text:
Jeffrey Epstein Arrested For Sex Trafficking of Minors
Jeffrey Epstein Arrested For Sex Trafficking of Minors Jul 12, 2019 13:47:26 GMT -8
> In September 2002, Epstein flew Bill Clinton, Kevin Spacey, and Chris Tucker to Africa in his private jet. Flight records show Bill Clinton flew on Epstein's plane 26 times. Epstein's plane has been nicknamed the "Lolita Express" by media due to his conviction and the accusations of sexual involvement with underage girls made against him.
> Epstein was also a longtime acquaintance of Prince Andrew and Tom Barrack, and has attended parties with numerous celebrities, such as President Donald Trump, Katie Couric, George Stephanopoulos, and Woody Allen. Trump said of Epstein in 2002: "I've known Jeff for fifteen years. Terrific guy. He's a lot of fun to be with. It is even said that he likes beautiful women as much as I do, and many of them are on the younger side."
Don't forget the flight logs. There was also tons of instances of Epstein taking celebrities to a very particular airport in Spain including Spacey multiple times.
Yep, and politicians on both sides tied to it all. Imagine if the supposed blackmail he had on people was entered into evidence.
Billionaire pedophile Jeffrey Epstein was arrested for allegedly sex trafficking dozens of minors in New York and Florida between 2002 and 2005, and will appear in court in New York on Monday, according to three law enforcement sources. Epstein, who owns a New York City mansion and an island in the Caribbean, was being held at the federal lockup in Manhattan ahead of his court date.
Saturday's arrest by the FBI-NYPD Crimes Against Children Task Force comes about 12 years after the 66-year-old financier essentially got a slap on the wrist for allegedly molesting dozens of underage girls in Florida.
For more than a decade, Epstein's alleged abuse of minors has been the subject of lawsuits brought by victims, investigations by local and federal authorities, and exposés in the press. But despite the attention cast on his alleged sex crimes, the hedge-funder has managed to avoid any meaningful jail time, let alone federal charges.
The new indictment—which, according to two sources, will be unsealed Monday in Manhattan federal court—will reportedly allege that Epstein sexually exploited dozens of underage girls in a now-familiar scheme: paying them cash for "massages" and then molesting or sexually abusing them in his Upper East Side mansion or his palatial residence in Palm Beach. Epstein will be charged with one count of sex trafficking of minors and one count of conspiracy to engage in sex trafficking of minors—which could put him away for a maximum of 45 years. The case is being handled by the Public Corruption Unit of the Southern District of New York, with assistance from the district's human-trafficking officials and the FBI.
Several of the billionaire's employees and associates allegedly recruited the girls for Epstein's abuse, and some victims eventually became recruiters themselves, according to law enforcement. The girls were as young as 14, and Epstein knew they were underage, according to details of the arrest and indictment shared by two officials.
Epstein's attorney Martin Weinberg declined to comment when reached by The Daily Beast on Saturday night. The SDNY also declined to comment.
"It's been a long time coming—it's been too long coming," said attorney David Boies, who represents Epstein accusers Virginia Roberts Giuffre and Sarah Ransome. "It is an important step towards getting justice for the many victims of Mr. Epstein's sex trafficking enterprise.
"We hope that prosecutors will not stop with Mr. Epstein because there were many other people who participated with him and made the sex trafficking possible," he told The Daily Beast.
In an era where #MeToo has toppled powerful men, Epstein's name was largely absent from the national conversation, until the Miami Herald published a three-part series on how his wealth, power and influence shielded him from federal prosecution. For years, The Daily Beast has reported on Epstein's alleged abuse, starting with Conchita Sarnoff's exposes on his easy jail sentence and soft treatment by the U.S. Attorney's Office, which ultimately scrapped a 53-page indictment against Epstein. An earlier version of Epstein's plea deal included a 10-year federal sentence—before his star-studded lawyers threatened to go to trial in a case prosecutors feared was unwinnable, in part because Epstein's team dredged up dirt on the victims, including social media posts indicating drug use.
Meanwhile, the financier flitted among his homes in Palm Beach, New York City, and the Virgin Islands, as well as his secluded Zorro Ranch in Stanley, New Mexico, transporting young women on his private jet to facilitate the sexual abuse that's gone unchecked by authorities, his alleged victims say.
In an announcement planned for Monday the FBI is expected to provide a number for other victims to contact the SDNY.
As early as 2003, Vicky Ward's Vanity Fair profile cracked into Epstein's enigmatic facade and, as Ward noted, revealed "he was definitely not what he claimed to be." Back then, allegations of sexual abuse leveled by one accuser, Maria Farmer, and her family were excised from Ward's piece after Epstein pressured the magazine.
Epstein's bust comes mere months after a federal judge ruled his 2007 non-prosecution agreement (NPA)—secretly inked under former U.S. Attorney and current Labor Secretary Alexander Acosta—violated federal law by keeping Epstein's victims in the dark. Under the sweetheart deal, Epstein dodged federal charges that might have sent him to prison for life. He instead pleaded guilty to minor state charges in Palm Beach, and served 13 months in a private wing of a county jail, mostly on work release.
The alleged victims, who sued the government for violating the Crime Victims' Rights Act, asked the court to rescind Epstein's non-prosecution agreement and called for the feds to hold him criminally liable. The NPA also granted immunity to Epstein's co-conspirators, identified in the document as "including but not limited to Sarah Kellen, Adriana Ross, Lesley Groff, or Nadia Marcinkova."
But in June, prosecutors for the government advised the judge to uphold the plea deal, saying that voiding it would "cause unintended harm to many of" the victims and jeopardize monetary settlements that more than a dozen of them received.
"If today's report is true, it only proves that Epstein should have been charged by federal prosecutors 12 years ago in Florida. With his money, Epstein was able to buy more than a decade of delay in facing justice—but fortunately he wasn't able to postpone justice forever," said attorney Paul Cassell, who represents multiple victims of Epstein in their lawsuit against the federal government.
"While New York prosecutors are apparently seeking to hold Epstein accountable, the fight will continue to force federal prosecutors in Florida to do the same thing," Cassell added in a statement. "While Epstein was at the head of the international sex trafficking organization, that conspiracy could not have functioned without many others playing their part. Jane Doe 1 and 2 will continue to fight for all of Epstein's co-conspirators to be held accountable in New York, Florida, and anywhere else they committed crimes."
Epstein reportedly supplied valuable intel to federal investigators in exchange for his lenient plea deal; it's been speculated this information may have been related to Bear Stearns executives' alleged crimes in the lead-up to the 2008 financial crisis.
According to one Page Six report, Epstein lost $57 million in Bear Stearns' collapse and was a victim identified as "Major Investor No. 1" in the indictment of hedge-fund managers Ralph Cioffi and Matthew Tanin. (A federal jury acquitted Cioffi and Tanin of securities fraud charges.) But in March 2019, FOX Business reported that Epstein "did not provide any meaningful cooperation to obtain his relatively light sentence in the hedge fund case or likely any case tied to the financial crisis." Jack Goldberger, one of Epstein's attorneys in the Palm Beach sex crimes case, told FOX of the Bear Stearns' prosecution, "Mr. Epstein was never spoken to by any of the authorities on this subject. He was a very large investor. No more, no less."
One former federal prosecutor on the Bear Stearns case agreed. "Bottom line, I have no knowledge of Epstein cooperating in any way in the Bear Stearns case. There was no reason to use him," the ex-prosecutor told FOX.
Epstein's Victims
Once a math teacher at the elite Dalton School, Jeffrey Epstein left for Bear Stearns before starting his own firm, J. Epstein & Co., which supposedly only managed the fortunes of billionaires. Les Wexner, chairman of Limited Brands, is his only known client. (In April 2019, a new accuser came forward with claims that Epstein and his alleged madame, Ghislaine Maxwell, assaulted her at Wexner's Ohio residence in the 1990s. Epstein, Maxwell and Wexner have not commented on these allegations.)
Epstein's financial career has always been shrouded in mystery.
Over the years, Epstein billed himself as a renowned philanthropist and in press releases, claimed to pledge $30 million for Harvard's Program for Evolutionary Dynamics. (According to a Harvard source familiar with the donation, however, Epstein only wrote a check for $6.5 million.) He's palled around with a host of famous faces including Donald Trump and Bill Clinton; the latter traveled with Epstein to Africa to address issues like economic development and AIDS.
In a 2002 profile in New York, one fellow Wall Streeter described Epstein as a "mysterious, Gatsbyesque figure" who "likes people to think that he is very rich" and "cultivates this air of aloofness." Another prominent investor added: "He once told me he had 300 people working for him, and I've also heard that he manages Rockefeller money. But one never knows. It's like looking at the Wizard of Oz—there may be less there than meets the eye."
Vanity Fair's 2003 take on Epstein compared him to the self-made Jay Gatsby, too. "The trading desks don't seem to know him. It's unusual for animals that big not to leave any footprints in the snow," one insider told the magazine.
During his high-flying finance years, Epstein also allegedly harbored a dark secret: his widespread abuse of underage girls. In 2005, Palm Beach police launched an investigation into Epstein after a 14-year-old girl told police an older man named "Jeff" had molested her at his residence, a two-story pink mansion on a dead-end street.
Authorities would discover a disturbing teen sex ring, where victims were allegedly paid to recruit other young girls to provide "massages" inside Epstein's lair. The victims would be led to Epstein's bedroom, and Epstein would enter and order them to remove their clothing, police said. The financier would then assault them—sometimes forcing them into intercourse with him or a young woman he described as his "sex slave"—and pay them $200 to $1,000 per visit, according to court documents.
Police say Epstein's massages were booked with the help of his personal assistants, including Sarah Kellen, who kept a rolodex of underage girls.
But as The Daily Beast previously reported, the state attorney's office in Palm Beach declined to pursue serious charges against Epstein (filing only a single felony count of soliciting prostitution), claiming the girls weren't credible. The local police chief, Michael Reiter, accused prosecutors of giving Epstein special treatment and in 2006 referred the case to the FBI. By May 2007, the U.S. Attorney's Office in Miami drafted a 53-page indictment against Epstein, alongside an 82-page prosecution memorandum. That summer, however, Epstein's lawyers worked to unravel the case, claiming Epstein wasn't guilty of any federal crimes.
"The local police chief, Michael Reiter, accused prosecutors of giving Epstein special treatment and in 2006 referred the case to the FBI."
Epstein and the feds drew up a non-prosecution agreement in September 2007. Without informing any of the victims, the two sides decided that Epstein would plead guilty to a pair of state charges (solicitation of prostitution and procurement of minors for prostitution) and waive his right to contest damages, if the victims decided to sue him over the abuse. He also agreed to pay for the girls' attorney's fees.
Indeed, the NPA stated that "the United States, in consultation with and subject to the good faith approval of Epstein's counsel, shall select an attorney representative for [the victims], who shall be paid for by Epstein."
The NPA also granted immunity to any "potential co-conspirator" of Epstein's and ensured the deal would "not be made part of any public record."
Epstein could have faced multiple federal charges, the NPA noted, including: sex trafficking of children or by force, fraud or coercion, 18 U.S.C. 1591; the use of a facility or means of interstate commerce to entice minors into prostitution, 18 U.S.C. 2422(b); and traveling for the purpose of engaging in illicit sexual conduct with minors, 18 U.S.C. 2423(b). The document states Epstein might have committed those crimes from around 2001 to September 2007.
Other women claim that Epstein's alleged abuse spanned many years and many locations, according to civil court filings.
"Epstein could have faced multiple federal charges, the NPA noted, including sex trafficking of children or by force, fraud or coercion."
In an April 2019 affidavit, a woman named Maria Farmer said she met Epstein and Maxwell sometime in 1995, at one of Farmer's art shows in New York. In 1996, Epstein offered her a job to help him acquire art. But according to Farmer, she instead ended up manning the door at Epstein's Upper East Side mansion and keeping records of his visitors.
Some of those visitors, Farmer claimed, were underage girls in school uniforms who would be led to an upstairs bedroom for what Maxwell called interviews for "modeling" positions. Farmer witnessed Epstein's lawyer and friend, Harvard law professor Alan Dershowitz, head upstairs where the girls were present, the affidavit stated.
Dershowitz has denied Farmer's accusations. "Maria Farmer stopped working for Epstein before I ever met Epstein," Dershowitz told The Daily Beast. "It's a totally perjured affidavit. It's all totally made up. For her lawyers to submit these obviously perjured affidavits raises serious questions about their role in this case."
In the summer of 1996, Epstein allegedly arranged for Farmer to work on a special art project at Leslie Wexner's mansion in New Albany, Ohio. Farmer and her two younger brothers stayed at the property at the time.
Farmer claims Maxwell and Epstein sexually assaulted her at the Ohio property, and Wexner's security team refused to let her leave. She said she tried calling the sheriff's office but didn't get a response. Her father had to drive from Kentucky to help her.
Once she returned to New York, Farmer visited the NYPD's sixth precinct to report the Ohio assault, but officers there told her to contact the FBI. Farmer called the feds, but they didn't appear to take any action, the affidavit states.
Meanwhile, Farmer claims Epstein and Maxwell preyed on her 15-year-old sister, molesting her at Epstein's ranch in New Mexico. Epstein also held her sibling's hand at a New York movie theater, where he "was rubbing her in a sexual manner without my knowledge," Farmer added.
"I was terrified of Maxwell and Epstein and I moved a number of times to try to hide from them," Farmer stated of the powerful pair's alleged threats against her and their alleged efforts to sabotage her reputation in the art world.
Another accuser, Virginia Roberts Giuffre, has long claimed that Epstein and Maxwell abused minor girls across the country and abroad, and that Epstein loaned his victims out to his famous friends, including Dershowitz and Prince Andrew.
Giuffre filed a declaration in 2015 as part of the Crime Victims' Rights Act suit and detailed Epstein's alleged sex ring. She said she met Epstein in 1999 after Maxwell approached her during her summer job at Mar-a-Lago. She was 15 years old.
Dershowitz and Prince Andrew vehemently denied Giuffre's claims, and Buckingham Place quickly released a statement: "It is emphatically denied that HRH The Duke of York had any form of sexual contact or relationship with Virginia Roberts. The allegations made are false and without any foundation."
"The story is totally made up," Dershowitz told the BBC after Giuffre's court filing made international headlines. He added, "My only feeling is if she's lied about me, which I know to an absolute certainty she has, she should not be believed about anyone else."
"It wasn't just sexual training—they wanted me to be able to cater to all the needs of the men they were going to send me to."
Maxwell allegedly offered Giuffre professional training in massages. But when Giuffre arrived at Epstein's Palm Beach home, she was allegedly forced into sexual activity with the billionaire and would become trapped in his web.
She said that when she began "working" for Epstein, he flew her to New York on his private jet and molested her at his Manhattan mansion. "I was trained to be 'everything a man wanted me to be,'" Giuffre said in the declaration. "It wasn't just sexual training—they wanted me to be able to cater to all the needs of the men they were going to send me to."
Maxwell and Epstein allegedly ordered Giuffre to pay attention to what the men wanted, so she could report back to them. Giuffre said she traveled with Epstein from 1999 through the summer of 2002, to his homes in New York, New Mexico, the U.S. Virgin Islands, and Paris, France.
"I had sex with him often in these places and also with the various people he demanded that I have sex with," Giuffre stated. "Epstein paid me for many of these sexual encounters. In fact, my only purpose for Epstein, Maxwell and their friends was to be used for sex."
Giuffre added that "Epstein had sex with underage girls on a daily basis" and that his interest in minor girls was "obvious" to those in his orbit. His code word for this abuse was "massage," and Maxwell would often have sex with the victims, too, Giuffre claimed.
Maxwell denied Giuffre's claims as early as 2011, after Giuffre gave an interview to the Daily Mail, releasing a statement that claimed "the allegations made against me are abhorrent and entirely untrue and I ask that they stop."
In 2015, Maxwell called Giuffre's allegations "obvious lies," and Giuffre filed a defamation suit against the socialite. The Miami Herald and other news outlets have asked the U.S. Court of Appeals for the Second Circuit to unseal all pleadings in that case, which was settled in 2017. Paul Cassell, one of Giuffre's lawyers, told the court that if the records are made public, they "will show that Epstein and Maxwell were trafficking girls to the benefit of his friends, including Mr. Dershowitz."
Last week, the court ordered the release of sealed documents in the case.
Epstein allegedly forced Giuffre to have sex with Prince Andrew at least three times, including during an orgy. (The court filing includes a photo of "Andy" putting his arm around Giuffre's partially bare waist, while Maxwell smiles in the background.)
Giuffre said she was also forced to have sex with another Epstein confidant, Jean Luc Brunel, who runs the MC2 modeling agency.
Brunel supplied Epstein with girls as young as 12, luring aspiring models from poor countries or poor backgrounds to the United States, Giuffre alleged. "Jeffrey Epstein has told me that he has slept with over 1,000 of Brunel's girls, and everything that I have seen confirms this claim," Giuffre stated. (Brunel, in a previous statement, denied being involved "in the actions Mr. Jeffrey Epstein is being accused of" and said "I have exercised with the utmost ethical standard for almost 40 years.")
Giuffre said she finally escaped Epstein's abuse after he sent her to Thailand to learn Thai massage and to recruit another young girl for his alleged sex ring. Instead, Giuffre met her future husband and relocated to Australia.
Years later, in 2011, two FBI agents from Florida visited Giuffre to discuss Epstein. In another declaration, Giuffre said the investigators "seemed like they were being blocked from doing what they wanted to do—which I thought was to arrest Epstein and his powerful friends for all their illegal sexual crimes."
In 2014, Giuffre tried to contact the FBI again for an update on the Epstein investigation. "I have never been able to figure out who was (and still is) stopping a prosecution," Giuffre stated in the declaration.
"Because nothing is being done," Giuffre added, "it makes me think that Epstein was right when he told me he had so many people in his pocket. Maybe those people are still helping him escape being prosecuted for what he did against me.
"The justice system doesn't seem to respond to the victims in this case. It seems to favor those who have the most money and power and influence."
www.thedailybeast.com/jeffrey-epstein-arrested-for-sex-trafficking-of-minors-source
www.reddit.com/r/conspiracy/comments/ca0kd5/jeffrey_epstein_arrested_for_sex_trafficking_of/
Jeffrey Epstein Arrested For Sex Trafficking of Minors Feb 1, 2021 15:26:27 GMT -8 WeAreAllOne likes this
Post by linen on Feb 1, 2021 15:26:27 GMT -8
Hope you don't mind me resurrecting this thread. This guy is such a perv. This is a deposition that has just been unsealed.
This is another unsealed depo
Last Edit: Feb 1, 2021 15:31:18 GMT -8 by linen
Giuffre v. Maxwell
Jeffrey Epstein Arrested For Sex Trafficking of Minors Feb 2, 2021 15:58:47 GMT -8
Post by WeAreAllOne on Feb 2, 2021 15:58:47 GMT -8
Feb 1, 2021 15:26:27 GMT -8 linen said:
I don't mind threads being revived at all, even if it's years old. I leave most threads unlocked in case anyone wants to add any future discussion at any time, such as you have here
Thanks for sharing those links
I had heard the disposition was released. There's gotta be some interesting information in there. I've been keeping my eyes on the maxwell case as well to see how that ends up. Will be curious to see what happens to her
Thank you WAAO. I don't have the patience to wade through the depositions and motions, etc. but I thought for those who might.....
Here are some newly release pics of Epstein with children. From what I have read about him he "groomed" children as young as 4 and 5 for sex.
Jeffrey Epstein Arrested For Sex Trafficking of Minors Feb 13, 2021 18:40:09 GMT -8
Post by Yoda on Feb 13, 2021 18:40:09 GMT -8
This sick fu&k was apparently offed by his so called mates so that they could not be implicated by him. Unfortunately for them, the dumbasses, they forgot to cleanse for documentation such has flight manifest and logs as well as his clientele black book.
Post by linen on Feb 13, 2021 20:03:29 GMT -8
His flight manefesto and "black book" have already been copied. Ha Ha!
One thing I noticed about both of the photos, is there is no adult females seated at the table. The only female is the little baby girl. I wonder if the other females at the venue raised an eyebrow over it. Probably not. That makes them just as guilty as the peodos.
Last Edit: Feb 13, 2021 20:27:52 GMT -8 by Yoda
Jeffrey Epstein Arrested For Sex Trafficking of Minors Feb 14, 2021 6:18:51 GMT -8
Post by linen on Feb 14, 2021 6:18:51 GMT -8
Yeah, I noticed that to. Makes me want to puke.
Jeffrey Epstein did escape amongst the chaos in Washington D.C. but not before he was interrogated and gave up all about the cabal around the world and also gave the blueprint plans for the tunnels under the Capitol.


The recent J.P. Morgan Healthcare Conference, its 35th iteration, served as an unofficial 2017 kick-off for organizations invested in the future of healthcare. Sandwiched between CES and HIMSS, the conference has historically focused on life science ventures and hospital systems that are customers of the bank. In recent years, however, the function of the week has has evolved dramatically for relevant stakeholders in the healthcare marketplace.
The healthcare space has transformed into a dynamic hotbed of innovation and funding. Consider the intersections of payment, quality, regulation, consumerism, and technology in the contemporary business of healthcare and you get quite the interesting mixing pot. Those other conferences, CES and HIMSS, have their own significance, and each give voice to healthcare sensations propelled by the rise of IT spending and the development of devices for every type of activity in the space. However, the JPM conference owns the narrative of value in regard to the future of healthcare. To illustrate, I'll quickly touch on three aspects that make the conference unique.
The CEOs and CFOs of the largest companies in healthcare come to relate their narratives for 2017, and recount the tale of the year that was. It is a key forum for explaining new strategies for allocating capital for the future as well as answering questions surrounding allocations of capital over the prior year.
As the heat around information technology and health data intensifies, the need to inject regulatory considerations into integration and blurred business models has grown more pressing. Questions surrounding data security and interoperability among multiple parties pop up in every tale, and regulatory issues increasingly drive the plot.
At the 2016 conference, a highly publicized keynote featured a stage shared by Andy Slavitt, Acting Administrator for CMS, and Dr. James Madara, CEO of the AMA. The presentation was a significant indicator of the heightened role of regulatory guidelines and physician collaboration in future narratives on healthcare. JPM 2017 saw an expansion of this important trend with Vice President Biden joining the action.
The JPM conference is largely about the future. JPM's future stories are related to capital resources and the need to generate a return on investment for shareholders and investors. This translates into an overarching bent toward the concept delivering value. Great missions are not put into motion simply because we have achieved the capability to complete them; great missions must be shown to be achievable and deliver tangible improvement and reward. The fascinating aspect about the evolution of this conference in recent years has been the rise of information and technology's importance in narratives of particular significance to executive leadership. CEOs and CFOs are talking about these topics, not just CIOs. The promise of the future is tied explicitly to the short-term opportunity cost of pursuing other efforts; and recurring themes explore how technology can unlock astounding opportunities or relegate an incumbent to irrelevance.
The real action at the JPM conference centers less around the symposium held at the Westin St. Francis than it does around the meetings that occur around the meeting. The deals that endow the promise of a new innovation or the soundness of a venture are made at an assortment of restaurant tables and in ancillary hotel rooms and meeting spaces around the city. I'd hazard a guess that over 75% of the population surge that inundates San Francisco during JPM conference week are individuals who don't attend a single session at the symposium. They are most definitely drawn by the promise of face time with the players who do attend or speak at the event, which ignites millions upon millions of fundraising and investment.
For Health2047, unique nature of the J.P. Morgan Healthcare Conference reflects a sound approach toward transforming healthcare. Crafting narratives amidst finance, industry, and regulatory leadership in the healthcare space ensures strategic vision aligned to a shared belief that no individual entity can go at it alone. And the finance-focused underpinnings of this event provide a healthy constraint to encourage development of solutions of value that last.
This spirit of market-driven collaboration permeated related events around the city. One of the greatest challenges was in finding meaningful forums for those random rich interactions that generate new partnerships and initiatives. Many settings devolve into overly loud cocktail parties or insular circles, but there are also gatherings steeped in serendipity, where random collisions of an unexpected nature occur and high-value interactions take place. We held our own intimate Health2047/American Medical Association joint reception in conjunction with the JPM conference. The stories exchanged around our studio that rainy evening projected a financeable, productive, and meaningful 2017 that will transform what healthcare will look like in 2047. That's a narrative with value.


This is the third year that Griffith Hack has sponsored the annual Medtech's Got Talent competition, which aims to help start-ups in the medical technology sector develop and commercialise their innovations, and grow.
More than $36 million has been raised by past challenge entrants, five are on the market and three manufacturing contracts have been signed and initiated.
Griffith Hack Principal Nadia Odorico says Australia's medtech sector is thriving with innovative entrepreneurs and start-ups wanting to improve health outcomes for people around the world.
"Competitions like MedTech's Got Talent provide a valuable and much-needed platform for early stage start-ups to drive development of their inventions," she says.
Griffith Hack drafted and filed a provisional patent for the competition's 2016 winner, hearing technology developer Hemideina, as part of their prize.
Co-founder Dr Liz Williams said protecting intellectual property with a patent was hugely important for an early-stage start-up company like Hemideina.
"It shows investors that we have an asset that they can invest in," she says, noting that the cochlear implant market is worth $1.8 billion a year, despite only serving 2% of the profoundly deaf population.
This year's gala final pitch event will be held on November 30.


Balance your upper and lower body exercises.
Muscle building doesn't have to be difficult. Let's break it down in three simple steps.
Muscle building doesn't have to be difficult. Let's break it down in three simple steps. Getting results and changing your body composition takes hard work and consistency. Whether your goal is to build muscle, improve your overall fitness level or lose weight, you must do certain things on a regular basis to reach your ultimate goal. These three steps will work within your fitness improvement regimen and contribute to your muscle-building plan.
Step 1. Perform specific exercises on a regular basis.
Step 2. Eat a well-balanced diet including adequate amounts of protein and micronutrients.
Step 3. Schedule some rest days to allow for adaptations to occur.
In order to stimulate muscle growth, your body must be pushed with resistance style exercises. Muscle growth occurs when small muscle fibers tear as a result of stress, and then regenerate themselves. This growth occurs during periods of rest, and your body needs fuel to regenerate efficiently.
Hard work: Stimulate muscle tissue by training hard. Use your body weight as resistance, or lift weights on a regular basis, 3-4 times per week.
Balance: Do exercises for the upper and lower body to ensure you maintain a good muscular balance in your body.
Patience: Allow time for the results to appear. It takes time to see muscle growth and gain strength.
Rest days: Don't over-train because your recovery ability will be compromised. Plan to take at least 1 or 2 rest days per week.
Motivation: Understand that you need to motivate yourself to make it happen.
Progressive training is important if you want your muscle-building routine to be productive. You must be dedicated to training in a way that helps you to improve over time. If you lift the same amount of resistance for the same number of repetitions (reps) during each workout session, you'll stay the same. At some point, you must attempt to either perform more reps, or use more resistance.
Following a reps and weight increase schedule will allow you to easily measure if you're improving from workout to workout. Rep ranges is a simple concept to understand and apply to your training.
I like to recommend a rep range of 10-14 for strength training in the initial stages, especially when someone is just getting started. High reps will force you to choose a moderate weight. This way you'll become proficient with exercise form (important for safety) as the weight increases. As your workouts transition more into the power range, increase weight and decrease reps.
Your goal in your first workout is to reach muscular fatigue within the set range using a set amount of resistance. For example, if 50lbs was your chosen weight for squats and you achieved twelve perfect reps, you'd simply record 1 set of squats = 50lbs 12 reps.
The goal in your next workout would be to achieve more reps with the same weight until you can perform 14 full reps. Achieving the set reps should prompt you to increase resistance in your following session, because the top end of the rep range was achieved.
The resistance for that set should be increased between 5-10% with the goal of achieving at least 10 reps in the 10-14 rep range.
Your ongoing goal should be to increase the number of reps within the rep range and then increase the amount of resistance when the top end of the range is reached. This method of training is slow, but it's a foolproof way to increase your overall strength and muscle mass.
You'll need to ensure that you're getting enough fuel for your workouts and recovery. You should aim to have a good breakfast, a mid-morning snack, a sensible lunch, a mid-afternoon snack and then an appropriate dinner in the evening.
You're attempting to build muscle and you need fuel to accomplish that. You can't restrict your calories too much, but don't get confused by that. You should always restrict your consumption of unhealthy calories. Choose nutrient-dense foods that are high in protein and get your carbohydrates from whole grains and fruits. Many people who are trying to gain weight or muscle will make the mistake of thinking they can eat a lot of unhealthy food. This will make you gain weight, but weight gain with unhealthy foods is detrimental to your overall health. Be sensible with your choices.


The NYC metrocard system has remained unchanged for decades. The cost of the metrocard machine infrastructure, the lost time of waiting in line to buy a metrocard, touching a dirty machine to do it, the potential of losing the metrocard, and the ease of gaming the system by swiping your card for others has cost the city millions of dollars and leaves much to be desired from the user experience.
Client asked for a new system that allows a daily user who uses the metro everyday or an out-of-town visitor who will use the metro just once to get access to the metro, on time, without having a physical NYC metrocard on hand.


text:
Q: How to return both view and object from Laravel 5 controller to Angular controller When entering the url, domain.com/floorplans, I would like the FloorplanController.php to return all floorplans to an angular controller and also return the view.
Here is FloorplanController@index:
public function index()
    {
        $floorplans = Floorplan::all();
        return view('floorplans.index', compact('floorplans'));
    }

Here is my Angular controller:
angular
.module('myApp', [])

.controller('FloorplanController', function($scope, $http) {

    $http.get('/floorplan').success(function(floorplans) {
        $scope.floorplans = floorplans;
    });

});

The above doesn't work as $scope.floorplans = floorplans; is always undefined.
If I create two separate routes in my routes.php file, I can get it to work, but that seems very sloppy.
Route::get('/', function()
{

    return view('floorplans.index');

});

Route::get('test', function()
{

    return Floorplan::all();

});

What is the proper syntax to return a view with an object so that the object is picked up by my Angular controller?

A: You can try this code, it work for me now:
public function index()
{
    $data['floorplans'] = Floorplan::all();
    return view('floorplans.index')-> with($data);
}

Then in your view, use: $floorplans (php) or {{$floorplans}} (html)
Get value from column-name: $floorplans['column-name']

A: I was facing same issue but I resolved it in one of my projects. This reply mightbe too late but just want to share my experience.
Here you can do as stated below.
Here is your Route :
Route::get('/', floorplanController@index);
Route::get('/floorplan', floorplanController@floorplan);

Here is your controller :
public function index(){
 return view('index');
}

public function floorplan(){
return response()->json(Floorplan:get());
}

You can keep your angular controller as it is. But its better to use separate service page and your main application module defined in separate page, which will be helpful when your application grows.

redpajama_set_name: RedPajamaStackExchange


I got off the plane in Fort Lauderdale and went to passport control. The officer asked a million questions about Jamaica, looked at all of the stamps in my passport then asked "how do you afford to travel so much, what do you do for work?". My response of "I worked in a call centre and I'm just careful with my money" was not believable enough. Weird. I got sent to get my case searched and the guy ripped the lining inside to check there was nothing suspicious planted. RIP my case. After it was determined I wasn't actually a drug mule, I was free to go.
I took an Uber to South Beach and my driver was called Donald. He was an absolute riot. He barely spoke English but used Google translate on his phone every time I said something he didn't understand. After 5 minutes of me trying to understand his question about a balloon costume I realised he meant swimsuit. Haha. He blasted some reggaeton music and started having a dance party in the car. What a guy.
I met my friend Vivian at our hostel and we were both so tired so just relaxed for the day at the beach.
On Friday we met up with my first ever travel blogger friend, Jen, who lives here. We went to Surfcomber hotel by the beach and spent the day swimming again. I got sunburned and ended up looking like Rudolph, damnit.
At night we went on a bar crawl which was wild. We were chilling in the first bar having a few casual drinks until our group left to go to the bar's other room. The music was blaring, there were stripper poles and it was packed. This girl came out and started dancing in her underwear. People (guys and girls) were throwing dollars at her and guys kept touching her when she was dancing. Hate to be a party pooper but I honestly felt like I was going to cry because I know how dark that industry is.
After we left that bar we went to the fire and ice bar which was so freaking cool (lol). They gave us giant fur coats and I felt like an old school pimp.
We got two extremely annoying roommates from Spain who have woken me up around 675 times in the past few days. They were kinda creepy so I told them we were 16 and they haven't talked to us since. I'm pretty passive when it comes to confrontation but Vivian just tells them to shut up when they're being noisy. Haha. Travelling with her has been funny because she has absolutely no filter. We got new room mates the other day and because they were brown she immediately asked if they were from India. They gave us a dirty look and said "Egypt" then she realised how racist that was. Oops.
We decided to extend our stay in Miami so I'll be here until I go back to Scotland next week. Part 2 coming soon.
Well yeah. If you have been on the road a lot and look young. These customs and border control folks seems to ask lots of questions. Actually the same happens at British customs too!


text:
iPads fall for third consecutive quarter, iPhones and Macs boost Apple's Q4 [Updated]
The Mac brought in more revenue than the iPad for the first time in a while.
Enlarge / Apple rode the iPhone 6 and 6 Plus to a record quarter.
Apple has just released the data for the fourth quarter of its fiscal 2014, and the story is the same as it's been for most of the year: iPhone sales are up, iPad sales are down-to-flat, Mac sales are up a little and continue to beat the growth rate of the wider PC market, and iPods have fallen off a cliff. Apple's fourth quarter runs from the beginning of July to the end of September, so it includes the new iPhone launch but not the new iPads and Macs announced last week.
First, some hard numbers: Apple made a record $42.1 billion in revenue and $8.5 billion in profit, and had a gross margin of 38 percent. The revenue numbers beat Apple's guidance from last quarter, which predicted revenue between $37 and $40 billion and a margin between 37 and 38 percent. Last year, the company posted $37.5 billion in revenue and profit of $7.5 billion with gross margins of 37 percent. For the first quarter of fiscal 2015—usually Apple's largest by far, since it encompasses the holidays and several new product launches—the company is predicting between $63.5 and $66.5 billion of revenue and 37.5 to 38.5 precent margins.
The iPhone continues to be Apple's biggest product both in terms of unit sales and of revenue. The first weeks of iPhone 6 and 6 Plus availability helped Apple sell 39.27 million iPhones, up from 33.78 million last year, and the iPhone lineup accounts for 56.2 percent of the company's revenue.
Though the iPhone news is good, the iPad continues its year-over-year decline. Apple sold 12.32 million of the tablets this quarter compared to 14.08 million a year ago, a drop of 12.5 percent. The tablet is still Apple's second-largest product by units sold—the Mac beat it out in terms of revenue for the first time in years, though iPad margins could still be higher—but three straight quarters of sales decline is worrisome for Apple. The introduction of the iPad Air 2 and the iPad Mini 3 (and the new, lower prices for the original iPad Air and iPad Mini 2) may help boost these numbers next quarter, and Apple CEO Tim Cook has said that he expects its partnership with IBM to increase sales in large businesses.
The news doesn't look great for iPads, but Macs continue to sell in record numbers despite Intel's Broadwell delay holding up major refreshes to the lineup. Apple sold 5.52 million Macs this quarter, up from 4.57 million last year. This increase is likely attributable to some price cuts across the lineup, including the cheaper MacBook Airs and the cheaper-but-less-powerful low-end iMac. iPods continue their precipitous decline, falling from 3.5 million units last year to just 2.64 million this year. The lineup hasn't been updated since 2012, unless you consider the death of the iPod Classic to be an update.
Update: Apple has announced that it will be changing up how it divides up its product lines beginning in Q1 of 2015. Currently, Apple divides the iPhone, iPad, Mac, iPod, iTunes/Software/Services, and Accessories into separate line items in its reports. Next quarter, the iPod will be folded into a line called Other Products with Beats headphones, Apple TV, and other accessories sold through Apple's stores. When the Apple Watch ships, it will be lumped in with Other Products as well. Apple Pay revenue will be added to iTunes/Software/Services along with iTunes and App Store revenue. iPhones, iPads, and Macs will each remain separate categories.
Apple says that it will re-release its old earnings reports to be consistent with the new divisions when the Q1 2015 results are released. We'll update our charts accordingly.
Update 2: When asked about the downward trend in iPad sales, Tim Cook didn't answer directly. Instead, he encouraged investors to look at the first four years of iPad and compare it to the first four years of its other products, including iPhones. Total sales are still higher, and officially the company regards the iPad's drop as a "speed bump" and nothing to be worried about in the long term. Apple emphasized this lifetime sales figure at its iPad announcement event last week, too.
Cook also believes that there's room for growth in the enterprise, and that the tablet market isn't yet saturated. He said that the company's data showed that 50 to 70 percent of iPad sales in the top six countries were to first-time iPad buyers.

redpajama_set_name: RedPajamaCommonCrawl


Westshore students, WINTER IS COMING! Have your car inspected for basic winter safety needs, learn how to check tire pressure, top off wiper fluid, and receive your winter survival kit.
Contact the Student Engagement Office with questions at 216-987-5929.
Car care program is an amazing initiative and I want to a part of it. I can help people from Colorado by checking their car's VIN at https://www.faxvin.com/vin-check/colorado. I believe that it will be a big part of this program and will help people to feel more safe about their car not being a stolen one.


text:
JKM
Posted on Jul 29, 2020 In Business, Design, Mobile, Technology
UK at the center of music and smart tech debates on VR & AI
by Juliana Koranteng
Experts offer music royalties innovation…
Music tech start-up Mxx
Targeting generation alpha gets tougher…
$700BN Global sports market learns to use data
audio business design media music technology
As we kick-start 2017, the United Kingdom appears to be leading the debate about the music industry and its use of smart technology, from Virtual Reality (VR) to Artificial Intelligence (AI).
The year 2016 saw the release of numerous VR-content projects but they were mostly marketing concepts promoting audio-visual entertainment: TV shows (National Geographic Channel's Mars), blockbuster action movies (Warner Bros.' Suicide Squad), or video games (Capcom's Resident Evil 7).
This year should see the audio-focused business of music gaining momentum in the VR space, starting with MelodyVR, a VR tech manufacturer and content studio listed on the UK's AIM stock exchange as EVR Holdings plc.
After a soft launch last year, it is set to go fully commercial in 2017 with the sale of its VR music apps. It is also one of the few VR entertainment ventures to go public with a business model aimed at a mass market.
Last November, co-founder Steven Hancock told delegates at the London-based Music 4.5 conference on The New Creative Tech that MelodyVR apps will be on sale with prices ranging from 69 pence (US$0.85) to £10.99 (US$13.56).
"There will be no advertising, brands or sponsors. It will be VR on demand, similar to iTunes and the revenue will be split among the rights owners," he said.
Record labels are notorious for raising obstacles against new digital-media inventions applying for the required music rights. Yet, MelodyVR appears to be making headway.
It has sealed agreements with several music companies, including major label Warner Music Group. Additionally, it is working with a reported 400-plus artists who include big international acts like Norwegian DJ/record producer Kygo (pictured), The Who, Duran Duran, and the London Symphony Orchestra.
The rights snapped up by MelodyVR appear to vary from artist to artist, from label to label, from concert promoter to concert promoter. But it promises its service will offer premium downloadable VR gigs and music videos. And the long-term goal is to stream live concerts too.
The company guarantees its technology is VR headset-agnostic, meaning it is compatible with Facebook's Oculus Rift, Sony's recently launched PlayStation VR, Samsung's Gear VR and headsets that are not yet in the market.
In September, it announced a partnership to promote the MelodyVR app at 665 O2 branded retail outlets belonging to telecoms giant Telefonica in Germany, one of Europe's biggest music markets. Moreover, 65 of the key O2 stores will actively encourage customers to try out MelodyVR.
Hancock told the Music 4.5 audience: "We're sitting on the world's largest VR music library and have a strategic relationship with all the record companies. We're working with artists to create intimate gigs, including ones of just you, the fan, and the artist. Two and a half years ago, no one was creating content but we saw an opportunity for artists to engage in a way not done before."
Hancock also spoke at another London-based event, the Futuresource Audio Collaborative, where a session was devoted to the place of audio technology in VR entertainment.
Speaking during the same Futuresource session was Daryl Atkins, Creative Director at Rewind.co, the VR creative agency and digital production house famous for its collaboration with Bjork in 2015.
He highlighted the importance of getting the optimum sound in VR music content.
"The content is the most important thing. So you need to make the audio future-proof now," he said. "Technology can age very quickly, so it's important to create great content now. In the last year, it's been about rich content. It's now the responsibility of the content creators to do something to keep the medium alive."
Artificial Intelligence (AI) is another digital tech that has taken the music industry by storm.
AI is melds a combination of algorithms, Big Data analytics and machine learning to enable content creators to communicate with consumers and connect with them emotionally by offering personalized experiences.
BPI, the UK recorded music industry's trade organization, held a seminar last November to explore such smart technology and its impact on the sector.
Called Music's Smart Future: How Will Artificial Intelligence Impact the Music Industry, it was co-hosted with consultancy firm Music Ally and several participants came from record labels, including Polydor, Sony Music Entertainment and Universal Music Group.
Attendees would have learned about the use of AI to compose music via companies like UK-based Jukedeck and Melodrive, as well as Chinese Internet conglomerate Baidu, which has built AI Composer to create music inspired by art.
Delegates at the BPI seminar would have also discovered artists like Brian Eno are creating music with AI. Other British acts, such as Bastille, Olly Murs, Radiohead and Robbie Williams, communicate with fans via AI.
Digital streaming platforms, including Apple Music Deezer, and Spotify, employ AI to direct relevant tracks to listeners. And voice-activated digital assistants like Apple's Siri and Amazon's Alexa are being programmed to help consumers discover, select and access songs to listen to on their digital devices.
As BPI CEO Geoff Taylor said: "AI is enabling the creation of hyper-personalized playlists using contextual data and deep analysis of the relationship between songs, while artists and labels are now using chatbots to engage fan-bases in campaigns. Algorithms are also beginning to influence the composition of music, as artists embrace the technology to enhance their own creativity."
Research firm CB Insights calculates that almost 140 start-ups specializing in advance AI have been acquired since 2011 with corporations like Google, Samsung and Apple among the big buyers in 2016. E-commerce giant Amazon.com says its best-selling product during the recent Christmas holidays was Echo, its Alexa-powered wireless speaker.
But, as another Music 4.5 presenter reminded us, all matters new-tech take time before they go truly commercial.
Mick Grierson (Reader, Director of Creative Computing, Computational Arts at University of London's Goldsmiths college) noted that the application of smart technology will vary from use to use. And while there are still more questions than answers for the music industry, AI is here to stay.
He said: "AI promises a lot because no one is really sure what it is. It isn't the kind of AI you see in films. This is not about mimicking human intelligence. Think of it as machine learning. It is growing at a remarkable rate and it is going to change everything, whether you like it or not."
businessmediatechnology
a JayKay Media Inc publication
info@jaykaymediainc.com
© 2021 TechMutiny | JayKay Media Inc. All rights reserved.


A couple of weeks ago, Inside Islam aired a radio show on "The Taqwacores" and we posted a series of blog entries on the punk movement in the US. You can listen to the broadcast and browse all of the posts about Taqwacores on Inside Islam by clicking here.
The following video from NBC Nightly News features our guests from that radio show — author of The Taqwacores Michael Muhammad Knight and drummer for the Kominas Imran Malik. The video highlights other individuals and bands who are also struggling to articulate this new Muslim punk genre of music and what it means to a mainstream audience.
Earlier this year, I wrote a post about punk Islam in response to the LA Times' "Islam, the Koran, and Lots of Questions." Michael Muhammad Knight's book about Muslim youth and the American punk music scene, The Taqwacores, as well as a band called The Kominas were mentioned in the last post. Today, I return to these subjects because The Taqwacores will also be the focus of the next Inside Islam radio show, airing this Thursday.


Extension methods to System.Net.Http.HttpRequestMessage and System.Net.Http.HttpResponseMessage.
Indicates if exponential back-off is used automatically on exceptions in a service requests and \ or when 503 responses is returned form the server.
Exponential back-off is enabled only for exceptions.
Exponential back-off is enabled only for 503 HTTP Status code.


text:
What Is It That You Do Exactly?
Categorizing Contemporary Jewelry through Exhibitions
By Kellie Riggs
To us—that is, those I imagine to be the general audience associated with texts such as this—the idea that the contemporary jewelry field must still be defined or comprehensively explained continues to be topical, as most people outside our small niche remain unaware that contemporary jewelry even exists and has existed for some time. For decades, we have toyed with sociological naming (studio jewelry, art jewelry, etc.) or variations thereof that try to more accurately suggest how the field exists as a reflective creative process. And so, any book hoping to sort through these semantic vagaries will typically dedicate a large portion of its preface to naming the field before any real conversation can be undertaken about the work being made or how it functions in the world.
How effective or wide reaching have these definitions been? In my own experience, not much as is made evident by the reoccurring obligation to explain the objective of my research and my own studio practice to a bunch of medieval historians, immigration researchers, general academics, and even art goers. I find that my own definition for contemporary jewelry is often founded on the utter impossibility to do just that—define—which in my opinion, happens be the field's most frustrating yet interesting component.
But let's pretend for a moment that the uncharted island that is contemporary jewelry has indeed settled on one name and that the rest of the world knows we share their waters. How then do we talk clearly about what is happening on an island entirely made up of visual richness and tactile relationships? How do we differentiate the work that the many, wildly diverse artists produce? Besides the obvious differences between master and student or between the makers that get into shows and those that do not, as a field of individual creators we have failed to really differentiate ourselves from one another. Purposely generated and substantial categories of contemporary jewelry that identify artists' approaches, subject matter, or even similarities in form do not really exist. More general attempts to identify what comprises the field remain repetitive, lengthy, and a bit too historical for my taste. And despite the continued difficulties in trying to explain the practice of contemporary jewelry to outsiders, efforts to create a more descriptive language or a categorical system that respects the diversity of work being produced remains minimal at best.
There is one mode, however, through which we have been organizing the work, even if noncommittally so, and that is via the exhibition. Depending on the kind of exhibition or the unifying criteria of the chosen pieces, exhibitions may provide makers with a better platform to introduce themselves, which is worth investigating. As this article will show, the outright purpose of an exhibition may not be to serve individual practice (though the better ones do). Most of the time, exhibitions remain extensions of associative projects and simply pay tribute to a generic form of creativity rather than trying to identify and celebrate specific modes of expression. Be that as it may, exhibitions can be viewed as grouping tools. When curated effectively, they distill facets of the field absent in more general written descriptions. What I would like to do in this text is consider exhibitions as a means of categorizing contemporary jewelry. Can exhibitions help us spell out a clearer message about what we are and help us more aptly dialogue with other art practices? Let's find out.
In the introduction to his compilation of essays Collecting the New, Bruce Altshuler, director of museum studies at New York University states the following:
"Institutional structures created at an earlier time to meet different needs are being called into question by new artistic media and by the use of the term contemporary to designate a particular kind of artwork. Alternative conceptions of the artwork and new technologies have created special problems of preservation and conservation. Broader social and political changes have generated new artistic categories and have broken down established national and ethnic divisions, all of which have affected how collections are built and their contents organized." (Altshuler 8)
For the record, I did not use this reference to make the argument that our field should be considered a valid new artistic media to be categorized and exhibited in museums under the guise of contemporary art (although that argument can and should be made). But, I think what Atshuler says about new category generation should also be considered within contemporary jewelry as well. After all, our field has faced similar evolutional changes that have yet to be accounted for.
[This is especially relevant to the way contemporary jewelry is categorized (if it is categorized at all) in museum collections. The Metropolitan Museum of Art, for example, has contemporary jewelry pieces in their collection, but where are they? The work is basically hidden in the depths of their online catalogue, accessible only if one searches for specific dates or knows the name of the artist. Using "contemporary jewelry" as key words will get you nowhere. As it stands, this descriptive uncertainty not only perpetuates inaccessibility within a collection, but also obscures new associations and exposure to potential audiences, thus contributing to the slowness of our field in relation to other art practices.]
To put things more simply, let me ask you this: how much does, let's say, Nanna Melland's work really have in common with work from someone like Graziano Visintin or Doris Betz, beyond the facts that their pieces can be seen on bodies and can be called jewelry?
Looking at past and current exhibitions is one way we can begin to think about breaking down how we consider and value what is being made. It's like working in reverse. Whether the exhibition initiative is institutional or independent, and even if the distinction between assembling, selecting, and curating is lost on exhibition organizers (as it most often is), sorting through various shows and analyzing the associations being forged between pieces and their authors can help us see more clearly what kind of work exists within the field. If certain exhibition types help us identify subgenres within contemporary jewelry, then makers and writers may subsequently discover better ways of defining the work at hand and explaining it to others.
In the following part of this essay, I will discuss what I consider to be the four most obvious go-to exhibition themes broken down into the simplest of terms. These divisions come from situations I have been confronted with as a maker and as an observer of the structures that make up the contemporary jewelry field.
1. All the Objects in this Show Are Made of the Same Thing
Or in other words, exhibitions based solely on material. At times, captivating moments can be found in such shows. Take, for instance, Thomas Gentille's brooches in the 2012 exhibition Wood presented by Velvet da Vinci (San Francisco, California) or Carolina Gimeno's enameled neckpieces exhibited in Die Renaissance des Emaillierens during Schmuck 2012 at Galerie Handwerk (Munich, Germany). Both shows featured the work of a large number of makers: Velvet da Vinci showcased 26 jewelers and Galerie Handwerk featured approximately 40 makers. I think this is too many people in one room: the logic of large collective projects gets in the way of detailed mediation efforts. Is it possible that all participating artists equally valued material in the same way? Of course not. Yet, the tremendous work that goes into gathering work from all over the world into a single room is rarely matched by analytical, or at least descriptive, efforts, or a passing attempt to distinguish one maker's ideas from another. The Museum of Arts and Design's A Bit of Clay on the Skin: New Ceramic Jewelry is an exception to the rule. The exhibition curator Monika Brugger and the museum staff did a good job of providing supplementary material about each maker's contribution. The initial presentation of this exhibition in 2010 was even more successful. It took place at The Fondation d'entreprise Bernardaud in Limoges, France, which provided a bigger and more pertinent stage as Limoges is one of France's oldest and most active ceramic centers.
There were several other exhibitions in the "material" category. Paper Jewellery: Poor Jewellery was shown at the Triennale Design Museum in Milan, Italy in 2009. Studio GR-20 presented Material and Colour in 2010 in Padova, Italy, which focused on work based in minerals and organic and artificial matter (a looser interpretation and more interesting attempt, in my opinion). More recent shows include Emaille Enamel at Galerie Pilartz in Cologne, Germany, and GR-20's current 30th-anniversary show featuring contemporary works in glass.
Collective, material-based shows rarely let their visitors appreciate the importance of this material choice relative to a maker's oeuvre. While the material choice is imperative to the success of Ted Noten's Wearable Gold (2000), the artist only rarely works in porcelain. That this is a departure from the norm for Noten, whereas it is not for Peter Hoogeboom, for instance, is not always made apparent. My point is this—to unite both makers under the umbrella of porcelain jewelry making involves a misrepresentation of actual studio practice.
For all their limitations and for the tenuous conceptual articulation that often characterizes them, material-based shows remain ubiquitous and even banal when they could be purposefully comprehensive and even educational. Why not offer artists a space to outline how they might have rationalized their respective material choice and how that choice may have added to the concept of their work? Surely these choices were not arbitrary. Quite frankly, a lack of adequate framework risks dumbing down the work, especially among the company of many, many others.
2. All of Us in this Show Live in and/or Came from the Same Place
Or simply, location. Working as the field's tool to gauge who is doing what where, the geographically organized exhibition also functions on a historical level to track the evolution of a region's aesthetic over time. This in turn allows for the comparison of the work of different international scenes. These types of shows can also function on a local level by informing the general public that jewelers in their area value cultural ties. A good example would be Padua's annual Pensieri Preziosi exhibition. Last year was its seventh iteration and featured 15 working Italian jewelers, while this year Estonian artists were represented. 4 Padovani e un Torinese presented by Maurer Zilioli Contemporary Arts in Brescia, Italy, (the gallery is also a cultural organization) is another good example. Even though both of these exhibitions were educational on many levels, location is not very helpful in defining creative categories or subgenres of contemporary jewelry. Like all default categories, nationality requires you to do the interpretative legwork on what exactly it makes manifest. All artists working in any genre are geographically grounded in one way or another. National divisions in contemporary jewelry are easily superseded by more interesting similarities in content.
For the sake of demonstrating prevalence, I will randomly list some past shows that belong to this category: Golden Clogs, Dutch Mountains (2007–2008), a traveling exhibition curated by Andrea Wagner; Finnish Bitches (2008) presented by Galerie Louise Smit, Amsterdam, The Netherlands; A Pieceful Swedish Smörgåsbord (2011) shown in Munich, Germany, curated by Sanna Svedestedt and Karin Roy Andersson; and Australian Jewelry Topos (2011), Gallery Loupe, Montclair, New Jersey. More recent events include Contemporary German Jewellery at Testa Gallery, Sofia, Bulgaria, and Jewellery from Estonia at Marijke Studio, Padova, Italy.
3. All of Us in this Show Are/Were Trained at the Same Institution
Exhibitions affiliated with a specific school are also common. In our field, student exhibition opportunities are numerous, sometimes prestigious, and often entail active student participation. I find this quite refreshing and even unique to the way the field functions compared to the art world at large. For example, many shows at Schmuck 2012 were run by students and ex-students, including The Sound of Silver/Brooches para las Chicas by students from the Royal Academy of Fine Arts, Antwerp, Belgium, and Life's a Bench, presented by graduates of the Birmingham School of Jewellery, Birmingham, England. A remarkable example, The Fat Booty of Madness: Jewellery at the Academy of Fine Arts Munich: The Künzli Class (2008), was exhibited at the Pinakothek der Moderne in Munich. Galerie Marzee's annual graduate student show in Nijmegen, The Netherlands, is worth mentioning, as is PURUS an exhibition of 2012 graduates from Alchimia Contemporary Jewellery School in Florence, Italy.
Again however, this category does not provide a useful stylistic or conceptual banner under which students can rally, precisely because diversity is the hallmark of the better sort of jewelry programs. But at the very least, exhibitions such as Ädellab: The State of Things—presented by Konstfack of Stockholm, Sweden, and showcased during Schmuck 2012 at the Pinakothek der Moderne—provide proof that those included attended a fine art academy. These types of shows create an opportunity for an academy to describe the specificity and vision of their department to the public. Additionally, as in Ädellab's case, the support of the museum further encourages the notion that the department—and thus the field of contemporary jewelry—is closely associated with fine art. This I would consider to be a win. I'm always on the lookout for a more distinctive overlap or proof that contemporary jewelry and the fine arts can be one in the same.
4. All of the Work in this Show Won a Contest to Be Here
The competition or the juried exhibition provides a different kind of opportunity. Often established to promote work from younger or up-and-coming artists, international events such as Talente in Munich, Preziosa Young in Florence, and the Fondazione Cominelli, also in Italy, are based on that objective but lack a particular focus. On the other hand, some competitions can be thematic, which is a positive attribute to this category. Consider Ritual (2012) and Revolt (2013), both presented by The Gallery of Art in Legnica, Poland, or New Traditional Jewellery (2012) at New Nomads in Amsterdam. Regardless of specificity, juried shows allow artists to indicate that their work deserves the pass of a critical eye and therefore suggest a qualitative hierarchy within contemporary jewelry. Additionally, as in Legnica's case, competitions push makers out of their comfort zone, and when successful, underline their capacity to produce thoughtful, speculative work. While these competitions often bill themselves as promotional tools for the field at large, their success in this respect is moot, at best. Look at the Schmuck competition. Its existence had, and continues to have, a huge impact on how the field defines itself. But who else out there knows about it?
Although there are aspects in each of the four organizational themes mentioned so far that positively benefit the field, what they have in common is their incapacity either to provide any but the most rudimentary categories or to reach out to new audiences. More intellectual work becomes misrepresented if the show doesn't respect the complexity of the work. Material-based shows especially run the risk of dumbing down individual practice under a simplistic common denominator. As local and cultural references that may shed light on the maker's practice are subsumed to an overall agenda, the show becomes a poor analytical instrument. And again, the issue of quantity only exacerbates this. (Material-based shows are not the only culprits of too many makers under one roof.) The more-the-merrier attitude suggests an inability or unwillingness to edit as well as an attitude comparable to carelessness toward the individual object on display and each artist's vision. Participants deserve better. This is especially upsetting when often very good work deserving a longer inspection is drowned in a sea of stuff. In the past two years I have visited a vast amount of contemporary jewelry exhibitions worldwide, and too often I'm stuck with the feeing of having to get through it all rather than being able to delightfully explore.
Beyond material, location, the school, and the competition, there are fresher independent exhibition endeavors able to bypass the potential rigidness apparent in large group shows, not to mention the distancing and banal display conventions that so often accompany them, such as the glass vitrine or acrylic case. It is beyond the scope of this text to discuss the question of display in contemporary jewelry, but I will include this bit to ponder from Wilhelm Lindemann. In the introduction to Thinking Jewellery, Lindemann writes, " … charged with the luminosity of the art object exhibited in a display case and the use of the relevant ritual response traditional in the art scene, the adorning function of jewelry as decoration worn on the human body has been obscured … " (Lindemann 13) This is quite the dilemma that all artists face however, as the path to good exposure and even the humble desire to share is often challenged by limitations innate to the structures of the host institution. At times, this duality can compromise the very role of the object as it belongs to the world of jewelry.
With regards to this, there are quite a few artists in the field that directly scrutinize jewelry's posturing role as its very nature. This brings me to Part Two, which hopes to be a more compelling list of contemporary jewelry exhibition categories, as ultimately, the previous four do little to provide makers with an interesting conceptual framework for their work.
1. Jewelry Shows about Showing Jewelry
Or rather, display as theme or concept. This is quite a small group, and exhibition titles are at times dictated by the display convention used (and vice versa). Notable shows include Suspended, an independent exhibition at Schmuck 2012, where each piece was literally suspended from the ceiling. On the verge of sounding a bit condescending, virtually any piece of jewelry can be hung from the ceiling, which unfortunately makes the show's theme an arbitrary excuse to get a bunch of unrelated work into the same room. That's fine, really, because in the end, the hanging work invited viewers to see all the way around each piece, closely investigate it, and even handle it at their leisure. This initiates a closer relationship with viewers, however fleeting it may be. The exhibition's second rendition at Schmuck 2013 was a welcomed improvement, as the selection was a little less haphazard, unified by the use of the color pink.
Slanted for Granted works on similar premises. According to the exhibition description found on the Klimt02 website, Melanie Isverding, Despo Sophocleous, and Nicole Beck " … created for their artwork an adapted context based on directions other than the traditional horizontal or vertical. Objects evolve in another space presented on slanting grey V-shaped boards …" (Transplanted for Granted presentation description) The show originally appeared during Schmuck 2012 and was re-presented as Transplanted for Granted at Vander A in Brussels, Belgium.
The individual works in both of the last-mentioned shows are probably not the result of investigation into jewelry's relationship with display and intended environment. The effort is more of a justification to group the work together, making this a semi-fruitless category. We could even rename the group "friends." A much more thorough investigation of the sociological aspects of this topic was presented at Schmuck 2013 with the exhibition, (Ig)noble. Five artists explored the value and potential nobility of their respective (and quite diverse) material choices, offering four variations of their work with four assigned and shared price values that ranged from 35 to 2000 euros. A simple presentation on four rows of tabletops was a clear translation of their working premises, and in turn structured the way visitors approached their work. It demanded that each variation be fully considered, experienced, and enjoyed.
Although quite similar to this small category, the next one brings back the role of a single organizer, yet a lot of the time it remains …
2. Things That Look Good Together
A better way to describe this category could be the group show. Exhibitions like these are quite common in our field. The organizers tend to be makers, gallerists, and/or independent coordinators, and are not to be confused with curators. The successful shows usually have two to three participants, and there is little written framework to accompany the show, although a general underlining theme may be presented. Similar to the geographic show, the group show's success relies on the curator's selection criteria and his or her ability to put together an exhibition that is greater than the sum of its parts. A noteworthy example would definitely be Schmuck's annual Returning to the Jewel Is a Return from Exile (now in its sixth year), which includes Robert Baines, Karl Fritsch, and Gerd Rothman. Although the format isn't exceedingly experimental, one enjoys the fact that their spacious circular exhibition area is heavily staffed. The uncovered jewelry pieces can be picked up, tried on, and intimately admired by the audience.
With shows such as …Dal Silenzio (2012) and Tracce del Passate Nel Presente (2011), Marijke Studio deserves a mention although the work is often confined to glass display cases. At Schmuck 2013, Christian Hoedl organized a show at Schlegelschmuck that fits perfectly into this category. Together, the strong work of Sofia Bjorkman, Benedikt Fischer, Sophie Hanagarth, and Karin Johansson contrasted yet was complementary, while only subtly suggesting some thematic common ground.
Conceptually speaking though, we might be getting somewhere with these kinds of small initiatives. Although group shows don't exactly provide the contemporary jewelry field with a proper subgenre, they do give the artist the opportunity to pass on some substantial information. Here is a sample dialogue for your enjoyment.
Hello there. What is it that you do exactly?
You see. I am an artist who makes jewelry.
Interesting. I have never heard of an artist that makes jewelry. Could you describe that to me a bit?
Well, recently my work was showcased in an exhibition about ________________ with two other artists exploring similar ideas.
And this brings me to my next category.
3. The Shared Interest
For makers who share more in-depth interests, concept-based shows further expose the research element that coincides with any true artistic practice. Conceptual development is fundamental to the field, in which jewelry pieces are physical manifestations of long personal investigations. Exhibitions, therefore, harness the potential to share such thinking processes with the public with statements made stronger when a number of artists gather to articulate their messages.
Because we know that contemporary jewelry is conceptual, this category may seem a bit redundant. It might be better, then, to point out what I would consider the biggest conceptual overlap between jewelers anywhere—work about the body, which we also all know is inherent to the very nature of jewelry. There have been endless exhibitions devoted to jewelers whose work revolves around the physicality of the human form, recognizing that body can be much more than the destination of an object. Keep in mind, however, it can be said that various groups of makers have excavated their own, more singular niche within this vast theme, worthy of its own, more complex breakdown.
Shows about the body are almost as prevalent as those based on geographical location due to the frequency of jewelers who work exclusively with the body as their main concept. Take for instance No-Body-Decoration from the 2006 Preziosa exhibition in Lucca, Italy. Individual artists devoted to the body, the investigation of jewelry's tactile purpose, and that of wearability include Christoph Zellweger, Lisa Walker, Tiffany Parbs, Lauren Kalman, and so on, yet within this category exist many derivations and interpretations worthy of new subcategories, not to mention enough material for an entirely new text on the subject matter alone. The body has always been a fruitful point of departure, giving jewelers something much more concrete by which to accurately represent themselves. Strong thematic exhibitions are obviously not limited to the body. Any show founded on intellectual content can help distinguish contemporary jewelry from the common connotations of jewelry, which is what we are all after in the long run.
To do this well through exhibition, an apt contextual framework is required. It can be visual or verbal, or more interestingly, a combination of the two. Ruudt Peter's sensation LINGAM, Fertility Now is a great example of jewelers coming together to share their interpretations of a loaded subject. Moreover, shows that collect jewelers working with existing conceptual similarities already integral to their practice can more clearly illustrate that jewelers are both makers and thinkers. Unfortunately, here's where things start to get tricky. As far as I'm concerned, these more profound projects are few and far between. Makers' ideas should be acknowledged and properly reflected in exhibition attempts. Fair examples include: Jewellery Building Building Jewellery (2009) with Sara Borgegård, Erik Kuiper, and Martin Papcun at Platina Galerie, Stockholm, Sweden; Waldeslust with Iris Eichenberg, Hilde de Decker, and Christoph Zellweger at Galerie V&V, Vienna, Austria; BLacK & bLUe (&yellow) (2011) with Paolo Scura and Timothy Information Limited at Galerie Louise Smit, Amsterdam, The Netherlands; and Taweesak Molsawat: The Missing Elements in Democracy: Art Jewelry as a Political Critic (2013) at ATTA Gallery, Bangkok, Thailand.
Although this is a good list, I would argue that we have a long way to go on this front. Using imaginative and/or unconventional display to draw connections between disparate works by individuals is not the same thing as curating a meaningful exhibition. And speaking of the individual …
4. I Am Quasi-Successful So I Have an Exhibition All to Myself
The solo show is obviously the field's ideal platform for exhibition. Makers can almost do whatever they want depending on the venue … if they are lucky enough to be offered one, that is. My first thought is to cite exhibitions at Galerie Rob Koudijs in Amsterdam. Often, the artist gets free reign, and when done well, display is treated as installation, which can then even be considered the very work itself. Célio Braga's 2007 installation Possible Jewelry and Related Objects comes to mind, as well as Ruudt Peter's Corpus in 2011, which was reshown at Galerie Spektrum during Schmuck 2012, this time incorporating an element of performance about giving, receiving, and the church.
A rogue instance and a personal favorite of mine is Volker Atrops: for No Stone Unturned (Schmuck 2012) and Vintage Violence (Schmuck 2013), he utilized a small antiquarian bookshop as the site for exhibition. His show-turned-treasure-hunt displayed pieces subtly resting on books or nestled with various objects and papers throughout the space, romancing the pursuit for a personal connection between object and visitor. I felt as though I was searching for what might have already belonged to me.
The retrospective also falls under the category of solo show, with the Museum of Arts and Design's exhibition Margaret De Patta: Space-Light-Structure leading by example. Historical and contextual information was provided, including Constructivist pieces by László Moholy-Nagy, sure to encourage new associations and dialogue outside the realm of jewelry. Efforts of social and cultural attribution should be taken into consideration more often with any type of show, and we shouldn't have to wait until someone dies to see it happen.
Alternatively, makers have been known to take things into their own hands and create ambitious surroundings for their work that aim to facilitate the understanding of their unique approaches.
5. What Kind of Show Is This?
The disguise exhibition steps outside our field's tendency to isolate itself from the rest of the visual world. Independent ventures, liberated from logistical limitations or spatial restrictions have popped up all over the place. Here, the line between the physical and the theoretical are blurred, and visitors can begin to see the relationship between object and experience more easily. Ted Noten's be nice to a girl, buy her a ring (2008), consisting of a vending machine installed at the entrance to his atelier, is a cute yet smart example. More ambitiously, Hilde de Decker has built a reputation on inviting audiences into the jewelry world through the back door with the Boer work, a project that is, as Liesbeth den Besten writes, "far bigger than jewelry but never turned its back on it." (Den Besten 54) Additionally, de Decker's On the Move project displayed works that only suggested a relationship to jewelry.
Trans-disciplinary events fall under this category, including David Bielander and Michelle Taylor's jewelry and photography collaboration Gente di Mare (first exhibited in Munich followed by Maurer-Zilioli in Italy in 2011) and Still Jewelry by Hanna Hedman and Sanna Lindberg (presented by Silke & The Gallery, Antwerp, Belgium, 2011).
Most of my personal interests in contemporary jewelry exhibitions rest in the disguise category. I see it as an exciting bridge off the contemporary jewelry island, reaching toward not-so-distant horizons in the fine arts where we ought to find new audiences. Consider (non-jewelry) artist Markus Schinwald's installation in the Austrian pavilion at 2012's Venice Biennale. As described by the Vernissage TV blog, Schinwald's work "investigates the psychological relationship between space and the human body," tampering with the physical encounter of an object and utilizing a combination of classic portraiture and the adornment of constrictive jewelry-esque objects. I imagine the dialogue surrounding Schinwald's work could easily relate to someone in our field, such as Elisabeth Altenburg, whose interests similarly include, according to Manuela Schlossinger, the "involvement of the human body with corresponding objects … under parameters she sets." (Schlossinger 1) I do not see this type of connection as a stretch. The art world and our kind of jewelry should be considered inextricable.
The precedent for letting a theoretical framework give form to experimental exhibition strategies was set long ago by the likes of Otto Künzli and Gijs Bakker, begging the question of whether or not our field has in a sense plateaued or failed to extend itself wide enough to respect the desires of the makers. Regardless, it appears that more dimensional shows are dependent on the jeweler's individual will. If their work benefits from an added context, then so be it, however many makers remain satisfied with the making of singular objects and not an additional environment. How, then, can these different artists be distinguished from one another beyond the exhibitions in which they participate or create?
The previous categories I have established through various types of exhibitions can only be considered products of an exercise about physical organization. Although some groups provide a bit of verbal aid, they remain generally insufficient as tools in the development of a more specific contemporary jewelry language. Perhaps the lack thereof only demonstrates that those in the field don't necessarily care about how their work is classified; they just enjoy making and they'd like to leave potential associations up to others. And that is OK. But for me, part of my role as a participant in this field is to support and promote other artists, thus a clearer and more specific use of naming would be beneficial rather than using borrowed terminology from a field that barely recognizes our presence in the visual art world (e.g., "modern" jewelry, "figurative" jewelry, "abstract" jewelry).
Other than the use of the "J" word, what do Ela Bauer's polyurethane aprons have in common with Stefano Marchetti's structural gold brooches, or how about the oversized porcelain neckpieces of Nina Sajet compared to Yoshie Edna's inflated body pieces? Quite a lot, actually, but I would like to use the question as a proposal for new categories—categories that more appropriately group makers based on individual approaches to jewelry as a medium and art practice, meanwhile hinting at their investigatory preferences. After all, we are constantly using the word "art" as a preface to the word "jewelry," aren't we? Isn't it about time we articulate this clearly instead of shying away from proving this to be true? We need to signal this with force by finding ways to better exploit the thoughts that lie underneath and hold afloat the pieces we create. Pieces that yes, at the end of the day, you can or must also wear.
There are a couple ways we can do this more affectively. The first one is to fine-tune our exhibitions so they bolster the work on display. Bucks n' Barter (Schmuck 2013), a trans-disciplinary exhibition about the human tendency to trade, exchange, perceive, and relate to capital and material culture, was an excellent example of what I am talking about. All the work exhibited was strengthened from being amongst the company of the group, and the ideas of the artists were therefore highlighted. They also produced an impressive press release full of information about how the artists came together, why, and with what contribution. With this event, the artists gave themselves a lot of descriptive meat to work with. Let's try another hypothetical dialog now. You fill in the blanks.
Well, it was nice chatting with you, but I really must be off. I'm in a hurry.
Where are you off to?
I have an exhibition opening with some other young artists.
Oh, lovely. What kind of exhibition?
It's called _____________ , and it explores ideas about ___________________________. I, myself, have been working with __________________________________.
(Then, perhaps mention something about jewelry.)
Purposefully creating a more specific descriptive language to define what it is we've already been doing is the second way we can begin to exalt contemporary jewelry, or at least begin to level the playing field. The Bucks n' Barter exhibition was initiated by Beatrice Brovia, Nicolas Cheng, Friederike Daumiller, and Katrin Spranger—four of the nine participating artists. This show is especially worth citing as the organizers recognized that the success of contemporary jewelry can be too dependent on mediation, as is the case with other more complex artistic practices. This affects the quality of the message and how it may be received, as we, too, at times, are an equally complex artistic practice worthy of new categories with which to describe ourselves, such as Altschuler previously suggests.
With that said, I will leave you with the following diagram filled with new categories I have developed as possible progress. (This is perhaps the beta version!) Place your favorite jewelers where they seem to fit best, and stay tuned.
Kellie Riggs
Kellie Riggs was born in 1986 and grew up on Whidbey Island, WA. She is a recent Fulbright Grantee based in Italy where she maintains a studio practice and continues her research on contemporary jewelry's relation to the visual arts. She received a BFA in Jewelry + Metalsmithing from the Rhode Island School of Design in 2011 and is the founder of www.greater-than-or-equal-to.com.
Read more about Kellie Riggs
Art Jewelry Forum Invites Applications For Its 2012 Jewelry Exhibition Award
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Artists, galleries and their relationship(s)
Mari Ishikawa: Landscape


Cats! Some are sane, some are mad and some are good and some are bad. Meet magical Mr Mistoffelees, sleepy Old Deuteronomy and curious Rum Tum Tugger.
But you'll be lucky to meet Macavity because Macavity's not there!In 1925 T.S.
Eliot became co-director of Faber & Faber, who remain his publishers to this day.
Throughout the 1930s he composed the now famous poems about Macavity, Old Deuteronomy, Mr Mistoffelees and many other cats, under the name of 'Old Possum'.
In 1981 Eliot's poems were set to music by Andrew Lloyd Webber as Cats which went on to become the longest-running Broadway musical in history.


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