I felt like the work felt more vital somehow, I mean I had a lot of feeling to put into it and to be able to rip into it and pull out things was much more satisfying to me and ultimately in the end it gave what I wanted to say. In the light boxes there's this strange play, you have this texture this sort of ripping into some of it, but at the same time, they're different. This one is towards the end so there's more negative space in it, there's more openness, there's less of what's going on in this. It gives you a little more space to rest and I also knew it was going to be turned into a light box, so I was playing with different levels of texture so some of them are completely porcelain and three dimensional and other ones explore lace and how it feels like you can touch it, but again going into that idea that it's just out of reach so I liked that exploring a new sort of venue of distance. It's so much texture and with the person, it seems like they're able to reach it, but you can't because it's sort of in this luminous box which is in a golden frame.
Audience member: Can you tell me a little about the title of the show? I'm not sure if you've referenced it in your art?
CA: Yes, so first of all it's one of the most extraordinary films. I put it in the top three films for me that have ever been made that I've seen. The film is Contempt. Godard's film, Contempt, which came out in 1963 and starred Brigitte Bardot, who I have been working from as sort of a muse for years before this show just as sort of a symbol as a beautiful, iconic, magnificent creature. In this film, she is all those things and it's incredibly tragic also. The film had all of the themes I had been working with before for 15 years. It's extraordinary, filmed in Capri on this island and the structure that they're going to visit is this beautiful Casa Malaparte which was designed by an Italian architect and just incredibly modern, but Grecian at the same time. They're stranded on this island, the relationship isn't working, all the scenes are framed of where you see sort of the relationship playing with the sea. It had everything. I thought about the film for years. When it came to making this series, what I had been working on was very similar, like desire and the inability to kind of have a relationship that was long lasting, and at the same time I also loved the use of color in the film. She's always shown in red, he's always shown in blue, and somehow these two colors don't work. However, having said that, I didn't want to watch the movie before making the series again so I had seen the movie 15 years before and I purposely didn't see it while I was making the series. The film stayed with me, but when I finished the series, I would watch the movie again. I was still so blown away by it, but I was glad I hadn't watched it. I didn't want this to be a literal interpretation of the film. I wanted it to be my own expression of Contempt and contempt, the word, is sort of a loaded gun. It can be my contempt for her; it can be her contempt for me. I mean, it's sort of open ended.
Audience member: I guess it's something I'm reacting most strongly to, but it seems to be a lot of aggression towards the female body and it doesn't seem to be framed in the way. I mean it's interesting, you're definitely responding to it in some way, whereas someone like talks about the female body and talks about romance and sort of heterosexualized images of women kind of moved around and remained aware of how hypersexualized it is. It feels like it's not an act of aggression, it's angry. It looks like it's more of a child's frustrated aggression and I guess that it sort of feels like how you talked about throwing everything into your work, but I keep thinking about that moment between childhood and adulthood where the veil sort of slips away and adulthood presents itself and I guess in some ways the female body does become kind of the ultimate mystery at that point.
CA: I don't know if it's a question, but I'll just tell you one little story that maybe will help you, maybe it won't help you. I was at the beach with my boy and I was building a sandcastle and this is a good example of how I feel now. I was totally into it, we were building castles, and we've got tunnels running through it and a mote running around it and I had him collecting sticks so we could build bridges and it was going to be the greatest thing, and it was such a beautiful thing, but it's not the first time we've done it, but it was just very exciting for me. I was not remembering the past, it was much more exciting as an adult to build it than I remembered as a kid. So while we're building it, I kind of look over to mommy who is on a blanket and she's wearing like a crocheted top and it's beautiful, it's like a cream color. I said to him, "Give me a minute, I just want to grab my camera and shoot some pictures of mommy." So I literally took a minute, and while I'm photographing her on this towel against the sea, I see him take his body, I'm telling you a minute had passed, and throws it into this entire castle and destroys the whole thing. So it's very, it still is difficult to me, but I think it's a good story to tell you because it's not about the violence to me. The woman was the most extraordinary thing I've seen, which is why it continues to come into the work, and at that moment it was sort of like my child and my own childhood were intersecting with the beauty of a woman, and those two things that are in the same place with me, which is why you kind of constantly see this imagery mixing with this kind of extraordinary creature. At the same time, it's sort of packed with feeling and complexity and also sort of connects to not only my own childhood, but I wanted to be there 100 percent there with that castle, but I couldn't. My own sort of failings were I saw this other thing that I also somehow needed to appreciate and capture. I don't know if that helps you with your question.
DKM: Also one thing that Chad and I talked about in regards of putting the show together was about the frustration that we can have about our own ideals, and what it is that we are so focused on, and not necessarily in a way that is about aggression towards those desires or what we want, but in a way that kind of reveals that the ideals and the hopes in and of themselves can sometimes be inescapable and how that connects to the same things that we hope for and invest feeling in as children, and in such an intense way.
Audience member: Do you ever have concerns or anxiety about using one of your images in the right piece or at the right time? Like how you've got that lace right there and there, do you allow yourself to fully prep them again, to fully understand them again?
CA: That's a good question. Actually this goes into the objects a little bit which we have talked about. Of objects, and the lace, they actually have a real resonance. I can't explain 100 percent, but it's not random. I'll keep a certain material there or in my studio for years at times. The only time there's ever been a repetition is with this [image of lace in one piece] and with this [same image in another piece]. The imagery is created; it might even be in bits. Like this one is. There are only one of these [Ulysses Gaze] light boxes so everything that went into this was only done for the photograph, so each light box is different. This one [Ulysses Gaze], I set it up as a photo and I knew I would use those things in something else. This one is actually from the seventies. It's an old light box, I just know it was a seascape and in that one, I cut into it and some of them I did photoshoots. This [photograph of boy on sand] is actually my boy. So we did this photoshoot at the beach and then I treated this almost like this was a collage so I cut into this whole piece. This one was just shot as a collage first and then photographed, but those images weren't used for anything else.
Chad Attie Ulysses Gaze 2013 mixed media 48.5 by 120.5 by 5 inches
Audience member: And even if you were to find the same image again later on?
CA: I don't ever use it again
Audience member: Even if it was at complete random?
Chad Attie The Matterhorn 2013 mixed media 58 by 37 by 24 inches
CA: No it's a one shot deal, yeah. Like I'm saying, these images, we were talking about this a little bit, I'm telling a lot of different stories and I would like to feel that in some way I'm relating to these actual figurines. Sometimes it's the figurine itself, the gaze in the eyes in the figurine to me is so potent and with that, a whole work will be created around or in relationship to two figurines.
DKM: Since we're talking about the materials themselves, where do you find all of these things?
CA: My kids. It's funny, that one piece around, The Matterhorn, I'm telling you that I'm holding on to all these things from my childhood that are very important to me, but then what am I doing for them if I'm actually taking their imagery and using it in my own work? I'm doing the opposite of what I'm saying. So the answer is, it might actually have been from you, I used my son's. In The Matterhorn, you can see there is a gun that runs through it. First of all, my kids come by my studio regularly and while I was working on this whole series, they would come and see the pile, the stash that I had gotten on the ground. There was this great moment when they would walk in the studio and they would just be like this, just slumped over this giant pile in total disbelief like they would be like how would Daddy take this house or this figurine, so with that I told him I would give him the $12 back for the gun. With his own money this one time, he bought this cowboy set. Even though he discarded it and it was in the backyard for about a year and a half, he still feels like it belongs to him, and you know he's got a point. He tried pulling it out of the piece. First, I was really angry about it, but then I was like he's got a point. So what was the question? [laughs]
Audience member: Where do you get the material?
CA: Oh the material, I get it everywhere. I am constantly traveling. I do talk to my kids about making a pile of things that they don't want anymore and they know it's going into the work. I go to the thrift stores, I travel, I take road trips, I go to as far out of L.A. as I can. I look all the time.
Audience member: Where did you find the landscape?
Chad Attie Eden 7 2013 mixed media 32.25 by 40.25 by 2.5 inches
CA: The seascape? There's a guy I go to regularly. He's on Pico near Alvarado. He had this in his shop. I love seascapes. It was vintage. I just couldn't, I just tried to control myself and was casually like, "How much do you want for that?"
DKM: Where did you get the desire to use the light boxes?
CA: So the light box, I had an image in a house that I owned in my bathroom of a boy in a boat. A lot of this is sort of about building a house and tearing down a house in a sense and this was in the house I just built. So this boy on this boat was sort of a symbol of that house, but it also reminded me of my childhood, like going to Tahoe and going on a boat and being in the woods so that image was the first image. To me, I mean it looks like a very cheap thing, but there was something so magical about this boat with this light coming through it that reminded me of my childhood. I mean, again it looks like a very cheap thing, but there was something so magical about this boat with this light coming through that reminded me of my childhood. So when it came to creating this series, I knew I really wanted to start exploring my past. I think one thing that resonates and creates a lot of different stuff for different people. A lot of this was in the 70's when I was growing up so hopefully it resonates something with the past, but at the same time they're very modern.
DKM: There were a couple things we talked about when we talked about mythology and the first thing was Disneyland, and other related things. You also have the silhouettes in the other gallery room…
CA: So this goes back to Contempt and why I wanted to keep it loose. It's much more than Contempt. With mythology from an early age, I started reading and it was very important to me in a lot of this work. There's a lot of stories behind this work. There's a lot of text behind this work. The idea of Homer's Odyssey, it sort of runs through all this work. There's a lot of text in the work. You can see the boat. You can see a woman behind the boat which was Penelope waiting for Odysseus to return. I also sort of ended a relationship so it was a lot about Odysseus. If you don't know the story, basically Odysseus for ten years is trying to return to his wife, Penelope. So before this show, I've been exploring this for years, this idea of this man that is in his vessel surrounded by water who just wants to return to his wife, but along the way, he's having all these adventures and then there's the question of does he even really want to return to his wife which is raised. So that's a lot of what you see. The moment he's about to return and he's had all of these experiences. So Homer's mythology of this desire basically when you have this myth of this man who is submerged with water, and you can't drink the water of the sea and if the tree has fruit on it, you can't actually touch it. It's this perpetual state of desire. Now that's something that's been interesting to me since I was 14. So this element of desire is what you see behind the story. The reason her back is to you is because you have this love, but he can never love her again, but he constantly loves her. To me, it's like you can't have everything. With Disneyland, obviously it's part of my childhood, but at the same time if you look inside the Matterhorn I built, I expose this structure that's sort of like this house and inside the house, you know there's a princess. At the very center of this mountain is a princess. This princess also runs throughout this, but basically this ideal of this woman that gives this princess a sort of perfect being and this whole sort of myth of childhood structured around her and it's all broken down. The train doesn't work; the cars are all messed up. There are things from my own childhood that I just put there because I wanted it to relate to my own childhood with my own children's work. At the same time, I also think it's very beautiful and uplifting and sort of magical to look at.
DKM: A lot of the things that you've seen as a child kind of come back to you as you watch your own kids. It's kind of easy to talk about the ideals that are major influences in our children's lives, and look at that in relation to what we grew up with. I don't know if everyone's gotten the chance to see the silhouettes in the back…
Chad Attie Silhouettes ( 1-8) 2013 mixed media each approximately 5 by 4 inches
CA: The silhouettes, and hopefully you'll see it when you come around. I teach at an all girls school in LA and one of the students had done a project. She said she's got this idea for silhouettes at Disneyland and I was like ok that's a great idea to go back there right away and get all of us a gift. So basically the idea was that she was going to work on these silhouettes and if you go to Disneyland they have sort of a caricature thing that cuts out your silhouette for $5, but the scraps of your silhouette are left on the ground and thrown in the trashcan. So she brought in the scraps and she was done with it. So you see what the ends of the silhouettes. So you have something from Disneyland, and I mixed it with all kinds of combinations. Me as a child thinking about a woman. A girl thinking of herself as an adult woman. It's all played out with Disneyland as sort of a template. And I talk about this a little bit. I do have a young girl who just turned six and I'm watching Disney and princesses sort of influence her life, and questioning if it's coming from me, is it coming from her mom, is it coming from this iconography, is it coming from society? It's also playing with this idea of where does this princess come from and how can you stop this? And the piece that's right behind this is all about that. It's called 40 Fires and basically it's the same thing, it's this image of this Barbie that's sort of stylized to the max and it's this history of the Barbie that's all behind these houses that are being destroyed. It's called 40 Fires. You have 40 houses that are all exactly same and inside each one, is this imagery of this Barbie throughout the history of time that are sort of tearing this house apart and burning this house down.
Audience member: First you're talking about how you can stop this, then you're talking about the celebration or adoration of these images in childhood and it doesn't seem like the innocence of these images even though right now it's your daughter. Is it something that you really do want to stop, is more about the adoration?
CA: Yes obviously there's this thing that's extraordinary, their dresses are beautiful, the gowns, but there's something that I also think is very dangerous and is used in marketing that I'm not a fan of, that I don't want to see my girl subscribing to. I want her to not be caring about that kind of stuff so it's both. It's complex.
Chad Attie Camille 2013 mixed media 24 by 12 by 7.5 inches
DKM: What happens for you and your understanding about the way you process all these things, and how you're going to put them all together?
CA: So the process would be very exciting. Part of it is using material I have never used before. That's part of going back to the childhood. I'm not trying to master any of this; I'm actually trying not to master any of this. There's a part of me like a child that wants to discover it, and that's what it also comes to changing with the materials because I want that struggle and that conflict so it is very exciting. It's very exciting to go into off the county and going to this thrift store and finding this doll that I just don't know what to do with. I know somehow that I just need to study it for a period of time and just watch it and then something is just going to evolve and then I can move on to something else. So the process is very exciting to be like oh my god all these things that I've collected, that I've seen and photographed are somehow going to find a way to put this all into my work. It's overwhelming to be honest, and that's just what it is.
Chad Attie Ithaca (detail) 2013 mixed media 24.5 by 27 by 7.25 inches
Audience member: Can you talk about your relationship with surrealism?
CA: I think as a kid it meant a lot to me. When I was like 14 or 15. Now I would say it's not on top of the mountain, but I think more than anything it's telling stories which is really interesting to me. I don't see myself as really influenced by surrealism. It's definitely there, but I think I'm more interested now in sort of in moving forward and backward in time and definitely telling a story. I think mainly using music, literature, and cinema are having more of an effect with me in terms of unlocking stories and with there being some cohesiveness between the pieces and it sort of being like a concept album.
DKM: I was going to ask a little bit about what you said about that sort of cinematic nature of your work.
CA: I don't think so. What I do think about it, I think about how anything could happen. To me that's a film that is of all these films incredibly personal. This work's very personal, if you haven't gotten that, much more than anything I've ever done before. Three years ago, I went to the beach, and like I told you, I'm using everything. I'm using my actual letters. Her letters to me. It's all there. The reason I'm saying is that it's the most personal film, it's like about his life. And I think about Astral Weeks. Van Morrison's Astral Weeks. Those are the things that really move me as a person. I want to make a work that invests in the same thing. This is my last night that I did what I feel like I needed to do and I set what the reality is. Whereas older work was me thinking about something, but I don't think I used all of this. So the idea about the cinema is yes there's a moment in the film that I think are extraordinary to someone like taking out a teabag and steam coming out of it. So that's the cinema part of it. I don't want to spell out too much of it. I feel like the work sort of puts in play or motion on a moment or an atmosphere or a whole situation and I'm interested in how those little roads are going to connect or not connect.
Audience member: What's the sequence of when you did what in here? Because I was thinking whether the light boxes in relation to the one in the back, which to me are really different. I mean obviously the same artist, but that one to me is pretty successful because it is physically feels like an archaeological dig and going through memory in a very physical way.
CA: It's been questioned, and I think like this is the last piece. This is it. The idea is that this is actually a series of two. It was like this is it. I'm done. So after that I'm getting on this boat and taking off for a long time. This is actually one part of two. The whole thing goes beyond there and two pieces go together in a way so it could be my last collage. I mean, I've been doing this for three years and I told you how I'm sort of just moving on. The next movement becomes the sculpture, I don't know. Having said that, if you went back a year ago, there's a few in the show that were similar to this. Like the one you see around there, that was a series of four pieces called Eden, and they were I think sort of different from this, but working in a similar way. So there's sort of starting with it and I stored them in boxes and then I went into the sculptures. At some point I was going to make 12 of those and Contempt was going to be you were going through these individual islands and inside each island is all the different information. Then I went away from that and then sort of started going into the light boxes. I don't know if that answers your question.
Audience member: Yes. Obviously to put that around that would be really expensive, but still not having it feels really like raw.
Chad Attie Penelope 2 2013 mixed media 48.5 by 120.5 by 5 inches
CA: Ok I love that you brought this up and you also completely hit on a key point, which is the plexi boxes. Part of it was they looked good. Another part of it was I wanted to create a distance between, because it works like this piece here. Basically this is like Penelope. You have Ulysses returning home and these are all his experiences. This is my note to somebody I love. I want to distance you between you and them. And I don't want the distance to be between you and the whole piece obviously, and this is like real estate basically. I was buying space or land. It's like you wearing glasses. Someone can't look directly into your eyes so it's creating a shield somehow. In the last one, you're right. It was incredibly expensive and the truth is it wouldn't move out of the studio. And I looked into it. Then I thought you know this is the last one, let people touch it. You know it's a different level than the other ones. You have the boxes. You have the ones that are sealed. You have vintage boxes. This will be the one that's sort of the last one you're actually able to completely interact with. So you're right on.
Audience member: Could you talk more about your relationship to the materials? The layering and the cutting.
CA: So when these originally, the very origins of these were all the base was floor plans to a house. So I was working with a couple different architects and the base, the buildup are all floor plans. Part of the idea with that was that I had a relationship that ended and that relationship was we were building a house together. It was sort of the destruction of that house was what was going to be behind this. What I would do is I kept all this imagery, thousands of imagery I was collecting in suitcases and I would pull those images out and put them on my studio wall and then have these floor plans on the ground. I knew none of this was random, this totally resonates, this resonates and I would stuff them inside these floor plans and then I would sort of seal the floor plans and cover with some imagery and some from the museum of natural history. Some images and dioramas and then I would use a drill or ice pick to cut in and sort of excavate these plans, not really knowing what was up. There's a glimpse, but I never really want to show too much. Like that girl in the car window, I wanted just a moment. I didn't want to give away too much; I wanted to seal the moment there without giving you too much. I would use all these things inside there. The lace would become part of it. I was trying not to alter it too much. I didn't want it to be me painting something so I want it to be sort of as organic as possible and a discovery. An element of discovery was key to all of this. Like what's going to happen when I drill into this lace and it all of sudden gets wound up in my drill? Then it goes all over the place and gets unraveled and then gets used. A lot of the process is organic as the materials are. It's sort of I didn't know what was really going to be happening and I would have to be doing problem solving which I think adds to the sort of the battle in the work. That tension was interesting.
DKM: When you were cutting into them, you said you were doing problem solving. If say you cut into a point that you didn't like, would you go back in and cut more paper?
CA: No kind it's just what happens, happens. Yeah, it is what it is. I tried not to draw out in pencil. I tried not using exacto blades. I tried to like on the spot figuring it out. And there's a raw feeling in these. Again, it's not where the cuts are, who you're seeing, the relationship of the two children you see sort of repeating in all this is a lot of it my own children and how I've imagined them viewing everything. That purity, that innocence, and trying to be as honest with that as I can. It's also my own feeling about the relationship and also about being a child myself and how I imagined a relationship would be.
Chad Attie Capri 5 2013 mixed media 20.5 by 16.5 by 7.5 inches
Audience member: How do you negotiate sort of the lives these images have before you put them in your work?
CA: That's a good question. I think I don't really negotiate it. I somehow see them as there's this artist from the 70's, Leo Jansen and he painted women or these old landscapes and I just find that when I get them, they're somehow mine. I'm not really thinking about the house they were in or who's looking at them. I don't know if that's what you're saying, but when I find them, I'm like thank god I found this. It's so much like she made that moment and she's living in that moment and she's alive and present in that moment so somehow I can tell my story through this person.
DKM: It does feel that way in your studio. I remember the first time I came into your studio feeling like all of these found objects were totally living there.
CA: Yeah I feel that too. I actually wanted to say this one thing because I believe that this is hard for some people to understand, like this guy here. I got this at a swap meet probably haggled it down to $4, but it's solid. Like that figure to me has just as much power and resonance as a painting. So I think that's where all of this imagery to me are relating.
DKM: You get excited about that.
CA: Yes, I'm as excited about him and holding him and that song that he's playing, as you know, seeing a painting. You know they're on the same level with me. That's also where this interplay to me makes sense. Also going back, using this childhood hot wheel in the same place that I'm going to use a great etching. It makes perfect sense that I'm just as excited as the toy color, you know that yellow with the silver engine as a combination.
DKM: I feel like you feel a lot of that sort of joy and affection as well. These are all things that have been loved.
Audience member: One question that clearly occurs if you're not going to do this, what's next?
CA: I'm just going to take some time and travel to think about it. But I think definitely that idea of building sculptures and working three dimensionally. You definitely go into that direction. Maybe I'll come back to painting. I'm sure there'll be three-dimensional multimedia, but it won't just be just collage.
Audience member: Have you done anything else at all during this process?
CA: No
Audience member: So the collage was it?
CA: Yeah. The only thing I did was I did this children's book, but no this was it. This was like 24/7.
Audience member: What's the title of your children's book?
CA: The title of it is the reason I'm going to be making a new one. I'm not a big fan. It's called The Adventures of Fifi and Noni and the new one is going to be about my two kids and their relationship because it's fascinating for me and they're in arguments right now because they know the title of it and my son is ok with it, but my girl isn't at all.
Audience member: Why aren't you happy with that title?
CA: You know, it's just like anything. I just don't really relate to either of those names. The adventure part I'm fine, but it's just two names I wouldn't choose.
Audience member: Would you have a re-write in the works?
Audience member: What you were saying about the generation of the items; these are things that I would imagine from my grandmother's house not necessarily my parent's house. I'm curious, what kind of discoveries did you encounter and using those kinds of materials from like a generational kind of viewpoint?
CA: Yeah that's a great question. They're much more sexualized now. It's totally different. It's just totally changed. I mean if you look at the princesses from the fifties and the sixties, it's just so much simpler and also the color combinations, the printing; it's all just to me much richer and more interesting. Now it's why I combine the Barbie and the princesses; it's all very similar. It's a great question. I didn't think about it actually. I think it's a little bit one note now. It's either the colors are one note, it's plastic, it doesn't have the complexity that they did 50 years ago. Because I'm looking for new materials all the time, there's not much to work from now. It's basically now just shiny plastic and cheap paper.
Audience member: I just love all the enthusiasm and the exuberance it made me think about, I don't think there are any particular characters in the movie Contempt, but it made me think of Jack Palance because of that energy when he got that Academy Award as a producer he was just in shock.
CA: That's just such a horrible character
Audience member: I just think with the movie Contempt, were there any characters that drew you in?
CA: Definitely the character Paul who's the writer. I mean it's not so simple, it's also complex with him too because there's the question of whether he's doing some philandering in there and he brings it on himself so and it's not and by no means do I feel like I'm a saint in any of this. My obsessions and I have a lot of them are a cause of what's behind a lot of this and I think that in that film, it raises what's his role in all of this. Definitely not Brigitte, I don't really connect to.
Chad Attie Clarissa 2013 mixed media 16.75 by 12.75 inches (framed)
Audience member: She's the one who says, "I only have contempt for you." That's her line in the film. That's the title of the film. Her agency and her voice, I mean she finally has a voice.
CA: True and I guess I've talked to Deb about this, to me the contempt goes both ways. I don't want it to just be her contempt for him. It's also about his contempt for her. It's contempt for the whole situation. Also how it ends up in Contempt. It just starts so magnificent. It starts so pure and so beautiful. That really depressed me how it goes from that first moment in Italy and how those two people end up in that estate.
DKM: I think the idea of agency is and where it exists is present in your work in terms of who is in control, who is the subject, who is the object, who has the power in relation to that dynamic.
CA: Definitely and that's at play a lot in the film where she is just emblazoned with power. Then there 2013 mixed media 16.75 by 12.75 inches (framed) are other moments where he has the power. I definitely play with that a lot.
Audience member: I'm just wondering if you've ever tried and then discarded using not beautiful women.
CA: Yeah I wouldn't say discarded.
Audience member: I would say from an individual piece.
CA: So you're saying like the person wasn't like this, then I felt like I couldn't use it?
Audience member: I looked around and saw all these beautiful bodies and then I wondered if you've ever worked with someone that was not.
CA: Definitely, there are a lot of Rubens figures in here. There are Goya figures in there.
DKM: Different times and various ideals maybe?
CA: So the answer is yes.
Audience member: Can you go into your music catalog? What do you use?
CA: Music is very very important. I mean everything from Miles Davis to Childish Gambino. I listen to a lot of music and it's very important in the work. The sort of mood is important it just depends on what part I'm working on and when is key.
Audience member: Frank Zappa seems to be coming up with different artists recently.
CA: Maybe for the next show, but no not from this work. Anyways, seriously you guys thank you so much for everybody coming and spending this time listening. I really appreciate it.


text:
Lee Fields and the Expressions Halifax Pop Explosion, Halifax NS, October 20
Photo: Richard Lann
By Ryan McNutt
His backing band, the Expressions, having laid down a crisp groove, soul survivor Lee Fields bounded onto the bright Forum stage in an even brighter red sequined jacket.
"Did you come here to party?" he yelped. "Well, let's get this party started!"
The crowd eagerly responded as Fields launched into "I'm Coming Home" from his latest record, Special Night. That album dominated the early part of the show's setlist — as clear a statement as could be that this was not a nostalgia performance. Fields has been making music for nearly 50 years, but it's the music he's making now that he wants to put front-and-centre.
I was wondering, going into the show, whether there was enough power in Fields' classic sound to overcome the sad truth about the show: this was supposed to be Charles Bradley's set, with Fields taking his slot following the announcement that Bradley's cancer had returned and, subsequently, his sad passing just about a month ago. Bradley's sets at Sappyfest 2011 the 2012 Halifax Jazz Fest sets are legendary in these parts. Given that some in the crowd had paid for Bradley, would Fields be able to win them over?
Enthusiasm goes a long way in such circumstances, and Fields' call-and-response gestures and shriekingly strong voice kept prompting the crowd, over and over again, and the crowd responded in kind. The Expressions added a harder, rock edge to the material at times, a nice fit for the stage, and Fields put the energetic work into songs like "Work to Do" and "You Just Can't Win" to make for a fun, engaging headlining set.
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HALIFAX POP EXPLOSION
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Rec Park a good place to host Valley title games
Damian Marquez
dmarquez@visaliatimesdelta.com
The Redwood and Mt. Whitney baseball teams gave local baseball fans a preview of what to expect come May 23-24 when Recreation Park hosts the Central Section baseball championships — high-level baseball.
Fans filled up the Recreation Park grandstand seats and watched the Rangers defeat the Pioneers 8-2 in a West Yosemite League game on Monday night.
Earlier in the day, the Visalia Rawhide and Modesto Nuts treated fans to a slugfest with the Rawhide winning 14-12.
"The kids just get excited to play here," Redwood coach Dan Hydash said. "The place was packed tonight. Looking up into the stands, I told the guys, 'we have a crowd here, let's not disappoint them. Let's come out and play hard and put on a show.'"
Redwood ended up winning the game by six runs, but both teams played well and gave a preview of what could be when six high school championship games are played at Recreation Park over a two-day period.
The schedule of games has not been set yet, but there will be two games Friday, May 23 and four games Saturday, May 24.
Local fans don't have to wait until May 23-24 to see championship-level baseball. The 30th annual PRO-PT Visalia/Tulare Invitational will host two tournament title games on April 16, crowing a lower and upper division champion. Last year, Tulare Western defeated Mt. Whitney in front of a packed house in the tournament championship at Recreation Park.
"You just get a good baseball atmosphere here," Tulare Western coach Ken Searcy said. "After Redwood, I think we've been fortunate enough to play the second-most games here in the last few years. It's great for the kids. We played Mt. Whitney last year and anytime you get that Visalia/Tulare game here, it's great baseball."
The two tournament title games April 16 at Recreation Park could give fans a better idea of what to expect with multiple games being played on the same night.
"I think it's a good deal," Mt. Whitney coach Ryan Miller said. "I'm sure the people in Fresno might not care for it, but it'll be good for fans around here to see Division I and Division II baseball. It's real local right here in the heart of things and it's a perfect field for high school. You don't need 12 or 15,000 seats. We'll see if it sticks around or not."
A lot can happen by May 23-24, but there is a possibility Tulare County will be represented in some of the Central Section championships.
"I know the teams around here are excited about the possibility to play a championship game here because of the venue and the atmosphere," Hydash said. "It has a great feel to it. Any time kids can play in a nice minor league park like this, it's a great deal."
How to Attend
The six Central Section baseball championship games will be May 23-24 at Recreation Park in Visalia. Two games will be played May 23 and four games will be May 24.


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At Kallam Anji Reddy Vidyalaya (KARV), we believe that quality education is the greatest gift to children. Established in the year 2001, by Dr.Reddy's Foundation to make quality education accessible to all, KARV is a symbol of excellent schooling experience. We offer an inviting, safe and supportive environment for students to learn and grow.
Unwavering Commitment
We pledged to support every student in building skills of inquiry, creativity, entrepreneurship, and moral leadership, the skills most necessary for individuals and nations to thrive in the twenty-first century.
Read about our Educational Philosophy
KARV at a Glance
Students with annual family income < Rs. 1,00,000
Students receiving free education
Average faculty experience years
While the focus in a classroom is to prepare students to become independent thinkers, co-curricular and extra-curricular activities complement all-round development…
Sailaja — Principal (KARV)
The Kallam Anji Reddy Vidyalaya aims at offering all our students a broad and balanced curriculum that provides rewarding and stimulating activities to prepare them for the best academic, social and cultural life.
Pre-primary School at the Kallam Anji Reddy Vidyalaya provides children with an incredibly caring and nurturing learning environment.
Primary School at Kallam Anji Reddy Vidyalaya provides students an environment that facilitates a meaningful transition to high school with strong foundations.
High School at Kallam Anji Reddy Vidyalaya focuses on turning students into independent thinkers capable of making decisions.
A school is incomplete without activities beyond the classroom. Co-curricular and extra-curricular activities that complement academics are a central to our educational philosophy. We push students to take on challenges beyond academic setting to cultivate vital life-skills and values.
Sport is integral to building values of commitment, responsibility, perseverance and healthy competition. Students gain a lot by participating in intra-school and inter-school competitions. Many of our students have represented at state and national level events.
Labs and Library promote the skills of inquiry, exploration, experimentation and invention. Students can access these open spaces anytime during the school hours.
Soft and Safe Hugs
Lahari Yellapragada a class IX student is an enthusiastic scholar with one of the sharpest minds at KARV. An all-rounder, she managed to leave her mark in almost all the domains and excelled in music, and current affairs while being game for ...
It is not often that you hear about a watchman's daughter making it to IIT. But Bannoth Vennela, our very own KARV student has made us all proud by making it to IIT Indore last year through sheer grit and ...
U/11, and U/13 Girls teams won the School Football League.
Priyanka has been selected to represent the state Kabaddi team.
Swetha has been selected to represent the state Kho-Kho team.
U/10 Girls team (football) won National Championship at the 'Just For Kicks' tournament (2019-2020).
Wish to know more about admissions and updates? Subscribe now!
Kallam Anji Reddy Vidyalaya
(Recognized by Government of Telangana)
S.No. 83 Seri lingam pally, Madeenaguda, Telangana 500050
An initiative of Dr Reddy's Foundation
Copyright © 2022 KARV School | Powered by KARV School.


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Justice and Human Rights Guatemala Project #8220
Break the Chains of Slavery
by The GOD'S CHILD Project
From the Dump to the Classroom
By Kendell Martell - Benefactors Services
Magda* is 8 years old and is from Masagua, Escuintla. Her parents never had the chance to go to school because they had to work as children to help support their families. There used to be 15 people in Magda's family however due to different circumstances 5 of her siblings passed away and 2 have started their own families so now she just lives with her parents and 5 siblings.
The family lived on a plantation called El Socorro in Masagua for 30 years. Five years ago they decided to move to their current home. Upon moving there they realized that to earn money they needed to collect recyclables from the municipal dump of Escuintla.
There Magda, her parents and her sisters picked out recyclable material from the garbage since they were only able to earn enough to put food on the table if all of them were working. The girls were never able to go to school because they had to work. Magda worked from 9 to 5 every day and earned Q40 a day which she gave to her mother. Magda and her sisters collected cans and sold them in the dump.
ITEMP found out about the case and Magda and her sisters were entered into the program so that they could quit working in the dump and get the education that they need so that when they grow up they can have a job with a decent wage. They were also given economical support, clothes, shoes, psychological care and medical exams. The mother was given the opportunity to take jewelry-making and literacy classes. Magda and her sisters want to continue in school and help their parents get out of poverty. Magda´s mom is very thankful for the help that ITEMP has provided her family with.
*Name has been changed to protect the child's identity
« Previous - "Dreaming on a new life"
"Hope for Alicia" - Next »
The GOD'S CHILD Project
Location: Bismarck, ND - USA
Website: http://www.godschild.org
RINA LAZO
Director of Benefactor Services
Antigua Guatemala, Sacatepequez Guatemala
Helps buy a victim school supplies
Pays for a victim to go to school for one month
Provides a victim, and their family, with shelter for a month
Pays for a new victim's full medical examination
Pays for a psychologist to guide victims through their trauma
Pays for an attorney to represent the victims
Keeps 10 victims in the program for a month
Helps finance the legal advocacy program, providing restoration to the victims and deterrence to future traffickers
Monthly giving is as easy, safe, and as inexpensive as a Netflix subscription. Start a monthly donation to The GOD'S CHILD Project today and get matched at 100%. Terms and conditions apply.
The GOD'S CHILD Project has earned this recognition on GlobalGiving:


Hi. Does anyone know if you can cycle over Tokyo Bay Aqua Line ? I'm coming over from England end of July to end of August and staying near Lake Kameyama, Chiba. I want to cycle to Fuji Yoshida and climb Mt Fuji to Go-Gome. Any advice would be greatly appreciated.
No, you can't. It's a long undersea tunnel in which bicycles are prohibited.
An alternative is to take the ferry between Chiba and Kurihama on the southern tip of Miura. Bicycles are welcome there.
Also it's allegedly possible to get a bus from one side of Aqualine to the other and to put your bike (in a bike bag) in the cargo hold of the bus. I've heard of people who have done this, but have never personally talked about it with them.
But that defeats the "...cycle to…" part of your question, with which I totally sympathise.
Also you cannot cycle over Tokyo Gate Bridge or Rainbow Bridge. Yokohama Bay Bridge is possible but I wouldn't recommend it except on a Sunday morning; too much commercial traffic otherwise.
P.S. Come to Norikura and experience the highest paved road in Japan. Far less touristy than Fujisan in official climbing season.
True, but it is possible to "get on the other side" of the Rainbow Bridge by walking the bike, you need an ID and then the "security" strap a small trolley to the rear wheel (so that you can't ride it). I've never done this (would rather ride around via ginza/kachidoki) but I know some people who did. Pretty ridiculous I know.
The ride from Kameyama to the ferry in Hamakanaya is very nice. You could also skip the unpleasantness of riding through Yokohama that way. When touring I always consider boats to not be cheating.
I live in the area and do this route all the time. Highly recommended.


Conoscenze linguistiche in ItaliaOfficial languages in Italy : Italian Sub-titling of films & TV: No An interactive visualisation of language knowledge in Europe, based on the European Commission's Eurobarometer data. Click any language to explore how widely it is spoken in each country or click a country to explore which languages are most spoken within in.
Percentage of people in Italy who speak the languages below as a mother tongue or foreign language.


Ermengildo and his wife Renata work alongside their daughter in their Lake Como, Italy, workshop to create each cardinal ornament, crafted of fiery glass. Each ornament is hand-painted in shimmering gold paint, then adorned with a hand-painted wintery scene featuring a red cardinal sitting on a holly branch. No two exactly alike. Each hand-painted blown-glass cardinal ornament measures 4 inches in diameter. Handcrafted exclusively for Uno Alla Volta from the hearts and hands of artisans.


In A Motor Vehicle Crash?
Sgt. Michael Debye is currently assigned as the Community Services Supervisor for the Town of Burlington Police Department overseeing community policing initiatives, detail scheduling, billing accounts payable and receivable, accident and incident reporting requests, clerical staff in records and the animal control officer and related services.
Sgt. Michael Debye also performs the duties of the keeper of records, firearms licensing, civilian fingerprinting and is responsible for coordinating and maintaining building maintenance.
Sgt. Debye supervises the following employees: an animal control officer, two records clerks and one scheduling/community policing officer.


In the past, when the IT organization was essentially a monopoly, concern for the customer experience was often secondary to concern for alignment with industry frameworks. As the competitive landscape for IT services shifted—from outsourcing to automation and the cloud, not to mention the emergence of channels like social and mobile—IT began to focus on improving customer service and the customer experience. When customers are won and lost based on service quality, cost, and performance, managing services and the customer relationship are critically important.
ITSM and customer relationship management (CRM) are industries, frameworks, technologies, and approaches that have traditionally been applied to very different business processes, workloads, and segments of the organization. But with the degree of consolidation and standardization taking place in both industries, there's more commonality than diversity between CRM and ITSM.
Service management is a business concept that focuses on improving the customer experience. ITSM grew out of this concept, targeting IT workloads, processes, and services. As ITSM has matured, it has both leveraged and contributed to non-IT frameworks and concepts, and, as a result, many ITSM principles are applicable to departments and divisions outside of IT.
CRM targets an organization's marketing, sales, and customer service processes and workflows. In essence, CRM is for communicating with and managing an organization's potential, new, and existing customers. CRM principles and technologies drive the customer relationship, with the customer at the center. The goals of CRM are to make sure customers are made aware of products and services, incentivized to purchase products and services, and provided with positive customer service experiences, should they need help with the products and services they purchased. CRM workloads and processes often include loyalty management, marketing and event management, lead and opportunity management, territory management, order/invoice management, contract management, customer analytics, and case management. This last process deals with "issue to resolution" workloads, and it's where the similarities between CRM and ITSM begin.
Historically, ITSM hasn't focused on the customer per se, but on stability, service improvement, and IT efficiency and effectiveness. In this scenario, rightly or wrongly, the business is considered to be "the customer." Updates to ITIL and other ITSM frameworks have increased the focus on the customer experience, but they've still been primarily concerned with service definition, lifecycle, and process improvement.
The promises of both ITSM and CRM continue to be realized successfully or sought after unsuccessfully. When done properly, they ensure ongoing customer maintenance, which, in turn, drives ongoing business profitability.
Recent industry analysis suggests that, in an increasing number of organizations, the service desk function is consolidating several corporate functions, such as HR, payroll, accounting, and marketing (in addition to IT, of course). Consolidating customer intake and integration, as well as workflows for both externally and internally customers, is possible via CRM.
Furthermore, features like self-service and workflow automation integrate into other systems and data sources, allowing CRM systems to mimic or supersede many of the capabilities of well-known legacy ITSM systems. Legacy ITSM systems tend to be ticket-centric; even when they differentiate between incidents and service requests, everything is often implemented as an incident or "ticket." CRM goes beyond traditional ticketing by differentiating customer demands, which allows for the automation and management of service requests (i.e., service value) and the reduction of incidents (i.e., service failure).
So, what does this mean from an ITSM perspective?
As noted, there's a transition underway in support organizations: the traditional phone-based, ticket-driven service desk is evolving into a self-service−oriented and automated "corporate service desk" that's scoped to handle non-IT workloads, incidents, and service requests. This stands to have positive effects on customer engagement, process diversity, interaction and service delivery, deployment, and platform extensibility. The ideal CRM solution will be geared toward improving/increasing customer engagement and creating positive customer experiences; it will support specific CRM and ITSM processes while being flexible enough to absorb other processes, services, and workloads, and it will enable organizations to "meet customers where they live." By having the ability to be deployed on-premises, in the cloud, or via a hybrid model, the ideal solution will also enable the business to diversify its risk while improving the customer experience. Finally, the ideal solution will give organizations the ability to extend services and handle alternative business processes and workloads.
Special thanks to Ellen Giasi and Reggie Best from the Microsoft ITSM Practice for their assistance with the creation of this article.
John Clark is an ITSM architect with the Microsoft Enterprise Services IT Service Management Practice. John is the former president and current Events chair of the Ohio Valley itSMF LIG. John has been involved with and focused on IT management, ITSM, CRM, enterprise architecture, and business process management for the past twenty-five years. He has published articles in various industry journals and presented at industry trade shows. Follow John on Twitter @CyberJMC66 and @MicrosoftITSM.


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Q: Why doesn't the AWS CloudWatch metric "RequestCount" show me the total number of requests? I have one AWS load balancer going to one EC2 instance. According to the AWS documentation, and what I would expect it to mean, the CloudWatch metric for RequestCount on the ELB should show total number of requests. However, I get a graph mapped to a scale of 0-1, with 1 being the peak.
Is this correct? This is not useful for me. Is there a way to see the actual number of requests?

A: Okay, answering my own question for future searchers:
You need to go the Graph metrics tab and change the Statistic option to Sum (thanks @Dejan Peretin). I previously had it set to Average.

redpajama_set_name: RedPajamaStackExchange


does cater to a younger crowd more of a millennial crowd.". EHarmony is where relationship-oriented daters love to go, as the site is responsible for 4.S. It has both a desktop site, and an app.
It's not recommended for users looking to date casually. And theres nothing wrong with that. This means the only thing preventing someone to join is the time spent to fill out a page to register. It's available on both desktop and through its app. Members can create a "favorites list" or a "friends list" that allows other users to see extra information like personality tests and blog posts. The site doesnt charge you to do things like register, add your information, photos, and videos, browse through profiles, receive match suggestsions, and communicate in certain ways. Free doesnt necessarily mean cheap, low quality, or bad, and these online free dating sites prove.
M has been the king of online dating sites since 1995 because theyre reputable, successful, and, of course, very affordable. » Browse Free: View Photos Now Sharing similar religious beliefs can be a top dating priority for many find sugar mama dating sites single men and women, and for Christians, wed say it probably doesnt get any better than ChristianMingle. In addition to the sites impressive reach, its 100 free to make an account, view profiles, and flirt. Relationships: Dates and Serious Relationships, match System: Search by gender, age, education, more Our Experts Say: ChristianMingle is among the largest dating sites in the industry that only caters to single Christian men and women, and the site has some of the best search filters. We may receive advertising compensation from the sites listed on this page if you click a link and buy a product or service. You also tend to find a lot of married people on these sites. With millions of members, its large user base should mean there is someone for everyone, although you may have to trawl through a LOT of profiles to find them! We provide this service for free and instead choose to generate the income for the business from advertising and affiliate programs. "The courtship process was a lot slower, so it took quite a while to get from the first interaction to actually going on a date.


Dr. Dave Rough serves as the Superintendent of the Dayton Christian School System. He is beginning his 28th year of ministry with the school system this 2015-16 school year. Burdened with the commitment to provide Christian schooling to as many students as possible, Dr. D. (trail name: Rowdy) desires to combine his love for hiking with his passion for Christian education. His 2014 thru-hike of the Appalachian Trail reflected his heart to raise tuition dollars for families that cannot afford the rising costs of K-12 schooling.
Dave was born in Franklin, PA in 1950, moved to Morgantown , WV when he was 4 years old. He developed a love for hiking and the woods as he traversed the paths of the state parks. Over the years he has logged in hundreds of miles in the West Virginia hills of Canaan Valley, Blackwater Falls, and Pipestem state parks.
Dr.D. graduated from West Virginia Wesleyan College; had the opportunity to earn masters' degrees from both Asbury Theological Seminary in Wilmore, Kentucky (1972 – Hermeneutics) and Grace Theological Seminary in Winona Lake, Indiana (1998 – School Administration). In 2008, he earned an Ed.D. from Indiana Wesleyan University in Organizational Leadership.
Rowdy has a wonderful family. He has been married to Cathy for 43 years (they celebrated #42 while he is on the trail). Together they have four incredible children: Ben and his wife Vanessa (and two beautiful daughters and one son on the way) live in Woodstock, GA.; Matthew is a vital part of a church plant in Morgantown, WV; Bethany and her husband Justin (and four special children) reside in Charlotte, NC; and Dan and his wife Sara are raising four wonderful children in Miamisburg, OH.
As one thinking of doing the AT, I have been following several journals of current hikers & researching much about the gears, terrains, hikers experiences, and anything else related to the AT. Most of the hikers I been following are past Virginia except you and another one. Anyway, we leave in Fl but we have a place in Waynesville 30 mins from I40 crossing and I would like to do something while I,m in the mts. If you needed a zero day, needed to visit REI or small outfitter in town, take a shower or would like to slack pack to Max Patch from I40 crossing, please let me help. When you be crossing I40? Either way, I be there one day with some trail magics( no magic I guess). Good luck with your hike through the smokies.
Tom – a Thanks so much for checking my blog. I try to post most days on the trail just sharing a quick thought and a picture or two. Please check I when you can.


Copley's in downtown Palm Springs , Cary Grant former guesthouse circa 1940. Upscale American cuisine with a European flair. We went early, around 5:30, and didn't have any trouble getting in. But as with anywhere in Palm Springs, I would recommend getting a reservation especially if you have a group.
Easy to find in the heart of Palm Springs. There is free parking on Palm Canyon Drive in the front of the restaurant between Alejo and Tamarisk streets. They offer complimentary valet service every night (December - June).
The cocktail menu was fairly traditional so we ordered our favorites a Paloma and a Perfect Rye Manhattan. Food was exceptional! Go for the specials, the soup of the day was a creamy cauliflower leek soup with smoked salmon. Delicious and unique. For dinner, the special fish entree, grilled swordfish with corn and red pepper mashed potatoes. For 'on the menu' options order the beet and arugula salad and the dessert. The dessert! Their specialty is toffee and date English sticky pudding with vanilla ice cream. Made with the famous local dates of Palm Springs. It was incredible.
I wouldn't recommend taking kids and surprisingly didn't see any dogs!
The patio was beautiful and heated, for when the temperature dips at night.
Close to lots of shops and the Movie Colony. The Movie Colony is one of the most notable Palm Springs Neighborhoods. It was home to Cary Grant, Jack Benny, Harry Cohn, and David O. Selznick (think Gone With the Wind) to name a few. A walk through this neighborhood is a walk back in time.


When is Faux Fur Friday?
National Faux Fur Friday occurs the first Friday in December.
What is Faux Fur Day?
You've seen the pictures. A hooded parka surrounds a smiling face with a luscious ring of fur. You've wanted that parka, but you also don't want the seal equivalent of Bambi to lose his mom. So you bought faux fur. Faux Fur Friday is the day to celebrate fur clothing and goods without worrying that you participated in some form of animal cruelty.
Many people choose faux fur to avoid encouraging the real fur industry. Spotted cats and fur seals are often targeted only for their coats. The tanning process for preserving real fur also involves harsh chemicals that can pollute the environment.
The advent of faux fur allowed producers to start selling fur in different colors. Now you can buy leopard-skin coats in purple, blue, and other psychedelic colors.
So whether you're fighting animal cruelty or you're just a thrifty fashionista, be sure to sport your synthetics on Faux Fur Friday.
Fun facts about Faux Fur Day!
Faux fur is far less expensive than real fur.
The production of faux fur does not involve animal byproducts, so it's vegan friendly.
Fake fur isn't as breathable or insulating as real fur, kind of like those non-prescription glasses. They're not working too hard, but they sure look good.
Bedeck yourself in animal-friendly furs. Host a faux fur party as a '70s throwback. Or, take your faux fur coat for a walk in the December air. Don't forget an umbrella to keep it dry in wet weather.
What's the hashtag for Faux Fur Day?
Toss your hat—or just pics of your beaver hat—into the faux fur frenzy by using #FauxFurFriday on social media.


text:
class Admin::FieldsController < Admin::BaseController
  before_action :find_field, :only => [ :edit, :update, :destroy ]

  def index
    @fields = Field.where(parent_id: nil).order(:name)
  end

  def new
    if params[:field_id]
      @field = Field.find(params[:field_id]).children.new
    else
      @field = Field.new
    end

    render 'form'
  end

  def create
    @field = Field.new(strong_params)

    if @field.save
      redirect_to admin_fields_path
    else
      set_flash_now_errors(@field)
      render 'form'
    end
  end

  def edit
    render 'form'
  end

  def update
    if @field.update(strong_params)
      redirect_to admin_fields_path
    else
      set_flash_now_errors(@field)
      render 'form'
    end
  end

  def destroy
    @field.destroy
    redirect_to admin_fields_path
  end

  protected

  def find_field
    @field = Field.find(params[:id])
  end

  private

  def strong_params
    params.require(:field).permit(:name, :parent_id)
  end
end

redpajama_set_name: RedPajamaGithub