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Keith Sonnier at Ace Gallery
Richard Serra at Gagosian Gallery
Entering the austere, monumental main corridor of the Ace Gallery in Tribeca, one immediately hears bursts of static, snatches of tinny, garbled voices, and high-frequency whines. The noises roll and stutter down the hall, punctuated by silences, like one of John Cage and David Tudor's wonderfully erratic live performances. Keith Sonnier's "Scanners" (1975), an earlier incarnation of which was purchased by Andy Warhol and installed in the entrance to The Factory, consists of six radio scanners tuned to various frequencies. They register, in a crackling, largely unintelligible form, cell phone conversations, car service communiqués, and police and ship broadcasts. Though the technology may be crude by twenty-first century standards, "Scanners" is a reminder of the way the airy, negative spaces of modern life are congested with signals, haunted by barely decipherable signals and a ubiquity of noise at a moment when the ratio of signal to noise is desperately low. "Scanners" is not, I think, primarily a piece about surveillance or lack of privacy. What "Scanners" does is make those criss-crossing signals, that flickering static, a palpable feature of space, and for that reason "Scanners" should be regarded as a sculptural work.
Keith Sonnier emerged in the 1960s as part of a generation of sculptors that included Dan Flavin, Michael Heizer, Richard Serra, Robert Smithson, and James Turrell, among others. Though working in three dimensions in various materials, and often outside the traditional boundaries of the gallery, most of these artists owe a profounder debt to abstract painting than to modernist sculpture as it evolved from Auguste Rodin through Constantin Brancusi and David Smith. Heizer's pigment drop pieces in the Nevada desert, Serra's lead spatter works, Smithson's flows, Flavin's hovering white neon shapes, Turrell's great pulsating fields of color, all work in the shadow of abstract expressionism. Liberated from classical notions of objecthood and a prescriptive sense of material and genre, these artists were less interested in pictorial form than in the dynamics of space and time. The installation of major works by Flavin, Heizer, Smithson, and Serra at Dia:Beacon, as well as the recent survey of Robert Whitman's work at Dia:Chelsea, has increased interest in this singular generation of artists. The current historical review of Keith Sonnier's work of the late 1960s and early 1970s is an excellent and useful addition to this trend.
If "Scanners" uses random snatches of sound to activate the space of an empty hallway, Sonnier's neon works turn color into an array of particulate events in space, unsupported by either the walls or the floor. In the series entitled "Neon Wrapping Incandescent" (1968), neon tubes loop and squiggle around silver-coated incandescent bulbs affixed to the wall. In one, the opaque bulbs, their light reflecting back onto the wall, trace a rising curve, interlaced orange and yellow tubes wrapping around them in a quick, upward arc; in another, the bulbs are arranged horizontally, the orange and green strands of neon loosely knotted. Whereas "Neon Wrapping Incandescent" inevitably evokes the signs outside old dive bars and strip clubs, "Neon Wrapping Neon" (1969) is a more rigorously formal work. Spanning the length of one of Ace's larger galleries, it consists of surprisingly rickety perspectival geometric constructions extending out from the wall and down to the floor. The geometry in Dan Flavin's early neon work remains emblematic, and the pieces in blurry white neon he made near the end of his life, such as the sublime "Untitled (To Hans Coper, Master Potter)" (1990) on view at the uptown Gagosian Gallery, are spiritually transcendent. "Neon Wrapping Neon," by contrast, is physically concrete, the hot pink bars separating out from the almost haphazard, contingent forms. The title of the "Ba-O-Ba Series" (1968-1974) is taken from the Haitian Creole word meaning "light bath" or "to be bathed in moonlight." It is made up of alternating sheets of square and circular glass propped against the wall, variously sectioned and connected by straight neon tubes in violet, blue, green, yellow, and pink. Structurally, the "Ba-O-Ba Series" computes permutations of classical geometry surrounding Pythagoras's golden section, however its core is not geometric shape, but light and color as a charged, gaseous substance in space. The lines created by the neon tubes drift free of their supports, buzz and hover, and are mirrored and relayed in the glass.
The exhibit's real triumph, however, is Sonnier's visionary "Fluorescent Room" (1970). Set in Ace's immense central gallery, "Fluorescent Room" consists of standardized blocks of foam arranged into mirroring fragments of monuments, dusted, spattered, and smeared with vast quantities of dry orange and green fluorescent pigment. The piece is lit from above by black lights, suffusing the entire room in a powdery fog of phosphorescent light and color. Entering "Fluorescent Room," tracking the pigment across the smooth granite floor, one seems to be entering the eerie, slowed time of a dream. It is a gorgeous, inviting dream, but like the jungle ruins discovered in Borges' great fiction "The Circular Ruin," it is also melancholy. The blocks are like fragments of a ruined temple, and the pushed and spattered pigment evoke the traces of some ritual or tragedy one cannot decipher. "Fluorescent Room" is perhaps the most obvious instance in which Sonnier experimented with techniques related to Pollock's drip paintings. But unlike Smithson's flows, or Serra's splatters, or for that matter Barry Le Va's floor scatters, the pigment is dumped and hurled about the room with both abandon and indifference: Sonnier's piece is less about gesture or material than about the materiality of space experienced through light and color. "Fluorescent Room" is an environment one occupies, a psychedelic hallucination that is neither inner nor outer.
Since his landmark exhibition of "Torqued Ellipses" at Dia in 1997, Richard Serra has, like Sonnier, explored the phenomenology of space in his unprecedented, and one might even say relentless, run of exhibits of both massive rolled steel sculptures and black paintstick drawings, all in Gagosian's hangar-like space in Chelsea. There was "Switch" in 2000, "Torqued Spirals, Toruses and Spheres" in 2001, "Line Drawings" in 2002, and now "Wake Blindspot Catwalk Vice-Versa" (2003).
Serra's work from the 1970s on has involved an interplay between mass, gravity, the epic made quality of the material, and what one might call nuances of measure— I am thinking here of the monumental blocks and rounds as well as the prop pieces. These works are, I think, anti-architectural. They do not articulate or sculpt space directly, but create dense anomalies inside it, which their surroundings— whether a monastery in Italy or a landscape in Iceland or the corner of a gallery— circulate around. This significantly changed with the more poetic works beginning in the 1980s involving curved forms, such as "Olson" (1986) (aptly named after the influential poet and essayist Charles Olson), "My Curves Are Not Mad" (1987), and later "Running Arc (for John Cage)" (1992). Despite their stupefying size and weight, one experiences these pieces not as anchored things. but as continuous, unstable trajectories of motion. Serra's ability to find the fragile instant of equilibrium— modeled from Giacometti's walking men and their reenactment in Bruce Nauman's falling performance videos of the early 1970s— to give heavy materials a fleeting weightlessness and almost gestural quality, was already evident in the prop pieces. Compare those works with the hulking obviousness of the sculptures Joel Shapiro recently showed at Pace Wildenstein, or the Mark di Suvero contraptions at Paula Cooper. What remains astonishing about Serra's "Torqued Ellipses" is the extent to which their whorling motion is withdrawn from the external world, and is then turned inward.
The concept of "torque" is active, alluding to the stress of speed, gravity, and friction on a tensile material. The sculptures in "Torqued Ellipses" are so tightly wound they appear to be in the process of being fashioned and ready to spring back. One can almost feel an invisible force deforming the sheets of steel. But the "Torqued Ellipses" are best viewed, not from outside, but from the standpoint of someone moving through their narrow, warping corridors, whose steel boundaries seem to be slicing space open. Like Sonnier's "Neon Wrapping Neon" and "Ba-O-Ba" series, the "Torqued Ellipses" are not so much about geometry or form as about the phenomenology of the space the viewer is propelled through. With the long, subtly curving plates of "Switch" (1999), this effect was opened up and slowed down, so that one moved along them at a dream-like pace, the pitching walls taking on a strange lightness. And in "Betwixt The Torus and The Sphere" (2001), one glided deeper and deeper into its interior (it seemed to take hours) as though into a labyrinth. All of this work, as it was installed at Dia and Gagosian Gallery, was extremely disorienting. It was often difficult to know where in the gallery one was, where in the sculpture one was, whether one had passed through a particular corridor or not. These are immense works, but their scale is ambiguous in large part because they are not looked at or contemplated but moved through. And while their weight in steel is staggering, and the forces at work in them are mythic, they can at moments have a strange weightlessness and lyricism. Like light and color in Sonnier's pieces, the spaces channeling through Serra's works are at once physical, inward, and temporal. Perhaps that is the source of the affinity the work both artists have for architecture: from the steps Michaelangelo designed for the Medici Library in Florence to Mies van der Rohe's National Gallery in Berlin to Frank Gehry's recent work, great architecture builds both an physical and an interior structure.
The sculptures Serra recently exhibited at Gagosian Gallery are all impressive in and of themselves, but they lack the precision, subtlety, and power of the previous three shows. One senses that Serra has come to a creative impasse. "Wake" (2003) consists of five closed volumes made from two toruses, the fourteen foot high snaking shapes travelling off like ships in slightly different directions. Unlike "Running Arc (For John Cage)," "Wake" reads as shape and lacks the dynamism of carved space; the bowed forms are indeed beautiful, but their sum effect relies heavily on sheer size. The curving flare in "Vice Versa" (2003) is a kind of elegant chamber piece, the motion delicate and upward. The two sheets of steel seem to be magnetically repelling and deforming one another, projecting opposing arcs; here at least one can feel the play of invisible forces. The show's most elaborate and ambitious piece, however, is "Blindspot" (2003), a curving labyrinth created by nesting three toruses and three spheres. Like "Betwixt The Torus and The Sphere," it is experienced, not as a series of shapes, but as a seamless skein, without horizon carving space, leading eventually to a dead end. "Blindspot" is a claustrophobic piece. Walking through its length alone, one feels oppressed and filled with dread. The complex architectonic, and aggressive and perhaps even fatalistic dead-endedness, work against it. While in "Torqued Ellipses," "Switch," and "Betwixt The Torus and The Sphere" one is conscious of the movement of charged space, in "Blindspot" one is mostly aware of the crushing weight of the walls themselves. Serra's work is as illusionistic as Sonnier's, and in "Blindspot" the illusion all too readily collapses.
Part of the enduring allure of Richard Serra's work is its stupendous size and weight, and the way it gives rise to fantasies about a type of heavy industry and work that has largely vanished, at least in the United States. Every Serra catalog includes photographs of workers guiding massive plates of curved steel from equally massive machines. The story of Serra's first exhibit at Gagosian, in which the opening was delayed because the gallery's entire western wall had to be removed just to roll the sculptures inside, is an art world legend, and even now the spectacle of the towering cranes lifting segments of the sculptures from flatbeds on 11th Avenue is mesmerizing. This is misleading and dangerous, for size and weight are not necessarily commensurate with the scale of experience. The experience of Serra's greatest works is private, intimate, fleeting. Another way of putting the problem with "Blindspot" is that it is overwhelmed by its own size.
Up Space, Down Space: Moving Dancers of New York
By MG Lee
MAR 2019 | Dance
While there's been a flourish of big name choreographers and residencies cropping up in Upstate New York—Stephen Petronio and Jonah Bokaer, among others— emerging, local groups are also looking upstate for space and solitude to rehearse.
Inside the "Muslim Factory": NEDJIB SIDI MOUSSA with Felix Baum
By Felix Baum
FEB 2018 | Field Notes
The Muslims produced by this social factory are not necessarily believers, they don't necessarily practice Islam, go to the mosque, eat halal etc.—they are rather a kind of sub-nationality, similar to the Muslims in ex-Yugoslavia or those in Lebanon at the time of the French protectorate.
Pay to play: the costs of carving new space for dance
FEB 2018 | Dance
What about all the artists who don't register on the curatorial grid? The recently defunct Createquity has published a lot of research on who gets to be an artist and how saturated the field is with aspiring creatives. Many dance makers are finding space to present or perform their own work outside of the usual venues.
From The Factory
by Hiroko Oyamada, translated from the Japanese by David Boyd
SEPT 2019 | Fiction
As I opened the basement-level door, I thought I could smell birds. "Hello, I'm here for a two o'clock interview," I said to the overweight woman seated under a sign that read Print Services Reception. Without looking up, she nodded and lifted the receiver. I watched her mouth the words. Your two o'clock is here. Her lipstick had come off in places.


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A Clockwork Orange at Screenland Armour
136 mins | Rated R
Directed by Stanley Kubrick
Starring Patrick Magee, Michael Bates, Warren Clarke, Carl Duering, Adrienne Corri, James Marcus, Malcolm McDowell
Protagonist Alex DeLarge is an "ultraviolent" youth in futuristic Britain. As with all luck, his eventually runs out and he's arrested and convicted of murder and rape. While in prison, Alex learns of an experimental program in which convicts are programmed to detest violence. If he goes through the program, his sentence will be reduced and he will be back on the streets sooner than expected. But Alex's ordeals are far from over once he hits the mean streets of Britain that he had a hand in creating.
136 mins | Rated R | Crime
Directed by Stanley Kubrick | Starring Patrick Magee, Michael Bates, Warren Clarke, Carl Duering, Adrienne Corri, James Marcus, Malcolm McDowell

redpajama_set_name: RedPajamaCommonCrawl


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Editor's note: It's true. Fall is beautiful and, we believe, no place more so than right here in the Twin Cities. But while we enjoy all the spectacular scenery in front of us, there is a molecular process taking place in all those richly hued leaves. Below, Mac Weekly reporter Sam Erickson explains the process of photosynthesis.
By | Sam Erickson '17
Reprinted with permission from The Mac Weekly
The beautiful yellow and orange pigments in autumn leaves were there all summer—you just couldn't distinguish them from the green.
St. Paul is beautiful in the fall; the trees flourish with richly colored hues and fallen leaves drift through the wind. But why do the leaves change color? How does it work?
All summer long, trees in Minnesota flaunt an array of green leaves. Pigment molecules in leaves absorb the energy from sunlight striking their surfaces. Leaves store this energy by collecting carbon atoms from carbon dioxide gas in the air and linking them together into rings to make high-energy sugar molecules. This process, photosynthesis, is named for the Greek words photos (light) and synthesis (composition). Sugars are then sent down to the rest of the tree through long, thin tubes in the bark. Winter is coming. The trees at Macalester will need a large supply of sugar to survive.
Each leaf holds an array of different pigment molecules. The green color comes from chlorophyll molecules. Chlorophyll in plants is made of fifty-five carbon atoms, seventy hydrogen atoms, a single magnesium atom giving it unique electronic behavior, and several additional oxygen and nitrogen atoms. These atoms are precisely arranged such that the molecule can absorb blue and red light, but reflect green light. This makes summer leaves appear bright green to us.
The beautiful yellow and orange pigments in autumn leaves were there all summer—you just couldn't distinguish them from the green. All summer, the tree spends energy replacing broken chlorophyll. Rather than work hard to keep replacing chlorophyll, it is more efficient to simply drop all leaves, close off openings where water can escape, and hold tight. As nights get longer and colder, a series of biochemical signals tell the tree that it is time to shut down for the winter. The tree withdraws the sugars and degraded chlorophyll from the leaves into its branches to be used in the spring when new leaves are grown. As the bright green chlorophyll molecules degrade, yellow and orange colors are revealed from other accessory pigments that help with photosynthesis, called carotenes and xanthophylls. New pigment molecules, called anthocyanins, are produced to repel aphids as the leaves die and become vulnerable to pests, making the leaves bright red.
There is one big mystery about leaves that puzzles botanists. It is understood how summer leaves reflect green light, but why they do so is another matter. The sun emits plenty of green light, and any light that is reflected off a leaf can't be used to store energy. Some biologists believe that this protects leaves from overheating. Others speculate that perhaps the evolution of chlorophyll was a rare and highly improbable miracle, and improvements are so unlikely that they haven't happened yet. There is no consensus as to why trees have not evolved to use this source of energy. If leaves absorbed all of the light of the sun, they would be black, and clearly they aren't and they don't.
Shiladitya DasSarma, a microbiologist at the University of Maryland, recently proposed a new idea, widely known as the "purple earth" hypothesis. DasSarma studies Halobacteria, purple microbes found in extremely salty conditions such as the Dead Sea and the Great Salt Lake. Halobacteria photosynthesize like trees, but they harvest green light and reflect red and blue light. DasSarma speculates that in the early earth, before oxygen was abundant and when the oceans were saltier, the world was covered in halobacteria. Our planet would have been purple when seen from space. Red and blue light was not being consumed by the halobacteria, and new species of green microbes started making chlorophyll to harvest this underused resource. Over time the chemistry of the earth shifted to favor the green microbes, killing most of the purple microbes. Now our planet is covered in green vegetation. It is only a hypothesis, but future studies may reveal more clues.
Regardless of the biochemical mechanisms at play, we can enjoy the contrast of colors and beauty of trees in autumn at Macalester College.
Professor Susan Bush, a plant physiologist at Macalester, said, "Macalester has so many beautifully kept plants, it's really easy to just walk blindly from one end of the campus to the other with just your cell phone…but look around—there is so much going on! Even in the fall! There are so many amazing plant things happening."
While you were inside stressing over midterms, autumn leaves at Macalester were undergoing complex chemical processes honed by billions of years of evolution. Take a moment to go outside and appreciate them before snow comes.
Curious about science? Want to know how some technology works? Email Sam at sericks5@macalester.edu and your question might be featured in a future column!
More Student Life News
Enjoying winter at Mac
Macalester is located in the land of ten thousands lakes and even more snowflakes.
Day in the life of Shosuke
Take a look at Macalester from Shosuke's perspective.
December Graduation Ceremony and Reception 2019
Fall 2019 Dance Concert
Macalester's Fall 2019 Dance Concert took place December 6-7 and featured work by faculty, student, and guest choreographers.
Mac-Attack takes first place in Macathon
Twenty teams competed during Macalester's annual overnight innovation and creativity content.
Unfiltered: Fall 2019
We asked five students from the Class of 2023 five simple questions—and we're going to ask them again (and again). Pictured here is Sivali Bhandary.


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Domestic Competitions ● May 28, 2020
FAS ramps up capability development initiatives to help local clubs
SINGAPORE, 28 MAY 2020 – As part of efforts to help local clubs to further develop their capabilities, the Football Association of Singapore (FAS) has developed a lineup of programmes that can be utilised during the current circuit-breaker period.
Resources have been invested to curate and develop a range of online courses, webinars, workshops and communities of practice content for local Singapore Premier League (SPL clubs) as well as clubs in the Singapore Football League, Islandwide League and Women's Leagues.
This initiative has been rolled out over the past few weeks and was first revealed last month, alongside the announcement that local SPL clubs would retain full wages for players and backroom staff during the ongoing COVID-19 pandemic. It is aimed at equipping coaches, players and staff with the necessary skill sets to be future-ready once the sport is able to resume.
The available resources for SPL clubs have been classified into two key capability development areas: administration and technical.
Key administrative personnel, such as general managers, finance managers and marketing executives have been provided with free online course options relevant to their areas of expertise as identified by the FAS.
Lion City Sailors FC General Manager Badri Ghent feels that this will help to complement the clubs' own efforts.
"We've taken the opportunity during this period to upscale the skills and capabilities of our staff and coaches via other online courses as well as via open sharing of webinars and other useful materials readily found online for collective consumption," he told FAS.org.sg. "The courses identified by FAS were indeed helpful in (further) improving our core competencies."
For technical staff, like club coaches, heads of youth development and players, the FAS Technical Department has developed online content that touches on topics like mental health in elite football, football, injury prevention and management, coaching in overseas environments and more.
The Technical Department also worked with other partners to provide valuable options. This includes a High Performance Series, which features relevant resources from US Soccer, the England FA and STATSports, a world leader in GPS trackers for sports.
Tampines Rovers FC Head Coach Gavin Lee believes these resources will help to broaden the clubs' horizons.
"I think it's been great to have a various range of information being provided for and made accessible for us," he told FAS.org.sg. "During this unprecedented period, it is a good opportunity for us to utilise the time to reflect and pick up new ideas, which we might not necessarily get during the season.
"Despite a lot of the content delivered being outside of our individual club context, it still presents opportunities to challenge our current ideas and methodologies. Having an even wider range of information available would allow us to select appropriate content for our club's theories and direction."
The FAS has also identified online courses for amateur clubs to upskill themselves in areas such as leadership, finance and coaching, which Ratna Suffian, head coach of Women's Premier League side Simei United, is keen to take advantage of.
"Coaches can take the opportunity to enhance their capabilities via the numerous online technical coaching websites and courses," he told FAS.org.sg. "Administrative and managerial staff can also look into improving their leadership and financial capabilities on such platforms."
He offered a suggestion for these resources to be available on a monthly basis in future to help clubs be "on the same page" for such footballing topics.
In addition, arrangements have been made for clubs to help players and staff better understand the available programmes and schemes offered by government agencies, such as the Employment & Employability Institute (e2i), that can further help them in preparing for their future. The FAS is also working with SPL Title Sponsor AIA to provide SPL Clubs with better tools for their personal financial planning.
Similar initiatives have also been extended to all full-time working staff of the FAS. Online courses that could prove helpful for both work or personal professional development have been identified and provided to staff.
The FAS is committed to helping our clubs, as well as all our staff, improve their various capabilities and believes that these initiatives will assist them to be future-ready and help them emerge from this crisis stronger, as we look forward to resuming football when it is appropriate and safe to do so.


Air Marshal Rakesh Kumar Singh Bhadauria AVSM VM has been appointed as Air Officer Commanding-in-Chief, Southern Air Command wef 01 Mar 17. He is an alumnus of the National Defence Academy and was commissioned in the IAF on 15 Jun 1980 with the 'Sword of Honour'.
He has 4250 hours of experience on twenty six types of fighters and transport aircraft with the unique distinction of being an Experimental Test Pilot, a Cat 'A' Qualified Flying Instructor and a Pilot Attack Instructor. He completed his Masters in Defence Studies from Command and Staff College, Bangladesh.
He has commanded a Jaguar Squadron and a premier Air Force Station in South-Western sector. Other important assignments include Commanding Officer of Flight Test Squadron at Aircraft & System Testing Establishment, Chief Test Pilot and Project Director of National Flight Test Centre on Light Combat Aircraft (LCA) project. He was extensively involved in the initial prototype flight tests on the LCA. He was the Air Attache, Moscow, Assistant Chief of the Air Staff (Projects), Commandant of the National Defence Academy, and Senior Air Staff Officer HQ CAC, IAF. Prior to assuming the present assignment, he was the Deputy Chief of the Air Staff.
He was commended by the Chief of Air Staff in 1987. He has been awarded Vayu Sena Medal in 2002 and Ati Vishist Seva Medal in 2013.
He is married to Mrs Asha Bhadauria and blessed with a daughter and a son.


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https://apnews.com/press-release/newswire/business-tampa-florida-st-petersburg-f681780826f2086d026d5d78dfd035d0
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PRESS RELEASE: Paid content from Newswire
Robbins Property Associates Expands in Florida Market With the Acquisition of Infinity Westshore in South Tampa
Clubhouse Photo
TAMPA, Fla. - December 16, 2021 - ( Newswire.com )
Robbins Property Associates ("RPA"), a Tampa-based vertically integrated multifamily owner and operator, has acquired Infinity Westshore Apartments. Newmark's Vice Chairman Patrick Dufour, Director Andrew Visnick, Senior Associate Pibu Aulakh, and Associate Eric Gfesser represented the seller, TDC Properties, in the disposition to RPA.
The property, which was re-branded 4800 Westshore, is located in South Tampa, a highly desirable submarket of the Tampa Bay metro. 4800 Westshore is centrally located among Tampa Bay's employment and entertainment hubs in Tampa Bay, including International Plaza, Tampa International Airport, downtown Tampa, the Westshore business district, downtown St. Petersburg, and MacDill Air Force Base.
"South Tampa is the most coveted submarket in Tampa Bay and in RPA's backyard. 4800 Westshore is performing exceptionally well, benefiting from the recently completed Selmon Expressway extension, which facilitates uninterrupted transit between Brandon, downtown Tampa, and downtown St. Petersburg," said Neal Herman, Managing Director of Investments at RPA. "The growing retail footprint in and around the Westshore Marina District development and Gandy Boulevard provides new restaurants, grocers, and nightlife."
The 278-unit property features a mix of one (78%) bedroom and two (22%) bedroom floorplans. Completed in 1986, this community features an oversized swimming pool, pet park, fitness center with a yoga room, and a business center. Robbins Property Associate's comprehensive value-add program will include upgrading unit interiors to include sleek quartz countertops in kitchens and baths, modern tile backsplashes, stainless-steel appliance packages, and wood plank flooring throughout.
Community amenity upgrades will highlight a complete renovation and expansion of the clubhouse and leasing center, an expanded 24-hour fitness center, landscaping improvements, and major enhancements to outdoor recreational areas.
Additionally, RPA will modernize the resort-style pool by adding new lounge furniture and updating the outdoor summer kitchen and dining pavilion.
"4800 Westshore's residents will really appreciate the ability to live, work, and play within in all that Tampa has to offer," said Kristi King, COO at RPA. "RPA is excited to own and operate in South Tampa and looks forward to further improving the quality and appeal of the property for years to come."
ABOUT ROBBINS PROPERTY ASSOCIATES
Robbins Property Associates (RPA) is a vertically integrated real estate private equity firm that combines experienced and proven investment capability with a best-in-class team of real estate operations professionals. Founded in 2009 with the objective to provide superior resident service, it has become a leader in the multi-family housing investment and management industry. The company currently owns and operates 24 properties totaling over 6,300 units in Florida.
Headquartered in Tampa, FL and Boston, MA, Robbins Property Associates maintains the same determination towards excellence in employee satisfaction. They have been named a Top 100 Workplaces employer by the Tampa Bay Times seven times since 2013. The combined years of property management experience accumulated by their onsite and corporate staff provides RPA with its competitive edge, and it is why RPA is a leader in the property management industry. For more information about Robbins Property Associates, visit http://www.RobbinsPropertyLLC.com.
Robbins Property Associates contact:
Greer Hill, Director of Marketing
Robbins Property Associates
Email: GHill@robbinsre.com
Press Release Service by Newswire.com
Original Source: Robbins Property Associates Expands in Florida Market With the Acquisition of Infinity Westshore in South Tampa


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Corsair Xeneon Flex OLED study
Corsair Xeneon Flex Oled OLED technology makes many promises. But for PC gamers, it has so far terribly little to show for it. The fantastic 34-inch Alienware 34 AW3423DW is the only genuine OLED PC gaming monitor we've seen so far, as opposed to a thinly-disguised TV (opens in new tab). Up until now, when the new Corsair Xeneon Flex 45WQHD240 arrived.
Given that the new Xeneon Flex's 45-inch ultrawide panel is a direct descendant of LG's most recent TVs, right down to its WRGB sub-pixel structure as opposed to RGB, it is debatable if the device is strictly speaking a monitor. The comparatively low 84PPI pixel density and native resolution of 3,440 by 1,440 further conceal the panel technology's TV origins. However, this is much more than just a TV that has been reboxed and given DisplayPort connectivity. Here, there is some pretty fascinating engineering at work.
To begin with, and contrary to what the Xeneon Flex moniker suggests, this OLED truly bends. The amount of curve can be manually adjusted to be entirely flat or as tight as an 800R curve. In contrast, the extremely curved Samsung Neo G9(opens in new tab) has a 1000R curvature that is just marginally less severe. This Corsair monitor is somewhat extreme when the curve is adjusted to maximum.
Image credit corsair
Corsair Xeneon Flex OLED
Other physical modifications are scarce, which is maybe not surprising given the complexity the flexible panel adds to the equation. There is no height or swivel available; just tilt is offered. Corsair rates the LG-supplied OLED panel at 1000 nits peak brightness and 150 nits whole screen, with 450 nits in a 25% window and 800 nits in a 10% window, in terms of more general characteristics.
The fundamental issue of brightness is a bit of a minefield with OLED technology, as those convoluted numbers suggest. OLED screens have no trouble turning up the brightness in tiny windows or across a small area of the entire display, as we recently explained(opens in new tab). However, larger items or full-screen brightness present significant power, heat, and burn-in risks. Because of this, OLED screens' full-screen brightness ratings are often only a small portion of their maximum capacities.
In any case, speed is an area where the Corsair Xeneon Flex 45WQHD240 excels. The screen is far superior to any LCD monitor, with ratings of 0.03ms for GtG pixel response and 0.01 for full on-off response. The refresh rate peaks at 240Hz. The latter is undoubtedly enough for everyone, aside from semi-pro esports junkies.
The Xeneon Flex is expected to deliver excellent contrast and HDR performance, just like all OLED panels, which profit from per-pixel lighting and nearly perfect black levels. When it comes to HDR rendering, OLED technology is in fact fundamentally different from LCD, to the point where Corsair claims it is collaborating with Blur Busters and LG to develop a brand-new OLED Gaming Monitor certification standard that will score HDR performance.
Burn-in is a concern with any OLED panel, but Corsair is quite encouraging in this regard. With its full-panel resolution of 3,456 by 1,456 pixels and other mitigation techniques, the screen can slightly skew the image. All of it is covered by a three-year Zero Burn in and Zero Dead Pixel Warranty from Corsair.
Finally, the Xeneon Flex has good connectivity when it comes to the primary speeds and feeds. In addition to four USB Type-A ports—two on the back and two on the front of the stand—dual HDMI 2.1 connectors, DisplayPort, USB Type-C with 90W power delivery, and DisplayPort are also included.
But how effective is it really? Any OLED panel used in a desktop gaming monitor is increasingly being questioned about its brightness. The Xeneon Flex has a very uneven performance in this area. It all relies on the type of displayed content.
Simply put, the Xeneon Flex performs poorly with brighter material. The full-screen brightness is subpar in my opinion. Running in HDR or SDR mode, brightly illuminated outdoor gaming scenarios appear very dreary. That's disappointing given the extremely enthusiast price tag of this panel.
The OLED panel is far more capable of achieving something closer to the entire 1,000 nit peak claim with content that has dark backgrounds broken up by little, brilliant things. The outcomes can be quite beautiful when combined with the ideal dark levels and also a lack of any blooming.
The sombre bar scene in Cyberpunk 2077 is a wonderful example, since the neon signs behind the bar stand out against the room's gloomy decor. The panel's centre is considerably, but not dramatically, brighter than the sides even in this situation, which is the only catch.
The issue of pixel density is another. For a 45-inch panel, 3,440 by 1,440 is a very low resolution. This is especially important if the panel uses WRGB pixels as opposed to RGB ones, as the latter are necessary for the proper operation of sub-pixel text smoothing. To be honest, the text doesn't appear as ugly as I could have anticipated. The pixel density is acceptable for games like shooters, racing sims, and what you may refer to as console-style gaming.
But it would be a grave error for you to spend $2,000 on this to play strategy games. The pixel density simply isn't good enough for a device that can be used for both gaming and other PC tasks.
As I previously mentioned, speed is an area where the Corsair Xeneon Flex 45WQHD240 excels. A clear improvement over any LCD monitor is provided by the 240Hz refresh rate and the OLED pixel response. This device moves quite quickly.
However, once on the Windows desktop, the brightness restrictions are difficult to ignore. Simply put, the panel lacks zest and punch. ABL or automatic brightness limiter algorithms are used by the majority of big format OLED screens to change brightness based on how hard the panel is being driven. The Corsair's ABL is undoubtedly rather aggressive, possibly as a result of the panel's absence of a cooling.
Given that heatsinks are increasingly being employed to enable the newest OLED TVs to reach improved large-object and full-screen brightness, that is a significant omission. It's difficult to imagine how the flexible panel feature may work with a heatsink given the way it was designed. We would much rather have a flat panel or a fixed curve with a heatsink to enable better overall panel brightness if it is true that the flexible panel prevents the use of a panel heatsink.
This is especially true given how clumsy and unstable the flex feature feels. It can be challenging to determine how much to bend the panel when you modify the curve. The supporting adjustment arm is supposed to click at full bend, according to theory. In reality, it frequently clicks at random times. The creaking, cracking, and clicking will also frighten anyone with mechanical sympathy.
The Corsair Xeneon Flex 45WQHD240 has a fairly uneven performance overall. The relatively poor resolution and pixel density on their own are pretty hard to take at this pricing point. Therefore, the remainder of the encounter must be outstanding. Sadly, no, it isn't.
In absolute terms, the full screen brightness is subpar and varies widely around the display. While presumably limiting the brightness accessible to some amount by forbidding the installation of a heatsink, the changeable panel contour doesn't much improve the experience.
Corsair Xeneon Flex Oled OLED technology makes many promises. But for PC gamers, it has so far terribly little to show for it. The fantastic 34-inch Alienware 34 AW3423DW is the only genuine OLED PC gaming monitor we've seen so far, as opposed to...Corsair Xeneon Flex OLED study


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