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Kirsten Leenaars (NL), 'Dreams of others' 2006-07
Kirsten Leenaars:
'In my work I explore how identity is constructed, how we look at ourselves and consequently at others. As an artist I work mainly in video and photography. I am interested in how the camera can play an active role in the constitution of its subject, questioning my own role as an artist within the traditions of presentation and representation. I often use my work as a 'platform' for other people where they can perform themselves. In the project "We are our dreams of ourselves souls by gleams And each to each other dreams of others' dreams" (May 2006)
I looked at aspirational dreams as imagined spaces where personal circumstance and desires intersect. I asked people about their aspirational dreams and in the end to play themselves in their dreams. The dreams are filmed in each participant's own living room, functioning as the symbolic framework that defines each one of them. I used objects that were already part of the space and used painted backdrops to assist in the execution of the dream. The dreams in this project are my translations of their dreams into video. I would like to develop a Georgian addition to this work. It is especially exciting to me to develop the counter part for my project in a nation that is going through a time of transformation. Now that new opportunities have opened up and old safety nets are disappearing I think it is particularly interesting to ask people about their aspirational dreams. I am very curious as to how the Georgian dreams will relate to those of my American participants, living in the so called 'land of opportunities'. The Georgian addition to my project will be shown in Chicago at Gallery 400 in March 2007'.
For detailed information please visit: www.kirstenleenaars.nl
Posted by Sophia Tabatadze at 5:40 AM No comments:
Rosell Heijmen (NL), 'The Very Temporary Contemporary Museum', 2006-07
At the end of 2006 I visited Tbilisi in order to start preparations for a publication about Arts and Culture in Tbilisi, in collaboration with GeoAIR. As a guest in Goethe Institute I was invited to make an exhibition in this period. The first step was to talk to young artist about their art-practice and the possibilities to show their work, hoping to see a lot of work in the process. Soon it became clear that the only possibility to see work by young artists is through looking in a catalogue, magazine or visit the artists in their home. This was my third visit to Tbilisi and unfortunately during all of these visits, I was not able to see the works of fellow (living) artists in an exhibition context. However there are a number of very interesting initiatives, art-collectives and persons that try to change the situation and focus on developing their works. I was lucky to have met a number of artists through GeoAIR and because of a prior project in Tbilisi called 'Georgia Here We come' (with an exhibition in the National Art Center that unfortunately seized to exist) in Spring 2006, that enabled me to get some insight in the Georgian Art scene.
There are a great number of museums in Tbilisi, most of them have an exceptional collection, a beautiful building, a large staff, and a lot of free space. Next to these exhibition spaces there are a number of private owned Galleries. None of the exhibition spaces offer contemporary artist a place to experiment, because there is no focus on modern art and the actual space is to be left intact. A few of the bigger museums are being renovated. In Tbilisi renovation can mean a number of things: The national museum on Rustaveli is indeed being renovated, new walls, new floors, new light, new division. It can also mean simply closing a part of the museum and leave it unused for a long period of time. The only 'lively' exhibition spaces and spaces for workshops, lectures and discourse seem to be foreign institutes like The British Council and The Goethe Institute. However their policy is to promote and develop their specific culture, respectively United Kingdom and Germany, it is mostly artists from these countries that have a chance to work there.
There are a lot of empty buildings and a lot of empty space in the museums in the city and there are a lot of plans to realize a contemporary art-space in Tbilisi, however the buildings will probably remain empty for a long time. A lack of flexibility and willingness (support through facilities, permissions etc.) from the part of the city council, the Government and the institutions make it very difficult for the artist to follow through on developed initiatives to realize serious projects without financial means. There is a lot of concern, talk and frustration about the situation, but due to lack of financial means and difficulties in working together, a place for showing, meeting and discussing, seems to be far away. There is hardly any government support, there is practically no art-market or government assignments for contemporary artists.
In contrast to the absence of a functioning presentation space, there are a few very interesting magazines that focus on contemporary art, photography, design, fashion, music, architecture and literature called Anabechdi, Hot Chocolate, a periodical by AIRL, and Loop'A. The magazines offer alternative possibilities for artist and designers to show their work. The first three magazines are in Georgian only, which is a pity for non-Georgians to get an insight in the Georgian contemporary art-scene.
In the Goethe Institute I wanted to show this situation and make a work in-situ. I ended up showing and feeling the situation, by experiencing some difficulties involving making an exhibition. Together with Lado Darakhvelidze and Giorgi Tabatadze I work on an installation based on the reality for artist to develop their art-practice and the lack of exhibition space. We divided the space in a classical museum space and two small museums. The classical space showed pictures of the interiors, taken in all the major museums and other art-spaces in Tbilisi. In the two small spaces Lado Darakhvelidze and Giorgi Tabatadze made a translation of their exhibition possibilities, they showed their work as it actually can be seen; in their house. By making this exhibition I was confronted with the Georgian reality. Until this time I did not actually understand what it is to deal with bureaucracy and hierarchy. The coarse of action is different, you need a different mind-frame to realize an exhibition especially in a short time frame. Even in the German Goethe Institute flexibility and support was hard to find. In order to get something done, even small things, heaven and earth were to be moved. The invitation to make this exhibition was there, but it seemed like an actual interest and commitment to realize this exhibition was absent. After having started to build the exhibition it became clear that the institute's interest was in a formal exhibition, framed pictures an occasional sculpture, no sound, no work, no fuss, nothing exceptional. With a small budget, a good concept an actual space, and a cooperating staff one should be able to work magic. With a good concept, an actual space, a small budget, and an unwilling director, everything works a lot slower and takes a lot of energy, creative process stops right there.
At the same time, Tbilisi art-scene is interested and interesting.
Whenever there is a exhibition or an action, there is a large group of visitors, big interest by the media and a lively discourse. For me this goes to show that the so much desired contemporary art space is of utmost importance for visitors and artists and it will work. With this potential and a lot of work remained unseen, it's not obvious why this space doesn't already exist, one could imagine that an unused building, made available by the city council, could easily be transformed.
Posted by GeoAIR team at 9:12 AM No comments:
Jasper van der Made
In February-March 2006 Jasper van der Made (NL) stayed in Tbilisi. During his stay he made the work Coca-Colonization which was shown in the Gallery Didi in Tbilisi.
Coca-Colonization
Posted by GeoAIR team at 10:16 PM No comments:
ABOUT: Caucasus Biennale Declaration (18 – 22 October, 2006)
By Nathaniel McBride
Much of the best work at Art Caucasus Declaration, Tbilisi's prolegomenon to its first biennale next year, was to be found in Teppanyaki, a group show held by students and teachers from the city's Art Academy. Here the exhibiting artists had agreed to produce all their work, in the manner of sushi chefs, on the opening night and in the presence of the gallery audience, thereby placing upon themselves tight restrictions of space, time and material. The most successful pieces worked through, rather than in spite of, these limits, making a virtue of simplicity, exploiting obvious affinities with performance and employing an aesthetics of the bodily trace or imprint. George Kevle's Three Stains consisted of three abstract forms painted directly onto the gallery wall using his own blood mixed with that of an AIDS sufferer's; the sense of vague apprehension this produced seemed to offer a modern substitute for the 'aura' that Abstract Expressionist painting once sought to achieve through purely formal means. In Through my Mouth, Giorgi Marr stuck pieces of chewed chewing gum to the wall in four rows extending from floor to ceiling, thus turning the decorative coloured candy into something simultaneously attractive and repulsive, its bright hues and fragrant scent contrasting with an awareness of the litres of spit and many man-hours of mastication were required to fix it there. Elsewhere, Elene Naveriani and Vajiko Chakhiani gave performances that produced a steady accumulation of lipstick prints and cigarette butts respectively. All these works spoke of monotony, but a monotony measured out in a series of tiny pieces or traces of a body slowly expended or used up, each one becoming a metaphor of gradual and inevitable physical dissolution. Thus their apparent playfulness often concealed a deeper seriousness - an underlying awareness of life's finality, and the insistence upon this awareness as a precondition to being properly alive.
This aesthetic of the body's trace was developed the following week in two performances at Tbilisi 3: Let's Stay Alive til Monday, a group show of western and Georgian artists organised by the Swiss curator Daniel Baumann. Gela Patashura's Untitled, in which the artist sat in a steam-filled glass cube writing messages on its walls that were almost instantly effaced by condensation, enacted a recurrent theme in Georgian art - the failure of communication, where the artist's repeated messages to the 'outside world' are either lost, ignored or wilfully misunderstood. Kevle's piece for this show involved him extracting half a litre of his own blood and then inviting a curator and a critic to cover the wall behind him with it. The blood was smeared in outline around the artist's cast shadow and then outwards in a growing red aura that literally traced his absent presence on the gallery wall. The symbolism of the artist's blood being manipulated by two traditional hate figures of the art world was lost on no one: more interesting, perhaps, was the reaction of a public still relatively new to performance art. The act of making oneself vulnerable is always also an aggressive one, and reactions to this aggressiveness naturally varied. But even the most hostile seemed to acknowledge its inherent attractiveness, in the guilty enjoyment of a shared complicity and the illicit participation in a collective guilt.
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By Aleksandra Galkina
Казус биеннале
В октябре этого года в Грузии состоялась международная выставка «Кавказская биеннале – Декларация», которая заявлена составной частью Кавказской биеннале, планирующейся в 2007 году. Лейтмотивом многих работ, представленных на выставке, так или иначе, является «изменяющийся мир» в смысле его социополитической трансформации во времени. Однако за немногими исключениями искусство, представленное на выставке, похоже на то многое, что сейчас представляется как «искусство постсоветских стран». Претендующее на роль современного и имеющее амбиции в области сложившегося художественного контекста, оно зачастую спекулирует на «базовых ценностях» (национальных, религиозных), тавтологично размещая себя на периферии глобального художественного процесса. Но это впечатление – скорее вина организаторов таких выставок, недостаточно внимательно и вдумчиво подходящих к работе с локальными художественными контекстами.
Это уже не первый опыт «больших проектов» на Кавказе. Автором и организатором «Декларации» является Южно-Кавказская региональная Ассоциация «Арт-Кавказ» (Грузия, Армения, Азербайджан), 3 года подряд проводившая международные выставки-ярмарки, и декларировавшая тогда своей целью «формирование арт-рынка Южного Кавказа и создание сильной и координированной структуры арт-бизнеса в регионе». Факт биеннале - в большей степени факт государственного значения. Таким образом, инициатива, изначально нацеленная на развитие арт-туризма, обретает вполне завершённую форму идеологического проекта.
Постепенное включение в мировой художественной контекст стран т.н. постсоветского пространства давно уже очевидная тенденция. На выставке в Тбилиси было представлено в основном искусство стран Южного Кавказа (а также Украины, России, Германии, Турции и Ирана). Выставка состояла из нескольких частей – непосредственно экспозиции в трёхэтажном здании Детской национальной галереи, конференции на тему «Искусство в изменяющемся мире» и мастер-классов иностранных кураторов и художников. В частности, небезынтересной была лекция куратора Антонио Джеуза, посвященная русскому видео-арту, проведённая в местном Гёте институте. На примере работ Бориса Юхананова, «Новой Академии» («Пиратское телевидение»), группы «Синие носы», художников Гии Ригвавы («Они всё врут»), Антона Литвина, Анны Ермолаевой, КД, а также редких и мало кем виденных даже в Москве видео Андрея Монастырского «Разговор с лампой» Антонио проследил развитие этого жанра в России.
Экспозиция в Детской национальной галерее была поделена по странам, представленным художниками-участниками и тематическим проектам. Один из залов занимала выставка "Экотопия, современное искусство и экология в Закавказье". В ней приняли участие художники из Грузии, Армении, Азербайджана и Германии. Пафосом выставки должен был стать прецедент сотрудничества современного искусства с экологией. Как объясняет искусствовед Хатуна Хабулиани, экологические темы в традиционной грузинской живописи – предмет эстетизации, «ландшафты и натюрморты служат колористическим задачам», а для советского периода природа была скорее безопасной темой, где авторы чувствовали себя защищённым, избегая спорных вопросов (классические примеры живописи Пиросмани и концептуальных ландшафтов художника Давида Какабадзе). Выставка включает как отдельные работы, так и запись интервью с художниками, комментирующими свои работы и предлагающих собственные проекты по улучшению окружающей среды властям. Нино Сехниашвили озабочена проблемой растущей радиации, она предлагает измерить степень радиации в художественных галереях разных стран и сравнить её. Художница Софо Табатадзе говорит о мусорных свалках, которые в Грузии можно встретить и у фешенебельных вилл, владельцев которых не смущает такое соседство и им безразлично, что творится за стенами их владений. Ещё один респондент фильма – скульптор Мамука Самхарадзе -обеспокоен недопустимой, по его мнению, близостью озера Лиси (Тбилиси) с жилыми кварталами. В фильме есть фрагмент его перформанса - «медитации в танце» у этого озера. Как отметила Ева Хачатрян в сопроводительном тексте к армянской части экспозиции «Экотопии», остаётся вопросом то, может ли искусство выполнять «инструментальную» функцию по отношению к социальности, или нет.
В рамках этих рассуждений интересным представляется проект, представленный на выставке в Тбилиси грузинским куратором Георгием Кевле. В прошлом году на очередном «Арт-Кавказе» им была организована выставка «Другой Кавказ». Сейчас он представил наиболее удачную экспозицию во всей «Декларации». Она называется "Teppanyaki". В каталоге, составленном, кстати, целиком на английском языке, в духе «а почему нет» дано краткое объяснение, содержащее цитату из википедии (сетевой открытой энциклопедии). Teppanyaki – японская кухня, в которой всё готовится на специальной большой сковороде. В середине 20 века Teppanyaki, популяризированное в Америке одной сетью ресторанов, приобрело новое значение – так стал называться зрелищный процесс приготовления блюда в японской кухне. Это и имелось в виду авторами. Здесь можно угадать иронию над «шутовским» поведением страны-периферии перед центром-монополией в политике (культурной, в частности).
Все работы в экспозиции - результат перформативных действий на месте, что концептуально перекликается с её названием. По технике исполнения все они отличаются лаконичностью и простотой. На одну из стен грузинским художником Melano было нанесено крупное пятно нефти, формой напоминающее цветок, – работа "Oil flower". Следом на двух расположенных по горизонтали выступающих из стены прутах было натянуто предварительно смоченное в зелёнке и затем скрученное во много раз полотенце. Площадь вокруг объекта осталась забрызганной зелёнкой (Condition 8, художник Gago, Грузия). Другая работа Stain 1,2,3 – три небольших пятна бледно-красного цвета – в технических данных которой указаны «кровь, заражённая СПИДом, кровь овцы, пятно краски» (Giorgi Kevle, Грузия). Работа Through my mouth – 4 параллели вертикальных рядов разноцветных жвачек, каждую из которых художник Giorgi Marr разжевал и приклеил к стене.
В целом проект Teppanyaki по форме вполне убедителен. Однако общее впечатление от выставки «Кавказская биеннале - Декларация» замутняется экспозиционной невнятностью. Значение подобных выставок в локальном и международном контекстах если не иллюзорно, то сомнительно. Безусловно, выставка «Декларация» и заявленная на следующий год Кавказская биеннале должны оказать некоторое влияние на ландшафт местного культурного контекста (туристический интерес к региону вырастет наверняка), но на международный рейтинг художников – вряд ли.
Александра Галкина
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By Freya van Dien
The Art Caucasus 2006; Caucasus Biennale Declaration. What's in a name?
If I were to ask someone who had neither seen nor heard of 'The Art Caucasus 2006; Caucasus Biennale Declaration' what kind of project or presentation they think it could be, what would they say? What do the words 'art', 'Caucasus', 'biennale' and 'declaration' stand for?
Let me start by tackling the most difficult one: art. Art, to me, is a form of human expression that represents or presents this 'stranger than fiction' world of ours in ways that make us realise the immense diversity in which it can be experienced. Art also shows us the uniqueness and talents of human beings who choose the life of an artist and put themselves under the pressure of always questioning oneself and the world around them in order to keep their art alive and relevant. It is these are two notions of art that keep me interested and make me want to go see exhibitions.
'Art' and 'Caucasus' might stand for a project representing the artistic production and dynamics of the Caucasus to the Caucasus and the international public and press. It is a project about and by the Caucasus art world. A co-operative effort like this is a valuable thing. It gives the people involved the chance to discuss and decide together 'what is Caucasian art when our different views come together?' Like all countries and regions in the world the Caucasus also questions and develops its culture and relationship to others in order to keep its head above water in the globalizing world. In places like the Caucasus especially, where you find what I call 'cultures under pressure', it is important to have a lively public and civil discussion about cultural development. An exhibition of Caucasian art can contribute to this. It is a project that is accessible to the public and gives the Caucasian art world, the international art world and the general audience the possibility to meet and discuss together.
A Biennale Declaration? What do these words mean? Does it declare the coming of a Biennale in the future? Or that one is starting right now? In either case it declares the existence of a Caucasus Biennale; an internationally important show where the Caucasus and the international art world meet. That has proven to be a great tool for showing the international community what you are made of. If you want to be visible this is a well known strategy to use. We also know it's a strategy everyone uses. There will be about 9 Biennales and 1 Documenta going on in the summer and autumn of 2007. Is a Biennale still an effective way of presenting oneself or is it just a fancy word everyone knows, dangerous because it risks making claims for itself it cannot deliver. It is up to artists, curators, theorists and other people involved in the Caucasus art world to decide if the model of a Biennale is the right one to invest in the Caucasus art world and its relation to the international community.
Having said all this, let's look at what Art Caucasus 2006, Caucasus Biennale Declaration, besides its name, really meant.
I made my visit on the last day. On the first floor, behind a closed door, I found an unlit presentation space with the remains of performances done on the opening evening by art academy students. Part of the plan was to show each performance on monitors afterwards, but this failed owing to lack of funds. On the second floor the Ecotopia project, completed at end of 2005 and the beginning of 2006 with some good work by artists from Germany and the Caucasus, was crowded into the exhibition space. I walked into another room, which was 70 percent empty and showed, in two corners, work by a Georgian artist and by an Armenian graphic designer. In another corner there was also a grand piano covered with papers and a bucket and some fabric. For a minute I wondered whether this was an art piece but it was just some stuff left behind. On the way to the third floor I passed a Kodak advertisement which made me feel as if I was entering the 'office zone' where aesthetics and disturbing elements, for as far as anyone had paid attention to this on the previous floors, really did not matter anymore. I was wrong: this was also an exhibition floor but at the end of the last day most pieces using electricity were switched off. By now I had had it and did not feel like looking for any more art. It was a pity, because looking at the catalogue there were some interesting pieces there. This feeling of 'why bother?' had also stopped some artist friends of mine to go through the whole exhibition.
On the level of art it was a collection of unrelated and badly exhibited projects. It felt as if the exhibition was put together by someone who does not know how to treat an art piece or a combination of art pieces with proper respect, as if it did not matter what and how things were shown as long as something was shown. What was shown here surely did not live up to any expectations of an exhibition representing art from the Caucasus and I won't even go into what is necessary to be taken seriously by the international art world if one organises an international Biennale.
Over the last 6 months I have been following the development of this year's Art Caucasus from a distance. I know the organisation has made an attempt to involve several people from the Georgian field of art. I also know people dropped out at a certain point because they felt that their ideas were not being listened to and that the organisation was taking them over without involving them. I wonder what happened to the contacts the organisation had outside Georgia. The guests I've talked to have all expressed some level of disappointment about, for instance, their presentations not being announced, or unclear appointments about payment and formal arrangements.
If you want an exhibition representing the Caucasus you have to organise a democratic process for the development of the concept and the selection of the works. Except for a long list of names in the catalogue I have not seen many signs of a successful democratic process behind this project. What I also have not seen is any form of public critical discourse alongside this project, and in my opinion a healthy project needs and should embrace criticism. What I think is necessary at this phase of the region's cultural development is the guts to experiment, take risks and face consequences when they cross the path of saying what you want. Democratic cultural development should be anything but cramped, and that is exactly the general feeling of 'Art Caucasus 2006, Caucasus Biennale Declaration' gives me; cramped. What could be behind this? Fear of losing face? Nepotism? Naivety? I don't know, but in this case it seems that the Georgian ability to work together with people from different backgrounds, and their famous sense of hospitality, got lost somewhere between management muddle and an overemphasis on prestigious phrases like 'Art Caucasus 2006, Caucasus Biennale Declaration'.
Tbilisi 27-10-'06
Posted by GeoAIR team at 7:21 AM 1 comment:
Notes from participants of 'Georgia Here We Come'
Freya's notes of conversations with people who took part in the ERforS project: 'Georgia He We Come' in March 2006.
- The stay in Georgia especially taught me a lot about myself. You realise that things that are normal to you do originate somewhere specific.
- Dutch people think in steps and are used to planning. Georgians are interested in that but are constantly confronted with changes in society and then planning seems in vain. Architects would really like to work the way people work in the Netherlands. They miss the planning and targeted way of working. I think a lack of knowledge amongst the teachers contributes to this problem.
- There is a will but not yet a way and there is a lot of energy in people but they are sceptic and they are often laconic about their own actions and live from day to day.
- The typical Dutch design, which is completely integrated in society doesn't work in Georgia. In Georgia you notice a negative reaction to design that reminds them of Russian design from during the communist era. 'Western design is en vogue'
- Men dance together like Moroccan men.
- Georgians have black humour.
- Sometimes apartment buildings are finished only by casco and the inhabitants give their personal input to the rest of the house including the front and rear façade.
- It could be that you are sharper when you are there for a short time because then you don't have the time to get annoyed by things.
- I know people are disillusioned asking themselves: what can we do or change and what will be the effect? They are used to not having anything and they are on the edge of the world and it is hard to get out because of visa regulations and money issues.
- I found it very valuable that we had access to the art community and the right people and they to us.
- On a social level it was valuable to hang out around the table and then, when the power goes out, you improvise. We played guitar, people sang, it was romantic.
You get to know people and meet them on the street. Projects grew out of conversations.
- What was interesting about being in this different world was to see what art can mean in this situation and you see that it can take a whole different shape.
What I saw that there was less institutional pressure determining the topics people work with, like you sometimes feel in the Netherlands. It is off the 'cultural map' that is being made by cultures who have more means to exchange. Specific stuff I saw was artists making connections between performance and art and using their cultural identity in their work in a very conscious manner.
Teike Asselbergs from Orgacom
For an artist that mostly realises work based on peoples narratives about their organisation or group it is difficult enough to get into another culture an realise a project within the time-frame of less than 3 weeks. It was however a new experience for me to additionally find myself in a country and city where both the language and letters were totally unfamiliar to me and where English is spoken by only by a few.
The first few days (I arrived a couple of days late into the project) I spend catching up, seeing the touristic sights the others had photographed the days before. I wondered what to do. My first idea was to produce some new types of souvenirs, but later I realised this idea came only to my mind because I had been involved in a workshop about this topic the week before, in Istanbul. The best of this and of any other recidency is to meet interresting new people. In this regard this recidency was extremely rewarding. The real luxery of this recidency is that there are people to translate both language and culture-wise, what is happening and what is said by people living in Tbilisi. Some recidencies are luxurious in other ways, but the visit can be made just as well by anybody on their own account. I think it is safe to say there is no way, except maybe if you master Russian, that one could find those interresting people relevant to specific ways of working - let alone speak to them - in Georgia, without the help of GEO-AIR.
Another luxery of the recidency is the Georgian Food! I now know where to word 'georgious' stems from. It was good to share dinners with the other participants of the recidency and the Tbilisi people that were part of our various projects and make sense of all new impressions together. It was usefull to share thoughts on projects because they progressed faster and in relation to eachother.
Because I live partly in Turkey I want to get to know artists in the bordering countries. I found out I have lovely neighbours. Nadia and Sopo also visited me back in Istanbul. Who can say that of their host-residency? Spin-off of this visit is that the three of us will participate in the biennual Sinopale in Turkey during the summer of 2006.
Although initially the drive for me to commit to the Enough-room-for-space project for me was the possibility to start networking in Georgia, as the days progressed I wanted to join the frantic production fever more and more and produce some art work in the space. The good thing about the Enough-room-for-space project is that it is open enough not to stear things to much in one direction, but energetic enough to made me want to produce something.
Since Orgacom artist-initiative has plenty of experience in combining content with organisation and the momentum in Tbilisi is now towards setting up new art initiatives (something which is also happening in Istanbul) this was something I felt strongly related to. Somehow after speaking to Elias I decided that it could be interresting to organise my meetings with Tbilisi artists around the topic of setting up artist initiatives. Therefore I allocated my art budget to a prize for the best artist-initiative concept of 2006. The lecture to the art students and artists - which was part of the Enough-room-for-space project - was very helpfull to introduce the prize-idea to my target audience.
The winner(s) use the money to realise their idea and my use of being in Tbilisi would be that all artists that intended to enter the competition could plunder my mind for international contacts and examples. This resulted in discussions about: what is the difference between an art project and an initiative? and how open or how specific should the identity/focus of an initiative be formulated?
For me the creative moment and the notion of succes is linked to collaboratively find a novel 'fit' between artistic content and models of organisation. This happened in several cases in discussions with participating artists. I will stay available to them long after my recidency to co-develop the initiatives. My intention is to visit Tbilisi again or host some Georgian artists in an art initiative space in Istanbul in which I am involved.
Georgia Here We Come, Part II, to Holland
Utrecht, 21 August - 17 September, 2006
During the 'Georgia Here We Come' project in Georgia Expodium (Bart Witte and Maaike Gouwenberg) selected Georgian artists to go to Utrecht to react to the specific cultural context in Holland and develop a site-specific project in the Netherlands.
In the second part a group of 8 Georgian artists came to Holland to work and explore. Expodium, located in Utrecht, hosted the artists and offered a workspace and a program in which the group could gather useful information for the development of the art world in Tbilisi.
In order to create a network and gather information the group did various day-trips for which Dutch artists, architects, theater producers and others have made the program. Bureau Beyond Utrecht and the Graphic Atelier Utrecht contributed by offering their spaces as a temporary work- and live space. In the public workspace at Expodiums headquarters the group worked on a database, filling this with the gathered information, as well as on an exhibition with previous work and work made in Holland.
The final presentation took place on the 10th of September, during the start of the Utrecht cultural year.
Participating Georgian artists were:
Lado Darakhvelidze
Makes installations in which he plays with the societal and political situation of a place and combines this with geographical elements of the place where the work is made.
Mamuka Samkharatze
Works mainly site specific. Coming from a fascination for eastern religion he lets his thoughts run free and translates this into big installations in exhibition spaces and in the public space. The start is an idea that will grow into a construction made like a mind map using complex figures.
Melano Sokhadze
In performances, video's and installations Melano searches for a confrontation with the spectator. With a critical view she manages to incorporate elements from the city and its politics in her work and to play with the boundaries of art commenting on both. She plays with 'the familiar' in a way that the spectator is confronted with his own 'normality' and simplicity.
Polina Rudchik
As a theatre designer for costumes and stages Polina searches for new ways to give input to the development of theatre in Tbilisi. With an open attitude and experimental way of working the manages to give new input in traditional Tbilisian theatre. Her work sketches have an inviting quality that makes you want to go see the performance they are made for.
Luiza Laperadze
Luiza is a teacher and challenger. She likes to go out into the streets to do performances that bring some life into the city and stir things up a little. A powerful woman that cannot be set aside by any powers.
Bessa Kartlelishvili
Every day Bessa makes a few drawings about the situation in the world. Well aware of the political situation he addresses current changes on different topics from war to sports. With a big interest in art in the public domain and its boundaries he is coming to Holland to gather information that can help him to turm Tbilisi into the city he wants it to be.
Aleksandre Katsitadze
Being the only architect in the group Aleksandre might seem an outsider but his courage and curiosity towards developments in architecture are an inspiration for the whole group. He has a well-funded vision about the building developments in the city and ideas about how he can change those in order to make the city interesting architecture wise.
Giorgi Tabatadze
Is interested in all sorts of aspects of the arts world. With a critical attitude towards art as well as the political situation of this country he makes pieces with different media resulting in installations, performances and videos. Giorgi often works together with Lado Darakhvelidze.
Posted by GeoAIR team at 3:14 PM No comments:
Georgia Here We Come
Tbilisi, 3-24 March 2006
Organised by ERforS (Marjolijn Dijkman and Maarten Van den Eynde) and Expodium Utrecht in collaboration with GeoAIR
www.enoughroomforspace.org and www.expodium.nl
Responding to the call of new Georgian President Saakashvilli, ERforS and Expodium organize a site specific project. This call was for Georgians, who have studied and worked abroad, to return to Georgia and help to rebuild the country. ERforS respond to this call was to investigate how art could contribute to this quest for freedom and democracy. Should Georgia change something and if so what and how? What is freedom and what is democracy? For the project it is important to have an open view towards the situation and not have a fixed idea about Georgia at the moment. The interaction with artists and locals was important to understand more about Georgia and it's future. With small interventions and works in the public sphere ERforS created changes and stimulate the use of committed art.
'We think the influence of our installations, projects and interventions will create small scale differences in the city. The interaction between the inhabitants and audience will hopefully create an interesting soil for committed art and the future developments of GeoAIR and other organizations in Tbilisi'. - says ERforS
Besides the individual projects the Dutch artists did series of the lectures at the Tbilisi state academy of arts. The themes for the lectures were based on the gaps of knowledge in the art academy, as defined by GeoAIR and teachers from the academy, and related to the artists practices. Lectures were held on the topics of: the artists role in the society, using the knowledge of traditional craftsmanship in contemporary design, cross disciplinary cooperation, curatorial practices and the artist as an one-man enterprise.
Georgia Here We Come, central presentation space at the National Art Center Tbilisi.
Participants and their works:
Maarten Vanden Eynde (BE/NL) www.massproductions.nl
Preservation of the Future project. "After the Independence of Georgia in 1991, many things have changed. The Lari, for instance, became the new currency in 1993. The western economy was introduced and brought many new products, which made others disappear. To ensure the remembrance of this period in Georgian history, I want to collected artifacts representing Georgia at the present moment and put them in the ground, for future archaeologists to discover."
Marjolijn Dijkman (NL) www.marjolijndijkman.com
Street Kiosk project. "During my stay in Tbilisi I conducted research on the transition of the street kiosk and the way people developed and constructed displays to sell their goods in the city."
Marika Asatiani (GEO)
Is a photographer and she exchanged places with Maarten van den Eynde who was taking part of the residency program in LA. During Maartens three weeks of stay in Tbilisi she took his place and went to LA.
Daan van der Berg (NL) www.rotterdamsekunstenaars.nl
Designed a kitchen suitable for the gallery using the materials the he could find in Georgia. Kitchen had several uses during the project.
Stefaan Dheedene (BE) www.stefaandheedene.com
By observing the situation on Rustaveli just around the corner next to the gallery where this group worked, and where the demonstrations take place, Stefaan made videos registering these happenings.
Suze May Sho (NL)
Rosell Hijmen, one artists from the trio Suze May Sho http://www.suzemaysho.com/ She collected material for making a book. For this book she asked Georgian and Dutch artists to contribute their works.
Eric von Robertson (USA) Center for the Advancement of Recreation and Leisure http://carl.typepad.com
Designer Eric von Robertson participated into different projects with various Georgian artists. His projects are mostly of right here right now character and have performing or playing character. Woolen outfits for the street dogs were designed during his stay in Tbilisi
Orgacom (NL) www.orgacom.nl
The Dutch artist initiative Orgacom issued a prize of 850 Lari for the best Initiative, to groups or duo's of artists and designers for the most imaginative proposal for an artist initiative in Tbilisi. The winner group T.Chapodze; I.Svanidze and G.Doborjginidze, got the prize for realization of the project "Mental Hybrid". Taike Asselbergs from Orgacom will assist the group further for enlarging their network and creating possibilities outside Georgia.
David Djindjikhachvili (GEO/NL) and Krzysztof Wegiel (PL/NL)
Registered the whole project on video and will make a documentary about the activities and outcome that took place in Tbilisi and later in Utrecht. They also started one Minute Video workshops where students of the art Academy could participate. David and Krzysztof would help the students with filming and editing. In total there were 21 one-minute films made by the Georgian artists that will participate in the one-minute competition that is taking place in Amsterdam.
Media attention:
The project got a lot of media attention and therefor reached even more people than the ones that visited the project space and presentations.
TV: Rustavi 2, Imedi TV and 1st channel news covered the project.
Radio: there was a radio broadcast from the 1st channel.
Newspapers: the newspapers 2x 24 hours and Resonance wrote three articles about the project.
For the realization of this project GeoAIR thanks the Dutch Embassy in Georgia and the National Art Center in Tbilisi.
See more on: www.enoughroomforspace.org
Rosell Heijmen (NL), 'The Very Temporary Contempor...
ABOUT: Caucasus Biennale Declaration (18 – 22 Octo...


text:
Q: Flutter UpperCamelCase I'm new to flutter and I made my main.dart route to my splashscreen. In my main.dart, it accepted the name splashscreen() but in my splashscreen.dart it kept flagging the error "Name types using UpperCamelCase" when I named my class splashscreen.
Here is my main.dart
import 'package:flutter/material.dart';
import 'Routes/splashscreen.dart';

void main (){
  runApp(MyApp());
}

class MyApp extends StatelessWidget {
  MyApp ({Key? key}) : super(key: key)

  @override
  Widget build(BuildContext context) {
    return MaterialApp(
      debugShowCheckedModeBanner: false,
      title: "DoyarPay",

      home: splashscreen(),

    );
  }
}

Here is my splashscreen.dart
import 'package:flutter/material.dart';

class splashscreen extends StatefulWidget {
  const splashscreen({ Key? key }) : super(key: key);

  @override
  _splashscreenState createState() => _splashscreenState();
}

class _splashscreenState extends State<splashscreen> {
  @override
  Widget build(BuildContext context) {
    return Container(

    );
  }
}

On the splashscreen.dart it gives the "Name types using UpperCamelCase" error.
Can anyone help me out on this.
Thanks

A: It is "accepted" but the warning indicates that you should follow some specific naming conventions. You should definetely check here which has more details about Effective Dart.

A: Widgets always start with uppercase letter so change your splashscreen to Splashscreen, not only widgets but classes as well
import 'package:flutter/material.dart';
import 'Routes/splashscreen.dart';

void main (){
  runApp(MyApp());
}

class MyApp extends StatelessWidget {
  MyApp ({Key? key}) : super(key: key)

  @override
  Widget build(BuildContext context) {
    return MaterialApp(
      debugShowCheckedModeBanner: false,
      title: "DoyarPay",

      home: Splashscreen(),

    );
  }
}

And your splashscreen.dart
import 'package:flutter/material.dart';

    class Splashscreen extends StatefulWidget {
      const Splashscreen({ Key? key }) : super(key: key);

      @override
      _SplashscreenState createState() => _SplashscreenState();
    }

    class _SplashscreenState extends State<Splashscreen> {
      @override
      Widget build(BuildContext context) {
        return Container(

        );
      }
    }

A: Classes in dart has to be in UpperCamelCase.
Probably the linter doesn't detect the "error" (is not an error, you are just violating a convention) in your main.dart but it does during class declaration.
To follow dart standards just change the code using UpperCamelCase consistently:
return MaterialApp(
  debugShowCheckedModeBanner: false,
  title: "DoyarPay",

  home: SplashScreen(),

);

import 'package:flutter/material.dart';

class SplashScreen extends StatefulWidget {
  const SplashScreen({ Key? key }) : super(key: key);

  @override
  _SplashScreenState createState() => _SplashScreenState();
}
class _SplashScreenState extends State<SplashScreen> {
  @override
  Widget build(BuildContext context) {
    return Container(

    );
  }
}

A: For class name in dart, suggest using CamelCase means it will start with an uppercase letter and the next word's 1st letter will be uppercase as well.
In your case splashscreen which starts with s which is lowercase. Appropriate will be SplashScreen.
For file name, we use snake_case.  In this case splashscreen.dart will be splash_screen.dart
Learn more about

*

*effective-dart

*Camel case vs. snake case

redpajama_set_name: RedPajamaStackExchange


text:
Reich Explains Obama's Economic Policy: Revolutionary!
Bob Reich was nice enough to offer a free correspondence course on Obanomics yesterday. You should read it. You should read everything Dr. Reich writes!
Is Obamanomics Conservative or Revolutionary?
There are two ways to see Obamanomics.
The first, much preferred by the White House, is as a set of initiatives so modest as to hardly merit a raised eyebrow. Yes, steps must be taken to deal with the current economic crisis. But assuming the economy recovers next year, Obama's budget projects that government spending by the end of the decade will drop to around 22.5 percent of GDP, which is about where it was under Reagan.
What about those tax hikes on the wealthy? Obama merely restores the top two marginal income tax rates to what they were in the 1990s, the capital gains rate to its lowest level during that same prosperous decade, and the rate on dividends to a level even lower than it was in the 1990s. And even these modest reversions to the 1990s will affect only the wealthiest 3 percent of Americans, and not until 2011. Ninety-seven percent of small businesses won't pay a dime more. True, the very rich won't be able to deduct quite as much as they can now for their mortgage interest and charitable donations, but this is hardly revolutionary, either. In fact, it's another throwback -- to the limits in place under Ronald Reagan. All told, taxes are projected to total 19 percent of GDP by the end of the decade. That's even lower than it was in the late 1990s.
Modest as they are, these taxes will generate enough revenue to pay for half of what's needed for universal health care, and still reduce the deficit by about $750 billion over ten years -- to 3.1 percent of the GDP by the end of the decade.
But isn't universal health care itself a pretty radical step? Not according to this view. The other half of what's needed to pay for universal health care will come from health-care savings that are also necessary to keep the current big health-care entitlement programs -- Medicare and Medicaid -- affordable. It's just common sense: Allow government to use its bargaining leverage under Medicare and Medicaid to lower drug prices, strengthen Medicare pay-for-performance incentives, and institute better disease management, prevention, and health information technologies.
What about the environment? Isn't cap and trade a huge deal? Not at all. Instead of heavy-handed regulation it's a market solution to the problem of global warming. Government merely sets an overall cap on the amount of carbon dioxide to be allowed into the atmosphere, which drops annually, and then requires firms to bid for permits to pollute within that overall cap. Firms can buy and sell permits to each other; they can innovate to reduce pollution even further. Such a system will generate enough revenues to give 95 percent of Americans a yearly refundable tax credit of $400, and also finance research and development of renewable energy and a modernized electricity grid.
But isn't Obanomic's approach to educational reform expensive and intrusive? No. By this view, it's very mainstream and incremental -- and doesn't impose on the prerogatives of states and locales. It expands the tax credit for college tuition to $2,500 a year and increases Pell Grants to $5,500 yearly -- almost negligible increases, given how fast tuitions are rising. It cuts subsidies to banks participating in the student-loan program, which is exactly what Bill Clinton did, and it provides some funds for early childhood education.
So there we have it: Obamanomics as pragmatic, incremental, centrist, even conservative.
But there's another way to view Obamanomics -- as an economic philosophy exactly the opposite of the one that's dominated America for more than a quarter century.
The basic idea of Reaganomics was that the economy grows from the top down. Lower taxes on the wealthy make them work harder and invest more, and the benefits trickle down to everyone else. Rarely in economic history has a theory been more tested in the real world and proven so wrong. In point of fact, nothing trickled down. After the Reagan tax cuts, increases in the median wage slowed, adjusted for inflation. After George W. Bush's tax cuts for the wealthy, the median wage actually dropped. Meanwhile, most of the income went to the top. In 1980, just before the Reagan revolution, the richest 1 percent took home 9 percent of total national income. But by 2007, the richest 1 percent was taking home 22 percent.
Obamanomics, by contrast, holds that an economy grows best from the bottom up. Obama's program increases taxes on the top, and uses the proceeds to raise the living standards of average Americans by giving them lower taxes, better schools, and more affordable health insurance. That may not seem very radical, but compared to the last quarter century it's revolutionary.
Reaganomics didn't believe in public investment, except perhaps when it came to the military. Everything else was considered government spending, which was assumed to be wasteful. Hence, the cuts (adjusted for inflation) during Reagan, Bush I and Bush II in education, job training, infrastructure, and basic research and development. And the reluctance to expand health insurance except when it came to corporate welfare for the pharmaceutical industry.
But Obamanomics is a commited to these forms of public investment. And there's good reason: In a global economy, capital moves to wherever it can get the best deal around the globe. That means capital and jobs go to nations that can promise high returns either because labor is cheap and taxes and regulations low, or because labor is highly productive -- well educated, healthy, and supported by modern infrastructure.
Which do we want? For the better part of the last quarter century our implicit economic strategy has tended toward the first. But that's a recipe for lower wages and lower living standards for most Americans, along with widening inequality. The only resource that's uniquely rooted in a national economy is its people -- their skills, insights, capacities to collaborate, and the transportation and communication systems that link them together. Everything else -- including capital, technology, designs, even plant and equipment -- can move around the globe with increasing ease.
Bill Clinton talked a lot about the importance of public investment but he failed to do much about it because he came to office during an economic expansion, and the major worry was excessive government spending leading to inflation. Obama comes to office during the biggest downturn since the Great Depression, and although he doesn't talk much about public investment his plan represents the largest commitment to it in forty years.
Reaganomics' third principle was that deregulated markets function better. They do, in many respects, but not always. And when they don't, all hell can break loose. Energy markets were deregulated and we wound up with Enron. Carbon emissions weren't controlled, and now we face global warming. Financial markets were deregulated and we have a global meltdown. Obamanomics, by contrast, accepts that government has an important role in setting the rules of the capitalist game: Setting an overall cap on carbon emissions, ensuring that products and foods are safe, maintaining the solvency and security of financial companies.
Under Reaganomics, government was the problem. It can still be a problem. But Obamanomics recognizes there are even bigger problems out there that can't be solved without government. By building the economy from the bottom up, recognizing the central importance of public investment, and understanding that markets cannot function without regulation, Obamanomics finally reverses and repudiates the economic philosophy that has dominated America since 1981.
If you look only at the small print, Obamanomics looks conservative. If you look at the big picture, it's revolutionary.
Labels: budget, economy, Obama Administration, Reich

redpajama_set_name: RedPajamaCommonCrawl


A mix of cut and looped pile gives the Caterine a textured, striation appearance. Constructed of 100% hand tufted wood with a cotton/latex backing, this rug is sure to endure through the years to come. Wool is naturally resistant to soiling, and stands up to daily wear and tear.


text:
Solution home BCCVL Ouputs
Modified on: Tue, 5 Mar, 2019 at 2:38 PM
There are a number of publications which have used BCCVL to model species distributions, and several others that have reviewed or mentioned using BCCVL. If you have a publication that you would like to add to our list, please get in touch.
BCCVL used for modelling
Taylor, C. M., Keppel, G., Peters, S., Hopkins, G. R., & Kerr, G. D. (2018). Establishment and potential spread of the introduced spotted-thighed frog, Litoria cyclorhyncha (Ranoidea cyclorhynchus), in South Australia. Transactions of the Royal Society of South Australia, 142(1), 86-101. doi:10.1080/03721426.2018.1444911
Sumoto. S. & van Etten, E. (2017). Species distribution model of invasive alien species Acacia nilotica for Central-Eastern Indonesia using Biodiversity Climate Change Virtual Laboratory (BCCVL). https://smujo.id/td/article/view/1644
Mackey, B., Cadman, S., Rogers, N., & Hugh, S. (2017). Assessing the risk to the conservation status of temperate rainforest from exposure to mining, commercial logging, and climate change: a Tasmanian case study. Biological Conservation, 215, 19-29. https://www.sciencedirect.com/science/article/pii/S0006320717305773?via%3Dihub
Low-Choy, S., & Huijbers, C. (2017). Experimenting with Modelling via a Virtual Laboratory: Evaluating pseudo-absence strategies to refine a species distribution model. Paper presented at the 22nd International Congress on Modelling and Simulation, Hobart, Tasmania. https://www.mssanz.org.au/modsim2017/G8/lowchoy.pdf
Hallgren, W., Santana, F., Low-Choy, S., Rehn, J., & Mackey, B. (2017). Sensitivity Analysis to Configuration Option Settings in a Selection of Species Distribution Modelling Algorithms. Paper presented at the 22nd International Congress on Modelling and Simulation, Hobart, Tasmania. https://www.mssanz.org.au/modsim2017/A1/hallgren.pdf
Santana, F., Hallgren, W., Rehn, J., Chiu, L., & Holewa, H. (2017). Implementing best practices and a workflow for modelling the geospatial distribution of migratory species. Paper presented at the 22nd International Congress on Modelling and Simulation, Hobart, Tasmania. https://www.mssanz.org.au/modsim2017/C3/santana.pdf
Hallgren, W., Beaumont, L., Bowness, A., Chambers, L., Graham, E., Holewa, H., . . . Price, J. (2016). The biodiversity and climate change virtual laboratory: where ecology meets big data. Environmental Modelling & Software, 76, 182-186. https://www.sciencedirect.com/science/article/pii/S1364815215300839?via%3Dihub
BCCVL mentioned
Booth, T. H. (2018a). Species distribution modelling tools and databases to assist managing forests under climate change. Forest Ecology and Management, 430, 196-203. https://www.sciencedirect.com/science/article/pii/S0378112718310879#
Booth, T. H. (2018b). Why understanding the pioneering and continuing contributions of BIOCLIM to species distribution modelling is important. Austral Ecology. https://onlinelibrary.wiley.com/doi/abs/10.1111/aec.12628
Langenheim, N., White, M., Barton, J., & Eagleson, S. (2017). Designing with Data for Urban Resilience. In S. Geertman, A. Allan, C. Pettit, & J. Stillwell (Eds.), Planning Support Science for Smarter Urban Futures (pp. 113-133). Cham: Springer International Publishing. https://link.springer.com/chapter/10.1007%2F978-3-319-57819-4_7
Palmer, R., Dharmawardena, K., & Holewa, H. (2017). Adapting Enterprise Architecture for eScience. Paper presented at the e-Science (e-Science), 2017 IEEE 13th International Conference. https://ieeexplore.ieee.org/abstract/document/8109160/
Ramalho, C. E., Byrne, M., & Yates, C. J. (2017). A Climate-Oriented Approach to Support Decision-Making for Seed Provenance in Ecological Restoration. Frontiers in Ecology and Evolution, 5(95). doi:10.3389/fevo.2017.00095 https://www.frontiersin.org/articles/10.3389/fevo.2017.00095/full
Santana, F., Pariente, C. A. B., & Saraiva, A. M. (2017). Species Distribution Modeling with Scalability: The Case Study of P-GARP, a Parallel Genetic Algorithm for Rule-Set Production. Paper presented at the Information Reuse and Integration (IRI), 2017 IEEE International Conference. https://ieeexplore.ieee.org/abstract/document/8102933/
Wolski, M., Howard, L., & Richardson, J. (2017). The importance of tools in the data lifecycle. Digital Library Perspectives, 33(3), 235-252. doi:doi:10.1108/DLP-11-2016-0042 https://www.emeraldinsight.com/doi/full/10.1108/DLP-11-2016-0042
Booth, T. H. (2017). Assessing species climatic requirements beyond the realized niche: some lessons mainly from tree species distribution modelling. Climatic Change, 145(3), 259-271. doi:10.1007/s10584-017-2107-9 https://link.springer.com/article/10.1007/s10584-017-2107-9
Belbin, L., & Williams, K. J. (2016). Towards a national bio-environmental data facility: experiences from the Atlas of Living Australia. International Journal of Geographical Information Science, 30(1), 108-125. doi:10.1080/13658816.2015.1077962 https://www.tandfonline.com/doi/full/10.1080/13658816.2015.1077962?scroll=top&needAccess=true
La Salle, J., Williams, K. J., & Moritz, C. (2016). Biodiversity analysis in the digital era. Philosophical Transactions of the Royal Society B: Biological Sciences, 371(1702). doi:10.1098/rstb.2015.0337 http://rstb.royalsocietypublishing.org/content/371/1702/20150337


text:
Lacertaspis rohdei est une espèce de sauriens de la famille des Scincidae.

Répartition
Cette espèce se rencontre au Cameroun, au Gabon et en République du Congo.

Étymologie
Cette espèce est nommée en l'honneur de Reinhold Theodor Rohde.

Publication originale
 Müller, 1910 : Beiträge zur Herpetologie Kameruns. Abhandlungen der Mathematisch-Physikalischen Classe der Königlich Bayerischen Akademie der Wissenschaften, ,  (texte intégral).

Liens externes

Notes et références

Saurien (nom scientifique)
Eugongylinae

redpajama_set_name: RedPajamaWikipedia


I bet there's one main thing you're thinking right now: "I sure hope that's never us." But you can do more than just hope. There's a simple way to prevent being the next company in the news for a data breach, and it's simple to implement. Let me explain.
I'd be willing to bet that you have at least some of your data stored on the cloud. And that's okay. "The cloud" is a marvel of modern computing – a way to protect your data from being lost or accidentally erased by housing it online. A way to share files and make data available to everyone in your organization who needs it.
But there's a dark side to the cloud that people rarely talk about. A dirty little secret that turns that ethereal, happy image into a storm cloud – and a major security risk.
Your cloud data storage is a massive security hole because anytime you take data and put it online, it becomes a target for thieves and hackers. Lax security here could cost you money, customers, and your entire reputation.
And small to medium businesses are target #1, because they still have a lot to lose, but often very weak security.
If a hacker knows that your business uses Office365 and finds an employee email address (which is not hard to do), they already have two-thirds of the information they need to use your account, steal information, and deceive your business clients. All they need is a password. And if one out of a hundred of your employees has a weak password, it's a piece of cake to get in, gain all sorts of other access, and wreak a whole lot of havoc.
So what's the solution? It's simple – you need to have more than just a password. A lot of clients of ours use a 6-digit pin code, but other solutions also work. It's called MFA, or multi- factor authorization. The point is that now, in 2019, if you have more than 10 email address and an Office365 account that needs only a password to log in, you're at risk and gambling with your security.
The cost to implement this step is minimal, but it's nothing compared to the cost of not doing it. Give us a call today to set up multi-factor authorization.
Otherwise, anything you put on the cloud today could easily end up on the news tomorrow.


text:
Tiny Houses in Roslindale Command Top Prices
The homes with the highest prices per square foot are the opposite of mansions.
By Madeline Bilis· 5/24/2016, 3:33 p.m.
Roslindale photo by Andrew Watson on Flickr/Creative Commons
When you think of homes with expensive price tags, you might envision grand mansions or ultra-luxe condos. But in Roslindale, the homes with the top prices per square foot are pretty modest.
The average price per square foot is $285, according to real estate data firm NeighborhoodX. Compare that to the year 2000, when the neighborhood average was $142 per square foot. In 16 years, square footage prices have just about doubled.
What's interesting, though, is the type of houses that are commanding the top prices. Much like in Fenway, where new luxury condo projects hike up the neighborhood's average prices, a specific type of development is adjusting Roslindale's averages. But it's not luxury condos or mansions altering costs—it's tiny houses.
New research by NeighborhoodX shows that Roslindale's tiny homes, or dwellings measuring under 1,000-square-feet, are the ones setting the price records. Why? Because you can generally charge much more per square foot in a smaller space. This rings true for all types of homes—just as studios cost more per square foot than larger apartments, tiny homes cost more per square foot than average-sized homes. Roslindale's above-average population of tiny homes has bolstered this effect.
This is not to say that Roslindale is a tiny home mecca—the neighborhood just has numerous houses with small square footage, from newly built tiny homes to older, smaller structures like carriage houses or outbuildings on former estates. Put simply, housing has stayed affordable for years in Roslindale because of its small homes, but now, the tiny house trend is commanding the most expensive prices per square foot.
Even in 2001, when average prices were at $155 per square foot, the highest price per square foot was $255 for a 950-square-foot bungalow on Coniston Road. Similarly, in 2007, an 824-square-foot cottage sold for $372 per square foot, when the average was only $261. Today, as the average lies at $285, the most expensive rates per square foot go up to $370.
It's almost ironic that Roslindale's trendy tiny homes, bungalows, and cottages have spiked square footage averages, especially since the ideology behind downsizing into a smaller home is centered around living more economically (other reasons include a desire to live in more energy-efficient housing and to embrace a clutter-free lifestyle).
See the complete analysis below.
For an interactive version, click here.
On the Market: A Rhode Island Beach House with a Private Balcony
On the Market: An Antique-Style Duxbury Home Surrounded by Conservation Land
On the Market: A Renovated Chatham Home Overlooking Oyster Pond
On the Market: A Cozy and Eclectic Cottage in Provincetown
On the Market: A Coastal Beauty in Quincy With a Private Beach
On the Market: A Modern Farmhouse in MetroWest
On the Market: A Mod Brick-and-Beam Loft in Davis Square
An Antique Harvard Home vs. a New Build in Arlington
On the Market: A Back Bay Home with a Cashmere Billiards Room


ProTorc PTSD Hydraulic Square Drive Torque Wrenches are manufactured using high grade aluminium-titanium alloy and high strength alloy steel.
High repeatability can be achieved due to the precise design with an accuracy of +/- 3% .
The 360 x 180 degree uni-swivel hose coupling enables the tool to be used unrestricted in confined areas and eliminates hose kinking.


text:
\set ECHO none

\i test/pgxntool/psql.sql

BEGIN;

\i sql/pg_acl.sql

\echo # TRANSACTION INTENTIONALLY LEFT OPEN!

-- vi: expandtab sw=2 ts=2

redpajama_set_name: RedPajamaGithub


text:
Queensryche's Geoff Tate praises the "real musicians" of prog-rock
April 19, 2014 · by the newt	· in american made.	·
ORIGINALLY PUBLISHED IN THE GEORGIA STRAIGHT, DEC. 19, 1991
By Steve Newton
When it comes to progressive rock bands from the '70s, there's no middle ground—people either love 'em or hate 'em. Fans of groups like Yes, King Crimson, and Genesis point to the musical skill involved in performing the tunes; detractors tend to cite the "pomposity" of the music.
Queensryche vocalist Geoff Tate is a huge fan of progressive music, and he's got a theory about why so many people rail against it.
"I just find the whole progressive era and the backlash against it by the music biz to be a fascinating subject," says Tate, on the line from San Diego. "I really think it's a matter of economics. At that time, progressive music was enjoying a real heyday, and these were people that could really play their instruments—they weren't mimes, dancers, and all this garbage that you have now. They weren't rap artists—I find the words 'rap artist' to be an oxymoron.
"These were real musicians, but there weren't a lot of them, and I think the industry saw that as a dead-end street. They wanted to pull more people into the music business as performing artists, so they created this backlash with the press and programmed it to happen, saying that this was pompous music, it was dinosaur stuff, and that really what's happening is punk music—where it takes no talent at all to be a rock star. Therefore, more people could contribute and become part of it, you'd have more records to sell, and you could make more money."
If the backlash against progressive rock happened as Tate suggests, then Queensryche went up against tremendous odds when, in 1988, it released Operation Mindcrime, a concept album that harkened back to the days when songs could be meticulously constructed along an interesting storyline rather than fleshed out with snappy videos.
A story of mind control, religious evil, and 1984-style politics, Operation Mindcrime is performed in its entirety on the band's current tour, which comes to the Pacific Coliseum next Saturday (December 28). A highly ambitious album, it wasn't an easy project to tackle.
"It really took up a good portion of our lives," says Tate, "but it was one of those experiences that you look back on and think, 'God, are we ever gonna experience something like that again?' It was a very magical time. Everyone in the band was really into the record, and we were all very much in sync. And then when [producer] Peter Collins got involved, it all really fell together from a sonic standpoint.
"It did get a bit excessive," admits Tate. "Like in the opening sequence, where the nurse is walking down the hall into [Mindcrime protagonist] Nicky's room. We were figuring out the dimensions of the room, and entering these into a computer, and trying to decide what speed the reverb should be on her footsteps as she walked across the room to turn off the TV set. But looking back on it, it was important to try to create some realism. At least it was important to us."
Before the success of Queensryche's last studio album, Empire, and the single "Silent Lucidity", the band wasn't able to perform the entire Operation Mindcrime album because it was stuck in the opening-band slot, getting crowds heated up for bands like Def Leppard, AC/DC, Metallica, Bon Jovi, and Ozzy Osbourne.
"It's difficult warming up for a band," says Tate, "because usually the audience doesn't know you, and you've got 45 minutes to make a name for yourself. But it's very good for a band to do that, because you learn quickly about what to do and what not to do. We've done 14 different tours with different bands, and you learn what you want to stay away from—things like drum solos and guitar solos, and the 'Hello you motherfuckers!' thing. All the clichés."
When it came time to record their breakthrough Empire disc, the long-time Seattlers followed the route taken by many of their headlining tour partners: they came to Vancouver.
"When it's time to look for a studio, you look for: 1) location—where you want to spend a few months; and 2) studio costs. Or is that number one? Anyway, Vancouver is very competitive, you can get good deals there, and it's close to home. Actually, we'd recorded another album there in '86, Rage for Order, and liked it so much we went back again."
While Vancouver may be a fave location for music production these days, Queensryche's home town is definitely the happening spot for original rock acts. Tate—who cites Joni Mitchell, Judy Collins, and Seattle's own Ann Wilson as his biggest vocal influences—says he's not surprised by how the music scene there has come of age.
"It's always been a very music-oriented city, way back with the Sonics and the Kingsmen. We're talkin' 20, 30 years of rock 'n' roll coming out of the Northwest. Heart came out of Seattle, and Steve Miller, Jimi Hendrix. We came out in the '80s, when there really wasn't a lot going on musically, so we might have focused a bit of interest in the area, but it's been a natural progression, really."
Tags: 1991, Ann WIlson, concert, December 28, Geoff Tate, Geoff Tate interview, interview, Joni Mitchell, Judy Collins, Operation Mindcrime, Pacific Coliseum, prog rock, Queensryche
← Stone Gossard says Pearl Jam's hard work is all paying off
The Cult's Ian Astbury says touring with Lenny Kravitz is "a spiritual event" →
AC/DC exclusive: Angus Young lights up nephew Stevie at the Warehouse in Vancouver


text:
Tea Cozies, Tweed, and Murder Most Foul: An Advance Review of "Marple" on PBS' "Masterpiece Mystery"
The sunshine might be more intense than ever this summer, but it's also the perfect time to curl up with a good mystery, or four in this case.
This weekend, PBS' Masterpiece Mystery launches the first of four fantastic new Miss Marple feature-length mysteries, based on the spinster detective character created by Agatha Christie.
Stepping into the role for the first time is the superlative Julia McKenzie (Cranford), who replaces Geraldine McEwan as the titular sleuth following McEwan's retirement after the third season of Marple, which airs in the UK on ITV.
McKenzie is pitch perfect as the perspicacious Jane Marple; she might look like an elderly spinster but her tweed suits and constant knitting belie the keen mind of a true detective in every sense of the word. The four installments presented here--"A Pocket Full of Rye," "Murder is Easy," "They Do It With Mirrors," and "Why Didn't They Ask Evans?"--might seem like tea cozy mysteries but the crimes they depict are anything but civil, resulting in countless poisonings, stabbings, and strangulations. Yes, the tea might always be freshly brewed here, but the body count is climbing just the same.
The four Marple mysteries airing over the next four Sundays represent a virtual Who's Who among British television actors. Every episode is positively overflowing with recognizable faces. The first installment alone ("A Pocket Full of Rye") features Matthew Macfadyen (Spooks, Little Dorrit), Rupert Graves (V for Vendetta), Liz White (Life on Mars), Lucy Cohu (Torchwood: Children of Earth), Kenneth Cranham (Valkyrie), Anna Madeley (Brideshead Revisited), the late Wendy Richard (EastEnders), and a slew of others.
Subsequent episodes feature Shirley Henderson (Harry Potter), Benedict Cumberbatch (The Last Enemy), Lyndsey Marshal (Rome), Hugo Speer (Echo Beach), Anna Chancellor (Suburban Shootout), Jemma Redgrave (Bramwell), David Haig (The 39 Steps), Russell Tovey (Being Human), Natalie Dormer (The Tudors), Sean Biggerstaff (Cashback), Hannah Murray (Skins), Richard Briers (Monarch of the Glen), Georgia Moffett (Doctor Who), Rafe Spall (A Room with a View), Joan Collins (Footballers' Wives), Brian Cox (Kings), Nigel Terry (Spooks), and Penelope Wilton (Doctor Who).
As for the mysteries themselves, they are engrossing, gripping affairs where nothing is typically as it seems. Unlike Agatha Christie's professional sleuth Hercule Poirot, Jane Marple often stumbles into murder most unwittingly and isn't the person every typically turns to in order to solve a real stumper of a crime. But that's Marple's greatest strength, really: that by appearing to be nothing more than a harmless old woman asking questions, she's often able to draw out answers that the police wouldn't be able to. After all, she hardly seems a threat and her request to enter your confidence seems innocent enough. But nothing escapes Marple's keen gaze: a look, a smudge on a will, a newspaper in a train carriage. Poirot might be the professional, but our Miss Marple is always at work.
The four installments--directed by Charles Palmer, Hettie Macdonald, Nicholas Renton, and Andy Wilson respectively--are beautifully shot and the action moves at a quick clip as the bodies start piling up. McKenzie's performance is enchantingly nuanced: her subtle interrogations, raised eyebrows, and looks of concern add up to a brilliant portrayal of a woman still very much in her prime.
One interesting footnote: the final installment, "Why Didn't They Ask Evans," is based on an Agatha Christie novel but it didn't actually feature Jane Marple; instead it focused on a pair of amateur sleuths, Bobby Attfield and Frankie Derwent (portrayed by Sean Biggerstaff and Georgia Moffett here), who team up to solve a mystery when a dying man issues a series of enigmatic last words. Screenwriter Patrick Barlow injects Marple into the plot, giving her not only the climactic scene in which she unmasks the killer but also allows her to gently guide these sleuths not only through the mystery but also to coupledom.
It's a happy ending to Six by Agatha, which PBS calls "a festival of murder" scripted with wit and insight by the grand dame of crime herself Agatha Christie. If you're looking for rain-slicked mansions by night, mysterious deaths of all kinds, and, yes, a lot of tea sipped out of bone china, Marple is very much the series for you.
After all, there are far worse ways to spend a hot summer's eve than with the murder, mayhem, and mystery of this magnificent Miss Marple.
Masterpiece Mystery's Miss Marple begins Sunday, July 5th at 9 pm ET/PT. Check your local listings for details.
From Across the Pond Masterpiece Miss Marple PBS Reviews
Labels: From Across the Pond Masterpiece Miss Marple PBS Reviews
I can't believe the excellent cast they put together for these Miss Marple specials. Amazing! I will definitely be tuning in (with a cup of tea in hand, of course).
Charlotte said…
Thanks for the great review, Jace. I am a huge Mystery fan and am looking forward to this!
Just watched the 1st Miss Marple, and I loved it! This is what mystery tv is all about - quick wit, murder, family secrets, etc.
Although I tuned in to see Matthew Macfadyen as Inspector Neele, I definitely will be watching the rest of the series. So many brilliant actors from British tv and film have been cast in each episode.
Finally, something decent to watch on a Sunday night (for the next 3 weeks at least).
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This page shows all of the changes that we have made to the system.
Upload file size increased to 4MB.
Attachments uploads behavior changed. The creation of the thumbnails is now done by background processors.
eams.createpacket behavior and result changed. The main form of the packets is generated and its locator is returned while the rest of the packet is created in a separate process.
All reports are now downloadable Excel spreadsheets.
Directory shares now allow access to each individual file in directory.
Directory share status now display files shared.
Account expiration e-mail is now generated when subscription is about to run out.
Pipe, FTP, SMTP and REST support is now available.
Corrected issue that prevented sub-selection of possible EAMS matches by party.
Corrected issues when ADJ number less that seven digits.
Corrected issues with some DIR/DWC parties lists.
Modified Notice for Allowance of Lien form to properly fill in lien claimant.
Corrected Cover Sheet to properly display todays date.
Added ability to add information for Application of Adjudication.
PDF packet download now includes S signature fields.
Added expected time for next step when a JETFile Notification is generated.
Packet list now shows which packets can be JETFiled.
Form 10770.6 now defaults to most common version.
Deletion of applicant now works correctly.
You can now set a list of the most common used packets used by your office under Settings.
Lien claimant name and address is stored in the Address Book.
Corrected some issues with iPad 2.
QuickEAMS is now an approved vendor!


Photos released on Twitter by Taliban fighters and supporters show the jihadist group in control over the northern city. The Taliban raised its white banner over several buildings in Kunduz.
Reports from Afghan officials, residents and Taliban fighters inside Kunduz indicate that Afghan forces have been driven out of the city and the Taliban is in full control.
CENTCOM has conceded that rebels belonging to the so-called "New Syrian Forces" turned over equipment and ammunition to Al Nusrah Front, al Qaeda's official branch in Syria. This is the latest setback for the US effort to train and equip Syrian rebels.
The IJU claims it is "controlling many territories bordering Tajikistan," and released photographs purporting to show a small unit crossing into northern Afghanistan.
Jaish al Muhajireen wal Ansar, which is mainly comprised of foreign fighters, has officially merged with the Al Nusrah Front, al Qaeda's official branch in Syria. Al Nusrah gains several hundred jihadists out of the deal, which was likely intended to bolster al Qaeda's hand in the Aleppo province.
Pentagon press secretary Peter Cook told reporters today that David Drugeon, a French bombmaker who belonged to al Qaeda's so-called "Khorasan Group," and Abu Bakr al Turkmani, a senior Islamic State leader, have been killed in airstrikes. Drugeon was killed in July, while al Turkmani perished earlier this month.
Al Qaeda has released the third installment of its long-delayed "Islamic Spring" series, which features long-winded speeches by Ayman al Zawahiri. As in past editions of the series, Zawahiri argues that the Islamic State's "caliphate" is illegitimate.


text:
Sen. Kamala Harris 'actively considering' writing second book
paola chavez
Mar 21, 2018, 2:23 PM ET
PlayZach Gibson/Getty Images
WATCH Kamala Harris grills DHS Sec. Kirstjen Nielsen on Trump's reported 's---hole' remark
Sen. Kamala Harris, D-Calif., may not be ready to embrace speculations about her 2020 intentions, but it appears she may be ready for a second book.
Interested in Democratic Party?
Add Democratic Party as an interest to stay up to date on the latest Democratic Party news, video, and analysis from ABC News.
"Senator Harris has been encouraged by many people over the years to write a second book and is actively considering it," Lily Adams, communications director for Harris, told ABC News.
In a proposal obtained by the Daily Beast, the senator's working title for her second book is: "Speaking Truth: Hard Facts and Hope for America's Future."
"We're thinking in 280 characters and in emojis, and it's causing a generational divide between parents and kids that we haven't seen before," the proposal states, according to the Daily Beast. "It's causing people to feel displaced and to wonder where they fit in or if they are obsolete."
According to the Daily Beast, the book is being shopped to a number of New York publishers, portrays the California native as a political underdog and her rise to become the second African-American woman and first South Asian American senator in the United States.
Kamala Harris grills DHS Sec. Kirstjen Nielsen on Trump's reported 's---hole' remark
VIDEO: Sen. Kamala Harris faces off with Rod Rosenstein
Harris, 53, wrote her first book, "Smart on Crime," in 2009, just before successfully running for California attorney general.
In recent years, writing a book has become a launching pad for many presidential hopefuls.
Back in 2016, then-Sen. Barack Obama published his second book, "The Audacity of Hope: Thoughts on Reclaiming the American Dream," the book joined the list of bestsellers. Three months after its release Obama launched his ultimately successful presidential campaign.


text:
Run a highly available SharePoint Server 2016 farm in Azure
This reference architecture shows proven practices for deploying a highly available SharePoint Server 2016 farm on Azure, using MinRole topology and SQL Server Always On availability groups. The SharePoint farm is deployed in a secured virtual network with no Internet-facing endpoint or presence.
This architecture builds on the one shown in Run Windows VMs for an N-tier application. It deploys a SharePoint Server 2016 farm with high availability inside an Azure virtual network (VNet). This architecture is suitable for a test or production environment, a SharePoint hybrid infrastructure with Microsoft 365, or as the basis for a disaster recovery scenario.
The architecture consists of the following components:
Resource groups. A resource group is a container that holds related Azure resources. One resource group is used for the SharePoint servers, and another resource group is used for infrastructure components that are independent of VMs, such as the virtual network and load balancers.
Virtual network (VNet). The VMs are deployed in a VNet with a unique intranet address space. The VNet is further subdivided into subnets.
Virtual machines (VMs). The VMs are deployed into the VNet, and private static IP addresses are assigned to all of the VMs. Static IP addresses are recommended for the VMs running SQL Server and SharePoint Server 2016, to avoid issues with IP address caching and changes of addresses after a restart.
Availability sets. Place the VMs for each SharePoint role into separate availability sets, and provision at least two virtual machines (VMs) for each role. This configuration makes the VMs eligible for a higher service level agreement (SLA).
Internal load balancer. The load balancer distributes SharePoint request traffic from the on-premises network to the front-end web servers of the SharePoint farm.
Network security groups (NSGs). For each subnet that contains virtual machines, a network security groupis created. Use NSGs to restrict network traffic within the VNet, in order to isolate subnets.
Gateway. The gateway provides a connection between your on-premises network and the Azure virtual network. Your connection can use ExpressRoute or site-to-site VPN. For more information.
Windows Server Active Directory (AD) domain controllers. This reference architecture deploys Windows Server AD domain controllers. These domain controllers run in the Azure VNet and have a trust relationship with the on-premises Windows Server AD forest. Client web requests for SharePoint farm resources are authenticated in the VNet rather than sending that authentication traffic across the gateway connection to the on-premises network. In DNS, intranet A or CNAME records are created so that intranet users can resolve the name of the SharePoint farm to the private IP address of the internal load balancer.
SharePoint Server 2016 also supports using Azure Active Directory Domain Services. Azure AD Domain Services provides managed domain services so that you don't need to deploy and manage domain controllers in Azure.
SQL Server Always On availability group. For high availability of the SQL Server database, we recommend SQL Server Always On availability groups. Two virtual machines are used for SQL Server. One contains the primary database replica, and the other contains the secondary replica.
Majority node VM. This VM allows the failover cluster to establish a quorum. For more information.
SharePoint servers. The SharePoint servers perform the web front-end, caching, application, and search roles.
Jumpbox. Also called a bastion host. This is a secure VM on the network that administrators use to connect to the other VMs. The jump box has an NSG that allows remote traffic only from public IP addresses on a safe list. The NSG should permit remote desktop (RDP) traffic.
Scalability considerations
To scale up the existing servers, simply change the VM size.
With the MinRoles capability in SharePoint Server 2016, you can scale out servers based on the server's role and also remove servers from a role. When you add servers to a role, you can specify any of the single roles or one of the combined roles. If you add servers to the Search role, however, you must also reconfigure the search topology using PowerShell. You can also convert roles using MinRoles.
Note that SharePoint Server 2016 doesn't support using virtual machine scale sets for autoscaling.
Availability considerations
This reference architecture supports high availability within an Azure region because each role has at least two VMs deployed in an availability set.
To protect against a regional failure, create a separate disaster recovery farm in a different Azure region. Your recovery time objectives (RTOs) and recovery point objectives (RPOs) will determine the setup requirements. The secondary region should be a paired region with the primary region. In the event of a broad outage, recovery of one region is prioritized out of every pair.
Manageability considerations
To operate and maintain servers, server farms, and sites, follow the recommended practices for SharePoint operations.
The tasks to consider when managing SQL Server in a SharePoint environment may differ from the ones typically considered for a database application. A best practice is to fully back up all SQL databases weekly with incremental nightly backups. Back up transaction logs every 15 minutes. Another practice is to implement SQL Server maintenance tasks on the databases while disabling the built-in SharePoint ones
The domain-level service accounts used to run SharePoint Server 2016 require Windows Server AD domain controllers or Azure Active Directory Domain Services for domain-join and authentication processes. However, to extend the Windows Server AD identity infrastructure already in place in the intranet, this particular architecture uses two VMs as Windows Server AD replica domain controllers of an existing on-premises Windows Server AD forest.
In addition, it's always wise to plan for security hardening. Other recommendations include:
Add rules to NSGs to isolate subnets and roles.
Don't assign public IP addresses to VMs.
For intrusion detection and analysis of payloads, consider using a network virtual appliance in front of the front-end web servers instead of an internal Azure load balancer.
As an option, use IPsec policies for encryption of cleartext traffic between servers. If you are also doing subnet isolation, update your network security group rules to allow IPsec traffic.
Install anti-malware agents for the VMs.
Cost considerations
Use the Azure pricing calculator to estimate costs. Here are some factors for optimizing the cost for this architecture.
Consider having Active Directory Domain Services as a shared service that is consumed by multiple workloads to lower costs.
The billing model is based on the amount of time the gateway is provisioned and available.
All inbound traffic is free. All outbound traffic is billed. Internet bandwidth costs are applied to VPN outbound traffic.
Azure Virtual Network is free. Every subscription is allowed to create up to 50 virtual networks across all regions. All traffic that originates within the boundaries of a virtual network is free. So, communication between two VMs in the same virtual network is free.


The Committee on Professional & Member Relations announced Geraldine Richmond as the recipient of the 2018 Priestley Medal (C&EN, June 12, page 3) and Carol Duane as the recipient of the 2018 Award for Volunteer Service to the American Chemical Society (C&EN, June 19, page 36).
On the recommendation of the Public Access & Diversity Stakeholder Working Group and with support of the Committee on Public Affairs & Public Relations, the board approved a statement titled "Freedom to Meet without Limitations." This statement was developed based on the society's core value of diversity and inclusion in response to the North Carolina law known as H.B. 2, or the "bathroom bill," and a similar bill in Texas. The working group will advise the board on how it should handle currently scheduled and future meetings in states that have adopted or are considering adopting such legislation.
On the recommendation of the Committee on the Petroleum Research Fund, the board voted to approve ACS Petroleum Research Fund grants for fundamental research in the petroleum field.
The board also voted to approve the continuation of the Joint Board-Council Committees on Chemists with Disabilities, on Public Relations & Communications, and on Women Chemists. It also voted to approve amendments to the bylaws on the rights of affiliates.
In other news, the board received an update from the Joint Board-CPC Task Force on Governance Design on its efforts to incorporate feedback on its presentations to almost three dozen committees, caucuses, and other groups at the spring national meeting to consider a design for a next-generation governance model that will help ACS advance its objectives, develop the case for effective change based on that model, and provide a model and implementation road map to the board and council.
Committee reports will be available soon at cenm.ag/committeereports.