text:
Discuss Rules Beforehand
Chris Kraus September 1, 2014
Kathy Acker died of cancer on November 30, 1997, the same year that her older contemporaries William S. Burroughs and Allen Ginsberg passed away. At the time, many observed that these three deaths marked the "end of the avant-garde"—or, at least, the end of the avant-garde as it was known in the twentieth century.
In the years succeeding her death at age fifty, Acker's work has been the subject of a documentary film, a symposium, and several scholarly works. Attention has mostly been focused on her as an exemplar of the "transgressive" genre of writing, performance, and art popular in the 1980s. Promoting herself more as a rock star than as a writer, she appears in numerous studio portraits taken during that era posed as a precocious child whore in a Victorian boudoir, displaying her extravagant tattoos and bulked-up biceps. Although she'd been actively writing and publishing in the East and West Coast art world and poetry communities since the early 1970s, it was not until the mid-'80s that her work was presented commercially. When her inventive, aggressive bricolage novel Blood and Guts in High School was reissued by Picador in London in 1984, she was hailed as "the high priestess of punk," an avatar of resistance to the grim resignation of the Bush/Thatcher era. As her image solidified, so did her writing. While the writings that built Acker's reputation are insouciant samplings of pornography, plagiarized classics, confessional memoir, and political satire, she began taking herself even more seriously than her fans and critics did. From the late '80s onward, she adopted a somber high-modernist style, identifying herself as a postmodern poète maudit.
While Acker's work has retained its underground cred during the seventeen years since her death, it's only recently that her work has been embraced as a powerful influence on a new generation of (mostly female) contemporary writers. Her appropriating compositional style prefigures the oft-debated narrative strategies of writers whose recent novels are littered with emails, transcribed conversations, text messages, found conversations, and diary entries (as if a disjunctive narrative style had never been used before the advent of digital media). In a recent informal survey of Acker's female contemporaries conducted by Emily Gould and Ruth Curry of Emily Books, an indie e-bookstore, Acker's name recurs as a primary influence. Her image has faded but her writing remains vivid. This shift makes Semiotext(e)'s publication of Acker's 1995 email correspondence with media theorist McKenzie Wark extremely well timed.
I'm Very Into You is a collection that includes 103 pages of emails that Acker and Ken Wark exchanged over seventeen days at the dawn of the internet era. Acker met Wark in Sydney during the summer of 1995, and the two had a brief but intense affair before she returned home to San Francisco. Wark, now a professor at the New School for Social Research and a renowned media theorist, was thirty-four when he met Acker (she was forty-eight). At the time, Wark was part of a Melbourne-based post-Marxist anarchist group that produced the political and cultural journal Arena. He had just published his first book, Virtual Geography, about the emergence of global media space and the transmission of world events as media spectacles. He was enjoying a precocious career as a national media commentator in Australia and advising government ministers on media access, while still living a kind of post-student life among artists and activists. He had boyfriends and girlfriends, often concurrently, and wondered about his identity, queerness and straightness, performance, butch/femme-ness, masculinity. Of course he'd read Acker. He'd been following her work since the '80s.
The search for connection through sex is at the forefront of all of Acker's writing. She was single for most of her life (and writing always from within her life, and around and beyond it). As passages from her novels show, on-tour flirtations and hookups and romances weren't uncommon. While touring in the summer of 1995, something more compelling than a mere fling developed between her and Wark. His first email begins as a gracious note sent to a casual lover. He'd driven to work the next day in a daze; he'd enjoyed spending time with her and was starting to read the William S. Burroughs novel she'd talked about. But as he continues, he opens the door to something more complicated: "There are no words," he writes. "I just want to say there are no words.… Bear with me. I'll have something to say for myself sometime soon. When I remember who I thought I was in the first place. Even if I've been displaced a little from wherever that was." She responds, delighted: through the exhaustion and jet lag of travel, "your message is changing the day… all the time there (in Sydney) that I didn't know what was going on… what becomes/became present was how easy it is to be with you. Like: you are the one I want/wanted to talk to."
In London, at the height of her fame, Acker had been involved in an increasingly maddening long-distance BDSM romance with a married journalist referred to as "the German" and "the reporter" in her 1990 novel, In Memoriam to Identity. "Being with him made me remember that I've always looked for my childhood," she'd write to Wark. Still, his control of her, which began as sexual play, became increasingly total as he suspended contact for weeks and cut short their meetings. What began as a fulfilling and sexy relationship between her "bratty sub" and his "strict Dominant" evolved into a draining, old-fashioned affair between a distant and married straight man and his long-suffering mistress. As she'd write at the height of her correspondence with Wark, fearing their friendship might take a turn in that direction: "So. Regarding het shit. These games. To me, top/bottom is just stuff that happens in bed. Who fistfucks whom. Outside the bed, I do my work and you do yours. I fucking hate power games outside the bed and have no interest in playing them."
By the time she met Wark, Acker's life had been in semi-tumultuous transition for years. Acker broke off relations with the German reporter in the late '80s. Living alone in London and trying to finish In Memoriam to Identity, she found herself caught in a holding pattern. Then, in the summer of 1989, her relations with her UK agent and publisher exploded. The Adult Life of Toulouse Lautrec, one of Acker's earliest self-published works, had just been repackaged and republished as Young Lust with a photo of Acker's tattooed naked back on the cover. Like all Acker's works, Lautrec was composed partly by sampling the language and plots of existing high and low literature. This particular work included several pages of a novel called The Pirate, by mass-market soft-porn pioneer Harold Robbins. When Robbins's lawyer, Paul Gitlin, sent an injunction in an effort to pump up his elderly client's fading career, Acker's publisher took the threat seriously. Following instructions from management, her editor demanded she write a public apology. (Robbins himself had been threatened with a lawsuit in 1974 by a "Miss X," who believed the adventures of The Pirate's promiscuous protagonist, Jordana, were based on events from her own history.)
"The Harold Robbins Affair," as her American editor, Fred Jordan, wryly described it, would become Acker's official reason for leaving London. As she told Larry McCaffery, "[I]t was a horrendous experience that completely disrupted my life. I couldn't even answer my phone for three weeks… I just had to get out of the country… I was also feeling very threatened as a writer."
From London, she returned to New York, where she'd lived from 1975 to 1983, and bought an apartment downtown, between the East and West Villages. By 1990, many of her old East Village friends and associates had moved on to literary careers supported by mainstream publishers. Lynne Tillman's well-received debut novel, Haunted Houses, had been published by Simon & Schuster in 1987; Patrick McGrath's new-gothic novel The Grotesque had been published by Simon & Schuster in 1989. Critics discussed the books of Acker's former peers, not their piercings and outfits. She found New York lonely and isolating.
Within months, she put her apartment on the market and returned to London, but then changed her mind and left London for San Francisco. Seeking a place within walking distance of nature, she settled into a Cole Valley apartment, just a few blocks away from the shared, sprawling apartment in the heart of Haight- Ashbury, where, nearly two decades prior, she'd written parts of The Childlike Life of the Black Tarantula, her self- published serial novel.
During the five years she spent in Cole Valley, Acker toured constantly. Inherited money and writing income earned in the UK during the 1980s enabled her to purchase apartments in desirable areas. But despite her international acclaim, she had no regular income or health insurance. Throughout these years she was consistently seeking the kind of tenured MFA program job held by many of her former students. Since none of these programs chose to employ her as anything more than a visiting lecturer, she depended on touring for income and to help extend and maintain the niche fan-base from Europe, the United States, and Australia that was essential to the sale of her books. (As she'd confide to Wark: "[T]his is the first time in some years that I'm not running five jobs at once, touring and writing a novel and journalism/theory writing and teaching and what other projects like the Mekons' record, and I come up for air and who am I… lonely and scared.")
In 1995, when she met Wark, Acker was still reluctantly living in San Francisco, a city she tried to mythologize as a frontier/queer/outsider-activist town, but which she was attempting to leave. While she had many friends, loyal students, and a comfortable life in San Francisco, it was still a provincial city where most middle-aged writers and artists were ensconced in domestic couples. She'd escaped New York's intense competition, but nothing in San Francisco offered new information.
As her writing career existed outside the realm of respectable "high-lit" fiction, she cast herself as an outsider icon. Her Australian tour appearances were billed as "Kathy Acker: US Superstar, Punk Feminist Writer," an increasingly awkward niche to inhabit by the mid-1990s. Since the publication of her 1988 novel, Empire of the Senseless, she'd been trying to shift away from her bratty and raucous punk-era persona toward something more mythological, classically modernist, stately. Before leaving for Australia, she'd turned in the manuscript for Pussy, King of the Pirates, a fragmented, rhapsodic account of the adventures of a brigantine gang of queer pirate girls written in Homeric style. As the title and description might suggest, the book served only to reify her long-standing persona.
By turns languid and frantic, Acker and Wark's correspondence unfolds as a kind of adult romance: a journey with words through distance toward connection and knowledge. In his second email to Acker, Wark asks: "Do we need to analyze our encounter with each other? Or can we just assume it, and see what kind of dialogue it anchors to a start in time?" Time was among the many productive obstacles to their virtual connection. A difference of seventeen hours lay between them. They inhabited different continents and different days. He had a tenure-track job and various lovers in Sydney; she was about to resume her part-time teaching job at the San Francisco Art Institute.
Neither of them expected their correspondence to lead to a relationship in a shared time/space future. But emailing sometimes six times a day, the leisurely self-revelation attained through an exchange of tastes and ideas that defines traditional courtship occurs almost instantly. They engage in a gentle-edged play toward intimacy. They discuss movies and TV shows and books, mutual friends, each other's feelings and moods, and sex, both in general and in particular. Wark writes to Acker about Australia's obsession with all things American; she looks at his life in Australia with wistful envy. "No wonder I'm fascinated with… by?… your relationships," she writes. "… [W]e have the relationships of too many rats in a cage. No, rats who are hungry. No, rats who don't have maps that work… I'm amazed by your culture: you have maps. Culture. Art. Boring dinner parties. RU [Sirius, the SF cyberpunk writer and activist] isn't walking homeless through the streets."
At the time, neither Acker nor Wark saw their exchange as a potential book, or even a project, but the correspondence nevertheless unfolds as a narrative, climaxed by misunderstandings. For someone who's slept with his addressee less than a week ago, Wark talks too much about his current and former lovers, particularly since she, at the time, had no other partners. Still, they'd made no promises to each other. Acker treads on dangerous ground, drawing him out about his other partners, only to be offended later, when he foolishly catalogs them. "First," she writes, "you're worried about having babies with one girl and another lover is coming out of the fistfucking closet and there's also an old boyfriend and then, of course, desire. Lord, honey, can you have babies and keep all this going?" In some ways, Acker and Wark's correspondence amounts to a cautionary tale against casual sex, but, in a larger sense, they're trying to forge a brave friendship that includes sexual and intellectual intimacy aided by total disclosure. Comfort matters less to them than knowledge.
She invites him to stay with her during his stopover in San Francisco en route to a conference in Canada, cautiously leaving the door open to sleeping either with her or alone in her guest room. When he accepts casually—"If you're busy I can look after myself but if you have time I'd like to spend time with you"—she's gravely insulted. "My apartment isn't a hotel. I'm trying to be gracious, fuck you.… I'm really not into these out-of-bed games. Fucking just tell me what you want and I'll go with it. That's what you do when you do s/m scenes. You discuss rules beforehand. 'Cause otherwise it's all too dangerous… Well, it's the same for me, with vanilla sex or without sex." Later, he concedes: "I think the problem was me talking about various emotional ties I have with certain people in the *absence* of talking about my emotional ties to you. I was deferring something until I found the words… but one never finds the words." The emailing ends just before Wark leaves on this trip. They hung out for a day and a half at her house in San Francisco, and then spent a few days in a hotel in New York. After this, they emailed only sporadically. The last email—from Acker to Wark—was written on February 12, 1996, two months before a routine lumpectomy revealed what would turn out to be terminal cancer. She died less than two years later, at an alternative cancer-treatment facility in Tijuana. Acker became controversial again, in the wake of her death, for her medical choices.
For two decades before meeting Ken Wark, Kathy Acker collaborated with the artist Alan Sondheim on Blue Tape, a fifty-three-minute black-and-white videotape that documented their brief attraction and courtship. They'd met in New York through the poet Bernadette Mayer, with whom Acker had struck up a casual friendship. It was 1974: Sondheim, according to his remarkable, fragmented Auto-biography or biog.txt, was living on and off in a loft with Bernadette's sister. Acker was living in San Francisco with her companion, the musician Peter Gordon. Alan and Kathy had dinner on her last evening in New York, and then spent the night together. Returning to San Francisco, Acker wrote a long text about their encounter.
I know who Alan is: Alan is my father. He'd better be my perfect father take care of me but not restrain me from doing anything I want. Touch me softly with his hands and voice, like everything I do. If Alan isn't my perfect father I'll turn away from him unless he touches me again. I'll attack him… I'll make him shrivel into nothing I have to think about myself be alone without lovers so I can think about myself Alan helps me.…
—and mailed it to Sondheim. The text, titled Floating Through Memory to Desire, is vintage early Acker, asserting a need and simultaneously parodying it. At the same time, the text asserts Acker's highly literary intentions, cannibalizing the durational, total recall of Mayer's contemporaneous Memory project, a fragmented recapture of consciousness so intense it was prefaced by Mayer's psychiatrist into something more widely relatable, whiny, and Jewish.
Sondheim was fascinated. On one hand, he felt ripped off and used by this text—on the basis of a single meeting, he'd been deified as the object of her fabulation—but on the other, he believed she'd opened terrain worth exploring. Besides, as he'd later recall in his Auto-biography, "I was falling in love with her, from a distance, from what now would be considered the virtual, introjection…" At thirty-one, Sondheim was five years older than Acker and well respected within the hippie-high-minimalist SoHo art world, one that was already enchanted with Acker's The Childlike Life of the Black Tarantula. She'd borrowed her friend Eleanor Antin's mailing list, the same list Antin had used for 100 Boots, her renowned conceptual project in which she photographed a collection of boots in fifty-one places and mailed postcards of them to famous people in the art world. Acker's technique of viscerally inserting herself into found histories and biographies in a declarative first person ("No one touches me; I'm constantly horny; I think only about sex. I don't like sexual explosions getting mixed up with hampering my work. I'll do anything to fuck") was like a nuclear bomb dropped onto the minimalist horizon. Sondheim raised funds for her flight, and within weeks she was back in New York to make Blue Tape.
In the first scene, Acker faces the camera, sitting against a white-painted brick wall. At twenty-six, she looks like a young Emma Goldman. Her brows are untweezed. Her hair is shorn into a fuzzy brown buzz cut. She wears round, rimless glasses and a thick cotton scarf. Most of the themes that will emerge in her later work appear in this video. She begins, matter-of-factly, to lay out her cards: "I met Alan Sondheim when I was in New York… We talked mainly about certain gestural and mental similarities we had both noticed that existed between us. And at the end decided to do a piece together.… I started writing down everything I had heard about Alan or heard about his work and knew about him before I met him." The camera stays on her face as Sondheim reads from her text. They attempt to discuss it, but the conversation quickly devolves into a bickering match about power. Sondheim complains that she's "using him as an analyst to get to memories," but at the same time, he's moved by her dilemma. Acker asserts her right to maneuver her personal life for artistic purposes: "I feel that when I write I can do anything, so long as I'm not viciously saying something about somebody they don't want said about them. For my purposes of exploration."
At the height of the argument, Sondheim remarks presciently: "You're a very powerful person. At this point. And god knows if you're powerful now what you're gonna be like in a couple of years. There's gonna be hell to pay for anybody who gets in touch with you." The camera is on Acker. She nods, listening seriously. "You're gonna burn people. You're gonna kill people, you really are." Her face lights up. She nods and smiles.
In the next scene, Acker is naked and fondling her breasts while Sondheim reads from his treatise on phenomenology and language. Scene three cuts to a medium close-up of her cunt. He finger-fucks her as she barks instructions. Then they get dressed and discuss the various power relations existing between them. Finally, she sucks his cock while he narrates the event, adding phenomenological and political commentary. Blue Tape ends with both parties exhausted. It's a pleasureless, darkly comic encounter, deconstructing the ethos of casual sex and psycho-experimentation popular during that era. As Sondheim recalls, the exhibitions of Blue Tape that year became a litmus test of the audience: At the St. Mark's Poetry Project, "the audience wept; at Yale, they laughed. It depended on the first responder; everyone followed suit, everyone was on an emotional edge." They parted dubious friends.
Throughout her career, Acker spoke often about her discovery of appropriation through her studies with the poet David Antin (husband of Eleanor) at UC San Diego, and the early influence of Charles Olson and other Black Mountain poets. She described this as a crisis of voice. As she'd tell Larry McCaffery, "The problem was, I couldn't find my own voice. I didn't have a voice, as far as I could tell… what I was trying to do in Tarantula was to see if, rather than trying to integrate the 'I', if you could dis- integrate it and find a more comfortable way of being."
As Gary Indiana describes her work: "Her first writings—quirky, stream-of-consciousness, deceptively confessional—are whimsically strewn with pornography, violence, black humour and incongruous cultural references…. She routinely dropped into her writing records of the things she'd done or talked about or overheard during the day, mixing them up with send-ups of classical texts and mythological references to create droll, disorienting collages. Reading this early work was like being stoned in a taxi speeding through an unfamiliar city." Like the Oulipian novelist Georges Perec, Acker is never merely a formalist. Both writers devised intricate textual structures to contain an excess of feeling. Acker's compositional strategies enact a more intimate space between writer and reader than most conventional narratives do, because they're so consciously, willfully performed for an audience.
And yet by far the most compelling aspect of her work before Empire of the Senseless is the eruption of her unforgettably strident and funny, dirty, direct, conversational voice within an elaborate textual edifice. Her character Janey Smith, the protagonist of Blood and Guts in High School, speaks for nearly every straight girl in late-1970s America when she writes:
Janey's rolling off of Johnny. Johnny's pulling the black pants he's still wearing over his thighs because he has to go home. Janey's telling him she has to sleep alone even though she isn't knowing what she's feeling. At the door to Janey's apartment Johnny's telling Janey he's going to call her. Johnny walks out the door and doesn't see Janey again.
Janey Smith is confused by the sexual-revolution taboo against feeling, and, worse still, attachment:
Whenever a cock enters me every night three nights in a row, I ask myself regardless of who the cock belongs to should I let my SELF depend on this person or should I remain a closed entity. I say: I'm beginning to love you I don't want to see you again. The man thinks I'm crazy so he wants nothing to do with me.
Such eruptions of feeling are never treated as soluble "problems" in Acker's work. Coexisting with pastiches of classical literature, political rants, and burlesques about the nuclear family, feeling is transported out of the realm of the female-abject, becoming part of a new universal that is, to borrow a line from Acker's contemporary Ted Berrigan, "feminine marvelous and tough."
Once Grove Press and Picador began republishing Acker's work in the mid-1980s, her career as a late-punk-era icon was sealed. People were either for or against Kathy Acker. (She jokingly-not-really wrote in Great Expectations: "Dear Susan Sontag, Would you please read my books and make me famous?") She was widely read and supporting herself as a writer, which was more than could be said of many of her former contemporaries. As she entered middle age, rather than distancing herself from the physicality and sexual content of her earlier work and persona, she chose to amplify them. Citing Yukio Mishima as an influence, she dedicated herself to weight training, tattooing, and body modification. After Grove Press was acquired by Atlantic, in 1993, her books were reissued with glamour portraits of the author costumed, tattooed, and pouting. In Memoriam to Identity, an endless and incomprehensible narrative of fisting, rape, incest, wrist-cutting, and whoring, ends with the words "Sexuality… sexuality." Pussy, King of the Pirates was written, she boasted, almost entirely while masturbating. Her image, frozen in time and bound to a mid-1980s punk sensibility, didn't age well.
"Got home drunk and did the French editing… and then burst into tears… why am I flipping out… what the fuck did Australia do to me," Acker emails to Wark at 3:19 in the morning. During one of her first rambling emails, she mentions in passing that she's consulted her psychic about him.
Acker's executor, the writer and artist Matias Viegener, writes in his introduction to the correspondence that, while Acker would never have agreed to this publication if she were still living, "Perhaps we will know her differently now, and him [Ken Wark] as well." Wark's agreement to publish the correspondence, the reading of which, Viegener reports, one unnamed contemporary compared to "rooting around in someone's underwear drawer," shows a tremendous commitment to contradiction and truth and to the cultural works that embrace it.
Writing in the first person about her encounters with recognizable lovers and friends, Acker was frequently praised for the "vulnerability" of her remarkably transparent style. But it was a constructed vulnerability. Her texts and her persona were ingeniously controlled and conceived. As her career and reputation advanced, she became increasingly guarded, reshaping her past in numerous profiles and interviews in ways she believed would enhance her credibility. The Acker who, parodying herself as Every Punk Girl, declared, in Blood and Guts in High School, "I have to work as hard as possible so I can get enough fame then money to get away from here so I can become alive," was not the middle-aged woman who, after achieving precisely those things, we find shyly disclosing to Wark: "…I do want to sleep with you again… I'm not very good at total ambiguity… I'm very into you." The awkwardness of the correspondence is truly awkward, and it's precisely this quality that makes the book feel so contemporary.
"We're all the same, don't you think?" the artist Martha Rosler remarked. We were talking about Acker, whom she'd known well in San Diego during the early 1970s. "Of course we're competitive. But that also means we can identify with her. I could've been Kathy; Kathy could've been me. I don't know. I could've been you; you could've been me. We all could've been Eleanor Antin. It's all the same. And by that I don't mean we're not who we are. But you know what I mean."
Tags: biographybutchcorrespondenceemailsfemmeKathy AckernarrativesexSontagSusan Sontag
Ambient Parking Lot
All-Ages Music
An Interview with Shirley Hazzard
Stuff I've Been Reading: February 2006

redpajama_set_name: RedPajamaCommonCrawl


HD-CVI is high definition composite video interface, a coaxial cable-based high-definition video transmission standard, analog modulation technology to transmit high-definition progressive scan video. HDCVI technical specification includes two kinds of 1280H and 1920H high-definition video formats(Effective resolution 1280H format of 1280 × 720; the effective resolution of 1920H format of 1920 × 1080),With independent intellectual property rights of the non-compressed video data analog modulation techniques, point to point transfer megapixels level HD video via coaxial cable, implement without delay, low loss, high reliability of video transmission.
2. HDTV signals OSD, digital overlay, non-physical overlay, no jitter.
3. HDTV signal decoder, can decode the HD-CVI signal,built-in amplifier,line equalizer, video multiplier and HD video transmitter,automatically identify the source signal resolution, output HD HDMI 720P60HZ, 1080P60HZ signal.
5. It is a high-definition signal decoder, realize 720P,1080PHDMI high-definition signal output.
1. HDTV signal independent display spaces.
4. HDTV signal access large-screen display.


Human Rights Education is everywhere! The Speaking Rights Training in Vancouver was eventful, colorful and purposeful.
Here are some pictures from the training of participants from the training doing activities from the Speaking Rights Toolkit!
Speaking Rights Activity: Up in the Air!


text:
Q: Order of the cross-product preference $T_u \times T_v$ vs. $T_v \times T_u$ To explain this question better, I was working through my lecture's problem sets and this problem came up:
Vector Calculus 6th Edition, Anthony Tromba, Jerrold E. Marsden

Consider the closed surface $S$ consisting of the graph of $z=1-x^2-y^2$ with $z\ge0$, and also the unit disc in the $xy$ plane. Give this surface an outer normal. Compute:
$$\iint_S \mathbf F \cdot d\mathbf S$$
where $\mathbf F(x,y,z)=(2x,2y,z)$.

My confusion around this problem has to do with the order for the cross-product of the partial derivatives when you get the parameterized surface $(\phi(u, v) = (u\cos(\theta), y\sin(\theta), 1-u^2)$
So for this question, the method they suggest is $T_u \times T_v$ which would result in a negative final value. However, when swapping the order of the cross-product you receive a positive final answer.
Is there any specific reason that you're not allowed to swap the order of this? Does this inherently change the original surface of integration?

redpajama_set_name: RedPajamaStackExchange


Bridgit is a field service and construction solution that is suitable for a wide variety of project types in residential, commercial and industrial sectors.
Bridgit offers a mobile app that can be used by various employees including tradespeople, site supervisors, owners, developers, general contractors and subcontractors. The solution includes web reporting, integrated workflows and automatic communications that help users manage work items and inspections from project kick-off to close-out.
Bridgit also offers real-time metrics on site performance. Progress and task scheduling summaries are located in the dashboard and enable users to monitor the pace of work and identify bottlenecks on site. Users can create, edit and export PDF, CSV and digital signature reports to sharing with required stakeholders.
You need to establish a clear methodology for use by each project team which can make it complicated. Some items, like paint touch ups, as so frequent that it becomes time consuming to create a new item for each paint mark. If you create one item and list the spots in the description, you cannot close it until all items are complete.
I benefit from speeding up the punch process. Also Bridgit makes it easy for our subcontractors to see exactly which items they need to fix.
Makes creating and maintaining punch lists much easier and quicker. The user interface is simple and is easy to pick up which is very nice for people that aren't as tech savvy. It is also great that you guys are on the android app store so now anyone that has access to a smart phone can get the app.
Sometimes you have to click through too many fields to add a similar item. shortcuts would be nice. For example if I am in a certain room and I want to keep adding items to this one room it would be helpful to not have to click through the floor, location, ect. I'm pretty sure you guys are already working on this issue. but other than that I don't have any complaints and if I do you guys are easy to get ahold of.
Ease of use - takes less than 30 seconds from a cold start to photograph, locate, comment, assign and send a deficiency or issue. Even faster for multiple similar items with the pinning feature.
Easily filtered- have you got a meeting with the mechanical sub in 2 minutes? That's about a minute longer than it will take to create a report showing all their open issues and deficiencies. Works just as well for lists like open RFIs, submitter status, etc.
No Consultant version- the pricing is based on job $. A small consulting firm can easily manage a $20 million project, but Bridgit Field costs are based on multiple contractors, subs, suppliers, etc.
I really enjoy the ease of using this Software. I find that the functionality and layout from the computer to the phone app most pleasant. Although they have different functionalities depending on where you choose to do your work from, Bridgit was able to give you the best features on the screen you were viewing it from! I also really like the reporting options that Bridgit offers. It even allows the pictures I take to be put onto the report in 3 different ways, which I find really helpful! Being a visual person, that's a HUGE plus for me and a lot of my fellow trades.
This isn't really a Con, but more of a feature/function I would love to see added on to Bridgit to make it that much more powerful for my workplace. I find it really helpful when I can view the tag from a suite layout view. Knowing where it is based on the tag I place and the exact location in the room it is in.
The ease of use in the office and the field were major benefits. The automated distribution to the trades ensured that all parties had current information of deficiency statuses.
The search ability of specific trade items on the app could use some refinement. The project did experience some technical difficulties with connection and access throughout the project.
Bridgit Closeout has helped us get better at doing punch lists and staying organized. It also does the work of sending out email reminders to the subs, so this save a lot of time on our end.
Ease of use, the constant reminders it sends to subcontractors, the way you can filter reports, the way you can take pictures and mark them up, etc.
Nothing. We love the app! I guess the only limitation is when you have to teach the subs how to use the app at first, but after this is done, everything flows. There is even a PowerPoint presentation on the web site that you can use to help the subs understand the use of the app.
Kyle from JHL Constructors Inc.
Overall, Bridgit isn't great for a projects safety or document tracking (RFI's, submittals, etc.) but does a great job with quality tracking and task allocation.
The overall layout of the app is easy to follow once you get used to it. It also produces very nice reports that make it easy to see what is done and what isn't.
Training people who struggle with technology how to use this app is a bit challenging. Also, there are a few simple things you would think the software could do easily but it doesn't which makes a few things like creating checklists and transferring to tasks to other areas very difficult.
- I love how easy it is filter items and export reports the way I want to see it.
Performance - could use some modification to help speed up the process of inputting items. Software can be sluggish at time.
Hi Devin, Thanks for reviewing Bridgit. We're glad to hear how helpful and easy it was to use. Plus, thanks for calling out our awesome support team. If you have any more details or ideas to share about performance, feel free to reach out. We're always happy to collect more feedback to improve!
hard to say, Bridgit really hit the nail on the head with this program for deficiencies- if I had to pick something to say here it would be integration with other softwares like Procore or Aconex.


Out of the Trees - Artistic Woodturnings: Natural edged in colour.
This started as a commission which was canceled, no problem though as it was something I had in mind anyway.
The bowl is is Ash and has some nice feather features that the colour works really well with, the finish is shellac and the bowl is 9.5 inches wide.


text:
El castillo de Barnwell es un castillo en ruinas, al sur de la ciudad de Oundle y al oeste de la aldea de Barnwell, Northamptonshire. Está considerado como un monumento clasificado de Grado I y es un monumento planificado.

Se erigió un castillo de mota castral en el año 1132. El castillo de piedra fue construido durante el reinado de Enrique VIII por la familia de Berengar Le Moyne. En la Revolución inglesa fue utilizado por su propietario, sir Edward Montagu, como arsenal para la causa realista. Tras la guerra civil, la familia Montagu construyó una gran finca cerca del castillo, la Finca de Barnwell.

Numerosas partes del castillo siguen en pie. Tiene forma cuadrilateral con torres cilíndricas en las esquinas noreste, noroeste y suroeste. En la esquina sureste hay una puerta con una torre a cada lado. Las murallas miden hasta 30 pies (9 metros) y tienen un grosor de 12 pies (4 metros).

El castillo es propiedad privada y el acceso al mismo no está permitido.

Véase también
Castillo de Albalat (Romangordo-Cáceres)
Castillo de Aljabowbi
Castillo de Averhoff
Castillo de Ballygally

Referencias

Enlaces externos

Barwell
Edificios listados de Grado I de Inglaterra
Northamptonshire
Arquitectura de 1266

redpajama_set_name: RedPajamaWikipedia


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text:
Photos: The return of dot-com fever
Once more into the breach...
"Got, got, got... need." The Second Chance Tuesday event, held at The Century Club on Shaftesbury Avenue, resurrected a networking staple of yesteryear with attendees choosing a coloured sticker to denote what their role in the whole bash is. Entrepreneurs were encouraged to wear a green sticker while the investors, of whom there were plenty present wore red. Casual bystanders or those not looking to be so clearly labelled – such as press – wore amber to denote their neither-nor status.
The idea behind the system is that the two interested parties, like couples on a speed date would be able to find each other. Green stickers could speak to red stickers with a view to striking deals that will inject fresh vigour into the UK dot-com sector.
Photo: Will Sturgeon
Published: February 8, 2006 -- 15:45 GMT (07:45 PST)
Caption by: Will Sturgeon
Fancy seeing Tew here: Alex Tew, creator of the Million Dollar Homepage, now set on dot-com domination, said: "I think this event will be incredibly valuable. There are people here who will be useful for getting investment but also it is important that I can meet people in the same situation and the same industry."
However, he confessed he had a slight 'impostor complex', following the overnight success of his web phenomenon. "I feel like I shouldn't really be here," he admitted.
Crowded house: Organiser Judith Clegg told silicon.com she was shocked at the turnout as the crowds continued to pour through the door. "We're going to need a bigger venue next time," she said.
Clegg and co-founder of Second Chance Tuesday, Michael Smith, footed the bill for the event themselves having declined sponsorship from a number of financiers.
"The next one will be sponsored," said Clegg. "But we wanted to keep this one fairly clean."
A job well done: The founders of Second Chance Tuesday, Michael Smith and Judith Clegg take a breather from the networking and chaos of getting everybody into the venue.
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A recent article in India's newspaper The Hindu uses data from the India Human Development Survey to examine the results of a massive public works program intended to provide a social safety net to workers in India. The Mahatma Gandhi National Rural Employment Guarantee Act (MGNREGA) makes the government the employer of last resort for rural workers who would otherwise be left with insufficient employment. Though there are some problems with the program, it has been successful in providing employment to disadvantaged workers including women, indigenous people, and members of castes traditionally regarded as untouchable.
MPRC faculty associates Sonalde Desai and Reeve Vanneman published the article with co-author Omkar Joshi. Their conclusions are drawn from the results of the India Human Development Survey, a joint project of the University of Maryland and the National Council of Applied Economic Research.


text:
A diatribe defense: Pros say Khalid Shaikh Mohammed will act as his own lawyer in WTC terror case
By ALISON GENDAR and Rich Schapiro
| DAILY NEWS STAFF WRITERS |
Nov 14, 2009 | 10:05 PM
As Mohammed and his underlings languished in Guantanamo Bay, a fleet of lawyers have worked to protect their rights. (Red Cross)
Now that the venue is finally set, a sinister question looms over the case of confessed 9/11 mastermind Khalid Shaikh Mohammed: Will he use the court as a platform to spew his sickening diatribes?
Experts say the terror thug will likely resist legal representation, opting instead to turn Manhattan Federal Court into his bully pulpit.
"The chances are excellent that he represents himself," said Ron Kuby, a defense lawyer known for taking on controversial clients.
"[Mohammed's] goal in the legal system is not to beat the rap. His goal is to use the legal system as a forum for his own ideas and to embrace martyrdom through that system."
As Mohammed and his underlings languished in Guantanamo Bay, a fleet of lawyers have worked to protect their rights.
But Mohammed repeatedly tried to get rid of his lawyers, Scott McKay and David Nevin, insisting he's bent on achieving martyrdom.
Even a lawyer for the ACLU, which has been helping to safeguard the rights of the terror gang, conceded that the likelihood they go it alone in court is high.
"It's quite possible that these defendants will undertake to represent themselves," Ben Wizner said. "They've been trying to fire their lawyers the whole time so they can be executed."
Experts say it's possible Mohammed will plead guilty, seeking a quicker path to death.
But if he opts to fight the charges and agrees to legal representation, his lawyer "will have powerful legal weapons at his disposal," said noted criminal defense attorney Alan Dershowitz.
Lawyers could seize on the time it's taken to prosecute the accused terrorists, arguing that they were denied their constitutional rights to a speedy trial.
A crafty defense lawyer might also employ a tactic called "graymailing," demanding reams of classified information in the hope that prosecutors refuse to release them. That provides an opening for a lawyer to request the indictment be dismissed.
Torture is also likely to play a central role in the case.
That Mohammed was waterboarded more than 180 times by CIA investigators is no secret.
"The first thing they're going to do is challenge all of the evidence and say all of it is the fruit of waterboarding," Dershowitz said.
This approach has been used before, perhaps most notably in the case of Abdul Hakim Murad, a co-conspirator with Mohammed in the so-called Bojinka plot to blow up several airliners over the Pacific.
Evidence of Murad's torture by Filipino investigators - who allegedly burned his genitals with cigarettes - was used in court. But it ultimately made little difference: He was convicted and sentenced in 1998 to life in prison.
Indeed, Dershowitz said any defense attorney who takes the case will be facing long odds.
"In the end, the likelihood of any verdict other than a guilty verdict and the death penalty is very, very low," he said.
The prospect of convicting a terrorist like Mohammed is the type of assignment that makes the top litigators at the U.S. attorney's office salivate, insiders say.
"People will be fighting over each other to get this assignment," said David Kelley, 49, who prosecuted the case against 1993 World Trade Center bomber Ramzi Yousef. "It's a very important case. It's important to the national psyche. It's everything that a prosecutor would want."
The U.S. attorney's office has no shortage of veteran prosecutors with the chops to handle what would be perhaps the most watched criminal trial in history.
Richard Zabel, newly appointed chief of the Criminal Division, is the author of two reports detailing how to prosecute terrorism cases in federal courts.
David Raskin, head of the Terrorism and National Security unit, has extensive experience in trying terror cases. He helped convict Zaccarias Moussaoui, believed to have been trained as a potential 9/11 hijacker.
Legal observers say Michael Farbiarz, the deputy chief of the Terrorism and National Security unit, is also uniquely suited to prosecute Mohammed. Farbiarz was part of the team that convicted Oussama Abdullal Kassir of helping Al Qaeda efforts to open jihadist training camps in Oregon.
Whoever takes the case will be thrust into a cauldron of high pressure, high security and high expectations.
"It's going to be all-consuming," Kelley said.
rschapiro@nydailynews.com


The right-angled and ascending broadening chart pattern is not one you might choose to trade. Other chart patterns perform much better. Downward breakouts have a big break even failure rate which may disqualify them from your trading tools. Upward breakouts have only a middling average rise, and that is if you trade them perfectly.
Would you trade a pattern with a likely profit potential of 10% or less? Perhaps a bearish chart pattern would appear, and the measure rule for that formation implied a downturn from 2700 to 2550, would you consider pursuing it further?
Some of these queries came up when the megaphone-like formation in the Dow Jones Transportation Average was noticed over the last two months. This compilation, with a flat, horizontal bottom and a progression of higher highs as well as a up-sloping trend line, is known as a right-angled broadening formation. Since the pattern is registering higher highs, it is referenced as an ascending broadening formation. However often "ascending" is a bit of a misnomer. Right-angled ascending broadening formations are bearish beasts.
Prior to taking a closer look at the pattern developing in the DJTA, more can be said about right-angled ascending broadening formations. Unlike other chart patterns, right-angled ascending broadening formations have an variable volume trend during the development of the formation, after all a volume surge on the breakout is common. While premature breakouts (upside or downside) tend to be isolated, pullbacks to the horizontal trend line are quite common. Also common are "partial rises" during which prices move toward the up-sloping trend line. These "partial rises" can be indications for a coming breakout, especially on the downside.
Fixed support at 2700 and higher highs in November and December establish this right-angled, ascending broadening formation. The declining relative strength also conveys a bearish retreat for the DJTA. Graphic provided by: MetaStock.
These characteristics are evident with the right-angled ascending broadening formation in the DJTA. The series of higher highs is present; the up-sloping trend line connects the highs of November with those of December. Also notice the steadfastness of the horizontal trend-line, which is hardly penetrated during the pattern's development over the past two months. The "partial rise" phenomenon also seems to be effected, as the mid-December rally seems to have topped out at 2900.
Possibly one of the reasons why it is recommended that this formation is probably less beneficial has to do with waiting for the downside breakout. In the chart, a downside breakout would suggest a penetration of the horizontal line at 2700. The measure rule for right-angled, ascending broadening formations is sort of prudent, simply measure the distance from the highest high in the formation to the horizontal line at the bottom of the formation, then subtract that value from the horizontal line's value. In this case, the formation's high is at about 3000, while the horizontal line at 2700. This should give a formation size of 300 and cause a likely decline to as low as 2400.


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Why are Australian ads so white?
When US writer and academic Roxane Gay visited our fair shores recently, she noticed a glaring difference between Australia and her own country- how much whiter our media is.
"Commercials are not very diverse here. It makes US commercials look like the promised land," she tweeted.
"It seems as though people of colour are completely erased from commercials as if they're not part of the consumer public," she said. "And that's troubling."
Given the US is still far from coming to terms with its own shocking racial history, and that much of the population remains indifferent to the way this history lives on in structural inequality, Gay's assessment is pretty damning indeed.
I've already written about the lack of racial diversity in certain Australian television programs, comparing them to their US counterparts, which some may have been surprised to learn are far more inclusive. Of course, as Gay wryly noted, this discrepancy extends beyond the television programs themselves and into the corporate advertising that sustains them.
This means our television shows and the commercials inserted between and throughout them are overwhelmingly white. What does this say about us, in terms of how we see ourselves as a nation and in terms of how we view people of colour?
It's tempting to dismiss the importance of racial diversity in advertising, not least because I am, like many others, generally suspicious of consumer capitalism. Like it or not, however, commercials do matter. As Gay implies, the exclusion of people of colour renders them so insignificant that advertisers need not bother acknowledging their existence at all.
Given my scepticism towards the advertising industry and its motives, I'm weary of heaping too much praise when they do something nominally inclusive or progressive. But, having spent the last two years living between the US and Australia, there is no doubt Gay is right.
Unlike in Australia, where, with a few exceptions, being white is equated with being True Blue, advertisements in the US, driven by big-name brands such Coca-Cola, Chevrolet and Banana Republic, are finally reflecting the country's racial make-up.
Compare, for instance, Coca-Cola's recent Australian "Summer Blue", "Pink Flamingo" and "Summer Fro" commercials (ironically called the Colour Your Summer campaign) with its US "Summer Song" counterpart, also released last year.
That these commercials are for the same corporation is a red-hot indicator that the problem of race representation lies not only with the advertisers themselves but with the culture in which they operate.
Indeed, despite its own deeply embedded racism, the US has something Australia sorely lacks, that is a level of acknowledgment of its own shortcomings and, in some quarters at least, a willingness to address them.
The roundly ridiculed Starbucks "Race Together" campaign, for instance, which encouraged customers to discuss race with their barista has been fairly criticised as naïve, unfair on the baristas and hypocritical (there are very few non-white executives at Starbucks). Nonetheless, it is at the very least, a blatant admission that there is a problem.
Of course, and here's my scepticism again, sometimes it's hard to discern whether this racial sensitivity on the part of America's corporate advertisers stems from a genuine desire for inclusivity or for the purposes of generating controversy.
Nonetheless, while certainly worthy of examination and criticism, at least these advertisements and initiatives exist. By contrast, the whiteness of Australian commercials is so thoroughly normalised that, as Celeste Liddle noted during that same radio interview with Gay, it often takes foreign observers to point it out.
We need to step away from this tacit acceptance of the way things are. Normalisation is not synonymous with acceptability. The lack of racial diversity in our commercials only further entrenches the implicit assumption that whiteness is the central human condition. White people are the stand-ins that everyone else is expected to identify with, while every other race can only ever represent themselves.
There are those who think simply talking about race is in itself racist, an attitude that is also pervasive in America. I can only marvel at such a comfortably cocooned perspective. How easy it is to dismiss the importance of race when you are accustomed to seeing your likeness reflected everywhere. These people are so conditioned to see whiteness as an absence of race, they cannot perceive of even mere requests for racial diversity as anything other than "playing the race card."
Representation matters, as this young girl's beaming face so clearly indicates. When we see ourselves occupying space in the culture around us, it reinforces our own humanity, our very existence. It is way past time that our media in all its forms acknowledges and reflects this existence. Because when a woman of colour from the United States tells us that our whitewashing makes her own deeply troubled country look like the proverbial Promised Land, you know we have a problem.


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Western Placer Unified School District is committed to advancing the integration of technology into teaching and learning. This includes developing and supporting the required infrastructure, hardware, software and professional development.
In coordination with educational services and individual school sites, our Information Technology department designs, implements, and maintains numerous systems and technologies to support business and curricular functions within the Western Placer Unified School District.


text:
Q: How can I convert object to XML without serialization tools I need to convert this class to a XML file but for some reasons I can't use .NET serialization libraries. Is there any way I can convert this class without this tools?
public class Product
{
    public int Id { get; set; }
    public string Title { get; set; }
    public string Desc { get; set; }
    public float Price { get; set; }
    public Category Category { get; set; }
}

I know about XmlSerializer and tried this already and get result but I need to do this without XmlSerializer:
Product product = new Product();
var stringwriter = new System.IO.StringWriter();
var serializer = new XmlSerializer(product.GetType());
serializer.Serialize(stringwriter, product);
return stringwriter.ToString();

A: You'll just need to use a StringBuilder and concatenate strings:
StringBuilder builder = new StringBuilder();

And then:
builder.AppendFormat("<instance property=\"{0}\" />", instance.Property);

If you need to support a circular reference scenation where: Product => Category => Product, then you'll need to use a mechanims that can create a unique runtime identity for each instance, so you don't serialize the same object more than once (check the ObjectIDGenerator).
Hope it helps!

A:
You may try a abstract class as per your requirment eg.

namespace ConsoleApplication1
{
    class Program
    {
        static void Main(string[] args)
        {
            Product p = new Product();
            var x = p.ToXml();
            Console.WriteLine(x.ToString());
            Console.ReadLine();
        }
    }

    public abstract class XmlSerializable
    {
        public XElement ToXml() {
            XElement elm = new XElement(this.GetType().Name);
            this.GetType().GetProperties().ToList().ForEach(p => elm.Add(new XElement(p.Name, p.GetValue(this))));

            return elm;
        }
    }

    public class Product :XmlSerializable
    {
        public int Id { get; set; }
        public string Title { get; set; }
        public string Desc { get; set; }
        public float Price { get; set; }
    }
}

A: Try code like this
using System;
using System.Collections.Generic;
using System.Linq;
using System.Text;
using System.Xml;
using System.Xml.Linq;

namespace ConsoleApplication2
{
    class Program
    {
         static void Main(string[] args)
         {

             Product product = new Product()
             {
                 id = 123,
                 title = "A Long Way Home",
                 desc = "Welcome",
                 price = 456.78F,
                 category = new Category() { name = "John" }
             };

             XElement xProduct = new XElement("Product", new object[] {
                 new XElement("Id", product.id),
                 new XElement("Title", product.title),
                 new XElement("Description", product.desc),
                 new XElement("Price", product.price),
                 new XElement("Category", product.category)
             });
        }

    }
    public class Product
    {
        public int id { get; set; }
        public string title { get; set; }
        public string desc { get; set; }
        public float price { get; set; }
        public Category category { get; set; }
    }
    public class Category
    {
        public string name { get; set; }
    }
 }


Cool! Save an average of 20% on United with 33 Coupon Codes, and 24 Deals!
Details: Get 40% Off clazzio leather seats. Expires on 05/31/2014.
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Details: For flight and hotel vacations to Curacao: $60 off $1,599-$2,799; $100 off $2,800-$3,999; $150 off $4,000 or more. Must travel December 15, 2010 -April 30, 2011. Book by 1/15/11.
Details: Save up to $200 per booking and earn up to 10,000 bonus miles for qualified bookings. The sale applies to bookings at any of the brand's 250 destinations in Mexico, the Caribbean, Central and South America, Europe, the Middle East, Africa, Asia, Australia, the U.S. and Canada. It applies to vacation packages booked by June 30 for travel through Dec. 31.
Save on Round Trip Flights From Chicago O'Hare to Cedar Rapids, Starting at $161.


globologic.com is a website that ranks 986,114 in Alexa. globologic.com is ranked 367,765 on statisy and has 42 backlinks according to Alexa. The hostname or fully qualified domain name (FQDN) globologic.com is identical to the domain name globologic.com. The domain is registered under the domain suffix com and is named globologic. The globologic.com Server is hosted by Servage GmbH and is located in Europe (). globologic.com is not listed in the dmoz open directory project.


text:
Lob us an email, why don'tcha?
hello@stormandshelter.com
Use your vocal chords if you're so inclined.
We also exist in the physical realm.
13 Mount Stuart Square, Cardiff, CF10 5EE
Creep on our socials. Go on...
Oh dear. Something's gone wrong.
९(།︵།)و
Director Josh Bennett
Video Name Client Name
Directed by Josh Bennett
We joined forces with Sequence to produce a series of documentaries for the Open University. 'Hafan' is a brand new interactive campaign to help attract students and inspire sign-ups to Welsh based courses.
Unlike other universities, Open University students study undergraduate courses from their homes; from anywhere, which means anyone can access courses. With a wide range of courses attracting over 100,000 students each year from over the world, a small section is formed around Wales. Wales' unique culture, heritage, history and language are some of these course elements.
Our aim was to create an interactive experience that was meaningful. One that showcased the course in a refreshing way. To achieve this we focused on the people and their stories to share a truth about Wales that users could connect with.
James Bearne, Creative Director at Sequence
1. The Mushroom Farmer
Cynan makes Japanese mushrooms feel at home in shipping containers in the shadow of Snowdon, North Wales.
2. The Mountain Ranger
Snowdon is the highest mountain in Wales, at an elevation of 1,085 metres above sea level, and the highest point in the British Isles outside the Scottish Highlands. Helen's job is to look after it.
3. The Archer
The confirmed first use of the longbow was in 633 AD, in a battle between the Welsh, led by Cadwallon ap Cadfan of Gwynedd, against the Northumbrians. 1382 years later, Jeremy makes them in his garden shed.
4. The Musician
Kizzy Crawford is a Welsh musician with Bajan heritage. She's always loved music, and from her roots in Welsh folk music she's created her own unique sound.
5. The Referee
Nigel Owens is a household name in the sport of rugby. He sees first hand the spirit and culture that Wales' national sport brings to the community.
6. The Artist & Entrepreneur
David Shaw, better known by the moniker DroneBoy, is a graphic designer and illustrator. From his home in Wales his work is sold and promoted all across the world.
7. The Business Leader
Alwen Williams is the BT director for Wales. Her role is to build partnerships within Wales and make sure the country is globally represented within the organisation.
8. The Writer
Angharad Price has been a lecturer in Welsh for the last twenty years. A lover of language and literature, she's proud of the heritage and history of the country she calls home.
Josh Bennett
Nick Patterson
Gruff Vaughan
Drone Pilot
Fancy a chat?
This lovely chap looks after our clients. Look how chirpy he is. Don't you just wanna pick up your phone and give him a call? Or, if interacting with humans in real time saps your energy (know them feels), feel free to lob us an email.
Grab contact details Email us
Video. It's what we do.
©2013–2019 Storm & Shelter. All rights reserved.
i.e. Hands off, you thieving git.


This property offers stunning views over Queenstown and the lake. Decorated with beautiful modern furnishings throughout, it features three levels, all providing unsurpassed views. Comes complete with own private spa pool and is only 5 min from town!
Tastefully designed and furnished holiday home with a real consistent luxurious feel. Extremely spacious and large with 3 bedrooms, it provides an exclusive nest for 6 guests. Very central, quiet and private.
Fully equipped and stocked kitchen opens onto the dining area and an elegant lounge with cozy sofa seating, cowhide chairs and fireplace. Huge windows provide panoramic Queenstown overlook. Lower level has its own living area and a kitchenette. This house further enjoys front and rear decks with outdoor furniture, BBQ, Japanese style bathrooms, full laundry, Sky TV, DVD Player and surround sound BOSE system.
An in house chef can be arranged at an extra charge. A Nissan Murano 4 Wheel Drive parked in the garage is available for rent.
Stunning Queenstown - Amazing Accom, Kent Street, Central Queenstown, Queenstown, 9300, New Zealand.


"Emergency Response Mapping of Alexandrium Cysts in the Surface Sedimen" by Cheryl Greengrove, Julie Masura et al.
In September and October 2014, an unprecedented bloom of Alexandrium occurred in Dabob and Quilcene Bays, Hood Canal, WA. This area, and southward through Hood Canal, was historically biotoxin free. At the peak of the event, toxin levels in shellfish reached 12,688 μg STX equiv. per 100 g shellfish tissue, more than 150 times the regulatory limit for human consumption. It is not known what caused the bloom, or if the conditions that gave rise to the event will happen again. Nevertheless, concern remains over the increased risk for future blooms because Alexandrium species produce resting cysts that overwinter on the seafloor and can germinate the following season providing the inoculum for more blooms. In response, we conducted an emergency cyst survey throughout Hood Canal in January 2015 to determine if the area had been "seeded" with Alexandrium cysts. Prior cyst mapping efforts from 2011-2013 found zero or very low (5-10 cysts per cc wet sediment) concentrations of cysts throughout Hood Canal. In January 2015, up to 120 and 180 cysts per cc wet sediment were observed in Quilcene Bay and Dabob Bay, respectively, indicating that a new Alexandrium seed bed formed in the area following the 2014 bloom. In 2015, increased vigilance and monitoring by the Washington State Department of Health and the SoundToxins Program provided early warning of a toxic bloom of Alexandrium in April. This toxic event spread throughout Hood Canal over the summer, resulting in shellfish harvesting closures in this area for the first time. Another cyst survey in January 2016 will determine whether the distribution and abundance of Alexandrium cysts in Hood Canal has increased, and will provide human health officials, marine resource managers and shellfish growers with updated maps of newly established cyst beds. The results of all surveys will be presented here.
Greengrove, Cheryl; Masura, Julie; and Moore, Stephanie, "Emergency Response Mapping of Alexandrium Cysts in the Surface Sediments of Hood Canal WA" (2017). SIAS Faculty Publications. 1000.


Thank you everyone who competed the survey. Overall a very large majority parents and community members stated that they thoroughly enjoyed the event.
55% of you agreed that the time that the fair was held this year suited you better.
77% of you thought that there was the right mix of school and independent stalls.
Please let us know your thoughts on our school Christmas Fair by filling out our survey.


We believe you can find your soulmate at age 16 (like we did) or 66.
making breakfast without being asked or bringing home flowers for the heck of it.
surrounded by your tribe, great food, and lots of laughter.
and that that adventure can happen in your own backyard snuggling under the stars.
We count our blessings in every sunset we get to witness together. We love couples who take the time to cherish every moment they have enjoying each other.
We love being able to serve people who believe their love is worth committing to. We a are husband and wife who love what we do and love that we do it together.
With flirty looks exchanged between math problems. Andrew bashfully asking for Tianna's number from a friend. Soccer games and love notes. God stirring feelings that would be the beginning of one incredible adventure.
600 miles from home, just weeks from his departure for Navy Boot Camp, surrounded by family, & Tianna completely oblivious. He had been planning for months, the perfect ring bought, a video recorded, his thoughtfulness had no match. Happier than ever, through tears, she said yes.
Tianna called him hysterically crying. He was home on leave having just graduated from Boot Camp & leaving just 10 days later for training in California. Andrew through a sleepy fog calmed her down and said not to worry - they would drive through the night to get the birth certificate she had forgotten in her college dorm room. 300 miles round trip & they were EXHAUSTED. They stopped at rest stops to sleep intermittently and keep from driving off the road. 45 minutes late to their ceremony by God's grace got married on that beautiful winter morning 10 years ago.
10 years and counting has brought a lot with it. Military life, countless training trips, birthday, anniversaries, and holidays spent apart. College, different jobs, lots of arguments, learning to put the other first, and giving a little grace because…well because we are humans who make mistakes. Then came babies, spit up, dirty diapers, and sleepless nights. Learning to make time for each other amidst keeping our little humans alive. Workout partners, running a business together, and coming to love those little quirks that once made the other tick.
But...there are all the sweet, beautiful, & AMAZING things that come with it. Nights up late just talking, unplugged trips on a mountainside cabin with nothing to do but snuggle. Seeing your spouse love your children and that making you love them even more. Pushing each other towards Jesus and our love growing more everyday.
God is so SO good, and this adventure is better than we imagined.
Wanna chat? Let's chat! SEND US A MESSAGE.


Every year at the beginning of our state legislative session, MSOTA holds Legislative Appreciation Day; it is an opportunity to nurture a valuable relationship with our local legislators and increase awareness of occupational therapy as an integral profession that provides essential services in the fields of medicine, mental health, and education.
Who is invited? All OT/OTA therapists in our state and OT/OTA students and faculty are invited to attend! It's a great networking experience for all. It would be great to increase attendance from more practitioners. You're free to invite your colleagues!
How long should we stay? This is a come and go event from 7:30 – 11:30am. Drop by before work or take an early lunch! There's no need for registration. We like to know who we are expecting from the board and which schools are coming.
Find out your voting district and the names of your elected officials. You will have one in the House of Representatives and one in the Senate.
Give them a call 3-5 days before the event to invite them to meet you in the Rotunda. Introduce yourself. We'll have handouts for you to give out. Tell them about yourself, where you work and how much you love occupational therapy. Thank them for their service. It's not intimidating at all. They'll be glad to come shake your hand!


A graphic about the project included on the company's website.
COMOX, B.C- A proposed natural gas pipeline that would run from Powell River to Comox doesn't have a solidified route yet.
At the end of October, a new liquefied natural gas (LNG) plant had its project description released by Steelhead LNG, a Vancouver-based company, and the Huu-ay-aht First Nations, who hold land on Vancouver Island's west coast.
The plant is being sited on land owned by Huu-ay-aht at Sarita Bay, near Bamfield, on the southwest coast of Vancouver Island. However, it would be dependant on natural gas being carried to the plant via a pipeline, which had a rough outline included with the plant's project description.
Starting in Chetwynd, it would reach Powell River via a greenfield right of way though the Coastal Mountain Range. The line would then be tied to an existing Fortis BC natural gas transmission line, crossing the Salish Sea to Comox.
A map of the FortisBC service area.
Steelhead is currently working on early technical and environmental studies to assess the proposed corridor.
According to Stewart Dill, Steelhead's director of Indigenous and Community Relations for the pipeline, the company is still at an earlier planning stage for the project than their work on the plant.
A project description is not expected to be submitted until into next year.
As for possible routes, Dill said the company was in the "very early stages" of looking at options, with technical feasibility work ongoing. There are "early discussions" ongoing with First Nations and local communities that could be affected by the project, looking for their input on what could be an acceptable route.
Dill expected that a route wouldn't be chosen until next year. The rough outline from Chetwynd to Powell River and across to Comox is part of a "preliminary study corridor". He also indicated that once the project description for the pipeline is released, an environmental assessment process would start.
Dill emphasized that the company is looking to incorporate the feedback they get from First Nations and local governments into the planning of the pipeline route, with the hope of having support to move forward with the project.
However, a clear plan wasn't evident in the event of a community or First Nation saying no to the line passing through their area.
"I guess we'll cross that bridge when we come to it," said Dill.
He stated that the pipeline is "integral" to the LNG plant going ahead, and also touched on the possible benefits to communities where the infrastructure would be placed.
"There would be substantial property tax revenues, that local communities would share in," said Dill.
Decommissioning plans would be in place for the LNG plant and the pipeline as well, according to Grant.
"With respect to the pipeline, the plan would be to clean and disconnect the pipeline, and for it to be left in the ground, to avoid any further disturbance to the environment," said Dill.
The line is targeted to be in service by the fourth quarter of 2024, depending on regulatory approval and permits in British Columbia, a final investment decision on the facility by Steelhead, and construction of the line and facilities.
The MyComoxValleyNow.com newsroom will be reaching out to local governments and First Nations for their views on the possible project.