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School of English, Film, Theatre, Media and Communication, and Art History
Te Kura Tānga Kōrero Ingarihi, Kiriata, Whakaari, Pāpāho, Tāhuhu Kōrero Toi
English, Film, Theatre, Media and Communication, and Art History's home
Postgraduate coordinators and programme directors
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School of English, Film, Theatre, Media and Communication, and Art History Te Kura Tānga Kōrero Ingarihi, Kiriata, Whakaari, Pāpāho, Tāhuhu Kōrero Toi
Christina Barton
Adam Art Gallery
christina.barton@vuw.ac.nz
MA (Auckland)
Christina's research, teaching and curatorial practice focus on her interest in post-1960s' New Zealand art; draw on her knowledge of contemporary art and theory, and build on her ambition to create a variety of platforms for thinking about art and its histories.
She has gained her knowledge from many years of first-hand contact with the New Zealand and international art scene, through her work as an academic, as a curator working in public art museums in Wellington and Auckland, and as a writer and commentator.
After completing her MA thesis in 1987 on the history of post-object art in New Zealand (1969-1979), Christina took up a position as research assistant at the Auckland Art Gallery Research Library.
This inaugurated a career as a curator in art galleries that has seen her realising various exhibitions and publications in her capacity as Assistant Curator at Auckland Art Gallery (1988–1992) and as Curator of Contemporary New Zealand Art at the Museum of New Zealand Te Papa Tongarewa in Wellington (1992–1994), as well as independently for various galleries both in New Zealand and Australia.
In 1995 she took up a teaching position in Art History at Victoria University of Wellington. She taught full-time here until 2007, at all levels and across a range of topics, but especially in her specialist subject: New Zealand art.
In April 2007 Christina was appointed Director of the Adam Art Gallery, Victoria University of Wellington's custom-built gallery which runs a programme of exhibitions and manages the University's Art Collection. In this capacity she brings the academic and curatorial strands of her career together, and has developed the gallery as a key platform for teaching and research.
Christina remains active beyond the university as a writer and commentator on contemporary art.
Christina's particular research interests cover:
the history and legacy of post-object art in New Zealand.
the character and consequences of conceptual and critical practices as they have been undertaken locally and internationally from the 1960s to the present.
the uses to which photography and related reproductive technologies have been put in recent New Zealand art.
the nature and history of art in public space.
Christina is currently researching Billy Apple—New Zealand's leading conceptual artist.
Curated exhibitions and related monographs
BAD VISUAL SYSTEMS Ruth Buchanan, Judith Hopf, Marianne Wex, Adam Art Gallery, Wellington, 2 October – 21 December 2016.
Walker Evans: Magazine Work; Sherrie Levine: African Masks After Walker Evans; Patrick Pound: Documentary Intersect; Sonya Lacey: Newspaper for Vignelli, Adam Art Gallery, 30 July – 18 September 2016 (a coordinated series of four independent projects).
Barton, Christina. Billy Apple: A Life in Parts, Auckland Art Gallery, Auckland, 2015, 112pp.
The Specious Present: Andrew Beck, David Claerbout, Colin McCahon, Keith Tyson, with Hummel, Adam Art Gallery, Victoria University of Wellington, Wellington, 17 June–20 September 2015.
Billy Apple: The Artist Has to Live Like Everybody Else, Auckland Art Gallery, Auckland, 14 March–21 June 2015.
Barton, Christina, Kim Pieters: What Is a Life?, Adam Art Gallery, Victoria University of Wellington, Wellington, (27 May – 21 September 2014).
Kim Pieters: What Is a Life?, edited and with an introduction by Christina Barton, Adam Art Gallery, Wellington, 2014.
Barton, Christina, RELOAD: Kirk Gallery Series 2014, Adam Art Gallery, Victoria University of Wellington, Wellington, (27 May – 21 September 2014).
Barton, Christina, Simon Denny: The Personal Effects of Kim Dotcom, Adam Art Gallery, Victoria University of Wellington, Wellington, (4 Oct – 19 Dec 2014).
Beautiful Creatures: Jack Smith, Bill Henson, Jacqueline Fraser, Adam Art Gallery, Victoria University of Wellington, Wellington, (3 May – 7 July 2013).
Paul Johns: Mum, a commissioned installation for All There Is Left, Adam Art Gallery, Victoria University of Wellington, Wellington, (21 July – 29 September 2013).
Peter Robinson: Cuts and Junctures, Adam Art Gallery, Victoria University of Wellington, Wellington, (12 October – 20 December 2013).
I, HERE, NOW Vivian Lynn, Adam Art Gallery, Victoria University of Wellington, Wellington, 2010. 140pp
Play On, Adam Art Gallery, Victoria University of Wellington, Wellington, 2010 (8 May – 25 July, 2010)
Play On, Adam Art Gallery, Victoria University of Wellington, Wellington, 2010, 40pp
Anthony McCall: Drawing with Light, Adam Art Gallery, Victoria University of Wellington, Wellington, (24 February – 25 April, 2010)
Gavin Hipkins. Bible Studies (New Testament), Adam Art Gallery, Victoria University of Wellington, Wellington (16 October 2009—7 February 2010)
Wall Works, Adam Art Gallery, Victoria University of Wellington, Wellington (8 September-4 October 2009)
Billy Apple New York 1969-1973, Adam Art Gallery, Victoria University of Wellington, 28 March – 17 May 2009
I, HERE, NOW Vivian Lynn, Adam Art Gallery, Victoria University of Wellington, 25 October 2008 – 15 March 2009
The Subject Now, Adam Art Gallery, Victoria University of Wellington, 26 July – 5 October 2008
Hydraulics of Solids: João Maria Gusmão and Pedro Paiva, Adam Art Gallery, Victoria University of Wellington, 15 February – 20 April 2008
Hydraulics of Solids: João Maria Gusmão and Pedro Paiva, Adam Art Gallery, Victoria University of Wellington (editor and author of introduction, 5-8), 2008, 38pp.
Primary Products, Adam Art Gallery, Victoria University of Wellington, 11 August – 7 October 2007
Four Times Painting, Adam Art Gallery, Victoria University of Wellington, Wellington, 2007 [26pp]
The Expatriates: Frances Hodgkins and Barrie Bates, exhibition catalogue, Adam Art Gallery, Victoria University of Wellington, 2004 [52 pages]
Joseph Kosuth: Guests and Foreigners. Rules and Meanings (Te Kore). Wellington: Adam Art Gallery (with essays by Joseph Kosuth and Charles Green), 2004, [96pp]
Ground/Work: The Art of Pauline Rhodes, Wellington: Adam Art Gallery and Victoria University Press, 2002 (136pp)
Language Matters, Wellington: Adam Art Gallery, 2000 (20pp)
Close Quarters: Contemporary Art from Australia and New Zealand, Melbourne: Monash University Gallery, 1998 (48pp) (with Zara Stanhope and Clare Williamson)
Art Now: The First Biennial Review of Contemporary Art, Wellington: Museum of New Zealand Te Papa Tongarewa, 1994 (196pp)
Alter-Image: Feminism and Representation in New Zealand Art 1973-1993, Wellington: City Gallery,1993 (120pp) (with Deborah Lawler-Dormer)
Sculpture by Marie Shannon, Wellington: Museum of New Zealand Te Papa Tongarewa, 1993 (4pp)
Surface Tension: Ten Artists in the '90s, Auckland: Auckland City Art Gallery, 1992 (20pp)
Louise Henderson: The Cubist Years, Auckland: Auckland City Art Gallery, 1991 (38pp)
In the Forest of Dream (Touring exhibition 16/02/10ation), 1990 (42pp) (with Wystan Curnow and Gregory Burke)
After McCahon: Some Configurations in Recent Art, Auckland: Auckland City Art Gallery, 1989 (44pp)
Walking the Ridge: Writings from the 2017 Adam Art Gallery Summer Intensive, Adam Art Gallery, Wellington, 2017, 46pages.
BAD VISUAL SYSTEMS Ruth Buchanan, Judith Hopf, Marianne Wex, exhibition catalogue, Adam Art Gallery, Wellington, 2017 (includes 'Postscript', curatorial essay, n.p)
Patrick Pound: Documentary Intersect, exhibition catalogue, Adam Art Gallery, Wellington, 2016.
Now Showing: The Govett Brewster Art Gallery, (eds) Christina Barton, Wystan Curnow, Jon Bywater Govett-Brewster Art Gallery, New Plymouth, 2016.
Drawing Is/Not Building, foreword by Christina Barton, edited by Christina Barton, Sarah Treadwell and Simon Twose, Adam Art Gallery, Wellington, 2015, 95 pages. (ed.) Barton, Christina and Robert Leonard, with Thomasin Sleigh, The Critic's Part:
Wystan Curnow Art Writings 1971 - 2013, Adam Art Gallery, Institute of Modern Art and Victoria University Press, Wellington and Brisbane, 2014 (480 pages). (ed.) Barton, Christina, Simon Ingram: Painting Machines 2005 – 2014, Kerber Verlag, Biedenfeld, 2014 (152 pages).
Jacqueline Fraser: THE MAKING OF THE CIAO MANHATTAN TAPES 2013, ed Barton, Christina, Adam Art Gallery, 2013 (96 pages)
Reading Room: A Journal of Art and Visual Culture: Elective Proximities, no 6, December 2013, co-edited with Natasha Conland and Wystan Curnow, E.H. McCormick Research Library, Auckland Art Gallery, Auckland (224 pages).
Blackley, Roger, Te Mata: The Ethnological Portrait, Adam Art Gallery and Victoria University Press, Wellington, 2010, (40pp)
Butler, Rex, Colin McCahon in Australia,The Gordon H. Brown Lecture, no 8, 2010, Victoria University of Wellington, Wellington, 2010 [48 pp] (Series editor)
Reading Room: A Journal of Art and Culture. Liquid State, 4, 2009 (author of introduction) eds Christina Barton, Natasha Conland and Wystan Curnow, E H McCormick Research Library, Auckland Art Gallery, Auckland (224 pages)
Reading Room: A Journal of Art and Culture. Art Goes On, 3, 2009 (author of introduction) eds Christina Barton, Natasha Conland and Wystan Curnow, E H McCormick Research Library, Auckland Art Gallery, Auckland (184 pages).
Treadwell, Sarah. Revisiting Rangiatea, The Gordon H. Brown Lecture, no 6, 2008, Victoria University of Wellington, Wellington, 2007 [48 pp] (Series editor)
Reading Room: A Journal of Art and Culture, 2, Transcendental Pop, E H McCormick Research Library, Auckland Art Gallery, 2008 (with Wystan Curnow and Natasha Conland)
Reading Room: A Journal of Art and Culture, no 1, 2007 (co-editor of new refereed journal with Wystan Curnow and Robert Leonard) [183pp]
Bell, Leonard. In Transit: Questions of Home and Belonging in New Zealand Art, The Gordon H. Brown Lecture, no 5, 2006, Victoria University of Wellington, Wellington, 2007 [48 pp] (Series editor)
Goldson, Annie. Memory, Landscape, Dad & Me, The Gordon H. Brown Lecture, no 4, 2005, Victoria University of Wellington, Wellington, 2006 [48 pp] (Series editor)
Brown, Gordon H, Elements of Modernism in Colin McCahon's Early Work, Art History Lecture Series, 1, Wellington: Art History, Victoria University of Wellington, 2003 (45pp) (series editor)
Manufacturing Meaning: The Victoria University of Wellington Art Collection in Context, Wellington: Adam Art Gallery, 1999, (10 x 18pp) (concept curator and editor)
Harper, Jenny, Boyd Webb, Auckland and Wellington: Auckland Art Gallery and Museums Aotearoa, 1998, (187pp) (editor)
New Vision: A Critical View of the Visual Arts Infrastructure, Wellington: McDermott Miller, 1997 (with Jenny Harper and Michael Volkerling; report commissioned by Creative New Zealand and the Chartwell Trust)
Chapters or sections in books
'No Ordinary Museum: The Govett-Brewster, Contemporary Art and the Contingency of History', in Now Showing: The Govett Brewster Art Gallery, (eds) Christina Barton, Wystan Curnow, Jon Bywater, Govett-Brewster Art Gallery, New Plymouth, 2016.
'Five Questions for Pip Culbert', essay for Pip Culbert: Seams, Artspace, Auckland, July 2016, n.p.
'Preface', Dark Watch: Pauline Rhodes, exhibition catalogue, edited by Abby Cunnane and Charlotte Huddleston, St Paul St Gallery, Auckland, 2016.
Barton, Christina. 'Preface', Dark Watch: Pauline Rhodes, exhibition catalogue, edited by Abby Cunnane and Charlotte Huddleston, St Paul St Gallery, Auckland, 2016.
Barton, Christina, 'Notes on Method', The Critic's Part: Wystan Curnow Art Writings 1971 – 2013, edited by Christina Barton and Robert Leonard, with Thomasin Sleigh, Adam Art Gallery, Institute of Modern Art and Victoria University Press, Wellington and Brisbane, 2014, pp. 13-19.
Barton, Christina, 'To Whom It May Concern', Maddie Leach: If You Find the Good Oil, Let Us Know, Govett-Brewster Art Gallery, New Plymouth, 2014, pp. 38-45.
Barton, Christina, 'Untitled (McCahon House Studies) 2012. For Shannon Te Ao', in Shannon Te Ao: I can press my face up against the glass, The Physics Room Trust, Christchurch, 2014, pp. 9-19.
'Out of Place', If You Were to Live Here, The Fifth Auckland Triennial, Auckland Art Gallery, Auckland, 2013, pp.22-27.
'Billy Apple—"In the Area of the Negative Condition"', in Billy Apple New York, 1970-75, The Mayor Gallery, London, 2013, pp.8-13.
'Billy Apple- The Sixties Remembered', Billy Apple: British and American Works 1960-69, The Mayor Gallery, London, 2010, 8-32
'Billy Apple' and 'Vivian Lynn' in New Zealand Art from Cook to Contemporary, Te Papa Press, Wellington, 2010, 141,193
'Bruce Barber in New Zealand 1970-1975', Bruce Barber Work, 1970-2008, edited By Cleland, Stephen and Blair French, Artspace and Te Tuhi Centre for Art, Sydney and Auckland, 2010, 52-63
'About Billy Apple—A Life in Parts', Billy Apple, Sourcebook 7/2009, eds Zoe Gray, Nicholaus Schafhausen, and Monika Szewczyk, Witte de With Center for Contemporary Art, Rotterdam, 2009, 13-29.
'Billy Apple, Less is Moore', One Day Sculpture, eds Claire Doherty and David Cross, Litmus Research Initiative, Wellington and Kerber Verlag, Bielefeld, 2009, 196.
'The Art of Interruption or Sculpture to Bump into', Wandering Lines: Towards a New Culture of Space, 2008 Scape Christchurch Biennial of Art in Public Space, eds Fulya Erdemci and Danae Mossman,
Art and Industry, Christchurch, 2009, 16-20 (and catalogue entry on Billy Apple, 34). Texts on Billy Apple, Philip Dadson, Andrew Drummond, Vivian Lynn, Pauline Rhodes for Art at Te Papa, Wellington: Te Papa Press (edited by William McAloon), 2009
Texts on Billy Apple, Julian Dashper, Maddie Leach, Mladen Bizumic, Bill Culbert, in Speculation, [book documenting 30 artists published by Artspace Auckland as New Zealand's contribution to the Biennale of Venice 2007] Auckland: Artspace, 2007
Fragments and Bits: a Brief History of Temporary Art in Wellington', in Harper, Jenny and Aaron Lister (eds), Wellington: City for Sculpture, Wellington: Wellington Sculpture Trust and VU Press, 2007, 120-127
'Billy Apple, From the V.U.W. Art Collection, 2005' in In View: Works from the VUW Art Collection. Wellington: Adam Art Gallery, 2006, 2
'Return of the dead', Shane Cotton: Maori Gothic, Wellington: Hamish McKay Gallery, Wellington, 2006, np [800 words]
Victoria's Art: An Insider's View' in Victoria's Art: A University Collection, McAloon, William (ed). Wellington: Adam Art Gallery and Victoria University of Wellington, 2005. [1,000 word overview, and two 300-word essays on Robin White and Louise Henderson]
Camera /Actions: film and video in the work of Philip Dadson. New Zealand Film Archive Occasional papers: Wellington, 2005 (n.p. 2,000 words)
'Afterlife: Ans Westra in the Wake of the Documentary', in Ans Westra: Handboek. McDonald, Lawrence (ed). Wellington: BWX, 2004, pp 93-102.
'Out of the deep' in Maddie Leach: Gallery Six. Hamilton: Waikato Museum of Art and History, 2004, [not paginated, 3,000 words].
'Introduction: Joseph Kosuth in New Zealand' in Joseph Kosuth: Guests and Foreigners. Rules and Meanings (Te Kore), Wellington: Adam Art Gallery, 2004, pp 6-22
'"What was directly lived has moved away into a representation" - Photography and Post Object Art' in Action Replay: Postscript, Auckland: Artspace, 2000, pp 22-39
'1 + 1 (does not) = 2: Christina Barton in Conversation with Eugene Hansen and Marcus Williams' in Filter: Eugene Hansen and Marcus Williams, Auckland: Rim Books, 2000, pp 7-14
'Len Lye' in Toi Toi Toi: Three Generations of Artists from New Zealand. Kassel: Museum Fridericianum, 1999, pp 62-63
'Zero-ing In: On Julian Dashper' in The Twist: Julian Dashper, Hamilton: Waikato Museum of Art and History, 1998, pp 9-18
'Out of Site: A Brief History of Public Art (in Four Parts)' in Mary Barr (ed), Ready Mix: Essays and Pictures from the Concrete Deal, Wellington: The Concrete Deal, 1998, pp 20-26
'Art and New Zealand Literature' in Roger Robinson and Nelson Wattie (eds), Oxford Companion to New Zealand Literature, Auckland: Oxford University Press, 1998, pp 24-27 (with 17 entries on individual artists: Apple p 22; Binney p 57; Browne p 75; Budd p 77; Clark p 106-7; Earle p 157; Hodgkins p 240; Hotere p 245; Killeen p 286; Lee-Johnson p 304; McCahon p 317; Parkinson p 430-1; Paul p 433; Pule p 454-5; Sharpe p 492; Westra p 583; Woollaston p 596-7)
'Julia Morison and Martin Grant's Material Evidence: 100 Headless Women' in Sacred and Profane, Adelaide: Adelaide Festival, 1998, pp 56-60
'Headspace' in There: Caroline Williams, Melbourne: University of Melbourne Gallery, 1997, pp 7-14
'Chamber Piece: In Conversation with Vivian Lynn' in Vivian Lynn: Spin Versor Versari, Wellington: City Gallery, 1997 (2pp)
'Mon Soleil: Considering Photography in the Work of Bill Culbert' in Light Works: Bill Culbert, Wellington: City Gallery, 1997, pp 14-23
'Postcards from the Edge: An Exchange with David Clegg' in David Clegg: To Collect or Exchange, New Plymouth: Govett-Brewster Art Gallery,1996 (2pp)
'Drummond, Andrew', in Jane Turner (ed), The Dictionary of Art, London: MacMillan, 1996, p 304
'Uncanny Spaces' in Caroline Williams: Over Here, Wellington: Brooker Gallery, 1995, pp 1-8
'Henderson, Louise' and 'Lynn, Vivian' in Delia Gaze (ed), Dictionary of Women Artists, London: Fitzroy Dearborn, 1995, pp 664-667, 873-875
'Timeline' in Cultural Safety: Contemporary Art from New Zealand, Frankfurt and Wellington: Frankfurter Kunstverein and City Gallery, 1995, pp 114-128
'Framing the Real: Postmodern Discourses in Recent New Zealand Art' in Bernice Murphy (ed), Headlands: Thinking Through New Zealand Art, Sydney: Museum of Contemporary Art, 1992, pp 173-184
'A Place for Popular Memory' in Pleasures and Dangers: Artists in the '90s, Auckland: Longmans and Moet & Chandon, 1991, pp 150-157
'Entries' in Now See Hear! Art, Language and Translation, Wellington: Wellington City Art Gallery and Victoria University Press, 1990, pp 215-222
'Terra Informis - Known Ground' in Imposing Narratives: Post-documentary Photography in New Zealand, Wellington: Wellington City Art Gallery, 1989, pp 30-31
'Drawing Analogies' in Drawing Analogies: Recent Dimensions in New Zealand Drawing, Wellington: Wellington City Art Gallery, 1988, pp 9-13
'Maria Olsen' in NZ XI, Auckland: Auckland City Art Gallery, 1988, pp 70-76
'Image/World: Recent Work by Andrew Beck', Art New Zealand, 156, Summer 2015-16, pp. 68-71.
Barton, Christina. 'Image/World: Recent Work by Andrew Beck', Art New Zealand, 156, Summer 2015-16, pp. 68-71.
Barton, Christina. 'Rethinking Headlands', Afterall Journal, 39, 2015, pp. 100-110.
Barton, Christina. 'New Zealand at Venice: Simon Denny's Secret Power', Art Monthly (Australia), issue 285, November 2-15, pp. 18-19.
'Together/Apart: Regional Networks in a Global Age: Imagining the Pacific in New Zealand, 1976', Reading Room: A Journal of Art and Visual Culture: Elective Proximities, n.6, December 2013, pp.70-85.
'Round Table: The State of Art and Discourse in New Zealand' (coordinator and editor of a roundtable discussion with Peter Brunt, Emma Bugden, Gregory Burke, Natasha Conland, Wystan Curnow, Gavin Hipkins, Robert Leonard and Damian Skinner) Reading Room: A Journal of Art and Culture. Art Goes On, no 3, 2009, eds Christina Barton, Natasha Conland and Wystan Curnow, E H McCormick Research Library, Auckland Art Gallery, Auckland, 6-29.
'Mind the Gap. Billy Apple: Between British and American Pop 1960-1964', Australian and New Zealand Journal of Art, special issue: 21st Century Art History, 2009, 162-187.
[Coordinator and editor] 'Round Table: The State of Art and Discourse in New Zealand', Reading Room, n.3, Auckland 2009, 6-29
[Book Review] 'Hamish Keith, The Big Picture: A History of New Zealand Art from 1642', New Zealand Books, vol 18, no 3, Issue 83, Spring 2008, 7
'Going Round', Column 2, 2008 Biennale of Sydney Critical Response Special Issue, Artspace, Sydney, 2008, 25-29 [commissioned text]
'Action/Event/Document: Reconsidering the Monument', Public Good: Itinerant Responses to Collective Space, [issue 1 of an occasional journal], Enjoy Public Art Gallery, Wellington, 2008, 8-15
'Jim Allen Now' Artlink (Adelaide), vol 27, no 2, June 2007, 24-27 (South Project special issue)
'Ann Shelton: 26 Photographs of a House', Architecture New Zealand (Auckland), no 3, May/June 2007, 112- 114
'Who is Billy Apple? The Artist after the Death of the Subject', Reading Room: A Journal of Art and Culture (Auckland), no 1, 2007, 80-95
'State of the Art – New Zealand', Art Link, vol 26, no 2, June 2006, 32-37
'On the Line: Allan Sekula's Waiting for Tear Gas', Visit, no 8, Summer/ Autumn 2006, 12-13
'Finding the Pattern: The Photographs of Fiona Amundsen', Art New Zealand, no 118, Autumn 2006, 46-51, 79
'Billy Apple: a history of the brand', Auckland: Sue Crockford Gallery, np. et al.', Contemporary [London], no 74, 2005, 60
Feature: Art, Life and Cinema', Illusions, no. 33, Autumn 2002, pp 38-39 'Maddie Leach: Gallery Seven (10,000 metres)', Illusions, no. 33, Autumn 2002, p 39
'New Horizons: New Zealand in Venice', Art New Zealand, no. 101, Summer 2001-2, pp 41-45, 90-91
'Hammond's Place', Art New Zealand, no. 97, Summer 2000-1, pp 66-69
Strangers to Ourselves', Visit, Summer 2000-1, p 2 'Joseph Kosuth in New Zealand: An Introduction', Art New Zealand, no. 96, Spring 2000, pp 60-64 (written introduction to six commissioned and edited texts)
'Fabricating Archives: Six New Zealand Artists Confuse the System', Artlink, special issue: 'Mining the Archive', vol.19, no.1, March 1999 (Adelaide), pp 22-26
'Leap of Faith: Contemporary New Zealand Art', Art/Text, no. 65, May 1999, pp 97-98 'Revealing History's Blindspots', Visual Arts and Culture, vol.1, no.2, 1999, pp 168-177
(A) 'Dark Times', Leap of Faith: Contemporary New Zealand Art, New Plymouth: Govett-Brewster Art Gallery, 1998, (1p)
'Don Peebles: The Harmony of Opposites by Justin Paton, Christchurch: Robert McDougall Art Gallery and Hazard Press, 1997', New Zealand Books, November 1998, pp 8-9 (book review)
'Pushing the Envelope: Developments at the Govett-Brewster Art Gallery', Art New Zealand, no.87, Winter 1998, pp 56-59
'Alt.nature at Artspace, Auckland', Art + Text, no.61, May-July 1998, pp 93-94
'View from the Top', Art New Zealand, no.82, Autumn 1997, pp 77-78 (book review) 'Vivian Lynn's Semi(r)otics', Art New Zealand, no.79, Winter 1996, pp 54-57
'Luise Fong', Art + Text, no.53, January 1996, p 76.
'Uncanny Spaces: Recent Paintings by Caroline Williams', Art New Zealand, no.75, Winter 1995, pp 57-59
'Making (a) Difference: Suffrage Year Celebrations and the Visual Arts in New Zealand', ArtLink, vol.14, no.1, Autumn 1994, pp 62-64
'Ten Years On: Reviewing the Terrain for Women in Art in New Zealand', Art New Zealand, no.68, Spring 1993, pp 50-52
'"Can Your Pussy Do the Dog?" Thoughts on Amending the Vulgar', Illusions, July 1994, pp 67-69 (book review of 'Amending the Vulgar', Mary-Louise Browne and Ruth Watson (eds), 1992)
'Light Traffic: David Tremlett at Artspace: A Model for Cultural Exchange', Art New Zealand, no.65, Summer 1992-93, pp 60-63
'The Last Small World: Jim Allen's New Zealand Environment no. 5', Midwest, no.1, 1992, pp 29-30
'The Wertheim Room: "A Home for a Living Art"', Home and Building, special issue: The 1950s Show, November 1992, pp 17-19
Unearthing Nature: Land Projects by Four Artists 1969-1980', Antic, no.5, June 1989, pp 75-96 (with Priscilla Pitts)
'New Moves - Physical Statements: Five Sculptors in Hamilton', Art New Zealand, no.48, Spring 1988, pp 80-83
'Peter Roche and Linda Buis: Recent Drawings and Sculptures', Art New Zealand, no.42, Autumn 1987, pp 72- 73
'Some Responses to the Sixth Biennale of Sydney', Art New Zealand, no.41, Summer 1986-87, pp 81-83, 95
'Maria Olsen', Art New Zealand, no.40, Spring 1986, pp 34-37
'Claudia Pond Eyley: A Question of Representation', Art New Zealand, no.36, 1985, pp 46-49.
Conference papers and presentations
'Te Matariki o Aotearoa' paper presented at 'Counter histories of art and social practice', for Phantom Topologies, Circuit Symposium, City Gallery Wellington, 10 September 2016.
Barton, Christina, 'Painting and the Post-Object', Geocritical, Art Association of Australia and Aotearoa New Zealand Annual Conference, (session topic: c.1970 The Ends of Painting), University of Tasmania, Launceston, Tasmania, 7 December.
'Action/Event/Document: Reconsidering the Monument' One Day Sculpture Project Forum: 'Between Moments and Monuments: Considering the Future of Contemporary Sculpture in the Public Realm', Wellington, 8 March 2008
What happened? Performance's New Subjects', Aftermath Symposium, Artspace, Sydney, 18 August 2007
'In and Out of Sight/Site: Jim Allen and the World Picture', Santiago Gathering, South Project, Santiago Chile, 3 October 2006 (Published on line at: http://www.southproject.org/ Santiago/Biographies/Barton_paper.htm)
'(Re)locating pop art – the case of Billy Apple', Eye/site: Situating Theory and Practice in the Visual Arts, AAANZ Annual Conference, Sydney, 1 December 2005
'Making Claims: Maori and Media in Aotearoa New Zealand 1975-1983', Art Association of Australia and Aotearoa New Zealand, University of Melbourne, October 2001 (unpublished)
'Traces and Boundaries: The Photographic Legacy of Post-object Art', Symposium 2000, University of Canterbury, December 2000 (publication pending)
'The Archive and the Arrangements of History', Sacred and Profane: Artists' Week (Visual Arts Conference), Adelaide Festival, March 9-13, 1998 (published as 'Revealing History's Blindspots', Visual Arts and Culture, vol.1, no.2, 1999).
Panel discussant, Exhibiting Art for the Now, Auckland Art Gallery, with Natasha Conland, Misal Adnan Yildiz and Allan Smith, 23 March 2016
Invited lecturer, Julian Dashper and Contemporary Art, Contemporary Art Night School, City Gallery Wellington, 5, 12, 19 April 2016
Panel discussant, Four Waves of Feminism Symposium, Dowse Art Museum, 15 April 2016.
'So where does Pip Culbert fit?', panel discussant with Misal Adnan Yildiz, Peter Robinson and Danae Mossman, Artspace, Auckland 2 July 2016.
'Arresting copies: a roundtable discussion', chair and discussant, with Glenn Hayward, Megan Dunn and Cassandra Barnett, Adam Art Gallery, 3 September 2016.
Chair and discussant, 'In conversation: Ruth Buchanan with Sarah Hopkinson', Adam Art Gallery, Wellington, 2 October 2016.
Chair, 'Roundtable discussion: Marianne Wex in Wellington', with Linda Evans, Prue Hyman, Barbara Strathdee, Sian Torrington, Sophie Davis and others, Adam Art Gallery, Wellington, 29 October 2016.
Lunchtime talk with Anthony Byrt on the British writer Ann Quin, Adam Art Gallery, Wellington, 18 November 2016.
Panel discussion, 'Tai Ahihahi, Tai Awatea Curating Contemporary Maori Art', chair with Anna Marie White, Helen Kedgley and Robert Leonard, Maori Art Workshop, City Gallery Wellington, 8 December 2016.
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text:
Longtime Toolies: Vindog Unboxes A New Table Saw
Vindog1/07/2021 10:53 PM
Recently someone commented, "Vindog's been at Barstool just long enough for a cup of coffee", and that person was right. I officially became a full-time employee on February 8, 2020. So, in about a month it'll be one year.
In that time I've been involved in a lot of Barstool activities. In addition to the memes and blogs, I made some eggplant, jumped out of a dumpster, trashed my New England Patriots, made a few podcast appearances with Eddie and Large & Clem, I sang on "Imagine", and I should've beat Rone at beer pong. There's always next year!
Recently, I had a lengthy conversation with Chaps and him and I agreed that since we're both toolies who get involved in DIY projects, it's only right that I become a regular contributor to the Longtime Toolies.
I can't tell you how excited I am to be working with Chaps and how much I look forward to creating video content of some of the projects I get involved in. I'm a licensed Master Plumber by trade, but it doesn't end there. I enjoy working with wood and getting involved in building projects. My first project is about to begin and it's in my house. I'm gonna be building a workout room where there was once an office and later, a mess. There's a lot of work to do and I'm gonna video it so you can see me in action.
Warning: When I've been working hard and run into a situation, I tend to use the expletive "fuck" a lot. Sometimes as a standalone word, other times with an -ing ending, making it an adverb. I can get pretty creative and pair it with the most unusual adjectives. Sometimes I might say "I don't give a fuck", in which case I'm using it as a noun. Just a heads-up.
The first video is the "unboxing of my new table saw". I behaved myself more than normal, and so I promise to be as natural as possible in the next one...
Chaps+ 4 Tags
He Bought The World's Heaviest Cube | Stool Scenes
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redpajama_set_name: RedPajamaCommonCrawl


text:
Domestic Bliss: The Empty Nest
Fifty more years.
Seven Quick Takes Friday: Iris Murdoch Edition.
July 15, 2011 Uncategorizedfamily, family history, journal, reading, seven quick takesJanet
It's the late Iris Murdoch's 92nd birthday, and I happen to be reading her novel The Nice and The Good. First published in 1968, it's a tale of a complex household in Dorset that includes a married couple (Octavian and Kate), their two children, an elderly uncle, a divorced friend of the wife whose ex-husband works for Octavian and her twins, a widow (friend of Kate) and her son, a housekeeper, a refugee scholar who lives in a cottage on the property, a cat and a dog. Also in the cast of characters is a friend of Octavians who is in love with Kate, said friend's girlfriend who he is trying to break up with, his manservant, and an ex-lover of the divorced friend. There is also a suicide (murder?) victim who works for Octavian. I had to make a little cheat sheet about 50 pages in to the novel to keep track of who everyone is. But it's a good read and I'm about halfway through.
Our 18-year-old nephew, Marc, from France has been here for three weeks. He did two weeks of English language lessons at a terrific school here in Toronto, had done the requisite trip to Niagara Falls, spent a weekend at our cottage, and has hung out with our boys in the evenings when they're at home. He's really easy-going and has been a pleasure to host.This weekend will include the new Harry Potter movie and a day at Canada's Wonderland with Alex. He heads home on Tuesday with (I hope) great memories. We've been encouraging him to consider University of Waterloo for graduate studies (he's in Computer Engineering) and I know he'd love to return to Canada at some point. (Photo is Marc and Z at….guess where?)
We've finally hired a cleaner to deal with our house as I have simply not been up to the task. The "deep" clean was thie past Monday and apparently we had a remarkable amount of dust throughout our house (she feigns surprise). Gleaming Glenn will be back each Monday to keep us sparkling and it will let me focus on decluttering.
Z was a witness before the CRTC earlier this week at the Usage Based Billing (UBB) consultation. He'll be back next week for more. It brings back my old days at Bell when I was involved in a number of regulatory proceedings, responding to interrogatories and preparing witness testimony and backup. I loved that work and have enjoyed discussing the current hearings. I've been following the twitter feed with much interest (#ubb for any geeks out there.) We're such romantics!
I've started a family history wiki, private to family members at the moment, where I am trying to compile data, photos, stories, etc about my ancestors. If you're in my family and would like an invite, drop me a line. It's still in a fairly preliminary stage and it's my first time creating a wiki (I'm using the free version of PBworks) but I think it has great potential to become a repository of multiple types of information and a way to pass on the family history after I'm gone.
Michael is taking Grade 11 Physics at summer school to free up a period in his schedule next year to permit more practice time. He's half-way through the course and it's going very well. A tiring exercise (five days a week, 8:45-3:30), he gets a full year credit in less than a month and, frankly, keeps him occupied through the summer. The teacher is excellent and he seems very focussed on doing a great job. He'll have three weeks break, and then two weeks of music camp to top off his summer, a week of jazz with his trombone and a week of band/classical with his tuba.
One of the big results of our visit from Gleaming Glenn was his tidying of the boys rooms. Michael was so happy, that he did a whole bunch of additional decluttering and has decided to move all his instruments upstairs, along with the digital piano. He asked for a smaller desk so that this could be accomodated, and we found one at Value Village for $14.99 (less 20% student discount):
It is basically particleboard with an ugly faux wood-grain base. Two cans of RustOleum Universal spray paint (black) yielded this:
Another few hours to cure and it'll grace his room.
Read more Quick Takes over at Conversion Diary.
← Worth turning the oven on for!	Books on the road →
What am I reading?
At my other blog: Berkman Family History
Emigration: the messy middle
In this blog, I've talked about the origins of my Berkman family and a little bit about my most immediate ancestor, my father. I also looked at information about one of the family's journey to the US. But there is a whole lot of uncertainty around most of the Berkman emigrants to North America. Some […]
Croup? Or Diphtheria?
The last two children born to my great-great grandfather, Hirsh Berkman, and his wife Sore, died as toddlers of croup. This was identified in death records from the Lithuanian town where they lived. Aharon Nate died at a-year-and-a-half in 1882, and daughter Teme Leye died at two-and-a-half years in 1886. This had me looking for some […]
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What's she tweeting?


In this week's edition of Tips & Tricks we are going to cover how to go about posting a lost, found or stolen item on NL Classifieds and the best ways to get your ad the most exposure as possible to get the items in question returned to their proper owners.
First thing first is to create the listing. There is a sub-category under Announcements and Events for Lost and Found and another for Stolen items. Depending on the nature of the item, place the listing under one of these sub-categories.
When creating the listing, make sure you include as much detail as possible about the item, whether it be lost or found. If you can, make sure you include a photo with the ad, this way other people can better identify the item. This is especially true when it comes to pets.
Once the listing is posted, quite often if one of our moderators catches it they will forward it to our social media team to ensure it gets shared on some of our social channels. We use the hashtags #NLPets and #NLlost for lost, found and stolen items on Twitter, Instagram and Facebook. If we don't share your listing, make sure you do! Exposure in the early hours after a lost/stolen item is crucial! And make sure to use the appropriate hashtags so if anyone is looking for the items, they can find it easily.


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text:
MetaphysicsPhilosophy
From Essence to Existence: Pondering the Glimpse of Being
Joshua Schendel 2021-10-06
Joshua Schendel
And the question which has always been raised, in times of old and still in our day, and always embarrasses us, is 'what is being?' – Aristotle
I've noted previously that our common sense approach to reality leads to a kind of intuition of "being" as that highest of all unities. Everything that is is, as Parmenides put it. Saying it this way, however, is liable to misunderstanding. "Being" is not simply what we come to at the end of a kind of exploration of the world. That is, our concept of "being" is not simply a convenient organizing concept that we invent once we've noticed the extreme variations of reality and tried to group them. Yes, it is a concept that we come to once we consider how it is that we organize our experiences of reality. But it also stands as the foundational and assumed concept that we have as we experience reality. When explore anything in the world, we already assume some "thing" is, some "thing" has being. In that way, it is a kind of first notion for us.
Thomas Aquinas: "That which falls first in our coming to know is "being" (ens). Whence, whatsoever is apprehended by us, we attribute "being" to it" (ST, I-II, q. 55, a. 4, ad. 1). And, in a statement with very great metaphysical implications:
Therefore, the intellect, since it is one power, has one natural object, of which it has knowledge essentially and naturally… Now this is no other than being. Therefore, our intellect knows being naturally, and whatever is essentially comprised under being as such; on this knowledge is based the knowledge of first principles, such as 'nothing is at once affirmed and denied,' and the like. (SGC, II.83)
We presume "being" in all our intellectual dealings (so much so that Thomas thinks even the law of non-contradiction—the most foundational axiom of reasoning itself—depends on this notion of "being"!). So, in a somewhat strange state of affairs, we presume "being" all the while we traverse that trail toward a discovery of "being." And precisely because the presumption of "being" is so foundational, so near to us, it too creates a sort of fuzziness about the concept. It is as if, then, "being" stands at once so close and at the same time so far off as to be doubly blurred.
Noticing this—that "being" is both assumed and discovered—is not, as I've said, doing metaphysics. It is, though, orienting us to it. We need that initial intuition of "being," however blurred it is. Once we take note that there is something "there" to be blurry, which has until now only remained in the very peripheries of our knowledge, we can begin to focus on it, adjusting the eyes of our mind to the new light (I prefer Aristotle in much, but Plato is irresistible at times).
To Be and What To Be, That is the Distinction
The first rule (2nd axiom) of Boethius' De Hebdomadibus states, somewhat cryptically: "To be" and "what is" are diverse. As with Parmenides' statement, this axiom, which seems at first too obscure to be of any use, turns out to be a key distinction indeed. To appreciate it, though, requires at least two kinds of mental moves (what the ancients referred to as abstractions, but that term is now probably more misleading than helpful).
The first mental move takes place in the consideration of the kinds of questions we instinctively ask in the formation of our ideas of particular things. I say instinctively because this is usually not operating at the conscious level, at least at the beginning stages. Take, for example, the idea of tree. In the formation of that idea—admittedly a very complex process, but I leave that to the side here—we instinctively ask "what is a tree?" The process of forming the idea, from the juvenile and imprecise stage to the studied and scientific, consists in giving an account of what it is that makes a tree a tree and thus not any other kind of thing. We list off certain elements or qualities that are essential to making a tree a tree.
Notice, though, what has happened in this process. In considering what a tree is, I do not need to give any consideration to whether a tree is. That is a legitimate question, of course, but quite a separate question. I can consider the concept tree quite apart from considering whether or not a tree exists. This means that I can—or, more accurately, just do—distinguish whatness from thatness. To use the older language, I distinguish essence from existence.
That is the first mental move (abstraction one). Of everything that we conceive we distinguish between what it is (its essence) and that it is (its existence). (To preempt objections: let's qualify here, of everything we conceive in the created order—though I don't actually think we need that qualifier).
Having made the distinction, we might now ask whether "being"—the being that we have only hitherto intuited in a blurry glimpse—is essence or existence? In our everyday parlance, we use the term 'being' of both. I might say, "that is a very strange looking being there" (I might say that, but probably not as I don't normally speak so archaically), or "you cannot treat him that way, he is a human being." In both these cases I am using the term "being" to refer to a kind of thing, its whatness.
I might also say, "Being with you is a great pleasure," or "she was just being funny." In these cases the term is clearly not used to refer to a kind of thing. Rather, it is referring more to a kind of thatness. But to see this more clearly, it may help to take an example from another verb—this will illustrate the second mental move (abstraction two).
Act as Actuality
Consider the term "running." By it, I may refer to someone who is running: Peter is running. But it may also refer to the act of running, better signified by the infinitive "to run." In this latter case, no agent is specified (neither is time or place specified, hence "infinitive"). With "to run" we are considering the act in itself, not any agent performing the act.
Here, again, we need to be careful with what is meant by "act." Normally what is meant is something like, "that which some agent does." When I say running is an act, then, it would normally be taken to mean that running is an action done by some runner (Peter). But, of course, this means that Peter precedes the running and is the cause of the running. Now notice that we are back to thinking about the agent of the act, the doing as it relates to the doer. What we want to think about is the act, not as caused by an agent, but as an act.
There is an older sense of "act." Put admittedly roughly, an act in this older sense is a completed movement from a potential to its realization. It refers to that completed movement from a "could be" to an "actual." In the case of running, the act of running, again in the older sense, is not merely the motion of the agent as caused by the agent. It is the realization, or actualization, of the motion. That is, what was merely a potential of running is now, while Peter is running, actualized. The infinitive "to run" removes the runner, time and place, and focuses on the actualization of the motion, the act.
In this second mental move, then, we think about an act, not so much as an action but as an actualization. Hard as that is to wrap the mind around, it is key for gaining clarity on the difference between "being" as existence and "being" as essence. The former is captured better with "to be" and ought to be understood as an act, as in the case of "to run." "To be" does not point to any particular being, but to actualization itself. It removes all individual things, times and places, etc., and points to actuality itself. And actuality is a completed movement from what was only potential to now being "is".
And so, we have now moved beyond the realm of beings and into the realm of being. We are no longer considering beings, individuated essences of discrete entities. We have arrived at being as "that which actualizes all potential essences." That is, "being"—the kind of being studied in metaphysics—is existence, not essence (or, not primarily essence).
This may still seem a dim view of being. But it is surely an improvement on the kind of intuition that led us to both the highest of unities and the presumption of all conceptions. We can at least now say, being is the actuality of all things.
Before moving on to what may further be said of being, we need to take up another puzzle about it. We may say of everything that is, "it is," but it is quite apparent that not everything that is is in the same way. We'll take this up in the next post.
Tags:AristotleBoethiusEssenceExistenceMetaphysicsPlatoThomas Aquinas
Joshua is the executive editor of Modern Reformation magazine. He holds a PhD from St. Louis University, a MAHT from Westminster Seminary California. He, his wife, Bethanne, and their three kids live in Southern California.
The Hungry Heart of Eden
In Praise of the English Bible
The God of What-If: Deconstructing the Idolatry of Theological Hypotheticals


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text:
P̂ (minuskule p̂) je speciální písmeno latinky. Nazývá se P se stříškou. Jedná se o uměle modifikované písmeno Unicode, nepoužívá se v žádném jazyce, používá se především v různých matematických vzorcích. V Česku je možné toto písmeno vidět na dopravní značce s názvem Kryté parkoviště. V Unicode má majuskulní tvar kód U+0050 U+0302 a minuskulní U+0070 U+0302.

Reference

Písmena latinky
Nepoužívaná písmena latinky

redpajama_set_name: RedPajamaWikipedia


From the Berghotel to the Café Kofler and to the funicular Croda Rossa. There we take the funicular up to the Croda Rossa meadows. Then we pass the Rudi hut and take the upper path nr. 100 which leads us to the Croda Rossa meadows. We pass the top of the little Skilift and enter into the rocks and reach the "Anderter Alp" on a beautiful path. There is also a free air museum "Bellum Aquilarium" from the 1st world war. Here you should plan some time to visit the museum and to watch the spectacular panorama.
On the crossroad we follow the way nr. 122 down to the Fischleinvalley for a short time until another crossroad to the way nr. 124, which we take at the right. This narrow little path brings us high above the Fischleinvalley to another cross, where the path on the right leads to the funicular but we stay on the nr. 124 and go down to the Fischlein Valley and back to the Berghotel.
Variant 1: Instead of taking the upper and more beautiful but exposed path nr. 100 you can also take the lower path nr. 100 which starts directly down at the Croda Rossa hut.
Variant 2: If you don't want to take the funicular on the Croda Rossa we recommend to take the path nr. 153 from the Fischlein Valley, consider that there are 600 m and ca. 1,5 hours more to plan.
You need not to be to high shy on this tour. The hike varies a lot and it is much diversified – from flat to steep trails in the rocks and with wonderful views. The tour can also be shortened as a roundtrip from and to the funicular or longer by going up and down without funicular.
An excursion high above the Fischlein Valley which is a must to do!


Following criticism from medical marijuana advocates, particularly those based here in Los Angeles, the Department of Veterans Affairs on Friday reversed course and stated it will allow vets being treated at its medical facilities to use cannabis in states like California, where it's legal to do so.
The new policy is expected to take effect next week and cover those 14 states where medical pot use is allowed. V.A. doctors, however, still won't be able to prescribe marijuana in those states. More from the New York Times.


Sharing a Google Quant Staff page I created initially for myself, the motivation was to make the job more convenient since I had to search in Google too many times per day, what's worse is sometimes I prefer video results, while sometimes what I need is just PDF documents or Matlab files. Adjusting frequently with Google advanced search makes me feel silk.
Google Quant Staff is by no means an invention, I just put several searching filters in one page, that's it.
Searching results will be openned in a new browser window in Google as what I did was creating a page to filter results. You can also choose to search books in Amazon below.
PS: the page can also be used for keywords nothing to do with Quant staff as long as google catches them.
Anyway, hope you find it somehow useful: Google Quant Staff, bookmark if you like.


TIRINKOT (Pajhwok): As many as 452 dead and injured people were delivered at the Civil Hospital in the capital of central Uruzgan province during the past one year, health officials said on Wednesday.
Hospital Director Aminullah Tokhi told reporters here they daily imposed emergency in the hospital since the conflict surged in Tirinkot and districts in the past one year.
He said they treated more casualties resulting from the ongoing conflict this year compared to the previous year as a large number of dead and wounded civilians and military personnel were delivered to the facility for treatment.
Tokhi said more than 450 dead and injured people, including civilians and security forces, were shifted to the hospital in the past 12 months.
He said 23 slain security personnel and 194 injured and 18 dead civilians and 217 wounded had been brought to the hospital during the period.
He said both parties to the conflict used civilian population as shield, thus risking civilians' lives.


text:
Q: deploy non-nextjs edge-runtime to vercel Recently I've been playing around with the edge-runtime and finally set things to work normally on my local environment with different routes path handled by some of my custom implementations under fetch event. and these are running under edge-runtime
And with some digging around, to be able to deploy what I've made to Vercel I have to convert my project to nextjs and exposed the config to ensure it to run on the experimental-edge runtime
What I want to ask here is

*

*Is there a way I can deploy my edge-runtime API to Vercel without having to convert my project to NextJS

Thank you

A: No, Next is required.
use Cloudflare Workers instead for legacy fetch handler support

redpajama_set_name: RedPajamaStackExchange


When opportunity knocks for this service segment, be sure to open the door.
In a slightly different way than general pest control does, termite management services seem to be capable of giving pest management professionals (PMPs) big-ticket revenue … and solid margins if PMPs can control labor and marketing costs and avoid callbacks.
Pest Management Professional's (PMP's) 2017 Termite Management Survey shows that this segment is expected to continue to enjoy steady growth in 2017. It's just a matter of choosing the optimum strategy — and being smarter with our related sales, inspections and services.
1. Build a reputation among builders.
Curtis Rand says Bug Out reaps revenue from custom builders and commercial construction.
Curtis Rand is regional vice president of Bug Out Service in Saint Augustine, Fla. He names fierce pricing competition as one of his firm's biggest obstacles in termite work — and he's not alone; nearly 26 percent of our survey respondents said the same. But Bug Out combats it by focusing on custom homebuilders and commercial construction.
On the other side of the country, Gene Chafe, vice president of pest control for Senske Services, Kennewick, Wash., reports that the pretreat market isn't that big in his market, although a few builders are starting to require them.
"Termite pressure isn't great in the Northwest, so we're looking now to expand our termite treatment footprint in newer markets, like Las Vegas, Salt Lake City and, to a limited degree, Seattle," Chafe says.
In San Diego, Payne Pest Management President Jason Payne is focused mostly on drywood termites, as opposed to subterranean species. A rainy January was music to his ears: "All this weather that's been coming, it's going to be pulling a lot of ants, and more importantly — a heavy swarm season in the spring," he says.
2. Rethink your payment plans.
Rand says Bug Out's opportunities to expand termite management revenue streams also rest with an expansion of its sales force and using a monthly payment model to allow for termite work to be more effectively budgeted by the consumer.
3. Revisit your marketing and cross-promotion efforts.
A crisp look and simple message comprise Bennett's approach to billboard advertising.
Bennett Termite & Pest Solutions focuses on TV and radio ads, billboards, and some print advertising. Billboards reinforce the message of the other media avenues, notes Dean Bennett, president of the Bishopville, Md.-based firm. But he is careful not to hit drivers with information overload.
"If you're going 65 mph, I just need you to see the name of the company and the website," Bennett says.
4. Hire right, from the start.
Bennett stresses the importance of getting the right people in as termite technicians. As with his other two divisions, bed bug and moisture control, they should be detail-oriented and in it for the long haul. Bennett has been in the industry 25 years, his supervisor for 18.
"We've hired two new people recently, but otherwise, everyone has been here at least three years," he says. Interestingly, he notes, it's worked out that rather than hiring young techs, "We're all middle-aged, and comfortable in that game." The higher cost of hiring more-experienced techs, he says, is evened out by increased production margins, and reduced turnover.
To make things easier for everyone involved, each of Bennett's techs has an iPad. "It's the 'Keep it Simple, Stupid' factor: We email everything to customers, which makes us 100 percent paperless," he says.
5. Put training at the top.
Ertell Whigham III, branch manager of Pointe Pest Control, Bridgeport, Pa., says while his company is not the least expensive in the market, it stands apart because of the thoroughness of its termite technicians, in both inspections and treatments.
Bug Out's Rand agrees, pointing out that today's educated consumers deserve nothing less than knowledgeable, well-trained PMPs. He notes that educating technicians — as well as sales and support staff — is a multi-faceted process, incorporating classes and ongoing training from associations, vendors, industry media and in-house.
Stacey White, Vintage Pest Management, Peoria, Ariz.: "During inspections, move stuff. Get on your hands and knees. Pull the shades up and down. Look like you want to find something, and you most likely will. After a thorough inspection, price accordingly.
While overall, survey respondents were pleased with the outlook for termite management services in 2017, there are always a few challenges to overcome. When asked to rank seven specific obstacles, the majority said fierce pricing competition in their respective markets is the biggest headache inducer. This was followed by a sluggish overall economy, and a lack of termite swarms — although several were quick to point out that educating customers and prospects that termites can exist on their properties without a swarm usually takes care of that issue.
Fourth on their obstacles list was a sluggish home sales market, while the complaint of today's treatments "work too well for too long" came in fifth. A sluggish new-construction market was not as much of a factor as it's been in the past, and it was a relief to see "difficulty finding and keeping qualified termite technicans" come in last on the list for most.
Other reported obstacles ranged from the technical (heated floors, slabs on grade, wells, above-ground infestations, changes in landscaping) to the operational (sales and marketing, lack of consumer understanding and/or cooperation). Many noted that the competition was underbidding, leading them to resist the urge to underprice jobs or rush through inspections and treatments to get a decent revenue margin. Raising the return on investment (ROI) on advertising and marketing investments was another complaint.
While we can't do much about weather conditions or unscrupulous competitors, we can continue to bring you expert advice on how to deal with several of the other technical and business obstacles in future issues of PMP.
Carpenter bees… in the snow?
One of Ertell Whigham III's tricks of the trade is to inspect for overwintering carpenter bee larvae and adults in colder months.


Woods and Wool Modern crochet designs made with intention.
Crochet blankets, motifs, granny square rounds, can be arranged and/or crocheted in a random way! The secret is using the list function on the www.random.org website. Seriously people.... Choosing the wool is one of the best parts of doing crochet. You can spend hours just standing in a wool shop staring at the colours. I'm drawn to the bold colours straightaway.
Can be used with medium wool or cotton yarn. The shop owner can definitely recommend and recommend; A good solution is to buy a set of crochet hooks of different sizes. The shop owner can definitely recommend and recommend; A good solution is to buy a set of crochet …... Like with crochet hooks, knitting needles come in a variety of materials and the choice of which one to use is a matter of personal preference. The size on knitting needle required for a project is specified in the project instructions.
This guide to thread crochet will help debunk some myths and provide you with some tips to getting started. Note: The thread crochet project you see worked in the photos throughout this post is the first snowflake in the Snowflake Appliques free crochet pattern .
Wool Blends for Crochet. Typically, although not always, at least 50% of the fiber is going to be made up of either wool or cotton. This gives you all of the features that you want from either of those fibers.
Crocheted using quadruple treble crochet and half double crochet, this bag works up in a flash, and is the perfect beginner felted crochet pattern to start out with. Once the bag is felted and dried, you can add a personal touch with just the right ribbon.


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Simpsons (säsong 16) påbörjades den 7 november 2004 och slutade med dubbla avsnitt den 15 maj 2004 med totalt 21 avsnitt. Sex av avsnitten under säsongen var från den femtonde produktionslinjen, (FABF). Säsongen var den första där Ian Maxtone-Graham och Matt Selman krediterades som exekutiva producenter. Från början skulle avsnittet The Father, the Son, and the Holy Guest Star sändas den 10 april men flyttades efter att Johannes Paulus II den 2 april avlidit till 15 maj.

För arbetet med Treehouse of Horror XV blev Alf Clausen nominerad till Primetime Emmy Award för "Outstanding Individual Achievement in Music Composition for a Series (Dramatic Underscore)" under 2005. Michael Price vann en Writers Guild of America Award för anmineringen med Mommie Beerest. Han arbetade också med There's Something About Marrying tillsammans med J. Stewart Burns som också nominerades. Under 2005 blev avsnittet On a Clear Day I Can't See My Sister nominerad för "Best Television Episodic Comedy" under Environmental Media Award. Även avsnittet Goo Goo Gai Pan blev nominerad till Turner Award på Environmental Media Award. Future-Drama nominerades till Primetime Emmy Award för "Outstanding Animated Program (For Programming less than One Hour)" under 2006. Under 2006 blev också Don Payne nominerad till Writers Guild of America Awards för hans arbete med animeringen i Thank God, It's Doomsday och även Matt Warburton blev nominerad för anmineringen för The Father, the Son, and the Holy Guest Star.

Lista över avsnitt

Hemvideoutgivningar

Den 3 december 2013 släpptes hela säsongen på DVD och bluray i region 1. En samlarutgåva med Professor Frinks ansikte släpptes också i region 1 samma dag.

Källor

Externa länkar
Säsong 16 på The Simpsons.com

Se även

16
TV-säsonger 2004
TV-säsonger 2005


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SpaceX Aborts Test Flight Of Starship Prototype At One Second To Liftoff
By admin - December 9, 2020
Yesterday SpaceX was to make a significant test flight of the next generation Starship rocket. The Starship, or rocket that humans must use to travel to Mars, yesterday tried to improve its own result. The company had planned to launch a massive rocket at an altitude of 12.5 kilometers, but very soon after the launch of the rocket engines, the engines stopped working and stopped, the Starship prototype could not fly, SpaceX urges us to follow the news on the official Twitter account of the company
The test flight was aimed at testing the Starship launch and landing capability, which the spacecraft will do both on Earth and on other planets. SpaceX aims to use the Starship to transport cargo and transport humans to space destinations such as the Moon and Mars. A similar flight will help the company determine the Starship's ability to perform a controlled flight of the spacecraft and see if the missile equipment, especially the three main engines, is functional.
SpaceX CEO Elon Musk gave the flight a "1/3 chance" to successfully complete the flight. SpaceX, for its part, highlighted the possibility that the test flight might have flown perfectly, but as we have seen, the Starship prototype was unable to fly.
"Such a test does not measure success, but a similar flight allows us to see what we can learn, which increases the likelihood of success in the future," SpaceX wrote about the flight. If all goes well, the flight will allow the company to conduct even more ambitious tests in the future, with the final culmination being the launch of the Startship orbit to Mars.


This space is dedicated for notifications of HPCLL Recruitment for the year 2015. This post will be updated with all HPCL Jobs in 2015 including application form details, challan details, qualification, last date for applying, number of vacancies, exam date, results declared etc.
Below given are the various job openings in HPCL Limited.
This post contains application form details, challan details, qualification, last date for applying, number of vacancies, exam date, results declared etc about various vacancies in HPCL Limited(HPCL) for the year 2015. Keep visiting this space for more updates.


Spouses from all military branches are invited..The Military Spouse Newcomer's Seminar is held Wednesdays from 12:30 to 4 p.m. at the Community Readiness Center, 830 Chisholm Ave. Spouses from all military branches are invited. Information is presented on different installation agencies. Door prizes are also awarded. For more information and reservations, call the Army Community Service Relocation Office at 301-677-5590.


Des Staffing Svc Inc is one of the Recruitment & Staffing Agencies based in Omaha, NE. Call Des Staffing Svc Inc on 402-393-5700 for further information.
Excelcia's comprehensive local index of Recruitment Agencies in Omaha is provided through partnerships with .	To update this listing free of charge click here.
Find more Recruitment Agencies in Omaha or in the state of Nebraska.


Although I haven't been able to get out and take many new pictures this year, I've been spending quite a bit of time printing and hanging some large prints of photos I took years ago. I've talked to some potential clients about some large prints for large spaces but I haven't had many large pieces to show them, to give them a sense of how things would look in their space. In the last couple months I've mounted and hung a 2' x 4' (24" x 48") print in a frame I built, and now a 30" x 60" print "floating." If you're interested in filling a larger wall, now I have some samples to show you.
There are lots of extra challenges when working with large prints that you don't have with smaller prints. Anything up to about 16" x 20" you can just print (in-home, online, or at a print house), buy a frame off-the-shelf, throw it in, and hang it on the wall.
With larger prints there are all sorts of extra concerns, like how to you get a 5 foot print to your house without damaging it? Unless it's rolled up, you better have a minivan because it just won't fit in your car without getting damaged. The weight of the paper itself makes the print vulnerable to creases when you handle it in any way.
Then there's the question of how you're going to display it. Frames this size aren't very common and they're probably expensive. I chose to "float mount" it which means you don't need a frame but you still have to mount it on something rigid - a board or some foam core or something.
Heck - even if you want to frame it you need to mount it (glue it) to some sort of board anyway because large prints don't lay completely flat when you frame them - they have ripples that get distracting.
For both these prints I decided to spray-mount them (sometimes called "cold mounting") to a piece of 1/8" thick expanded PVC board as a first step. This involved a can of spray adhesive like Scotch Photo Mount, a large flat surface, and a roller. Cold mounting is pretty nerve-racking because you have to get it right the first time when you're working with spray adhesive. The print itself costs between $50 and $200 so if you screw it up and end up with a messy pile of sticky paper, you're out some decent money right off the bat.
For the 2' x 4' print I decided to frame it because I wanted it to look a little larger on the wall than it already was. Instead of getting a custom frame made I decided to buy some wood moulding and make a frame myself. I'm pretty handy with a miter saw and it worked out pretty well. I spent far more in time than I would have spent in money.
For the 5' print (30" x 60") I decided to just float-mount it. First, because it's was the easiest option. Second, because the print is already pretty large and a frame around it would only make it larger. (and heavier) The primary purpose of this print is to take to potential clients' locations to give them a sense of size so keeping it something that can easily fit in a minivan and be carried by one person is important.
The way this print is mounted it could framed later, so I haven't given p any flexibility.
The 1/8" PVC board feels rigid when you pick up a small piece but it's pretty flimsy at this size, so it needs bracing. I decided to glue 4 pieces of 1/2" x 3/4" aluminum C-channel to the back, which both give it rigidity and give me something to drill holes into for hanging.
We have picture rail in our house so our photos are hung with picture wire and picture hooks - no drilling holes in the wall. I like picture rail because it gives us a lot of flexibility to move things around without damaging the walls at all. Nudging something to the left or right a few inches is easy.
You can't really tell from the picture above but there's one continuous wire running through a variety of holes which give one loop of picture wire on each side, to make hanging easier. The wire can be slid through the holes to even out the lengths one each side, which makes leveling the hanging photo easy.
The finished product is at the top of this post. I'm pretty happy with it. It fits in the minivan well so if you're interested in a large print for your space, let me know and we can talk about what works for you and possibly bring this one over for a "test fitting."
Thanks go out to Charles Cramer for helping make the 5 foot print a reality. After editing this image off and on for about 6 years I thought I had it all ready for him to print out but he helped me make it even better. Charles runs workshops about editing and printing landscape photos both here in Santa Clara and up in Yosemite. I took his class many years ago and I've been happy to keep in touch since then.


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Jan and Cora Gordon
Here are more than 200 posts on Jan and Cora Gordon; famous travellers, writers, artists and musicians in the first half of the 20th century. They were articulate witnesses to the cultures and events of Europe and the USA from before WW1 to just after WW2. The abundance of primary materials presented here should make this a valuable resource for researchers. For a structured overview of the lives and works of the Gordons, please visit: http://www.pbase.com/hajar/art_of_jan_and_cora_gordon
Jan Gordon, 1927: "Shocks in Modern Art Used Up"
Amongst the many journeys of Jan and Cora Gordon was one that crossed the USA. I found this entertaining small article, dating from that trip, in the Pittsburgh Post Gazette for December 4th, 1927. "Shocks in Modern Art Used Up, Painter Says":
"Modern impressionistic art, according to Gordon, who watched the whole movement at close range in Paris, has little to offer of startling nature. Not for a century or so, anyway." I somehow think that there may have been quite a number of shocked reactions to some of the art made during the 85 years that followed these words.
Jan Gordon published a book on "Modern French Painters" in 1923. He had tried out the text on my grandparents as the book was being written and dedicated the volume to them.
The "hospitable roof" mentioned in the dedication was "Mesylls", painted here by Jan Gordon over Christmas in 1918.
The journey during which the Pittsburgh article was written is described in "On Wandering Wheels", published in 1929.
Jan and Cora Gordon in Albania
Jan and Cora Gordon visited Albania in the summer of 1925 and in 1927 published the book " Two Vagabonds in Albania ." Two phrases from this book resonated when I first read it: " Now and again a wolf howled from far away, and somewhere a kid, lost or smelling some wolf-taint in the air, bleated with persistent terror " pg. 138. and " As we came down into the cultivated fields of the valley we found ourselves walking through clouds of red-winged grasshoppers, which sprang up on all sides with a clattering flight ." pg. 139 The book begins with "Don't stay in Durazzo." From Durazzo they made a clockwise loop to the south, passing through Tirana, Elbasan, Berat, Kelcyre, Permeti and Gjinokastro before returning north to Tirana. The second leg of the journey was an excursion to the north, from Scutari up into the mountains. Map of prominent places visited on the southern loop described in "Two Vagabonds in Albania"
Jan and Cora Gordon: Who was "K"?
On a quiet Sunday afternoon, rereading Jan Gordon 's " GRADUS AD ... MONTPARNASSUM " (Blackwood's, March 1929, under his "Salis" pseudonym) I wondered who the character known only as "K" might be. The text states that, "K --- has since climbed to eminence, the button of the legion of honour, the front page of a great daily, poems in profusion, and a number of plays; but in those days he clung to a paper which hung on the edge of bankruptcy, and was the author of one slim book of verse in praise of opium dreams, a long way after Baudelaire." "K" chose Jan and Cora Gordon to exhibit their work at the art gallery of a fashionable photographer he "had been of service to", referred to in the text as "M". The show "was noticed favourably" and Cora sold (to a diplomat, perhaps Paul Morand ) "a big exuberant drawing in colour of the Cleopatra-cum-anachronism period." Jan Gordon was not c
Jan and Cora Gordon: An Encounter with Édouard de Max
During the second of the Paris art shows described in Jan Gordon's "GRADUS AD ... MONTPARNASSUM" (Blackwood's, March 1929, under his "Salis" pseudonym) a lady poetess "swore that De M---, the great French actor, must see Claribel's [Cora Gordon's] drawings. But, alas! De M--- was in bed." The poetess took Cora in a cab to see the actor, along with the more exotic and esoteric of her drawings (according to Jan Gordon, Cora's designs were "mostly of semi-nude dancers making arabesques of themselves to a counter rhythm of draperies and cats.") Left in an antechamber, she found herself "in the midst of a weird collection", every piece in the crowded assemblage "picked for some sinister or erotic quality." "At intervals a creaking voice uttered French words of considerable impropriety" - this was a parrot. Behind a curtain was a bathroom in which the bath was scooped in the black marble floor. &qu
Copyright R.D.A.Smith
Ru Smith
Jan Gordon: The Daffodil Seller
Jan and Cora Gordon: Connections across Time
Cora J. Gordon's "London Commentary in 1949
Jan Gordon and the Dazzle-Painting of Ships
Cora J. Gordon and my Mischievous Aunt Pamela
Jan and Cora Gordon: Two Vagabonds in Spain
Jan Gordon and Tin Mining in Malaysia
Jan and Cora Gordon in the Library of Lady Ottolin...
Jan Gordon as William Gore: "There's Death in the ...
Jan Gordon and Bernard Meninsky: Mother and Child ...
Jan and Cora Gordon: Behind the Film
Jan Gordon and Pablo Picasso
Jan and Cora Gordon and "Many-sidedness"
Jan Gordon: A Step-ladder to Painting
Jan and Cora Gordon: Guitars in Spain
Jan Gordon: Dazzle Camouflage in Nature and War
Jan and Cora Gordon return to London


God called the dry ground "land," and he called the water that had come together "oceans." And God saw how good it was.
But water would come out of the ground and water the entire surface of the land.
And out of the earth the Lord made every tree to come, delighting the eye and good for food; and in the middle of the garden, the tree of life and the tree of the knowledge of good and evil.
But of the fruit of the tree of the knowledge of good and evil you may not take; for on the day when you take of it, death will certainly come to you.
But of the fruit of the tree in the middle of the garden, God has said, If you take of it or put your hands on it, death will come to you.
To the woman he said, Great will be your pain in childbirth; in sorrow will your children come to birth; still your desire will be for your husband, but he will be your master.
Now, the man, having come to know Eve his wife, - she conceived and bare Cain, and said, I have gotten a Man, even Yahweh!
And Noah shall come in, and his sons and his wife and his sons' wives with him to the ark from the face of the water of the flood.
two by two they have come in unto Noah, unto the ark, a male and a female, as God hath commanded Noah.
and they that are coming in, male and female of all flesh, have come in as God hath commanded him, and Jehovah doth close it for him.
And the dove found not rest to the hollow of her foot, and she will turn back to him to the ark, for the waters are over the face of all the earth; and he will send forth his hand and will take her and will cause her to come to him to the ark.
And after seven days more, he sent the dove out again, but she did not come back to him.
"Come out of the ark, you, your wife, your sons, and your sons' wives with you.
And Noah shall come forth, and his sons and his wife, and his sons' wives with him.
Every living thing, every creeping thing, and every bird, every thing creeping upon the earth according to their families shall come forth from the ark.
While the earth goes on, seed time and the getting in of the grain, cold and heat, summer and winter, day and night, will not come to an end.
And with every living thing with you, all birds and cattle and every beast of the earth which comes out of the ark with you.
and the Pathrusim, and the Casluhim, (whence have come out Philistim,) and the Caphtorim.
And the border of the Canaanites was from Sidon, as you come to Gerar, unto Gaza; as you go, unto Sodom, and Gomorrah, and Admah, and Zeboim, even unto Lasha.
And the dwelling of them was from Mesha until thou come unto Sephar, a mountain of the east land.
And they said one to another, Come, let us make brick, and burn them thoroughly. And they had brick for stone, and slime had they for mortar.
And they said, Come, let us build us a city, and a tower, whose top may reach unto heaven, and let us make us a name; lest we be scattered abroad upon the face of the whole earth.
Come, let us go down, and there confound their language, that they may not understand one another's speech.
And Terah taketh Abram his son, and Lot, son of Haran, his son's son, and Sarai his daughter-in-law, wife of Abram his son, and they go out with them from Ur of the Chaldees, to go towards the land of Canaan; and they come unto Charan, and dwell there.
And Abram taketh Sarai his wife, and Lot his brother's son, and all their substance that they have gained, and the persons that they have obtained in Charan; and they go out to go towards the land of Canaan; and they come in to the land of Canaan.
And Lot lifted up his eyes and saw all the circuit of Jordan, that it was all well watered (before Jehovah destroyed Sodom and Gomorrah,) like the garden of Jehovah, like the land of Egypt as you come to Zoar.
And Abram will pitch his tent, and will come and will dwell by the oaks of Mamra which is in Hebron, and he will build there an altar to Jehovah.
And he having escaped, will come and declare to Abram, the Hebrew; and he dwelt by the oaks of Mamra, the Amorite, the brother of Eshcol, and the brother of Aner: and these having a covenant with Abram.
and the ravenous birds come down upon the carcases, and Abram causeth them to turn back.
When the sun had gone down and a [thick] darkness had come on, behold, a smoking oven and a flaming torch passed between those pieces.
He who comes to birth in your house and he who is made yours for a price, all are to undergo circumcision; so that my agreement may be marked in your flesh, an agreement for all time.
And I will bless her and give you a son also by her. Yes, I will bless her, and she shall be a mother of nations; kings of peoples shall come from her.
[The Lord] said, I will surely return to you when the season comes round, and behold, Sarah your wife will have a son. And Sarah was listening and heard it at the tent door which was behind Him.
Is anything too hard or too wonderful for the Lord? At the appointed time, when the season [for her delivery] comes around, I will return to you and Sarah shall have borne a son.
And Abraham came near, and said, Will you let destruction come on the upright with the sinners?
And he said, My masters, come now into your servant's house and take your rest there for the night, and let your feet be washed; and early in the morning you may go on your way. And they said, Not so, but we will take our night's rest in the street.
Behold now, I have two daughters that have not known man; let me, I pray you, bring them out unto you, and do ye to them as is good in your eyes: only unto these men do nothing, forasmuch as they are come under the shadow of my roof.
For we are about to send destruction on this place, because a great outcry against them has come to the ears of the Lord; and the Lord has sent us to put an end to the town.
And when morning came, the angels did all in their power to make Lot go, saying, Get up quickly and take your wife and your two daughters who are here, and go, for fear that you come to destruction in the punishment of the town.
When, the sun, had come forth on the earth, Lot had entered into Zoar.
And the younger had a son and gave him the name Ben-ammi: from him come the children of Ammon to this day.
And God will come to Abimelech in a dream at night, and say to him, Behold, thou dead, for the woman which thou didst take, and she having married a husband.
So now, give the man back his wife, for he is a prophet, and let him say a prayer for you, so your life may be safe: but if you do not give her back, be certain that death will come to you and all your house.
And the boy's cry came to the ears of God; and the angel of God said to Hagar from heaven, Hagar, why are you weeping? have no fear, for the child's cry has come to the ears of God.
Come, take your child in your arms, for I will make of him a great nation.
And Abraham will lift up his eyes, and will see and behold a ram behind, being held in a thicket by his horns: and Abraham will come and take the ram and bring it for a burnt offering instead of his son.
And Sarah shall die in the city of four; this is Hebron, in the land of Canaan. And Abraham will come to mourn for Sarah, and to weep for her.
And Abraham was old and come days: and Jehovah praised Abraham in every thing.


Our functional AKAH backpack is made of high quality impregnated canvas, that is why it is mould-, water- and tear-resistant. The handle and all buckle strips are made of top quality buffalo leather. Moreover the rucksack is equipped with a removable game bag.


I recently had the pleasure of interviewing one of my Instagram friends, Lori Ross, who has inspired countless of men and women to start losing the weight, stay in shape, and begin a healthy lifestyle. I Love My Architect is primarily about Art & Architecture and sometimes we take a side trip to document some cool photo gear, poetry, or other interests. Once I read Lori's posts on Instagram and saw her transformation I wanted to share her journey with you all. Over the past 12 months I have lost 20 or so pounds and recently started working out. It isn't easy but once you start and see the results it's hard to stop. Looking back at old photos or checking the waist line on your old pants is a great way to stay motivated. I hope this expose inspires you to Start or Keep Going.
1) Lori, thanks for agreeing to do this. I know it must be difficult to talk about at times, but I wanted to share your success story with the world. Can you tell us about your journey?
LR: My journey started long before I ever even knew it existed. It started in my mind. Food became my drug of choice to silence all the thoughts and feelings I couldn't handle throughout my life. This journey has been about finding myself and who I really am. I let myself finally feel what I had been supressing all my life through food. I decided to take back the control over my own mind, left my job of 14 years to finally make myself a priority. I reached out, hired a trainer, started eating right, laughed, cried, fought my way back, and here I am, not even a full year later….down 100 pounds!
2) Wow, that is amazing! At what point did you realize that you HAD to make a change in your life and how did you find the WILL and DESIRE to change your habits?
LR: I've yoyo'd my entire life, once weighing in at 289 pounds. Tried many many times to lose the weight, dropping about 50 pounds and putting it right back on. Never knowing why, until finally, I reached the deepest darkest place that was consuming my life, consuming my mind and my health. Depression was taking over. I wasn't living, I was merely existing, slowly killing myself with food. I remember just wanting the pain to end, the pain in my mind. Finally realizing that no one could make the change except me. I, myself, had to become MY priority, or I would live in this pain forever. The WILL and DESIRE have to come from within. I finally gave myself permission to Love ME!
3) What do you want to tell people when they see these 10-minute abs videos, diet books and fad diets ads online and on television?
LR: If you don't love yourself and have the right mindset, it won't matter what FAD you accept into your life, it won't take hold and last. You have to be willing to put yourself first. Believe me, I've tried almost everything, thinking that I was willing to try anything just to be thin, when in fact, I first needed to love myself. There's no easy fix, if you aren't willing to make a permanent change in your mind and how you see yourself, nothing will become consistent. I've always said, consistency is key, and it is, consistently loving yourself, consistently checking your mindset, consistently feeding your mind with positive thinking.
4) How do you stay motivated to keep going?
LR: My motivation has finally come from knowing my own self-worth. Believing in my strength and ability to love myself unconditionally. There can be no other motivation as powerful as that. Once you know you are worth more, you will have more. Nothing will be greater than keeping the balance in your life that allows yourself to become free and self determined to keep that feeling internally. I often look back at where I was, just to remember where I don't want to return to. This is what keeps me going! I AM WORTH IT!
5) Since you like to pause and look back to see where you don't want to be again, have you considered starting a blog to help motivate others by sharing how you have overcome your greatest challenges. How has this reflection helped you.
LR: I have considered starting a blog, or facebook page in order to help others. I am currently writing a book to detail my own journey. I have much knowledge and information I want to share with the world. My passion now lies in passing along this information and motivating others to make the change. I know it's difficult, I've been there and I intend to help others any way I can. Reflecting on all of this brings me to tears. It's actually a very emotional subject for me, but that's what makes me so passionate about it. It's a personal journey that I understand, and can bring to people. Reflecting on the past makes me stay the course, focused, determined to be the best me I can be. Reflecting on the present, I am confident, strong and self determined now and nothing will get in my way.
6) Where can our readers find out more about you and see your transformation?
LR: I currently am on the Instagram App and Path App as the user name, Lori Pic. I am on Twitter as LoriMom, yes, I have 3 kids. Since Instagram and posting my journey on there, it has shown me what an impact the social media can make on others and helping to bring others to health/fitness and happiness. That's why now, I intend to start a Blog, possibly a facebook page, and as I stated earlier I'm writing a book I hope to publish. The Social Media has given me a certain amount of strength as well. When people are motivated by your accomplishments, it drives you to want to do your best. All of my followers have been nothing short of wonderful and part of my journey. You would be surprised how some of them have helped me.
7) What's the next stop on your journey?
LR: The next step for me right now at this very moment is to stay focused! Always Love myself! I'm currently training for a photoshoot once I hit my goal; (which is very soon). I am also studying to become a personal trainer. I am going to keep working on my book and getting it published. This journey will never be over for me, but I'm in control now, not the food. Fitness will forever be a part of my life. I've never felt this good….not ever!
Thank you Frank for being a part of my journey and for this opportunity to 'Detour' on your Blog! I hope I can help anyone out there who is struggling as I once was…..


It is basically cocopeat, coco husk chips, rice husks (perlite replacement), coco shell charcoal.
They have included chicken pellets as organic fertiliser but I am not going to use it since it will make the soil basic, planning to replace it with Gro Sure Slow Release Fertiliser Granules (12-7-19).
It will be sitting on the first floor of my house near a East facing window (sometimes covered by a curtain) maybe 50 cm from a radiator that is on for a few hours a day at 24 C.
Any thoughts on if this should be okay for a 40 cm tall plant few years old.
I started growing adeniums back in 2004-05. What matters is temperature and sunlight (and adequate nutrients). In my experience, they grow really fast at temperatures of 30+C under intense light, and growth stops when temperatures drop below 20C. But otherwise adeniums are quite forgiving plants and you could probably grow them in 100% mineral soil. I grow them in coir (40-50%), vermiculite and grit and feed them a balanced cactus fertilizer (with micronutrients, 1/4-1/2 of the labeled concentration) every watering, 2-4 times a week (depending on size).
Thanks Martin. Do you grow them under artificial light?
Btw whats that huge brown truck in the background it looks amazing.
Below are photos of mine. I am really confused if to mix in slow release granuals (Miracle Gro - NPK 12:7:19) into the potting mix and sprinkle some on top or to go with liquid fertilizers (Cactus Focus Succulent one - NPK 1.4:0.7:2.7).
Appreciate your thoughts on the point above.
FaeLLe wrote: Btw whats that huge brown truck in the background it looks amazing.
Probably a Crassula, Crassula ovata?
Yes, it's a Crassula ovata.
And yes, I grow my adeniums under artificial light. Under strong LED light in heated ventilated grow tents.
It looks like that the flowers of your tree will be quite different from the standard obesum type. Keep us updated!
About the soil...I would definitely change the current one you're using. It looks too organic with poor drainage, which could cause "waterlogging" and root rot (especially if you live in a mild climate with cool short summers).
I have only used liquid fertilizer. No slow-release granuals.
MartinDK wrote: Yes, it's a Crassula ovata.
Thanks for your advice mate. The plan is to repot them into the new soil base I have posted above in my first pot, especially since I can see roots poking out below.
Will share back photographs for sure!
What NPK is your fertiliser please and which brand? Is it a good idea to go for a balanced one or high K value now that I have flower buds all over.
Yes, repotting your adenium could cause flowers to drop, but you never know. Some adeniums are quite sensitive to changes in their environment, others are not.
I buy a locally produced cactus fertilizer, which is not available in the UK. I use a fertilizer low on N. 3-2-6, that is.
My Adenium leaves have started going yellow pretty much all around he plant.
So I have now moved it under a 300W LED grow light in a room that stays around 20-24 C all day around.
Hope it pulls through, not sure if repotting now is a good idea despite me not being happy with the potting mix (which seems to be some sort of fluffy airy stuff which feels like cotton - any idea what that might be?).
Its me again, I flipped the pot upside down and found that the roots had basically massacred the pot drainage holes and were basically being suffocated.
Due to the way they were growing wide *after* the drainage hole the plant could not be pulled out and the entire pot had to be cut away.
Some pictures of my repotting exercise as below. The flowers basically dried up almost immediately and I had a lot of small roots that got cut in the process.


text:
package io.protostuff.jetbrains.plugin.psi.presentation;

import com.intellij.navigation.ItemPresentation;
import com.intellij.navigation.ItemPresentationProvider;
import com.intellij.navigation.NavigationItem;
import com.intellij.psi.PsiElement;
import com.intellij.psi.PsiFile;
import io.protostuff.jetbrains.plugin.psi.ProtoPsiFileRoot;
import javax.swing.Icon;
import org.jetbrains.annotations.NotNull;
import org.jetbrains.annotations.Nullable;

/**
 * Base class for presentation providers.
 *
 * @author Kostiantyn Shchepanovskyi
 */
public abstract class AbstractPresentationProvider<T extends PsiElement & NavigationItem>
        implements ItemPresentationProvider<T> {

    @Override
    public ItemPresentation getPresentation(@NotNull T item) {
        String name = getName(item);
        String location = getLocationString(item);
        Icon icon = getIcon();
        return new ProtoItemPresentation(name, location, icon);
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    protected abstract Icon getIcon();

    protected abstract String getName(@NotNull T item);

    @Nullable
    private String getLocationString(@NotNull T item) {
        PsiFile file = item.getContainingFile();
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            return "(" + packageName + ")";
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        return null;
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}

redpajama_set_name: RedPajamaGithub