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With the European Health Insurance Card you have the right to receive any healthcare that may be required, from a medical point of view, during a temporary stay in the indicated States when your visit is for tourism, professional or educational reasons, but not when the purpose of the trip is to receive medical treatment.
Hand delivered, when requested at the MUFACE branch in person. The membership document must be presented. The mutual society member can authorise any of his beneficiaries or a third party of legal age to present the application or applications on his behalf. The authorisation must be made in writing and accompanied by a copy of the National ID document of the authorised person.
By any of the means set forth in Article 16.4 of Public Administration and General Administrative Procedures Law 39/2015 of 1 October. In this case, the Provisional Replacement Certificate (CPS) will be delivered to the address specified by the mutual society member.
The European Health Insurance Card (EHIC) is the document that proves an individual's right to receive any healthcare that may be required, from a medical point of view, in the territory of another Member State and four European countries specified below.
There are 28 EU Member States, according to europa.eu, which is the website on the basic information about the European Union. These 28 countries are Germany, Austria, Belgium, Bulgaria, Cyprus, Croatia, Denmark, Slovakia, Slovenia, Estonia, Finland, France, Greece, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, Netherlands, Poland, Portugal, The United Kingdom, Czech Republic, Romania, Sweden and Spain.
As previously mentioned, we also have to add another 4 countries: Iceland, Liechtenstein, Norway and Switzerland.
Outside of Europe, mutual society members will require the Certificate of healthcare cover abroad.
The European Health Insurance Card covers temporary stays abroad for tourism, professional or educational reasons, but not when the purpose of the trip is to receive medical treatment.
With the EHIC and its Provisional Replacement Certificate, the holder can access public healthcare under the same conditions and scope as citizens in the destination country.
The physician in the destination country or the medical centre can request, in addition to the EHIC or CPS, the National ID Card or passport certifying the holder's identity.
As each country has its own healthcare system, the European Health Insurance Card cannot include all the provisions offered by the Spanish Health System, and even some of these provisions can entail an expense for the user, who will have to pay it directly.
There are two systems: The holder can advance payment for healthcare (reimbursement schemes) or partial payment (copayment schemes). Therefore, the holder must inform himself about the terms and conditions of receiving public healthcare in the country of destination before travelling.
The holder can request MUFACE to refund the amount paid in accordance with its own regulations.
The validity of the European Health Insurance Card is of two years. During this time, the mutual society member will have medical assistance in European countries.
The mutual society member or his beneficiaries will require the Certificate of healthcare cover abroad, the purpose of which is to certify to any public or private entity that the holder or his beneficiaries have coverage for healthcare expenses in temporary trips abroad, with a maximum duration of two months from the beginning of the trip. The reimbursement, where applicable, of any expense must be requested by the holder at his MUFACE Branch, as set forth in the current regulation.
How can I obtain a Certificate of healthcare cover abroad?
The maximum coverage period in trips for private reasons is of two months from the beginning of the trip, and in trips for professional reasons it is for the period of time of the professional stay abroad.
Request any type of service in your nearer branch.


Here at Ashville Concrete, we aspire to provide all of our clients with the finest ready mix concrete. We have many different Concrete Products which are perfect for a range of different projects. Highway, agricultural, commercial or domestic projects can all be executed using our materials.
At our disposal we have a fleet of Volumetric Lorries which act as a mobile batching plant. The convenience this provides allows us to arrive at your site with the ingredients ready. This means we can create Ready Mix Concrete Oxford Circus on site.
At Ashville Concrete we always ensure that the concrete we use in our Ready Mix Concrete and Screed mixes is of the best possible quality. Although its not the cheapest method of production it does always ensure a high quality end product. Third party testing is welcomed and we regularly test our end product to ensure high quality. Our sister company Ashville Aggregates provide the materials that we use for both our Ready Mix Concretes and our Ready Mix Screeds. We understand the importance of always using the highest quality material possible and knowing the source of these materials allow us to always ensure this happens. Our vehicles are recalibrated every three months and we make sure we always reach the British Standards obligations.


Axanton Technology GmbH was established at Feb. 1, 2013, but was preceded with seven years of independent research in Malina Lab, on cell pathology and drug discovery.
Halina Z. Malina PhD has over thirty years of independent, interdisciplinary research in biological chemistry and cell biology in CNRS in France, Polytechnic School in Zürich (ETH) and Swiss Universities: Zurich, Lausanne, and Berne. Her latest research on xanthurenic acid has led to focus on the covalent modification of proteins by small molecules. She is the inventor of the new line of therapeutic molecules, the MEMS.
CIO Marguerite T. Malina Eng.
She has experience in project negotiation, financial project evaluation, patents preparation, business strategy and communication, personnel management, and experience for ten years in IT, CRM and Marketing project management. She is responsible for negotiation of the outsourced contracts of Axanton, license negotiation, deal structure, overall patent strategy, strategy and politics of development, responsible for human resources.
COO Paul P. Malina Eng.
He has international experience in commercialization of the business projects, projects management, knowledge and participation in the project for years. COO has international experience in industrial projects management, easy contact with people in negotiation. He knows many cultures and speaks many languages. He will be responsible for all operations: development, design, operation, and improvement of the systems that create and deliver the Axanton products.


text:
Q: IF function for specific text strings I am trying to write a formula that takes a word and process it through a IF function in excel, The Values are list in the formula. My issue right now is the fact that I have Large, X-Large and 1X-Large text. The X-Large and 1X-Large are unique strings and need the IF function to be able to differentiate the two.
Here is what i have so far.
=if(or(isnumber(search("Small",af2)),ISNUMBER(SEARCH("Medium",AF2)),ISNUMBER(SEARCH("Large",AF2)),,ISNUMBER(SEARCH("X-Large",AF2))),"Small",or(isnumber(search("1X-Large",af2)),isnumber(search("2X-Large",af2)),isnumber(search("3X-Large",af2)),isnumber(search("4X-Large",af2))),"1X-Large")

I cant understand why it's showing an error and only displays small when it works.
All help is appreciated

A: Your current formula shouldn't work, it should be giving you an error about having too many arguments. A breakdown of your function:
=if(
  or(isnumber(search("Small",af2)),ISNUMBER(SEARCH("Medium",AF2)),ISNUMBER(SEARCH("Large",AF2)),,ISNUMBER(SEARCH("X-Large",AF2))),
  "Small",
  or(isnumber(search("1X-Large",af2)),isnumber(search("2X-Large",af2)),isnumber(search("3X-Large",af2)),isnumber(search("4X-Large",af2))),
  "1X-Large"
)

You cannot use 4 parameters in an IF. You need to have a maximum of 3. Maybe what you meant was:
=if(
  or(isnumber(search("Small",af2)),ISNUMBER(SEARCH("Medium",AF2)),ISNUMBER(SEARCH("Large",AF2)),,ISNUMBER(SEARCH("X-Large",AF2))),
  "Small",
  IF(
    or(isnumber(search("1X-Large",af2)),isnumber(search("2X-Large",af2)),isnumber(search("3X-Large",af2)),isnumber(search("4X-Large",af2))),
    "1X-Large"
  )
)

But that doesn't solve your issue about the X-Large part. To cater for that, you can check whether the X-Large series exist first, then the others.
=IF(
  OR(ISNUMBER(SEARCH("1X-Large",AF2)),ISNUMBER(SEARCH("2X-Large",AF2)),ISNUMBER(SEARCH("3X-Large",AF2)),ISNUMBER(SEARCH("4X-Large",AF2))),
  "1X-Large",
  IF(
    OR(ISNUMBER(SEARCH("Small",AF2)),ISNUMBER(SEARCH("Medium",AF2)),ISNUMBER(SEARCH("Large",AF2)),ISNUMBER(SEARCH("X-Large",AF2))),
    "Small"
  )
)

Although you can make it shorter with this:
=IF(
  OR(ISNUMBER(SEARCH({"1X-Large","2X-Large","3X-Large","4X-Large"},AF2))),
  "1X-Large",
  IF(
    OR(ISNUMBER(SEARCH({"Small","Medium","Large","X-Large"},AF2))),
    "Small"
  )
)

In one line...
=IF(OR(ISNUMBER(SEARCH({"1X-Large","2X-Large","3X-Large","4X-Large"},AF2))),"1X-Large",IF(OR(ISNUMBER(SEARCH({"Small","Medium","Large","X-Large"},AF2))),"Small"))

redpajama_set_name: RedPajamaStackExchange


The Malaga fair 2008 is one of the most important events on the Costa del Sol.
The fair begins on Friday August 15 with the proclamation, fireworks, a concert by David Bisbal and a flamenco festival on the beach at Huelin.
You can find out everything about the show in andaluxia.es and see photos of the fair in andaluxia.com.


The one moisturizer you want. A natural revitalizing cream that can be utilized for face, neck, and across the eye area. It supplies anti-aging advantages, and is best for subtle skin that may be showing signs of aging by preventing the dryness that causes wrinkles. Appropriate for all skin sorts.


text:
Explore women's history through exhibitions, programs, scholarship, and immersive multimedia.
Our Center for Women's History is the first of its kind in the nation within the walls of a major museum. At the Center, we explore the lives and legacies of women who have shaped and continue to shape the American experience. As a hub for scholarship and education, the Center demonstrates how women across the spectrum of race, class, and sexuality exercised power and effected change. Guided by a committee of distinguished historians and informed by the latest research, the Center features permanent installations, temporary exhibitions, and a vibrant array of talks and programs, enriching the cultural landscape of New York City and creating new opportunities for historical discovery.
"Miss Rose Bower of North Dakota" Woman playing trumpet, wearing "Votes for Women" sash. Gelatin Silver Photograph, New-York Historical Society.
Major funding for the Center for Women's History programs provided by
The Estate of Jean Dubinsky Appleton
Claudine and Fred Bacher
James Basker and Angela Vallot
Joyce B. Cowin
Diana and Joseph DiMenna
The Robert David Lion Gardiner Foundation
Richard Gilder and Lois Chiles
Susan and Roger Hertog
Susan and Robert Klein
The Leonard & Judy Lauder Fund
Diane and Adam E. Max
Jennifer and John Monsky
Amanda and Neal Moszkowski
Jean Margo Reid
Pan and Scott Schafler
Michelle Smith
Eric J. and Daria L. Wallach
Susan Waterfall
Leah and Michael R. Weisberg
Public funding for the Center for Women's History
The New York City Council
New York City Department of Cultural Affairs
Empire State Development and I Love New York under
Governor Andrew Cuomo's Regional Development Council Initiative
Diane and Adam E. Max Conference on Women's History
Now in its fifth year, the Diane and Adam E. Max Conference on Women's History is the cornerstone of the Center for Women's History's public and scholarly programs. The 2020 conference contemplates the legacy of the 19th Amendment in its centennial year. Scholars, journalists, jurists, and activists will consider the suffrage movement in all of its forms and complexity and explore the ways in which women have organized for full freedom and citizenship in the 100 years since ratification. The conference coincides with our exhibition on the same themes, Women March, opening Feb. 28 in the Joyce B. Cowin Women's History Gallery.
Image: Sievers Studio, League of Women Voters, 1920. Missouri History Museum
From Suffrage to Power: Reflections on Women's Citizenship
One hundred years ago, the ratification of the 19th Amendment enshrined the voting rights of women in the United States Constitution. The struggle for suffrage had begun over 70 years earlier, and had, at different moments, united and divided American women across lines of race, region, class, and religion. Ratification in 1920 represented a significant but incomplete victory: White supremacist laws and violence still kept many women from voting, while discrimination in employment, public service, health care, and the courts kept women from achieving full and equal citizenship. As Supreme Court Justice Robert H. Jackson declared in 1947: "The 19th Amendment gave women the right to vote and that is all it gave them."
For advocates of gender equity then, the 19th Amendment was "a beginning, not an end," as Jackson's successor on the bench, Ruth Bader Ginsburg, said. On the centennial of suffrage, the Center for Women's History explores the struggles for women's equality in all their forms and complexity, from the beginnings of the abolitionist and suffrage movements through the present.
Louise Mirrer, president and CEO, New-York Historical Society
Valerie Paley, director of the Center for Women's History and senior vice president and chief historian, New-York Historical Society
SPECIAL GREETINGS
U.S. Representative Carolyn B. Maloney, 12th Congressional District, New York
INTRODUCTORY KEYNOTE ADDRESS
Adele Logan Alexander, George Washington University and author of Princess of the Hither Isles (2019)
Radical Origins: Abolition, Suffrage, and the Civil War: The Civil War culminated in landmark constitutional amendments that brought about sweeping social change, like the abolishment of slavery, birthright citizenship, and voting rights for African American men. The Reconstruction amendments were also the first to mention gender in the Constitution. This panel discusses the complicated history of abolition and suffrage in the 19th century and how the outcome of the Civil War transformed the path toward women's suffrage.
Martha S. Jones, Johns Hopkins University and author of Birthright Citizens: A History of Race and Rights in Antebellum America (2018)
Manisha Sinha, University of Connecticut and author of The Slave's Cause: A History of Abolition (2016)
Lisa Tetrault, Carnegie Mellon University and author of The Myth of Seneca Falls: Memory and the Women's Suffrage Movement, 1848-1898 (2014)
Stephanie McCurry, Columbia University and author of Women's War: Fighting and Surviving the American Civil War (2019)
Suffrage and Citizenship: The Road to the 19th Amendment: The 19th Amendment represented decades of suffragists' efforts to expand democracy and extend one of the most essential tenets of citizenship to women. Its ratification in 1920 was one of the largest expansions of the franchise in American history, but there were shortcomings: Many black women in the Jim Crow South experienced voter suppression due to literacy tests and poll taxes, and Native and Asian American women were denied the franchise because of citizenship status. This panel considers the impact and limitations of the 19th Amendment across race, class, gender, and citizenship status.
Brenda J. Child, University of Minnesota, former president of the Native American & Indigenous Studies Association, and author of My Grandfather's Knocking Sticks: Ojibwe Family Life and Labor on the Reservation (2014)
Treva Lindsey, Ohio State University and author of Colored No More: Reinventing Black Womanhood in Washington D.C. (2017)
Lauren Santangelo, Princeton University and New-York Historical Society, and author of Suffrage And The City: New York Women Battle For The Ballot (2019)
Brent Staples, New York Times and 2019 Pulitzer Prize recipient for editorial writing
Linda Greenhouse, Yale Law School and Joseph Goldstein Lecturer in Law, Senior Research Scholar in Law, Knight Distinguished Journalist in Residence and author of Just a Journalist: On the Press, Life, and the Spaces Between (2017)
AFTERNOON KEYNOTE ADDRESS
Brittney Cooper, Rutgers University and author of Eloquent Rage: A Black Feminist Discovers Her Superpower (2018)
Full Freedom for Women? The 1960s and Beyond: As one of the many radical movements that gripped the 1960s, women's liberation sought to fulfill the promise of the 19th Amendment and secure the full political, legal, and social equality of women. In practice, the category of "women" was crosscut by race, class, sexuality, and national origin, resulting in different and sometimes competing definitions of equality. This panel explores how diverse groups of women furthered the expansion of citizenship from the 1960s to the end of the century and how they contended with the limits they faced.
Keisha N. Blain, University of Pittsburgh and author of Set the World on Fire: Black Nationalist Women and the Global Struggle for Freedom (2018)
Blanche Wiesen Cook, John Jay College and the Graduate Center, CUNY and author of the three-volume biography of Eleanor Roosevelt (1992-2016)
Premilla Nadasen, Barnard College and author of Household Workers Unite: The Untold Story of African American Women Who Built a Movement (2015)
Vicki Ruiz, University of California, Irvine and author of From Out of the Shadows: Mexican Women in Twentieth-Century America (10th anniversary edition, 2008)
Rebecca Traister, New York magazine and author of Good and Mad: The Revolutionary Power of Women's Anger (2018)
Marching Forward: Reflections on the Past, Present, and Future: "The Future is Female" has become a popular slogan for the feminist movement of the 21st century, appearing on T-shirts, protest signs, and internet banners. This aspirational future, free of gender oppression, will be built upon two centuries of women's organizing for suffrage and legal equality. This panel evaluates the most pressing feminist issues of our time in light of the historical legacies of women's collective action. Drawing lessons from the past to illuminate the path forward, panelists discuss contemporary struggles against gender violence, immigration restriction, labor abuses, and more.
Fatima Goss Graves, president and CEO, National Women's Law Center
Kate Clarke Lemay, historian at the National Portrait Gallery, Smithsonian Institution and curator and author of Votes for Women: A Portrait Of Persistence (2019)
Mae Ngai, Columbia University and author of The Lucky Ones: One Family and the Extraordinary Invention of Chinese America (2010)
Irin Carmon, New York magazine and CNN contributor and co-author of Notorious RBG: The Life and Times of Ruth Bader Ginsburg (2015)
2019 CONFERENCE: Ninety-Nine Years Since Prohibition
On Sunday, March 3, 2019, the Center for Women's History at New-York Historical Society presented the 4th annual Diane and Adam E. Max Conference on Women's History, the cornerstone of the Center's suite of public and scholarly programs. The 2019 conference focused on the history of Prohibition, 100 years after the ratification of the 18th Amendment, which banned the sale and consumption of alcohol in the United States.
Prohibition began on January 20, 1920. For some women and men, this represented the culmination of decades of struggle for temperance, a movement that promised to protect women and families from alcoholism. Many others challenged the new laws, particularly in New York City, where the patrons of speakeasies and ballrooms not only ignored prohibition, but transgressed boundaries of gender, race, and sexuality as well. The "roaring twenties" also witnessed the dramatic growth of law enforcement, as efforts to control the consumption of alcohol led to new kinds of urban policing which themselves generated new forms of inequality. One thing was for certain; by the time Prohibition was repealed in 1933, it had transformed the nation.
>> Watch sessions from the 2019 conference below or on our Facebook page.
Valerie Paley, Senior Vice President, Chief Historian, Director of the Center for Women's History, New-York Historical Society.
MORNING KEYNOTE ADDRESS
Lisa McGirr, Harvard University, author of The War on Alcohol: Prohibition and the Rise of the American State
Women and the American Story: A Women's History Curriculum Guide for Grades 6-12
Mia Nagawiecki, Vice President for Education, New-York Historical Society
Women Have Always Worked: A Massive Open Online Course in Women's History
Alice Kessler-Harris, R. Gordon Hoxie Professor Emerita of American History, Columbia University and Chair of the Scholarly Advisory Board of the Center for Women's History, N-YHS
Women, Temperance and Reform: The temperance movement was a key site for women's political action in the era before suffrage. Temperance activists linked their efforts to broader reform projects, but also to racial and ethnic stereotypes. This panel will explore the many forms that women's temperance activism took, both before and during the era of Prohibition.
Richard Chused, New York School of Law, co-author of Gendered Law in American History
Crystal Feimster, Yale University, author of Southern Horrors: Women and the Politics of Rape and Lynching
Lori Ginzberg, Penn State University, author of Women and the Work of Benevolence: Morality, Politics, and Class in the Nineteenth-Century United States
Julie C. Suk, Professor of Sociology and Dean for Master's Programs at The Graduate Center, CUNY
Moderator: Alice Kessler-Harris, Columbia University and New-York Historical Society
Rewriting the Rules: Prohibition did not end the consumption of alcohol in the United States. By forcing drinkers into hiding, however, the law created new, illicit spaces in which women and men made their livings while practicing new forms of countercultural expression. This panel examines Prohibition at the grassroots, as experienced by immigrants, people of color, and gay and lesbian New Yorkers.
Marni Davis, Georgia State University, author of Jews and Booze: Becoming American in the Age of Prohibition
LaShawn Harris, Michigan State University, author of Sex Workers, Psychics and Numbers Runners: Black Women in New York City's Underground Economy
Daniel Hurewitz, Hunter College, CUNY, author of Stepping Out: Nine Walks Through New York City's Gay and Lesbian Past
Moderator: Nancy Mirabal, University of Maryland, College Park, author of Suspect Freedoms: The Racial and Sexual Politics of Cubanidad in New York City, 1823-1957
Senator Liz Krueger, Chair of the Senate Finance Committee, New York State Senate
Enforcing the Law: The effort to enforce prohibition generated new kinds of policing and surveillance and new forms of vigilante justice. This panel will consider the emergence of these new forms of law enforcement, and their relationship to mass incarceration and policing in our own time. Panelists will discuss law, politics, and organizing today.
Cheryl Hicks, University of Delaware, author of Talk with You Like a Woman: African American Women, Justice, and Reform in New York, 1890-1935
Linda Gordon, NYU, author of The Second Coming of the KKK: The Ku Klux Klan of the 1920s and the American Political Tradition
Andrea J. Ritchie, attorney and activist, author of Invisible No More: Police Violence Against Black Women and Women of Color
Moderator: Irin Carmon, Journalist, Washington Post, MSNBC, and author of The Notorious RBG
Last Call: Reflections on the History of Prohibition: Lisa McGirr and Daniel Okrent will reflect on the day's presentations in the context of their own work, considering how the study of Prohibition informs our understanding of women's history and American history writ large.
Daniel Okrent, author of Last Call: The Rise and Fall of Prohibition
Moderator: Nick Juravich, Andrew W. Mellon Foundation Postdoctoral Fellow in Women's History, New-York Historical Society
Valerie Paley, Senior Vice President, Senior Chief Historian and Director, Center for Women's History, New-York Historical Society
2018 CONFERENCE: Sex and the Constitution
Leading scholars of history and law explore the ways in which the U.S. Constitution has defined, protected, and regulated the rights and freedoms of sexuality, marriage, and reproduction throughout our nation's history. Speakers look at key Supreme Court cases, as well as the political, social, and cultural contexts in which they were decided. They also consider how American women have worked to guarantee and expand these rights and freedoms, both inside and outside of the courtroom, and what the future of law and organizing holds.
Geoffrey Stone, Edward H. Levi Distinguished Service Professor of Law, University of Chicago, author of Sex and the Constitution, 2017
Governing Bodies: Sex in the Constitution
As Geoffrey Stone writes in Sex and the Constitution (2017), the founding document itself says nothing about sexual behavior or orientation. How, then, have jurists interpreted the U.S. Constitution to shape the legal landscape of rights, protections, and regulations that govern sex in the United States?
Akhil Reed Amar, Sterling Professor of Law, Yale Law School
Nadine Strossen, John Marshall Harlan II Professor of Law, New York Law School; Former President, American Civil Liberties Union (1991-2008)
Moderator: Robert C. Post, Sterling Professor of Law, Yale Law School
Changing Precedents
The Law and Sex throughout History: Constitutional law governing sex has evolved considerably since the American founding. Panelists will discuss how women and men have organized throughout history to define and guarantee new rights and freedoms under the Constitution, inside and outside the courtroom.
Nancy Cott, Jonathan Trumbull Professor of American History, Harvard University
Estelle Freedman, Edgar E. Robinson Professor in U.S. History, Stanford University
Deborah Gray White, Board of Governors Distinguished Professor of History, Rutgers University
Moderator: Reva Siegel, Nicholas deB. Katzenbach Professor of Law, Yale Law School
Sex and Equality in the Age of Trump
In the epilogue to Sex and the Constitution (2017), Geoffrey Stone writes, "our nation has taken an important step in our protection of human dignity and equality." The 2016 election complicated this progress, even while it has also sparked new activism, journalism, and resistance. Panelists will discuss law, politics, and organizing today.
Virginia Espino, Oral historian and lecturer, University of California at Los Angeles;
Filmmaker, "No Más Bebés"
Katherine Franke, Isidor and Seville Sulzbacher Professor of Law, Columbia Law School
Moderator: Irin Carmon, Journalist (Washington Post, MSNBC) and Author (The Notorious RBG, 2015)
Reflecting on "Sex and the Constitution"
Geoffrey Stone, Edward H. Levi Distinguished Service Professor of Law, University of Chicago
Amy Adler, Emily Kempin Professor of Law, New York University
Major funding for the programs of the Center for Women's History has been provided by Joyce B. Cowin, Diane and Adam E. Max, The Andrew W. Mellon Foundation, Jean Margo Reid, The Estate of Jean Dubinsky Appleton, Eric J. & Daria L. Wallach, Diana and Joseph DiMenna, Deutsche Bank, Claudine and Fred Bacher, James Basker and Angela Vallot, The Robert David Lion Gardiner Foundation, Hogan Lovells, and The Caroline M. Lowndes Foundation.
Image: Joseph Golinken, Speakeasy, 1920s. Lithograph. New-York Historical Society Library.
2018-2019 Early Career Workshop biographies and abstracts
2017 CONFERENCE: Reproductive Rights in Historical Context
The second annual Diane and Adam E. Max Conference on Women's History focused on the history of reproductive justice, including the fluctuating legal and cultural status of contraception throughout American history, the evolution of obstetrics and gynecological medicine, and the role of race and class in the birth control movement.
2016 CONFERENCE: Sweat Equity: Women in the Garment Industry
The first annual Diane and Adam E. Max Conference on Women's History explored the garment industry and its historical impact on women, and was organized in memory of Jean Dubinsky Appleton, daughter of veteran labor organizer David Dubinsky.

redpajama_set_name: RedPajamaCommonCrawl


The Constance Chandelier is inspired by early glamours 19th Century European regency crystal chandeliers. Its individual shaped rectangular crystals, faceted trim, and sculpted bobeches come together to create a beautiful sparkling centerpieces. Clear hand polished crystal and plated Antique Quartz crystals combine to make this Chandelier truly unique Statement lighting feature that would work well in a living room , hallway or bedroom of your interior .
Lamp | Bulbs (6) Candelabra B Torpedo 60w Max.


Jeremy Corbyn has backed calls for the Scottish Labour party to vote against the renewal of Trident this weekend despite warnings it could widen an already deep rift within the party.
The Labour leader told the Guardian that a vote against the nuclear deterrent at the party's Scottish conference on Sunday would greatly strengthen his attempts to change Labour policy at Westminster after the issue failed to get debated at the party's UK conference earlier this month.
Speaking before his first address to Scottish Labour as party leader, Corbyn said: "I think it might be an encouragement to many people in the rest of the UK to listen very carefully to what's being said at the Scottish conference. There are similar debates going on all across the party in Britain.
In his conference speech, Corbyn will attempt to rebuild Labour's ailing support in Scotland and emphasise its shift to the left by insisting that only his party is truly socialist. He will accuse the Scottish National party of failing poor school pupils and college students.
"If you want socialist change, if you want a leftwing alternative, you have to vote for it," Corbyn is expected to say, describing Labour as "a socialist party in both our words and our deeds".
The future of Trident has already emerged as the most contentious question facing the party's conference in Perth, with rival blocs within Labour vying to influence a vote on whether issue of the nuclear weapons system the will be included in the conference's final agenda.
With a majority of Labour MPs in favour of renewing Trident, Scottish Labour's leadership is split on the issue: leader Kezia Dugdale supports the deterrent while Ian Murray, Labour's shadow Scottish secretary, is for unilateral disarmament.
Delegates are scheduled to decide on Friday whether a motion on Trident will be selected for debate on Sunday alongside other topics. Delegates to the UK party conference dropped a Trident resolution, avoiding a potentially embarrassing public dispute, in favour of votes on austerity, the refugee crisis and mental health.
Earlier this week, the GMB union wrote to party members warning that cancelling the weapons systel would threaten thousands of Scottish defence jobs, including those directly dependent on the Trident submarine base at Faslane, west of Glasgow.
On the eve of conference, Neil Findlay, the defeated Scottish leadership contender and Corbyn's closest ally in the Scottish parliament, issued a statement backing the proposed anti-Trident motion. Scottish members of the Unite are also said to favour scrapping Trident, despite support for renewing the system from the union's general secretary, Len McCluskey.
Although Scottish voters remain broadly in favour of Trident, the SNP and pro-independence movement have succeeded in pushing nuclear weapons far higher up the agenda of the younger centre-left voters Labour needs to recapture in Scotland.
Corbyn will address the party with Labour still deeply unpopular among Scottish voters and no evidence so far that his election as UK leader has boosted support before Holyrood elections this May – his first significant electoral test.
Recent opinion polls show Labour is at 22% while the SNP under Nicola Sturgeon's leadership are on course to win a second successive landslide with more than 50% of the vote. One recent YouGov poll for the Times put the Tories only two points behind Labour, suggesting the Conservatives could became Scotland's second largest party.
In another issue dividing the labour movement in Scotland, Corbyn plans to oppose proposals from the Scottish TUC and the SNP that Holyrood takes control of trade union legislation after the UK government began pushing restrictions on strike ballots and union funding in legislation through Westminster.
The STUC leader, Grahame Smith, will tell delegates in Perth that devolving trade union legislation will protect Scottish workers' rights. Corbyn said he believed that breaking up UK-wide employment law would weaken those rights.


In 1843, Alexander Bain, a Scottish mechanic invented the first fax machine. Fax, facsimile, telecopy, telefax, or telefacsimile call it whatever you want to but it will still be an outdated scanned print of the document, which is no longer compatible with the latest business communication technology.
Earlier business communication was done through faxes. The business sent faxes of important documents and the higher officials signed it as approval and faxed it back, then the receiver scanned it if there were any changes.
But then technology changed this scenario. People started using wireless transmissions. Then came the analog and digital fax machines.
The first digital fax machine was developed by Dacom, which was created on digital data compression technology. Xerox advanced to improve the fax machine for years following their groundbreaking first machine. In succeeding years, it would be consolidated with copier devices to create the hybrid machines we have today that copy, scan, and fax.
Since the 1980s, maximum machines change the transmitted audio frequencies by adopting a digital copy of the page, which is compressed to instantly transmit fields, which are all-white or all-black. It was then comfortable to use and could connect to a telephone line. The fax machine we have identified until today was officially born.
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The fax machine developed from a document transmitter to a copier and then a scanner as well. In a pre-internet age, fax machines were revolutionary. The electric flows involved with electronic printing were captivating. Sending letter-sized files among cities like New York, London or Berlin could only take moments. What a remarkable time for the 20th century!
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Here is a little song to comfort you.
Sing it to yourself softly, simply, just as you are.
His scent still rose off my skin.
sheaves, all their cadent, radiant content.
I his rapture, I his pain. He mine.
the shadows of the bridge, its countermelody.
or the dark corridor of the keyboard.
"Lieder" originally appeared in The Iowa Review Volume 43, Issue 1 (Spring 2013).


This year's Pennsic is approaching the end and I should be writing more on the short story I started tomorrow, but my brain is tired. Instead, I thought I'd go ahead and write my AAR.
Ever since Gulf Wars in March I have been almost continuously on the road between conventions and our move. It has been a wonderful time, and wonderful for my future given that I have (generally) met all my writing deadlines, made new customers, plotted new plots, and ended up in my wonderful house with my wonderful sweetie.
I am so happy to be at this point. I am also beat.
Nevertheless, this has been one of the best Pennsics I've had in many years.
The main reason is that my sweetie joined me. Not only was it fun to have her around, she did the vast majority of the camp chores and cooking so that I could focus on work. I ate better than I have in years and yet had less work than ever. Also, my apprentice was able to come. It was, basically, the first time my SCA household was together at a major event.
From the work side of things I would grade this a solid B+/A-. I was a little cramped for space in the trim shop, but even so this was my best-selling Pennsic. I went well past my basic sales goal, thanks to a very good Friday.
I have proof of concept that selling Ren Faire, Celtic, Traditional, and SCA CDs can make money. I'm ending up with about half the number of CDs that I brought, even though I bought 9 more from a couple of performers here on site, Emer nic Aiden of Ealdormere and Finnech inghain Labhrainn from Atlantia. I've got more artists coming, as well.
We are looking at ways to expand my portion of the trim shop so that my growing stock will be better displayed. I also have a number of fun ideas to increase traffic. There's a lot of moving vectors, so it's hard to say exactly how things will be arranged next Pennsic, but I am clearly leveling up.
Again, I have to thank Master Andrixos for giving me the opportunity to sell with him. I wouldn't have had a chance to get off the ground without his help. He's also been looking at ways to facilitate that leveling up. We've made a pretty good team so far and I look forward to continuing that partnership.
In other news, I did my first live interview as opposed to the form I send out. You can find my interview with Vincenzo here: http://robhowell.org/blog/?p=1283. I think that went very well, so I will start planning on more face to face interviews at future events.
From a writing perspective, I finished a short story and sent it to an editor. I don't know yet if it was accepted, but it's always good to get things sent out. I also made good progress on a couple of other short stories.
I had more energy than in past years, mostly because I had help. That meant I was able to do more bardic than in past years, which was nice.
Tonight we will empty the shop and do the pre-packing. Tomorrow, we'll finish packing and get on the road as early as possible. We'll get as far as we can before getting a hotel and finish the drive on Sunday.
With that, I'll start doing my prepacking in the shop. Catch you all when I get home.


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The Badshahnama is the "book of kings", a splendidly illustrated text that tells of the historic Moghul period (XVII cent.) in ancient Persia, an instrument of propaganda but also an important document regarding a past era. The point of departure for Pakistani artist Imran Channa, is that of selecting portions of this historical work and re-contextualising them to give them new meaning. Through the enlargement of fragments of the text and thanks to shifting or eradicating certain elements while inserting new elements, a new narrative is created. Channa becomes the destroyer of something that existed before him and, at the same time, the creator of something new, creating a dialogue between past and present. A similar reflection on the rapport between art and history can be found in the work of Iranian artist Samira Abbassy, on display at the same time at the XVA Gallery in Dubai. Her approach is different however as Abbassy interprets the theme of crossing water, departing from a dramatic sense of urgency in the present - the flight of Syrian refugees from the war. During the creative process, using a sort of reverse-procedure, Abbassy explores an archetypical dimension of the journey across the water, which also represents a dive into the subconscious.


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text:
November 2008, Interview with Alice Aycock
Alice Aycock, Project Entitled "Studies for a Town", 1977, Wood, 3' to 10' high, diameter varies from 11' to 12 1/2',
Collection of Museum of Modern Art, NYC. Photo Museum of Modern Art, courtesy the artist and Museum of Modern Art, NYC
Tom Butter interviews Alice Aycock
I visited the artist Alice Aycock in her spacious top-floor loft in SoHo last month. She first showed me the studio in the rear of the space, where pictures of current public projects are mounted on the wall and many other pieces are stored. Recently she has been building one public piece after the next: last year alone, she completed Strange Attractor for Kansas City, Ghost Ballet for East Bank Machineworks (in Nashville, Tennessee), The Uncertainty of Ground State Fluctuations (in Clayton, Missouri), and A Little Cosmic Rhythm (at 654 Madison Avenue, New York City). She showed me pictures and models (or both) of these works.
Then we sat down in the bright, open living space and talked at length about her ideas, work, and her ongoing illustrious career. Her black dog, Maggie, kept us company lying down and stretching in front of us.
Tom Butter: Your piece- Project Entitled "Studies for a Town", 1977 is included in an exhibition at MOMA-"Here is Every. Four Decades of Contemporary Art" which opened in September. (up through March 23, '09) It is given pride of place in that show, and somehow sets the mood for the rest of the exhibition. What did you think, seeing it now?
Alice Aycock: Project Entitled "Studies for a Town" was done over 30 years ago, and it has always been one of my favorite pieces. I went to India in January to see specifically two observatories- one was in Delhi, one was in Jaipur, and the "Studies for a Town" piece was influenced by one of these observatories…Back in the '70's when I started to do research in architecture and archeology, I had seen pictures of this observatory. It has been a reference that I have never really completely exhausted. Just coincidently I decided in January of this year to finally go see the building I had thought about for 30 years. A lot of the references that I use I kind of exhaust in a way- I sort of sweep them up and allow myself to be influenced and then kind of throw them away like debris. I have always been drawn to particularly this one building. It was built in the 18th century. The design was taken from astronomical instruments developed in the West. These are large-scale architectural complexes that had to work scientifically; they had to be very precise. Science in the service of magic, so to speak. But the architecture is just extraordinary- it is all about the sky, it's not at all about being on the earth. They are these bowls carved into the earth with interior slots and spaces. One of these Indian observatories was sliced through so you have a bird's eye view as well as the three dimensionality. You can climb the stairs (unlike "Studies for a Town" ). In any case I had no idea that my piece would be resurrected out of the storage basement at MOMA this fall, so it was a wonderful coincidence to see the actual building and then have my piece "re-appear". It is really a piece of architectural sculpture. I was making a case for sculpture that could be architecture and could be experienced in a physical way, but solely for the purposes of having an aesthetic experience, not a functional one.
TB: When it was first shown it was in a very small room, right?
AA: Yeah it almost burst out of that room. It has been shown subsequently- the last time was 1991. All these other times, it was in a larger space, sometimes oriented at more of an angle than currently. But in my mind it was the piece, not just the space it was located in.
TB: Right. It does manage to set a tone for the exhibition, which I found very moving.
AA: I have said how important the early Nauman corridor pieces were to me. I like to acknowledge my sources. For me art is a conversation that artists have with other artists. There is such a thing as historical perspective. There are influences. And the discourse where one artist does something, and then another artist picks up on it, and extends it, was very important, and is still important. Being at MOMA in the context of Yvonne Rainer, and Vito (Acconci) who is close by, is very important to me. Having it end with Matthew Barney's piece, which I thought was really wonderful, made me very happy as well. He was someone I knew when I was teaching at Yale- he was a student there. It made it a great journey through the collection, and a re-thinking of the collection. I am very pleased.
Alice Aycock, Stairs (These Stairs Can Be Climbed), 1974. Wood, 13'14"l x 9'8"w x 16'h, ratio of tread to riser, 8" riser to 8 1/2", is approximately a 43 degree slope, 1974, refurbished in 2008 at Sculpture Center, NYC. Collection of the artist. Photo Sculpture Center, courtesy the artist and Sculpture Center
TB: Your work- Stairs (These Stairs Can Be Climbed), 1974, was also recently included in "Decoys, Complexes, and Triggers: Feminism and Land Art in the 1970s" at Sculpture Center, NYC, and an installation Sand/ Fans, 1971 was part of "Sand: Memory, Meaning, and Metaphor" at the Parrish Art Museum. What do you make of this deserved interest?
AA: I hope these pieces are written about again in terms of the kind of discourse they were involved with. All right, so you are going to open up Minimal art. If Minimal art related to the body, and sculpture was off the pedestal human in the room, then my work extended that discourse into architectural space. I wanted to include all the emotional and psychological responses the viewer had. It's not just a formal conversation. As I have said in the past, it's also a conversation about the necessary structure (the way the work is set up in the situation), and the contingent event (the interaction of the viewer with the work). The work then elicits a physical and a psychological response. I hope that the showing of these works will re-establish that kind of conversation and show that there is a precedent for some of the work being done today. In the case of works done by me, and other artists, such as Mary Miss, I like to think that we opened up architecture as a place to go. We introduced the notion of the house as a reference.
TB: In NYC, there's something about things being real, or actual, that probably starts with Pollock, I don't know, but I know that Judd loved Pollock, he thought about him a lot, and the idea of (determining) what's real seems to be one of the strands you looked at then.
AA: Yeah. There was a lot of discussion about experiential, phenomenological art, as opposed to what was then called "virtual", the virtual space. Now we are back into a virtual space, but one that could only have been fantasized about. I don't think anyone could have imagined the power of the virtual back in the '60's and '70's when we were working. In one way I think art made at that time was the last gasp of the experiential. The way most people experience "life" now is with an enormous amount of the virtual, especially if they live in NYC where the media has become dominant. This is going off on a tangent, but today you just don't think about the sun and the moon and the stars. The sensory experience that was being elevated in the '60's and 70's is now subservient to the virtual in every way, shape, and form…. whether it is the experience of the landscape or of the body. I look at that time now as containing a very romantic ideal that privileged the sensory.
TB: By experiential you mean-"minute by minute"?
AA: Yeah but also I think there was more of a sense of history than there is now. Now I think we really live "minute-to-minute" in the virtual, but not experientially. I also know that now I design almost completely on the computer. I still need to be "in the world" (I go to the country precisely for that purpose)- I garden to have what's missing when I'm in the city in the rest of my life. But I design using the virtual world, employing the marvelous qualities of it as well.
Alice Aycock, Strange Attractor for Kansas City, Kansas City International Airport Long Term Parking Facility, Kansas City, Missouri, 2007. Aluminum, neon, and halogen lights; 42' high (neon) x 35' long x 20' wide (horns). Photo: Mike Sinclair, courtesy the artist
TB: How about your recent public work- would you want to categorize these works either way, in terms of this polarity?
AA: The irony is that I think most people saw my early work basically through photography. They never experienced it. When I photographed those pieces I shot them thinking of how the viewer would move through them. It really was a mediated experience because they saw it in the photographs. Conceptual art and land art was mostly experienced through photography as well. Most people didn't see the Lightning Fields (Walter De Maria) or the Spiral Jetty. So, there's that irony right there, but at least it was in the land, it wasn't just a design on the computer, a complete fantasy. The irony is that Studies for a Town will be seen by more people, given the crowds at MOMA, than will ever see my work of the last 15 years, which is scattered all over America. People will see this work only as a series of photographs for the most part.
But I do think there is a difference between imagining it, and doing it. Part of the difference is that there is a lot of creativity that goes into imagining it, and there is a lot of pain (laughter) that goes into making it happen. (laughs again) But then the experience of it really standing there is different than the virtual world. That experience is still important to me, but I have also, even from the very beginning, been aware of the fact that a lot of the work I loved – (I was poring over architectural history.) In order to really understand Greek architecture you have to look at reconstructions. It is not really there - it's just ruins. A lot of the architects I really liked, such as Boullee, never really built anything. They made drawings and imagined things. I'm not saying I like one more than the other, but I do love the fantasy of creating things that may never get built. Boullee influenced an enormous amount of architecture built later. If you go down to the Municipal Building in lower Manhattan, you can just see the influence of Boullee: these huge vaulted arches and super human openings, that are so much larger than life. I'm always torn between what one can imagine, but not get built, and what one can actually do. When you are frustrated because you don't have the money or the support system to build something, your imagination is still there: you can still think it up, you can still draw it.
TB: But you are building really large pieces now- is that satisfying?
AA: Yeah, but there are lots of things I haven't been able to do that I really want to do, and I'm frustrated, really frustrated because I have got all these new ideas, and if I had more support, I could really blow everybody out of the water! (laughter).
TB: I'm not doubting you!
AA: In one way I'm back and forth with liking to dream stuff up, and then getting tired of that and wanting to build things. There is also something which is weird, and self-defeating, but I do think a lot about: the world is full of things, and we have during my lifetime filled up the American landscape. We have fucked it up, with just crap. There is this notion of- "Why contribute to that?" Is one more thing going to make the difference? What has so overtaken America are the shopping malls that are just giant warehouses and the highways and the asphalt parking lots and the mindless land use, which doesn't make a place for people. The America that I dreamed those early pieces into is a very different America. It's different from the place Robert Smithson and De Maria dreamt up and thought about. It is a whole other place…
Alice Aycock, Ghost Ballet for the East Bank Machineworks, Nashville, Tennessee, 2005-7. painted steel and aluminum, neon, thermoformed acrylic shapes; approximately 84' long x 110' high x 62' deep. Photo: Gary Layda, courtesy the artist
TB: There is that disillusionment that began with Conceptual Art, I mean Huebler made that statement about objects and how there are enough of them, but as artists, we have to believe in these things, up to a point, don't we? Don't we have faith in these things as being transcendent, valuable, or having some level of truth in them?
AA: We do, but that is what I mean about these visionary things that aren't built, but just suggest possibilities, being just as important maybe as the things one does get built. I haven't taken that on, in the way I might- I mean the vast wasteland that has become America.
TB: I guess Smithson was working on that near the end of his life, right?
AA: Yeah he was- he got it all. He was a boy tromping through the countryside of New Jersey, and then Jersey became just one big dump yard, but he was still there thinking about the dinosaurs, and then in the end there was this wonderful perversity to his islands of glass- saying: "I'll go with the garbage too." Just sort of turning it on itself…There's this incredible denial that America has about itself, that it is still "fields of waving grain", America the beautiful, that kind of stuff. But who knows? I have been saying, "People don't change until they are forced to change." As much as it may hurt all of us tremendously when the financial system topples, it could be a reason why things will change. People will be just brought to their knees. Who knows what the impact will be. But we are making these things, and we are part of this system. I did my Master's thesis on the highway system – the view from the road. Then I built the labyrinth or the maze as a sort of a small-scale highway system- one you could get lost in…
TB: Outdoors, right?
AA: Yeah, and the highway system and the car has become a cancerous growth. At first it was freedom and now it has become this monster that has taken over. I ruminate on these things because all this time has passed- the Maze was done in 1972. In Studies for a Town I was thinking in a playful way: "OK, if I could create a town, what would it be like?" And this would be the beginning of it. It is part ruin. I had been to Rome; I had seen people living in the ruins. Things get taken over, layer upon layer. Then I began to think about how could you generate a town, but it would not function; it would be a play town. I did a bunch of drawings for several different cities. They were almost something a child would cook up. I was trying to think about how to create the genesis of a place, instead of imposing something? Most towns grew organically (for example by a river), as opposed to just- "OK let's put the tract housing here, let's run the road, and let's put the shopping center there." Now it has become so overwhelming. Artists are a commodity to be bartered for and won as trophies, or they are postage stamps to be put on some public works project…People like Smithson, and others were thinking about all these things, it was running through their heads- "How can we participate in this grand design process, which is America and the environment." It has come to a grinding halt! Just think about what was going on when Smithson was working- you had the environmental movement and the hippies…all the idealism of the time. Studies for a Town conjures all that for me, and also who I was then- a young artist, who was hot. You go up the hill, and then you go down the hill. Thirty years later you are…(laughs)
Alice Aycock, The Uncertainty of Ground State Fluctuations, Clayton, Missouri, 2007. Structural and spun aluminum, fiberglass,
thermo-formed acrylic, approximately H 19' x W 20' x D 20'. Photo: Richard Sprengler, courtesy the artist
TB: Your work was, in part, forming its time; your work was influencing everyone.
AA: And then how one hangs on…I didn't have the good fortune to die young like Gordon (Matta-Clark) and Bob Smithson. (more laughter). I, of course, say that sarcastically.
TB: Maybe you stuck around to see what was going to happen! (more laughter)
AA: Getting back to your questions about the early work - Sand/ Fans came before everything. Later, I moved through this whole mechanical period, when I was using industrial architecture and machines and movement. In Sand/ Fans I had these big industrial fans blowing sand, and I was talking about a sort of transience- the edges of things were fluid; there was an ephemeral quality.
TB: It was pure process.
AA: Yeah. I like to see the fans as an early indicator of these big machines that I made later…I really loved those fan blades, and I still do. I still love propellers; I love the whirlwind image, which is like a hurricane or a big turbine. That image is still very important to me- kind of terrifying, and powerful and seductive. I see the fans as the beginning of that. I also think a lot about how you could make art out of something that is just dust-it's thin air. After you have made all these big solid things, you just blow it apart, just say- "It's nothing but dust." I started out like that, and maybe I'll end up like that. It still fascinates me to think about generating pieces that are just thin air.
Alice Aycock, A Little Cosmic Rhythm, 654 Madison Avenue, New York, NY, 2007.
Neon, fiber optics, aluminum, 6' x 7'4". courtesy the artist
TB: In 2005 MIT Press published a beautiful and extremely thorough monograph on you and your work by Robert Hobbs. How does it feel to have your work and yourself described and analyzed with such depth and intensity?
AA: He did work a long time on the book- a long time. He and I are very close in age- a couple of weeks apart- which is nice because we went through similar things. He is a big fan of Robert Smithson. We pushed ideas around for about 7 or 8 years. He was working on other things, he would come back, we would have discussions, I would show him stuff, he would write things. I think he was trying to find a way through the material, that didn't seem always consistent, because I would change…I even changed a lot during the time we worked together- over the 8 years. So I think some of it was trying to figure out what the story was…
TB: So you were really collaborating with him.
AA: Yeah. I think it was collaborative in the sense that while Robert had his own point of view, which he wouldn't change to suit me, I think he was interested in getting it right to the degree that I said- "We have got to be factually correct, we can't just make things up, because this is going to be the book everybody will read. We have to make sure that if we say- "this happened", it did!" On the other had, I didn't say- "No, you can't say this because I disagree." If starting from a set of facts, this was the conclusion he reached, that's his conclusion. There is certainly a lot of room for different conclusions, but I'm not going to tell someone- "You can't say that."- as long as we are factually correct. I tend to tell different stories. You get me on one day I'll tell it one way, you get me on another day, I'll tell it another (laughter). But I like stories. One day I am all about dust, and the next I'm out there (thinking)- "I want to build another big piece". I change depending on how I'm feeling. I would say the only place where we had a difference- we didn't exactly disagree but he wanted to talk a lot about feminism. I think there is absolutely (pause, sighs) a bias, there was and still is, a bias in favor of men. I just did not want to dwell on it. I am an artist first, and I'm to the best of my ability going to think myself out of my context. I'm sure the work I did was in part because I'm a woman, but I was exposed to all kinds of things, and my mind will not be contained by my gender. It just won't.
TB: That's a really interesting phrase- "think myself out of my context".
AA: Yeah, I was raised, for better or worse- I like to say- here goes one of my mythic stories: I would sit at the dinner table with my father, and unless you told him something he didn't already know, or you made an argument that he considered to be curious and interesting, he wasn't really going to talk to you. He was going to eat his dinner, because that was what he wanted to do. So you had to engage him intellectually…not because you were pretty or because you had a horrible thing happen to you at school that day, because he wasn't interested in that. He was interested in what kind of intellectual or political argument you could make. I was raised by some pretty tough standards.
TB: What about your mother? Was she also required to do that- engage him intellectually?
AA: No, she was not. My mother, luckily for me, and I am sure there were a lot of women of my generation raised the same way, my mother did not want me to get married. I was not raised to be somebody's wife. My mother was not an intellectual, she had hardly ever been in a museum, and she did not read books like my father. If anything I think it used to make her angry. But she did work for a living before she married late in life.
Photo of Alice Aycock
TB: What did she do?
AA: She worked for Parsons/Brinkerhoff, an engineering firm. In the end, when I look back, both sides of my family were involved in architectural settings…she was just a secretary, but she was in that world. My father was definitely in that world. He had a construction company, which he started the year I was born. It was small, and it grew to be big. I grew up in that- I didn't grow up dirty and greasy working out in the yard with the ironworkers (laughs). I didn't. But they were all there, I saw people building stuff, big stuff, using big cranes, making bridges, all kinds of things, and that was just my environment. None of that was strange to me…it wasn't a leap; it was normal, if anything could be.
TB: But you weren't being raised to be a wife.
AA: I wasn't being raised to be a wife, but I did do that and it was a very supportive situation and I was very lucky in many ways.
TB: Which was unusual.
AA: I also had a grandmother who had been the intellectual center of the family, on my father's side. I looked at this woman- she was always reading, she was painting, she was writing, she was a mathematics teacher. She was all these things. So I had very strong role models which made it seem normal to me. If my grandmother was a math teacher who taught all the boys in the family, why should I have to do stuff that just girls do? Not that I don't like stuff that girls do! So that's where Robert and I had constant discussion. He wanted to talk about what kind of feminist I was. I didn't want to talk about that. Not that I don't know how hard it is. But if that had been what I thought about, I would never have done anything. So you don't think about that…
Alice Aycock, Sand Fans
TB: You just do things…
AA: You just do things because that what needs to get done. How incredible it is, now, young women go to school, and they have female role models. That's made an enormous difference, I know that. There's this knowledge pool out there that we can all take part in. It's really about how we all get through this together. Now that science has allowed us not to be at the mercy of our biological fate. I think Robert felt because of all the feminist criticism that had gone on in recent art history that he really wanted to spend time discussing it. To me it's really more about being a role model for younger women, and that should speak for itself. I hope so. Just like Louise Nevelson was a role-model for me.
TB: And Louise Bourgeois too?
AA: Yeah.
TB: Women started to be treated as equals in rock and roll in the 70's…it started to become the norm to have a woman musician on stage, and not necessarily to be the lead singer...to be a working musician in the band.
Alice Aycock, Maze, 1972. Wood, 32 ' d x 6' h, Gibney Farm near New Kingston, Pennsylvania. Collection of the artist.
Photo: Silver Springs Township Police Department, courtesy the artist
AA: Yeah, a lot of things changed. Of course there's always the pull-back- leave it to the Republicans to always turn it on its…
Alice Aycock, Maze, 1972. Wood, 32 ' d x 6' h, Gibney Farm near New Kingston, Pennsylvania. Collection of the artist. Photo: Silver Springs Township Police Department, courtesy the artist
TB: Yeah well that's a nightmare…(laughter)
AA: The nightmare scenario: "OK, if you want a woman, we'll give you a woman. That's where I say, yes, you have to hold the standards high. OK give me a level playing field, but then everybody has to be good, you can't just get by on whatever you claim is your birthright.
TB: So that answers the question- "What did you ask him (Hobbs) not to do?"
AA: Or, what did we tussle over, what did we discuss over and over.
TB: Right, he doesn't mention it in any kind of big way.
AA: No, he has a chapter, and we kept going over and over and over it.
TB: In his extensive effort to interpret your work, Hobbs returns several times to imagery from a story by the great Argentinean writer Borges titled The Aleph. You mention in an interview in 1990 you would be happy if you could find a tiny rip or tear in the universe such as Borges describes in his story. Will you talk a bit about your desire to find this?
AA: The Aleph has a lot of meanings for me. Whenever I am asked to lecture on my work, I always tell that story. There are a lot of things about the story. It's about Borges comparing himself to Dante. You have all these historical figures who have come before you- how do you live up to them, or beat them at their game? It is also about being young and hot and then not hot anymore, because he gets done in by this other artist/writer. And it's about being in love. I think the reason artists are so unstable in their relationships is that making love and making art are similar: there is this wonderful kind of flow you get between the two. It's about the Muse or the new Muse- being in love with this woman who is his muse, as Dante was in love with Beatrice, and then losing her. About how unrequited love can make great art too (laughs)…all of that. The notion of that "tear" in the universe where he is really confronting the fact, in my mind that he will never be as brilliant as Dante (I'd have to ask Borges for sure, and I can't anymore). Dante did make a quantum leap- he made that "tear" in the universe- that wasn't there before- where there is a new worldview, and you are peeking in. Dante tears the curtain open, and says there is another world. I think Borges was saying to himself- "Am I ever going to be able to do that?" It is not just about the historical "filling in the blanks", but also- "I'm just going somewhere else completely." That finally is the thing about The Aleph that keeps bringing me back. It keeps bringing me back. The story has so many ramifications for me. The notion-"Can you do something that has "liftoff", that doesn't even need all of its historical buttresses?" It is just there and you go "Whoa!" This is a whole other thing. A new paradigm. I also think about this along with the notion of unstable, unrequited love and the way desire and art work together, and have throughout history. That whole myth of the "mad artist". Probably artists are a little "out there". Otherwise they would be accountants. When you just let your imagination go, it takes you all kinds of places. I'm not just talking about visual artists. I mean how can a really good writer construct…how could Dostoyevsky, or Norman Mailer, get inside the mind of a criminal or a murderer- unless they projected themselves into those states of mind? Not just in a superficial way. You have the capacity to project yourself in an imaginative way. You know that. And to cross boundaries, to cross moral boundaries in your imagination in the real free-floating way that Dada and Surrealism can totally make associations that are completely irrational.
Alice Aycock, Waterworks Sculpture Proposal for the Central Broward Regional Park, Broward County, Florida, 2004-8.
Aluminum and acrylic, approximately 20' wide x 34' long x 20' high at highest point., Photo: Grace Kewl, courtesy the artist
TB: Another thread Hobbs follows is the influence on you of statements made by a diagnosed schizophrenic named N.N. His poignant and compelling narratives were collected by Geza Roheim, a worker in a mental institution in Massachusetts in the late 30's. Reading about it in Hobbs book it seems that N.N.'s language is striking in the same way Borges writes…and in the way that your language is equally striking when you apply it to the titles for your work, and the way in which you wrote about it. The power of language impresses…
AA: Duchamp could do that too- he did that with language. The way a word can kind of "flutter"- it is in transition, transformation even, so in one context it means one thing, and then when you begin to unhinge it, it dislocates itself. I was really interested in that for a while. I refer to it as transformational grammar. Maybe I still am. Maybe I am a little more…
TB: grounded, or visual, or…?
AA: Well, I think there's "crazy" and then there's "crazy". You need to know when to pull back. There are lots of crazy people. But very few of them were like "N.N." He was a poet, it was obvious. He may have been at the mercy of his disease, but he was gifted. Unless Roheim changed his words. His dreams and fantasies came from somebody who had tremendous poetic thought. I don't want to over-romanticize it because for every one like N.N. or all the gifted artists who we know, there are many people who are irrevocably crazy- they are not poets, they are not artists, they just suffer. You have to be careful, or you can go over to the other side. And I don't want to do that.
TB: Hobbs has you "consciously (using) poststructuralist theory" in your work. Can you comment on this?
AA: I feel like, although we didn't mean to, we opened this Pandora's box, which has given us what we have now. (laughs) I don't know if I would have…you know I teach, and when I ask my students- "What is this work about?"- I get them saying all the time- "Whatever you want it to be about."
TB: Total relativism.
AA: Right, and I say "No, NO!" That doesn't work! There is a problem there. When I was talking earlier about the way language can sort of "flutter" I wasn't meaning it could flutter everywhere! (laughs). There is an area of meaning, or intentionality, and an artist has to be responsible, in certain degrees, to their intentionality, to what they're doing. We have now unleashed this monster. What this has led to is the "Hallmark Card" quality of art. I actually think Hallmark cards does it better…(smiles)
Alice Aycock, Three-fold Manifestation II, 1987, Three elliptical steel bowl forms, each containing a skewed step formation supported by three vertical steel poles; 32' high x 12' wide x 14' deep. Permanent Collection - Storm King Art Center, Mountainville, New York. Photo: Jerry L. Thompson, courtesy the Artist and Storm King Art Center, NY
TB: Yeah, but Hallmark Cards with irony, right?
AA: Yes but you know damn well the people who are buying it are not buying it because they love the irony, they're buying it because they understand it, it looks good. They can have it and know what they have got. Back in the day, when I was making stuff, my mother went to a museum. She wouldn't know what the hell she was looking at…it was kind of like-"oh, they think this is art?" We were all called elitists- I would have had to give her endless art history lectures for her to understand it. Now she could go to a museum and look at stuff and she would get it immediately. Or to the galleries, and it would be clear. "Oh yeah, I get it."
TB: Except for the irony, that's a big deal, no?
AA: Yeah, but you can pass off anything as ironic, but the point of the matter is that a lot of the people who are buying this stuff are buying it because- "well, it looks like a horse, and it looks like a girl, it looks like whatever, and hey, that looks like art, and I want it." They are not buying it because it is ironic. I am a little concerned about the Pandora's box that we opened and whether it can be closed. It's like that famous statement- "I don't know what pornography is, but I know it when I see it." I don't know what good art is, but I know when I see it, despite all the stuff that is out there that you really have to wade through in order to get the true ironic statement, the one that really does "bite back". I would hate to say- "Let's regulate everything again, but at the same time there's a lot of stuff to wade through in order to get that kernel of true formal interest and also real perversity.
TB: The way a piece of art can hold things in contradiction.
AA: Yeah, and a lot of stuff just doesn't do it, it is just there. There's nothing one can do about it. Nor would I really try. It's our condition. I think opening it up to everybody- once the old boys club died, it's a free-for-all.
TB: So, what starting with Pop Art, or Duchamp, or who?
AA: No I would say starting with the '70's. Before that you could see the irony, the irony in Pop Art, for example. But also America loves Pop Art. Its true affinity was not to abstraction, that's a European thing, really. That is for those elitists, but we really love Campbell's Soup. And that is the prevailing paradigm, really. Pop Art.
Alice Aycock, A Simple Network of Underground Wells and Tunnels, 1975, Merriewold West, Far Hills, New Jersey,(destroyed), Concrete, wood, earth, Approx. 28' x 50' x 9' deep. Photo: Artist, courtesy the artist
TB: But because of the anti-institutional stance you all had, the art of the '70's doesn't seem to have the same collusion with the mainstream, starting out. Hobbs describes Post-Structuralism as "unlimited semiosis"- which I take as unlimited reference. What your students mean when they say- "it can mean whatever you think it means". But the anti-institutional aspect- working outdoors in the middle of a field like you did, without tying it to an institution seems very open, but also not in collusion, not even the way Warhol was.
AA: No, it wasn't. You had Carl Andre, and Haacke, talking about the status object nature of art. I agree. But I remember thinking- "Don Judd can say 1+1 equals two, and he doesn't want to deal with any references, but when I walk down the street, I am constantly assailed by signs and meaning. Therefore I don't want to have a meaning, which stands for all time. But at the same time, I have to introduce content, it is a constantly shifting situation. You are always being assailed by language, and memory. All the people who agreed with that opened up that Pandora's box for all of the dog paintings, cat paintings (laughter) whatever…young girl paintings, you know who I mean…
TB: Yeah.
AA: (laughs again). I would love to do a show of 112 Greene St.
TB: Oh yeah?
AA: I have the catalog that somebody did a couple of years ago. This would be a great time too because a lot of that work was so cheap- you know what I mean? Now would be a good time to look at that and look at the artists- and what they did later. There were so many artists and performers, and so much video made. I have been thinking about that. Picking stuff from the early years- there is a lot of work that is very relevant to what is happening now.
TB: Anyone come to mind? Certainly Matta-Clark has gotten a large amount of exposure.
AA: Yeah he has, so it would be nice to see some of the other people…some of them are current: Chris Burden did some early pieces there. Some would be people whose names you would really recognize- and the genesis of their work would be in some of the things they did then. There are some really great pieces done, and I don't know where the artists who made them are. One of the people I admire, and admired then, is George Trakas. He did great work. He is still making art. Some of his early work would be just great. Of course I would want to have complete control. (laughs)
Alice Aycock, A Salutation to the Wonderful Pig of Knowledge (Oh! Great Jellyfish, Great Waterspouter… There's a Hole in the Bucket,
and There's a Hole in My Head..), 1984, Steel, copper, brass, aluminum, Formica, wood, plexiglass, L.E.D.s, motorized parts,
6'9" high x 9'3" wide x 11'6" deep. Collection of the artist. Photo: Fred Scruton, courtesy the artist and Michael Klein Arts, NY
TB: Why wouldn't you, if you curated it?
AA: Well, with some other people. We would say- "That one, no, that one." But not show some of the idiotic stuff. Because we did a lot of idiotic stuff. (laughs) You can complain about what is going on today but then you think- "God, did we do some dumb stuff!" Really dumb. Gordon has gotten a lot of attention. I loved Gordon, and he deserves it. But then it is that "die young" thing. Some of us had to live. (laughs)
TB: Hobbs states that "(your) overriding goal appears to be privileging openness to the point that it serves as a central theme and subject of (your) work." Thoughts on this?
AA: I'm not quite sure what that means, because I really do think my work is about a cluster of certain kinds of obsessions. It is not just about anything. If you were start with Sand/ Fans and go up to the Waterworks Sculpture Proposal for the Central Broward Regional Park -the notion of the whirlpool image has continued. I'm not just open. There are a lot of things I would not want.
TB: He does say you have "closure" in terms of your openness. He does say your pieces are complete. I thought of "de-centered" because it seems like that is like a tear- it de-centers you. How do you like that?
AA: Maybe. I believe my best work-work that happened every couple of years, without me "forcing it"- is about creating a sense of disequilibrium, and a moment of (she gasps)-ahh! It is closer to terror, and also the pleasure in terror. Which is hard to do for many reasons- even insurance reasons (laughs). When the work is really good, that's what I am able to do. Along with something visual and beautiful, I hope. Something like (the piece at) Storm King- which I like a lot. It does all those things. You get that sense of (breathes in quickly)- it isn't scary, but it's like- whoa! You ask yourself-"Where would I be in that thing?"- as you approach it. That whirling motion, it is pretty neat to look at. I also want you to feel that moment when the wave comes in and takes you under. Or you step out into empty space. I had it even today driving into the city- I almost got sideswiped. You gasp. That's what obsesses me, that's what I can't ignore. That near miss, that glance- what Neitchze called the "glance of eternity". I think art can do that, the art I have always liked does that. It just keeps you in the moment of saying "yes" and saying "no" – the approach/withdraw syndrome. That's what we like about some African art, it is sheer terror- a little bit of it. The art we keep going back to over and over does that. Architecture can do that.
Alice Aycock, The Thousand and One Nights in the Mansion of Bliss, 1983, Steel, aluminum, lights, sheet metal, Plexiglas, motorized parts, and steel mesh; approximately 30' high x 22' wide x 80' deep. Installed at Protetch-McNeil Gallery, New York. Collection of the artist. Photo: Wolfgang Staehle, courtesy Protetch-McNeil Gallery, NY and the artist
TB: What are your ambitions for your work in the future?
AA: I have a lot of stuff I want to do with industrial plastics. I have a bunch of ideas of things I would like to do to really push the material. I went from wood to metal. There is only so much you can make metal do, and then it just tears and rips. Certain forms, which are very hard to capture- like smoke. I would love to do it large scale, but would start off in smaller scale. The transparency, the translucency, and sense of materiality being there, and not there. On an architectural scale. There was a lot of stuff being done with glass, but glass has to be done in sheets. I think unconsciously, in architecture, beyond all the other reasons for using glass, is the sense that- "the world is so permeable, the world is cinematic, you reach out, and it is really not there." It is just a screen, or monitor. Some of this glass architecture mirrors that. Also there may be a certain guilt about making monuments. The glass is there and not there. Certain forms that are not hard-edged are very interesting to me.
TB: When we talked on the phone, you thought you might like to pick out a selection of "greatest hits".
AA: I think the piece at Storm King- (Three-Fold Manifestation II), the piece Project for a Simple Network of Underground Wells and Tunnels, a piece called The Pig of Knowledge which nobody has seen for a long time- it was an indoor piece, I really like the Clayton piece, the one on the wall in my studio The Uncertainty of Ground State Fluctuations and The Thousand and One Nights in the Mansion of Bliss, one of the big blade machines. I just love those. I would give anything to be able to put those pieces back up. Well, I guess I'm about done…I have to go teach.
TB: Yes. Thanks very much Alice for your time doing this. WM
Thomas Butter
Thomas Butter has been living in NYC since 1977, and showing since 1981. He is currently on the Adjunct Faculty in the Fine Arts Department at Parsons the New School for Design, and has taught at many colleges and universities on the east coast, including RISD, Harvard, Yale, Tyler, MICA, University of the Arts, and many others. thom.butter@gmail.com website: www.tombutter.com


text:
Home Mac Apple inconspicuously killed off a significant portion of their devices
Apple inconspicuously killed off a significant portion of their devices
One of them got iPhone and X, which first appeared on the shelves less than two years ago.
The list of devices, which Apple has discontinued in recent months:
Apple Watch Series 1 made its debut in 2016, and until July 10, the company still sold the device, positioning it as a cheaper alternative to the Apple Watch Series 3. Before withdrawing from the production of the watch was $249.
Photo: Reuters/Toru Hanai
Apple Watch Edition
The device is premium, designed for buyers with high income saw the light of day in 2015. The hull was made of 18-carat gold, the price starts from $10 thousand.
In 2016 Apple has replaced gold case on keramicheskiy and reduced the starting price to $1.25 thousand.
Now the Apple Watch Edition has completely disappeared from the lineup of the company.
Photo: Edgar Su/Reuters
iPhone 6S and iPhone 6S Plus
iPhone 6S and larger 6 Plus was released in 2015. These models still had the headphone Jack. Starting with the iPhone 7, all smartphones, Apple received only a connector to connect the Lightning cable.
Apple sold the iPhone 6S for $450 and iPhone 6 Plus for $550. While the device can still be found for sale from Resellers.
The budget smartphone from Apple at a price of $350, resembling the design of the iPhone 5.
iPhone X has been the flagship product for Apple last year. However, as noted by Business Insider, almost identical design with the best characteristics have the iPhone XS. The starting price for both models is $999.
The 10.5-inch iPad Pro
In March Apple introduced a new iPad model, and then declined from 10.5-inch iPad Pro, which was released in 2017.
Photo: The Verge
Apple released the 12-inch MacBook in 2015, and the last time I updated it in 2016.
Photo: Business Insider
Rusbase earlier it was reported that Apple has removed from sale the three laptop models — the 12-inch MacBook, MacBook Pro and MacBook Air TouchBar 2017 without Retina display.
inconspicuously
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