text:
import requests, os, bs4, re

# Starting url
url = 'http://xkcd.com'
# Store comics in ./xkcd
# makedirs() ensures the folder exists
# exist_ok=True prevents function from throwing exception if folder already exists
# Python3: os.makedirs('xkcd', exist_ok=True)
os.makedirs('xkcd' ,exist_ok = True)

last_comic = 1732 - int(input("Enter number of comics: "))
# End loop when url ends with '#'
while not url.endswith(str(last_comic)+'/'):
	# Download the page
	print ('Downloading page %s...'% url)
	res = requests.get(url)
	res.raise_for_status()

	soup = bs4.BeautifulSoup(res.text, 'html.parser')

	# Find the URL of the comic image
	#

	comicElem = soup.select('#comic img')
	if comicElem == []:
		print ('Could not find comic image.')
	else:
		# Create regex to parse url below the comic (remember to escape the parentheses)
		pattern = re.compile(r'Image URL \(for hotlinking/embedding\): (.*)')
		# Pass pattern to BeautifulSoup's find() method
		comicUrl = soup.find(text=pattern)
		# Substitute with r'\1', the first group in parentheses: (.*)
		# Use strip to remove whitespace
		comicUrl = pattern.sub(r'\1', comicUrl).strip()
		# Download the image
		print ('Downloading the image %s...'% comicUrl)
		res = requests.get(comicUrl)
		res.raise_for_status()

		# Save the image to ./xkcd
		# comicUrl example: http://imgs.xkcd.com/comics/heartbleed_explanation.png
		# call os.path.basename() on it to return the last part of the url:
		# heartbleed_explanation.png (can use this as the filename of image when saving)
		# join() so program uses backslashes on Windows and forward clashes on OS X and Linux
		# call open() to open a new file in 'wb' "write binary" mode
		# to save downloaded files using Requests, loop over return value of the iter_content()
		# for loop writes chunks of the image data (max 100,000 bytes each) to the file
		# then close the file, the image is now saved your hard drive
		imageFile = open(os.path.join('xkcd', os.path.basename(comicUrl)), 'wb')
		for chunk in res.iter_content(100000):
			imageFile.write(chunk)
		imageFile.close()

	# Get the Prev button's url
	# while loop begins the entire download process again for this comic
	prevLink = soup.select('a[rel="prev"]')[0]
	url = 'http://xkcd.com' + prevLink.get('href')

print ('Done.')


text:
Work Proposals Publications Other Projects About Contact
Terje Nicolaisen
ABOUT TEXT ON THE ARTIST
CV Essays Reviews Text on the Artist Video Documents
Utopia As A Critical Tool
Ingvild Krogvik (2011)
Published in the book
Supplementary Notes 1994 - 2011 on
Selected Proposals 1995 - 2005
Henie Onstad Art Center, Høvik (2001)
- Terje Nicolaisens Proposals 1995 – 2005
The number in clams refer to the book in which this essay was published: Supplementary Notes 1994 - 2011 on Selected Proposals 1995 - 2005
Ingvild Krogvig
In a drawn situation report from the Bjarne Melgaard exhibition at the Astrup Fearnley Museum in 2010, a female guide in a short, flowing mini-skirt is showing art to a group of children. Terje Nicolaisen's drawing is entitled Communicating Art (2010). The work of art that the group has gathered around has a typical Melgaard motif: a man is balancing on a gigantic, red penis while another man mounts him from behind. In the caption, the guide is saying to the children: "Bjarne Melgaard's art contains many figures of apes. If you look around, you will see other animals too. Why is Melgaard so interested in animals? Do you have a favourite animal that means something special to you?"
Why this beginning? Perhaps because the drawing reveals Nicolaisen's ability to capture the absurdities, inconsistencies, taboos and discrepancies in the art world and in life in general. Nicolaisen's methodology manifests itself in different ways, in media such as performances, paintings, sculptures, texts and drawings. Its clearest manifestation is perhaps to be found in his proposals: suggested works of art, contrivances and staged social situations that Nicolaisen has been working on since the middle of the 1990s. Each of these proposals consists of a short, descriptive text accompanied by a sketch. The texts have a relatively standardised form: they start by pointing out a problem, small or large, which the artist feels the need to get to grips with. Sometimes he philosophises for a short while about the problem, but more often, the text springs straight from the problem and over to a concrete suggestion for solving it. The drawings accompanying the text can almost be regarded as illustrations. Executed in rapid strokes, they effectively communicate the essence of the proposed solution.
Imaginative proposals are an old tradition when it comes to architecture: it should suffice to mention the graphic artist Giovanni Battista Piranesis' (1720 – 1778) gothic prison fantasies or the architect Étienne-Louis Boullée's (1728 – 1799) grandiose, neoclassical buildings, or from more recent times,
the British group of architects Archigram's Walking Cities wandering round on gigantic, hydraulic legs. Proposal-based works have a much shorter history in the field of fine art. Some sporadic examples occurred during the periods of Dadaism and Surrealism, but it was only after the Second World War that the concept of the tentative work of art was studied systematically.
An important figure in this connection was John Cage (1912 –1992), who during the course of the 1950s launched a number of scores, i.e. short, text-based instructions for musical works. About a decade later, the idea that a work of art did not need to be an object began to make its mark in the world of fine art. Fluxus, the artist network that emerged amongst Cage's students at the New School for Social Research in New York, played a significant role in this development. The members of the group cultivated the event with great zeal and developed notations for actions as a distinct type of work. The Fluxus movement's concept-based, non-media specific, performative and process-orientated activities were an important prerequisite for the conceptual art that emerged towards the end of the 1960s. [30] [31]
If we are to place Nicolaisen's proposals within a particular art tradition, it must be the tradition of conceptual art, even though, visually speaking, his works do not have much in common with the best known conceptual art works. His playful, often expressive pencil strokes and the reclining, yet strong irony of his texts seem opposed to the aesthetic puritanism and seriousness of content that are normally associated with conceptual art. Nevertheless, it is difficult to imagine Nicolaisen's proposals without conceptual art as a backdrop.
There are two things in particular about the historic movement of conceptual art that pre-empt Nicolaisen's proposals. One is the movement's insistence that the most important aspect of a work of art is not its visual idiom, but the idea it communicates. The aim, as Sol Le Witt put it, was "to engage the mind of the viewer rather than his eye or emotions".1 The traditional, illusionary or purely form-based work of art was replaced by works with fragmented forms, in which the conceptual content was loosely formulated. In this way, the viewer was obliged to adopt an active role as co-author of the work, if some kind of meaning was to be established. The recognition that a work of art functioned first and foremost as a springboard for activities of the mind paved the way for works that consisted precisely of proposals, drafts and plans.
Another important foundation for the emergence of the proposal as a genre was the critique of sculpture as monument, but forward by the conceptual artists. In the climate of the 1960s' scepticism of authorities, heroic monuments of political leaders and artists were seen as irrelevant, almost hilarious. Conceptual art introduced a new notion of sculpture which was in many ways the antithesis of traditional sculpture's function as monuments and memorials. Marble, stone and bronze were replaced by less permanent, more prosaic materials such as gravel and earth, water and wax, felt, asbestos and asphalt. These materials were processed by means of simple methods that were a far cry from those traditionally thought of as sculptural techniques. The proposal genre seemed well suited to contributing towards the trend of creating art that criticised the traditional monument, not least because it gave artists the opportunity to work satirical through the use of exaggerations and absurdities.2
Some of the proposal works produced during the early stages of conceptual art had much in common with Fluxus' instruction works; they were directed at a perceived recipient who could realise the work by means of simple techniques. One typical example is Lawrence Weiner's (1942 – ) Statements. Other works were more difficult to realise and seemed to address a larger, yet at the same time less tangible, public. The fact that many of the proposals in the latter group were utopian in character by no means weakened their critical potential. A good example of this is Joseph Beuys' proposal from 1964, where he suggested increasing the height of the Berlin Wall by 5 cm for purely aesthetic reasons.3 The newly erected wall – Germany's great trauma – was thereby reduced to an aesthetic object and appraised in terms of the aesthetic norms of late Modernism. The result was a collision
between an artistic and a political discourse, in which both were the objects of criticism.
However, Nicolaisen's curiosity about the proposal genre was not triggered by Weiner or Beuys, but by two discoveries: the first was the catalogue for Sculpture. Projects in Münster 1987, which he came across by chance at the end of the 80s. The exhibition, which Nicolaisen never witnessed himself, consisted of sculptural works erected in public places in Münster. But he studied the catalogue in detail. Produced in good time prior to the exhibition, the catalogue contained texts, illustrations in the form of photographs and working drawings of planned projects. Several of the catalogued projects were illustrated by means of photographic montages and it was in some cases impossible to determine whether the work had actually been produced or not. This uncertainty made Nicolaisen realise that it did not really matter one way or the other. The works in the catalogue had just as strong an effect, whether they had been realised or not.4
The other discovery that led Nicolaisen to the proposal genre was Claes Oldenburg's (1929 – ) proposals for monuments. These works were begun in the middle of the 1960s and consisted of drawings of enormous, imaginary monuments inspired by trivial, everyday objects such as fried eggs, vacuum cleaners, ice lollies and clothes pegs. Oldenburg's monumentalisation of an everyday world of objects can on one level be interpreted as the logical continuation of his normal size pop art sculptures. But according to the American art historian Barbara Rose (1938 – ), these drafts of monuments were not just conceived as a satirical comment on "the banality of American life", but also an expressionof the heroic monument's irrelevance in modern society.5
Oldenburg's monument proposals commented not only on American life, but also in one instance on Norwegian life. Frozen Ejaculation (Ski Jump) from 1966 was a draft for a colossal sculpture of a frozen ejaculation that was probably meant to complement Gustav Vigeland's phallic Monolith. Oldenburg linked the eroticism in Vigeland's work to Oslo's image as a city of winter sports, emphasised by the drops from the gigantic ejaculation ending in a frozen pond on which the public could enjoy themselves skating.6 The work by Oldenburg that made the strongest impression on Nicolaisen was of a rather different kind; this was a small, bronze model of a topographical map with an enormous door handle that stretched from Skeppsholmen (the location of Moderna Museet) and in towards Stockholm city centre. The work, entitled Door Handle and Locks, and other Oldenburg
proposals, was a confirmation of the genre's potential to exceed boundaries. He realized that working with proposals opened up an opportunity for breaking new ground.7
The artist as a town planner
Even though Oldenburg's monument proposals were important to Nicolaisen, his own proposals were based on something different. When Oldenburg launched his proposals in the middle of the 1960s, they were clearly critical of what the American critic and theorist Rosalind Krauss (1941 – ) called "the logic of the monument":8 Meaning the idea that "the sculpture is a representation […] standing on a particular site and telling in a symbolic language a story about this site's meaning or use."9 But even though Oldenburg's works broke away from the function of memorial, his proposals still had a symbolic function. As time passed, and several of them have been erected, it has become clear that these works have not managed to free themselves from the monument's status as a decorative and impressive object. [32] [33]
Few aspects of Nicolaisen's proposals are reminiscent of the logic of the monument. Most of his suggestions are about improving existing structures, making new devices or staging social situations – not about launching sculptural objects. A willingness to make improvements also characterize the proposals Nicolaisen has made for the city of Oslo. Ibsen Tunnel Improvement [pp 115 / 174, 175 / 189] is a typical example of this. The textual part f the work makes it clear that the aim has been to give the Ibsen Tunnel a real facelift: "An easy and tasteful intervention would be to install […] slightly enlarged light bulbs around the openings […] referring to the makeuplights around the mirror at the backstage of the theatre."10 Not only does the project seek to lend the absurd combination of Ibsen and a tunnel some sort of logic, but it also gives driving in a tunnel a touch of glamour:
The sensation of driving into this heavy lighted
hole – going in high speed into the limelight
of fame – would increase both the visual
and the physical experience of driving downtown.
Not to mention the mental notion of
stardust.12
The idea that a dirty tunnel can be transformed into a kind of Moulin Rouge for traffic at first appears humorous and absurd. Nevertheless, it is a fascinating idea and immediately one turns to the drawing in order to study the practical design of the project. The visual scenario that Nicolaisen has drawn is, however, more surreal than the accompanying text. It shows the back of a woman sitting in front of a large make-up mirror in a theatre dressing-room and, seemingly oblivious of the surrounding two large highways that disappear into the lit tunnel opening of the neighbouring mirrors, she is putting up her hair. For the most part though, the sketches accompanying Nicolaisen's proposals are relatively realistic illustrations.
Several of the suggestions for urban improvements are characterised by a downto-earth, even practical attitude, such as Oslo Circle Line [pp 106 / 168, 169 / 188], a proposal to build a new, circular underground line in the city. This idea was launched before that of the existing circular line and is a far more ambitious: Nicolaisen's project only has stops at places formerly not served by the underground, such as Solli Plass, Aker Brygge, Hovedøya, Bjørvika, Loenga and Grønlandshagen. All stops are chosen according to his own preferences and movements, with good reason: "Since I cannot spend all my time on city planning, the stops suggested are of subjective choice."13 In spite of this subjective element, the artist has here adopted the role of bureaucrat and politician. At the same time, his position is one lacking in formal power, so his statement will almost certainly be ignored. In this context, the work will perhaps primarily be an image of the powerlessness inherent in the distance between thoughts and actions that prevails in our modern information society – a society in which most of us brazenly put forward solutions to everything from the conflicts in the Middle East to public transport problems, knowing that we have neither the authority nor the incentive to transform our suggestions into political action.
In what way should we interpret Nicolaisen's local political proposals as art? What distinguishes them from the proposals that are put forward in political and bureaucratic fora? One of the most important trends after the Second World War has been that more and more of our everyday lives have been incorporated into the sphere of art. As the conceptual artist and theorist Andrea Frazer put it: "to reach everyday people and work in the real world, we expand our frame and bring more of the world into it."14 But however far this trend goes, the rules governing politics and aesthetics respectively will never quite concur. One significant difference is that the artist, in contrast to the politician, has potentially more freedom, not least when it comes to the proposal as a genre. As Nicolaisen himself emphasises: "many practical, economical and ethical reflections that could lead to obstruction are not present in these artworks."23 And it is perhaps precisely here that the strength of Nicolaisen's proposals for Oslo can be located: they rise above practical objections and demonstrate that the scope of ideas for the city as well as who should submit them perhaps ought to be widened.
Other city proposals by Nicolaisen are a far cry from the sphere of politics. They are poetic and sometimes utopian in character. Sliding Door [pp 116 / 189] belongs to this category. This is a proposal to construct an electrically driven sliding door which is then slotted into a tramline and sent off on an aimless ride through the town. A similar concept is to be found in Tram II, which was conceived as a project for Oslo Open [not in the exhibition]. The idea was to strip down a tram until only the chassis and engine remained and allow it to drive around the city like a silent, iron skeleton. These works are reminiscent of the historic avant-garde's desire to turn life into art and to transform everyday life "by means of the poetic".24 If Sliding Door and Tram II had been realised, the most striking effect would perhaps have been a form of defamiliarisation. Defamiliarisation means turning something familiar, and hence automatically perceived, into something strange. According to the Russian literary theorist Victor Sjklovskij (1893 – 1984), who launched the idea of defamiliarisation as an artistic technique, it was a matter of taking words out of their usual context and putting them into new ones, so that our habitual use of language was disturbed. In Sliding Door and Tram II, not only the artistic language, but also reality can be perceived in a new way.26 A sliding door or a stripped tram on a lonely journey through the town would be an eye-opener as we make our habitual way through the city.
The artist and the art institution
None of Nicolaisen's Oslo projects have been realised in practice. However, some of them have been realised within the confines of art institutions – usually on invitation, but sometimes also without invitation. Parallelle Projekte in der Stadt Münster is an example of the latter. The catalogue from the exhibition at Münster in 1987 had played an important role in Nicolaisen's formative years and when the exhibition was again to be held ten years later, in 1997, Nicolaisen decided to participate with a parasitic project.30 He went to Münster, found an appropriate exhibition space in a pavilion, produced a catalogue, posters, postcards and a press release and attended the official press conference. In short, he acted as if he were part [34] [35] of the Sculpture Project Münster. His actions were fuelled by impatience, a feeling of not wanting to wait until he was seventy. 31
But Nicolaisen's intervention also had a more principle aspect to it; it could be seen as a criticism of the regulatory role of the art institution – a role stemming not only from ideas of "quality" and "topicality", but also from the intention to "reward". This idea lies behind retrospective exhibitions, but it is also present at biennials like that in Münster where "deserving" artists are invited to exhibit their works after long carriers as artists.
The work that Nicolaisen presented at Münster was part of a larger project entitled Yellow Light, which had been shown at a number of venues.32 It was the first of a long series of works by Nicolaisen that comments on the art institution. The project involved emptying the gallery space of art objects and replacing them with an intense, yellow light. Nicolaisen's use of gallery space had predecessors in conceptual art from the end of the 1960s to the middle of the '70s. During this period, artists such as Mel Bochner, Marcel Broodthaers, Peter Weibel, Hans Haacke and Michael Asher began criticising the institutional contexts art operated in. This marked the beginning of the practices that were later to be called institutional critique. Many of these early works aimed to show how the white cube, with its white walls, artificial lighting and shuttered windows, contributed to separate art from the real world. The idea was that the white cube upheld Modernism's dogma about the autonomy of the work of art.
Yellow Light was produced three decades later, at a time when the Modernist discourse on art's autonomy discourse was more or less irrelevant. But the point of departure for the series was nevertheless an "anti-white-cube attitude". Nicolaisen later explained the motivation behind the project:
It seemed to me […] that whatever you put into
a white cube would function as art. This led to
the assumption that the white cube itself is
the genuine art constitution and that the space
is the object and the art it's hostage.33
In Yellow Light, the gallery itself was turned into a readymade, as Weibel, Asher and others had done in the early days of institutional critique. But whereas Weibel and Asher emptied the space in order to show the gallery as an architectural framing device, Nicolaisen chose a different strategy to objectivise the space. The gallery itself was closed to the public during the exhibition and could only be seen from outside. In this way, the gallery was transformed from a venue for socialising and experiencing art to an inaccessible sphere that only emitted an enigmatic, yellow light.
For those unfamiliar with Nicolaisen's projects, the work appeared merely as a yellow light shining from a room. One of the core ideas of Nicolaisen's oeuvre has been precisely that of creating a non-artistic room around his own works. The works are often "unrecognisable as art" and appear to be, for example, urban spaces or sites.34 Nicolaisen's intent was to capture the attention of the viewer "without him having to navigate through an understanding of art […] Freed from this particularly problematic and mystical understanding, the beholder has related to the art work on a 1:1 basis, through an open and average degree of interest. In this context, art has been revived, albeit without identity."35
Another example of Nicolaisen's ability to project himself in contexts he is not a part of is Yokohama Trienniale 1973 [pp 112n/ 188]. This proposal is simple enough: "To send a proposal to a triennial that already took place years ago".36 The accompanying picture is entitled "Attempted bridge roposal for Yokohama Trienniale 1973", but little of this scanty composition of inkblots and lines evokes connotations to a bridge. The idea of sending a proposal for a work to a triennial that was held on the other side of the globe thirty years ago resembles most of all an absurd, humorous gag.39 But even a hopeless attempt to create an image as an avant-garde pioneer can have a critical downside. For being ahead of the times is an important component of the idea of the originality of the avant-garde – a concept that, despite all attempts at deconstruction, is still a determining factor when it comes to the artistic and financial value assigned to a work of art, an idea that every so often results
in dubious attempts at backdating.
The white cube is again the pivotal point in Museo de Pasatiempo or MPT [pp 54, 84 / 158 / 179]: a proposal for a board game presented as "the optimum game for people interested in art". Three years later, Museo de Pasatiempo was actually realised, when Nicolaisen created a number of specimens of the game: six rectangular components made of MDF, along with the rules of the game in six languages, were placed in a paper bag and launched with the slogan "It comes in a bag!" The proportions of the game's pieces were more or less random, since the artist had picked them out of a bin of cut-offs from a carpenter's workshop which produced units for museums and galleries. By reading the rules, the player was told to construct an exhibition space with the five largest pieces, while the last piece was to function as a work of art that could be positioned around the room. In other words, Museo de Pasatiempo turned all its players into participants of a pseudo hobby-like art sphere. On one level, this work is reminiscent of Fluxus' and conceptual art's instruction pieces, where the viewer became a co-producer of art works. But something made it radically different. Whereas the instruction pieces of the 1960s tried to break down the hierarchy between the art producer (the artist) and the art consumer (the viewer), so attacking the sublime role of the artist,
Nicolaisen's game does not transform the viewer into an artist, but rather a curator. One might think that this change of roles was primarily a critique of the new curator role that emerged during the 1990s,when curators became "artist curators", operating independently of the art institutions and being extremely active in the production of meaning surrounding works. But according to Nicolaisen, Museo de Pasatiempo is equally a criticism of, and an alternative to, today's empty, white exhibition spaces.25
However, Nicolaisen's criticism of the art institution extends far beyond an attack on the white cube. In MACEB – Museo d'artContemporani de El Bruc [pp 43, 63, 103 / 121 – 123 / 177, 181, 187], Nicolaisen subjects the more recent trends in the museum world to critical analysis. This work is a proposal for a museum of contemporary art in the village of El Bruc outside Barcelona. In contrast to today's enormous museums, this is a building of a few square meters, scaled-down to suit the site: "The museum´s [36] [37] size is according to the number of inhabitants (approximately 800) in this village. Therefore, the museum will consist only of one art work, namely the museum itself."26
Despite its exaggeration, MACEB sums up one of the most prominent tendencies in today's museum policy: that the building itself now seems to be the museum's most precious exhibition object. This phenomenon really became clear when the Guggenheim Museum opened in Bilbao in 1997 and a large number of visitors stated that they came first and foremost to see the building, and not the exhibitions. Since then, this trend has intensified. When Rome opened its new museum of contemporary art, Maxxi, in 2009, not a single piece of art was in place, which prompted one critic to pose the question "whether art was necessary at all".27 The proposal to create a museum for contemporary art in a village with a population of 800 may seem absurd, but is in many ways the logical conclusion to the ideas that have legitimised the explosive proliferation of museums and biennials, founded on a belief in the modern museum's omnipotent significance for urban development. In other words, the idea that dying industrial towns can be transformed into flourishing cultural towns, slums can be turned into attractive residential areas, and completely characterless places can become tourist magnets if museum landmarks are built there.
In another work Nicolaisen investigates the link between the originality of the work of art and its market value. In Recollecting Works – The Lookalike Show, [pp 89 / 186] Nicolaisen suggests collecting all (!) works of art owned by private collectors and public collections in an exhibition called Collected Works. Furthermore, the artists represented are to make copies of their works from memory, and these copies will be exhibited in another section of the museum. Nicolaisen's proposal is accompanied by a rudimentary sketch in which two sets of pictures hang closely together in an identical configuration. The only difference is that the pictures on the left are drawn with paler and more blurred strokes, indicating perhaps that these are copies. The purpose of The Lookalike Show is probably not primarily to test the artists' ability to reproduce their own works from memory, but to comment on the myth that has grown up around the "original work of art" – a myth that has been both cultivated and deconstruct throughout large parts of the 20th century. As early as the end of the 1930s, Walter Benjamin foresaw that the concept of the work of art's authenticity would become meaningless when faced by new reproduction methods such as photography and film.28 And with the advent of Postmodernism, the ideas of "originality" and "origin" were exposed to a farreaching
deconstruction.
Nicolaisen's Lookalike Show addresses the problem of originality from another angle: it asks the artists to create remakes of their own works. It is not unusual for artists to make new versions of earlier works. Some of best-known examples in Norwegian art are probably Munch's many versions of his own pictures – versions that are sometimes so alike that the term "copy" would be the best way to describe them. However, Nicolaisen's Lookalike Show brings something completely new to this practice in that it removes it from the closed sphere of the artist's studio. If Nicolaisen's exhibition project had been realised, collectors and those who manage collections would have been faced with a major dilemma: loaning works to Nicolaisen's Lookalike Show would mean accepting that the work they owned would be copied. In other words, the project would not just have been an investigation into the processes of value change that occurs when works of art are duplicated. It would also have functioned as a sociological study of how the concepts of "copy" and "original" control patterns of behaviour in the field of art.
The working conditions of the artist
As we have seen, many of Nicolaisen's works are targeted at what we normally think of as art institutions, i.e. museums, galleries and biennials. At the end of the 1960s, a new use of the term "art institution" emerged that not only embraced the museum and the gallery, but also the whole social sphere surrounding art.29 In the years that followed, two kinds of institutional critique arose: one was based on an understanding of the art institution as a venue and criticised the activities of the galleries and museums. The other focused on art as a social field. As a result, everything from education establishments of art and art history to distribution channels, critics, interpreters, ollectors, the public and artists became objects of institutional critique.
Nicolaisen's works are directed at both the art institution as a venue and as a social sphere. A recurrent theme of his works has been the role of the artist, focusing on everything from economic to practical parameters, to the challenges, anxiety and doubt that are part and parcel of the artist's role. One such work is Artdisposalchambertn [72 / 154 / 183], a proposal for specially designed refuse containers for art. According to the drawing, this consists of a closed container with a rounded top. A narrow slot seems to be designed for discarding stretched canvases and paper works, while a large oval-shaped hole is for throwing away sculptures, video cassettes and the remains of installations. It is easy to be convinced of the need for this practical container when one reads Nicolaisen's arguments:
As the art world seems to have a well-developed system for exclusion and most artists have not shown nor sold production at stock, the necessity for a recycling system seemed to be appropriate. Not only would an art-disposal possibility relieve the artists from the overload neurosis that unexposed artwork generates, the art world and the world as such would be cleansed of untransported intentions that are known to create aggression.30
The text also explains why art cannot be disposed of at normal recycling plants, but must be treated as a particular type of special waste. If we agree that artwork has an aura, the stocking together of different artworks from different artists would create an uncontrollable auratic radiation, a potentially dangerous situation. A chaotic flow of various intentions and expressions could lead to unintentional effects.31
Aura, the term Walter Benjamin used to describe the authenticity [38] [39] and uniqueness of the artwork, is transformed in Nicolaisen's ironic universe into a physical phenomenon that, under certain conditions, can pose a considerable radiation hazard. This ironic approach to the concept of the artwork as something unique and authentic is only one of several critical aspects of Artdisposalchambertn. The most important of these is perhaps the uncomfortable point they raise – that for most artists, there exists no large market for the art they produce. Nicolaisen opts to address this reality, of which he is also a part, in an apparently practical and solution-oriented way. The humour her arises in the contrast between the normative and the incorrect. Lack of sales and interest is not usually something artists address, either artistically, or in other ways. Nicolaisen nevertheless throws himself headlong into the taboo and dedicates the work to "all bad artists".
Others of his works focus on the artist as a network player. Here, Nicolaisen approaches the art institution as a particular type of network, whose participants are bound together via social and economic relations. These network structures come perhaps most clearly to light in a work called Norsk Sokkel Award [pp 86 / 160 / 185]. The title indicates that it is "a large work commenting on oil and welfare", but the work actually has no links at all to the Norwegian oil industry.32 The textual part of the work begins with the following observation: "In the art world, artists very seldom give one another public recognition, except when someone dies or gets really sick."33 Nicolaisen countered this lack of generosity by establishing a prize, Norsk Sokkel Award, which he awards each year. The award ceremony often takes the form of an intervention. The proposal text states: "At a public event, prepare with a microphone and flashlights. At a specific time during the event, grab the microphone and call people´s attention."34 The prize itself consists of a 30 – 40 cm long cut-off from an iron beam which has been brushed and polished. But since the winner is only allowed to keep it for a few minutes or hours before Nicolaisen takes it back, the prize is primarily symbolic in character.
The first prize winner was Galleri By the Way in Bergen, which was awarded the prize in 2001, the year after Nicolaisen had exhibited there. The next in line was Klaus Jung, who had been Nicolaisen's tutor at the Art Academy in Trondheim during the 1990s. The last prize winner was the artist Marianne Heier, who for several years has shown an interest in Nicolaisen's works. In other words, the prize has been awarded to the artist's close friends and supporters. Nicolaisen comments on the selection process as follows: "Obviously, the award's real value decreases, the closer and more openly corrupted this connection is. At the same time, the artistic strength of the project increase proportionally with the violation." 35
Due to its lack of "secure jobs" and tangible criteria for quality, the field of art is generally regarded as one of the social spheres where nepotism is most widespread. The use of one's own network to acquire jobs, commissions, services, influence etc is in many ways absolutely necessary in order to pursue a career as an artist, curator, art critic etc. At the same time, this culture of rendering services to friends breaks with the fundamental principle of the Norwegian meritocracy: that what you know, and not who you know, should be the key to your career. Because of this, favours to friends are taboo, a phenomenon that is rarely spoken about and that is definitely not bandied about. Norsk Sokkel Award violates this tacit practice. By rendering the inherent benefit to the artist as the most important, and indeed the only, criterion for winning the prize, we are confronted with a straightforward, undisguised form of corruption that is disarming, yet far from being free of jarring undertones.
Several of Nicolaisen's works criticising the art institution spring from his own situation as an artist. But the personal and private element rarely invades the work itself.36 The Visa Paintings [pp 57 / 144 / 180] are typical of this. The whole project derives from the fear of not earning enough money.37 For Nicolaisen, the counterpart of this fear lay in the dream of the perfect commission, economically speaking – a dream that resulted in a proposal to create a picture for each of the 872 rooms at the Oslo Plaza Hotel. The proposal text is written in a relaxed tone that in no way divulge the existential angst behind it.
Some years later, Nicolaisen realised part of the idea, but the actual Visa Paintings do not bear witness to any existential anguish either. The codes belonging to expressive painting, which traditionally have been read as spontaneous articulations of the artist's thoughts and feelings, are totally absent. The Visa pictures are, on the contrary, mechanical paintings, where the format, composition and production method are standardised. Liquefied acrylic paint from a bottle has been squeezed out onto the shortest side of a metre-long piece of paper. The paint has then been spread over the paper in one fast stroke, in compliance with the instructions in the textual part of the work: "They should be made with the speed of visa-cards".38
With the advent of concept art, there emerged a belief that the new, dematerialised and site-specific practices would undermine art as a commodity. Two of the main supporters of this belief were the critics and theorists Lucy Lippard and John Chandler, who wrote: "since dealers cannot sell art-as-idea, economic materialism is denied, along with physical materialism."39 However, it rapidly became apparent that snapshots of piles of earth, photocopies, lists of numbers and the other work forms that concept art introduced, could easily be converted into commodities for sale. Nicolaisen's Visa Paintings were produced nearly three decades after the belief in the conceptual work, merely through its form, could function as a criticism of capitalism, had been undermined. The serious and ideology-burdened critique of the exchange value between art and capital present in early conceptual art is in the Visa Paintings replaced by a completely different mentality. Produced in a way that mimics the act of a Visa-card payment, they could almost appear a tribute to the market forces themselves. But only "almost", because as is so often the case in Nicolaisen's art, the whole project ends in a parody – a double-edged parody that not only targets the art collector with his platinum card sticking out of his jacket pocket, but also the poor artist's utopian dream of a new economic logic where the production and sale of art is as rapid and easy as a direct debit transaction.40
[1] Sol LeWitt, "Paragraphs on conceptual [40]
art", in Conceptual art: A critical
anthology, edited by Alexander Alberro/
Blake Stimson, (London: The MIT Press,
1999), p 15. [2] The first Norwegian
work of this genre was Viggo Andersen's
Vigelandsanlegg from 1976: a proposal to
tear down all the sculptures in the
Vigeland Park and replace them with a
labyrinth-like structure. See Ingvild
Krogvig "Viggo Andersens Vigelandsanlegg:
Historien om et glemt antimonument", in
Audiatur: Katalog for nypoesi, edited by
Paal Bjelke Andersen, Audun Lindholm and
Thomas Lundbo (Oslo: Audiatur, Gasspedal
and Forlaget Attåt, 2009), p 189. [3]
http://www.walkerart.org/
archive/9/9C4301AEBEAC42EE6167.htm.
Downloaded on 8.12.2010. [4] Interview
with Terje Nicolaisen, Oslo 26.11.2010.
[5] Barbara Rose, Claes Oldenburg (New
York: The Museum of Modern Art, 1979), p
103. [6] Paul Carroll, "The poetry of
Scale" at www.publicaddress.us/downloads/
oldenburg. Downloaded on 27.7.2009.
[7] Other important sources of inspiration
for Nicolaisen are Michael Asher's texts
and illustrations of planned works, and
Roman Signer's Nicht ausgeführte Projecte
für öffentlichen Raum (Unrealised
projects for public spaces). [8] Krauss,
though, relates "the logic of the
monument" to the period from the
Renaissance up until the end of the 19th
century. At this point, the first signs
that the logic of the monument was about
to disintegrate became apparent, and with
the onset of Modernism, the "negative
state of the monument" made its entrance,
according to Krauss. The monument now
became abstract in form and "siteless and
to a large degree self-referential". But
the fact that the 20th century has been
full of referential memorials gives
reason to regard "the logic of the
monument" as a great deal more tenacious
than Krauss seems to do. See "Skulpturen
i det utvidete felt" in Avantgardens
originalitet og andre modernistiske
myter, translated by Agnete Øye (Oslo:
Pax Forlag, 2002), pp 43, 46 and 47.
[9] Ibid, p 46. [10] Terje Nicolaisen,
Selected Proposals 1995 – 2005 (Oslo:
Norsk Sokkel forlag, 2002), p 44. [11]
Ibid. p 44. [12] Nicolaisen, Selected
Proposals, p 32. [13] Andrea Frazer,
"From the Critique of Institutions to an
Institution of Critique", 1995 – 2005, in
Institutional Critique and After, edited
by John C. Welchman (Zurich: JRP/Ringier,
2006), p 131. [14] Nicolaisen, Selected
Proposals, p 5. [15] Gail Day, "Art,
love and social emancipation: on the
concept 'avant-garde' and the interwar
avant-gardes", 1995 – 2005, in Art of the
Avant-gardes, edited by Steve Edwards and
Paul Wood (London: Yale University Press,
2004), p 322. [16] Viktor Sjklovskij,
"Kunsten som grep", in Moderne
litteraturteori, edited by Atle Kittang &
others (Oslo: Universitetsforlaget,
1998), p 16. [17] Interview with Terje
Nicolaisen, Oslo 26.11.2010.
[18] Interview with Terje Nicolaisen,
Oslo 26.11.2010. [19] Yellow Light is
not included in the exhibition at the
Henie Onstad Art Centre, but since it has
links to Rjukan 2005, Untitled (1000
meters) and Proposal for Onomáte-Sando,
which are being shown, it is worth
dwelling on. [20] Nicolaisen, Selected
Proposals, p 6. [21] Terje Nicolaisen,
"Kortprosa", 1995 – 2005, in the
catalogue Terje Nicolaisen (Oslo: Norsk
Sokkel Forlag, 2001), p 14. [22] Ibid.
[23] Nicolaisen, Selected Proposals, p
100. [24] Deliberate bad timing occurs
in several of Nicolaisen's works, such as
the T-shirts with a portrait of Sune
Nordgren, which Nicolaisen created as an
expression of support for the sharply
criticised director of Norway's National
Museum of Art, but which were not
launched until several years after
Nordgren had left his post as director.
[25] Yet another episode in the story of
Museo de Pasatiempo occurred in the
autumn of 2010, when its components were
enlarged by 1600% and turned into
Kunsthall Oslo's permanent exhibition
architecture. [26] Nicolaisen, Selected
Proposals, p 54. [27] Victor Plahte
Tschudi, "Zaha Hadid: Museo nazionale
delle arti del XXI secolo (Maxxi)", 1995
– 2005, in Morgenbladet, 26.02.2010. The
critic was Marco Lodoli, writing in La
Repubblica. [28] Walter Benjamin,
Kunstverket i reproduksjonsalderen,
translated by Torodd Karlsten (Oslo:
Gyldendal, 1991). [29] Andrea Fraser,
Institution of Critique", p 128. [30]
Nicolaisen, Selected Proposals, p 20.
[31] Ibid. [32] Geir Tore Holm,
"Saksopplysninger/Malerier", 1995 – 2005,
in the catalogue Terje Nicolaisen, p 11.
72. [34] Ibid. [35] Interview with
Terje Nicolaisen, Oslo 26.11.2010. [36]
One major exception is Norsk Sokkel Award
and the so-called Office works, 1995 –
2005, i.e. letters which Nicolaisen sends
to people he has signed contracts with or
collaborated with. Here, the personal
element is often a core feature of the
work. [37] Interview with Terje
Nicolaisen, Oslo 26.11.2010. [38]
[39] Lucy Lippard and John Chandler, "The
Dematerialization of Art", 1995 – 2005,
in Art International 12, no. 2 (1968), p
34. [40] To make the story complete,
several of the Visa Paintings were
actually sold to the Oslo Plaza Hotel
after Nicolaisen, wearing his most
business-like suit, arrived at the hotel
director's office with the pictures under
his arm.
Untitled (Waiting for Stuart Bailey), 2011, Typewriter on paper, DinA4
Artist Studios (Integrated as Utsmykking) 1998, Ink and Watercolour on paper, 250 x 250 mm
Taxfreeshopping - A Song, 2011, Typewriter on paper, DinA4
Untitled (Ultimathumb), 2010, Typewriter on paper, DinA4
The Grand Fax, 2010, Fax, Receit and transmission. Detail. Courtesy of Nordea Art Collection
Museo de Pasatiempo, Installation view
Gult lys i det Lindenvedske Hus, 1996, Oilpaint on existing lightsystem, Arendal Kunstforening, Arendal
Proposal for Westfaliches Landesmuseum Münster (Reinhardt Mucha), 1997, Münster
Proposal for MACBA, 1997, Altered Polaroid Photo taken on site Barcelona.
Prosposal for Radisson SAS Oslo Plaza Hotel (Elevator-shaft)
MUSEO DE PASATIEMPO, found mdf, laserjet print and paper bag. 2001. EDITION of 5, Installation view at OCA - Office for Contemporary Art No
Museo de Pasatiempo Enlargement Kunsthall Oslo 2010
56 jobs in "Terje Nicolaisen"
Geschellshaft der Jungen Melankoliker
Ringnesfestivalen 2004
Proposals for the Yokohama Triennale 1973 (2000)
Gunda Förster: Clothesline porposal for MACEB
Untitled (maceb building)

redpajama_set_name: RedPajamaCommonCrawl


There is a great post on The Carpetbagger Report from a few days ago about the mainstream media's (specifically Time magazine's) ignoring the prosecutor purge scandal.
What explains the failure of the mainstream media to cover the purge scandal for so long, and so many other scandals? Do you think somebody just set up newspaper editors to cheat on their wives, and threatened to tell if the editors wouldn't play ball when they come back some day and ask for something?
It wouldn't be that hard to do, when you think about it. People wouldn't talk about it.
Hello, I'd like to say that you should not be overtly worried about past loan payment mistakes you made. Despite your bad credit history a new loan is always available in these days when lenders are facing cut throat competition in the loan marketplace. On some conditions, bad credit loans are now easily provided by the lenders. You can use bad credit loans for any purpose such as renovation of home, purchasing a new or old car, planning a wedding party, paying for child's tuition fees, going to a holiday tour or you can consolidate debts under the loan.
How do you get an excellent mortgage loan with bad credit? The initial thing you must do is research more about these loan alternatives for bad credit and check, which among them will be ideal for your situation. And when you believe you are ready, get yourself the best bad credit mortgage broker you could find to assist you. Professional mortgage lenders for bad credit are quite hard to come by. You have to be careful with who you're dealing with and make sure he's dependable. If he demands for cash in advance of a mortgage, probe further. He might be one of those so-called lenders who are merely out to con you.
whats the hell happened here..
Nope, not Hes. Definitely not, and what a disappointment.
That's a great info. Thanks for sharing. Looking forward to see the future discussion on these points.
I hope that you do the right thing and discontinue this page unless you plan to use it, so that the folks at Counterspin (or someone willing to invest in a blog exposing media spin) can use the name.


text:
What Effect Does Listening to Mozart Have on Creativity?
How does music affect your creativity?
How does listening to music significantly impair creativity?
How does music enhance creativity?
How does listening make us more intelligent?
Does Mozart music increase IQ?
What does listening to classical music do to your brain?
How did Mozart influence music?
Is the Mozart effect pseudoscience?
How does music affect your intelligence?
Who has highest IQ ever?
Is music a creative art?
Is listening to music a creative outlet?
What causes creativity in the brain?
How does creativity work in the brain?
You might also be thinking, What effect does listening to Mozart have on creativity quizlet?
What influence does Mozart's music have on creativity? Critique and feedback are usually appealing to creative individuals, but being excessively critical of your new ideas might be a hindrance to innovation.
Similarly, Does listening to classical music make you more creative?
Listening to "happy" musicdefined as lively and engaging classical tuneshelped individuals perform better on tasks that required "divergent" thinking, which is a key component of creativity, according to a 2017 research published in the journal PLOS ONE. 16.07.2019
But then this question also arises, Does the Mozart effect work?
The answer is no in terms of the common interpretation of the "Mozart effect." There has never been any evidence that just listening to Mozart's music has a long-term effect on general intellect or IQ.
How does Mozart music affect the brain?
Music with a high degree of long-term periodicity, whether composed by Mozart or other composers, is thought to reverberate throughout the brain, reducing seizure activity and improving spatial-temporal performance.
Why Does listening to Mozart make you smarter?
Relax. Listening to Mozart does not boost a child's cognitive capacities, according to scientific data. The concept stems from a short research conducted in 1993, which demonstrated that college students who listened to Mozart's Sonata for Two Pianos in D Major (K 448) improved somewhat on a spatial thinking exam.
Your sort of music encourages you to focus on the work at hand because of its structure and organization. As a consequence, your brain may become lot more open, allowing more ideas to enter and assisting you in being more creative. Creativity may be developed in a variety of ways, not only via the use of one's imagination. 04.09.2019
This might be because music affects the brain's verbal working memory, according to the researchers. Participants' creativity was similarly harmed in an experiment in which they were exposed to music with recognized lyrics, regardless of whether they liked it or not. 27.02.2019
When you listen with intention, you become wiser, quicker, and better. Because you perceive more information, clarity, and alignment on what needs to be accomplished and handled, you become smarter. 25.02.2020
Since then, experts have looked into the concept that Mozart improves IQ and have found no evidence to support it. In 1999, the results of the initial experiment with college students were reassessed, and the gain in the students' spatial abilities was shown to be minimal.
Listening to classical music increased the activity of genes involved in dopamine secretion and transport, synaptic neurotransmission, learning and memory, and down-regulated genes implicated in neurodegeneration, according to a recent research. 13.03.2015
He practically invented and popularized the classical piano concerto on his own. He composed a lot of liturgical music, including as large-scale masses, as well as dances, divertimenti, serenades, and other light entertainment. Mozart's music has all of the key characteristics of the classical style.
The idea that listening to classical music improves IQ, according to researchers, arose from concerns about early childhood education. Despite the fact that scientists have debunked claims that listening to classical music improves intellect, the so-called "Mozart Effect" has grown in popularity over the years.
Cognition and Music Sound waves alter brain waves, allowing us to access our wisdom. This leads to improved performance. As a result, listening to musical sounds and compositions helps to activate brain waves, which leads to increased intellect. 18.03.2021
Ainan Celeste Cawley, with an IQ of 263, holds the record for the highest IQ ever measured. With the greatest possible IQ, the list continues as follows: Cawley, Ainan Celeste (IQ score of 263) Sidis, William James (IQ score of 250-300)
But music isn't the only form of art that stimulates creative thought and states of flow, elicits emotional reactions, has aesthetic and socio-cultural value, and is widely produced. 02.10.2012
Many individuals use music to express themselves. It's a global form of expression that enables individuals to dig into their imaginations and vividly communicate their ideas and emotions. 20.05.2021
The frontal lobe of the brain Because it seems to be responsible for many of the activities that lead to creative thinking (such as working (or short-term) memory), the frontal cortex has long been thought of as the hub or core of creativity. 12.05.2017
Communication within the prefrontal cortex, as well as communication with different outer and inner parts of the parietal lobe, is part of the Imagination Network. This network, which is in charge of creating mental simulations, is frequently seen as the cradle of creative thinking. 12.03.2019
The "the ability to perceive patterns and causal relationships is a characteristic of" is the ability that Mozart possessed. It has been shown that listening to Mozart's music can have an effect on creativity.
which of the following most closely characterizes creativity as it was defined in the book?
which of the following would not help enhance your creativity?
which of the following is not one of the steps in basic problem solving?
which of the following are aspects of identity that can be expressed in the theatre
which of the following is not a basic form of drama


Art dealer Pavel Zoubok remembers an outing at the Metropolitan Museum with his mom several years ago. He had loved a particular drawing. After, he called gallery that had loaned it to see if the piece was available for sale. It wasn't. His mother, a social worker and therapist, noticed his disappointment.
Pavel said it wasn't about ownership. His mother raised an eyebrow of doubt.
In college at Sarah Lawrence in the late 1980s, Pavel had focused on art history. He'd earned an M.A. in art history at Hunter College and had discovered Czech poet and collagist Jiri Kolar.
Pavel developed a passion for collage and for artists who practiced it, including Picasso, Hannah Hoch and Joseph Cornell.
"I made it my mission to learn everything there was to learn" about collage. He collected books and articles and started meeting the artists featured. But his first jobs were in fashion and music.
Some of the collage artists he met encouraged him to curate an exhibit. Though intrigued by the idea, he worried that he couldn't afford it. He was working full time In New York for a classical music organization.
Then (Godsign alert) fate intervened. Pavel "happened to mention" the idea to his friend and former college professor, the late Mary Delahoyd. Aside from a long teaching career, she had a loft and gallery on Broome St. in SoHo. She was suffering from Lyme Disease, and her gallery space lay empty. She offered it to Pavel.
In fall of 1997, Pavel sent out invitations to a 4-person show with no set hours. Word spread. 400+ showed up for the opening. Over the next 3 years, Pavel organized 4-5 shows annually in the same space. Still working full time, he opened the gallery on weekends and saw clients by appointment during the week.
The income from those shows freed Pavel to open his first gallery on Madison Avenue in 2001. He concentrated on collage and related forms, the only gallery to do so. But right before the gallery's first fall season, the tragic events of Sept. 11, 2001, struck.
"Everything stopped. The market went dormant. For 5 or 6 months, I struggled to keep up my nerve. When people realized the world wasn't coming to an end, they jumped back in." Sales remained strong until 2008 when the economy slumped and the art market nosedived again.
Two years ago Pavel moved into sprawling new space on W. 26th St. in Chelsea. The Pavel Zoubok Gallery handles not only current artists like Judy Pfaff, Thomas Lanigan-Schmidt and Vanessa German but also estates and works by artists including Cornell, Man Ray and Christo.
I met Pavel recently in NYC at the SoHo studio of Lisa Hoke. Lisa is "delighted" to have Pavel represent her. "We speak the same language," she says. Lisa's first show with Pavel, Attention Shoppers, opened May 28th. Lisa makes amazing constructions from recycled consumer goods packaging. Last year she created one such installation for the Sarasota Museum of Art (SMOA).
This entry was posted in Uncategorized on June 8, 2015 by Suzy Farbman.
Thanks, Francene. Glad you enjoyed.


text:
Two cars vandalised in South Shields attack before victim receives call threatening damage to their property
Slimmers lose combined total of almost 5,000 stones in just a year
Super slimmers in South Tyneside are hoping to inspire others to get into shape after shedding the combined weight of 23 Mini cars in just a year.
Tuesday, 2nd January 2018, 11:00 am
From left to right, Slimming World consultants Ken Brown, Jackie McNally, Chris Haswell, Deb Blenkinsop, Sharon Simpson, Sharon Snaith, Tina Harley and David Ducasse.
A combined total of 4,729 stones were lost by over 600 members of fat-loss group Slimming World – which has 18 groups in the borough – in 2017, at an average of seven-and-a-half stones each. It is now hoped that others will follow their lead in 2018.
Group consultant Tina Harley said: "Latest figures nationally show that around two-thirds of people struggle with their weight.
"Obesity in both children and adults is increasing at an alarming rate, but this is where we can help. We provide compassionate support to help make long-term changes to eating habits.
"By making small changes to the way food is cooked and prepared, our members can fill up on their favourite foods. If people have been thinking about joining us, the new year is a great time to do it. Our members have lost this incredible amount of weight while enjoying the support and inspiration of the group."
Fellow consultant Sharon Simpson, who leads two of South Tyneside's groups, added: "This is a fantastic accomplishment. It shows that the Slimming World plan really does work and hopefully after seeing these results it will encourage even more people to join us.
"Young, old, shift workers, diabetics, pregnant women and even schoolchildren aged 11 to 15, are welcome. The beauty of our plan is that it fits in with all lifestyles."
Slimming World's South Tyneside groups operate six days a week, with more information available by visiting www.slimmingworld.co.uk or calling 0344 897 8000.
From patient to student nurse - meet the South Shields woman returning to the hospital wards to learn from those who cared for her
Man taken to hospital following fall on South Shields street


Sarah Waterhouse has been with Medallion Bank Home Improvement Lending since July 2013. Previously, she worked as a University Teaching Assistant, and later as a Real Estate Broker for Coldwell Banker Bain in the Seattle area. She co-founded and marketed Team206, a unique full-service realty suite for the local business professional.
Mrs Waterhouse provides all of the marketing coordination for the Home Improvement Lending Program, and specializes in sales & team development, social media, creative training, and implementing & executing all marketing ventures. She earned her MA in History from the University of California: San Diego, and her BA in History & Classics from the University of Washington.
Sarah lives in Seattle with her husband, and enjoys football, cooking, and spending time with family and friends.


While breathtaking and artistic, the concept of vertical gardening has yet to take off at many independent garden centers. Here are a few suggestions from the experts to help get your customers off the wall and their plants on it.
Nobody's saying you need to cover your entire house, but if a customer has a patio or a blank garage wall, this could be a great sales opportunity for a garden center. It can be seen as a space-saving alternative to container gardening, but the creativity can go so much further than containers.
Instead of loading up on containers, customers can still use those annuals, like the Proven Winners and other things they're comfortable with and just paint with those designs.
Sure, there are some things that don't work and soil can dry out quicker than plants in the ground, but the same can be said for containers and hanging baskets, too. And for a season, many of the plants being sold will work in these walls, but too many times consumers don't know that.
With a shift towards clean and modern interiors, vertical gardens provide a way to introduce interior foliage without the "visual clutter" of containers.
Just because the customers may not come in asking for it, doesn't necessarily mean you can't create a demand for it. This technology needs attention, not a corner. It's dramatic and can be really artistic. Give it a prominent place. It needs someone at the garden center to run with it and take ownership of it.
If you offer a custom container service, try planting up a couple vertical wall pieces to gauge your customers' interest. You might be surprised.
You can't necessarily fight a price war with the big box stores, so one way to set yourself apart is introduce your clientele to new garden techniques in an easy and accessible way. Everyone has vertical spaces in their garden – why not help your customers reimagine how to work with them? For example, when faced with a bare wooden fence, most people's solution is to cover it with a vine. But that just swaps a brown fence for a green one. Instead, create a living wall display. There are living wall systems available that are perfect for beginning and experienced gardeners alike.
Of course, vertical solutions go beyond living walls. Walkways and patios often create narrow planting beds only a foot or two wide. Consider having a "Plants for Narrow Spaces" display, and teach your clients to layer up instead of out, by showcasing a selection of plants that grow taller than they are wide. Now you've presented a solution for a problem a customer may not have even realized they had — how can they help but be intrigued?
-Susan Morrison, Garden Designer and Co-author of Garden Up!
Normally in the spring, consumers come into a garden center to pick up their annuals along with some soil and chemicals. They know exactly what they're getting. They aren't coming in to discover new things. A lot of times you end up placing your top-selling products in that spot. Your top selling stuff is going to be your top selling stuff because that's what your customers are coming in to buy. If a garden center wants to inspire someone to try something new, they need to place that new thing up front in a place where the customers can encounter it and where they can have a chance to get inspired by it.
So many times (consumers) see these huge, professional, complex projects in magazines and on TV and simply can't conceptualize it in their own backyard.
Maintenance is a big concern, we've learned. We've learned that it's about making it simpler. For starters, it's important to move toward self-contained vertical pieces as opposed to huge living walls. Walk before you can run.
Our company has instituted a living wall art class this year that's downloadable and it's for the garden center, because if the staff isn't educated, then there's no hope for their customers. It needs to be taught, there needs to be a proactive push in education with hands-on workshops.


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Pharmako Biotechnologies receives two NutraIngredients Asia awards
Pharmako Biotechnologies (Australia) was awarded the coveted Start-Up of the Year award and the Botanical Product of the Year award from NutraIngredients Asia. The Start-up of the year award was awarded to Pharmako in recognition of the company's commercial success, sound science, research and technological advancements. Its branded curcumin ingredient HydroCurc™, also received the Botanical of the Year award for its innovative dispersion technology which delivers up to 90% curcuminoids with only 10% excipients.
There were up to four finalists in each category and winners were selected based on submissions demonstrating the company's scientific merit, market potential, innovation and ability to increase market credibility. Winners were announced at the NutraIngredients reception during Vitafoods Asia 2018 in Singapore.
Founders of Pharmako Biotechnologies, Eric Meppem and George Kokkinis , graciously accepted the award along with R.V. Venkatesh, managing director of Gencor (Calif.) who is Pharmako's North American partner and distributor.
"It is a great honor to receive both Start-Up of the Year award and Botanical Product of the Year award," said Kokkinis. "We recognized the need to develop innovative technologies that would increase the solubility and bioavailability of lipophilic ingredients. Our technology LipiSperse® improves the functionality of hydrophobic agents like curcumin in a safe effective way, delivering a more potent product to the end consumer."
Pharmako specializes in scientific research and innovative product development. Its other technologies include AquaCelle™, a Self-Micro-Emulsifying Drug Delivery System (SMEDDS) and Compressible Powdered Oils (CPO), a material which allows oily liquid active ingredients to be converted into powders.
The award winning ingredient, HydroCurc was also a finalist in two categories for the NutraIngredients USA awards earlier this year.


Ryan O'Connell has promised to always give gay roles to gay actors.
Based around O'Connell's part-memoir, part-manifesto 'I'm Special: And Other Lies We Tell Ourselves', the new eight-episode Netflix series Special is produced by Jim Parson's company, That's Wonderful Productions and available to stream now.
The show is loosely based on his own upbringing and experiences as a gay man living with cerebral palsy.
And while speaking to The Wrap, the actor spoke about the lack of opportunity for disabled actors and promised he will always cast gay actors to play gay characters because they don't have the same opportunities of straight actors.
He said: "I'm not saying actors can't play something that they're not, but the world is structured in a way where disabled people have no opportunities.
"On my show there are a lot of gay characters, and it was really important to me that I hire gay actors to play that role.
"Is that because I think straight people can't play gay? No, but I know a lot of talented gay actors that don't have the same opportunities as straight actors because they're gay, and that's just the world we live in.
"Until that can be rectified, you bet I'm going to give opportunities to people who don't have them.
"Hollywood loves to profit off the pain of marginalised people without giving us any opportunities," he continued.
"For gay movies, it's usually predicated on some kind of baseball bat for a movie, and I'm done. I'm done with metaphorically being beaten by a baseball bat.


Heads up: UK's GDP is coming out in 15 mins!
The GBP/JPY moved against us ahead of the UK's GDP and Manufacturing Production figures. Unfortunately, the forex trading signal on GBP/JPY closed at stop loss. Check out FX Leaders Sep 10 – Economic Event's Brief for more details on it.
Anyway, the reason behind a sudden spike in the GBP is still unknown to me. Looks like the noise traders disturbing the market ahead of the major news.
The GBP/JPY has an immediate resistance at 144.200 along with a support 143.150. On the lower side, the violation of 143.150 can lead to 142.650.


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It's vital to know how to use, understand our freedoms
State of the First Amendment: It's vital to know how to use and understand our freedoms
It's vital to know how to use, understand our freedoms State of the First Amendment: It's vital to know how to use and understand our freedoms Check out this story on greenbaypressgazette.com: http://gbpg.net/1lYvQth
Wisconsin Published 11:00 p.m. CT July 3, 2014 | Updated 11:07 p.m. CT July 3, 2014
C'mon, people — it's just 45 words!
We'll even give you the Twitter version: Freedom of Religion, Speech, Press, Assembly, Petition.
There, a whole lesson in what it means to be a citizen of the United States — and the answers to some of the questions on the actual test you have to pass to become a citizen.
Perhaps that's why 29 percent of respondents to the 2014 State of the First Amendment survey, released June 24, couldn't name one — they don't have to. Those of us living in the U.S. enjoy its protection of our core freedoms by virtue of living here.
And while it's valuable to know what the five freedoms are — once again: religious, speech, press, assembly and petition — it's even more important to know how we can use them, and how to defend them if someone means to restrict or take those basic rights away.
Clearly we care about the freedoms — for many years in the annual national survey of adults, conducted since 1997 by the Newseum Institute's First Amendment Center, respondents have said by a ratio of of about two to one that the First Amendment does not go too far in the rights it guarantees. This year, 57 percent said the amendment has it right, while 38 percent disagreed. (The remaining 5 percent refused to respond or didn't know how they felt).
Of course, those of us in the "First Amendment business" are worried about this year's 38 percent who said it does go too far. That means about one-third of our fellow citizens would rein in one of our basic freedoms — freedoms we have preserved essentially intact since 1791.
Most likely, it's the news media and the concept of religious liberty that are most at issue:
While just 33 percent of survey respondents said the news media tries to report the news without bias, 80 percent said it's important for the news media to act as a watchdog on government, and a majority (54 percent) do not favor court orders forcing journalist to reveal their sources.
61 percent of those responding said that religious-affiliated groups should be required to provide health care benefits to same-sex partners of employees, even if the group opposes same-sex marriages or partnerships, while 54 percent said businesses providing wedding services should be required to serve same-sex couples even if the business owner had religious objections to such marriages. But 66 percent also said that since the Supreme Court has held that corporations, like people, have certain free speech rights, corporations similarly should have certain religious rights.
Those who advocate for fewer limits on student free speech in public schools likely are pleased to see a major uptick in support for student newspapers being able to tackle controversial subjects without prior approval from school authorities.
Since the First Amendment restricts only government from impinging on our rights, private schools are free to set their own rules. This year, 68 percent said they agree that no approval should be required, while just 27 percent disagreed. In 2001, just 40 percent supported the idea of no approval, while 58 percent said it was needed. Also noteworthy, in 2001, 36 percent strongly opposed students' reporting on controversial subject matter without prior OK. This year, only 8 percent were strongly opposed.
Similarly, asked if high school students should have the same freedom to exercise their First Amendment rights as do adults, 78 percent said "yes," while only 19 percent said "no."
This year's survey does show that the highest number of respondents ever could identify "speech" (68 percent) and "religion" (29 percent) as two of the five freedoms — but the numbers were the same for "press" (14 percent) and lower for assembly (7 percent) and petition (1 percent) than in 2013.
And this year's survey shows that more Americans are backing free expression in areas of our society that have not always enjoyed popular support, from students to same-sex couples. And while people may not see journalists today as unbiased, there's still great endorsement of the role of a free press, from being a "watchdog" to the use of confidential sources in performing that role.
Naming the freedoms is a good thing. Supporting them, using them and protecting them are even better.
Gene Policinski is chief operating officer of the Newseum Institute and senior vice president of the Institute's First Amendment Center. He can be reached at gpolicinski@newseum.org.
Read or Share this story: http://gbpg.net/1lYvQth
Police investigate deaths of two people in De Pere
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Baldwin meets with ex-Shopko workers seeking severance pay


A conversation about game-based learning can go wildly different depending on who you're talking to. Many traditional-minded people might respond with doubt or outright dismissal, saying things like, "Don't the kids play enough games as it is?" or "They need to learn the value of HARD WORK instead!" Others might envision a utopian fantasy where all learning is delivered through carefully calibrated digital games crafted by genius game designers, somehow causing all students to learn effortlessly and be deeply engaged.
Both viewpoints contain a number of misconceptions which we will dispel by sharing what game-based learning actually looks like at Quest to Learn, a New York City public school. By investigating certain realities and practicalities, we hope to equip aspiring educational game designers with new perspectives and strategies by sharing snapshots of the classroom, tips for collaborating with teachers, design considerations for school environments, and our own principles of game-like learning.
Brendon Trombley is a game designer, educator, and adventurer living in New York City. His passions involve games, technology, learning, travel, and food, and he tries to mix and match them whenever possible (be careful when combining food and technology!).
Brendon is a graduate of the New Media Design program at Rochester Institute of Technology, where he trained in the principles of design in addition to a wide array of technologies. He has since worked in the learning and technology industry for 6 years. He is currently with Institute of Play, a non-profit organization leveraging the power of play for education, spending much of his time collaborating with teachers at Quest to Learn, a NYC public school.


"I have really enjoyed working with Isobel Thompson and her team, who are incredibly passionate about what they do. The website looks amazing and customer feedback has also been positive. The team find it a lot easier to manage than the old site and are able to take control of their content."
Toast has been working on a new WooCommerce website for Morrck, creators of the original baby car seat wrap. Their existing Magento site was not easy to administrate and did not provide a good customer experience. We gave the site a complete design overhaul as well as porting it all over to the WordPress CMS.


Toby and I got to go to an 18xx convention for the first time! Since we live on the west coast, we decided to go to the Portland 18xx Tournament (there are other ones further away) last weekend. Although it's called a tournament, it's not really a tournament - everyone records the scores of the games they played and get ranked based on that, but most of the people didn't care about the tournament and were just there to play 18xx games and have fun. We were there Thursday through Saturday, and we played 6 total 18xx games.
Even though this is one of the smaller convention libraries, it probably has the highest density of rare games!
Thursday wasn't officially part of the tournament, but there were still quite a few people playing games. After marveling at the library for a bit and meeting some people, we got to play 1848: Australia, which is a game that Toby had been wanting to try for a while, but we could never find a copy. 1848 is an interesting beginner/intermediate game. Apparently the rail system is really bad in Australia, and each country built with their own gauge (non-standard), so it's really hard to connect. The game simulated this by having different colors on the board that represented gauge changes, and it cost you an extra stop to run through the gauge change, unless you had a special train.
So many colors on the board!
Thursday afternoon we got the chance to play Fourth Age, a Lord of the Rings themed 18xx game! I had heard about this game a year ago in the Reddit boardgames IRC channel, but it's extremely rare, since it's unpublished, and only a handful of copies were ever printed. So I had resigned myself to never playing. But one of the attendees brought the game, and the designer was there too, so we got to play the game with the designer! I was super excited to play it, since I love Lord of the Rings. Fourth Age is based on 1870, which I own but haven't played. The Lord of the Rings theme comes through in the map (it's a map of Middle Earth) and the corporations. Each corporation has a special power - for example, the Orc corporation can actually destroy track instead of just building it! I wanted to try out the orcs, but I ended up starting with the Dwarves, so I didn't want to ally with the evil Orcs.
On Friday we played 3 games!! Even though we said we were gonna take it easy, we ended up playing until past midnight, so Friday was pretty tiring. We started off the morning with 1868, the new Winsome 18xx game. This was the first time I played a game where I realized right away that I lost the game in the private auction! Since there are only 5 companies in the game, it was really bad not to get a company at the beginning of the game, and I didn't have enough money after the private auction, so I was behind the whole game. But I still got my secondary goal of making a super awesome company at the end of the game! Some interesting things about 1868 were that all 4 starting companies started in the same city, so they were all competing/helping for track laying. Also, you can always lay or upgrade two tracks, instead of one on each turn, so the routes were built out really quickly, and we ran out of ordinary straight and curved track! It was also a pretty quick game (for an 18xx). All of us were new (we played 4 players), and the game lasted 3 and a half hours. Since Toby and I own this game, we're excited to try it again.
Friday after Lunch we taught 1880: China to our friend. I've talked about 1880 a few times on the podcast, so our friend was interested to see how it was. We stopped partway through the game (after the communism phase), since we decided to end for dinner time. It was fun, and I started completely different companies than I had in my other games, so I got to go for different routes.
After dinner on Friday, we played a learning game of 18NY with the designer. Something interesting about this one is that there are +10 tokens on spots on the board, and if you're the first one to run there, you get to keep the token and add it to future runs. There were also coal tokens which were similar, except you get them if you have a special private and you just have to connect to them. I thought that was pretty neat, so I got that private and got 5 coal tokens (out of the total of 6 on the board) for a lot of bonus to my route! But I tend to focus too much on having a great end game company, so I didn't have much money early game, didn't have many shares, and my great company wasn't enough to catch up.
Saturday we only played one 18xx game, but it was a long game of 1817 (took about 9 hours). There's a group of players in Seattle that play 1817 every week (sometimes twice a week) and have been playing for the last 3 years, so they're experts at the game! We were fortunate to be able to play with a couple of people from that group, and it was amazing seeing their thought process as they explained things we had never even thought about. One thing that seems simple now that I know it is taking loans at the end of the game to increase your stock price. The way it works is this - you can take loans at any time, and it lowers your stock price, but then when you pay it back, your stock price goes back up. When you pay out dividends, your corporation can move up twice on the stock track if the dividends are double the price. So you can take out loans before paying out to lower your price enough so that the dividends you pay are double, and then pay the loans back after you jump up! As long as you have enough money to pay the interest, it makes your stock worth a lot at the end of the game! It was pretty awesome learning so much from the Seattle group.
That's my company on the left of the stock market, so close to acquisition!
We had an amazing time playing 18xx games and seeing all these other 18xx games being played. There were also some neat things in the library - there were a whole bunch of miniature versions of 18xx games! And also, in the copy of 1830, there were some 1830 themed pogs!
Since we took this convention easy (we took long lunch & dinner breaks), we also took some time to visit downtown Portland. Apparently Portland is known for its donuts, so we decided to try out Blue Star donuts, which are apparently the best ones. I don't really like donuts, but I still tried some, and I actually enjoyed them. I really liked this lemon tart one with lemon filling.
We also had some good food and visited Powell's book store, which is a huge book store! It basically took up a whole block and was filled with new and used books. It also had some decent board games - it had some of the new EXIT games! On Saturday night we also went to a barcade in downtown Portland and played some pinball, which was pretty fun.
The Hobbit pinball! We got the high score of the day!
Overall, I had a lot of fun at Portland 18xx Tournament. We didn't get to stay for the whole time (our flight was Sunday morning and the tournament ended in the afternoon), but we still were able to play a lot of 18xx games and learn a lot from everyone who was there. It was also really neat meeting "famous" 18xx players and designers, and being able to play games with their designers. It was a small convention (about 30-35 people), so it was easy to meet people and play games with them. Also, we didn't need to bring any games or poker chips! Toby and I are looking forward to going again in the future.
The convention was pretty small - this is the whole room!


One question everyone asks is what investors look for when deciding whether or not to fund a startup. Having a high-caliber team with a good track record and a clear value proposition are givens. But the bottom line is that it comes down to the numbers. VCs are looking to make investments that pay off big. That means you need to develop credible financial projections that demonstrate the viability and future potential of your target market and clearly spell out how investing in your business will achieve their return targets.
But it's not a question of just throwing something together. You need to really dig into your numbers and develop enough fluency to articulate and support your underlying assumptions. Here are three signs you're on the wrong track.
1. Your numbers don't add up — VCs are interested in funding companies with large potential markets…enough to provide them with a ten times return on their investment. Of course you want to show large numbers. One way to do this is by presenting a top-down financial model only. But skewing your financial projections to paint an unrealistically rosy picture of your prospects won't do you any favors. Experienced investors can see through this gambit. And if you somehow manage to get seed funding on the strength of unrealistic numbers, it will come back to haunt you when you're trying to raise your next round and haven't met your targets.
The best way to arrive at realistic numbers is by building a bottom-up financial model. In this approach, you build your financial projections from the ground up by developing detailed spending plans based on your sales targets, anticipated hiring needs, and budgets for rent, product development, and other major cost categories.
2. You can't justify your assumptions — Your financial model is only as robust as the inputs (your assumptions) built into it. Do your financial projections assume you have next to no competitors? Or are you seriously underestimating key metrics like customer acquisition costs (an extremely common mistake)? Make sure you can identify and back up all of your major assumptions.
This means being realistic about costs, thoroughly researching the market, and using comparables where you can to provide benchmarks. Run what-if scenarios, and sensitize each input so that you know which factors have the greatest sensitivity.
3. Your numbers don't fit your story — I love this quote from Guy Kawasaki: "The point of financial projections is to tell a story with numbers." What story do your numbers tell? Do they meander all over? Can you distinguish the main characters from the bit players?
Your forecasts should reflect your financial model, your market, and your business, not someone else's. And of course, make sure that they support the rest of your business plan.
Business conditions change, strategies shift, and financial projections need to be reworked. Those are all givens. But if you keep these guideposts in mind when building your forecasts, you'll be in good shape to thrive. And when you do, you'll have a much better understanding of your business and what things to focus on to make it successful.


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Industry News – Timex Surpasses the 1 Billion Watch Milestone [4/22/03]
Industry News – Timex Surpasses the 1 Billion Watch Milestone
Timex announced at Baselworld 2003 that it had recently produced its 1 billionth watch!
"Selling over one billion watches is quite an accomplishment and its an indication of the sheer breadth of appeal of the Timex brand across the world." said Joe Santata, President & CEO of Timex in their press release at Basel.
In 1950 the company debuted the world's first inexpensive yet truly reliable wristwatch. To make sure that the public was aware of the durability and value of the product, Timex developed a groundbreaking advertising campaign that showed the watches being subjected to unimaginable hardships. These "torture tests" established Timex as the brand that "takes a licking and keeps on ticking."


You can help the LGBT Center at the University of Louisville advance its education, advocacy, and support work by making a tax-deductible gift. Your support ensures that the university creates a welcoming environment for everyone, regardless of their sexual orientation or gender identity—and improves the lives of young people in our community and around the world.
To donate, you may give online using the University of Louisville's gift form at the University's giving page.
Or you may write a check payable to the University of Louisville Foundation and write "LGBT Services" in the memo line and mail to the address below.
Text to give is available by sending "LGBT" to 41444.


Tita Em is a nickname for Zosima Arceo Phojanakong, also known as Emma, who happens to be the mother of King Phojanakong, the chef at Kuma Inn on the Lower East Side of Manhattan. Her background is Filipino, and Mr. Phojanakong's recipe for chicken wings is a spin on something that his mother used to cook every week for her family when the chef was a boy: a whole chicken simmered in a silky, peppery adobo gravy. In Mr. Phojanakong's version, that sauce gets extra creaminess from coconut milk. At Kuma Inn, the wings have become a signature dish.
In a large saucepan, combine the vinegar, soy sauce, garlic, peppercorns and bay leaves. Add 1 1/4 cups water and mix well. Add the chicken wings and marinate at room temperature for 30 minutes.
Cover pan, place over high heat and bring to a boil. Reduce heat to low and simmer, covered, until tender, 30 to 40 minutes. Remove chicken from braising liquid and set aside on a rack to drain and dry.
In a large skillet, heat the oil, add the wings and fry until golden brown.
Return braising liquid to a boil. Add coconut milk and bring to a simmer. Add chicken wings, coat with sauce and serve.


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Farm Business and Productivity
Biosecurity, Health and Welfare
The NFF has three Liaison Officers on secondment from Australian Government departments to provide services direct to the agriculture sector in the areas of environmental law, biosecurity, and immigration and labour.
Department of the Environment Department of Agriculture Department of Immigration and Border Protection
If your enquiry is for the National Farmers' Federation Liaison, please contact the Department of the Environment's Community Information Unit on 1800 803 772 or the EPBC Compliance Hotline on 02 6274 1372 or at
The former Environment Liaison Officer provided the following fact sheets as information for farmers on the EPBC Act (what it covers, what it means for farmers and how to seek an approval).
Please note, this is archived material, and we encourage those who would like further information, to visit the Department of the Environment's website here.
Preview Farming & National Environment Law: EPBC Act Fact Sheet (PDF 738.3 kb)
Preview Rumours, myths and misconceptions - farming and national environmental law (PDF 1.7 Mb)
Preview Overview: The EPBC Act 1999 (PDF 821.8 kb)
Preview Fact Sheet: What is a referral? (PDF 1.6 Mb)
Preview Fact sheet: Is your farm business exempt? (PDF 223.3 kb)
Preview Fact Sheet: Protection of threatened species and ecological communities (PDF 2.8 Mb)
Preview Fact Sheet: The EPBC Act and the Australian Constitution (PDF 192.3 kb)
If your enquiry is for the National Farmers' Federation Liaison, please contact the Department of Agriculture's switchboard on 02 6274 1111.
For more, visit the Department of Agriculture's website.
Department of Immigration and Border Protection
If your enquiry is for the National Farmers' Federation Liaison, please contact the Department of Immigration and Border Protection on 02 6264 1111.
A range of publication and statistics are available on the department's website and are regularly updated. The department is continually expanding the data available and this information can be located here.
The Service Centre is available on phone number 131 881 to assist with pre-lodgement application enquiries where the information is not readily available on the website. Enquiries can also be made via the relevant contact form located here .
For more, visit the Employers section of the Department's website.
< Policy & Issues


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Q: Maven JBOSS application deployment I followed this tutorial http://www.mastertheboss.com/jboss-maven/jboss-maven-example-building-a-java-ee-6-application/ in order to have a simple web application to better understand Java EE and JBOSS. I set up the example project (by archetype) and compiled it.
However, I am stuck after running mvn compile. I want to deploy my application as a war file to my JBOSS webroot directory (in my case /usr/share/jboss-as/standalone/deployments/).
I think mvn package and mvn install must be executed. Where can I specify that I want a war file and that it should be copied to my deployment location on JBOSS?

A: Obviously, I can use the jboss maven plugin http://docs.jboss.org/jbossas/7/plugins/maven/latest/, which is addressed via console
jboss-as:deploy

Configuration is read from the POM file.

redpajama_set_name: RedPajamaStackExchange


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Eastman First United Methodist Church
Sowing Seeds | Making Disciples
Advent | 2022
Seeds For This Week
Online Prayer List
Learn More | Visitors
Children's Morning Out
HomeAbout UsSubmit A Prayer Request
Eastman First United Methodist has a rich heritage of loving on those in need through prayer. Reaching out to our Lord and Savior during these times of need places us in the hands of God where we can experience the peace and joy of God's presence.
As such, we would love to pray for you, so that you may experience the richness of the love of God and the comfort of God's presence.
The form below can be used to submit prayer requests. Every request will be forwarded to the Pastor and The Uplifters, our prayer team. The requests will be held confidential by the Pastor and the small prayer team, unless you indicate otherwise in the form below.
For online gifts: click here
5324 Anson Ave
Eastman, GA 31023
Sunday School: 9:30 a.m.
Worship Sundays: 10:30 a.m.
Office Hours Monday through Thursday 8:30 a.m. to 12:00 p.m., 1:00 p.m. to 4:30 p.m.
Email: eastmanfumc@gmail.com
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Directed by Don Hall and Chris Williams, the film tells the story of Hiro Hamada, a young robotics prodigy who forms a superhero.


Senior and middle leaders play a critical part in developing and implementing all strategic and operational decisions at cross-school and whole-school level. As a key role model in the school, senior leaders must demonstrate collective responsibility, be at the operational sharp edge of change and effectively manage staff. From the Principal's instructional leadership to the management of teaching and learning at middle leadership, the school leadership team is critical to the success of an academy.
Are articulate, well-organised and knowledgeable.
Has fantastic commitment from pupils, staff and parents.
Has high ambitions for all and provides excellent opportunities for your leadership development.