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Piecing Our Story
Inspired by the "Story Quilts" of Faith Ringgold…I incorporated fabric collages into some classes and programs I had the privilege of teaching and leading.
The idea was to piece together elements of fabric…cloth…to express or depict aspects of the maker's life story. To "fabricate' one's story…to "cloth" one's story in visual details…the definition can be rather loose. Above, my sample expresses something of house and home…a broad theme that could encompass almost anything.
This fun and evocative piece created by a 17 year old makes beautiful use of aqua-blue wool…at least I think it is wool. As I get many of supplies at a place called "Trash for Teaching" , where companies' left-overs or overstock is donated to be resold to teachers and others at very low cost, I am not always sure of their origin. This artist did use paper for the face…extrapolating from a previous lesson on how to draw the face in proper proportion. She is also interested in becoming a make-up professional, so this piece may have played into that ambition and interest as well.
Totally different, but just as evocative is this piece that functions almost like a banner, celebrating the maker's daughter. Balanced through the elements of color, shape and composition, the use of the symbols of heart and arrow are arranged to create the strong center of a radial design which continues and expands the motif of the arrow. Arrow pointing to directly the heart? Seems like a rather clear story there.
These brilliantly colored feathers almost appear to emit light against the dark background. Arranged in a repeating color pattern, the artist is careful to begin and end with pink, containing the composition within that color horizontally, while flanking it vertically with luminous green, and thus employing the tension of opposites. Pink is a permutation of red, "light" red, (red plus white) which is the compliment, or opposite of green. The color story expresses the human story as a whole.
Two uses of the heart motif, one created through stitching, and another through the cutting and gluing of material define these two pieces. Both hearts are tilted to the left, which gives them a dynamic feel of being on movement, and which in turn adds movement to the composition. Above the deceptively simple composition of white and red on black belies the powerful associations of those colors. Below, warm hues of the cool color of blue are offset by the soft pinkish-purple (which contains blue) in the center of the color scheme. The piece is further enlivened by sharp dashes of back in the corners which radiate outwards, and black letters in the center set off by white, another system of opposites.
The use of the heart shape / symbol, as a central motif, the combination of different kinds of cloth/textile/fabric media, and employment of framing as a compositional device characterize the works above. Bows, pom poms, a scattering of smaller hearts and butterflies, and imaginative color choices are all at play, adding a layer of magic and whimsey to the feelings of hope and longing expressed in these pieces.
A Mom of two created this piece, which depicts her two children who also attended. Although she came in towards the end of the project, she was able to put together vibrant colors, and strong shapes which speak volumes about her commitment to her family, and tell at least a piece of her story. One strip of patterned ribbon is added which reflects the flowers, and ties the composition together by adding complexity and interest right in the center of the piece. This artist was very specific about which ribbon she was going to use to achieve this, and with good reason, as the results are stunning.
Tags: Cloth, Collge, color temperature, Complimentary Colors, composition, design, Fabric, Fabric Collage, Fairview Branch, Fairview Library, Faith Ringgold, Motif, Radiate, Santa Monica Public Library, Story Quilt, Textiles, Trash for Teaching, warm and cool colors
Light On Color: Illuminate
In the last several Artissima blog posts we have taken a journey through some of the aspects of color that many of us find challenging to truly understand, and wrap our minds around.
It has been fascinating to tackle the topics of metamerism, spectral reflectance, spectral power, the color rendering index, and color temperature. I wanted to take a few moments, and summarize what I have learned, and hopefully what you have learned too!
As discussed, color is a function of light. The color that we see is reflected light waves. "Visible light is made of seven wavelength groups. When light hits objects, some of the wavelengths are absorbed and some are reflected, depending on the materials in the object. The reflected wavelengths are what we perceive as the object's color."
We recognize four types of Metamerism, the phenomenon of colors seeming to match under one light source, yet appearing different under another/in a different environment.
Sample metamerism: when two color samples appear to match under a particular light source but do not match under a different light source. Sample metamerism has to do with differences in each sample object's spectral reflectance distribution, or its response to light, characterized by the wavelengths that it primarily reflects. It happens because of differences in the objects (or samples) themselves.
Illuminant metamerism: occurs when the spectral reflectance distributions of the two color samples observed are identical, and are seen under different lights sources with differing spectral power distributions (SPD, or output of a light source, characterized by its relative strength at each wavelength. It happens because of the light sources (or illuminants) themselves.
Sample Metamerism occurs as a result of differences in the reflectivity of the color samples themselves, and Illuminant Metamerism occurs as a result of differences in the output of the light source itself, under which we are viewing the color samples.
Observer metamerism: can occur because of differences in color vision from one person to the next. The physical act of seeing, that which happens in our eyes and brains when we see an object in whatever light, can alter our color perception. A common source of observer metamerism is color blindness, but it occurs with the "normal-seeing" as well. What may be a color match for one observer may not be for another.
Geometric metamerism: The angle, distance or light position from which identical colors are viewed may change the color that we see. The distance between a woman's eyes is, on average, slightly less than a man's. This slightly different angle of stereoscopic viewpoint may be why men and women have been known to perceive colors differently! Most of us have had the experience of two samples appearing to match when viewed from one angle, but then not matching when viewed from another angle.
CRI, or The Color Rendering Index is an international measurement scale that measures or describes how colors are rendered, IE "show up" to our eyes, under an artificial source of light as compared to daylight. Daylight renders the widest variety of colors, as compared to artificial lighting, which depending on the nature of its light source, can render many or few colors. The International Commission on Illumination (Abbreviated C.I.E. because of its French name, Commission internationale de l'éclairage)is recognized as the international authority on light and color. It defines CRI/color rendering as the effect of an illuminant on the color appearance of objects by conscious or subconscious comparison with their color appearance under a reference illuminant.
in my own words, the color rendering index describes the effect of a light source on how the color of an object appears to us. It is the measurement of how much an object's color appearance shifts when illuminated by an artificial (other than daylight) light source compared to the color appearance of the same object when illuminated by a "reference" light source (daylight), of comparable color temperature.
Color Temperature… refers to the actual color and type of light emitted by a particular light source. High color temperatures, those over 5,000K (K = Kelvin) are termed cool colors and are bluish white, while lower color temperatures (2,700–3,000 K) are called warm colors and are yellowish white through red.
Thus, color temperature refers to the actual color of light and CRI refers to the ability of a light source to render color, in comparison to daylight.
The relationship of color temperature to CRI?
The color rendering index can be used as a basis of comparison between light sources only if they have the same color temperature; if they are the same degree Kelvin, and thus the light they emit is the same color.
CCT, or Correlated Color Temperature, also expressed in Kelvin, is a numerical description of a light's color appearance, and describes whether a white light source appears more yellow/gold, or more blue. CCT can be used as a means of correlating the color of an artificial light source with the color of daylight.
As artists, colorists, visual makers of any kind, and humans upon this earth…we will always come back to our response to color, how it is perceived or rendered through light, its effect on our interior and exterior environments, and upon our hearts, minds and souls, to say nothing of our work. Color, and thus light, are a frame of reference for our physical and emotional experience as we move through our lives.
I hope these posts have shed some light on the color in your life….and that you walk in beauty…and illumination.
on September 5, 2012 at 9:48 pm Comments (1)
Tags: CCT, CIE, Color, Color Rendering Index, color temperature, Commission internationale de l'éclairage, Correlated Color Temperature, CRI, Hue, International Commission on illumination, light, Light Source, Metamerism, Metamers, Spectral Power Curve, Spectral Power Distribution, Spectral Reflectance Distribution, Sprectral Reflectance Curve
What is "Color Temperature", and how does it relate to CRI, or the Color Rendering Index?
We know CRI to be an international measurement scale or rating of how accurately an artificial light source renders, or shows the color of an object (often called its "color appearance" ) as compared to daylight, which is capable of depicting, rendering or showing the widest range of colors. Thus, CRI rates, describes or measures how the colors of objects appear (compared to daylight) under a specific light source…IE, in a given light.
Color temperature however refers to the actual color and type of light emitted by a particular light source. High color temperatures, those over 5,000K (K = Kelvin) are termed cool colors and are bluish white, while lower color temperatures (2,700–3,000 K) are called warm colors and are yellowish white through red.
Yes, counter-intuitively, the higher color temperature describes a cooler color, while a lower color temperature describes a warmer hue. When considering interior lighting, color temperature can play a significant role in how we feel and function in a space. A warmer light, which has a lower color temperature, can promote our relaxation, while a cooler light with a higher color temperature may enhance or help to increase our concentration.
Thus, color temperature refers to the color of light, and CRI refers to the ability of a light source to render the color of objects in a manner comparable to the way daylight does/would.
Whew…what a mouthful!
The rub? The color rendering index can be used as a basis of comparison between light sources only if they have the same color temperature. To compare light sources, or to compare an artificial light source to daylight, said artificial light source must have the same color temperature as the daylight to which it is being compared. Remember, daylight renders, or makes visible, the widest range of colors…and there are yet many more colors in the light spectrum that we cannot see with our naked eyes. We are not able to see the entire light (thus color) spectrum. Light values beneath the visible part of the spectrum are referred to as infrared, and above the spectrum as ultraviolet.
CCT, or Correlated Color Temperature is expressed in Kelvin, and describes whether a white light source appears more yellow/gold, or more blue. Thus, it is a numerical description of a light's color appearance. It can be used as a means of correlating the color of an artificial light source with the color of daylight. "The correlated color temperature (CCT) is a specification of the color appearance of the light emitted by a lamp, relating its color to the color of light from a reference source when heated to a particular temperature, measured in degrees Kelvin (K). —http://www.lrc.rpi.edu/education/learning/terminology/cct.asp
Here, we bring our discussion of Color Temperature, and its relationship to CRI to a close, at least for the moment. It is a complex subject, but one that can come into play when dealing with any matters of color and light in the realms of photography, film, video, interior design, theater, the visual arts, and many other areas. Good for us to have some idea of what the terms mean!
I hope that this series of posts on the relationship between Color and Light has helped to demystify it for you…at least to some extent. As much as we can learn, observe and discover, we will never know it all…and maybe that is as it should be. Some things, such as the majesty and magnificence of the natural world should retain some mystery…no matter how much physics we attempt to wrap our minds around.
on August 29, 2012 at 6:57 pm Comments (3)
Tags: Artificial light, CCT, Color, Color and Light, Color Rendering Index, color temperature, Correlated Color Temperature, CRI, Daylight, Kelvin, light, Light Source, Physics of Light and Color, Uses of Lighting
Rendering Color II
"What is color? No object of itself alone has color.
We know that even the most brightly colored object, if taken into total darkness, loses its color. Therefore, if an object is dependent upon light for color, color must be a property of light.
And so it is."
Paul Outerbridge, Photographer 1896 – 1958
In the post, "Color Rendering I" I delved into the nature of color and light…as Paul Outerbridge says above, color is a property of light…the color that we see an object as "being", is in essence, light…the wavelengths of light it reflects, as opposed to absorbs.
In this post, I am seeking to clarify CRI…what does that mean?
CRI, or the Color Rendering Index, is a scale that measures not color, not light, but " the ability of a light source to reproduce the colors of various objects faithfully in comparison with an ideal or natural light source".–http://en.wikipedia.org/wiki/Color_rendering_index
The ideal or natural light source being daylight, because "it (daylight) displays (1) a great variety of colours, (2) makes it easy to distinguish slight shades of colour, and (3) the colours of objects around us obviously look natural." —P.J. Bouma
The International Commission on Illumination (which is usually abbreviated C.I.E. for its French name Commission Internationale de L'Eclairage), the international authority on color, color spaces, light, and illumination, has defined CRI as the "Effect of an illuminant on the color appearance of objects by conscious or subconscious comparison with their color appearance under a reference illuminant".
Is the concept and definition of CRI becoming any more clear?
Trying to explain CRI reminds me of trying to translate from one language to another, in a manner that makes the meaning of a phrase in one language, comprehensible in another. It isn't enough just to translate the words…the whole meaning, context, and sense of the phrase must be understood.
How's this:
The closer the red of your child's red beach ball inside, under the light of say, your dining room chandelier, looks to the red the same ball appears to be outside, on the beach, under the sunlight, the higher the CRI is of that dining room chandelier illuminant. CRI measures the ability of a light source to reveal, render, depict or show color the way daylight would.
Put another way, the color rendering index describes the effect of a light source on how the color of an object appears to us. It is the measurement of how much an object's color appearance shifts when illuminated by an artificial (other than daylight) light source compared to the color appearance of the same object when illuminated by a "reference" light source (daylight), of comparable color temperature.
Whoops! Color Temperature!?! Suffice it to say, right here, right now, the CRI of a light source can only be determined when it is being compared to a reference illuminant, (natural light/daylight), with the same, or comparable color temperature. The role of "Correlated Color Temperature" in CRI will be discussed in a future post.
So…until then chew on the above…and I hope the light bulb goes on for you about what Color Rendering Index is.
May both your days, and nights be illuminated with light sources of the highest CRI!
on August 23, 2012 at 10:06 am Leave a Comment
Tags: Artificial light, C.I.E., Color, Color Appearance, Color Rendering Index, Color Spaces, color temperature, Commission internationale de l'éclairage, CRI, Daylight, Illuminant, International Commission on illumination, light, Light Source, Natural Light, P.J. Bouma
Rendering Color I
As Mr. Outerbridge so succinctly states, color is a property of light…or, otherwise put, a function of light. Color and light are intrinsically entwined…part and parcel of each other… mystic twins, or co-dependents, depending on your point of view.
Sunlight, or white light, is the combination of the entire electromagnetic spectrum ( a light source's spectrum is a distribution giving its intensity at each wavelength, and most light sources emit light at many different wavelengths)..in essence, all the colors of the rainbow. Their combination creates white light, while lack of light, no color, is perceived by us as black. Though artists may see black as a color, it is actually the lack of color: a state of no color. We are discussing color, and color mixing from the point of view of light wavelengths, not color mixing as regards to paints. This is physics…the physics of light and color.
The terms "color" and "wavelength" here may confusing. Our eyes will perceive the color based on not only the wavelengths of light that the object we are viewing reflects or absorbs, but also on the actual measurement of those wavelengths…measured in nanometers. We can see the reflected colors of light which lay in a very small region of the electromagnetic spectrum called, aptly enough, "visible light". We cannot see color wavelengths that are absorbed by an object or surface.
Wavelengths ranging from about 400-750 nanometers make up the visible spectrum of light that can be perceived by the human eye. When light strikes an object certain of its wavelengths are absorbed by that object, and others are not. Those that are not, those wavelengths of light which bounce or are reflected off an object, are perceived by the human eye as color. In essence, "An object appears a certain color because it reflects certain light wavelengths, which are then perceived by the eye." —http://www.wisegeek.com/what-is-the-color-rendering-index.htm
Surfaces we see as black absorb all of the wavelengths of light in the visible spectrum which reach them. All the "color" thus is absorbed, and we see no color, and thus black. Surfaces we see as white are reflecting, or bouncing back to our eyes, (specifically, the rods and cones -photoreceptor cells- within our eyes), all of the wavelengths of visible light which reach them. Thus, as all of these visible wavelengths are being reflected "to us", and their combination, as discussed above, creates white light, as white light (discussed above) is the combination of entire electromagnetic spectrum, or all the colors of the rainbow! (Mind you, if you mix a wide spectrum of varying paint colors together, you will not get white! We are discussing color in reference to light only in this post!).
Each light source emits different wavelengths of light, thus the way we perceive colors varies depending on how the object we are seeing is illuminated, I.E., the wavelengths of light it absorbs and reflects.
Ah..now we begin to get to the heart of the story…the Color Rendering Index, or CRI. It will take a second post on this complex subject to further demystify it.
"The Color Rendering Index is an international measurement scale that describes how colors are rendered under an artificial source of light. The standard against which artificial lighting is compared is daylight, because daylight renders the widest variety of colors. Artificial lighting, by contrast, can render very many or very few colors, depending on the nature of the light source. The color rendering index has many applications, especially in art and photography." —http://www.wisegeek.com/what-is-the-color-rendering-index.htm
"The Color Rendering Index (sometimes called color rendition index), is a quantitative measure of the ability of a light source to reproduce the colors of various objects faithfully in comparison with an ideal or natural light source. Light sources with a high CRI are desirable in color-critical applications such as photography and cinematography.[1] It is defined by the International Commission on Illumination as follows:[2]
Color rendering: Effect of an illuminant on the color appearance of objects by conscious or subconscious comparison with their color appearance under a reference illuminant.
The CRI of a light source does not indicate the apparent color of the light source; that information is under the rubric of the correlated color temperature (CCT)." —http://en.wikipedia.org/wiki/Color_rendering_index
Because of the complexity and relative "thickness" of this subject, I will delve further into the Color Rendering Index, Color Rendering itself, The International Commission on Illumination, and Correlated Color Temperature, in a subsequent post.
Until then…I am wishing you much light and color in your life. May your spirit be illuminated, and your soul rendered…in all the colors of the rainbow!
Tags: Absorbing Light, C.I.E., Color, Color Rendering Index, color temperature, Colors of Light, CRI, Daylight, Hue, Internatinal Commission on Illumination, light, Nanometers, Paint Colors, Paul Outerbridge, Physics of Light and Color, Reflecting light\, Spectrum, Visible Spectrum, Wavelength, White Light
Color for All Reasons I
We have so many situations in our lives when we are called upon to make color decisions. Whether it be for our homes, our appearance, our mode of transport, our creative endeavors, our web presence, or our work….the colors we choose play a huge role in our lives.
Our color choices both express us…from the inside out, as well as affect how we are viewed..from the outside in. Thus in our creative expressions, the "branding" of our businesses, and the sum total of our visual identities, color is a defining factor that communicates who we are, where we are at, and who we aspire to be, simultaneously.
I recently had the opportunity to work with a beloved colleague who needed a color consultation for her marketing client. The color purple had been chosen for the client's logo, but my colleague thought the purple hue could be tweaked a bit, and wanted both a suggestion for a color to compliment the purple, as well as information on the meaning of the recommended colors.
After reading about the client and her business, and viewing the logo and the initial color of purple chosen, I knew the appropriate compliment was just that, the compliment of purple: yellow (well…gold/ochre tones of yellow). Complimentary colors are those opposite each other on the color wheel, and just like black and white these dynamic duos set each other off, and well, compliment each other!
I know that blue would be too cool, and too close to purple, as it is one of its components. The same for red. I knew orange would be too bold with the purple, and green too varied. All of these could be beautiful combinations, but not for the purpose we were trying to achieve, the communication of the client's brand, or as I like to think of it, her essence; that which she has to offer. It had to be gold…in an earthy, ochre tonality. One way to tone down, or "kick back" (bring down the intensity and brightness) of a color is to add a quotient of its complement, or opposite…in this case, purple!
I also recommended warming up the cool, ethereal shade of purple initially chosen by the client by upping its quotient of red, which would work well with the earthy tone of gold/ochre I suggested.
The meaning of the recommended colors was accessed from a number of vantage points, in regards to everything I was given to understand about the client, her message, her intentions, her history and life experience, her current situation, and future intentions, as well as her hopes, plans and purpose. The colors had to reflect and communicate all of these, and feel completely authentic to her as well.
Please tune back in next week for part two of our series Color for all Reasons, and learn about the meaning of the colors for this very special client and her business. You can learn how You can access the colors that you choose from a variety of perspectives, that can illuminate, support and enrich your color choices, and hopefully make them less agonizing.
What color choices have YOU had to make lately, and how have you made them?
If You feel so inclined, please share about them with us here.
Remember, we are all adding color to this thing called Life, together.
Thanks for joining us on the journey…
Tags: Branding, Brightness, Color, color temperature, color theory, Color Wheeel, Complementary Colors, Earthy, Hue, Intensity, Kicking back a color, Marketing, Message, Mixed Colors, Primary Colors, Secondary Colors, Shade, tone, Toning Down a color, value
Color Ground
The colors we clothe our buildings in, and the materials we use to build them can have a significant effect on how solid, safe, and grounded they appear. And, I might add, in addition to paint color, let's not forget that the wood, brick, stone, concrete, metal and other natural and industrial materials we build with, have color too. Add to this the by turns rapturous, earthy, luminous, bold, sublime, and subtle colors of nature, and you have a complex picture of the elements that go into making where we live, work and play picture perfect..or not.
In general, darker, richer, deeper, more saturated, brighter, warmer and more intense colors appear heavier, and thus may seem to "pull downward" towards the, in most cases, ground! Placing them above a lighter, airier, softer, cooler, paler, duller, less saturated colors may give the impression of pressing or pushing down upon something less substantial, creating a sense of pressure, ungroundedness, or even danger. Who wants to feel like the heavier-looking second story might come crashing down through its weaker-looking support, or foundation?
The building above is grounded not only by its strong, dark burgundy red garage door, but also by the heavy foliage and hedge shrubbery which nearly obscures its foundation (the lower part of the structure upon which the rest of the building rests). The cream-colored concrete, red roof tile and strongly patterned brick provide contrast and a variety of color and materials, but, particularly because of the grounding effect of the dark green, highly textural foliage, do not seem too heavy for the foundation to bear.
The UMG (Universal Music Group) office building in Santa Monica, CA is grounded by a strong, deep, earthy brick-red, which seems to support the pale pink upper above, though the entire structure is punctuated by a multitude of windows. Palms, parkway and other landscaping in front also support this grounded effect.
A similar outcome is achieved by juxtaposing a more saturated hue of reddish pink stucco foundation with the softer and paler ocher-colored wood siding above. Lush vegetation sporting luxuriant red and pink flowers trailing over a natural wood fence add to its heavier, grounding effect
These interior gymnasium walls are grounded by the deep blue protective covering at their base. Given the wild shapes and over-sized lines, shapes and patterns used in the room's design, the consistency and "reliability" of the blue may also serve to keep young athletes players focused and grounded as they play.
Here is the outside of the same building, swathed in corrugated stripes. Notice that the stripe closest to the ground is darker blue, and the one at the top, lighter.
This fun and fascinating building combines all manner of materials, from wood siding, to brick, to concrete,
and even verdigris decorative details above the door. The mass of flowering vegetation in front, while nearly obscuring parts of the facade, add to the fancy of the place, while connecting it to the earth, the ground. In moody weather, the mix of weathered materials and enveloping foliage may lend an air of mystery and perhaps even magic to the place.
Here, an artist's self-styled, whimsical touch creates grounding through the application of bright color, repeated shapes, and sense of a garden planted at the base of the house. The playful, optimistic feeling is further enhanced by the use of complementary colors yellow and purple.
The largest sphere in this extraordinary mural seems to be sitting right on the sidewalk! It could be coming right out at us, the viewer, but at least the building doesn't look like it is about to leave the ground! The tiled trompe l'oeil technique is used to great visual and grounding, effect here.
When we walk past this extraordinary building in LA's Venice Canal District, our eye is drawn past the foliage, across the manicured back yard, and over the amazing sunken pool under the blue-framed overhang, through the space between the orange posts, to the electric apple green accent wall behind them. Brighter, more vibrant, and more saturated than the natural greens , and applied blue and orange surrounding it, this wall looks strong enough to carry this unusual structure's visual weight.
This wild building on Wilshire in Santa Monica is one of my favorites. An eclectic mix of materials, hues and shapes, it seems break all the "rules", yet somehow, it works! This could be due to a counteracting balancing effect of the mix of elements. The undulating curve of the upper wood facade/detail is counterbalanced by the strong concrete support/column next to it, even though the wood is a strong color, and an even stronger visual element. Our eye is drawn upward from the glass, and warm blue and green (reflecting sea, sky and grass?) colors behind it to that grand sweep of wood,
which is also supported by the metal detail/support that follows its shape and movement below. The whole building feels like a
huge kinetic wave, appropriate architecture for a beach town on the edge of the Pacific. The foliage, and its concrete base below also add grounding. Amazing! Fidelity, you got it going on, architecturally!
The "Bagel Nosh" in Santa Monica, hosts a marvelous display of mouth-watering treats. Where does our eye go right to here? No, there isn't a spotlight on the center of the case. That's just the natural color of these bright golden-yellow jalapeno-flavored bagels. The strong, rich, saturated color just grabs our attention, and holds it there…it's up to you to decide whether the taste of these treats warrants their attention-grabbing status.
We walk upon the ground, perhaps that is why our shoes are often brown and black…colors of the earth. We usually want to feel grounded when we tread upon the earth, a firm foundation, a solid base. But, maybe not all the time. Perhaps sometimes we want to whirl, twirl, leap, float, and feel "ten feet off the ground". Don't we long to take risks, to take flight, as much as we long to be safe, secure, and grounded? When you want to feel fun, fantastical, floating, and fabulous, try on a glittery, glowing, or gossamer pair of footwear, and see if it helps your grounded spirit to soar!
What buildings, architecture, food or footwear have YOU experienced lately that feel grounded or the opposite?
Remember, we are all trying to ground ourselves yet take flight within this thing called Life, together.
Stay grounded, but don't be afraid to fly!
on February 27, 2012 at 10:41 pm Comments (4)
Tags: Architecture, Associations, Beach Town, Brick, Brightness, Building Foundation, Building materials, Buildings, Cold Colors, Color, color consultation, Color Design, Color Placement, color temperature, Communication, Complimentary Colors, Connotations, Cool colors, dark, Darks, design, Drawing the Eye, Earth, Earthy, Fence, Focus, Fundation, Grounded, Grounding, Hot Colors, Hue, Intensity, LA, Landscaping, Light to Dark, Lights, Little Balck Book, Los Angeles, Materials, mural, Nature, Off the Ground, Pacific, pattern, Plants, Santa Monica, Saturation, Shrubs, Structure, synesthesia, tone, Touching the Earth, Trompe L'Oeil, Undertone, value, Vegetation, Verdigris, Visual Focus, Warm colors, Weight, Wood Sding
Two Steps Forward, One Step Back: Colors that Advance and Recede
On March 20, 2011, during our Color Muze segment on Artistically Speaking Talk Show, I had the opportunity to chat with hosts Rebecca and Lyna's delightful guest, mixed media artist Kelli Perkins about color temperature, colors that advance and recede, and the relationship between the two. Playing off our previous discussions of "Synesthesia", or, "The Unity of the Senses", the idea that colors provoke associations our senses other than sight, during this Muze, we focused on which colors seem to advance, and which to recede. This effect is particularly salient as regards to architectural color, as it can be used to make a space feel larger,
or smaller….
For example, if we paint the walls a color that seems to advance towards us, the space itself will feel smaller. Doing the opposite can create the opposite effect. This technique can be used in any visual context. Using colors that advance and recede can create movement or stillness, dynamism or placidity, agitation or peacefulness, in paintings, textiles, clothing, or anything that uses color as an element. Artists, take this to heart. Kelli does use color! Warm, saturated, and often secondary (purple, green, orange) color! She uses it intuitively and instinctively, even giving herself luminescent purple hair in a self-portrait. Check it out, you have to see this!
But what makes a color seem to advance or recede? And, what qualities do those colors have?
Well, for one thing, how warm or cool a color is perceived to be plays a major role. If we consider the color wheel, we can see a warm half of the wheel, red through yellow-green, and a cool half, green through red-violet. In terms of our perception, warm colors seem to advance, and cool, to recede. When we talk about color "pop", it refers to the advancing quality of that color, making it "pop" out at us, like the brilliant orange vase in this room.
Warm to hot colors will seem to advance, making the surfaces sheathed in them seem to be closer to you, thus making a room seem smaller, cozier, and, of course, warmer. Often, we want this, and a cavernous space may need it to feel livable.
Cool to cold colors will seem to recede, making the surfaces they sheath feel farther away from us, thus visually adding space, or volume, to a room. This sense of space can be calming and refreshing, especially on a hot day!
By the same token, dark, saturated colors advance and make a space feel smaller, and more intimate,
while pale, light colors, with less saturation add volume by receding. offering a sense of spaciousness, and potentially, rest and relief.
And for sure…strong, bold busy pattern advances! This intimate boudoir becomes yet more magical, fantastical and fun with the addition of this totally HOT fabric wallpaper and curtain!
Smaller, more subdued pattern also recedes. Here the cool blue elegance of the drapes is warmed up by the detail, which brings them to the same plane as the surrounding white walls. The walls themselves recede in lightness of color, advance in warmth of tone, and recede in absence of pattern! Wow. This advancing and receding stuff can be complex. Almost like a math problem. But, ooh, how fun to contemplate!
An interesting discovery can be made when considering our use of language, vis-a-vis not only color, but temperature, AND the idea of advancing and receding. Let's listen to what we say, what we think, and how we describe relationships, or even our own emotions and personalities. When someone, or even our self, is being or feeling cool, or cold, we often describe that behavior as distant. Or, visa versa, if someone seems remote, or distant, we may jump to the conclusion that they are "cold" or "cool", emotionally. We may even feel cold or cool ourselves, when we feel emotionally distant from another person, experience, or something we see, or do.
Conversely, when we feel intimate and close to others, to our experience, to ourselves, to Life, we may feel warm, or even hot (!). How often do we say, "I feel so cool and cozy!"? Never, I would venture to guess. Not if we aren't characters in a J K Rowling fantasy! When we feel warmth towards or from another person, they feel "close" to us, and we feel close to them. . It would be hard to feel close to someone, to our authentic selves, or to our experience, and feel cool or cold. When we say, "Person X is so warm, I feel so close to him/her.", we are equating emotional temperature with emotional proximity, and the idea of emotional color advancing and receding within ourselves and others.
There is much to contemplate here, and this could be the subject of a whole new post. Have you ever felt the temperature effect, either emotionally, or physically, through color? Have you used color deliberately, to expand or contract the perceived volume of a space? Have you noticed your own telling use of language to describe either?
If you feel so inspired, please share your insights, discoveries, and experiences with us here. We love to hear from you.
Remember, we are all, hopefully, advancing through this thing called Life, together.
Here's wishing you both color and emotional mastery, magic and adventure. It's hot!
on April 13, 2011 at 3:10 pm Comments (4)
Tags: Advance, Architectural, Architectural Color, Artistically Speaking Talk Show, Blog Talk Radio, Bold, Bright, Busy, Color, color muze, color temperature, Drapery, Drapes, Elegance, Emotional Temperature, Emotions, Fantastical, Feelings, Intense, Intimacy, Intimate, life, Magical, pattern, Plane, Recede, Saturated, Saturated Color, Secondary Colors, Space, Spaciousness, synesthesia, Temperature, tone, Unity of the Senses, Volume, walls
Our Color Daze: ColorPlay for EveryDay
Color Daze: ColorPlay for EveryDay
If you were trying to assign a color for each day…what would it be?
Cool Down with Seablue Pearl
In the heat of Summer, or in our case in the Bay Area, Fall…cooling down may take place in a seablue pearl guest room…and since you are the guest, you can relax, dreaming of sky and water.
Sunrise, Sunset...Shorter get the Daze...
Sunny days yield magnificent sunsets which burn into night. Tricky to create this purple sunset sky on the ceiling: it has to be both soothing and stimulating for the little girl who inhabits this bedroom. Enjoy the days, and minimize the daze, please.
Color me Primary
We are blessed to experience beautiful, bright, crisp fall days here by the Bay…blue skies, liquid gold sunshine, sparkle, and the red edge of Autumn. The primary triangle is everywhere we look, filling us with restlessness and energy. We know the earth is preparing for hibernation, but we feel crisp and alert.
Hallway Heat: Purple Can be Hot
We revel in the heat of Indian Summer, with its rich expression of color…golden sun, sinking into brilliant orange and then deeper purple, at the end of the day. The air feels hot, and the colors seem to burn. Our perception of color can actually cause us to feel a 5-7% degree of difference in our body temperature. Color Power made manifest.
Hot Ceiling: Color Power
During conditions of Rain, Fog, Overcast… so common Ocean-side, we can use some Hot Color to Warm us UP!
Compliments of Royalty
No accident that the complements of gold (yellow) and purple (violet) are the colors of royalty. The juxtaposition of the complements does not lull us to sleep, it wakes us up, with a sharp edge of contrast: the zing of citrus and the sweetness of plums. Complementary couples, much like cymbals, clash together to "make a joyful noise". We are startled awake, and though the earth may be settling down for a long snooze, we wake up, we are enlivened, we know we are alive.
Viva Les Colours!
on October 25, 2010 at 9:16 pm Comments (5)
Tags: alive, Autumn, awake, Color, color power, color temperature, ColorPlay, Complementary Colors, enliven, Fall, heat, hibernation, hot, indian Summer, Primary Colors, sea blue pearl, seasons, sunset, wake up


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Drinking Rules
How to Drink With Celebrity Chef Giada De Laurentiis
From her interest in bourbon and tequila to Italian aperitifs, the cooking star chatted with us about spirits and cocktails.
Noah Rothbaum
Half Full Editor
What kind of drinks do you make when you are at home? "I like very basic, simple cocktails. I do not like fussy. And I frankly don't want to buy a bunch of different alcohol and spirits that I am not going to use again. I also like effervescence. I think anything bubbly is more festive."
What is your signature cocktail? "I was drinking Aperol Spritzes on vacation and then I sort of changed it around. I got some fresh grapefruit juice, which I thought was fantastic, so I mixed it with a little bit of bourbon, some club soda and some lime [and served it] on ice. And the combo all together gave you that sparkly sort of effervescence that I love. It just felt fun and festive and a little bit different. I'm into bourbons as well these days. In fact, I had a cocktail earlier today that was bourbon, Frangelico, sparkling water, and lime juice. Oh, and thyme simple syrup. It was fantastic. It was almost like a lemonade it was so good."
Do you generally mix your whiskey or do you enjoy it neat? "If I am at home I'll mix it. But if I'm at a restaurant, straight. At home I can control the amount of sugar that is in the mixers that I'm going to use. For instance, I'll use fresh grapefruit juice. I can't guarantee at a bar I'm going to get that. If I don't get that, I get a horrible hangover the next day. At home, though, I squeeze my own grapefruit juice or I get fresh and I make my own syrups. I control the amount of sugar that goes into everything. Because it's the sugar that knocks me off my feet."
Do you have rules when creating drinks? "I will tell you the one thing I hate about certain cocktails is the raw egg and the smell. A cocktail should smell good the minute it comes near you. Because before you ever taste a cocktail, you will smell a cocktail. So if it has a funky scent to it, your mind, just like [with] food, conjures up an image of what it's going to taste like and almost controls your taste buds."
Is there a way to use egg whites without turning people away? "Well, I found that you have to top it with something. Nutmeg is the easiest thing to top it with because it's so powerful and it creates sort of a holiday scent. That's really great on top. When mixologists do not finish it with something that has a wonderful scent you get that sort of eggy smell and it's disgusting."
Do you remember the first drink you ever had? "The first drink that my parents made for us was Campari on ice with lime. It was a drink [they] had just about every night. That was the first one and I did not like it very much. But things got better after that. You know? Margaritas were my favorite in college."
How do you like your Margarita? With a salt rim? "I like the whole nine yards. But I'm a girl in the sense that I like it with the crushed ice rather than on the rocks. It's like a slushy."
Do you have a big liquor cabinet? "I just bought a new house. I have a wine cellar, which I'm trying desperately to fill. I usually buy what I drink. I don't buy to hold on to. So I've started to feel like I have to be a connoisseur at this point. Either that or I have to change it into a refrigerator."
Do you make the drinks when you entertain guests? "I actually try not to play bartender. I try to let other people play bartender. I either have one of my friends [bartend] or I set up a bar with three ingredients and I let other people do it. It's a really good conversation starter and it really empowers people when they can make their own cocktail."
Are there any bottles that are off limits in your house? "I have been given some high-high-end tequila bottles that I keep in a safe place. Out of sight, out of mind. That's kind of how I feel about it."
Do you think people should have cocktails with dinner? "I have a lot of chef friends who do not like it. Not during because it takes away from the flavor of the food itself."
How do you feel about it? "That's a tough one. In my Vegas restaurant I have mixologists. If someone is ordering a specific cocktail they'll tell them what kind of dishes work really well with it. But randomly otherwise it's not a good idea because it does muck up the flavors. It really does. Having said that, it's hard to tell people what they should and shouldn't drink."
Do you get as much joy from making drinks as from cooking? "I definitely get more joy from cooking. But I will say, it's nice to have a light cocktail while I'm cooking. If someone else will make me [one], I will certainly enjoy it."
Giada De Laurentiis is the host of numerous Food Network shows, including Giada in Italy. She is also owner of the restaurant Giada in Las Vegas and the author of eight cookbooks. She has also partnered with Frangelico on a home-entertaining campaign.
Find the Drinking Rules of other famous tipplers
Interview has been condensed and edited.

redpajama_set_name: RedPajamaCommonCrawl


Who is Behind Project Butterfly?
For us, Project Butterfly is more than a tech preview. It is a vision in which us, designers, should spend more time being creative and designing, and spend less time handling software quirks. We shouldn't be chasing old emails, and we shouldn't be keeping dozens of files for the same design.
The team in Autodesk that works around the clock to produce the best online CAD experience is a relatively small group of people in Tel Aviv, Israel. Until recently we were a start-up company. We consist of 20 dedicated people, mostly software engineers, and just a little over a year ago we were only 8 people.
The idea behind Project Butterfly was conceived circa 2006 by Iris Shoor, an architect at the time. She was troubled by the fact that there wasn't a fluent way to collaborate on CAD drawings, in a business where collaboration and communication is a very important element.
The world of software and the Web was changing. Productivity software was migrating to the web in the form of Google Docs, YouTube, and other socially-able websites. Iris recognized the potential and the possibility of editing and collaborating on CAD drawings on the Web.
She gathered two of her former colleagues, Jonathan Seroussi and Tal Weiss, who both have also had knowledge and experience in software development and the GIS industry. Together they launched the company that would later produce Project Butterfly, despite all the pessimism and discouragement they received from key figures in the industry.
Since that point in time, with over 2 years of constant development, the Butterfly team has created a patented technology, based on analyzing and rendering over 10,000 different DWGs. We are very happy to spread our passion of technology and CAD throughout the CAD community with the help of the Autodesk community of users.
Written in retrospect by Asaf Sagi, a product manager in the team.
This entry was written by Butterfly, posted on February 4, 2010 at 5:43 AM, filed under News. Bookmark the permalink. Follow any comments here with the RSS feed for this post. Post a comment or leave a trackback: Trackback URL.
I want to thanks your work. Today project Butterfly has been the news in the day, and I'm spreading the word to all my partners because this is an important project that we have to promote and help.
I will be testing project Butterfly and sending you muy reviews, and if I can help you in another other way, please tell.
Thanks for your positive commands and helping to let people know about Project Butterfly. We want to learn what people like and what we can do to make it better.


Regional Director the right to recruit franchise prospects and provide ongoing site and operating support and supervision to ROBEKS® stores within a specific geographic area and the obligation to open and operate at least one ROBEKS store within that geographic area.
CD is the Franchisee under, and signatory to, one or more Franchise Agreements entered into by and between Company and Releasor, as Franchisee, and each one permits Releasor to use the ROBEKS® System and Proprietary Marks to operate one ROBEKS store at a specific location.
|~| is an employee, officer, director, member, manager, partner or owner of an interest in the equity or voting interests of the party (hereinafter "Releasor") identified in either 1 or 2 above.
B. This Release is being executed either pursuant to the requirements of the Regional Director Marketing Agreement or Franchise Agreement as a condition of the rights granted by Company to Releasor, and for other good and valuable consideration, the receipt of which is acknowledged by the parties.
Releasor, for itself, himself or herself, and, if applicable, additionally, for Releasor's Affiliates, if any, and for each of their respective officers, directors, shareholders, members, managers, trustees, partners, employees, attorneys, heirs and successors (Releasor and such other persons are collectively referred to as the "Releasing Parties"), hereby release and forever discharge Company, Company's Affiliates, and their respective officers, directors, shareholders, agents, employees, representatives, attorneys, successors and assigns (collectively the "Released Parties"), and each of them, from any and all claims, demands, obligations, liabilities, actions, causes of action, suits, proceedings, controversies, disputes, agreements, promises, allegations, costs and expenses, at law or in equity, of every nature, character or description whatsoever, whether known or unknown, suspected or unsuspected or anticipated or unanticipated, which any of the Releasing Parties ever had, now has, or may, shall or can hereafter have or acquire (collectively referred to as "Claims"). This Release includes, but is not limited to, all Claims arising out of, concerning, pertaining to or connected with any agreement, tort, statutory violation, representation, nondisclosure, act, omission to act, fact, matter or thing whatsoever, occurring as of or prior to the date of this Release, so that after the date of this Release, none of the Releasing Parties shall have any claim of any kind or nature whatsoever against the Released Parties, directly or indirectly, or by reason of any matter, cause, action, transaction or thing whatsoever done, said or omitted to have been done or said at any time prior to the date of this Release. The terms, "Company's Affiliates" and "Releasors Affiliates," respectively include every entity that controls, is controlled by, or is under common control with Company or Releasor.
2. Waiver of Civil Code Section 1542.
"A general release does not extend to claims which the creditor does not know or suspect to exist in his favor at the time of executing the release, which if known by him must have materially effected his settlement with the debtor."
In making this voluntary express waiver, Releasor acknowledges that claims or facts in addition to or different from those which are now known or believed to exist with respect to the matters mentioned herein may later be discovered and that it is Releasor's intention to hereby fully and forever settle and release any and all matters, regardless of the possibility of later discovered claims or facts. This Release is and shall be and remain a full, complete and unconditional general release. Releasor acknowledges and agrees that the foregoing waiver of Section 1542 is an essential, integral and material term of this Release.
3. Dispute Resolution. Releasor agrees to be bound by the dispute resolution provisions attached as Exhibit "A" to this Release, which are incorporated herein by this reference.
4. Release Not Admission. Releasor understands and agrees that the giving or acceptance of this Release and the agreements contained herein shall not constitute or be construed as an admission of any liability by Company or Company or an admission of the validity of any claims made by or against Company or Company.
5. Authority of Parties. Each person executing this Release on behalf of a party hereto warrants and represents that he or she is duly authorized to execute this Release on behalf of such party. Further, each person executing this Release represents that he or she fully and completely understands the effects of this Release and has been represented by counsel in entering this Release or has had ample opportunity and time to do so but, on his or her own, has elected not to do so.
6. No Prior Assignments. Releasor represents and warrants that Releasor has not previously assigned or transferred, or attempted to assign or transfer, to any third party any of the Claims which are the subject of this Release, all of such Claims being released.
IN WITNESS WHEREOF, Releasor has executed this Release on the date first shown above.
Releasor nor Company shall bring an action or proceeding to enforce or interpret any provision of the Release, or seeking any legal remedy based upon the relationship created by this Release or an alleged breach of this Release, until the dispute has been submitted to a mediation proceeding conducted in accordance with the procedures stated in this Exhibit A.
(a) The mediation proceeding shall be conducted pursuant to the mediation rules of the National Franchise Mediation Program, a dispute resolution process for franchising administered under the auspices of the Center for Public Resources with offices in New York, New York ("the Mediation Service"). Either party may initiate the mediation proceeding (the "Initiating Party") by notifying the Mediation Service in writing, with a copy to the other party (the "Responding Party"). The notice shall describe with specificity the nature of the dispute and the Initiating Party's claim for relief. Thereupon, both parties will be obligated to engage in the mediation, which shall be conducted in accordance with the Mediation Service's then current rules, except to the extent such rules conflict with this Release, in which case this Release shall control.
To be qualified, the mediator shall have no past or present affiliation or conflict with any party to the mediation, and must be generally available to conduct the mediation within the time parameters required by this Release. The parties agree that the mediator and the Mediation Service's employees shall be disqualified as a witness, expert, consultant or attorney in any pending or subsequent proceeding relating to the dispute which is the subject of the mediation.
(b) Upon receipt of the written mediation demand, the Mediation Service shall provide the parties with a list of mediators willing to serve. If the parties do not agree upon a mediator, and so advise the Mediation Service in writing, within 10 days of receipt of such list, the Mediation Service shall appoint the mediator. The mediator must be either a practicing attorney with experience in business format franchising or a retired judge. Except as otherwise provided in this Section 1: (i) the fees and expenses of the Mediation Service, including (without limitation) the mediator's fee and expenses, shall be shared equally by the parties, and (ii) each party shall bear its own attorneys' fees and other costs incurred in connection with the mediation irrespective of the outcome of the mediation or the mediator's evaluation of each party's case.
(c) The mediation conference shall take place within 30 days after selection of the mediator. Regardless of whether Company or Releasor is the Initiating Party, the mediation shall be conducted at Company's headquarters, unless Company and Releasor agree upon a mutually acceptable alternative location. At least 7 days before the first scheduled session of mediation, each party shall deliver to the mediator and to the other party a concise written summary of its position with respect to the matters in dispute and the Initiating Party's claims for relief, and such other matters required by the mediator.
(d) The parties shall participate in good faith in the entire mediation proceeding, including the mediation conference, with the intention of resolving the dispute, if at all possible. The parties shall each send at least one representative to the mediation conference who has authority to enter into a binding contract on that party's behalf and on behalf of all principals of that party who are required by the terms of the parties' settlement to be personally bound by it.
(e) If one party breaches this Release by refusing to participate in the mediation proceeding in accordance with this Release, the non-breaching party may immediately file suit and take such other action to enforce its rights as permitted by law and the breaching party shall be obligated to pay: (aa) the mediator's fees and costs, (bb) the non-breaching party's reasonable attorneys fees and costs incurred in connection with the mediation, and (cc) to the extent permitted by law, the non-breaching party's reasonable attorneys fees and costs incurred in any suit arising out of the same dispute, regardless of whether the non-breaching party is the prevailing party. Additionally, in connection with (cc), the breaching party shall forfeit any right to recover its attorneys fees and costs should it prevail in the suit. The parties agree that the foregoing conditions are necessary in order to encourage meaningful mediation as a means for efficiently resolving any disputes that may arise.
offers, promises, conduct and statements, whether oral or written, made in the course of the mediation proceeding by any party or their agents, experts, counsel, employees or representatives, and by the mediator and the Mediation Service's employees, are confidential. Such offers, promises, conduct and statements may not be disclosed to any third party and are privileged and inadmissible for any purpose, including impeachment, under applicable federal and state laws or rules of evidence; provided however, that evidence otherwise discoverable or admissible shall not be rendered not discoverable or inadmissible as a result of its use in the mediation. If a party informs the mediator that information is conveyed in confidence by the party to the mediator, the mediator will not disclose the information.
(a) Any claim by either party seeking interim relief, including requests for temporary restraining orders, preliminary injunctions, writs of attachment, appointment of a receiver, for claim and delivery, or any other orders which a court may issue when deemed necessary in its discretion to preserve the status quo or prevent irreparable injury, including the claim of either party for injunctive relief to preserve the status quo pending the completion of a mediation proceeding. The party awarded interim or injunctive relief shall not be required to post bond. Once interim relief is obtained, the parties agree to submit the dispute to, or continue, mediation in accordance with this Exhibit A.
(b) Any claim by Company or the holder of rights under any lease or sublease for unlawful detainer or similar remedies available to a landlord or for the enforcement of Company's other rights under any Addendum to Lease.
(a) The parties agree that (i) all disputes arising out of or relating to this Release which are not resolved by negotiation or mediation, and (ii) all claims described in Section 2 of this Exhibit A, shall be brought in the state court located closest to Company's headquarters, unless the subject matter of the dispute arises exclusively under federal law, in which event the dispute shall be submitted to the federal court located closest to Company's headquarters. As of the date of this Release, the parties acknowledge that the Superior Court of the County of Los Angeles, and the United States District Court of the Central District of California are, respectively, the state and federal courts that are located closest to Company's headquarters; however, the parties further acknowledge that Company may relocate its headquarters in its discretion at any time without notice to Releasor. The parties agree to submit to the jurisdiction of the courts mutually selected by them pursuant to this paragraph and mutually acknowledge that selecting a forum in which to resolve disputes arising between them is important to promote stability in their relationship.
(b) To the fullest extent that it may effectively do so, Releasor waives the defense of an inconvenient forum to the maintenance of an action in the courts identified in this Exhibit A and agrees not to commence any action of any kind against Company or any one of its affiliates, or any of its officers, directors, employees, agents or property arising out of or relating to this Release, except in the courts identified in this Exhibit A.
4. Choice of Law. The parties agree that the laws of the state in which the franchise location is located shall govern the construction, interpretation, validity and enforcement of this Release and shall be applied in any mediation or judicial proceeding to resolve all disputes between them, except to the extent the subject matter of the dispute arises exclusively under federal law, in which event such federal law shall govern.
on the date the Responding Party receives the Initiating Party's demand for mediation and continue until the date the mediation is concluded.
6. Punitive or Exemplary Damages. Company and Releasor each hereby waive to the fullest extent permitted by law, any right to, or claim for, punitive or exemplary damages against the other and agree that, in the event of a dispute between them, each is limited to recovering only the actual damages proven to have been sustained by it.
7. Attorneys' Fees. Except as expressly provided in this Release, in any action or proceeding brought to enforce any provision of this Release or arising out of or in connection with the relationship of the parties hereunder, the prevailing party shall be entitled to recover against the other its reasonable attorneys' fees and costs in addition to any other relief awarded by the court; provided, however, the total attorneys' fees and costs awarded to the prevailing party shall not exceed the total monetary relief the prevailing party recovers. As used in this Release, the "prevailing party" is the party who recovers greater relief in the action.
8. WAIVER OF JURY TRIAL. COMPANY, ON BEHALF OF ITSELF AND ITS RESPECTIVE OFFICERS, DIRECTORS, SHAREHOLDERS, EMPLOYEES, AND AGENTS, AND RELEASOR, ON BEHALF OF HIMSELF OR HERSELF, AND HIS OR HER HEIRS, REPRESENTATIVES AND ASSIGNS, EACH HEREBY WAIVE THEIR RESPECTIVE RIGHT TO TRIAL BY JURY OF ANY CAUSE OF ACTION, CLAIM, COUNTERCLAIM OR CROSS-COMPLAINT IN ANY ACTION, PROCEEDING OR HEARING BROUGHT BY EITHER PARTY OR PERSON ON ANY MATTER WHATSOEVER ARISING OUT OF, ON IN ANY WAY CONNECTED WITH, THIS RELEASE OR ANY CLAIM OF INJURY OR DAMAGE, OR THE ENFORCEMENT OF ANY REMEDY UNDER ANY LAW, STATUTE, REGULATION, EMERGENCY OR OTHERWISE, NOW OR HEREAFTER IN EFFECT, TO THE FULLEST EXTENT PERMITTED UNDER APPLICABLE LAW.


Trasparenze Wilma cotton opaque tights - SALE- SAVE 55%!
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A baby who subsisted only on an almond-milk based formula has developed scurvy, the Pediatrics journal reports.
The condition, more often associated with pirates than infants, is caused by a vitamin C deficiency.
The 11-month-old baby, who lives in Spain, was diagnosed after his mother detected that the child was in a great deal of leg pain, and could barely stand up. The child suffered from bone loss and fractures because he wasn't getting enough nutrients in the plant-based diet he had been on since he was roughly three months old.
"This case demonstrates that scurvy is a new and severe complication of improper use of almond drinks in the first year of life," the researchers write.
"Plant-based beverages are not a complete food and they may not replace breastfeeding or infant formula," they add.
When the infant was just over 2 months old, his doctor suggested that his mom swap out his cow-milk formula to something dairy-free after he had a bad skin reaction to what he was eating.
His new formula consisted of almond milk, almond flour, sesame powder, and a creamy cereal mixture, according to Live Science. However, it did not contain any vitamin C, a vital ingredient which is in most other baby formulas as well as in breast milk.
Although his mother tried to add pureed fruits and veggies into his diet once he turned six months old, the baby didn't take to them.
Now that the infant is ingesting proper amounts of vitamins C and D, his health has improved.
"Before you change [a] child's diet, it needs to be changed to a nutritionally adequate diet," a pediatrician at the Albert Einstein College of Medicine tells ABC News. "This is too critical a period." He adds, "Bottom line, stick to breast milk or formula."


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Evolutionary Philosophy
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The Vitanauts
Evolutionary Thoughts on Plato's Allegory of the Cave
Updated picture from Great Dialogues of Plato (Warmington and Rouse, eds.) New York, Signet Classics: 1999. p. 316.
This week's thought experiment, titled Bursting the Soap Bubble, is a modernised adaptation of perhaps the most famous parable in the history of philosophy -- Plato's Allegory of the Cave. Let's read the update quickly and then compare it to the original before considering the usefulness of this kind of story.
Members of the bizarre Weatherfield sect lived a very secluded life at St Hilda Hogden House. All but the leaders were forbidden any contact with the outside world and were taught that reality was the world portrayed on soap operas - the only television programmes they were allowed to watch. For the Weatherfieldians, as they were known, Coronation Street, The Bold and the Beautiful, EastEnders, and Neighbours were not works of fiction but fly-on-the-wall documentaries. And since most of the members had been born in the commune, the pretence was not hard to maintain.
One day, however, disciple Kenneth, who had always been a touch rebellious, decided to leave Hogden's and visit the places he had seen so often on the altar box. This was, of course, strictly prohibited. But Kenneth managed to escape.
What he found amazed him. The biggest shock came when he managed to get to Coronation Street and discovered it wasn't in Weatherfield at all, but was a set in the Granada Studios.
But when he furtively returned to Hogden's and told his fellow disciples what he had discovered, he was dismissed as a lunatic. 'You should never have left,' they told him. 'It's not safe out there. The mind plays tricks on you!' And with that they chased him from the commune and forbade him to enter again.
Baggini, J., The Pig That Wants to Be Eaten, 2005, p. 55.
The original Allegory of the Cave takes up only four pages in my edition of The Republic, but rather than type that all in here, it'd be easier for you to click over and read a pdf version online from Stanford. Or, if you prefer, you can just watch this 3-minute summary made with clay puppets.
From this, the parallels to the Weatherfield sect being forced to watch soap operas all their lives should be obvious. But regardless of what limited version of reality the subjects are viewing, the most common scholarly interpretation of this story is an epistemological one that "interprets the allegory of the cave as one about human ignorance and a people who are unable or unwilling to seek truth and wisdom."
Plato used this story to describe the feelings a philosopher has when he tries to speak to the common man after going off to contemplate the "higher truths of reality." But the widespread and lasting power of this story is a testament to just how many groups and individuals have felt this way about others being chained to their views. Take this final passage for example:
Now imagine what would happen if he went down again to take his former seat in the Cave. Coming suddenly out of the sunlight, his eyes would be filled with darkness. He might be required once more to deliver his opinion on those shadows, in competition with the prisoners who had never been released, while his eyesight was still dim and unsteady; and it might take some time to become used to the darkness. They would laugh at him and say that he had gone up only to come back with his sight ruined; it was worth no one's while even to attempt the ascent. If they could lay hands on the man who was trying to set them free and lead them up, they would kill him.
How many people throughout history can identify with these feelings of righteousness as well as these fears of hostile incomprehension? Religious zealots, nationalist citizens, meditated yogis, drugged-out hippies, political warriors, scientific practitioners, evolutionary philosophers..... Any group of "us" has the potential to see a group of "them" as chained fools. But each of us are also susceptible to committing logical fallacies (a list of which I detailed in my response to thought experiment number three), which blind us to our own blindspots. But, as Plato said,
Knowledge is justified true belief.
And as David Hume said,
A wise man proportions his belief to the evidence.
When we can keep these definitions of fallacies and knowledge and wisdom in mind, we are much less likely to find ourselves staring at shadows or soap operas, or believing that others are the ones that are doing so. We've all come out of caves at some point in our personal and evolutionary history, so it would be far better to recognise that shared fact and discuss the light that we each see rather than comforting ourselves with stories of how others are mired in darkness.
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Snooki Reveals The Gender Of Baby Number Three!
by Naomi on December 17th, 2018
Fans of Jersey Shore: Family Vacation recently learned that Nicole "Snooki" Polizzi and her husband, Jionni LaValle, had been trying for a while to have a third child.
Well, recently the forever meatball announced they were pregnant. They just revealed the gender of their pending bundle of joy with family and friends….. and Jersey Shore fans.
According to an article from Page Six, Snooki and her husband decided to do the big reveal on Snooki's YouTube channel.
"So today is a special day," Snooki states in the video. She says, "Because it's my reveal party. I'm going to tell family and friends what we're having, and you guys of course"
The video continues with Snooki explaining how she and Jionni already know the sex of the baby and that their eldest child, Lorenzo, will help with the big reveal.
"I decided that Lorenzo was going to hit a baseball and the baseball is going to come out with powder" the Jersey Shore star explains. She concludes, "And it's going to be blue or pink"
Family and friends gather at the couple's home for the party. Finally, the big moment arrives, and after a nervous Lorenzo gets coached from the sidelines, the ball is tossed and Lorenzo swings to reveal… BLUE!
RELATED: Snooki Is Pregnant With Her Third Child; Jersey Shore Cast Reacts
Yes, big brother Lorenzo and soon-to-be big sister Giovanna are about to welcome a baby brother to the Polizzi family!
Who could have imagined that nine years after the world was first introduced to a group of fist-pumping, spray tanned, GTL followers that we would now see them as relatively successful individuals with kids of their own? It just goes to show how much can happen in nine years.
TELL US- WHAT YOU THINK OF THE GENDER REVEAL? IS A THIRD CHILD GOING TO SLOW SNOOKI DOWN?
[Photo Credit: Instagram]
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Tags: Jersey Shore, Jersey Shore Family Vacation, Jionni LaValle, Nicole "Snooki" Polizzi, Nicole Polizzi, Snooki


PDA's lean-thinking healthcare experts guide the master facility planning process using service demand and customer service goals as benchmarks. Specialists in hospital and healthcare function complement architect and engineering teammates who address code, construction and design elements.
PDA's organized process starts with team orientation and includes agendas and teaching elements to keep participants on message and in budget.
PDA's multi-year capital asset management models provide practical tools for decision making when budgets force trade-offs. Functional statements are built to communicate strategy, process and sizing assumptions to clients' design teams.
PDA reviews strategic plans, leadership goals, Certificate of Need, market and health planning foundations along with the capacity and life cycle of existing capital assets. These are used with interactive models to establish functional goals, departmental relationships, size and flow of internal and external traffic, customer and staff relationships.
A capital model established early in the facility plan engagement is developed and tested throughout the process.
Departmental sizing models are used for business scenario analysis. Simulation and flow exercises test intra-departmental relationships, staffing cost issues and adaptability.
To complement space blocks and functional programs, PDA teams test the cost model, build interactive critical path schedules, and, where necessary, break the plan into affordable projects. Interactive capital asset models permit clients to update the facility plan if conditions change.


This is my latest animation using a tune called Black Cloud by Yuka. Its short but took along time to render using the networked Blender render farm: sheepit-renderfarm.com which helped a lot.
I'm having no end of fun visualising electronic music in a synesthesia imagined style.
A short sound triggered test animation in Blender I created over the Xmas holidays using a Clams Casino tune called 'Say Your Prayers' from his free download Instrumentals 4 mixtape. Adding some Synesthesia visualisation styles to a Clams Casino tune worked out really well.


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ALARM BELES RINGING Lyon demand £72m for Tanguy Ndombele after rejecting Spurs' £40m opening transfer bid
Posted Friday, June 28, 2019 by Thesun.co.uk
LYON have sensationally demanded £72million for Tanguy Ndombele after rejecting Tottenham's £40m opening transfer bid.
Mauricio Pochettino's side had thought they were closing in on the capture of the 22-year-old, but the French side are standing firm over their valuation.
Spurs have had their opening bid for Tanguy Ndombele rejected by Lyon
Credit: Getty - Contributor
The midfielder, who has also been linked to Manchester United and Paris Saint-Germain, had even been given a tour of Spurs' training ground.
Lyon's signing of Brazilian Jean Lucas, 21, from Flamengo was thought to have paved the way for Ndombele's move but president Jean-Michel Aulas has been quick to confirm that things are far from a done deal.
Speaking on RMC, he said: "If I wait another eight days, it will be €80million (£72m).
"Tottenham made us an opening offer worth €45m (£40m). Then, we discussed more. Nothing is done, I can assure you. We are not in a hurry either.
"Tanguy has shown his qualities with the French national team. He is one of our best players. How much is he worth? I do not know, but not just €45m."
Spurs, who have not made a single signing in the previous two transfer windows, have been monitoring Ndombele since he burst on to the scene at minnows Amiens.
He then joined Lyon on loan in 2017 before making the move permanent.
The French international impressed in his 33 league appearances as they finished third last season to qualify for the Champions League.
Spurs are also closing in on Leeds winger Jack Clarke, 18, who is having a medical at the club ahead of an £8.5m switch.
While there is strong interest in teenage French centre-back William Saliba, who is also a target for rivals Arsenal.
Real Madrid's Dani Ceballos is also being looked at as a potential replacement for contract rebel Christian Eriksen.
Tanguy Ndombele
7M Daily Laugh - Messi wants Neymar
7M Daily Laugh - beans beans beans....
7M Daily Laugh - National v Man Utd
7M Daily Laugh - Real Madrid the dealer
7M Daily Laugh - Who can replace Messi?


You are not logged in. [Log In] Ichthyosis Information » Forums » Ichthyosis Information » Retinoids » new info on Soriatane?
#15200 - 09/06/01 05:50 PM new info on Soriatane?
Well, tell me I'm getting senile if it's not new/additional info. If it is new, maybe you guys will appreciate taking another look at it.
#15201 - 09/09/01 07:12 AM Re: new info on Soriatane?
I last checked the US-Roche site in August and at that time it already mentioned a 3 year waiting period. The site was last updated in January 2001. That might have been the moment they changed it.
By the way: In Switzerland they only recommend a 2 year waiting period! It is confusing that we get so many different information. I am used to receiving different information from different doctors, but different information from the same company about the same product is a little bit worrying.


You are invited to join me and your neighbours for my 2nd annual Family Picnic in the Park on Saturday, July 14 from 12:00 p.m. to 2:00 p.m. Bring along your picnic lunch and blanket and join me for an afternoon of music, cake, face painting, Little Ray's Reptile Zoo and lots more family fun, all for free! This family friendly picnic will be held at Eccolands Park, a hidden gem of Gloucester-Southgate ward, located at 334 River Road.
I am also very excited to once again host my annual Family Movie Night this summer! This year's event will take place on Thursday, August 16 at Greenboro Park behind the Greenboro Community Centre (363 Lorry Greenberg Drive). There will be a hot dog BBQ, entertainment, music, and a family-friendly movie for residents of all ages.
For more information on these two events, please contact my office at 613-580-2480. I hope to see you there!


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https://mmajunkie.usatoday.com/2011/03/ufc-on-versus-3s-kampmann-says-loss-to-shields-prepped-him-for-sanchez-bout
UFC on Versus 3's Kampmann says loss to Shields prepped him for Sanchez bout
http://mmajunkie.com
LOUISVILLE, Ky. – Usually, Martin Kampmann (17-4 MMA, 8-3 UFC) is all business in front of cameras and microphones. He talks about his upcoming fight, what he's done to prepare for it, and what he generally plans to do when he gets in the cage.
It's pretty hard to get past that. He's not one for the pro wrestling vibe.
Kampmann stayed low-key for much of his pre-fight chat with reporters about his fight tonight with Diego Sanchez (22-4 MMA, 11-4 UFC) at UFC on Versus 3, which takes place at KFC Yum! Center in Louisville, Ky. But it also seemed like he had something he wanted to get off his chest – namely, his disappointment with his previous performance at UFC 121 against Jake Shields.
Kampmann had been the one roadblock between Shields and welterweight champion Georges St-Pierre, according to UFC president Dana White. He could have picked up a lot of career momentum by smashing the newcomer, and who knows, maybe take on the guy who he's long pined for in St-Pierre.
But it wasn't to be. He made mistakes. He got overly concerned about getting taken down by the standout grappler Shields and forgot to punch him in the face in the meantime. He lost by split decision, and Shields will now meet St-Pierre in April at UFC 129.
Even at this level of the game, Kampmann said, there are times when all the preparation comes to naught. There are always mistakes; he moped for three weeks about the ones he made for Shields.
"Sometimes, you get fired up in the heat of the moment, and all thoughts go out the window," Kampmann told MMAjunkie.com (www.mmajunkie.com).
He's out of his funk now. He's realized it's much more productive to focus on the future, which is Sanchez. There are few opponents who can test his focus like the fighter formerly known as "The Nightmare."
Sanchez earned his nickname by taking opponents out of their game with a smothering mix of takedowns and ground and pound. He got away from that as his career progressed following his winning run on "The Ultimate Fighter 1." But he recently got back to form after he hit rock bottom with an unsuccessful bid for then-champion B.J. Penn's lightweight title in December 2009 and a subsequent loss to up-and-comer John Hathaway in a subsequent return the welterweight class. Sanchez turned in a vintage performance against Paulo Thiago at UFC 121 and broke down the Brazilian from bell to bell.
Sanchez has put on weight for tonight's fight with a heavy weightlifting regimen. So Kampmann knows that if he gets caught up in the moment and tries to match Sanchez's intensity, he's probably toast.
"He might actually be heavier than me walking in the ring," Kampmann said. "I'm a little taller and probably have the bigger frame, but I think he's going to be heavier than me. I'm not that big of a welterweight. I have no problem cutting weight at tall. I don't know why I (don't) cut to 155. I'd probably be feeling like crap, but I think it's possible for me to go lower, for sure."
Kampmann's lighter frame could help him play the matador to Sanchez's bull, though.
"I tried to get my cardio up because I expect a really good pace," he said. "I want to implement my game. I'm not here to fight his game, or defend his game. I'm here to implement my game and put him in my defense.
"I think he looked really good in his last fight. He looked re-motivated. He looked strong. A guy that's got a lot of motivation like that is tough to beat because they really believe in themselves. But I believe in myself; I'm very confident in my skills. I feel very confident I'm going to beat Diego. I want to fight the best Diego there is."
Kampmann believes his best chance of winning the fight lies in keeping it on its feet.
"I think the place where I have the biggest advantage is in the standup," he said. "I think he's going to try and take me down. I think he's going to try and wrestle me. I'd like to make it a standup fight."
Can he guarantee he'll be able to stick to that strategy when Sanchez comes charging at his legs?
"There's never any guarantee, but I definitely feel I'm a better fighter now than when I fought Shields," Kampmann said.
For more on UFC on Versus 3, stay tuned to the UFC Rumors section of MMAjunkie.com.


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Job Henry Charles Drain VC (15 October 1895 – 26 July 1975) was an English recipient of the Victoria Cross, the highest and most prestigious award for gallantry in the face of the enemy that can be awarded to British and Commonwealth forces.

Biography
Drain was born on 15 October 1895 in Barking, Essex. He was 18 years old, and a Driver in the 37th Battery, Royal Field Artillery, British Army during the First World War when the following deed took place for which he was awarded the VC.

Victoria Cross
On 26 August 1914 at Le Cateau, France, when a captain (Douglas Reynolds) of the same battery was trying to recapture two guns, Driver Drain and another driver (Frederick Luke) volunteered to help and gave great assistance in the eventual saving of one of the guns. At the time they were under heavy artillery and infantry fire from the enemy who were only  away.

He later achieved the rank of Sergeant. He died on 26 July 1975.

Memorials
Drain was a resident of Barking, Essex. In autumn 2009, a statue of him was erected on Broadway, Barking. A blue heritage plaque was also erected at his last residence in Greatfields Road.

His VC is on display in the Lord Ashcroft Gallery at the Imperial War Museum, London.

References

Monuments to Courage (David Harvey, 1999)
The Register of the Victoria Cross (This England, 1997)
VCs of the First World War: 1914 (Gerald Gliddon, 1994)

External links
 Biography
Location of grave and VC medal (Essex)

1895 births
1975 deaths
People from Barking, London
Royal Artillery soldiers
British World War I recipients of the Victoria Cross
British Army personnel of World War I
British Army recipients of the Victoria Cross
Military personnel from Essex
Burials in Essex

redpajama_set_name: RedPajamaWikipedia


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Philosophy & Law (5)
Michael Wood: 'The Taking of Pelham One Two Three'
directed by Tony Scott.
"... to mind, but this one makes us want to rethink Grease entirely, and maybe the whole genre of the musical. This is a heist movie, but the caper itself gets a little blurred, because the director, TonyScott, is not very interested in the planning or execution of crime, only in the psychodrama of criminality, and its counterpointing with the travails of the good man, in this case Denzel Washington ..."
My Kind of Psychopath
Michael Wood
by Quentin Tarantino.
Faber, 198 pp., £7.99, October 1994, 0 571 17546 5Show More
Faber, 113 pp., £7.99, November 1994, 0 571 17362 4Show More
Faber, 134 pp., £7.99, January 1995, 0 571 17593 7Show More
Faber, 175 pp., £7.99, July 1995, 0 571 17617 8Show More
"... and released in 1992, is all about a botched diamond heist, and how arch-criminals are chronically unable to spot the cop in their midst. True Romance, Tarantino's first script, directed by TonyScott and released in 1993, has a big drug deal that ends in a massacre because too many people show up at the party. There is a marvellous three-way stand-off here – drug-buyer's bodyguards against ..."
No wonder Lord Edward never quite fitted in
John Bayley
Citizen Lord: Edward Fitzgerald 1763-98
by Stella Tillyard.
Chatto, 336 pp., £16.99, May 1997, 0 7011 6538 3Show More
"... its aristocracy already on the verge of impotence and extinction. No wonder Yeats's instinct was to turn him into a Bonny Prince Charlie figure, and lament romantic Ireland dead and gone. Scott did much the same, with enormous profit to his sales, by celebrating the past glories of Scotland, glories safely past thanks to the unromantic prosperity of the Union. Tom Moore was to follow suit ..."
Alistair Elliot
"... for Tony Harrison Happiness, therefore, must be some form of theoria. Aristotle, Nicomachean Ethics, X.8 Theoria: ... a looking at, viewing, beholding ... 'to go abroad to see the world' (Herodotus ..."
Scots wha hae gone to England
Donald Davie
Devolving English Literature
by Robert Crawford.
Oxford, 320 pp., £35, June 1992, 9780198112983Show More
The Faber Book of 20th-Century Scottish Poetry
edited by Douglas Dunn.
Faber, 424 pp., £17.50, July 1992, 9780571154319Show More
"... mostly, is supposed to be deeply satisfying to the English themselves. Robert Crawford, who pursues the argument on behalf of the Scots, avoids this mistake, detecting in a provincial Englishman like Tony Harrison a fury and resentment not surpassed by any Scot. But this is hardly a novel perception, for Harrison has achieved fame on the strength of it. In fact, it's hard to find any English writer ..."
Peter Wollen: At Tate Modern
"... Festival of Britain, which established this stretch of riverside as a public space, and brought in its aftermath the Festival Hall, the National Film Theatre and, on the other side of Giles Gilbert Scott's Waterloo Bridge, the new National Theatre. The next came in 1977, with the foundation of the Coin Street Action Group when, reacting against a decline in public housing and the proliferation of ..."
Yawning and Screaming
by Tony Tanner.
Macmillan, 291 pp., £20, November 1986, 0 333 32317 3Show More
"... been to move their own special machinery into place on him. But it has happened with Swift, with Richardson, with Dickens and the Romantic poets, and it is now happening with Jane Austen. Not that Tony Tanner's study is wilfully abstract or – except for his use of the unnecessary term 'discourse' – filled with modern jargon. It is, on the contrary, one of the most readable books yet to ..."
Denis Donoghue
Write on: Occasional Essays '65-'85
by David Lodge.
Secker, 211 pp., £12.95, September 1986, 0 436 25665 7Show More
"... in Birmingham. The second part is mostly reviews: of Norman Mailer's The Prisoner of Sex, The Complete Uncollected Short Stories of J.D. Salinger, a book about the 'Catholic sensibility' of F. Scott Fitzgerald, Blake Morrison's The Movement, Martin Amis's Success, Tony Tanner's Adultery in the Novel, Graham Greene's Ways of Escape, Mailer's The Executioner's Song, Truman Capote's ..."
Blame Robert Maxwell
Frederick Wilmot-Smith: How Public Inquiries Go Wrong
"... draft of a report are given an opportunity to respond. Chilcot hoped to begin this process in 2013, but negotiations over the publication of minutes of cabinet meetings and the correspondence between Tony Blair and George W. Bush delayed things by a year. In 2014 it was agreed that a 'small number of full extracts from the minutes of [Cabinet] meetings' thought to be 'most critical' could be ..."
Per Ardua
by Gerald James.
Little, Brown, 339 pp., £18.99, December 1995, 0 316 87719 0Show More
"... James is proud of his membership of Unison, a gang of mainly military hotheads who in 1975 talked openly of overthrowing the Labour Government. James's contribution was an ingenious plan to impeach Tony Benn (he does not reveal what for) – a plan which, to James's disgust, was peremptorily turned down by Monday Club MPs. By 1988 Astra had snapped up two mighty subsidiaries, the Walters group in ..."
Peter Campbell: Untucked
"... France where members of the English middle class take their summer breaks and have their holiday homes, I have no memories of big florals: no surfboards, boats, fish and dancing girls (the pin-up on Tony Blair's cuff was surely an anomaly), but the British on holiday have learned to untuck. The T-shirt, perhaps, or the dress of an Asian cornershop-keeper, has taught us how to accept that down south ..."
Philippa Hetherington: Canberra's Coups
"... used for the declaration that the leadership is vacant – and this time Turnbull declined to stand. He initially supported the foreign minister, Julie Bishop, in a three-way contest with Dutton and Scott Morrison, the treasurer. Bishop bowed out after receiving only 11 votes, despite having served as deputy leader of the party for 11 years. At press conferences following the coup, she described the ..."
Ecclefechan and the Stars
Robert Crawford
The Crisis of the Democratic Intellect
by George Davie.
Polygon, 283 pp., £17.95, September 1986, 0 948275 18 9Show More
"... identity fuelled the urge to collect and tabulate cultural materials which is central to the Scottish tradition, whether in the anthologism of Burns, the encyclopedia-makers, the lexicographers, or Scott. Scott's finest novels exemplify Davie's 'comparative method'. Waverley passes its protagonist through a succession of cultures and languages – England, English-speaking Scotland, Scots ..."
David Bromwich: President-Speak
"... the imposition of slavery – not only on black people but on the manners, the morale and the laws of a society based on 'certain inalienable rights' – had to be resisted. And when the Dred Scott decision by the Supreme Court in 1857 denied negroes all the rights of citizenship (and claimed that the constitutional founders had always intended to deny those rights), he made a speech against ..."
Karl Miller: Football Tribes
"... reputedly the son of Henry VIII, he was also, I notice, the keeper of the woman claimed by A.L. Rowse (after Fraser's book came out) as the Dark Lady of the Sonnets. The ballads collected by Walter Scott contain wonderful praise – together with much that is more wonderful – of reiver exploits, of their boldness. But Fraser is sharp with Scott's worshipful view of his ancestors. Scott and his ..."