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Weekend Diversion: The Physics of Santa Claus
(This post first appeared on December 23, 2009, but has been reproduced, edited, and improved for 2011.)
089:32:50 Mattingly: Apollo 8, Houston. [No answer.]
089:33:38 Mattingly: Apollo 8, Houston.
089:34:16 Lovell: Houston, Apollo 8, over.
089:34:19 Mattingly: Hello, Apollo 8. Loud and clear.
089:34:25 Lovell: Roger. Please be informed there is a Santa Claus.
089:34:31 Mattingly: That's affirmative. You're the best ones to know. -NASA
The world is an awfully big place now. Santa's job has to be tougher than its ever been before, with more and more people relying on his deliveries each year. From Australia to Scandinavia to Queens, NY, Santa is undoubtedly the hero of the holiday season. As Run DMC taught me from a young age, there's nothing wrong with celebrating in your own particular fashion, as they do in their classic,
Christmas In Hollis.All across the world, every year without fail at this time, children delight with joy at the presents brought to them by Santa Claus. So, how does he do it?
Santa's first problem is that he has a long distance to travel, and not that long to do it. If Santa starts at the beginning of Christmas Eve (after sundown, of course) in places like Australia, Japan, and parts of Russia, and ends in Alaska and Hawaii just before dawn on Christmas morning, it gives him about 36 hours to play with. (Thank you, international date line.)
There are right around 7 billion people in the world; let's round that down and say that Santa has one billion households to visit. Now, in some rural places, it may take many kilometers (or miles) to get to your neighbor's house, and in a metropolis like New York or Tokyo, it may be a matter of mere feet (or meters). Let's split the difference, and assume that each of the one billion households on Earth is 10 meters away from the previous one. This is assuming, as we can infer from NORAD's tracking of Santa's delivery path, that Santa is pretty efficient in moving from house-to-house.
Image credit: NORAD, but retrieved from everyone's favorite rubber chicken, Camilla Corona.
Even allowing him to cut corners like this, Santa still has to travel ten million kilometers in 36 hours. If all he does is travel from house-to-house in this time -- assuming the delivery of presents is instantaneous -- he needs to move at an average speed of 77 kilometers per second (48 miles per second). Put another way, he gets about 130 microseconds to travel to, deliver presents to, and leave each household. Perhaps a technology upgrade is necessary?
I don't even think a vehicle this impressive will do. In fact, the most powerful rocket we've ever built won't do it, either.
There's only one thing that's ever gone as fast through the air as Santa would need to in order to deliver presents: meteors! (Or, as they're better known, shooting stars.) There's... umm... just one problem with meteors.
They tend to burn up in the atmosphere! When you calculate how much air resistance affects Santa, you've got to remember that he's directly exposed to the air, in his open sleigh and all. (Granted, I'm more than happy to allow Santa quite the upgrade!)
When I work out the numbers for Santa -- moving as fast as he does, exposed to the air -- I find that he needs to dissipate 57 trillion Joules of heat every second to avoid burning up like meteors do. So, there are two reasonable explanations for how he does this.
The first explanation is that Santa has the most advanced heat shield ever made. And why wouldn't he; surely his elves are just as good as NASA engineers, yes? But maybe Santa went down the Steve Austin route instead, and was rebuilt better, stronger, and faster than before...
Ladies and gentlemen, Santa could also be a robot! (Or, at the very least, a cyborg.)
Now, forget about chimneys (my house doesn't even have one); in that 130 microseconds, Santa's got to get those presents from his sleigh into my house, and he's got to do it about a billion times. Even if he somehow can make those deliveries instantaneously, he can't deliver presents moving at 77 kilometers per second; the kinetic energy of even a nerf football moving at that speed would be... umm... let's say, "bad."
Image credit: Redman Hall, the Town of Index Blog.
Santa seems to be pretty good at avoiding situations like this. No matter how you slice it, the presents -- and hence, Santa -- must be coming to rest before they're delivered. For Santa, going from 77 km/s to rest to 77 km/s again, even if we were to generously give him the whole 130 microseconds to do this, means an average acceleration of over one billion "G"s. If Santa weighs about 100 kg (he's a big guy, after all), this means that just starting and stopping his sleigh makes a force on Santa that's the equivalent of stacking three Empire State Buildings on top of him.
Image credit: Greg Thompson's Gingerbread Empire State Building.
You may say that's impossible, but if there's one thing I've learned, it's that Santa is an unequivocal Christmas badass. However he manages to do it, Santa sure has overcome some tremendous technical obstacles! And yet all over the world, children still manage to receive both love and presents this time of year.
Image credit: The Secret Life of Santa Claus. Seriously, best Santa photo blog ever.
My theory? Santa is more powerful than you can possibly imagine. And much like Chuck Norris, the laws of physics are simply no match for his power. Happy holidays, everyone!
The Physics of Santa Claus!
089:32:50 Mattingly: Apollo 8, Houston. [No answer.] 089:33:38 Mattingly: Apollo 8, Houston. 089:34:16 Lovell: Houston, Apollo 8, over. 089:34:19 Mattingly: Hello, Apollo 8. Loud and clear. 089:34:25 Lovell: Roger. Please be informed there is a Santa Claus. 089:34:31 Mattingly: That's affirmative.…
Striving for the Speed of Light
"The very closest stars would require many years to visit, even traveling at the speed of light, which is impossible according to Einstein's theory of relativity. Today's fastest spaceships would require 200,000 years to travel to Alpha Centauri, our closest bright star. The energy required to send…
The Physics of Santa Claus (Synopsis)
"Our family was too strange and weird for even Santa Claus to come visit... Santa, who was jolly - but, let's face it, he was also very judgmental." -Julia Sweeney Everyone loves to point out the holes in the Santa Claus theory. After all, how could one person with a sled, powered by eight flying…
The Largest Trainwrecks in the Universe
"Where you used to be, there is a hole in the world, which I find myself constantly walking around in the daytime, and falling in at night. I miss you like hell." -Edna St. Vincent Millay It was just a little while ago that we were all speculating wildly -- and optimistically -- about Comet ISON,…
Definitely impressive, but nothing compared to how fast he has to move his bowels to clear out all those cookies. It's lucky for Santa that he eats the cookies and not the reindeer...
By RowdyReptile (not verified) on 24 Dec 2011 #permalink
Personal transporter. Very simple.
By dean (not verified) on 24 Dec 2011 #permalink
But at those velocities, his position is so very uncertain that he's literally everywhere in the world at once. Quantum physics saves Santa!
By magista (not verified) on 24 Dec 2011 #permalink
Or else he has a time machine...
By djlactin (not verified) on 24 Dec 2011 #permalink
You are all taking the story far too literally. He has a teleporter and he pops in and out of each house. Occams razor really
By Matthew (not verified) on 24 Dec 2011 #permalink
Obviously Santa has a matter-darkmatter converter and a sleigh pulled by FTL Reindeer. I propose that any future claims of faster-than-light particles should refer to the particles as "Rudolf".
By MadScientist (not verified) on 26 Dec 2011 #permalink
One word: franchisees. I mean, it's not like they hide it or anything. They hang out in malls all over the place, gathering intel for the big day.
By Tristan (not verified) on 26 Dec 2011 #permalink
This is all amusingly naive. Isn't it obvious? He has white hair and long beard, apparently infinite wealth, omniscience, and omnipresence. Santa Claus is clearly God, wearing a fuzzy red suit and a small pair of glasses as a disguise. And it's apparently more effective for him than it was even for Clark Kent.
By qbsmd (not verified) on 26 Dec 2011 #permalink
Riffing off magista@3: Santa is a quantum probability wave. Since he's never actually observed in action, he's capable of being everywhere at once.
Tristan@7: They're not 'franchisees'. The correct term is 'subordinate Clauses'.
By Warren (not verified) on 29 Dec 2011 #permalink
Classic. LOL thankyou. :-D
This is even better than the similar funny old "Physics of Santa"-thingummy I read years ago & which thought this might be. Cheers!
Wish I'd seen it in time for Xmas but, hey, that's my fault & I guess it is Greek / Russian / Armenian Orthodox Christmas-Time~ish 'bout now.
By StevoR (not verified) on 01 Jan 2012 #permalink
@1. RowdyReptile | December 24, 2011 3:09 PM
It's lucky for Santa that he eats the cookies and not the reindeer...
Lucky for the reindeer too! Didn't know they were edible.
Of course there's a couple of factors to consider here - one is time travel. Perhaps Santa literally has the power to stop time or to move back and forth through it thus givinmg himself as much time as he needs?
More prosaically there's the fact that Santa a has helpers -and maybe clones.
Plus you have to recall that only "good" children get the presents - & Santa apparently doesn't visit every nation or religio-cultural group on the planet which kinda cuts the numbers down just a little.
Merry Christmas, and too cute a new way to veiw santa
By andi (not verified) on 24 Dec 2013 #permalink


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#NYC Broadway Week Is Back. Here's What You Need to Know
Deal Expert
The average Broadway ticket price last season was a whopping $123.07. That's $13.86 more than the previous year, and $19.19 more than in 2014. And though seeing some of entertainment's best performers strut their talents in the greatest productions on earth is well worth the price of admission, there's no denying that new dent in your wallet.
Enter NYC Broadway Week—which, in fact, runs for three weeks in winter, plus another two in late summer. (Hey, we just report this stuff). This partnership between NYC & Company and The Broadway League offers 2-for-1 tickets to an amazing array of plays and musicals, from classic stage productions like The Phantom of the Opera and My Fair Lady to family-friendly shows like Aladdin and Anastasia to recent movie-to-stage adaptations including Mean Girls, Pretty Woman and The Band's Visit and breakthrough stage originals like Come from Away and Dear Evan Hansen.
This winter's season runs from Jan. 21 to Feb. 10. Booking opened on January 9, and though some shows sold out quickly, more than 20 are still available. Two theater geek tips: First, go ahead and spring for the $20 upgrade when you buy your tickets—you'll get better seats at a steeper discount; and second, mark your calendar now for early August, so you get in right at the beginning of this summer's Broadway Week launch.
But as long as we're still in deep winter, consider this: Cold weather keeps fans from waiting around after the show, which means less competition for those Playbill autographs and #stagedoorselfies. Dress warmly and get ready for your close-up.
As for which stars should appear by your side in those Insta-gold posts, here are five of our favorites:
As the devastation of 9/11 unfolded across New York, D.C., and Pennsylvania, the FAA closed the nation's airspace and rerouted 38 planes with 6,579 passengers to the Atlantic town of Gander, Newfoundland (pop. 9,651). Come From Away is about what happened over the next five days: a single-act, 100-minute, 12-actor show in which creators David Hein and Irene Sankoff sketch composites of 16,000 stories from the layover against a backdrop of Celtic music (about 20 percent of Newfoundland and Labrador's population has Irish roots). One of Broadway's most universally popular original musicals—nominated for 7 Tony awards and tied with Harry Potter and the Cursed Child for high score on the Broadway reviews aggregator Show-Score—Come From Away even drew praise from Canadian Prime Minister Justin Trudeau.
Sara Bareilles is back in the title role of the Tony-nominated movie-turned-musical she wrote, but only for limited performances through February 3. The "Love Song" singer called her first day back on the Waitress stage on January 7 an out-of-body experience—and if the $400,000 boost in ticket sales during that first week is any indication, audiences feel the same. The two-and-a-half hour production follows down-on-her-luck waitress Jenna as she channels her emotions into baking pies. (We thought we were the only ones.) And yes, that's the scent of actual pies baking inside Brooks Atkinson Theater! Between the whiffs of cinnamon and numbers like "It Only Takes a Taste," you'll be jonesing for pie yourself by the final curtain call, so text yourself a note right now: The Little Pie Company is just five blocks away. And 90s boy band fans rejoice: New Kids on the Block's Joey McIntyre joins the cast as Dr. Potter on February 5.
Pretty Woman: The Musical
This is your show for peak Broadway royalty—especially now that Adam Pascal, originator of the role of Roger in Rent and one of theater's most beloved performers, has joined the cast. He's appearing opposite Samantha Barks, one of the Great White Way's newest darlings since her acclaimed London turn as Éponine in Les Miserables (with rumored ex- Nick Jonas)—and her reprisal of that role in the 2012 film alongside Hugh Jackman and Anne Hathaway. If that's not enough star power, Pretty Woman's original score was co-written by Bryan Adams (yes, that Bryan Adams), and you might actually see him: Adams has been known to pop up and join in on the fun, as he did at the January 3 performance, when he surprised audiences with a whole medley. He also gave a surprise performance at the Atlantic Records soundtrack release party. Important theater-nerd trivia: 22 years ago, Pascal debuted in Rent on the same Nederlander Theater stage where Pretty Woman currently runs.
For a totally fetch night out, dress in pink—and get invited to the sit with the Plastics at the ultimate high school musical, Mean Girls. Based on the iconic early-aughts teen flick of the same name, this production was just voted top show of 2018 in Broadway.com's year-end awards. Lead actress Erika Henningsen also snagged star of the year honors. Lindsay Lohan, the film's star, may have moved on to the Beach Club scene, but she's seen the musical and was spotted hanging out with cast members just weeks ago.
Waverly Gallery
This one runs only through Jan. 27, so don't sleep—it's worth the hustle: Waverly Gallery scored the bronze medal spot in The New Yorker's Best Theatre of 2018 list. And no wonder, with a script by acclaimed playwright and Oscar winner Kenneth Lonergan (Best Original Screenplay 2016, Manchester By The Sea) and an equally stellar cast including Michael Cera (who also appeared in Lonergan's Lobby Hero), Lucas Hedges (who worked with Lonergan in Manchester By the Sea), Joan Allen (Tony winner for Burn This), and the legendary Elaine May. More nerd love: This is the very theater in which May made her stage debut 58(!) years ago in An Evening with Mike Nichols and Elaine May. Waverly Gallery's theme—coping with the memory loss of an aging loved one—may be heavy, but Lonergan weaves in enough humor that you may actually find yourself using the old Broadway fallback afterward: "I laughed, I cried...."
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Cyclist hit by garbage truck in Montgomery County
The victim was taken to the hospital with life-threatening injuries.
Author: Matt Pusatory (WUSA9)
Published: 11:07 AM EST January 14, 2022
Updated: 11:54 AM EST January 14, 2022
GAITHERSBURG, Md. — A person was taken to the hospital with life-threatening injuries after they were hit by a garbage truck in Montgomery County Friday morning.
It happened around 8:30 a.m. at the intersection of S. Frederick Avenue and S. Westland Drive in Gaithersburg, Maryland, according to a tweet from Montgomery County Fire and Rescue Services Public Information Officer Pete Piringer.
Photos from the scene showed a bike in the intersection.
Lanes in the area were blocked while authorities conducted their investigation. Investigators are still working to determine exactly what led to the crash. It is not clear whether any charges will be filed.
Authorities in D.C., Maryland and Virginia have promised to make improvements to increase pedestrian safety, but the National Road Safety Commission says it's up to all of us to take individual responsibility to remain safe as a pedestrian or a driver.
Some tips for staying safe:
If you're walking, take your headphones off and put your cell phone down.
Drivers, do not drive distracted
Never pass other vehicles stopped at a crosswalk. There could be a person out of sight behind that car.
This is a developing story. We are working to gather additional details. Stay with WUSA9 for the latest updates as they come in to our newsroom.
RELATED: 'It's incredibly frustrating' | Neighbors say DC intersection still needs improvements after December crash
RELATED: DC leaders speeding up road projects to slow drivers down
RELATED: Pedestrian struck by multiple vehicles in Anne Arundel County, police say
Customers patronize Christopher's Hardware in Sandy Spring ahead of winter storm


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« Teen Drama Week
Yves Lambert Trio – Celtic Concert »
Calan – Celtic Music Concert
CALAN – New Ambassadors of Welsh Cool
7:00 pm, Lakeside Theater
CALAN brings together the remarkable talents of 5 young musicians giving a fresh and vibrant sound to traditional Welsh music, breathing new life into the old traditions through their sparkling melodies, foot tapping tunes and spirited and energetic performances of Welsh step dancing.
With their unique instrumental blend of accordion, fiddle, guitar, Welsh pipes, Welsh harp and the percussive sound of the Welsh clogs, they blast their way through some of the old favourite reels, jigs and hornpipes with fast paced and uplifting arrangements before melting into some of the most beautiful and haunting songs.
Following the release of their debut album, 'Bling' in 2008, which attracted four star responses from the critics, Calan has been playing to big audiences and receiving rave reviews at concerts and festivals around Britain and Europe including the coveted Cambridge Festival; Celtic Connections, Glasgow; Shrewsbury Folk Festival; Moseley Folk Festival; Derby Folk Festival; Bromyard Folk Festival, Whitby Folk Festival a concert tour of Italy, Austria and Belgium along with a number of performances at the Festival Interceltique de Lorient, Brittany, where they received the award for the best group.
The group has raised some eyebrows with a deliberate policy of eye-catching clothes and presentation, and despite the ancient roots of their music, see themselves as a new generation of ambassadors. They strive to take their sound to new audiences, while raising the profile of Welsh traditional music on an international level.
Admission: $15. General Admission Tickets will be available in advance at the Rangeley Chamber of Commerce, 6 Park Rd, Rangeley, or call them at 207-864-5571. Tickets will also be available at the door.


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The novel Uke 43 (2000; Week 43, 2002) exemplifies a central theme in the writings of Hanne Ørstavik. The novel relates the story of Solveig, a newly hired lecturer of literature at a university college in Norway. Solveig admires her elder colleague and role model, Hilde, greatly and constantly seeks her approval. Solveig feels a close affinity to Hilde, and she endeavours to use articles written by Hilde as the guiding principles in her teaching. However, as time passes, Solveig comes to realise that Hilde's views and convictions have changed, and her disillusionment steadily increases until it reaches a final climax during a party at Hilde's. Her illusions shattered, Solveig finally loses control in an emotional outburst, unleashing her pent-up frustration.
This article is about
Hanne Ørstavik
Literature of the twenty-first century
1990-2000, 2000-2010, 2010-2020, Childhood, Christianity, Death, Essays, Family, Identity, Mother-Daughter Relationships, Mother-Son Relationships, Norway, Novels, Sexuality, Suicide, Therapists, Translators, Unni Langås, Violence against Women
Distant Intimacy in the Works of Hanne Ørstavik
Written by: Unni Langås | 28. November 2014
Lina Scheynius, Me in Marrakech, Spring 2012
Solveig's conflict with Hilde revolves around differing views on language and literature, yet the human element to Solveig's aesthetic convictions becomes evident when the differing views are attributed to the characters of the novel. Solveig wants literature to be alive, relevant, real, and honest. She is seriously convinced that literature ties the body, language, and the world together, and she believes that literature must even serve to keep wounds open, concealing nothing. Through her relationship with Hilde, Solveig not only seeks affirmation of herself, her thoughts, and her feelings, she also strives to realise this aesthetic view of life. Her discomfort grows when she finds herself unable to reconcile these ideals through her teaching or in the theatre, and the novel concludes with her leaving for an undetermined destination.
In the work of Hanne Ørstavik, we repeatedly find descriptions of the desire for intimacy – a desire usually accompanied by frustrating experiences of distance and detachment. This tension exists at many levels within her texts, not merely in the portrayals of interpersonal relationships (parents and children, brother and sister, woman and man, woman and woman), and is frequently a theme in her reflections on language, literature, and art. Reflections on this theme is also present in Hanne Ørstavik's published essays and articles, demonstrating the close connection between fictional storytelling, essay writing, and her personal experiences.
Hanne Ørstavik grew up as the middle child of three siblings in a Christian family in Tana in Øst-Finnmark, northern Norway (2004; Ørstavik's essay Streker, linjer, kanter, band, Profiles, lines, edges, bonds). Many of her novels take place in this northern region, and she has emphasised the influential role of the Finnmark landscape on her development as a person and as an author. Ørstavik read psychology at the University of Oslo before qualifying as a Rosen Method Bodywork practitioner. Today, alongside her work as an author, she also practices in this field. Ørstavik has also studied French and has translated Leslie Kaplan's book L'Excès – l'usine (1982; Superfluity – the factory) into Norwegian (1998).
Hanne Ørstavik's debut works, Hakk (1994; Cut) and Entropi (1995; Entropy) are typical pointillist novels of their time. Ørstavik wrote these novels while studying creative writing at Forfatterstudiet i Bø under the tutorship of Eldrid Lunden, and she has mentioned Christina Hesselholdt, Solvej Balle and Stig Larsson as key sources of inspiration. The pointillist genre, which is often attributed to Paal-Helge Haugen's work Anne (1968), translated to Danish in 1992 by Christina Hesselholdt, owes its name to the way way in which the composition's short texts act as single points which constitute a larger textual entity. The point form bestows a poetic quality to the text, and the rhythmic and visual elements assume a greater meaning than in other types of prose.
In Cut, there are clear parallels with Hesselholdt's novel Køkkenet, gravkammeret og landskabet (1991; The Kitchen, the Sepulchre, and the Landscape). The fragmented point form creates a photographic narrative style, which is further supported by the central role played by a photograph in both works. Images in the form of reminiscences and dreams and as figures in a river landscape are an additional common feature in both novels. In a thematic perspective, Hesselholdt and Ørstavik share subjects such as anxiety, grief and discomfort within the family. Hesselholdt recounts brief glimpses of a family where the mother dies and the father, unable to cope with his grief, eventually takes his own life by jumping out of a window into the river flowing by the house. The father hires a photographer to take photographs of his deceased wife and asks the photographer to immortalise his own fall from the window – his moment of death.
Anni Leppälä, Garden, 2007
In Ørstavik's work, it is violence rather than death, which is immortalised in a photograph. Anxiety and pain are metaphorically linked to the act of capturing a moment in time with the camera, while the photographs concomitantly accentuate distance and alienation. In photographs of herself, she sees someone she does not know. Moreover, the act of taking a photograph is equated with carrying out an act of violence. A comparison is made between an angler casting a line in order to catch his prey and the father's violence towards the mother: "once, a lure became lodged in mother's ear" (Ørstavik 1994: n.p.). Anxiety towards death remains associated with the mother, and mental images of a falling mother are pivotal childhood memories of the young girl.
Øystein Rottem, who penned one of several critical reviews of Ørstavik's debut novel, described the book as "too flimsy" (Dagbladet, 6 September 1994). This assessment was repeated in his history of literature, which, it should be noted, was written in the early years of Ørstavik's career. Here, Rottem places Ørstavik in a group of women writers – including Merete Morken Andersen, Tale Næss, Karin Haugane, Anne Oterholm, and Inghill Johansen – unfavourably described as "women minimalists" (Rottem 1999:754). Rottem categorises these writers as "fervent women writers", who are "predisposed to engaging with a stylised prose saturated by symbols, and where the plot unfolds in an 'inner landscape', while male writers predominantly concern themselves with an 'outer' reality, writing in a literary style approximating objectivity, where words are used sparingly, and the reader is expected to read between the lines" (Rottem 1999:752).
Rottem suggests the so-called "anorexic" literary style of these women writers is due to "their past at some of our creative writing schools", an seemingly unfortunate influence: "The number of writers, particularly young women writers, who have been influenced by Lunden's own writing and by, what I must assume to be, her own literary preferences, is not insignificant" (Rottem 1999:752). Rottem thus separates the two genders into their own distinctive literary categories and overtly attributes high or low status in accordance with his personal perceptions of gender-based hierarchies.
Lina Scheynius, Amanda in London, Summer 2013
Rikke Andersen Kraglund has pointed out that Ørstavik's debut work has been judged according to a standard, which places epic realism above poetically experimental language. She also highlights how Cut lays the groundwork for central elements of many later novels, and transforms the fragments in this poetic book of prose into a central narrative of "almost mythological character" (Kraglund 2008:26). The novel Tiden det tar (2000; The Time It Takes), similarly describes a family where the father's violence towards the mother leads to traumatic childhood memories for the young girl – an emotional burden which the girl carries with her into adulthood.
Lina Scheynius, Me in Brussels, Spring 2013
In Cut, there is a scene where the girl is lying in the bathtub, shaving her crotch. At the beginning of The Time It Takes, Signe, the novel's central adult character, has cut off all the hair on her head. Afterwards, she finds that this may have been an attempt to rid herself of something, but she comes to the realisation, that in reality nothing has happened, beside the fact of her losing her hair. The act of shaving her head, however, is an indication of the perturbed mental state which torments her and reaches a breaking point when Signe's parents pay a visit to her small family the day before Christmas. Signe's aggression, which stems from the fact that she and her parents have conflicting perceptions of her childhood, seethes below the surface. The situation progresses from bad to worse when her parents refuse to accept Signe's childhood memories of fear and conflict and try to smooth things over by making her feel guilty for not visiting them at Christmas. For Signe, it is important to demonstrate her independence by distancing herself from a dysfunctional family – exposed as an illusion through the cutting of her hair.
In the chapters where Signe's childhood is unfolded, her sense of guilt is meticulously described as a product of her father's paranoid and controlling behaviour. Signe's father is a manager at a rehabilitation centre and runs the family along strict lines, ostensibly to ensure high levels of Christian virtue. At this stage, Stine worships her father, so she makes great efforts to comply and conform to his rules and blames herself for failing to uphold the ideal and duty of being happy. Strong bonds of loyalty are deeply entrenched in her due to her father's Christian exhortations, and as she tries despairingly to defend both parents, she is left feeling confused and guilt-ridden, at the mercy of a family drama that cannot stand up to close scrutiny. Ørstavik's precise and subtle rendering of dialogues and thoughts in powerful tense scenes presents us with a nuanced portrayal of the complex emotions at play.
Hanne Ørstavik's breakthrough came with the novel Kjærlighet (1997; Love), incidently also the work that has attracted most attention to date. The novel has been heralded for setting a new trend within the field of the 1990s literature of the family (Hverven 1999), it has been the subject of several academic readings (Hamm 2004, Østerud 2008, Bartnes 2013), and is widely studied in the Norwegian education system. The story of Jon and his mother Vibeke suitably engages young students, and the novel's portrayal of the insurmountable chasm between a mother and her child comes across as both realistic and shocking.
"'Jon,' she says, 'my darling Jon'" (Ørstavik 1997:21). However, the mother's attention lies elsewhere, her words are hollow. Mentally, Vibeke lacks the capacity to think of anyone but herself, and her thoughts have long-since been besieged by the language of mass media and advertising obsesses by body image. When she talks to Jon, she stares at her newly painted nails and thinks about the matching lipstick, "plum, or was it claret?", in her handbag (Ørstavik 1997:21). Her world is a world of fiction. She identifies with books and dreams, and she is happy when Jon plays by himself. While she may hold Jon dearest, she is concomitantly incapable of feeling love for him.
Jon's need for his mother's attention mirrored in his oral needs, which are persistent throughout the novel. When Vibeke 'dolls herself up', Jon puts things in his mouth. The perspective shifts sharply and adroitly between the two characters and reveals just how badly they are at communicating with each other. While Jon is brimming with expectations of Vibeke baking him cakes and buying him a train set for his ninth birthday, Vibeke has quite forgotten about his birthday. While Jon sneaks out the house so as not to interrupt her preparations for his birthday, Vibeke believes he is off taking a nap and goes into town. Both leave the home and embark upon a journey away from the other – an ironic contrast to Vibeke's initial dream of them being together on a journey forever. The pitiful lack of contact between the mother and child comes across as profoundly contradictory, and rather than seeing this as a result of a series of coincidences and misunderstandings, Ørstavik inserts the relationship into a relentless course of events, leading to a conclusion as the dramatic logical end to a deterministic plot.
At the beginning of the novel Like sant som jeg er virkelig (1999, As True as I Am Real/The Blue Room, 1999), we meet Johanne, who has been locked in her room by her mother. The story unfolds retrospectively from this pivotal point through Johanne's thoughts. We are presented with a paradox: A case of mutual dependence, an unhealthy, close connection characterised by detachment and lack of understanding. Johanne has planned a six-week trip to Pennsylvania with her boyfriend, Ivar, but Johanne's mother and her friend Karin both strongly advise her against going. Through it all, runs the undercurrent of both women's anxieties of letting go of relationships, speaking volumes about their own dependencies.
Through Johanne's reminiscences, we gain an insight into how she is torn between the desire for a free life, the relationship with Ivar, and an internalised feeling of guilt for not living up to the expectations of her mother's and her friend's expectations. Johanne is active in her local church, and the Christian ethic acts heavy-handedly oppresses her attempts to gain freedom: "'You're an angel', she [the mother] said earnestly. 'I don't know how I would cope without you.' She looked lingeringly at me, as if she had begun thinking about something else, but had forgotten to take her eyes with her. I smiled. 'She's right', I thought, 'we belong together – like two hands clasped together'" (Ørstavik 1999:19). Ørstavik subtly exposes how language may create highly emotive bonds between people while remaining, at the same time, completely devoid of meaning. The mother ties her daughter to her by way of a religious rhetoric, which also informs her daughter's response, and at the same time, the imbalance becomes clear, as Johanne senses – though does not quite understand the extent of – her mother's absent-minded gestures.
Lina Scheynius, New York, Spring 2014
Johanne's religious scruples do not prevent her from having erotic fantasies, but they do seem to limit the objects of her desire. In a daydream, she imagines that her lover is a professional guidance councillor, an older man "with affable eyes and a beard" (Ørstavik 1999:41). At the beginning of the fantasy of having sex in his office, the man is both safe and attractive but when he pulls out his belt and starts beating her, he is transformed into a brutal assailant. While Johanne may see God as having a non-chastising attitude towards her masturbatory efforts, she mostly considers God a castigatory figure. These ambivalent sexual fantasies must be considered in relation to her mother's comments about Johanne's relationships with men and her explicit cautions concerning Ivar. "Perhaps she was right. Perhaps Ivar was dangerous, perhaps he was rough and mean, perhaps he was manipulative and abusive?" (Ørstavik 1999:38). In light of such misgivings, one may question Johanne's lack of desperate devastation as she remains locked up in her room, while Ivar walks out of her life.
Religion and Language
Some literary critics have claimed that a religious change of direction has occurred among Norwegian and Nordic writers in the 2000s, and Ørstavik is frequently mentioned among these (Hauge 2008). While Christian motifs have always been present in her writing, Christianity becomes the dominant theme in her works Presten (2004; The Pastor) and kallet – romanen (2006; the call – the novel). The Pastor tells the story of a female pastor, the call – the novel is about a female missionary. Rolv Nøtvik Jakobsen (2008) claims that the portrayal of religious figures has undergone radical changes since the turn of the millennium. Previously, the clergy has traditionally been portrayed in a very critical light, depicting the men of the cloth as conceited hypocrites, unburdened by the apparent incongruity between life and learning.
Jakobsen compares Ørstavik to the Swedish writers Kerstin Norborg (2001; Min faders hus, My Father's House), Kerstin Ekman (2003; Skraplotter, Scratchcards), and the Norwegian writer Lars Amund Vaage (2005; Tangentane, The Keys of the Keyboard), all of whom portray the clergy in a more positive light (Jakobsen 2008:122). The Danish writers, Helle Helle (1999; Hus og hjem, House and Home) and Ida Jessen (2006; Det første jeg tænker på, The First Thing On My Mind), both portray clergy without criticism and irony. The pastors in these works are nice, well-meaning people whose hard-earned faith is constantly challenged by the vicissitudes of life. One may even interpret these pastors as the new intellectuals in a society witnessing the decline of the traditional progressive elite.
In Ørstavik's novel, Liv is a newly educated pastor called to serve in Finnmark, in the very north of Norway. She arrives in Finnmark directly from a research visit in Germany. In Germany, Liv had made friends with the puppeteer, Kristiane, who commits suicide. While still grieving the loss of her friend, one of Liv's first assignments is to comfort parents in her new parish who also lost their daughter to suicide. Towards the end of the novel, she experiences a further suicide attempt – that of Maja, the verger's young daughter. The language of the novel is a pivotal thematic element in these existentially critical situations as well as when Liv carries out the ordinary day-to-day pastoral duties. Liv is a professional language user thanks to her practical training and theological studies, yet she feels incapable of coping beyond the rhetorical confines of religious ritual. Her first sermon is a failure because she ends up talking far too much, yet in other situations she is at a loss for words, incapable of achieving the language of truth she so desires.
The subject of Liv's PhD thesis is the Kautokeino Rebellion of 1852, in which a group of Sami attacked the Norwegian officials and killed the local head official and town merchant. Documents pertaining to this event are integrated within the framework of the text, demonstrating the ethnic and national aspects of language use. The quotations from historical texts render visible the ways in which language creates distance and exclusion within social structures of power. This is contrasted by Liv's considerations of power as she avails herself of the language of authority in the line of her pastoral duties. And she is exposed to the discriminatory mechanisms used within Christian rhetoric towards gender and sexuality. At a gathering of the clergy, she encounters male colleagues who speak out against both female pastors and homosexuality. Ørstavik's novel thus incorporates many variables in her discussion of subordination and superordination and, according to Elisabeth Oxfeldt, it may be read as a post-colonial narrative with many intersecting voices (Oxfeldt 2012).
In the call – the novel, Ørstavik continues the main theme of Week 43. The call – the novel may be read as her reply to the literary critique of Week 43, which several critics considered a slightly weak novel, which failed to provide a credible portrayal of the main character, and addressed questions pertaining to language and literature in a trite manner (Farsethås 2002). Subsequently, this critique has been countered in academic analyses (Paulson 2004, Bale 2008, Syed 2009) and in the call – the novel it becomes evident, how the female author, while attempting to recount her grandmother's, history has been affected by this critique and applies her own struggles with writing as a theme. She feels misunderstood by her readers but is also distraught by her apparent inability to bring the novel's characters to life: "The characters' deficiencies, my own deficiencies. I am out of touch; the woman inside the text remains unaffected. I can see it. I know it. I don't know what to do about it" (Ørstavik 2006:53-54). z
Images – both linguistic imagery and actual pictures – constitute an essential component of the issues of representation continuously addressed by Ørstavik. This motif has remained an element of her writing since the appearance of the photographic image in Cut. This theme, however, really comes into its own in 48 rue Defacqz (2009), Hyenene (2011; Hyenas) and Det finnes en stor åpen plass i Bordeaux (2013; A Wide Open Square in Bordeaux). In Ørstavik's oeuvre, the experience of the distance between a sign and its signifier often serves as a parallel to the distances between people. She often uses the comparison "as if" as an indication of how the pictures are indeed pictures of something, but it is a something which has already been named. One the first page of the call – the novel there is a description of a woman standing by a window followed by an interpretation of what we see: "The scene is at a standstill. It is as if there is no time, neither a before nor an after, nothing occurs" (Ørstavik 2006:5).
This comparison thus makes it clear – clearer than if the image had been a metaphor – of how one description stands for the other. On the one hand, this imagery becomes accessible, immediately understandable, and easy to interpret. On the other hand, one may consider this a symptom of the fundamental concern of Ørstavik's writing, namely the experience of sensing, perceiving, and describing phenomena from a distance. The use of the phrase "as if" verbalises this distance and provides it with a rhetorical form.
Susanna Majuri, Forest, 2010
The recurring reference to visual images is another aspect of this aesthetic. The novel, Hyenas, is about Siv, who after breaking it off with her partner, Rudolf, travels to southern England where she borrows a flat by the seaside. She is a writer, but the acute sense of emptiness in her life prevents her from being able to write. She seeks out new life experiences and other people, though not actually succeeding in forming solid relationships or substantially changing anything. The title of the work – Hyenas – serves as an image of a vitality, an aggressiveness, and a sexuality which is the completely opposite of the calm, almost passive state in which Siv finds herself. Interestingly, the hyena metaphor appears in the shape of a film clip from YouTube, and the imagery is thus derived from, and doubled through, a visual medium.
48 rue Defaqcz recounts a morning in the lives of the twins, Paul and Rakel, an architect and an artist. Rakel is about to be married to Paul's colleague and boss, Samuel, an older man described as if he came right off the pages of the Old Testament. However, Rakel is unsure about her gender identity and her sexuality, and she shares an incestuous bond with her brother. While their parents are dead, they still cast a long shadow over the minds of the siblings – the source of the narrative flow of the novel. Ørstavik lets fragments of memories and events play out in the material shape of the house. The house may concomitantly be interpreted as a symbol of the control, which Paul, Rakel, and the narrator all aspire to maintain over chaotic emotions and relationships, and which serves to alleviate the feeling of instability brought on by the sensation that the walls and windows of the house stand on shifting ground.
Ørstavik goes further still in her depictions of sexual fantasies and actions in the novel, A Wide Open Square in Bordeaux. Here, images also play a major role, and one may understand these two elements – sexuality and images – as a multifaceted approach to the theme of intimacy and distance. The first-person narrator, Ruth, is an artist preparing to open an exhibition in Bordeaux. She has initiated a relationship with the art historian, Johannes, and is holding out for him to decide whether to accompany her to Bordeaux or not. The time spent waiting reflects Ruth's expectations of emotional intimacy in the relationship – an intimacy, however, which does not occur. While the sexual connection between them appears to be perfect, Ruth's body, however, does not suffice for Johannes, who pleasures himself by the use of pornography and visits to sex clubs.
Hanne Ørstavik. Photo: Linda B. Engelberth
The distance between the two is, however, also due to Ruth's self-absorption, which manifests itself in the beginning of the novel where she visits Johannes for the first time. Despite his clear directions, she fails to realise that they live in different cities – he in Bergen and she in Oslo. Moreover, she harbours an inner distance, which comes to light on her flight to Bergen. Here, she conjures up an image of herself moving towards him, as if it were in a dream, as if it were a film, distraught: "It is as if I am walking in between, between two people who are both me, and as I stand up and move down the aisle towards the exit of the plane, it is she, who – all night, through her sleep – has been looking almost too intensely forward to the meeting, rendering her sleep transparent, it is she who is broken and vile (Ørstavik 2013:8). Throughout the novel, Ruths sees, finds, and creates other projections and mirror images of herself.
In Bordeaux, Ruth is presenting an art installation, which comments on the tension between intimacy and distance. Ruth has seen a video on the internet of a large hall in the gallery, which she plans to turn into a town square. A woman will be standing in the middle of the square, while a man walks across the square in her direction. The square in the installation is a parallel to the large open space where the gallery is located – a square which imparted Ruth with a sense of déja-vu when she first arrived by taxi. In her mind, there is an image of herself, as a woman or a man, exiting a carriage and being led to the execution scaffold that once stood in the great square of Bordeaux. The artwork's staging of a meeting in the town square is imbued with an undercurrent of terror as Ruth is repeatedly imagining pictures of the guillotine striking her neck. Ruth samples the nightlife of Bordeaux with Abel, a gallery owner – partly as an investigation of the limits of her desires, and partly as a symbolic punishment of Johannes, who, rather than joining her in Bordeaux, sent her an MMS from a strip club. While the distance between Ruth and Johannes is increased, Abel's daughter, Lily, and her friend, Ralph, discover a different form of intimacy. The final word of the novel, "Come", is derived from this positive relationship, which brings the narration to a close on a tremendously open note.
Published december 2014


Internship opportunity to teach English with an existing team in South East Asia.
The country we are in is considered unreached, in spite of being Catholic. Some 40 years ago the populace was forced to become monotheistic, but they never renounced their foundational animistic beliefs. Most of the people have no Biblical knowledge, and have not grasped the concept of salvation by faith, that you can't worship God and simultaneously serve the spirit world.
Internship opportunity to join our team in South East Asia. Our team runs a small language school business where we teach English, Portuguese and Computer courses. We need a substitute English teacher to fill in for the American team member who will be on home stay during this time. There will also be opportunities to help with crowd control/crafts/games during our children's ministry, and to do an English conversational Bible study with our more advanced English students (Discovery Bible study method). This is a supporting role to our evangelistic, discipleship, church-planting activities.
Would you like to participate in sharing the hope of the gospel in South East Asia? The internship is available for an individual from August 31- November 18 2019.


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/ Financial / ASCE Report Estimates Failure to Act on Infrastructure Costs Families $3,400 a Year
ASCE Report Estimates Failure to Act on Infrastructure Costs Families $3,400 a Year
Matt Ball on May 11, 2016 - in Financial, Planning
America's infrastructure investment gap is hitting families where it hurts most – the wallet.
ASCE's Failure to Act: Closing the Infrastructure Investment Gap for America's Economic Future 2016 report, released May 10, estimates that continued underinvestment in infrastructure will cost each U.S. family $3,400 a year over the next decade.
"Poor infrastructure means more congestion on our roadways, broken water lines and power outages, and an inability to get our goods to market," said Greg DiLoreto, P.E., P.L.S., D.WRE, Pres.13.ASCE, chair of ASCE's Committee for America's Infrastructure.
"From lost time, to inconvenience, to spending money to fix our cars or a flooded basement, it's a very real cost that we're paying."
The report is the latest in a series of Failure to Act studies, launched in 2011, that assesses how the nation's failure to improve its infrastructure systems affects economic performance.
The 2016 study builds on the models established in the 2011 and 2012 research, updating data and projections for infrastructure in five different sectors:
surface transportation
inland waterways and marine ports infrastructure
The analysis shows that in the years since the earlier reports, various state actions along with some federal funding measures have helped stabilize the infrastructure gap, but the overall picture remains – underinvestment is negatively affecting the nation's economy.
The most significant gap, according to the report, is in the transportation sector, where an estimated additional $1 trillion is needed across the network (including roads, bridges, and rail) during the next decade.
For businesses, this can mean increased production costs, increased cost of travel, and decreased consumer spending.
At home, it can mean fewer jobs, lower incomes, and more expensive infrastructure in the form of higher costs for transportation, electricity, and water.
"Infrastructure is our economic backbone," DiLoreto said. "This report again shows us that every day we delay, our infrastructure goes from needing to be repaired to needing to be replaced."
As daunting as the challenges seem, the majority of the projections remain in the future tense. The report suggests that the economic consequences to both families and businesses could be avoided with an additional investment from Congress and the states of $144 billion each year.
"For the price of a cup of Starbucks coffee, about three dollars per day per household, we can prevent the loss of jobs, lower incomes, and costs to businesses," DiLoreto said. "The cost of investment offers a good return, as it protects the GDP, jobs, family's disposable income, and our overall competitiveness."
The Failure to Act study provides an economic context for the ASCE Report Card for America's Infrastructure reports, which grade the current state of national infrastructure sectors every four years. The most recent Report Card delivered a D+ average grade across 16 categories. The next national Report Card is slated for release in 2017. Read the full Failure to Act report, and learn more about the methodology behind the findings.
SOURCE: ASCE
cost failure to act infrastructure investment
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On the Record • September 12, 2018 • https://ontherecordmag.com/1837/top-stories/the-crossroads-intersectionality-is-a-relatively-new-term-people-are-using-to-discuss-centuries-old-oppression/
The Crossroads- "Intersectionality" is a relatively new term people are using to discuss centuries-old oppression.
Words by Jediah Holman and Zakeya Baker
Thousands of people filled the steps outside of the Muhammad Ali Center waiting to hear the words of Louisville's community activists at the 2018 Women's March on Jan. 21. As the activists spoke, the murmurs of the crowd faded to silence. The only things the audience heard were the echo of the microphone and the message of unity.
"I'm proud to stand in front of you as an intersectional feminist, a clear woman of color, an Afro-Carribean, a refugee, and a woman who found her roots in Appalachia," Marta Miranda-Straub, former president of the Center for Women and Families, said to crowd members she described as her brothers and sisters. "We stand in the ground of our history. And our history is one of immigration, and genocide, and slavery, and a thirst for freedom for all."
As she spoke, one hand gripped the microphone as the other pointed high into the sky. Miranda-Straub's emotionally-charged words grabbed everyone's attention. She delivered her take on intersectionality to the crowd; now it was their turn to learn the term and use it to make change.
"We are a movement that pursues liberty, justice, and the pursuit of happiness for all. We have complex inequalities, and I say to you, and to all of us, welcome."
The Origin of Intersectionality
Intersectionality describes those people who are standing at a crossroads, at an "intersection" of marginalized or oppressed identities. Not only does intersectionality help individuals define themselves, but it also gives exploited groups the chance to support one another.
Kimberlé Williams Crenshaw, a Harvard Law school graduate and civil rights activist, coined the term in her 1989 essay "Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics." She wrote the essay after hearingabout several employment-discrimination lawsuits, specifically one against General Motors.
Applying for a job at General Motors in 1976 meant applying for a job suitable for men on the factory floor or a job suitable for women as a secretary. But the women's jobs were for whites only. Emma DeGraffenreid, the plaintiff, and several other black women sued the motor company for discrimination against race and gender. The court eventually threw out the case, because the motor company had evidence that they hired both women and black men. The company failed to take responsibility for leaving out those people right in the middle: black women. The courts ruled that combining race and gender claims was not permissible. As a black woman herself, Crenshaw connected with DeGraffenreid's struggle and realized that she needed to take action. Thus, the term "intersectionality" was born.
According to a TED Talk Crenshaw gave in 2016, she began to use the term intersectionality "to deal with the fact that many of our social justice problems, like racism and sexism, are often overlapping, creating multiple levels of social injustice."
Crenshaw originally used the term exclusively for black women and the strugglesthey face with inclusion, recognition, and support. She noted that society dealt black women a bad hand. Not only were they facing discrimination because of what they lacked between their legs, but these women also had centuries of racism on their backs. Until recently, people perhaps hadn't thought extensively about the concept behind intersectionality: that discrimination can affect people from different directions. Consequently, the idea of intersectionality didn't have a name and was difficult to validate.
"When there's no name for a problem, you can't see a problem. When you can't see a problem, you can't solve it," Crenshaw said.
The bottom line is that when a problem has a name, people can more easily identify it as something that needs to be fixed. For years, intersectional people didn't have a buzz word to describe their daily struggles with. The trans community is similarly familiar with being titleless. Four decades ago, identifying with the opposite gender was foreign to many people. But since the late 20th century, the community has achieved recognition and, as a result, gained more acknowledgment and support.
Even though we talk about issues like racism, homophobia, and discrimination, until recently we have only dealt with them separately. Oftentimes, however, these issues go hand-in-hand. As poet, civil rights and social rights activist Audre Lorde put it, "There is no such thing as a single-issue struggle, because we do not live single-issue lives."
So why is intersectionality important?
Intersectionality is based on the idea people can identify with "overlapping oppressions," so it's a personal thing. It's important, because it helps people understand the backgrounds of themselves and others around them. Intersectionality is not picking one struggle over the other. It's not saying one voice is louder than the other. And it's not allowing the world to tell you that you have to choose who you must be. Intersectionality is being both black and LGBTQ, or both Jewish and a woman. It is white men who face marginalization from practicing a minority religion and being mentally disabled.
You may have heard the x term "identity politics" in the news recently. It's a phrase used to refer to "a tendency for people of a particular religion, race, social background, etc., to form exclusive political alliances." The idea that identity politics is exclusionary and divisive gives it a negative connotation, but the alternative is delegitimizing the importance of identity and regarding the American public as a more homogenous group of individuals. It might be easy to label the "intersectionality" movement negatively, because it is, in a way, identity politics on steroids. Intersectionality allows people to more completely define themselves. But keep in mind that intersectionality also encourages marginalized groups to interact with one another in trying to understand the unique perspectives of each of their members. Intersectionality also provides everyone with a more exact way of understanding the community around themselves. For the first time, we all have the language necessary to support the distinct needs of distinct people.
But what if you don't consider yourself intersectional?
What if their problems aren't the same as your problems?
Instead of waiting until oppression affects you, it's important to keep in mind now that oppression almost certainly affects some of the people you care about. Your family members, your friends, your colleagues.
"I'm an Indian Christian, then I'm gay, then we're all from Kentucky. It's a lot of different layers you have to go through," said Abey Philip, a senior at duPont Manual High School.
Philip is more than his ethnicity, more than his sexual orientation, more than his religion. But he's also more than the sum of those separate identities. When we think of people in the LGBTQ community, we might picture a multicultural group. Yet, along with knowing that people may be a part of multiple marginalized groups, it is important to understand that the "intersection" of identities creates a completely unique perspective. Even more, those intersections are cause for unity between oppressed peoples.
"It's like when we make those Venn diagrams in class and there's that middle section of the Venn diagram," Philip said. "Those intersections of our identity can bring people together, whether that's through religion, whether that's through ethnic origin."
However, women have a rough history when it comes to backing one another. For years, women of color supported white feminist movements but didn't receive the same support back. If there had been a joint effort between these groups for the past 100 years, we might be in a very different place today in terms of gender equality and women's rights. With the amount of hate, the singling out of specific groups, and the division among the people, we as a nation are in need of unity.
Intersectionality's Reach
Today, some students have taken initiative by creating intersectionality clubs and hosting intersectionality events. At duPont Manual High School, the students created an intersectionality board made up of representatives from Girl Up, the Black Student Union (BSU), Refugee and Immigrant Support Initiative (RISI), Gay Straight Transgender Alliance (GSTA), and more. They realized the important role a board like this could serve supporting marginalized groups in the political climate of the 2016 presidential election.
"In some way, it's kind of important that Trump was elected and that we are facing all of these issues, because it brings these issues to light. It gives us a reason to assemble and try to make change in our community," Netra Rastogi, president of RISI, said.
Rastogi stated that each board member had previously worked within the confines of their club, but with the creation of the board they've been able to tackle those issues together.
A couple months after being officially established, the board held their very own Intersectionality Night on Dec. 8. The event showcased the many cultures of duPont Manual's student population through a variety of cultural presentations, food, and games. The night set the tone for the board's future, including their goal of achieving solidarity with everyone who is involved. More recently, the intersectionality board had their second event in the form of a seminar on April 22 which included several presenters from both Fairdale High School and Shawnee High School Magnet Career Academy discussing the way their struggles intertwine.
"We're coming together," Sarah Korssa, the Secretary of Public Relations of the BSU, said. "Everyone doesn't have to be at the opposite ends of a crossroad and standing by themselves when we have crossroads for a reason… we're all connected."
Intersectionality, although complex, is a new start for those looking to define themselves, a modern attempt at a solution for century-old issues. What it does give us is a frame of reference.
"You tell me intersectionality is not the lay of the land. It is who we are. We are black. We are able. We are temporarily able. We're old. We're white. We're trans. We're queer. We're many, many, many things," Miranda said. "None of us is one thing. All of us belong in many places. And we need to stand with all that we are and all that represent us."
Her last words at the Louisville Women's March drawled out into a scream:
"Thank you for reviving the spirit of a 64-year-old woman who's been in the trenches for the last 44 years."«


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By Alice on Monday May 30th 2011 at 15:37
it's so light now that we can do evening dog walks - - jemima and honey and hoshi LOVE it!
Royal Oak Day
By Alice on Sunday May 29th 2011 at 15:06
Today is royal oak day!
tea and a biscuit?
By Alice on Thursday May 26th 2011 at 09:03
Pair of personalised Mr & Mrs mugs
By Alice on Tuesday May 24th 2011 at 08:32
MR & Mrs Fisher are extremely proud of their personalised Mr & Mrs mugs from Alice Palace!
By Alice on Saturday May 21st 2011 at 21:12
we had a great time at the cotswold farm park the other day….
Alice Palace mugs
We have some great personalised mugs that are now available…here are some of the new designs…
[Personalised tea monster mug]
New designs in the press
In Greetings today we're featured in the Pulse preview…
Not long till the Pulse London show
We're busy preparing for our next trade show which is Pulse London - which is 5-7th June 2011 at Earls Court Exhibition Centre, and we're on stand D27
Hope we'll see you there - we have LOTS of new designs!
cupboards filled with lovely things!
oooooooooooooooo just look at our mug shelf (we have lots of mugs and they all remind me of something great)...
this is a nice book to look at
By Alice on Friday May 06th 2011 at 12:22
It's called About a village (photographs by E J McCabe, and art direction by Karen Harrison, published by Frances Lincoln Ltd) - - and it's a photographic study of an English village called Firle over the course of a year…
this is my favourite page…
"Fab fab fab as always. Mug arrived today. It's just perfect. And looks just like her too! Thanks!!!"
Personalised sea mug


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text:
Explore National Transportation Change Trends by Age Group
By Daniel Hertz
Cross-posted from City Observatory
In some ways, the urban renaissance of the last decade or two has been quite dramatic. Downtown or downtown-adjacent neighborhoods in cities around the country have seen rapid investments, demographic change, and growth in amenities and jobs. Even mayors in places with a reputation for car dependence, like Nashville and Indianapolis, are pushing for big investments in urban public transit.
Because many of those who work in urban planning live in or near these walkable, transit-served neighborhoods, it may be easy to imagine that their changes are representative of the overall pace of transition to a more urban-centric nation. Butas we and others have discussed before, in at least one way — transportation — change has actually been excruciatingly slow at the national level.
According to the American Community Survey, from 2006 to 2014, the proportion of people using a car to get to work declined — from 86.72 percent to 85.70 percent. Even among young people, the shift seems underwhelming: from 85.00 percent to 83.94 percent. (Though, as we stressed last week, these Census data only cover journey-to-work trips and tend to overstate the extent to which households rely exclusively on cars for their transportation needs.)
The changes for transit, biking, and walking are, obviously, similarly small. Transit mode share increased from 4.83 percent to 5.21 percent; among those 20 to 24, the increase was 5.53 to 6.35 percent. The overall share of walking commutes actually fell.
In fact, we've built a little tool to let people explore these data in an interactive way, selecting mode type and age ranges to see how things have changed, and haven't, over the last almost-decade. The tool displays the same data in two ways: first, as a graph (above), and then as a simple table (below), for those who find that easier to read. (On the graph, yes, we have allowed the y-axis to begin at numbers larger than zero — in large part because the changes are so small that a chart that began at zero would be unintelligible. We will trust our readers to be sophisticated enough at reading graphs to understand.)
So what's going on here? Well, as we wrote about just last week, the single greatest determinant of people's transportation choices isn't what mode they think is the coolest — or even whether there's a train or bus station nearby, though that obviously helps. The most important factor is their city's land use pattern: are there things close by to walk to? Is the city compact enough — and pedestrian-friendly enough — that there's an fast, safe, and pleasant way to get from a transit stop to their place of employment? When you step out of a train station, do you see this:
The terminus of the Green Line light rail in downtown St. Paul. Credit: Google Maps
The Arapaho light rail stop in Dallas. Credit: Google Maps
This kind of built environment doesn't change nearly as fast as attitudes — or as quickly as jobs can relocate from suburban office parks to downtown lofts. But it does change, and it's why we insisted last week that thinking about "the future of urban transportation" in terms of apps and hacks, rather than fundamental urban design, is a huge mistake.
There is more encouraging news, however: if you drill down to mode shifts by metropolitan area, the changes are much more pronounced, especially among younger people. In a follow-up post, we'll let you see exactly how much has changed in your city.
Filed Under: Bicycling, Commuting, Transit, Walking
Can Transit Reverse Indianapolis' Center-City Slide?
By Angie Schmitt	| Jan 23, 2013
At the Indiana statehouse today, a committee is discussing a transit plan that could revolutionize Indianapolis. The proposal would drastically expand transit investment, and add a rapid transit element, in an attempt to make this relatively auto-centric city a more authentically urban place. But changing the transportation culture of a city is hard. And some […]
As Transit Expands in Los Angeles, Will Walkability Follow?
By Yonah Freemark	| Sep 15, 2017
Even as the region's rail network grows, too many stations remain engulfed by single-family housing and park-and-ride lots.
Bridging the Local-National Message Divide: The Climate Bill is the Answer
By Ryan Avent	| Oct 9, 2009
Urban areas have a lot to contribute to the congressional climate change debate. (Photo: SDOT Blog) This week, I was fortunate to attend the Open Cities conference in Washington (along with fellow Streetsbloggers Elana Schor and Aaron Naparstek), on the ways in which new media is shaping urban policy. The takeaway, for me at least, […]
Michigan Cities See Placemaking as the Way to a Brighter Future
There's no consensus in the urban planning profession — or in public opinion more generally — about how to handle declining cities like Detroit. All sorts of solutions have been proposed, ranging from the outlandish (making Detroit a "skyscraper ruins park") to the more widely accepted (converting vacant land into urban agriculture). But lately Michigan […]
Roundup: How Bus Rapid Transit Spurs Development
By Angie Schmitt	| Sep 13, 2013
Here's a snapshot of what's happening around the Streetsblog Network today: Evidence That Bus Rapid Transit Boosts Development: What is the impact of bus rapid transit on the value of surrounding land? Can BRT help boost development like rail transportation does? David Levinson at Streets.mn offers a review of the research. In some parts of […]
Condos, Parking Lots, and Transit: D.C.'s Transportation Crossroads
By Angie Schmitt	| Feb 28, 2011
There's been a lot of debate lately about whether Washington D.C. should remove its famous height restrictions, which effectively limit buildings to about 10 stories, the height of the Washington Monument. Right now, D.C. is in the enviable position of having high demand for downtown office space, but there's a limited amount of land available […]


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Star of Marquette High School
|| 12/5/2005 || 11:38 pm || Comments Off on Star of Marquette High School || ||
: rendered at 10,000 X 7,500 :
My Alma Mater… As stated before, I'd like to donate this one someday :)
View details:
: detail :
Related Missouri Maps:
Marquette High School Quilt
|| 11/28/2005 || 1:39 pm || 2 Comments Rendered || ||
: rendered at 18,000 X 12,000 :
In the last two weeks I've reconnected with about 10 different folks I knew back in high school. To celebrate this, and to actually follow through with one of my old ideas, I made a rendering for my high school in Clarkson Valley, Missouri– Marquette High School. Located about 22 miles from downtown Saint Louis, in the affluent West County, this public high school cost over 20 million dollars to construct and in less than 10 years it was expanded to hold more students. There were trailers placed in the front of the school for a few years and the year after I graduated in 1999, they finished the expansion and removed the trailers. The aerial photograph used was taken by the USGS in March of 2002, and if you look closely, the sidewalk in front of the school is still visible where the trailers used to be.
I could probably go on & on about aboutt this rendering, filling in every detail of the complex mental map I have, but I won't. If I do another rendering, I'll be sure to add another story or two about that place, space, and time.
For Christmas, I'd like to print up a copy of this rendering and donate it to the school….
View the rest of the details:
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Dusting off the cobwebs that have collected on NikolasSchiller.com
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"Official: Medical marijuana in D.C. by May 2012" by Victor Zapana, Washington Post, July 29, 2011
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What's on More to see and do Five contemporary garden sculptures
Five contemporary garden sculptures
Enjoy the great outdoors and see some fantastic art at the same time with these stunning contemporary sculptures.
1. Barry Flanagan, Chatsworth House
Welsh sculptor Barry Flanagan is known for his now iconic bronze statues of athletic, gangly hares; they can be found leaping, jumping, scrapping, sitting and here, drumming. All spindly legs and arms, Flanagan was inspired by the magic event of witnessing a hare running across the Sussex Downs. Chatsworth has several of Flanagan's hares throughout its grounds and held a retrospective of 12 of them in 2012. On permanent display.
2. Conrad Shawcross, Dulwich Park and Dulwich Picture Gallery
Free with National Art Pass
The artist's major commission, Three Perpetual Chords, for Dulwich Park will be unveiled on 18 April, Shawcross explains: '[Each component] is about two metres high and five metres wide, made of cast iron on concrete blocks sunk in the grass. And they're quite dirty cast iron to discourage people from climbing them. And from stealing them, because they'll be replacing the Barbara Hepworth bronze [Two Forms (Divided Circle) that was stolen from the same site in 2011]. In connection with the commission, Dulwich Picture Gallery will present Counterpoint, a display of works relating to the sculpture which will include a large-scale 'lightwork' installation in the mausoleum. Exhibition open from 16 April to 14 June.
3. Laura Ford, Strawberry Hill House
To celebrate the second phase of restoration at Horace Walpole's fantasy house, Strawberry Hill House will host an exhibition of Laura Ford's new bronze sculptures called Days of Judgement. The artist's work is particularly suited to the venue as she fuses fantasy storytelling and a nightmarish imagination with a fairytale aesthetic, creating mainly wondrous sculptures of animals. This summer the gothic mansion will be taken over by skinny cats roaming the grounds like courtiers and a Rapunzel-like figure will lean over the round tower while some of Ford's best-known works will inhabit the house itself. From 20 June to 19 November.
4. Michele Ciribifera, Burghley House
Reduced price with National Art
This magnificent Elizabethan house is fully committed to displaying great sculpture in the grounds, having dedicated a permanent space to exhibit their sculpture collection and hosting an annual exhibition running from April to September. Michele Ciribifera's spiralling geometric metal wheel explores the tension between nature and art, illusion and reality by offering the viewer a different perspective on the landscape around them. The light floods through the structure creating patterns around it. On permanent display.
5. Simon Periton, Waddesdon
This beautiful historic house has an impressive collection of outdoor contemporary sculpture with pieces from Sarah Lucas, Anish Kapoor and Edmund de Waal. This summer Waddesdon has invited Simon Periton to create a pair of sculptures for the Parterre. Anarchy Ball and Scalpel, are giant three-dimensional carpet-bedding sculptures which will complement his previous work which uses decoration and surface as themes and have included intricate cut paper sculptures and large-scale outdoor sculptures. Simon Periton: Resistance is Fertile is on from June to October.
Buy a National Art Pass to get free or reduced-price entry to hundreds of museums, galleries and historic houses across the UK.


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Include Constitution and governance in curriculum for all academic streams: CJI NV Ramana
"Students should be aware of basic laws and principles governing the land. Citizens must connect with the statute, which is our ultimate safeguard."
Chief Justice of India NV Ramana (right) receives the honorary doctorate from Governor and Chancellor of Osmania University Dr Tamilisai Soundararajan and Vice Chancellor Prof. D. Ravinder (left) at the 82nd Convocation of university in Hyderabad on Friday.
Chief Justice of India NV Ramana on Friday said it was high time for educational institutions to introduce the Constitution and governance as subjects, irrespective of the stream. Speaking at the 82nd convocation of Osmania University, where he was conferred Honoris Causa Doctorate, he said, ideas of the Constitution need to be simplified for everyone's understanding and empowerment.
"Students should be aware of basic laws and principles governing the land. Citizens must connect with the statute, which is our ultimate safeguard. That's why I insist on propagation of constitutional culture. It is time for all institutions to introduce a subject on basic ideas of constitution and governance, irrespective of stream of learning," he said.
The CJI said, students should be provided with knowledge of history, language, philosophy, politics, and economy. He said in today's knowledge-based economy, education and information were key assets. "One can break barriers of social status, through quality education and dedication. And education is a tool for social mobility and foundation of social development," he added.
He said, education nurtures right impulses and independent thinking, instead of being prisoners of status quo. "We want youth to dive and usher a transformation within. The goal of education should be to enable us to make informed choices," he said, adding education cannot be alienated from one's roots.
Talking about the honorary doctorate conferred on him, he said, "I am afraid, I am not in the league of luminaries like Rabindranath Tagore, C Rajagopalachari, Jawaharlal Nehru, Rajendra Prasad, S. Ramakrishna, BR Ambedkar, and 42 others, who are recipients of the prestigious honorary causa from Osmania University. I am grateful for the honour bestowed upon me. It's more than a symbolic, it's a personal obligation to give my best for the community," he said.
Ramana revealed that during his student years, he aspired to join law at OU. "Although I could not join law formally here, on many occasions I stayed with my friends in their hostel rooms. I attended several classes in law and linguistics. I would spend time in canteens and libraries of OU. I have a lot of warm memories of this varsity."
Concluding his speech in Telugu, he asked the youth not to forget their mother tongue and motherland and advised them to read Telugu literature. "Don't forget to write letters and to read books," he said.
Chief Justice of India NV Ramana
BR Ambedkar
82nd convocation of Osmania University
Air Marshal AP Singh named next Vice Chief of IAF