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Rory: My game is on the up
He hasn't quite reached his best form, yet Rory McIlroy claimed "another solid week, another back-door top 10" at the Players Championship.
TPC Sawgrass hasn't always been kind to the man from Northern Ireland and the bad habits reappeared during the second round as he slumped to a two-over-par 74.
However, he hit back with a 69 on the Saturday and then finished with a six-under-par 66 to jump the leaderboard and into a tie for sixth – four strokes behind winner Martin Kaymer.
After starting with a bogey, he had a run of four consecutive birdies at the turn and also finished with three birdies in a row.
"I obviously finished the round off well. I feel very comfortable on the back nine here. I just played the front nine a little better today and it ended up in shooting a lower score," he said.
"Overall, it's been another solid week, another back-door top 10 as I like to call them. It's getting close. I'm playing really well, I'm playing solid. Things are heading in the right direction."
McIlroy is yet to win this season, but he is hoping to end that duck at the US Open at Pinehurst in North Carolina from June 12-15.
Asked what he needs to do in order to stand a chance to win, he replied: "Just keep the real big numbers off the card and these bogey runs that I seem to be getting on. Just kind of keep it a little tighter, whenever I don't quite have my 'A' game and that's really it.
"But as I've been saying the last few weeks, I'm seeing enough really good golf in there to be really positive going into the sort of main stretch of the season."
US Tour US Tour News
Fitzpatrick wins DP World Tour Championship as Westwood lands Race to Dubai
There was a dramatic finish in Dubai.


A multi-interface domain is a domain that can shape multiple and distinctive binding sites to contact with many other domains, forming a hub in domain-domain interaction networks. The functions played by the multiple interfaces are usually different, but there is no strict bijection between the functions and interfaces as some subsets of the interfaces play the same function. This work applies graph theory and algorithms to discover fingerprints for the multiple interfaces of a domain and to establish associations between the interfaces and functions, based on a huge set of multi-interface proteins from PDB. We found that about 40% of proteins have the multi-interface property, however the involved multi-interface domains account for only a tiny fraction (1.8%) of the total number of domains. The interfaces of these domains are distinguishable in terms of their fingerprints, indicating the functional specificity of the multiple interfaces in a domain. Furthermore, we observed that both cooperative and distinctive structural patterns, which will be useful for protein engineering, exist in the multiple interfaces of a domain.
© 2012 The Authors. This paper was published in PLoS ONE and is made available as an electronic reprint (preprint) with permission of The Authors. The paper can be found at the following official DOI: [http://dx.doi.org/10.1371/journal.pone.0050821]. One print or electronic copy may be made for personal use only. Systematic or multiple reproduction, distribution to multiple locations via electronic or other means, duplication of any material in this paper for a fee or for commercial purposes, or modification of the content of the paper is prohibited and is subject to penalties under law.


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[eBook] Shirley
Charlotte Brontë Margaret Smith
Oxford University Press UK 15 février 2007
Shirley is Charlotte Bront--euml--;'s only historical novel and her most topical one. The introduction to this new edition considers its autobiographical overtones as well as its social context, and includes revised notes and bibliography. - ;'You expected bread, and you have got a stone; break your teeth on it, and don't shriek...you will have learned the great lesson how to endure without a sob.' Shirley is Charlotte Bront--euml--;'s only historical novel and her most topical one. Written at a time of social unrest, it is set during the period of the Napoleonic Wars, when economic hardship led to riots in the woollen district of Yorkshire. A mill-owner, Robert Moore, is determined to introduce new machinery despite fierce opposition from his workers; he ignores their suffering, and puts his own life at risk. Robert sees marriage to the wealthy Shirley Keeldar as the solution to his difficulties, but he loves his cousin Caroline. She suffers misery and frustration, and Shirley has her own ideas about the man she will choose to marry. The friendship between the two women, and the contrast between their situations, is at the heart of this compelling novel, which is suffused with Bront--euml--;'s deep yearning for an earlier time. -

redpajama_set_name: RedPajamaCommonCrawl


A Novak Djokovic-led Serbia surprisingly fell behind 2-1 at home to Kazakhstan in the Davis Cup first round after he lost in doubles on Saturday.
Meanwhile, Italy and France were first through to the quarterfinals after beating weakened visitors Switzerland and Canada respectively.
Djokovic and Nenad Zimonjic fell to Andrey Golubev and Aleksandr Nedovyesov 6-3, 7-6 (3), 7-5 before a full house in Belgrade. It was the second notable cup win for Golubev and Nedovyesov, who beat Roger Federer and Stan Wawrinka in doubles in 2014.
For Serbia not to lose a third time at home in four ties, Djokovic must beat Mikhail Kukushkin in the first reverse singles on Sunday, then hope 23rd-ranked Viktor Troicki, who lost to Kukushkin on Friday, beats 200th-ranked Nedovyesov in the last rubber.
Djokovic won his only previous match against Kukushkin in three sets in Shanghai in 2014.
Andy Murray won his second point for Britain when he and brother Jamie won in straight sets to lead Japan 2-1, giving Murray a chance to clinch the tie on Sunday against Kei Nishikori. Murray leads their head-to-heads 5-1, but Nishikori won their only indoor match.
Also, the Czech Republic led Germany 2-1 in Hannover, Croatia led 2015 finalist Belgium 2-1 in Liege, Argentina led Poland 2-1 in Gdansk, and the United States led Australia 2-1 in Melbourne.
Italy took nearly eight hours to win the opening singles on Friday in Pesaro, so captain Corrado Barazzutti decided to give his best pair a chance to clinch the tie instead of giving a debut to Marco Cecchinato.
Simone Bolelli and Andreas Seppi, who won the Dubai title last week, beat tired singles players Marco Chiudinelli and Henri Laaksonen 6-3, 6-1, 6-3 in less than two hours on the indoor clay court to help Italy reach its third quarterfinal in four years. With an unbeatable 3-0 lead, they awaited Argentina or Poland.
The Swiss were without Federer and Wawrinka.
France paired unused singles players Jo-Wilfried Tsonga and Richard Gasquet for a third time in the cup to seal victory against Vasek Pospisil and Philip Bester 7-6 (4), 6-1, 7-6 (4) in Guadeloupe.
Canada couldn't make up for the absence of Milos Raonic and Daniel Nestor.
France looks like travelling to the Czech Republic in July.
The Murray brothers finished with an ace to beat Yoshihito Nishioka and Yasutaka Uchiyama of Japan 6-3, 6-2, 6-4 in Birmingham. They didn't face a break point.
''Hopefully, I can play another good one tomorrow and seal the win,'' Andy Murray said of his singles against Nishikori.
Tomas Berdych and Radek Stepanek, who have won two Davis Cups together, defeated Philipp Kohlschreiber and Philipp Petzschner 7-6 (7), 7-5, 6-4 for the Czechs to lead Germany 2-1.
Berdych will be confident of clinching the tie against Kohlschreiber on Sunday, as he has an 8-1 record against Germany's best player.
Croatia was on the brink of dumping out Belgium after Ivan Dodig and Franko Skugor defeated Ruben Bemelmans and David Goffin 7-6 (5), 6-3, 6-1.
Former U.S. Open champion Marin Cilic, who won his singles on Friday, can advance Croatia to the quarterfinals on Sunday with a win over Goffin, who will play for a third straight day.
Poland, making its debut in the World Group, prevented Argentina from winning their tie when Lukasz Kubot and Marcin Matkowski beat Carlos Berlocq and Renzo Olivo 6-3, 6-4, 6-4. Argentina, still leading 2-1 after winning both singles in straight sets, is heavily favored to clinch on Sunday and reach the quarterfinals for the 14th time in 15 years.
On grass in Melbourne, the Bryan twins beat Australia captain Lleyton Hewitt and John Peers 6-3, 6-3, 4-6, 4-6, 6-3 to put the Americans in front in the tie between the Davis Cup's most decorated teams. The reverse singles on Sunday are scheduled to be John Isner vs. Bernard Tomic, and Jack Sock vs. Sam Groth.


Be sure to look up when you go outside tonight! Tonight's full moon is called the Harvest Moon because its bright light arriving just after sunset enabled farmers to work late into the night when harvesting their crops.
The Harvest Moon is the full moon that happens near the first day of fall (Sept 23).
During the fall the day-to-day time lapse in the rising of the moon changes dramatically for those in the far northern or southern latitudes. For those of us in the northern latitudes the time goes down from (on average) 50 minutes to 30 minutes. Great news for the farmers of old – since the harvest moon rises just after sunset and since the time lapse is extra short, they got a set of bright evenings to work through. Lucky them.
You can read more about what to look for in the sky tonight in the NSAS story Strange Moonlight . Or, if you don't already have plans for tonight, check out a harvest moon festival near you and eat a mooncake .


Episodes was our specifically made mental health show.
It came as a response to an increasing number of requests for the company to perform as part of the education of health professionals, students and those interested in the link between arts and health. We undertook a period of development to create and focus work with these audiences in mind.
Episodes is a series of fragmented works, developed to be performed by any number of the company in a variety of locations and differing audiences.
Two distinct themes instigated this work: an interrogation of the stories within, and the performative aspects of mental ill health experiences through the investigation of blurred boundaries between audience and performer in an attempt to break, rather than reinforce, stigma and assumption.


Weather is the principal factor causing low water conditions and drought. The three main climate variables are solar radiation, temperature, and precipitation. These low water causing weather phenomenon combine with local biological, physical and human characteristics to define the low water conditions within the Otonabee Region watershed.
As part of the Ontario Low Water Response Program, Otonabee Conservation works collaboratively with representatives from local municipalities, water management agencies, tourism, cottage and agriculture sectors, provincial and federal agencies, and First Nations as the Otonabee Region Water Response Team.
Watershed conditions are analyzed on a monthly basis. There are three levels of low water conditions (Levels One, Two and Three) that are based on thresholds linked to precipitation records and stream flow monitoring data, together with watershed observations.
Subsequent to detecting a low water condition occurrence, the Otonabee Region Water Response Team will make a determination about low water conditions and set in motion a public education and communication program to alert the community and encourage water conservation.
Level One provides the first indication of potential water supply problems and the community is advised to conserve water by 10% (voluntary).
Level Two indicates a more serious problem at which time the community is strongly encouraged to reduce water consumption by a further 10% (20% in total).
Level Three is the most serious stage and means that water supply is unable to meet local demands.
There are several ways to conserve water every day. For more information, please refer to the water conservation fact sheet.


Welcome to PaulsRusticOven.com! We are happy to announce we have something very special cooking in the oven just for you… our new website. Check back often for updates, locations where you can taste our great pizzas and calzones as well as periodic specials and discounts.
If you are looking for more information please send me an email to Paul@PaulsRusticOven.com.
I look forward to hearing from you and providing you and your group with a wonderful dining experience.
Posted in Uncategorized by Paul with comments disabled.


You will love these Mini Mason Jars! These small, nostalgic-style glass jars feature screw top lids and fun details. This package includes three jars that measure approximately 3.75" in height.
Love them! And they are cute! Many ideas on how to use them. Can not go wrong with these. I am making Halloween and Christmas gifts by using these little jars. Great size too!


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Daniel Radcliffe Thinks a Harry Potter Reboot Will 'Definitely' Happen
Katrina Nattress Published: February 14, 2019
Ian Gavan, Getty Images
While chatting with TV Guide about his new TBS series, Miracle Worker, Daniel Radcliffe got nostalgic about the movie franchise that made him a household name: Harry Potter. With the mass amount of reboots happening these days, the outlet asked the actor what he thinks of his beloved series ever making a comeback either on the big or small screen.
"I don't know at this point what would be gained by rebooting it for TV, but that's not necessarily the goal, I suppose," he said. "I definitely think there will be another version of it within my lifetime. It will be interesting to see. At the moment those films have sort of a sacred varnish on them, but that will be worn away at some point... I'm just intrigued to see when that happens."
Though we don't see that shine wearing off anytime soon, other parts of the wizarding world are being explored in movies like Fantastic Beasts and Where to Find Them. And there's another story Daniel would love to see told as a television series: The Marauders.
"A series with the older generation, that could be very cool," he gushed. We agree, Daniel. Make it happen!
20 Child and Teen Stars Who Never Got Weird On Us
Source: Daniel Radcliffe Thinks a Harry Potter Reboot Will 'Definitely' Happen
Filed Under: daniel radcliffe, harry potter
Emma Watson Almost Quit 'Harry Potter' for This Reason
Fans React to Mads Mikkelsen's Grindelwald in 'Fantastic Beasts' First Look
Mads Mikkelsen Reveals How His 'Fantastic Beasts' Character Will Differ From Johnny Depp's Portrayal
Harry Potter Live-Action TV Series Reportedly In Development at HBO Max
Johnny Depp Dropped From 'Fantastic Beasts' Movies
The 'Harry Potter' Movies Are No Longer Streaming On Any Service
Daniel Radcliffe Addresses J.K. Rowling's Transphobic Tweets: 'Transgender Women Are Women'
Get Paid To Binge Watch Harry Potter Series
Daniel Radcliffe Reveals if He Will Ever Portray Harry Potter Again


It's still a week away, so you have time to RSVP, PreTweet, enter the Blog Hop giveaways and the Social Media giveaway. Whew! It's not too late. #FueltheLove on #BarkFriday for more chances to win great @ZukesPets prizes. And be sure to check out what's linked up here today and throughout the coming week.


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Virginia Asian Chamber, AT&T Team Up to Prepare Students for College and Career
By AT&T Virginia
AT&T Aspire Education mentoring The Virginia Asian Foundation
The Virginia Asian Foundation has a program that offers internships, mentoring opportunities, scholarships, and workforce-training for Asian Pacific Islanders students in Virginia. The Foundation will expand its reach in Fairfax, Richmond, and Virginia Beach with the help of a $25,000 contribution from AT&T.
Tinh D. Phan, chairman of the Virginia Asian Foundation, announced AT&T's support during the Foundation's annual gala in Richmond.
"Virginia Asian Foundation is committed to helping Virginia develop our future talent. With AT&T's support, we will help our Asian American workforce develop leadership and jobs skills that will help sustain Virginia's economic vitality into the future," Phan said.
Vince Apruzzese, AT&T's regional vice president for External Affairs in Virginia, made the announcement during the event.
"We work with organizations like the Virginia Asian Foundation to help prepare the next generation of Virginia's business and technology leaders. Our support will help equip more young people in Virginia with the tools they need to succeed," Apruzzese said.
Share this with friends and family:
About the Virginia Asian Foundation
Created in 2007, the Virginia Asian Foundation promotes education and civic empowerment activities to encourage Asian Americans to realize the American dream. Learn more at http://aabac.org/va-asian-foundation/va-foundation/. You also can follow the chamber @VAAsianChamber.
About AT&T Impact
AT&T Inc. is committed to advancing education, strengthening communities and improving lives. Through its community initiatives, AT&T has a long history of investing in projects that create learning opportunities; promote academic and economic achievement; or address community needs. The company's signature philanthropic initiative, AT&T Aspire, drives innovation in education to promote student success in school and beyond. With a financial commitment of $450 million since 2008, AT&T is leveraging technology, relationships and social innovation to help all students make their biggest dreams a reality. Follow us @attimpact.
FirstNet: Mobile Broadband Network for First Responders Expands in Carroll, Floyd Craig, Grayson, Franklin and Washington Counties in Virginia, Advances Public Safety Communications Capabilities
By AT&T Virginia on Dec 07, 2020
AT&T Expands Mobile Broadband Network in Chesapeake
FirstNet: Mobile Broadband Network for First Responders Expands Across Virginia, Advances Public Safety Communications Capabilities
By AT&T Virginia on Oct 29, 2020
Marc Blakeman is AT&T's New Mid-Atlantic President
Urban Alliance Receives $1 Million from AT&T to Help Students Graduate High School Prepared for Economic Self-Sufficiency


Four more cheeky stories starring Winnie and Wilbur. Get in trouble the best way: for laughing too loud! Uh-oh: here comes trouble. Oops, we mean, here comes Winnie – our favourite muddled-up witch. (And probably yours too.) Chuckles, great pictures, magical escapes and lots of reading practice: that's what you get in these stories about the funniest witch in the world. Don't miss out.


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Victor Homes picks up Chelsea land, plans 80-plus-unit condo
By Amy Tennery
Developer Victor Homes is set to build an 80- to 90-unit condominium in Chelsea, after buying a 12,500-square-foot lot at 524-532 West 29th Street for $12 million, according to company vice president Ran Korolik.
The lot, which currently contains two art galleries, was previously owned by Walter Seelig of High Ridge Enterprises, according to Korolik, whose recent projects include the Gramercy Starck condo at 340 East 23rd Street. Seelig did not immediately respond to a request for comment.
Korolik said he plans to tear down the existing art galleries after their leases expire in roughly a year and a half. If he's able to secure adequate air rights, Korolik said his company plans to build a 100,000-square-foot condo building, with 10,000 square feet of ground-floor retail space. Although the developer hasn't made firm plans for the building yet, he said he could "see that area getting upwards of $1,300 to $1,400 per square foot."
"We were kind of priced out a couple years ago but now the prices are more reasonable," Korolik said of the purchase, adding that he hopes to attract gallery owners when the building is complete.
"It's important to maintain the feel of that area," Korolik said of his artsy aims.
Current tenant Peter Blum Chelsea gallery declined to comment, while the Sean Kelly gallery did not immediately respond to requests for comment.
Kamel Bahary, a managing director with Colliers International Realty, represented both buyer and seller in the transaction. He declined to comment.
Colliers Internationalvictor homes
Spike in investment sales pushes Colliers' quarterly revenue above $1B
Manhattan office market records busiest month since start of pandemic
Chinese developer willing to sell Manhattan supertall site at big loss
Manhattan office leasing up 60% in Q3
Midtown Manhattan doubles office leasing in August as rents slide
Colliers reports major rebound in revenue
Manhattan office rents under pressure with 17% availability
Manhattan office availability keeps on climbing


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Artist Profiles: Shift at the Seattle Art Fair
Visit Shift Gallery at Booth D25
at the Seattle Art Fair: August 2-5, 2018
Eric Day Chamberlain
Painter and printmaker Eric Day Chamberlain often concentrates his idiosyncratic mark making on the off-kilter perspectives of table-top still lifes. His assemblages of pitchers, bowls and platters set upon skewed planes typically convey a sense of domesticity and the dinner table that is offset by the tension he creates with expressive lines, shapes, strokes and colors. Most of Chamberlain's arrangements are intentionally imagined so that he may select and highlight the unique shapes or qualities of individual pieces. He also works from studio arrangements of bottles and jars to convey a more studied effect that references objects or architectural elements. As well, Chamberlain's work sometimes veers into pure abstraction.
Chamberlain credits Shift with having given him the freedom to show a wide variety of his work—from etchings and monotypes to oil paintings both large and small in each of his exhibits so that the viewer is able to survey the progression of his work. Chamberlain's tabletops easily call to mind the iconic work of Georgio Morandi. But more exactly, his influences are wide-ranging, from abstract expressionism to British painters such as Ben Nicholson and William Scott. He also credits the example of his uncle Larry Schmidt, himself an abstract painter.
Dawn Endean
Dawn Endean's affective series of dog portrait prints, created from related intaglio and monotype plates, continues her emphasis on drawing and pushing the boundaries of technique in her printmaking practice. Her dog prints began with her visual impulse to explore images of domestic dogs that reveal their inherent vulnerability and reliance on humankind. "Dogs are stuck with us for life," she says, "and they mostly accept it with grace." For the last several months Endean developed her themes through multiple drawings to test her true interest in the subject. The resulting works place her dogs in unusual perspectives and encased in striking inclusions of expressive line work and painting flourishes that intensify each print's uniqueness.
Endean credits her association with talented Shift artists in spurring the ongoing inspiration that helps her to meet and exceed the high bar set with each subsequent Shift show, whether in the gallery or at other venues. Her passion for printmaking and discovery of new ideas is further developed through teaching aspiring artists at Pratt Fine Arts Center. Among the renowned artists who have also influenced her work are Louise Bourgeois, Kiki Smith, Richard Diebenkorn, Ellen Gallagher, Elizabeth Catlett and Barbara Earl Thomas.
Stephanie Hargrave's deliberately spare encaustic series referencing meteors, shooting stars and the "jet wash" coming off very fast jumping bugs uses calm, celestial imagery to communicate clarity in a world of political chaos. Through the use of form, texture, limited color and natural materials, she counters the troubling, mixed-message climate of the Trump Administration by painting and sculpting in a straightforward way. "When yes turns to no overnight and confused wordplay dominates the day, I am content to present shapes and forms that act as reprieve," she says. "They can be complex without being complicated. Hopefully they are restful."
An established artist in the Seattle art scene and beyond for a number of years, Hargrave enjoys the creative freedom that her association with Shift artists allows. The art she shows there "is of my choosing, which for me is the whole point of making." Her artistic influences are many, including Lee Bontecou, Eva Hesse, Louise Borgeois, Cy Twombly, Gabriel Orozco, the Quay brothers (film), Ruth Asawa, Ryuichi Sakamoto (music) and Jasper Johns. Recently, Hargrave has noticed the influence of Hesse and Borgeois in her work as she limits her palette, puts more emphasis on materials and embraces negative space.
Cynthia Hibbard
As much a traveler as an artist, Cynthia Hibbard is in constant motion. These sights and sounds seep into her work and she is often freshly influenced by foreign cultures. This, paired with the collective consciousness of being a Shift member, with its freedom and no-rules blank space, allows her to experiment. Shift for her is "like an aesthetic generator that never turns off" – a sentiment that is easily be applied to her. Driven by process and the ability to switch mediums, she likes to say "I am jealous of whatever form of art making I'm not doing at the moment. After each show I wait for the winds of an idea to catch me and send me sailing along a path that I'm not aware of yet."
For the Art Fair, Hibbard has created abstracts influenced by a recent trip to Japan. She chose oil stick/oil paint on board for smaller works, and mark-making with sumi ink and calligraphic touches on canvass to create larger vertical abstracts (in Tokyo she was struck by, not surprisingly, the museum's monumental sumi paintings). Seeing art everywhere lends itself to seeing art anywhere, and an accidental iPhone photo on a bumpy, rainy bus ride became the springboard for the abstract oils that magically ended up reflecting the palette of Japanese koi ponds.
Karen Klee-Atlin
Karen Klee-Atlin's series of "Blazed Trees" linoleum-cut prints examines an aspect of the natural world and also remarks upon the impact of human intrusion into previously unfettered and leafy spaces. The distinctive "blazes" that mark the trees she depicts may indicate a pathway or, conversely, they may express that someone has chosen these particular trees to be culled from the forest.
As a mature printmaker who in recent years has concentrated on woodcut and linocut techniques, Klee-Atlin has often relied on both the beauty and vulnerability of nature in today's crowded world as source material. Many of her ideas that have developed into exhibits—from the complex patterning of deep woods to the simple glare of a campfire—have sprung from her annual visits to a family cabin in Canada.
Klee-Atlin has valued both the public platform that Shift provides and the camaraderie and encouragement she's received from the Shift artists as she pushes the boundaries of printmaking to explore and develop new techniques in her signature bold coloration. The combination of space and community has provided her an invaluable structure from which she's able to effectively weigh, consider and reflect upon the work she chooses to present.
Anna Macrae
Anna Macrae's paintings are often generated by a simple notion or a material she wants to explore. She does not attempt to understand what she does but is beginning to better understand her process and what interests her. The new series made especially for the Seattle Art Fair pulls together many of the characteristics from her previous work and solidifies the core intent of what she is trying to convey. As a process artist, she does not have a clear vision of how she wants the finished piece to look. As she says, she starts by basically "messing up" the surface with a combination of embedded non-precious raw materials and random lines. Next, she surrenders to the rule of chance, trusting that the magic will happen as she responds to the materials, textures and marks. "I feel my work has representations of abstracted urban and rural landscapes."
Being a Shift member has given Macrae valued presence in the Seattle art scene and has been a great source of networking and opportunities. "It has become my art home. My art practice has benefited, as I have had the freedom to experiment with showing new work in an intimate and nonjudgmental setting."
Colleen Maloney
In series of what she calls "mono paintings"—brightly colored monoprints combined with dry point line work, Colleen Maloney addresses commonplace settings in uncommon ways. Her aim is to capture both the atmosphere and imprint of local landmarks and domestic scenes. Thus she interprets Seattle's famous bubblegum wall near Pike Place Market in a more compelling and attractive way than the original, and she casts both Safeco Field and the Museum of History and Industry in slightly haunting and unusual lights. As well, she renders images of flower arrangements with a force of personality that calls to mind her graphic arts background.
Maloney appreciates how a looming deadline for each of her Shift shows can stimulate her work ethic and help her create striking groupings of show pieces that balance continuity with variety.
Because Maloney's art straddles the line between painting and printmaking, her art influences do as well. A fan of the painter Pierre Bonnard since college, Maloney also looks to David Hockney, Alex Katz and Richard Diebenkorn to impact her thinking on color and composition. She says her current heroine is Australian painter and printmaker Elizabeth Cummings, who at 84 is still producing vibrant work.
David Traylor
David Traylor's complex, intricately detailed and often metallically glazed abstract ceramic sculptures fulfill his predilection for "making things that have not been seen before." Appearing almost vessel-like in shape yet multi-sided and approaching monumental in size—they range from 18- to 24-inches high—the pieces carry no apparent back-story and are intended to invite viewers to construct their own explanatory narratives, while circling them for changing perspectives and meanings.
Traylor continually strives for ambiguity, in both his sculpture and his multi-dimensional paintings (arguably sculptures as well). He produces creations that seem vaguely familiar but are undeniably unique. They cannot be taken in all at once and they retain an air of mystery. "Is it machine-made or is it made by hand?" he asks. "Is it a joke? Does it have violent intent?" Traylor also employs the repetition of simple, small elements to intensify the patterning in his work.
Traylor has considered Shift to be an ideal "cultural incubator" wherein he is able to test out new ideas with the full support of his fellow artist members. He also appreciates that the varying expertise of other gallery member inspires him to keep pushing the boundaries of his ceramic terrain.
Craig van den Bosch
Craig van den Bosch has been influenced by our ever-evolving technology, our biology, and where they intersect. He works in a multi-media pluralist mode and tends to be influenced by artists that cross many disciplines. He is drawn to both hand work and the digitally produced. As he states, he is currently "fascinated with the possibility of all that we have happened somewhere else in time and space within our known/ unknown universe. What would happen if those two worlds were to collide? What could we learn from that interaction."
With the works he is showing at the 2018 Seattle Art Fair, his goal was to marry two of his styles together; total abstraction where the meaning is not particularly obvious, and works that are visual narrative heavy, in hopes of addressing the human condition in a timeless way and enabling viewers to experience them on multiple levels.
Being a Shift member gives van den Bosch the freedom and flexibility to pursue creative avenues with integrity and independence. It also allows him to take chances. His work reflects a bold freedom of expression and a fascination with the technological side of life, especially as it relates to people, their culture, and their biology.
Robin Walker Arnitz
Painter Robin Walker Arnitz recently tasked herself with doing a small self-portrait every day for thirty days, the result of which comprises the small works she is showing this year at The Seattle Art Fair. Greatly inspired by expressive painters such as Guston and Goya, she believes wholeheartedly in the ability to convey emotion through this highly expressive type of mark-making. She strives to show the figure in beautiful and fascinating ways – but also sometimes in disturbing ways too. She has recently been paying more attention to how Schiele and Tanguy have handled the figure.
At a residency a year ago, she was encouraged to experience creation through a variety of forms including dance. At the time it didn't seem to pertain to what she was doing. Now, however, she is more closely studying the body's movement and how to capture expression through different poses. Combining that with expressive painting, for her, helps create emotion that resonates with the viewer. She wanted to see if there was a change in emotion, biology, movement, or artistic growth through this process. As she says, "emoting – the way cheery instrumental music may uplift the listener – is more important than communicating a specific message."
Jodi Waltier
As a creator, Jodi Waltier is first and foremost interested in freedom – the complete liberation from any restraints. For the 2018 Seattle Art Fair, she is including three different working styles in celebration of unfettered freedom. These three styles, in terms of process, were huge steps forward into new territory at the moment of their conception. Her large canvases show giddy color play and broody preponderance of doubt. Her mounted vat-dyed indigo/iron oxide mantles are meant to transport you on an astral travel trek while viewing them – the idea is for the viewer to get lost in them.
Greatly influenced by the craftspeople of the world – those creating utilitarian objects with whatever available resources they had at hand – she found herself steered towards textile research, fiber arts, travel, arts education, crafts schools, and her career as an educator. Exposure to art, for her, is like breathing. As she says, "every artist whose work I have viewed, touched, heard, tasted or smelt has influenced me. The scale of my works is increasing and I have cravings to wrap oversize industrial objects as part the next indigo series." She is also looking to do a residency at one of our countries beloved craft schools, combining printmaking and vat dyeing. Waltier is someone to watch this year, and in the coming years, with her every evolving work in collage, textiles, photography, painting and printmaking.
Carmi Weingrod
Mixed-media artist Carmi Weingrod's new work expresses her continued fascination with crude metal scraps retrieved from a welding classroom waste bin. Beginning by hand-embossing each selected form on paper, often repetitively, she further reinvented their patterns and shapes with layers of acrylic ink, watercolor and graphite to convey both the simplicity of the shapes and the complexity of distressed metal. "I let the metal shapes dictate the pattern and flow," she said, "surrendering intention to the mesmerizing effect of repetition."
Weingrod's art typically centers around large, abstract works on both paper and fabric. She also constructs installations that recast places and objects marked by time into contemporary statements. To create the patterns, shapes and textures that characterize her work she translates visual material from observation, sketching and photographing places and things outside her studio.
Citing a wide range of art influences, Weingrod singles out Eva Hesse and Mira Schendel for their creativity and adventurous spirit. "Ironically, they were both refuges who expressed tremendous capacity for exploring and mastering innovative material and techniques while adjusting to life in unfamiliar countries," she said. In their same resourceful spirit, Weingrod, has reinterpreted simple and industrial source material into unique and compelling art.
RETURN TO SEATTLE ART FAIR


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Derek Camper aka DJ D-Matic was born and raised in Jackson, MS. He started his DJ career summer of 2010 managed by Streets on Swoll Promo & Consulting, LLC. His passion for music came from years of playing in the band. His got his first big break during college edition spring break in Panama City Beach, FL to which he was a featured DJ there in 2010, 2011, & 2012. He has also DJ'd in numerous cities such as Dallas, Memphis, and Atlanta just to name a few. He is currently a house DJ at the biggest night club in the state of Mississippi "Freelons The Big Club". D-Matic is also a tour DJ with Lifetime's hit television show "Bring It". He previously was a mixshow DJ for 97.7 WRBJ (Jackson, MS). DJ D-Matic was recently inducted into the largest DJ coalition and organization, the Core DJ's in November of 2014 and is a member of Black Dolla Entertainment. D-Matic was a featured DJ in ModelMania Magazine. His love and passion for music and craft is never ending. Always working and looking to perfect his craft.


evenings to have an activity? Essentially we have a choice. If we cancel either the cruise or the brewery we can shift 6-8 thousand dollars ($6000 - $8000) into the travel subsidy budget. Would you rather have one activity and a greater subsidy budget or 2 activities? I'm enthusiastically +1 on all the activities listed above. Keeping the cruise especially, since this is somewhat of a European tradition now after Prague. The Game Night is really a "non-event" that would allow for team dinners or a night off for folks who want to keep it low-key. Nice work all, I think the events budget is reasonable, and the events schedule exciting. Way to go! Looking Forward, --RemyD.
ASAP and brewery RSN (real soon now) or we risk losing the options.
[...] I'm enthusiastically +1 on all the activities listed above. Keeping the cruise especially, since this is somewhat of a European tradition now after Prague.
The Game Night is really a "non-event" that would allow for team dinners or a night off for folks who want to keep it low-key.
* Transportation (2 buses, 2 cruises, including night hours): 1,570 PLN (≈$400) (it may be cheaper if we promise we will move from the ship to the bus and from the bus to the hotel quickly and we will save the driver's working time) Total: 18,070-26,670 (≈$4575-6750).
Hi All, Rafal, Filip and I have been working hard on the evening activities. The current proposal is the following: 2 August - Game Night at the Hotel and a City Tour 3 August - 3 hour dinner cruise (200 ppl) 4 August - Buffet Dinner and Beer tasting at Browar Lubicz We would like to hear you feedback on these? Do we need all three evenings to have an activity? Essentially we have a choice. If we cancel either the cruise or the brewery we can shift 6-8 thousand dollars ($6000 - $8000) into the travel subsidy budget. Would you rather have one activity and a greater subsidy budget or 2 activities?
Let's assume for the moment that we made the upper end of that ($8000) into a travel subsidy. Do we have numbers on the average cost of a subsidy? Would this enable us to subsidize five additional travelers? Ten? Twenty? I think that makes a difference. If it enables us to get a lot more people to the conference who would like to attend, then there's real value in that. However, if cost of travel and lodging is so high that it's a minimal difference (say, five or fewer additional subsidies), then it's probably worth it to keep the activities instead.
travel subsidy. Do we have numbers on the average cost of a subsidy?
instead. As one of the folks running the calculus on travel, I'd say "it depends." On the high-end, APAC travelers can cost 3k+ in some cases. On the low end, the (hopefully happening) bus from Brno or a train ride + hotel could be <1k per traveller. Since we are already *significantly* investing in travel, at some point we need to ensure the quality of the experience over extra quantity of attendees. I think cancelling *all* the evening events would be hugely detrimental to morale, and should not be considered an option. One of the big benefits of choosing Krakow was that spending on evening events would be cheaper than prohibitive venue costs from other bids like France. If we forgo this then we might as well just book the nearest cheapest hotel to an airport hub, and call it done next time... There are other regional events that folks who cannot make it to Flock this year can attend, and likely other Flocks in the future too. Please don't cancel the boat, --RemyD.
On Jun 17, 2016 11:16 AM, "Stephen Gallagher" <sgallagh(a)redhat.com <mailto:sgallagh@redhat.com>> wrote: > > On 06/17/2016 10:28 AM, Brian (bex) Exelbierd wrote: > > Hi All, > > > > Rafal, Filip and I have been working hard on the evening activities. > > > > The current proposal is the following: > > > > 2 August - Game Night at the Hotel and a City Tour 3 August - 3 hour dinner > > cruise (200 ppl) 4 August - Buffet Dinner and Beer tasting at Browar Lubicz > > > > We would like to hear you feedback on these? Do we need all three evenings > > to have an activity? Essentially we have a choice. If we cancel either the > > cruise or the brewery we can shift 6-8 thousand dollars ($6000 - $8000) into > > the travel subsidy budget. Would you rather have one activity and a greater > > subsidy budget or 2 activities? > > > > > Let's assume for the moment that we made the upper end of that ($8000) into a > travel subsidy. Do we have numbers on the average cost of a subsidy? Would this > enable us to subsidize five additional travelers? Ten? Twenty? I think that > makes a difference. If it enables us to get a lot more people to the conference > who would like to attend, then there's real value in that. However, if cost of > travel and lodging is so high that it's a minimal difference (say, five or fewer > additional subsidies), then it's probably worth it to keep the activities instead. As one of the folks running the calculus on travel, I'd say "it depends." On the high-end, APAC travelers can cost 3k+ in some cases. On the low end, the (hopefully happening) bus from Brno or a train ride + hotel could be <1k per traveller.
OK, but we are still talking about a realistic upper limit of eight additional attendees. I'd be pretty comfortable (personally) saying that's an insufficient advantage over the evening entertainment. I just figured it made sense to know what the actual advantages would be for deciding one way or another. With the numbers as they are, I think making the experience more enjoyable for the people who are coming outweighs the alternatives.
Since we are already *significantly* investing in travel, at some point we need to ensure the quality of the experience over extra quantity of attendees. I think cancelling *all* the evening events would be hugely detrimental to morale, and should not be considered an option.
I didn't say "all" events. The number above was for just one or the other.
As one of the folks running the calculus on travel, I'd say "it depends." On the high-end, APAC travelers can cost 3k+ in some cases. On the low end, the (hopefully happening) bus from Brno or a train ride + hotel could be <1k per traveller.
On 06/17/2016 10:28 AM, Brian (bex) Exelbierd wrote: > Hi All, > > Rafal, Filip and I have been working hard on the evening > activities. > > The current proposal is the following: > > 2 August - Game Night at the Hotel and a City Tour 3 August - 3 > hour dinner cruise (200 ppl) 4 August - Buffet Dinner and Beer > tasting at Browar Lubicz > > We would like to hear you feedback on these? Do we need all > three evenings to have an activity? Essentially we have a > choice. If we cancel either the cruise or the brewery we can > shift 6-8 thousand dollars ($6000 - $8000) into the travel > subsidy budget. Would you rather have one activity and a > greater subsidy budget or 2 activities? Let's assume for the moment that we made the upper end of that ($8000) into a travel subsidy. Do we have numbers on the average cost of a subsidy? Would this enable us to subsidize five additional travelers? Ten? Twenty? I think that makes a difference. If it enables us to get a lot more people to the conference who would like to attend, then there's real value in that. However, if cost of travel and lodging is so high that it's a minimal difference (say, five or fewer additional subsidies), then it's probably worth it to keep the activities instead.
-----BEGIN PGP SIGNED MESSAGE----- Hash: SHA1 On 06/17/2016 10:16 PM, Stephen Gallagher wrote: > On 06/17/2016 10:28 AM, Brian (bex) Exelbierd wrote: >> Hi All, >> >> Rafal, Filip and I have been working hard on the evening >> activities. >> >> The current proposal is the following: >> >> 2 August - Game Night at the Hotel and a City Tour 3 August - 3 >> hour dinner cruise (200 ppl) 4 August - Buffet Dinner and Beer >> tasting at Browar Lubicz >> >> We would like to hear you feedback on these? Do we need all >> three evenings to have an activity? Essentially we have a >> choice. If we cancel either the cruise or the brewery we can >> shift 6-8 thousand dollars ($6000 - $8000) into the travel >> subsidy budget. Would you rather have one activity and a >> greater subsidy budget or 2 activities? > > Let's assume for the moment that we made the upper end of that > ($8000) into a travel subsidy. Do we have numbers on the average > cost of a subsidy? Would this enable us to subsidize five > additional travelers? Ten? Twenty? I think that makes a difference. > If it enables us to get a lot more people to the conference who > would like to attend, then there's real value in that. However, if > cost of travel and lodging is so high that it's a minimal > difference (say, five or fewer additional subsidies), then it's > probably worth it to keep the activities instead. Attending Flock is always a really nice experience so we should try our best to give more chances to more people.
We are allocating around *half* of the budget to getting people to the conference as it is, which I'd say is more than ample.
With approx. 1k per person, we can give chances to 6-8 additional active contributors allover the world.
Though this may be true, this is why we hold and sponsor major regional events around the world. To put it in perspective, that is nearly *half* the budget of an entire FUDCon APAC, up to 80% of a FUDCon LATAM, or enough budget potentially for two reasonably sized FADs. Or we can get half a dozen people travel to Flock. Flock is meant to be the EMEA/NA Fedora regional event, and there are FUDCon events in APAC and LATAM for those regions. We alternate the location of Flock to help *reduce* the highest costs, travel. We go through this conversation every year. Flying the entire community into one location is not the most cost effective regional strategy. We think strategically and carefully about the guidelines used to allocate the limited amount of travel funding available. We have run some rough numbers on merging the FUDCon budgets with the Flock budget, and have concluded that it wouldn't be as cost-effective as running multiple events regionally. If folks want to create a bid or proposal for one gigantic global conference in 2017, then by all means, post it to the wiki, but know that that strategy would increase the logistical concerns significantly, and we depend on local community leads to help shoulder that extra organizing and logistical burden. If we're lucky, our speakers and workshop leads who need funding will get covered, without which there wouldn't be enough content to build a conference around. Funding for non-speaking attendees is always scarce, and the best way to scale that would be to scale our number of sponsors, and we're getting towards the end of the window of time for that this year. It breaks my heart that we cannot bring every single amazing contributor to Flock, and the planning team is doing the best we can to stretch the budget as far as we can to include as many people as possible, I swear. Thank you to the local leads and volunteers helping us figure this out. Looking Forward, --RemyD.
On Jun 18, 2016 23:49, "Truong Anh Tuan" <tuanta(a)iwayvietnam.com> wrote: > > -----BEGIN PGP SIGNED MESSAGE----- > Hash: SHA1 > > On 06/17/2016 10:16 PM, Stephen Gallagher wrote: > > On 06/17/2016 10:28 AM, Brian (bex) Exelbierd wrote: > >> Hi All, > >> > >> Rafal, Filip and I have been working hard on the evening > >> activities. > >> > >> The current proposal is the following: > >> > >> 2 August - Game Night at the Hotel and a City Tour 3 August - 3 > >> hour dinner cruise (200 ppl) 4 August - Buffet Dinner and Beer > >> tasting at Browar Lubicz > >> > >> We would like to hear you feedback on these? Do we need all > >> three evenings to have an activity? Essentially we have a > >> choice. If we cancel either the cruise or the brewery we can > >> shift 6-8 thousand dollars ($6000 - $8000) into the travel > >> subsidy budget. Would you rather have one activity and a > >> greater subsidy budget or 2 activities? > > > > Let's assume for the moment that we made the upper end of that > > ($8000) into a travel subsidy. Do we have numbers on the average > > cost of a subsidy? Would this enable us to subsidize five > > additional travelers? Ten? Twenty? I think that makes a difference. > > If it enables us to get a lot more people to the conference who > > would like to attend, then there's real value in that. However, if > > cost of travel and lodging is so high that it's a minimal > > difference (say, five or fewer additional subsidies), then it's > > probably worth it to keep the activities instead. > > Attending Flock is always a really nice experience so we should try > our best to give more chances to more people. We are allocating around *half* of the budget to getting people to the conference as it is, which I'd say is more than ample. > With approx. 1k per person, we can give chances to 6-8 additional > active contributors allover the world. Though this may be true, this is why we hold and sponsor major regional events around the world. To put it in perspective, that is nearly *half* the budget of an entire FUDCon APAC, up to 80% of a FUDCon LATAM, or enough budget potentially for two reasonably sized FADs. Or we can get half a dozen people travel to Flock.
Remy, may I remind you at this point that we reserved 4k in the regional budget. We have to find a way how to deal with it, so far APAC community has not talked about how to distribute it. The best I think at this point is that we pay the hotel out of that for the APAC speakers. What you think?
> Remy, may I remind you at this point that we reserved 4k in the > regional budget. We have to find a way how to deal with it, so > far APAC community has not talked about how to distribute it. The > best I think at this point is that we pay the hotel out of that > for the APAC speakers. What you think?


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Prof. Idesbald Goddeeris, Professor of Colonial and Postcolonial History (KU Leuven, Belgium), comments on Indian essayist Pankaj Mishra lecture 'How colonial violence came home: the ugly truth of the first world war'
In November 2017, on the eve of the anniversary of the end of WWI, the Indian essayist Pankaj Mishra gave a lecture in the Parliament of Flanders, Belgium. His text, 'How colonial violence came home: the ugly truth of the first world war', is published in English in The Guardian. MO* (Belgium Magazine) asked a number of experts to comment including Prof. Idesbald Goddeeris, one of the members of the Global India network. He translated his intervention into English.
One might question Pankaj Mishra's accuracy. Some numbers (for example the eight million Africans he claims died in Leopold II's Congo Free State) are still subject to debate.
One might question the originality of the essay given that for more than a decade, Europe has been fully aware of the fact that hundreds of thousands of soldiers from the colonies fought in the First World War. In the summer of 2008, the 'In Flanders Fields' Museum in Ypres organised a special exhibition on the multicultural aspects of 1914-1918.
One might question Mishra's scientific methodology. He states that Europe does not perceive continuity between the decades before and after 1914, but this is not entirely correct. Historians have for a long time connected the apogee of imperialism with the forging of alliances; the Industrial Revolution with the new dimensions of war atrocities; and the anti-Semitism of the Dreyfus affair with the Holocaust.
One might question Mishra's lack of nuance. History is not a story of two poles: a suppressing North (or West) and a suppressed South (or East). Colonialism also encountered opportunism in the colonies and opposition in the metropoles. Many of the characteristics that Mishra ascribes to Europe – including racial superiority, fierce violence, economic exploitation, and social exclusion – also occur in other cultures, both before and after their contact with Europe.
One might question Mishra's somber predictions. It is true that racism is growing and is losing its stigma in large circles of society, so that politicians and the media feel increasingly emboldened to question the conventional morale, and that Western voters harm themselves by opting for Brexit and electing Trump. However, the defeats of Marine Le Pen and Geert Wilders demonstrate that these tormenting times do not necessarily have to result in Europe's 'biggest calamity yet', as Mishra warns in the last sentence of his lecture.
One might ask many questions about Mishra's essay. I wouldn't, however, question the common thread of his interpretation of the past, namely that 'Europe's long peace is revealed to be a time of unlimited wars in Asia, Africa and the Americas. These colonies emerge as the crucible where the sinister tactics of Europe's brutal 20th-century wars – racial extermination, forced population transfers, contempt for civilian lives – were first forged.'
One could even go further. The decades following 1945 were not – as Mishra claims – an 'exceptional' period of democracy, welfare and individual liberties. The struggle against communism also legitimized the decades of forgotten wars of decolonization, economic neo-colonialism, proxy wars in the Third World, and a double standard in international politics. The First World War was not a watershed, but neither was the Cold War. It only postponed what was due to emerge anyway after decolonisation and continuing global inequality: the migration, frustration, and radicalization of today.
Pankaj Mishra is correct when he states that Europe suffers from amnesia, or worse still, tends to wipe out the darkest pages of its history. We should act against this and give the floor more often to opinion makers such as Mishra. This is important, both for our credibility towards the outside world and for the cohesion of our own society, which is becoming more and more diverse. Congratulations on the initiative, and thanks to MO* for translating and publishing Mishra's essay!
Idesbald Goddeeris
Professor of Colonial and Postcolonial History (KU Leuven, Belgium)


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Home / THE TEA CRANE GALLERY / Konko-Guro Tea Bowl by Richard Milgrim [R1]
Konko-Guro Tea Bowl by Richard Milgrim [R1]
Hand-crafted tea bowl by tea ceramicist Richard Milgrim.
Red Mino-clay with original combination of Konko-glaze with black seto-guro glaze.
Authentic implements for the tea ceremony from Kyoto.
SKU: TC-RM2-J-39 Category: THE TEA CRANE GALLERY Tags: Richard Milgrim, Tea bowls
Konko-guro tea bowl by Richard Milgrim made in the first year of the Reiwa era.
Molded out of red Mino-clay. The black Seto-guro glaze is applied under the creamy Konko-guro glaze. Due to a lower firing, the finish on the black seto-guro glaze is more matte. A higher firing would result in a more glossy finish.
Tea bowl size: W13cm x D12.4cm x H8.9cm
Packaging: Paulownia wooden box with inscription by the artisan (*see below for details)
Richard Milgrim Profile
Richard Milgrim is a long-term Kyoto resident and ceramic artist for over 40 years. As a specialized "tea potter" (茶陶) he specializes in ceramics that are suitable for use in the rite of tea. With the patronage of the previous grandmaster of the Urasenke-school of tea ceremony he has been able to develop his own style of tea ceramics and built up a large following of tea practitioners within the school. Some of his earlier pieces are also already becoming museum artefact and wanted collectors items.
Richard works in a variety of styles ranging from Mino ware (Shino, Seto, Oribe), to Raku-ware, and even including a style of his own, namely the Konko-glaze. "Konko" (今古) was the name given by grandmaster Sen Genshitsu to Richard's kiln in America when he lived and worked in Concord. It is a playful allusion to the town of residence.
The Konko glaze was formed in the US using local materials. Richard invented it in the early years of the 21st Century, and received the official name for the glaze (and the kiln) in 2004. It is not an ash glaze, but the colorant is the result of tin oxide. It is usually fired in a high-firing between 1190 and 1220 centigrade. The result is a beautiful creamy yellow hue that has until now been unseen in Japanese ceramics.
Richard often uses this glaze in combination with traditional Japanese style clays or other glazes. Some of his Konko-glaze pieces are applied on a mino-clay base, and again others include a combination of both the Konko-glaze and a black-seto glaze.
Learn more about Richard Milgrim and his artworks at http://teaceramics.com/
My first encounter with ceramics began as a college freshman in the early 70's. The following year, after changing schools I was first introduced to Japan and it's pottery traditions. From that point on my life has been firmly focused on the unique culture of Japan and in particular "CHANOYU", known as The Way of Tea.
Since 1977 on my first arrival in Kyoto, I have been blessed with an unending flow of "deai" (encounters) that have almost been like stepping stones on the garden path, leading me into the innermost depths of the field of "Chatou" (tea ceramics).
Undoubtedly the most significant "deai" was meeting Dr. Sen Genshitsu (the former 15th generation Grand Master of the Urasenke Tea Tradition), in 1979. With his guidance and endorsement over the years, including the naming of my 2 studios in both Japan-RICHADO-GAMA, and America- KONKO-GAMA, Dr. Sen has been the primary catalyst in the development of my career over the past 40 years.
Learn more about Richard Milgrim in the following videos:
Richard's TED Talk
Richard's appearance in Forbidden Kyoto on NHK World
(*) Note regarding preparation of shipping and packaging of the set for dispatch.
The tea bowl will be provided with a dedicated wooden box with inscription by the craftsman. From the time your order is placed, we will work on getting the box made, all items properly packaged, and dispatched to you as soon as possible. Please note that duration until shipping may require between 10 days to 3-4 weeks.
Be the first to review "Konko-Guro Tea Bowl by Richard Milgrim [R1]" Cancel reply
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Home MOVIES The Stan Lee Movie Is a Go
The Stan Lee Movie Is a Go
By Teddy Byrne -
He's one of the minds behind such iconic characters like Spider-Man, The Incredible Hulk and The Fantastic Four… but now it's time for Stan Lee's moment in the sun. No longer will he be relegated to a cameo appearance in your favorite Marvel movie. Instead, he will become the main character. Although… there's a twist.
We came from the wellspring of his creativity!
The Hollywood Reporter has the details about the Stan Lee movie, which has already been picked up by 20th Century Fox. It's not just going to be a biography about his life, but instead will be a 1970s action-adventure movie with Lee's role being described as "Roger Moore's 007." Wait… what?
WHAT? YES!
Now, Stan Lee has lived an amazing life. He was born into a poor family in New York City in the 1920s and started working in comics in 1939 for his uncle's company, Timely Comic. Lee took a break from comics in 1942 to enlist in the Army. Upon his arrival home, he teamed up with Jack Kirby to create some of the greatest comic book character and stories of all time.
He eventually moved out to Hollywood in an effort to turn Marvel characters into blockbuster movies (something that wouldn't happen until decades later). In the years since, he has become the figurehead for the comic revolution, a mainstay on the con circuit, and an icon of the growth of nerd culture.
So why wouldn't 20th Century Fox just do a straightforward approach to Lee's life? There are so many twists and turns that in the right hands, a Lee biopic could actually turn into Oscar fodder. It seems inconceivable that anyone would turn his life into the basis for a spy-action thriller! Yet… it could also be brilliant.
Marty Bowen and Wyck Godfrey (The Maze Runner, 2017 Power Rangers reboot) are producing the Lee feature. They describe the tone of the movie as something comparable to Kingsman: The Secret Service. Instead of just being a comic writer, Lee would become a hero himself, complete with dangerous villains and flirtatious females. Think Austin Powers, but serious… and American.
International (Iron) man of mystery!
They could even take it a step further in my opinion. Instead of making it a non-fiction movie with elements of truth throughout, why not make it two stories that merge into one? On one hand you have the biopic feature that follows Lee's journey through the 70s; he's a mainstay on the comic book front and a known personality. The other part of the movie could be how Lee perceives his life, that he's actually the main character of his life story (complete with super-powers and love interests). Eventually the two realms of reality being to blur in Lee's mind and the viewers will have to decide which one is real and which is fantasy.
Now, don't count on seeing The Stan Lee Movie any time soon. No writers have been assigned to the project and everything is still in the early phases. Although, the one thing that needs to be included is a classic Stan Lee cameo. I mean… Stan Lee showing up in a movie about Stan Lee? Not even Deadpool could handle that advanced level of fourth wall breaking!
So what do you think about a Stan Lee action-adventure movie? Is it going to be the next great Hollywood Blockbuster? And would you prefer a straightforward biopic? Let us know!
SOURCEThe HollywoodReporter
Teddy Byrne


This book explains the origins and early developments of Japanese medical insurance systems from the 1920s to the 1950s. It closely examines the changes in the systems and the symbiotic relationship between Japan's status in international relations and the development of domestic medical insurance systems. While previous studies have regarded the origins and development of Japanese medical insurance systems as merely a domestic issue and pay little attention to the role or effects of international affairs, this book closely examines the changes in these systems by looking at the enactment of the Health Insurance Law in 1922, the establishment of the National Health Insurance in 1938, the epoch-making reforms of 1942, numerous plans in the early Allied occupation period, and Japan's social security plan in 1950. In doing so, it shows that there was indeed a symbiotic relationship between Japan's status in international relations and the changing nature of domestic medical insurance systems. It also reveals that Japan's status in international relations set the framework within which interested groups, primarily the government, made rational choices. This book is a valuable resource for academics, researchers and students who have an interest in the Japanese medical insurance systems.
Yoneyuki Sugita is professor of history at Osaka University, Japan. He received his Ph.D. from the University of Wisconsin-Madison in 1999. He started his career as a diplomatic historian and has since been trying to combine diplomatic history and international relations with health policies in Japan. He has been conducting research on the development of Japanese health insurance programs from the 1920s through the 1950s for the last two decades using various primary documents available in Japanese. Based on his unique research approach, he has published many works in this area of research.


Behind every silent, iPod-using designer there's a sociable, creative mind desperate to break out, says Jason Arber. But when they emerge from the office at the end of the day, how do they bridge the gap between work and pleasure?
What kind of a designer are you? I'm not talking about what you design - websites, company reports, advent calendars I'm talking about your design personality.
We all have one, divorced it would seem from our real personality. Take, for example, my temporary residence as art director of a medium-sized agency in London, where a group of perfectly sociable folk sit in rows, headphones pumping out a barely audible hiss that seems to say, "I'll talk to you only when absolutely necessary."
However, at the end of the day they all emerge blinking into the light, and they're different people once again, happily traipsing to the nearest watering hole for a swift lager top before heading back home.
This completely unscientific analysis of a small sample group proves my hypothesis that designers are actually rather convivial people and, in the right circumstances, can be openly friendly and talkative. The next day, of course, they return to work and become zombie designers again, but for a while you glimpsed a spark of humanity.
This dichotomy between work and pleasure would appear to indicate a generalised Jekyll and Hyde personality schism that afflicts the industry. The enforced silence is perhaps cultural or self-inflicted, and I know from experience that it's certainly not universal - I once worked in an agency that was loud, brash and boisterous during work hours. Underneath there is a desperate yearning to be gregarious that can't help but bubble to the surface.
I think this phenomenon partly explains the runaway success of events such as OFFF and BD4D. The work on display is fantastic, but these events are also an excuse to meet people over a yard of ale at the bar and talk about who's hot and who's not.
In short, designers and creative folk, for all their foibles and idiosyncrasies - such as the urge to sculpt their hair into strange shapes and take a fake interest in skateboarding and sneakers - are actually quite normal.
The London Design Festival, which dedicates the last two weeks in September to celebrating the capital's creativity, reminded me of this. Amid the events dedicated to the "Drama of Dress", "Unfolding Japan" and stories inspired by London Underground's Circle Line was the real narrative: a perfectly good excuse to leave the headphones in the office and have a chat with other people who've done the same.
The London Design Festival is broad in its scope, so it offers plenty of opportunities to shoot the breeze with furniture designers, architects, branding specialists, fashionistas, creative writers, film and set designers, as well as those concerned with the graphic arts. There probably isn't enough inter-discipline dialogue between different strands of creativity, so events such as the London Design Festival provide a perfect opportunity to really talk to some different people.
Jason Arber is a designer and co-founder of www.pixelsurgeon.com. He can be emailed at jason@pixelsurgeon.com.


After yesterday's post, I realized that "train music" is its own category. Railroads are really important to the American idea of what it means to be free. Before the time that we all just jumped into our own personal carbon-belchers, moving on meant: we got on a train and moved on, maybe leaving behind someone important. Or we watched sadly as a loved one did so.
Or, more happily – we took a loved one's hand and went into adventure, together.