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Interview with Milwaukee-Based Band Alley Eyes
Grace Flynn, Assistant Music Director|March 29, 2021
New Milwaukee-based band Alley Eyes poses for their Instagram debut. The band focuses on creating a Milwaukee-based sound.
Last month, the MUR Music Department had the opportunity to chat with Colton Schroetter, Jake Grimes, and AJ Folino, all former MU students and members of Alley Eyes, a local Milwaukee band, about their music, their Marquette experience and everything in between.
MUR: If you guys could all introduce yourselves and tell us a little bit about your own background as well as your background as a band that would be awesome!
Colton: Yeah! So, I'm Colton, I'm the lead singer and rhythm guitarist. I've been playing guitar since middle school and since elementary school, I've been singing in different choirs or school groups. I came up here to Marquette and met these guys, which is where we started.
Jake: Yeah, so I'm Jake. I'm lead guitarist and background vocals. I do a little drumming here and there. I've been playing guitar for a long time, probably the same deal, middle school, and elementary school. I came to Marquette for engineering and did five years. [Colton and I] were both in a band previously at Marquette, The Red Doors, and that kind of morphed into what we do now.
AJ: And I'm AJ. I play bass in the band. I didn't start playing bass until after college, but I really fell in love with music, and now I hang out with these hooligans.
Colton: And we are missing our drummer, Matt, today. He couldn't make it.
MUR: So, you all are Marquette grads. Is that how you all met, or how did this band form?
Colton: Yeah, so Jake and I were in a band previously with our same drummer and a different bassist and guitarist. After we all graduated, I went back home for a while and our other bassist left. And then I came back last January and wanted to know if they had reconnected because we all met in engineering together. They needed a new bassist at the time and they found AJ because AJ was an Evans Scholar, and we played for a couple of their parties.
Jake: I was thinking about it, I met Matt through Marquette Running Club my freshman year. I met Colton through living in O'Donnell together freshman year. I will never forget the things that I witnessed in O'Donnell. AJ, I was actually a physics discussion partner with my freshman year. So I've known everybody in the band for a long time, which is kind of cool to see how they drift in and out and have different roles.
MUR: We know you touched on this a little bit, but we were curious how long you have been playing music and what got you into it. What influences the music that you do, and what artists really inspire you?
AJ: It's going to be different across the table.
Jake: How long do you have?
Colton: I started singing from a young age because both of my parents sang in choirs and my mom does musicals. And so, at a young age, I got really into singing. And then when I hit late elementary school and early middle school, I was very into pop-punk at the time, Green Day, those kinds of bands. And so I begged my parents to get me a guitar. They did, and it took me a while to get into it, but I've been playing since about sixth grade. The tastes have changed, definitely. I'd say a pretty wide palate of, like, classic rock, alt-rock, and rap influences. Yeah, I mean that's me.
Jake: Yeah, I've been playing guitar since probably fourth grade or something like that. I've been playing guitar a long time. But prior to picking it up, I spent time around a lot of my cousins who played in bands and wanted to be cool, looking up to them. And they all played, so it was always something I wanted to do. So, I kind of just started playing and did the whole lessons deal for grade school and middle school. And then in high school, I played around, not really in any bands, but I just jammed around. Coming up to college, I was in my first real band, first real gig experiences, those sorts of things. Music influences? Kind of a wide range. Classic rock, alt-rock, a little bit of country, and folk sort of stuff too. That's it for me.
AJ: Yeah, and I guess I'm a little different than those two. I graduated from Marquette and had some time to kill before I started my first job, so I was like, okay what's one thing that I really love that I've never actually tried to do? And I was like, well I've never played an instrument or really gotten into music. I always grew up loving music. I was kind of a similar deal, big pop-punk, an emo kid growing up. My Chemical Romance, Agatha's Kill, whatever. Those are my big things growing up. And then I got into playing bass, wanted to do something different than playing guitar, and I've been in love ever since. Music inspirations of late have probably been The Strokes and The Killers.
MUR: Could you guys tell us a little bit about the name, Alley Eyes? Is there a story behind it?
Colton: Yeah, so we've been trying for the longest time to find a new name because we started out calling ourselves The Red Doors when we were playing together in college, but we had enough new members that we wanted to call ourselves something new, distinguish ourselves. I had the idea of the name Alley Eyes. I didn't intend it as a band name at first. We wanted to start writing and recording music because we had always been just a cover band up to this point, and I had the idea for the name Alley Eyes because I had the idea for a sort of horror movie/slasher theme style of music. So the image of eyes peering out at you from a dark alley, I thought it would just be the name for the album or project, but I told these guys and they both really liked the name. We all just sort of latched onto it and decided to make that the band name.
AJ: I think Colton presented it on our front porch on a cold winter night and we were all standing there like, yeah let's do that as a band.
Jake: Well we were trying to do this for, like, a year.
Colton: We'd spent so much time hating everybody else's ideas. And this was the first one that we were like, we don't hate that, let's do it.
MUR: I know you guys touched on how you used to be a cover band, and when you started producing your own music is when you changed the scene a little bit. What kind of music do you like to play? Do you have a lot of original releases right now, or what's on the horizon for you guys?
Colton: Yeah, so we still practice and have a collection of covers that we do, but the focus has been writing more for the past two to three months. So we have maybe two or three originals that are almost ready to put out there for everyone to listen, and then probably another six or seven that just need some more work before they're ready for release.
AJ: We're trying to work in parallel, I guess. We have some recording stuff that we've been doing at home. We'll probably put out some covers or maybe some bare-bones original demos here soon, but we're trying to do some stuff the right way. Better than we can do in our room on a laptop.
MUR: Do you guys think you will be collecting all those original songs and putting out an album anytime soon?
Colton: Yeah, I mean soon is relative. We still definitely need time to fine-tune, and maybe raise money to go into an actual studio. But I think the hope is that in a year or so we're going to have an album with original songs that we're ready and happy with to put out.
AJ: We have nine or ten really solid ideas.
Colton: They just need more work.
MUR: Obviously, there are upsides and downsides to quarantine, but we've heard a lot of artists say that it's nice to have this time to devote to songwriting.
Colton: Well, we're very close with another band that's on campus, Saving the Suburbs. We're not talking to them constantly, but we'll see them and play with them occasionally. And so, over quarantine, we went from hearing them covering other songs to getting to hear one or two of their originals. It was nice to know that we weren't the only ones trying to take this time to just write since that's all you can really do now.
MUR: Do you guys have a songwriting process that you use when you're working out new ideas?
Colton: I think it's happened a lot of different ways. There's no one way. Sometimes it starts with someone coming up with a chord progression and bringing it to the rest of the band. I end up doing a lot of the lyric writing, and sometimes before I even have an idea for what it's going to sound like I just have ideas for the words. It depends. Every time has been different.
AJ: Colton will come with really strong lyric ideas, and maybe a riff or a melody idea, and Jake and I will kind of go from there.
Jake: We kind of take it and make it a structured song, a full piece, and then turn it back to him.
AJ: Like Colton said, too, there have been other ones written other ways. One of the first ones we wrote, Jake just came with a chord progression and we built it from there. We'll just kick Colton and say, all right, on the spot, write some words.
MUR: Well, we're very excited to hear any new music that you guys will have coming out. We did listen to your original song, "Nothing At All," that you played for the Interstate Music Contest back in January. Could you guys talk a little bit about the experience of participating in that contest?
Colton: Yeah! AJ was the one who found it. It wasn't a particularly widely advertised contest, but he let us know there was a big cash prize. And we'd been writing and practicing covers, but we had nothing to work towards because we didn't know when we'd be able to perform live again. So this contest was great because it gave us something to work towards. So that's when we really started getting equipment and starting to actually record performances.
AJ: I just stumbled across it while trying to look at music gear at work. I think I texted the guys the link, like hey there's this thing. And then Jake was like, we should do it. And I was like, no, you know what, I don't want to do this, because at the time we didn't have any of the gear to do it legitimately and do it the right way, in my opinion. We would have been recording on an iPhone, and I didn't want to put anything out there if that was the case. But we had probably like two or three weeks before the submission came up, and it lit a fire under our ass.
Colton: We spent all of the next three weeks practicing, buying all the right equipment.
AJ: We had some good help. We had a friend from Marquette who majored in digital media. She filmed, and then she and I sat down and did all of the editings together, mostly her with me just giving direction. So we had some really great help from the people who support us as well.
Jake: It was great for us. This competition had us at a level where we went out and did a band photo shoot, so there were a bunch of pictures and we were able to roll out social media and get that going. Then we could have a bunch of content for weekly posts and interviews with band members, and we got the logos were drawn up and everything else. Basically, this competition forced us to just do it. It finally forced us to put it all down and get it started.
AJ: It made it all feel a little more legitimate. It's like, oh, well we went from just playing in a basement to now we have a logo, we have a name, we have a video that's out there.
Colton: And sometime in the next two months we'll actually be going to that company who ran the contest and doing a live stream with them.
MUR: We were wondering, what was your live performance experience like prior to quarantine?
Colton: I mean, when Jake and I were playing with the band when we were still attending Marquette we had played a couple of parties and really the place we would go back to was Murphy's on campus. We ended up being the unofficial house band there for about a year. Every month or every other month for a while there. That was us.
AJ: I only played two gigs back then. There was a giant transition period between what was originally The Red Doors, where I was like a sideline fanboy drinking at Murphy's, watching them play. And then over a year or two, the band just shifted, and we played two shows with a different group of people. We're still friends with all those people, but it just condensed down to us four.
Colton: The last gig we did right before quarantine hit was that we played a show for a charity auction at the Public Market.
MUR: Do you have any goals for venues that you would love to play at post-COVID?
Colton: When things open back up, I think there's going to be such a rush of people. We've been cooped up so long, you want to start going out, and I think there will be a big demand for live music. Take your pick of bars in Milwaukee that we could at least go to and ask if they would be interested. I know we all have that itch to play because it's been so long, but a dream venue is probably The Rave, for me. There's just such cool energy there. The crowds get really excited and really into it. That would probably be the first big, big stage we would ever play at.
AJ: Turner Hall would be my pick. You can apply to play at Summerfest, so we're going to try and do that too, but Summerfest got moved back to September, so we'll see.
Jake: Otherwise, I'd say the street festivals. Brady Street Days, I've always wanted to play Brady Street Days. The Summer Soulstice, that's another big street festival you usually see bands playing. That's something I would love to do.
AJ: Chill on the Hill in Bayview, or something like that. There's a ton of music opportunities in Milwaukee. The Marquette community is so far and away from the music scene, I feel like. By Brady Street and River West and Bayview, there are so many more venues and much more of a music scene over here.
Colton: I know that the focus is writing and recording right now, but if there was just one week where everything was open again, I would be happy to do a show or two a week.
MUR: Do you guys have a favorite memory from your time at Marquette, either as students or as a band?
Colton: As a band, I can think of one funny one for us. When we were still the previous band, our senior year we played at the talent show, just a small, two-song set, and at one point I sort of got to run out into the audience because President Lovell was sitting front row. And so I just, like, made a point of going over and giving him a small high five and then struggling to run back on stage before I had to sing again.
MUR: What was his reaction to that?
Colton: I think he was a little shocked, but when we came on he could probably see my eyes locked on his. Like, he knew I was coming and I wanted the high five. So, a little surprised, but he seemed to take it well. He laughed. Everyone could see me making a beeline for him, so everyone knew it was coming.
AJ: I lived in the Evans house, so my Marquette memories are probably just based around the pals I made from living there. I think the senior year we spent a lot of time at Murphy's, so Murphy's is a home away from home, I feel like.
Colton: I guess another favorite memory would be when the Cubs won the World Series because we have such a huge Illinois population. I remember people just going crazy and dancing in the streets. And pretty much every professor I had was like, don't worry about coming to class tomorrow, just have fun.
MUR: Speaking of Marquette memories, do you have any advice for current Marquette students based on things you learned during your years here?
Colton: I would say there's almost sort of a feeling in the air when you hit your last semester. So, if you're a senior, if you have the opportunity, this is all you've got now for the rest of your college career, so just make the most of it. Anything that you've wanted to do that you haven't done yet, take a hold of it, do it, you know? Any classes you wanted to take or drop, any last new experiences you want. The last couple of months, you don't gain anything by not going for it.
Jake: I would say, along a similar line, really for anybody in college, everyone really tends to put their nose to the grindstone and really grind as far as doing all their work and all their classes and everything, but you've just got to also be aware to pick yourself up from that and really enjoy the atmosphere while you're in there. Because this is the last time you're going to be free to do all this stuff and be around so many people of your age group and similar interests. So, kind of what [Colton's] saying, if you want to do something with people of a similar mindset, get it going while you're there. It's an awesome opportunity for that.
AJ: I don't want to beat a dead horse either, but I don't know. I was pretty serious about the school side of things at school, and at the end of the day, no matter whether or not you have a 4.0 or a 2.0, as long as you graduate, the things you're going to remember are not being in the library till 3 in the morning. What you're going to remember is, like, those Thursday nights with your friends when you decided, hey let's go to the bar and just sort of suffer through Friday classes versus going to bed early another night. Those are the things you're going to remember, your experiences with your closest friends from college. For freshmen, high school is behind you, so take that opportunity in a new place, a new town, I guess to reinvent yourself if you want to.
MUR: If you guys were all in a zombie apocalypse, who would die first, who would die last, and would any of you have specific roles?
Colton: I think, he's not here, but our drummer Matt would probably die first because he's just too nice. He's the nicest out of any of us. I don't think he'd be ready to defend himself, necessarily. He would be the one to sacrifice himself for us.
AJ: One of those two would survive the longest. At some point, I feel like I would just give up and be like, okay whatever.
Colton: I would very much try. I don't know if I would last the longest, but I think I'd have the most fun with it. Nothing else matters at that point so you might as well have fun, kill a couple of zombies, do all the crazy things you could never do if there wasn't a zombie apocalypse going on.
MUR: Do you guys have any guilty pleasures? Either music, food, TV shows, or anything else?
Colton: Yeah, I mean, music-wise, Taylor Swift's "Shake It Off" is an absolute jam. If you're sort of a rock band person saying that everyone would probably judge you, but I think that song rocks. Recently my girlfriend has gotten me into reality TV a little bit. It was something I hated before then, but now I love watching all these awful people say the funniest things I could ever imagine.
MUR: Any particular show?
Colton: Yes, it was Flavor of Love, which was Flavor Flav's dating show. You know, he's just such a weird dude, but it was amazing. I loved it.
Jake: Guilty pleasure? A song off the top of my head that [Colton] showed me that I just haven't been able to get over is Miley Cyrus's cover of "Heart of Glass." It's on repeat. I want more of rock Miley, like big-time. The new album is good. Otherwise, my guilty pleasure is gardening. I'm a big gardening guy.
AJ: So wholesome, right?
MUR: Yeah, as far as guilty pleasures go, those aren't very guilty.
AJ: I think musically, my guilty pleasure, I definitely had a big phase in high school, and I think college, where I got really into, like, early 5SOS and early One Direction. I don't dabble as much anymore as I used to, but I think I was definitely a Directioner at one point in my life.
Colton: I don't listen to them as a band, but all of their solo careers I have loved.
AJ: Big Harry Styles and Zayn fans.
MUR: Just to wrap up, as listeners and supporters of music, what can we do to support you guys and grow your platform?
Colton: I mean, I don't want to tell anyone to do anything if they don't genuinely like us, but any sharing of our content, even if it's not putting it on social media, but just playing us when you're hanging out with friends so people might happen to say, oh this is okay, who is this? Who are they?
AJ: I think we're at such an early stage that for supporting us, social media is our only real thing that's out there right now.
Jake: Yeah, boost the Instagram following. We're trying to put stuff out on there, like, twice a week.
Colton: Once things are finally opened back up, if ever, absolutely come and see us!
This story was written by Grace Flynn and she can be reached at [email protected]
Grace Flynn
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Goldman Sachs: Information, Comments, Opinions and Facts: Introducing President of Goldman Sachs--Jim O'Neill!!
Introducing President of Goldman Sachs--Jim O'Neill!!
Did you ever wonder about people who work for Goldman Sachs and how they learn to channel their knowledge and information into anything that doesn't require them to show empathy nor requires them to ever question what they do or to speculate about how what they do for a living affects others? Do they ever display ethical considerations in their pronouncements?
A case in point includes two articles about Jim O'Neill, the President of Goldman Sachs and an economist who is about to retire. He is an unaware guy who has lost "touch with reality" and doesn't know it.
O'Neill claims to be able to get on with people from all backgrounds, a knack he attributes to his upbringing in Manchester. 'The street where I lived in was literally divided down the middle,' he says. 'One side was in Cheshire and the other was Manchester.
Rome, March 29 - The biggest problem currently facing the European Union (EU) is not the struggling economy of Cyprus but the "Grillo factor" in Italy, Jim O'Neill, president of Goldman Sachs Asset Management, told Bloomberg TV on Friday. "I don't understand how some of the these tough guys in the north are not thinking about that issue," said O'Neill in reference to the political ascent of the anti-establishment 5-Star Movement (M5S) led by Genoa comic Beppe Grillo, which took over 25% of the popular vote in recent general elections. "Italy is the third largest country in the eurozone and if they don't start to have some growth sometime soon, these guys are going to ask questions more seriously about the benefits of staying in the euro...," he continued.
"What is the EU doing to deal with that? The EU seems to get its decisions made for it by powerful voices in certain countries particularly Germany," concluded O'Neill. On Friday, President of the Republic Giorgio Napolitano began a new round of talks with political parties after centre-left leader Pier Luigi Bersani announced that he had been unable to garner sufficient support to form a new government to replace the technocrat executive led by Mario Monti. His failure was partly due to opposition from the M5S, which now holds the balance of power in a hung parliament. Monti was brought in to replace ex premier Silvio Berlusconi in November 2011 at the height of the sovereign debt crisis in the eurozone but his government has done little to kickstart the struggling economy.


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Hello quilty friends! Today I want to share this really cute bag I made using a new pattern from Kimberly Jolly of Fat Quarter Shop and Joanna Figueroa of Fig Tree Quilts. The bag is called Kimberly's Sac.
I was in need of a new bag /purse so I was happy to be making this one. I used Vintage Picnic by Bonnie & Camille and Essex Linen for my bag. I intended to use the navy, red and aqua prints with the polka dot Mochi linen by Moda but... I started pairing up the corally pinks and greens from the line and went in that direction. I'm a sucker for pink and green! There's a little splash of aqua too. I used a cute button I made years ago from a little scrap of the much loved blue eyelet/seed from Flea Market Fancy. I stipple quilted the body and used a wide zig zag stitch for the bottom quilting. I love how it turned out. My oldest girl loved it too so I decided to give it to her. I'm making a bag for myself now with the navy, reds and aquas. I'll share it with you when I finish.
The instructions in the pattern were great. It didn't take too long to make either. A step-by-step video on making the bag with Kimberly and Joanna can be found HERE.
I used 2 of these swivel D-rings for my bag.
I can't wait to see some other versions of Kimberly's Sac. The fabric choices are so fun for this cute bag.
Good morning! I finished second set of blocks for the Crossroads Quilt Along with Fat Quarter Shop and Joanna Figueroa. I really like the colors for these diamond blocks. I think Fig Tree has the best browns. They're always very soft and pretty.
Here are all of my blocks so far! I'm really enjoying this quilt along. Strawberry Fields Revisited is so pretty. I'm looking forward to seeing this beauty come together.
It's been fun to see blocks from people not using the same fabric too. I love the different choices others are making. You can check out blocks by others in the Crossroads Facebook group and also by using the hashtag #crossroadsquiltalong on social media like Instagram.


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Please note that this e-mail has not been verified, so take it for what it is worth.
1. Cucumbers contain most of the vitamins you need every day, just one cucumber contains Vitamin B1, Vitamin B2,Vitamin B3, Vitamin B5, Vitamin B6, Folic Acid, VitaminC, Calcium , Iron, Magnesium, Phosphorus, Potassium and Zinc.
11. Just finish a business lunch and realize you don't have gum or mints? Take a slice of cucumber and press it to the roof of your mouth with your tongue for 30 seconds to eliminate bad breath, the phytochemicials will kill the bacteria in your mouth responsible for causing bad breath.
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Q: JQuery DataTable Column Filter - select dropdown filter At the moment, I'm trying to use a dropdown list to filter my table (I'm using Datatable plugin)
This is my code :
         $('#tableID').dataTable()
   .columnFilter({
  aoColumns: [
  { type: "text" },
  { type: "number" },
  { type: "select", values: [ 'Identify Proposal', 'Define Proposal',  'Evaluate', 'Pending Proposal', 'Approval']  },
  { type: "select", values: [ 'Identify Proposal', 'Define Proposal',  'Evaluate', 'Pending Proposal', 'Approval']  },
  { type: "text" },
  null,
  null,
  null,
  null,
  null,
  null,
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]
});
      });

What I'm trying to do is to get my table to have a drop-down filter :
http://jquery-datatables-column-filter.googlecode.com/svn/trunk/customFilters.html
But for some reasons it's not doing what it should. I don't know what I did wrong. This is the link to my table : http://176.32.230.19/caffeine-cranked.com/Files/test.html

A: Maybe you've to add a type of filter for each column (13 in total). Something like this:
var path = "lib/test.csv" ;
      d3.text(path, function (datasetText) {
      var rows = d3.csv.parseRows(datasetText);
      var tbl = d3.select("#container")
          .append("table")
          .attr("id","tableID");
      // headers
      tbl.append("thead").append("tr")
        .selectAll("th")
        .data(rows[0])
        .enter().append("th")
        .text(function(d) {
            return d;
        });
       // data
      tbl.append("tbody")
        .selectAll("tr").data(rows.slice(1))
        .enter().append("tr")
        .selectAll("td")
        .data(function(d){return d;})
        .enter().append("td")
        .text(function(d){return d;})

 });

 $('#tableID').dataTable().columnFilter({
    sPlaceHolder: "head:before",
    aoColumns: [
        { type: "text" },
        { type: "number" },
        { type: "select", values: [ 'Identify Proposal', 'Define Proposal',  'Evaluate', 'Pending Proposal', 'Approval']  },
        { type: "select", values: [ 'Identify Proposal', 'Define Proposal',  'Evaluate', 'Pending Proposal', 'Approval']  },
        { type: "text" },
        null,
        null,
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    ]
})

redpajama_set_name: RedPajamaStackExchange


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How to Get a Marriage License
When the marriage license is signed, usually immediately following the ceremony, only two witnesses will be needed to sign along with the ordained minister, or whomever is performing the ceremony. The witnesses are usually the folks who stand closest to you during the ceremony, ex: Best Man, Maid/Matron of Honor. Ensure that the person officiating your ceremony will dress appropriately and arrive early. Keep a good line of communication with your officiant to offer peace of mind. I suggest asking your officiant to kindly step out of the way for a Unity Candle/Sand and for The First Kiss so there isn't a person hovering in the back of these images, especially directly behind your smooch, eyes peering through between your faces.
It's easy and free to become an ordained minister through the Universal Life Church. Click HERE
In Missouri, The Recorder of Deeds Department issues marriage licenses. The marriage license costs around $50 and one location for Jackson County is the historic Truman Courthouse on the Independence Square. You'll both need to be present and provide a legal form of ID: driver's license, US passport, military ID, or Missouri ID. The ceremony must be performed in Missouri and the minister must follow the guidelines set forth to ensure a legal marriage. You have 30 days to perform the ceremony after the purchase of the license, and 15 days after the ceremony to return the license to the Recorder of Deeds.
If you're planning on changing your last name, you'll need to request a certified copy of your marriage license for $10.
Did you know that $28 of every purchase of a marriage license in Jackson County, MO is donated to a Homeless Fund, a Domestic Violence Fund, and Children's Trust Fund?
Jackson County FAQ
How to Perform a Wedding in Missouri
In Kansas, The District Court Clerk issues marriage licenses. The marriage license costs $85.50 and must be paid in cash only. Only one member must be present to apply for the license, but there is a 3 day waiting period before you are able to pick up the license. Either member may pick up the license. The ceremony must occur within 6 months of receiving the license and be returned to the Court for recording within 10 days after the ceremony. Certified copies of your marriage license may be requested for $1.25 per copy.
Kansas FAQ
How to Perform a Wedding in Kansas
Hire Nancy with KC Weddings 2 Go to officiate your ceremony!

redpajama_set_name: RedPajamaCommonCrawl


I. All excels are word. Some words are notepad. No window is notepad.
II. Some notepads are excel. Some windows are word. No excel is word.
III. No notepad is excel. Some excels are word. All notepads are window.
IV. All windows are word. Some words are notepad. No notepad is excel.
V. Some notepads are excel. All words are window. Some excels are window.
Some syllogisms are not seating.
I. All puzzles are coding. No seating is syllogism. Some syllogisms are puzzle.
II. No coding is seating. All syllogisms are puzzle. Some Puzzles are coding.
III. Some puzzles are syllogism. All syllogisms are coding. No coding is seating.
IV. No seating is puzzle. Some puzzles are syllogism. All syllogisms are coding.
V. All syllogisms are seating. Some puzzles are coding. No coding is syllogism.
No reasoning is current affair.
Some current affairs are banking.
withdrawal. All withdrawals are loan.
IV. Some loans are withdrawal. No withdrawal is deposit. All deposits are saving.
saving. All savings are loan.
D.6-10) In each questions below are some conclusions are given followed by set of statements. You have to decide from which set of statements the given conclusions logically follow(s) disregarding commonly known facts.
Few Chambas are not Jasmine.
a) No Sunflower is Rose. Quite few Roses are Lilys. Some chamba are Jasmine. No Lily is chamba.
b) Some Sunflowers are Roses. Frequently Roses are Lilys. No chamba is Jasmine. Some Lilys are chamba.
c) Most of Sunflowers are Rose. Not a single Lily is Rose. No Chamba is Jasmine. Some Lilys are Chamba.
d) All jasmines are sunflower. Frequently Roses are Lilys. Each Chamba are Jasmine. Some Lilys are chamba.
a) All Comets are Casper. Frequently Comets are Bubbles. Some Flashes are Comets. Some Sunny are not Comets.
b) No Casper is Comets. Some Comets are Bubbles. Every Flash is Comets. Some Sunny are not Comets.
c) Some Caspers are not Comets. Some Comets are not Bubbles. No Flash is Comets. Some Sunny are not Comets.
d) Some Caspers are Bubbles. No Bubble is flash. Some flashes are sunny. Some Sunnys are Comets.
Some seating are not puzzle.
All rankings being analogy is a Possibility.
a) Some analogies are answer. All seating are puzzle. No answer is ranking. All answers are seating.
b) No answer is analogy. Some analogies are seating. No answer is puzzle. All ranking are analogy.
c) All seating are analogy. Some analogies are ranking. No seating is puzzle. Some ranking are puzzle.
d) Some analogies are answer. All seating are puzzle. All rankings are puzzle. Some ranking are answer.
All English being Tamil is possibility.
Some Telugu's are not English.
All Urdu being Telugu is possibility.
a) No English is Telugu. Some Urdu's are Telugu. All Tamil are Urdu. No English is Urdu.
b) Some Urdu's are Tamil. All Telugu are Tamil. Some English are Urdu. No Telugu is English.
c) All Tamil are Urdu. Some Urdu's are Telugu. No English is Tamil. All Telugu are English.
d) Some Telugu are English. Some Urdu's are Telugu. All Telugu's are Tamil. Some English is Urdu.
Some r is w. Some y is r. Some b is w.
a) All w is b. All b is r. Some r is v. All v is y. Some y is g.
b) All w is v. Some v is r. All r is b. Some b is y. All y is g.
c) All w is g. Some g is r. All r is b. Some b is v. All v is y.
d) All w is y. Some y is r. All r is b. Some b is v. All v is g.


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Concocting a Fun Power System
Posted on September 15, 2020 by Voyager
I did say I was having fun with this, recently.
Anyone who knows me should be aware that I love me a good Shounen action show/manga. It's just such a fun style to mess around with and one of the biggest things defining that trait is the unique power system of the world in which the story takes place. Worldbuilding is my jam. I can spend hours – days even – just fleshing out minute details of the worlds of the stories I'm developing. And I love little more than getting to show off that world in my actual writing. And as I've recently been working to flesh out as many key details about the characters and world of Burning Sky as possible, I recently had the pleasure of taking another look at the interesting power system therein.
I'm obviously not going to spoil any of the specifics, here. But if you want a little taste of what you can expect, three short stories, as well as nine whole chapters (plus an epilogue) of Burning Sky Prelude are available for free on our main site. So check those out when you can! But yeah, in the world we've created, the power system is, for the most part, pretty deceptively simple. There are a lot of moving parts, but there's also a lot of overlap in places you probably wouldn't expect, making the whole thing really easy to understand. And I think that should always be a goal when creating the power system for any world. It should be something digestible that isn't going to overwhelm your audience. But obviously that isn't all.
Voyager's 3 Criteria
Personally when I develop the power system for a world, I tend to take sort of a Game Design philosophy and try to first think about what I'm creating that system to fulfill. I have three criteria. But just because the power system is designed with one foremost in my mind, doesn't mean it can't also fulfill the other criteria to a lesser degree. They are:
To create a fun, engaging, dynamic way for the characters to interact in their clashes.
To inform and add depth to the world through history that reflects how things developed this way.
To act as a storytelling device by having the system represent a greater thematic purpose in the story.
I feel pretty comfortable saying that in Burning Sky, it was a clear case of Option 2, but with a medium dose of Option 1 and a light sprinkling of Option 3. There are a lot of ways to attain power in this world, and it was really fun coming up with so many characters with so many wacky, zany, totally insane-y abilities to bounce off of one another. But the biggest thing, for me, was making sure that the power system of Gaea really reflects what the world has been through. What could cause all these different forms of power to need to exist? Why is the distribution of some of these abilities weighted so differently in different regions of the world? Things like that. I think a well-crafted power system can actually be a fantastic way to teach your audience about the world they've chosen to engross themselves in.
Power Systems Are All About Rules?
Well… no.
I'll just make this clear. In writing, there are no rules, only guidelines. Anyone who tells you a power system must have a set of hard rules is probably too caught up in the idea of writing, itself, needing to have rules. Obviously, chaos need be controlled. Don't take that advice as me telling you to just throw caution to the wind and go wild. I only mean that once you do learn the "rules" (guidelines) – meaning you're familiar with them, their inner workings, and why they're such strongly held beliefs to begin with – then you may proceed to bend or break them to your heart's content.
"Are you saying that Burning Sky's power system doesn't have any rules?"
HA! Oh lord no. Burning Sky has more rules than I can shake a stick at. It's possibly the most structured power system I have ever created. But that was necessary to an extent, because I wanted each route to power to have its own unique identity, which meant things had to be a bit more defined. That being said, there are certain elements of chaos. But nothing like a few other stories I've had in the pipeline for ages, where abilities were just "whatever cool abilities get introduced in this arc through a new enemy/ally," after which I'd find a way to roll with it. Funnily, I don't really think that particular style is actually any more difficult to understand than the one here, though. I think when you have a more chaotic system – a la Dragon Ball Z/Super (where, let's be honest, the only hard rule is that ki and magic are not the same thing) – things can often be just as easy to understand, if not more. Because you don't have a lot of arbitrary red tape. It's very pick-up-and-go, in that sense. Some series don't even do that. Characters just have wacky powers inexplicably. And for the sake of balance, rules aren't part of a greater system, but each individual character might have their own unique set of rules that govern their abilities.
Rules in power and magic systems essentially exist to avoid the looming threat of the dreaded "Deus Ex Machina." An ass-pull, essentially. And it's a valid reason to institute such a thing. Does every power system need to have hard rules? No. Would it be beneficial for the abilities of the characters to have rules, even if there's no greater system dictating them? Yeah, probably. You can have something where there are just no rules at all, but at that point you're either doing it for some greater storytelling purpose… or you need to take a step back and rein in your excitement a little. On the opposite end of the spectrum, though, don't inundate your power system with such intrusive rules that you restrict your own creativity. If a power system isn't fun, you might as well not be using it at all.
Let's Be Honest. We LOVE Those Talks.
You know the ones. Comparing the different abilities of characters in-series or just theorizing about how powerful a character "truly" is, and what fun applications their powers can have that haven't been shown yet. What if the writer thinks of the same thing as you?! Eeeee! We're all geeks here. And we undoubtedly enjoy that kind of thing. And guess what? We writers love it as much as anyone else. I can't begin to tell you how many times we've been chatting about the abilities of certain characters and just got derailed with thoughts of if that character could take on another, or what some really cool stuff could be that they might pick up later, with a little more experience. It's a blast. I think one surefire mark of a really great, memorable power system is that you devolve into a squealing fangirl and rambling nerd about it from time to time. No shame here.
And that's my bit. Sort of a short post, but it was a fun one to write and a fun one to think about yesterday, while I was ironing out some stuff. I really can't wait for you guys to get to fully immerse yourselves in this world we've made and start experiencing the adventure for yourselves. Hopefully you'll have those little nerd-out moments like us, the dorks who wrote it. Thanks for reading!
Stay safe, Stay healthy, Stay awesome,
Category: Features, Wandering ThoughtsTags: Burning Sky, Wandering Thoughts
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This week on the XLIVE Interview Series, we sat down with Aivar Laan, Founder and CEO of Festivality. Festivality provides a technology platform and full-service support to bring live events to mobile. We asked Aivar a number of questions from the opportunity he saw when founding Festivality, we spoke about the importance of capturing data for event organizers and Festivality's upcoming data and analytics, self-service, and cashless payment platforms, and what brings them to XLIVE 2018 in Las Vegas. Read the interview below!
Thanks for taking the time to sit down with us, Aivar. For those who don't already know, can you give us a brief overview of Festivality, the organization's mission statement, and the opportunity you saw and inspiration you had when founding Festivality?
The industry which used to be quite conservative in adopting technology and software solutions, is going through a major digitalization, fans smartphones penetration and new habits being the driving force. Already 3B+ smartphones globally in use in 2018 changes eventgoers / fans expectations at live events at scale, for which event organizers need to cater to. Our technology company has set out on that journey, aiming at a smarter, data-driven future in the live events space.
In a nutshell – Festivality is a platform technology for festivals and events to adopt smarter next-generation mobile event apps, gain new revenues and actionable event and fan analytics. Festivality helps to digitize live events and turn them into actionable data.
Events in the past considered the mobile experience an expenditure, Festivality's software transforms that into a better user experience for eventgoers with added revenue generation streams for organizers.
The mobile app space is very competitive. What are your areas of focus and how do you differentiate yourself as a mobile app provider?
Festivality is focused on helping the consumer events space (festivals, sports, live events etc), which is still underserved with smart technologies, and also provides more commercial opportunities. There are 100+ mobile technology service providers globally for B2B and corporate events, which is a mature and competitive space.
Festivality differs in that the event apps built on our platform capture more smart data and are dynamic data-centric products.
Secondly, our platform has mobile commerce tools built-in to increase B2C and B2B revenues for events and to gain good ROI from using mobile apps. We facilitate transactions with fans via native mobile payments which is a standard feature in our apps. Festivality platform also enables fast and secure one-tap payments for extra convenience for app users.
Third, what comes to data analytics, as many live event groups use our mobile event apps year-round and as multi-event or multi-festival products, we have comprehensive wider window into fan data and more data points. We are also using machine learning, AI tools and data science to make better sense of the captured data.
How did you personally end up in live event industry? Did you have a background in events or do you come from a technical background?
I guess I'm a live events industry veteran already 😉 Over 25+ years I've been personally involved in production and promotion of 2000+ events in a wide range, from corporate events to music and film festivals in Europe.
My co-founder and CTO has fully technical background from mainly London and Silicon Valley based data focused businesses.
We started to build the technology platform initially for our own events and festivals to make better sense of fan data and the analytics opportunities around it. At some point we saw a larger and growing demand from our peers and decided to focus on the data-driven technology vision for the event industry.
Can you give us a couple specific examples or brief case studies of how Festivality has helped an event? From driving revenue, enhancing attendee experience, collecting and leveraging event and attendee data, etc.
Festivality´s app monetization platform powered a leading European music showcase festival to increase their B2B revenues 10x from specific business customers and partners segments over a 3 year period.
Motorsports event app built on Festivality platform enabled to unlock new contextual B2C revenues via in-app purchases and native mobile payments at European Championship level rally event.
One month long educational Asian conference run all attendee communications with the help of Festivality event app via pre-scheduled + geo-fenced push messaging, having more than 80% active app adoption, keeping attendees engaged, informed and collecting valuable actionable insights from data on event contents, feedback, preferences.
World Championship level event with 250 000+ visitors incoming to a region, has substantial additional affiliate sales revenues from official booking widgets in their event app that attendees can use for more convenient and fast accommodation booking.
For event organizers and promoters: an industry-specific automated mobile apps builder with an efficient event data management system + event datalytics & mCommerce toolbox. Powers events to launch smart, custom-branded white-label, data-driven event apps, helping event teams to make more informed decisions from real-time and historic event and attendee data analytics. We also open access to new and additional revenue streams via mobile devices.
For fans & attendees: Intelligent, feature-rich event app (iOS, Android), helping eventgoers get more value out of events and better user experiences via mobile. Along with an ability to buy and pay at event contexts conveniently with their smartphones (cashless events).
Monetization platform to facilitate commerce for events´ organizers and their partners ecosystem with commercial interests: sponsors, vendors, merchants, exhibitors, artists.
There are three new exciting Festivality products and services which we'd like to discuss briefly with you. First, we've heard there is an upcoming 'self-service' product launch for smaller events. Without giving away any sensitive information, what can you tell us about this, and why did you decide to launch a self-service platform for event producers?
The benefits of mobile event apps might be proven by now in many verticals, but the smarter versions still require a substantial investment and time and effort to come to fruition from scratch. As a result, it is not yet standard for all consumer event teams to build and monetize mobile apps to support their events, like it is already done at more than 60% of professional events in mature markets.
Festivality is changing that by making smarter mobile apps easy and accessible for all events, also for smaller and mid-sized events. We are launching a self-serve platform to build smart event apps fast and affordably for all major event types, be it a music or film festival, sports event or conference.
Self-serve platform also comes with one-tap native mobile payments integrated into event apps to facilitate mobile commerce for the promoters, their sponsors, partners, artists etc.
Multiple other monetization tools enable event teams to turn going mobile from a cost line in the event budget into a revenue centre.
Comprehensive analytics dashboard enables to capture insights and value via mobile event apps data for real time decision-making and optimizing of the events.
Second, there is an upcoming data and analytics platform, putting your fan and attendee data to work so event producers can make better decisions for their future events. How will this platform work and how will this help event producers?
A common problem in the live events industry has emerged from our customer conversations – there are tons of promoters and events out there who are sitting on top of valuable fan and ticketing data they have captured over the years, which they do not use effectively at all.
FanSifter is a full-stack fan data analytics and marketing solution for promoters to improve audience insights, drive sales and achieve higher conversion rates. It enables events to launch smarter campaigns directly from the platform, using real-time, behavioral, historical and demographic insights while the robust algorithms optimize segmentation and targeting.
Sample use case – event needs to sell more tickets. Our analytics software enables better segmentation of your fanbase and the marketing tool streamlines more personalized communication to these audiences.
Also sponsors and brands at live events and for instance managements of the artists performing at music festivals need to make a better sense of the audiences and have extra opportunities to communicate with them.
Lastly, Festivality is working to create a cashless payment platform for event organizers and their attendees. What can you tell us about this platform, and how will this fit with the rest of the Festivality products, and why should events go cashless?
Cashless commerce at events and festivals is by now a proven method of increasing fans convenience as well as event promoter´s and merchants´ revenues while also capturing valuable fan/sales data. For many events, cashless systems of today still have prohibitive cost related to set up, services and infrastructure needs around it.
Festivality has a new technology solution in development, that will make cashless systems accessible for wider range of events.
We already have native mobile payments in all of our event and festival apps, which is not a standard solution in the industry.
Events have access to fans smart devices with our mobile technology platform, and cashless system will be added layer and value on top of our platform solution.
What's the best part of your job, what brings you the most joy, and what keeps you up at night?
I´ve always been a change agent and on a mission to inspire positive changes in thinking among my peers. Innovation in the event industry is close to my heart and I see multiple ways to innovate in the digitizing events space with data, smart devices and technology.
You guys are European based and have seen lots of success in the European market. What brings you to United States, and specifically XLIVE this year?
Festivality´s roster of customers includes top European live event groups, from music to city festivals, live tours, major sports and tech events. From 1000+ attendee conferences to 250 000+ eventgoers World Championships level sports events.
We are confident we can deliver value with the team´s expertise and our technologies also for North American events, and XLIVE is an awesome experience to meet a lot of new and old friends.
From our customer conversations we see that events´ needs are quite homogeneous across globe, similar topics are on the table for promoters and producers of live events irrespective to their domicile.
Can you give us a bold prediction for the live event industry in the next 1 year? 5 years?
Technology and data are game-changers and helping all players in the industry. Adoption of smart data-driven technologies means empowering fans with better user experiences and helping event-goers get more out of live events. For organizers and promoters this enables to deliver better, smarter events and both to provide and capture more value with data-driven approaches.


Is it capital? Or financial backing? Or a wide bank of knowledge? Or the quality of your product?
I know, for a fact, that it's something else. Something less tangible, but more pivotal. Something hard to define, but easy to implement.
It's the finding of your WHY, or your purpose…and then exercising it, every day, in the form of a business.
You know it when you see it: Female entrepreneurs who are excited to get to work and who eat, sleep and breathe their businesses—because it comes naturally, and they wouldn't want it any other way.
You want that, too. You want to live out your purpose through a prosperous business.
There's just one problem: You're not sure what that purpose might be. You have a desire to be in business, but you're not sure what would keep you focussed and excited about going to work every morning. You're not sure what you're good at, and what you would be happy doing for the next ten, twenty or thirty years.
This is a heavy question for any woman, and nearly as profound as What is the Meaning of Life?
There's no need to worry, though. You have a purpose. Everyone does. You've just got to find it.
Identify your Talents. This might seem silly at first. Of course everyone knows their own talents, right? Well, most women know what they like to do, but do they really know what they're naturally good at? Branch out and try new things. Look around to gauge what you're better at than the average person. Take note of what comes easily to you, that others struggle with. Ask your friends and co-workers where they think your talents lie. Make a list and put it to the side.
Identify your Passion. This is the thing (or things) you think about all the time; the thing you can't wait to do after work or on the weekends. It's something you can talk about for hours and something you love to research and learn about. It doesn't have to be something you're really good at; it does, however, have to be something you're impassioned about. Keep this list handy, too.
Identify the Intersections. Now, take both of those lists and name the places where your talents and your passions intersect with each other. This isn't about finding direct matches; instead, it's about thinking creatively about how you can combine the things that you're good at with the things you're passionate about to come up with something you can do better, with more energy, and more distinctively than anyone else.
Identify your Skills. Your skills are the things you've worked to develop, and now is the time to list them and work out how you can use those skills to deliver the above-named talents/passions. It is possible that you don't currently possess the skills to make those deliveries (i.e. start a business). In that case, now is the time to identify the skills you'll need to acquire—either through research, practice or formal study.
Identify your Values. You've got the underpinnings of your purpose in place, and now it's time to name the values you wish to demonstrate through your business. This will determine how you deliver your product or service. Your values are those qualities you not only wish to see more of in the world (and that you hold close to your heart), they're the qualities you want to see in your future customers.
It's unlikely that you'll come up with your true purpose by simply reading through the above list. It is likely, however, that these five steps will give you lots of thinking points to support and inspire the uncovering of your purpose.
Always remember that a goal is not the same as a purpose. You need a purpose in order to reach your goals.
Are you driven to run your own business, but still struggling to find your purpose? I, too, struggled with purpose, and have found the formula for helping other women discover theirs. That formula is the basis for the Secret Women's Business Academy, and you can join here.


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Massive ear damage liability resulting from headphones at work
Contributor: Viola Lloyd | Published: 28 May 2014
Viola Lloyd 31 October 2016
Employers are liable as workers spend nearly two hours using headphones in the workplace 7.6 million people in UK potentially at risk of noise induced hearing loss.
A quarter of the UK workforce use headphones whilst at work, putting them at increased risk of noise induced hearing loss, according to a study by audio technology company, LimitEar. Workers listen to an average of 110 minutes whilst in the workplace, and a further hour and a half (92 minutes) outside of work hours. In total, an estimated 7.6 million people in the UK are exposing themselves to over 3.5 hours of reproduced sound each day.
Industry experts from LimitEar, HSE, the UK's national independent watchdog for health and safety, and business insurance specialist QBE Insurance are highlighting the need for employers to protect staff and themselves from the emerging risk of occupational noise induced hearing loss (NIHL). Despite the regulations being in place to protect UK employees, the majority of respondents (79 percent) are unaware that their employer is legally required to protect them from NIHL. The study also revealed that almost half (48 percent) of the respondents are concerned about losing their hearing, showing a growing need for employers to protect their staff effectively.
Stephen Wheatley, Managing Director at LimitEar, commented "With digital developments in music and audio devices, it's becoming more commonplace for people to plug in their own headphones or earphones whilst at work. This research is representative of Britain's workforce generally but hundreds of thousands of employees – such as call centre workers and emergency services – are required to use headphones occupationally so are significantly more at risk of NIHL."
Andrew Thompson is a Specialist Inspector (Noise and Vibration) with the HSE, the UK's national independent agency for work-related health, safety and illness. He added that "Whilst employees are listening to audio using their own devices at a volume they're in control of; employers still have a responsibility for the health and safety of their workforce. As well as potentially contributing to hearing damage the uncontrolled wearing of personal headsets in the workplace may also have safety implications because of an impaired ability to communicate or hear warnings, alarms, moving vehicles etc. Employers allowing staff to use their own headphones or earphones must ensure that they're adhering to regulations and sufficiently protecting staff."
Mike Barraclough, Senior Risk Manager at QBE Insurance, added, "Noise Induced Hearing Loss claims have increased 40 percent in the first year following the Jackson Reforms. Employers need to take pro-active steps to manage their employees' exposure to noise. In addition, employers must also provide evidence of such actions in the event of a Noise Induced Hearing Loss claim being pursued, to increase the prospect of successfully defending such claims" European regulations stipulate that workers should not be exposed to average noise levels of 85dB (busy city traffic from kerbside) or above over an eight hour period. Prolonged exposure to noise above the average limit of 85dB can result in NIHL. For example, when listening to an MP3 player at full volume, this generates 100dB of sound, meaning you should only listen to it for a maximum of fifteen minutes or risk hearing damage. The research results come from a survey of 2,000 UK employees – commissioned by LimitEar – looking into the awareness of the European regulations, headphone usage and attitudes towards their hearing health.
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Stress sucking £100m out of UK businesses annually ARTICLE BY: Viola Lloyd | Published: 30 June 2017


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Selected 2019, Brianne Urzada, Somewhere Else Oil
Selected 2019, Dong Kyu Kim, Composition with hidden whispers
Selected 2019, Chenyi Sun, Blue, Red, White, Paintings
Selected 2019, Mathew Gasparek, Apples and Oranges
Selected 2018, Fukuoka Yuri, Wave of flowers
Selected 2019, Yukino Iwatsuki, Room
Selected 2017, Themba Khumalo, Together We United
Selected 2016, Fátima Sarute, Paraíso Atlántico
Selected 2019, Masin Mauro, Broken Surf
Selected 2018, Wenqian Leng, She is in the Crazy City
Selected 2020, Violetta Sevostianova, The "Gucci Girl" And Giraffe
The Chelsea International Fine Art Competition Result Archives
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Kathy Battista
Program Director of the MA in Contemporary Art, Sotheby's Institute of Art
Kathy Battista is a scholar, lecturer and curator of exhibitions in museums and galleries. She is also the author of numerous articles and books, including; New York New Wave: The Legacy of Feminist Art in Emerging Practice and Renegotiating the Body: Feminist Art in 1970s London. In addition to this Battista also holds the prestigious title of Editor in Chief of the Benezit Dictionary of Artists at Oxford University Press. She is also co-founder of Art Legacy Planning, a consultancy that works to ensure the creative legacies of visual artists. Battista holds a PhD from the University of London and an MA from the Courtauld Institute of Art, London. She is currently Program Director of the MA in Contemporary Art at Sotheby's Institute of Art New York.
Curated exhibitions include: Democracy: What's Right What's Left, Phoenix Gallery, New York, E.A.T.: Experiments in Art and Technology at the Museum der Moderne, Salzburg, Austria, The Art of Fashion at Fountain House Gallery New York, Escape Attempts at Shulamit Nazarian Gallery, Los Angeles.
Gwen Chanzit
Curator Emerita of Modern Art and the Herbert Bayer Collection and Archive at the Denver Art Museum, Professor of the Practice and Director of Museum Studies in Art History at the University of Denver
Gwen Chanzit is Curator Emerita of Modern Art and the Herbert Bayer Collection and Archive at the Denver Art Museum, and is Professor of the Practice and Director of Museum Studies in Art History at the University of Denver. Over her 36-plus years at the Denver Art Museum, Dr. Chanzit organized more than 30 exhibitions. Some highlights were Figure to Field, Mark Rothko in the 1940s, Herbert Bayer: Berlin Graphics 1928-1938, Fracture: Cubism and After, Joan Miró: Instinct and Imagination, Starring Linda: A Trio of John DeAndrea Sculptures, Overthrown: Clay Without Limits, Herbert Bayer: New York and Aspen Paintings 1938-1974, Gunther Gerzso: A Mexican Master, and Abstract Expressionism from the Denver Art Museum.
Her major curatorial project, Women of Abstract Expressionism, opened at the Denver Art Museum in June 2016 and was on tour for a year. This traveling exhibition received much positive attention in the national and international press. Its comprehensive catalogue is now into its fifth printing.
Dr. Chanzit is regarded as the world expert on Bauhaus artist Herbert Bayer; she has published several books highlighting Bayer's wide-ranging artistic contributions
Christina Mossaides Strassfield
Museum Director and Chief Curator, Guild Hall Museum
Christina Mossaides Strassfield is the Museum Director/Chief Curator of Guild Hall Museum in East Hampton, New York. She oversees the artistic leadership and overall management of the Museum with an exemplary schedule. The mission statement of the museum is to showcase artists who have an affiliation with Eastern Long Island. Close proximity to NYC has made the Hamptons the summer home for most of the New York Art world. This has allowed Ms. Strassfield to forge close relationships with the artists, dealers and collectors who shape it. She has curated exhibitions of numerous internationally recognized artists such as Roy Lichtenstein, Chuck Close, Eric Fischl, David Salle, Ross Bleckner, April Gornik, John Chamberlain, Larry Rivers, Hans Namuth, Cindy Sherman, Dan Flavin, Taryn Simon, Barbara Kruger and Richard Prince. Each of these artists has formed a positive bond with the institution in part because of her. Ms. Strassfield is also very committed to championing the works of lesser known artists.
She curates group invitationals show which has received acclaim from art critics as well as the general public. At Guild Hall she is in charge of overseeing and curating the permanent collection of over 2500 objects. Ms. Strassfield launched the Guild Hall Collector's Circle and has cultivated many gifts for the collection, overseeing acquisitions and loans, guiding the Museum Committee, and organizing traveling exhibitions. She's co-chaired a Symposium at Hofstra University on the artist Perle Fine. She's also a professor at the State University of New York at Suffolk Community College.
David Benrimon
NYC, USA
With over 38 years experience in the art world, David Benrimon has the distinct advantage of understanding the art world from many different angles. David Benrimon started with framing and curating when he founded Skyframe in 1977 and Central Art Framing in the 1980's to serve Manhattan's growing artistic community. Both companies served as a haven for helping dealers such as Leo Castelli and artists such as Roy Lichtenstein and Andy Warhol realize their vision through framing. As the art community in SoHo grew, David acquired important works from artists and galleries that would later become part of art history. In 1994 he founded David Benrimon Fine Art LLC to advise collectors and investors on the dynamic world of Impressionist, Modern and Contemporary fine art. David maintains long-established relationships with a select group of dedicated collectors, investors and corporations worldwide, including individuals from Forbes World's Billionaires. David Benrimon Fine Art buys, sells and invests in important artworks and also curates at least 6 exhibitions per calendar year from its location in the Crown Building at 730 Fifth Avenue in New York City.
Takao Tsutsumi
Museum President
Takao Tsutsumi is president of Sezon Museum of Modern Art in Japan. Previously the president of the Japon-Europe pour les Echanges Culturels (AJEEC) non-profit organization and the Association Japon-Europe pour les Echanges Culturels (AJEEC), in 2005, he sponsored a private exhibition of Hanako Miwa, Love Lotus, in Paris, Tokyo and Hagi, Japan. In 2008 he organized Vivre: Akane Teshigahara + Pierre Gilles in Tokyo. In 2009, he arranged the show Mai Takaaki Umezu in Paris. He has been a juror for many competitions including the Tokyo Photo Contest.
Sebastien Pronovost
Gallery Director
Sebastien Pronovost was born in Canada but discovered his passion for art and the art world in Paris, where he started to work at a prominent gallery on the Rue de Seine. Moving to New York City some years later, he began working at the Bertrand Delacroix Gallery/Axelle Fine Arts and is now the Director of Axelle Fine Arts Galerie, in SoHo.
Susan Whitney
Susan Whitney is the Vice-Chair of Creative Saskatchewan, founding president of Saskatchewan Professional Art Galleries Association, past president and honorary life member of the Art Dealers Association of Canada and has been a member of many other local and national arts and cultural organizations including the Canadian Cultural Property Export Review Board. She founded the Susan Whitney Gallery in 1979, a vibrant and nationally acclaimed commercial gallery in Regina which has represented many important and notable artists throughout its 26 year history. Since 2005 Susan's professional focus has been devoted to fine art appraisals.
Ave Pildas
Ave Pildas is a successful photographer and educator who has been working in the art world for 40 years. His own work has been featured in many prestigious publications, both American and international, including the New York Times and 'ZOOM' and has been displayed in solo shows all over the world, from Janus Gallery, Los Angeles, to Photographers Gallery, London, to Gallerie 38, Zurich, as well as many others. He loves to inspire new talent, and works to guide and polish the creations of aspiring young artists. He is a Professor Emeritus at Otis College of Design.
Independent Curator
Ginevra Bria is an art historian and an independent curator. Her experience and influence are international, and in the past ten years she has worked and collaborated with the likes of New York's Solomon R. Guggenheim Museum, Brazil's Centro Cultural Banco, the Museo del Novecento in Milan and many more. She currently holds a curatorial position at Isisuf – the International Institute on Futurism Studies. She also works with emerging and mid-career artists to develop public space projects in Germany, Switzerland and Italy.
Yuko Hasegawa
Chief Curator, Museum of Contemporary Art of Tokyo
Yuko Hasegawa is Chief Curator of the Museum of Contemporary Art, Tokyo, and Professor of the Department of Art Science, Tama Art University in Tokyo. She is a member of the Asian Art Council at the Solomon R. Guggenheim Museum (New York), and her recent projects include BUNNY SMASH – design to touch the world (2013) at Museum of Contemporary Art Tokyo, Trans-Cool Tokyo (2010-11) at Singapore Art Museum, and Matthew Barney: Drawing Restraint (2005) at the 21st Century Museum of Contemporary Art, Kanazawa. She is a curator for the upcoming exhibition New Sensorium in Infosphere: Exit from Failure of Modernism to be held in Karlsruhe, Germany, in 2016. Hasegawa has also been involved in curating several international biennials, including the São Paulo Biennial (2010) and the Venice Biennale (2003).
Seb Patane
Seb Patane was born in Catania, Italy in 1970; Today he lives and works in London. Patane's research, between abstraction and figuration, moves between the fascination for narration and its shape as a fragment. The artist uses a variety of sources, from cinema to literature, from news to the history of art in order to assemble and reconstruct images, through video, photographs, sculptures and installations, where the layering of different materials expresses the ambiguity of the archetype, with all its symbolic power.
His most recent solo exhibitions include: Abdomen, Galleria Fonti, Naples, Italy (2014/2015); The Foreigners stand still, Fondazione Giuliani, Rome, Italy (2013); Year of Corn, International Art Objects, Los Angeles, USA (2011); 400 Sonnets in Reverse, Together, Kunsthalle Mulhouse, France (2011); Seb Patane, Maureen Paley, London, UK (2009); So this song kills fascists, Art Now, Tate Britain, London, UK (2007).
Holly Myers
Writer, Critic and Curator
New Mexico, United States
Holly Myers is a writer, critic and curator currently based in New Mexico. Her art writing has appeared in the Los Angeles Times, the LA Weekly, the New York Times, Art Review, Art + Auction and Modern Painters, among other publications. She is the co-editor of Rabble, an imprint of Insert Blanc Press that aims to foster innovative critical writing. Her fiction has appeared in the Antioch Review, Zyzzyva and Joyland. Her story "The Guest House" was anthologized in New California Writing 2012 (Heyday) and an excerpt of her first novel was published in "Gen F: An Anthology of Short Stories for the Comic Tragedies of Our Times." A collection of her stories and other short works is forthcoming in 2016, through Insert Blanc Press.
Xiaoyun Zhang
Curator, Founder & President of Arts Without Borders Foundation Corp.
Achieving unprecedented success as the youngest curator in China, Xiaoyun Zhang vision is to represent the younger generation of artists on the international art scene. Mentored and deeply influenced by Won-il Rhee, Xiaoyun assisted the great curator in preparing for, as well as curating the Nanjing Biennale in 2008. Since then, she had managed multiple curatorial projects in both Nanjing and the United States, including the Sinamerica I (2015), Interaction (2014), New Fountain of Ink (2013) and others. Xiaoyun Zhang is the founder and president of Arts Without Borders Foundation, a non-profit organization focused on promoting art and culture across borders.
Irene Tsatsos
Gallery Director & Chief Curator at the Armory Center for the Arts in Pasadena
With a background as a visual artist, Irene Tsatsos is recognized as an artist-centered curator with a practice oriented toward artistic collaboration and production. She is currently the Gallery Director / Chief Curator at the Armory Center for the Arts in Pasadena, CA, a position she has held since 2010. From 1997 until 2005, Tsatsos was the executive director of Los Angeles Contemporary Exhibitions (LACE). Prior to that, she worked at the Whitney Museum of American Art in New York where she coordinated the 1997 Biennial. Between LACE and her Armory appointment, Tsatsos maintained an independent curatorial and writing practice, collaborating with individual artists and renowned institutions such as the Getty, the Annenberg Foundation, The Fowler Museum at UCLA, and The California Community Foundation.
Tsatsos is exploring her ongoing interest in social spaces generated by alternative art practices through her research for a forthcoming exhibition and publication entitled Aesthetic Experiments and Social Agents: Renegade Art and Action in Mexico in the 1990s, which she developed in conjunction with the Getty's Pacific Standard Time: LA/LA initiative.
Marisa Kayyem
Program Director, Continuing Education , Christie's Education, New York Faculty
Marisa received her BA from Vassar College and her Ph.D. from Columbia University, with a focus on American Art and the History of Photography. Marisa Kayyem is an Associate Professor at Christie's Education, where she is the Director of the Short Courses and leads the continuing education offerings. She has taught at several institutions, including George Washington University, Columbia University, Rutgers University and the International Center of Photography before joining Christie's Education. She has lectured on a variety of subjects including Contemporary Photographers, Themes in Contemporary Art, and Emerging Photographic Practices at a variety of museums and institutions. Marisa's expertise also includes Art Business. She has lectured globally on such topics as The Power of Today's Collector, The Value of Contemporary Art, and The Auction House as a Business.
Kyoko Sato
Curator and Producer of International Exhibitions
Based in New York, Kyoko Sato is a recognised curator and producer of international exhibitions. She was part of the curators team and later became a contributor at the Waterfall Gallery, New York. Sato has played a major role in bringing Japanese art to New York by aiding emerging as well as established artists and was recently appointed as the Ambassador 2017 for Ronin | Globus Artist-in-Residence Program, which is supported by the Japan Society. Some of her past exhibitions include Press Photo Exhibition: The Great East Japan Earthquake organized by the Nippon Club and the Asahi Shimbun in New York and Spain (2011), Ancient Egyptian Queens and Goddesses: Treasures from The Metropolitan Museum of Art in Tokyo and Kobe (2014), New York Standard a project at online Gallery Tagboat, introducing American and European artists based in New York to Asian audiences (2016- present), Fermented Souls celebrating 50th anniversary of normalized ties between Korea and Japan, supported by UN Foundation, at Waterfall Gallery (2015), and Public video art project Light Year 14: Japan Parade presented by 3_Search, at DUMBO, supported by the Consulate General of Japan in New York (2016).
Robert Farber
Robert Farber's global recognition has been established through his books, fine art exhibitions, lectures, TV interviews and award winning advertising campaigns. His painterly, impressionistic style that captures the essence of composition in every genre, including nudes, still life, landscapes, and architecture, has influenced generations of photographers. Farber's photo art books have won multiple awards and sold over half a million copies. Aside from numerous creative awards, Robert Farber also received the Photographer of the Year from PMA (Photographic Manufacturers Association), ASP International Award from the PPA (Professional Photographers of America), and The American Society of Photographers for making a significant contribution to the science and art of photography. Some previous recipients of this award include Dr. Edwin Land (inventor of the Polaroid), George Hurrell, and National Geographic. Farber's fine-art photographs have been published in virtually every form and he's exhibited in galleries and museums worldwide. He's lectured at the Smithsonian Institute, The George Eastman House, as well as Universities and professional groups throughout the United States, Japan, Australia and Europe. Aside from his fine art photography, Robert Farber's work encompasses major campaigns for fashion, beauty and advertising, as well as directing for TV and film. A documentary highlighting Farber's life and career, is in development for PBS.
Anne-Brigitte Sirois
Advocate for the Arts, Curator and Dealer
Internationally regarded as an advocate for the arts – for galleries, artists, and artists' ability to work and exhibit their works of art – Ms. Sirois made her permanent mark in the field of real estate and curatorial development with her visionary concept of creating a new art gallery district in the West Chelsea neighborhood of New York City. Ms. Sirois's expertise as a gallerist, curator, and advocate for the arts has benefited regional and international municipalities, prestigious organizations, galleries, and art exhibitions.
In 2012, Ms. Sirois was commissioned by the Contemporary Art Galleries Association of Quebec to organize an exhibition featuring nine artists who would spark interest in the New York art world. The exhibition titled Under the Radar: The New Visionaries was part of the Armory Show VIP Week, New York's premier international art fair, and was held at Guided by Invoices, an art gallery founded and directed by Ms. Sirois.
Ms. Sirois has been featured extensively in major art publications and in the mass media for her significant contributions to the arts. These include: The New York Times, New York Magazine, The Wall Street Journal, Crain's New York Business, The New York Post, Spear's, The New York Daily News, Artscape, The Art Newspaper, Blouins Artinfo, Art + Auction Magazine, BISNOW, Hyperallergic, Time Out and Brucennial, and more.
David C. Terry
Director and Curator, Dept. of Grants and Exhibitions, New York Foundation for the Arts
David C. Terry is an independent curator as well as the Director and Curator of Grants and Exhibitions at the New York Foundation for the Arts (NYFA) where he oversees the Fellowships, Curatorial, Residency and Alumni Programs. Prior to coming to NYFA, Mr. Terry was Assistant Director at the Pelham Art Center, where he directed the exhibition, educational and outreach programs.
His professional career covers a wide range of curatorial, artistic, administrative and academic experience. He has taught a variety of classes including objective and figurative drawing, abstract and figurative sculpture, portraiture and environmental and site‐specific sculpture to students of all age ranges. He earned his BA at the College of William and Mary, and while earning his MFA in Sculpture from the University of Pennsylvania, Mr. Terry began his administrative, curatorial and teaching career at the Philadelphia Arts League.
Mr. Terry is a working artist, a curator with over 100 exhibitions and experiences to his name, as well as a juror, and a panelist for the New York State Council on the Arts, NYC Department of Cultural affairs, Bronx Council on the Arts, Westchester Biennale and the Westchester Arts Council's '50 for 50' Festival, the Alexander Rutsch Award in Painting, the Woodstock Byrdcliffe Artist in Residence Program, Lumen Arts Festival, and a member of the GIA Support for Individual Artists Group Steering Committee as well as Board Member of the College Art Association and the Executive Member of the Fine Arts Federation.
Mr. Terry's awards include Artists in the Marketplace Program, The Bronx Museum of the Arts; BRIO, Bronx Council on the Arts; The Puffin Foundation; New York Foundation for the Arts Fellowship in Sculpture, the Arts and Business Council's Arts Leadership Institute Award and the Elizabeth Foundation's Residency Grant and the Node Center for Curatorial Studies' Innovators Grant.
Federica Chiocchetti
Photography Critic, Curator and Editor
An acclaimed photography critic, an ingenious curator and a prolific editor, Frederica Chiocchetti is woman wearing many hats. She is currently working on her PhD in photography, fictions and text from the University Of Westminster. She is also the founder and director of Photocaptionist, an online platform exploring the overlap of photography and literature. Chiocchetti's writings have also been published in a number of reputed journals and magazines like Der Greif, Photoworks, Foam, Objektiv, Unseen magazine, EXTRA, The British Journal of Photography, Krakow Photomonth,The Photographers' Gallery Blog and MAPP Editions (MACK). Recently appointed as the guest co-curator for the Jaipur Photo Festival in India. Some of her past exhibitions include Feminine Masculine: On the Struggle and Fascination of Dealing with the Other Sex, for Photo50 at the London Art Fair (2016), P.H. Emerson: Presented by the Author, at Nottingham Castle Museum and Art Gallery, in partnership with the V&A and the Art Fund (2015-2016), Amateur Unconcern: A Photo-Literary Fantasia, as part of FORMAT Festival 2015, and Amore e Piombo [Love and Lead]: the Photography of Extremes in 1970s Italy (co-curated and co-edited with Roger Hargreaves for the Archive of Modern Conflict at the Brighton Photo Biennial).
Suzanne Anker
Visual Artist and Theorist, Chair, BFA Fine Arts Department, School of Visual Arts
Suzanne Anker is a versatile visual artist and theorist. Her work and research are stemmed from the crossroads between art and biological science. Working in a range of media from digital sculpture to large scale photography, her works have been showcased and appreciated at a number of established museums and galleries across the globe In addition to being Chair of Fine Arts Department, School of Visual Arts (New York), – a position she has maintained since 2005 – Anker has authored a number of highly acclaimed books, namely The Molecular Gaze: Art in the Genetic Age; Visual
Culture and Bioscience: An Online Symposium. She has been a speaker at several privileged institutions like The Harvard University, The Royal Society, The London Of Economics, The Yale University, Courtauld Institute Of Art, and many more. Suzanne also hosts the Bio-Blurb Show where she explores the futuristic aspects of the "sci-art".
Exhibitions: The Walker Art Center (Minnesota), The Smithsonian Institute (Washington D.C.), The Philips Collection (Washington D.C.), The Medizinhistorisches Museum Der Charite (Berlin), The Pera Museum (Istanbul), The Museum Of Modern Art (Japan) and The Center For Art And Media (ZKM, Germany).
Sharon Matt Atkins
Director of Curatorial Affairs, Brooklyn Museum
At the Brooklyn Museum, Atkins most recently organized Iggy Pop Life Class by Jeremy Deller, and her projects have also included Stephen Powers: Coney Island Is Still Dreamland (To a Seagull) and FAILE: Savage/Sacred Young Minds. In 2014, she organized Swoon: Submerged Motherlands, as well as the Brooklyn presentation of Ai Weiwei: According to What?. Before her move to Brooklyn, Atkins was the Assistant Curator at the Currier Museum of Art, Manchester, New Hampshire, from 2004. Previously, she held positions at the Museum of Fine Arts, Boston; the Metropolitan Museum of Art; and Jane Voorhees Zimmerli Art Museum. Atkins received her M.A. and Ph.D. from Rutgers University, New Brunswick, New Jersey.
Amanda McDonald Crowley
Independent Curator, Public Art Action. Board Member of The ALLIANCE for Media Art and Culture
Amanda McDonald Crowley is a Brooklyn based curator. As the Executive Director of Eyebeam from 2005 to 2011 she created many programs and events of new media art, contemporary art and transdisciplinary work. She has staged art events all over the world, from Finland to the Baltic Sea. She has recently been commissioned to develop an exhibition for the Bronx Arts Alliance in 2018.
Amanda is originally from Australia and holds a Bachelor of Arts from Australian National University, double major of Fine Arts and German. She has worked with art organizations all over Australia, including the Australia Council for the Arts and as Associate Director of the Adelaide Festival 2002. Amanda also served as the Director of the Australian Network for Art and Technology (ANAT) where she made links with the science world and key industrial organizations by arranging for artists to take up residency with them.
She has participated in residencies in Europe, North America and Asia and is also an occasional writer for Artlink, RealTime, the Sarai Reader and Art Asia Pacific. Amanda's curatorial work allows her to develop platforms to bring together both amateurs and professionals from various disciplines and create a space for social change.
Arnold J. Kemp
Dean of Graduate Studies, The School of the Art Institute of Chicago (SAIC)
Arnold J. Kemp is an artist, curator, poet and faculty member of the Department of Painting and Drawing. Kemp previously worked at Virginia Commonwealth University (VCU) where he was an associate professor and the Chair of the Department of Painting and Printmaking. Prior to that, he was the chair of the Master of Fine Arts in Visual Studies Program at the Pacific Northwest College of Art. He also worked as one of the founding curators of San Francisco's Yerba Buena Center for the Arts from 1993 – 2003.
An award winning artist, Kemp is a 2012 Guggenheim Fellow and has also received awards and fellowships from the Joan Mitchell Foundation, Pollock-Krasner Foundation, Art Matters Inc., Printed Matter, Inc. and Portland Institute for Contemporary Art. His artworks are in the collections of the Metropolitan Museum of Art (New York), Studio Museum in Harlem (New York), Berkeley Art Museum and Pacific Film Archive (California), Portland Museum of Art (Oregon), Tacoma Art Museum (Washington) and the Fine Arts Collection at the University of California, Davis.
Kentaro Totsuka
Director of 'HPF Christopher Inc. and hpgrp GALLERY TOKYO'
After working as a director of "rooms" for fashion trade show at H.P. FRANCE, Kentaro Totsuka opened 'hpgrp GALLERY TOKYO' in Omotesando; a contemporary art gallery that specializes in Japanese emerging artists. Mr. Totsuka is also the Director of H.P. FRANCE WINDOW GALLERY, storefront gallery in Marunouchi, Tokyo. He also works in a variety of fields from curating exhibitions to organizing art events and art fairs. His experience in Art Fairs and art events includes: Director of AOSANDO Art Fair, director of the NEW CITY ART FAIR; a Japanese Contemporary Art Fair in NY, Taipei, as well as being the producer of LUMINE meets ART. All galleries, art fairs and events are managed by H.P. FRANCE.
Alaina Claire Feldman
Director of the Mishkin Gallery, The City University of New York (CUNY) Baruch's Modern and Contemporary Art Gallery
Alaina Claire Feldman was previously Director of Exhibitions at Independent Curators International (ICI) where she produced and managed twenty international traveling exhibitions with guest curators from around the world. Her projects have included long-term support of artists and curators, and of art, histories often overlooked by traditional Western cannons. She has curated exhibitions at The Kitchen, Hugh Lane Dublin City Gallery, Zeitz MoCAA, CCA Lagos, TheCube Taipei, Anthology Film Archives, Participant Inc, Parsons / New School and more. She has lectured and taught at the University of Porto, The School of Visual Arts, New York University, the Center for Feminist Pedagogy, as well as at many museums. In 2017, she was the Annual Beckwith Lecturer at The School of the Museum of Fine Arts Boston/Tufts.
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Independent Curator and Critic
Art historian Sarah Tanguy is an independent curator and critic based in Washington D. C. An alumna of Georgetown University and the University of North Carolina, she has a curation portfolio of over a hundred and fifty exhibitions. Some of her most recent projects include "Mapping: Memory and Motion in Contemporary Art,""Vanishing Boundaries," a joint US/Lithuania photography exhibition, "Taken for Looks," an all-photography, food-inspired exhibition, "Breaking Bread," "The View from Here," a joint Russia/US exhibition, and an ongoing exhibition series for the American Center for Physics.
Salvatore Vitale
Photographer and Editor
A Switzerland-based photographer and editor, Salvatore Vitale is the co-founder and editor-in-chief of YET, an international photography magazine which showcases works focusing on the evolution of photography by both emerging and established photographers. Vitale is also a member of the academy of nominators for The Deutsche Börse Photography Foundation Prize and Plat(t)form – Fotomuseum Winterthur, among others.
Karen Irvine
Chief Curator and Deputy Director for the Museum of Contemporary Photography
Chief Curator and Deputy Director for the Museum of Contemporary Photography, Chicago, as well as a talented photographer, Karen Irvine is an alumni of the Film and TV School of the Academy of Performing Arts, Prague, Czech Republic and the University of Illinois, Chicago. She is a part-time instructor of photography at Columbia College Chicago and also teaches part time at The School of the Art Institute of Chicago.