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Read ✓ Demon (Gaea, #3) By John Varley – Loufanet.info
Demon (Gaea, #3)
John Varley0 on Demon (Gaea, #3)
For the most part, I absolutely love this trilogy On the idea front, it s wild with some of the coolest and strangest story combinations, from a life as a movie set to an intentionally perverse Greek Mythos setup to the enormous annihilation of humanity in the Fifth Nuclear War some twenty years after book 2 , to the fact that we re on an all out trip to overthrow a god here on the artificial moon.Cirocco Jones is something around a hundred and twenty years old at this point and she s complete For the most part, I absolutely love this trilogy On the idea front, it s wild with some of the coolest and strangest story combinations, from a life as a movie set to an intentionally perverse Greek Mythos setup to the enormous annihilation of humanity in the Fifth Nuclear War some twenty years after book 2 , to the fact that we re on an all out trip to overthrow a god here on the artificial moon.Cirocco Jones is something around a hundred and twenty years old at this point and she s completely turned on Gaia who seems to be going batshit crazy If you don t believe me, check out her children, her affair with King Kong as a 50 ft Marylin Monroe, or her myriad lies or new fascinations She s been around a long time She s also a fan of the human culture Hell, I like Gaia because she s a big fan of movie monsters and science fiction epics and doesn t mind playing around with all th This is a strange book It s a lot to take in It s got zombies, centaur like creatures, lesbians, witches, a giant Marilyn Monroe and so much.So I read it again I bought the Gaea series directly from John Varley s site It costmoney, of course, but he signs it and the money goes directly to him and if anyone deserves some loot to go directly to him it s John Varley.I need to readof him And you need to read this series He s the sort of writer who adds diverse characters, dive This is a strange book It s a lot to take in It s got zombies, centaur like creatures, lesbians, witches, a giant Marilyn Monroe and so much.So I read it again I bought the Gaea series directly from John Varley s site SPOILER WARNING As I m combining the reviews of all the books in The Gaean Trilogy in this entry for Demon, there may be spoilers ahead though I ll keep them to a minimum With that in mind, I ll get my solid recommendation to read these books out of the way The story and characters are interesting Gaea is a fascinating concept, and definitely a place I d love to visit and the Titanides are one of the coolest alien races ever invented.I first read Titan when I was a teen ager I can rememb SPOILER WARNING As I m combining the reviews of all the books in The Gaean Trilogy in this entry for Demon, there may be spoilers ahead though I ll keep them to a minimum With that in mind, I ll get my solid recommendation to read these bo It strikes me, as I finish up Demon, that John Varley s trilogy is in many ways a mirror image of Arthur Clarke s 2001, a Space Odyssey While both stories begin with humans exploring alien technology in the outer solar system, Clarke s is all about the computers, space travel, and alien technology, while Varley s is all about human relationships Clarke s aliens are aloof and cold, leaving behind technology just in case humans manage to develop into something interesting Varley s Gaea is inten It strikes me, as I finish up Demon, that John Varley s trilogy is in many ways a mirror image of Arthur Clarke s 2001, a Space Odyssey While both stories begin with huma The Satellite Sized Alien Gaea Has Gone Completely Insane She Has Transformed Her Love Of Old Movies Into Monstrous Realities She Is Marilyn Monroe She Is King Kong And Now She Must Be Destroyed. I review all three books here Titan, Wizard and Demon.Ah, Varley, what am I to do with you First and foremost, this trilogy is highly enjoyable, if quirky and eccentric in some places Varley has a strong sense of how people work and his wisdom in his understanding of human interaction plays well in building a strong plot, and several subplots that add to the story s attractiveness I thoroughly enjoyed reading these books when the came out, and I thoroughly enjoyed listening to them when I fo I review all three books here Titan, Wizard and Demon.Ah, Varley, what am I to do with you First and foremost, this trilogy is highly enjoyable, if quirky and eccentric in some places Varley has a strong sense of how people work and his wisdom in his understanding of human in This is the final volume of the Gaea trilogy by John Varley I found it totally a worthwhile read and the characters were fleshed out enough to be their own and likeable My one and only downer on this was my own failing I ve not read many trilogies and hardly ever back to back to back, and I became a bit like someone that had a visitor that has over stayed I began to be ready to move on to something else, yet I was too involved with this story I never considered dropping it.This series is pr This is the final volume of the Gaea trilogy by John Varley I found it totally a worthwhile read and the characters were fleshed out enough to be their own and likeable What if you could talk to god, and ask one thing What would you ask of him or her John Varley played with this concept in this trilogy together with ideas of cultural variations, religion and psychological developments It was exciting, novel and conspicuously distinctive from most science fiction works of today.The book was written in 1979, and in 1980, it was listed as the first official winner of the Locus Award in Science Fiction But considering that time frame, all the books in the series What if you could talk to god, and ask one thing What would you ask of him or her John Varley played with this concept in this trilogy together with ideas of cultural variations, religion and psychological developments It was exciting, novel and conspicuously distinctive from most science fiction works of today.The book was written in 1979, and in 1980, it was listed as the first official winner of the Locus Award in Science Fiction But considering that time frame, all the books in the series are an easy read and arguably a page turner If I recall correctly, I labeled the books as current Disappointingly, the most conventional book in the trilogy surprising since it mostly concerns the build up to war with a 50 foot Marilyn Monroe avatar Varley falls back on war novel stuff, half baked politics and too much deliberate withholding of important plot points in service This book is a serious mindfuck It s best to start at the beginning of the series to get the full effect.
About the Author: John Varley
Is a well-known author, some of his books are a fascination for readers like in the Demon (Gaea, #3) book, this is one of the most wanted John Varley author readers around the world.

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Dark Victory (1939): Shooting script
directed by Edmund Golding, 1891-1959; produced by Hal B. Wallis, 1899-1986, Warner Brothers and First National Pictures; performed by Bette Davis, 1908-1989, George Brent, 1904-1979, Humphrey Bogart, 1899-1957, Geraldine Fitzgerald, 1913-2005, Ronald Reagan, 1911-2004, Henry Travers, 1874-1965, Cora Witherspoon, 1890-1957, Virginia Brissac, 1883-1979 and Dorothy Peterson, 1897-1979 (Alexandria, VA: Alexander Street, 2004), 157 page(s)
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Bette Davis, 1908-1989, George Brent, 1904-1979, Humphrey Bogart, 1899-1957, Geraldine Fitzgerald, 1913-2005, Ronald Reagan, 1911-2004, Henry Travers, 1874-1965, Cora Witherspoon, 1890-1957, Virginia Brissac, 1883-1979, Dorothy Peterson, 1897-1979
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Copyright © 1939, Warner Bros.
Kid Galahad (1937): Shooting script
directed by Michael Curtiz, 1886-1962; produced by Hal B. Wallis, 1899-1986 and Jack L. Warner, 1892-1978, Warner Brothers; performed by Edward G. Robinson, 1893-1973, Bette Davis, 1908-1989, Humphrey Bogart, 1899-1957, Wayne Morris, 1914-1959 and Jane Bryan, 1918-2009 (Alexandria, VA: Alexander Street, 2008), 170 page(s)
Edward G. Robinson, 1893-1973, Bette Davis, 1908-1989, Humphrey Bogart, 1899-1957, Wayne Morris, 1914-1959, Jane Bryan, 1918-2009
Hal B. Wallis, 1899-1986, Jack L. Warner, 1892-1978, Warner Brothers
Michael Curtiz, 1886-1962, Edward G. Robinson, 1893-1973, Bette Davis, 1908-1989, Humphrey Bogart, 1899-1957, Wayne Morris, 1914-1959, Jane Bryan, 1918-2009, Seton I. Miller, 1902-1974, Francis Wallace, 1894-1977
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The Petrified Forest (1936): Shooting script
directed by Archie Mayo, 1891-1968; produced by Hal B. Wallis, 1899-1986, Warner Brothers; performed by Leslie Howard, 1893-1943, Humphrey Bogart, 1899-1957, Bette Davis, 1908-1989, Charley Grapewin, 1869-1956, Dick Foran, 1910-1979, Genevieve Tobin, 1899-1995 and Paul Harvey, 1882-1955 (Alexandria, VA: Alexander Street, 2005), 130 page(s)
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Crime, Boze Hertzlinger, Gabby Maple, Alan Squier
The Sisters (1938): Shooting script
directed by Anatole Litvak, 1902-1974; produced by Anatole Litvak, 1902-1974, Warner Brothers; performed by Errol Flynn, 1909-1959, Bette Davis, 1908-1989, Ian Hunter, 1900-1975, Donald Crisp, 1882-1974 and Anita Louise, 1915-1970 (Alexandria, VA: Alexander Street, 1990), 240 page(s)
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That Certain Woman (1937): Shooting script
directed by Edmund Golding, 1891-1959; produced by Hal B. Wallis, 1899-1986, Warner Brothers; performed by Bette Davis, 1908-1989, Henry Fonda, 1905-1982, Anita Louise, 1915-1970, Ian Hunter, 1900-1975, Donald Crisp, 1882-1974 and Hugh O'Connell, 1898-1943 (Alexandria, VA: Alexander Street, 2005), 171 page(s)
Bette Davis, 1908-1989, Henry Fonda, 1905-1982, Anita Louise, 1915-1970, Ian Hunter, 1900-1975, Donald Crisp, 1882-1974, Hugh O'Connell, 1898-1943
Edmund Golding, 1891-1959, Bette Davis, 1908-1989, Henry Fonda, 1905-1982, Anita Louise, 1915-1970, Ian Hunter, 1900-1975, Donald Crisp, 1882-1974, Hugh O'Connell, 1898-1943
Family, Mary Donnell, Flip, Jack Merrick Jr.
Three on a Match (1932): Shooting script
directed by Mervyn LeRoy, 1900-1987; produced by Darryl F. Zanuck, 1902-1979 and Samuel Bischoff, 1890-1975, Warner Brothers; performed by Bette Davis, 1908-1989, Joan Blondell, 1906-1979, Ann Dvorak, 1912-1979, Warren William, 1894-1948 and Lyle Talbot, 1902-1996 (Alexandria, VA: Alexander Street, 2005), 115 page(s)
Bette Davis, 1908-1989, Joan Blondell, 1906-1979, Ann Dvorak, 1912-1979, Warren William, 1894-1948, Lyle Talbot, 1902-1996
Darryl F. Zanuck, 1902-1979, Samuel Bischoff, 1890-1975, Warner Brothers
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Bordertown (1935): Draft script
directed by Archie Mayo, 1891-1968; produced by Jack L. Warner, 1892-1978 and Hal B. Wallis, 1899-1986, Warner Brothers; performed by Bette Davis, 1908-1989, Margaret Lindsay, 1910-1981, Paul Muni, 1895-1967, Eugene Pallette, 1889-1954 and Gavin Gordon, 1901-1983 (Alexandria, VA: Alexander Street, 2008), 153 page(s)
Bette Davis, 1908-1989, Margaret Lindsay, 1910-1981, Paul Muni, 1895-1967, Eugene Pallette, 1889-1954, Gavin Gordon, 1901-1983
Jack L. Warner, 1892-1978, Hal B. Wallis, 1899-1986, Warner Brothers
Archie Mayo, 1891-1968, Bette Davis, 1908-1989, Margaret Lindsay, 1910-1981, Paul Muni, 1895-1967, Eugene Pallette, 1889-1954, Gavin Gordon, 1901-1983, Carroll Graham, 1903-1976
Frontier and pioneer life, Johnny Ramirez, Marie Roark, Dale Elwell
The Bride Came C.O.D. (1941): Shooting script
directed by William Keighley, 1889-1984; produced by Hal B. Wallis, 1899-1986, Warner Brothers; performed by James Cagney, 1899-1986, Bette Davis, 1908-1989, Stuart Erwin, 1903-1967, Eugene Pallette, 1889-1954 and Jack Carson, 1910-1963 (Alexandria, VA: Alexander Street, 2008), 160 page(s)
James Cagney, 1899-1986, Bette Davis, 1908-1989, Stuart Erwin, 1903-1967, Eugene Pallette, 1889-1954, Jack Carson, 1910-1963
William Keighley, 1889-1984, James Cagney, 1899-1986, Bette Davis, 1908-1989, Stuart Erwin, 1903-1967, Eugene Pallette, 1889-1954, Jack Carson, 1910-1963, Julius J. Epstein, 1909-2000, Philip G. Epstein, 1909-1952, Kenneth Earl, 1907-1992, M. M. Musselman, 1899-1952
Romance, Steve Collins, Joan Winfield, Tommy Keenan
Dangerous (1935): Shooting script
directed by Alfred E. Green, 1889-1960; produced by Harry Joe Brown, 1890-1972, Warner Brothers and Vitaphone Corporation; performed by Bette Davis, 1908-1989, Franchot Tone, 1905-1968, Margaret Lindsay, 1910-1981 and John Eldredge, 1904-1961 (Alexandria, VA: Alexander Street, 2005), 114 page(s)
Bette Davis, 1908-1989, Franchot Tone, 1905-1968, Margaret Lindsay, 1910-1981, John Eldredge, 1904-1961
Harry Joe Brown, 1890-1972, Warner Brothers, Vitaphone Corporation
Alfred E. Green, 1889-1960, Bette Davis, 1908-1989, Franchot Tone, 1905-1968, Margaret Lindsay, 1910-1981, John Eldredge, 1904-1961, Laird Doyle, 1907-1936
Entertainment industry, Great Depression, 1929-1941, Joyce Heath, Don Bellows, Gail Armitage
Copyright © Warner Bros. Reproduced by permission of Warner Bros. Consumer Products, a Division of Time Warner Entertainment Company, L.P.
The Dark Horse (1932): Draft script
directed by Alfred E. Green, 1889-1960; produced by Darryl F. Zanuck, 1902-1979, Warner Brothers; performed by Warren William, 1894-1948, Bette Davis, 1908-1989, Guy Kibbee, 1882-1956, Vivienne Osborne, 1896-1961 and Frank McHugh, 1898-1981 (Alexandria, VA: Alexander Street, 2008), 101 page(s)
Warren William, 1894-1948, Bette Davis, 1908-1989, Guy Kibbee, 1882-1956, Vivienne Osborne, 1896-1961, Frank McHugh, 1898-1981
Darryl F. Zanuck, 1902-1979, Warner Brothers
Alfred E. Green, 1889-1960, Warren William, 1894-1948, Bette Davis, 1908-1989, Guy Kibbee, 1882-1956, Vivienne Osborne, 1896-1961, Frank McHugh, 1898-1981, Darryl F. Zanuck, 1902-1979, Wilson Mizner, 1876-1933, Joseph Jackson, 1894-1932, Courtney Terrett, 1903-1950
Politics, Hal Samson Blake, Kay Russell, Zachary Hicks


In the last year, how many of you received a survey asking you to evaluate a particular associate who recently helped you or provided a service for you?
You have some service work done at your house or you go to your nearest cell phone dealer and the minute you walk out the door, you receive an email with a survey asking you, the client to complete a short survey.
This is one of the most annoying things to receive. In the last week, I have received these surveys within 2 hours of working with a service associate.
The disturbing part of this process is how associates actually ask you to give them a 5-star ranking or an "A-rating" because ultimately these surveys determine future employment actions like raises, layoffs, promotions or demotions.
Do companies really put a lot of stock in these type of surveys? The answer, sadly is yes.
Is this type of feedback really valuable to companies?
I understand many certifying groups require these types of surveys including the company I work for. I initially struggled with this topic, but I quickly found a solution that has saved me time, resources and actually provides me with great information.
Here are my thoughts on employee surveys or service in general. If you want better client service, be more transparent with your clients and truly ask for their feedback.
Have your associates keep track of feedback comments they receive. Today, a lot of feedback can be documented via email. Have employees in your office forward all feedback to a specific feedback email group, (feedback@companyname.com) for someone to manage.
Have a link on your website for anyone to submit comments. Provide a short survey to help organize people's thoughts.
Track client complaints and look for patterns: Is this a systems issue, process issue, personnel issue. Poor service could be the result of a combination of items not just personnel.
Consider sending out a year-end survey, (1-5 questions) maximum.
Ask the question, "Will you consider doing business with our company in the future? (Yes or No) . This metric is more valuable than any other metric.
Client surveys should be much more than an evaluation tool for personnel. It should actually give people a chance to talk in more detail about the service they received. By using a 5-star ratingand being coached by employees to give them the highest marks possible really demeans clients' ability to actually provide helpful feedback. In addition, it really diminishes the value of data being received. Imagine if a client was having a bad day and gave you a 2-star rating and you ended up losing your job because of this action. Who is the winner here?


text:
Лебединський Наум Григорович (1888-1941) — швейцарський та латвійський зоолог та фізіолог.

Біографія
Народився 21 березня 1888 року в Одесі в єврейській родині. Стравжнє ім'я — Нухим Гершович Лебединський. Закінчив комерційне училище в Києві, після чого поїхав в Швейцарію, навчався в Цюріхському університеті. З 1913 року працював асистентом в Інституті зоології Галле-Віттенбергського університету в німецькому місті Галле. З 1917 року викладав у Базельському університеті в Швейцарії, був ад'юнктом, приват-доцентом. У 1921 році переїхав до Латвії, викладав в Латвійському університеті, був професором зоології. З 1922 по 1941 роки працював директором Інституту порівняльної анатомії і експериментальної зоології при Латвійському університеті. З 1940 року керував відділом гідробіології в Ризі.

Професор Нухим Лебединський був автором більш ніж 60 наукових робіт. Здобув популярність своїми науковими роботами в галузі омолодження організму. Захистив докторську дисертацію в Цюріхському університеті по темі «Інформація про морфології і історія розвитку мисок птахів».

Після німецької окупації Риги 14 липня 1941 року Лебединський як громадянин Швейцарії звернувся з проханням до німецького командування дозволити йому і його родині виїхати до Швейцарії, але не зумів досягти своєї екстрадиції. Лебединський, його дружина і двоє синів здійснили колективне самогубство, прийнявши отруту, в жовтні 1941 року, не бажаючи бути поміщеними в Ризьке гетто.

Наукові роботи
 Череп носорога Rhinoceros Antiquitatis из окрестностей деревни Борки Черниговской губернии // Записки Киевского общества естествоиспытателей. 1910. Т. 21.
 Lebedinsky Nuchim. Beiträge zur Morphologie und Entwicklungsgeschichte des Vogelbeckens // Jenaische Zeitschrift fur Naturwissenschaft. 1913. Bd. 50.
 Haecker G., Lebedinsky N. Uber die beschleunigende Wirkung geringer Strahldosierungen auf tierische Eier // Archiv fur mikroskopische Anatomie, 1914. [S.n., s.a.]
 Lebedinsky Nuchim. Untersuchungen zur Morphologie und Etwiklungsgeschichte des Unterkiefers der Vogel. Zugleich ein beitrag zu Kenntnis der Einflusses der Aussenwelt auf den Organismus // Revue suisse de Zoologie. 1918. Vol.26.
 Lebedinsky Noukhim. Sur un tetard de Rana temporaire bicephale. // Reunion bilogique de Lettonie. Riga, 1921.
 Lebedinsky N. Sur une nouvelle method pour etudier l'autodifferencation des extremites chez les amphibians // Societe de biologie de Lettonie. Riga, 1922.
 Lebedinsky N. G. Die isopotenz allgemein homologer Körperteile des Metazoenorganismus. 1925.
 Lebedinsky N. G. Romainvillia Stehlini n.g.n.sp. canard eocène provenant des marnes blanches du bassin de Paris. Genève: Muséum d'histoire naturelle, 1927.
 Lebedinsky N. Uber die Hautzeichnungen bei Vogeln und die evolutionstheoretische Bedeutung des Fehlens artspezifischer Zeichnungen in der verdeckten haut der Warmbluter. Berlin, 1929. 76 S.
 Lebedinsky N. G Darwins Theorie der geschlechtlichen Zuchtwahl im Lichte der heutigen Forschung: Zugleich eine Untersuchung über das «Manometerprinzip» der Sexualselektion. Гаага: Nijhoff, 1932. — 244 pp.
 Lebedinsky N. G. Five years experiences with a new Rejuvenation method. Riga, 1935. 11 p.

Примітки

Автори зоологічних таксонів
Випускники Цюрихського університету
Науковці Цюрихського університету
Науковці Латвійського університету
Науковці-самогубці
Швейцарські зоологи
Латвійські науковці
Фізіологи
Жертви Голокосту
В'язні гетто
Самогубці, які отруїлися

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Hi, hi, hi! How is everyone doing? Now that the April Arms Challenge that my friend Athena lead is over, I thought I would take some time to reflect on how the challenge went! Now, as I mentioned in my birthday post, I am not big on setting goals and doing challenges; in fact, when presented with a challenge, I usually lose interest in what is at hand. I am so internally motivated, that I prefer to do things on my own time, on my own account and when I feel like doing them (selfish, much?), not just because someone is challenging me or because there is a prize at the end (although, don't get me wrong, I am the biggest sucker for free things). And, I have a fear of not succeeding, or better yet, failing (there, I said it. After Friday's post, I feel like I can/should share that stuff with you guys). Needless to say, when Athena hosted her January Abs Challenge, my response was "I wish I had time, but with all the teaching I am doing, I don't want to add another thing to my plate." Okay, this is partially true- taking on any sort of "challenge" certainly would add more to my already busy schedule, but I could've fit that in. No doubt about it.
This time around, I went for it. Now that I have been teaching for almost a year and have been strength training more consistently throughout that time, I've noticed an all around difference in my body, but I knew there could be more. I've always wanted those arms. You know what ones I'm talking about: toned, defined, not too stick thin and you can tell they workout. I thought that maybe if I took a month and put extra focus on working out my upper body, I could be closer to having those arms. And, you know what? It did! So much so, that I have decided to not only repeat the April Arms Challenge this month, but I have also started the January Ab Challenge. Bathing suit season is just around the corner so I know I'd love to tone up a bit and my class members probably feel the same way!
Here are some before and afters (not bragging here, just showing that there was a difference and that doing something like this WORKED and was really easy to fit into my normal routine).
And, not just by pictures, but in class when I am teaching, I notice more of a definition in my arms and I LOVE it. Now, I will never have those arms because I think that is really more genetics than working out a lot (some people are naturally graced with better arms or legs or stomach or back, etc. and no matter how much working out you do, if you were not naturally graced with those good features/body parts, they will only look so good. I could be all wrong here, but I really believe this.), but I feel like I have made great progress with the type of definition my body is capable of producing.
I cannot do justice by trying to explain how organized Athena was throughout this entire challenge, but I will say that I was totally impressed. She created workouts that were short and manageable for even people like me with a crazy teaching schedule, she incorporated a variety of moves that worked our muscles in all sorts of different ways (and, gave me loads of inspiration for my classes!), she showed wonderful modifications so that the workouts could be tailored to fit everyone's levels and she kept it fun with prizes at the end!
Sunday Circuit- This workout incorporated cardio, upper body and core (usually), so it was easy to make this into a fully body workout if you repeated it 2 or 3 times.
Monday- Pushup Pyramids, increasing the number of reps each week (or, she had us to a 1 minute pushup challenge to see how many we could do).
Tuesday- Triceps Tuesday! My all-time favorite day.
Wednesday- Biceps Blast- A close second for my favorite day.
Thursday- Tabata Thursday- I loved to hate this day, as did my classes!
Friday- Friday "Fives"- the workouts varied greatly on this day, but they always incorporated 5 different exercises. These were a bit longer and I usually incorporated some cardio intervals between doing rounds of the Friday Five workout to complete my entire workout for the day.
So, there you have it! I can't believe how much more I enjoyed the April Arm Challenge than I thought I would. It's fun to have a plan and it makes it easier some days because you don't have to think or plan out what you want to do for a workout. If/WHEN ( 😉 ) Athena does another challenge, I highly suggest that you sign up! Athena, thank you for taking the time, energy and knowledge to plan such a fun month of upper body-focused exercises.
Questions for you:Have you ever participated in an online workout challenge? Are you externally motivated (ie: more apt to follow through with something if there is someone pushing you along)? What is your current favorite workout move?
Thank you so much for writing about the April Arms Challenge! I am so glad you enjoyed it and didn't find that it added too much extra to your to do list. I love the before and after pictures too… wow! Really nice recap post… thank you!
You're welcome- it was the least I could do!
your arms look awesome!! Nice work lovely lady! I've never done an online challenge but you may just have motivated me!
Thanks, Mere! It was way more fun thank I thought it would be!


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Isolated Children's Parent's Association /	Isolated Children's Parent's Association /	0 comments
What Does a Farmer Look Like?
Host: Isolated Children's Parents' Association
Written by Kim Storey
Save the date for the 2018 Isolated Children's Parents' Association Federal Conference to be held in Canberra, August 1-2. This promises to be a great conference! Find all information at this link: https://www.icpaconferenceaust.com/ #ICPAconf18
Back in 2016, I was in a conversation with some people on twitter about the perception of women in agriculture, which then turned to a discussion about the perception of farmers in general. The direction of the conversation sent me to google to look up the top images of farmers in that search engine, so I typed in "What Does A Farmer Look Like?"
The images that came up were almost exclusively older men, wearing bib & brace overalls, carrying a pitchfork or chewing straw and several of them were portrayed as a dumbed down hillbilly. It was disappointing but somehow not surprising!
As a photographer I had wanted to put together a coffee table book for a long time but wanted it to be more than just beautiful photos, here was an opportunity to combine my love for photography with a need to change the perception of farmers in the wider community. The What Does A Farmer Look Like? project was born!
Over the next 12 months I travelled the country photographing and chatting to farmers in all sorts of different industries, from cattle and sheep to olives, oysters and fruit, I wanted to cover as many different producers as possible. This has meant that over 100 farmers are featured in the book with their photos and a little of what they told me while we were chatting.
The Butler family at home on their property at Lightning Ridge.
The whole aim of this project is to show people who have no contact with a farmer or have never had the chance to visit a farm, exactly who our modern Aussie farmers are and what we do. While I've grown up with sheep and cattle, I have had the chance to visit farms producing food that I had no prior knowledge of like oysters, tropical fruits, strawberries and yabbies just to name a few. It's been amazing to have the chance to visit these places and people to learn a little more about what it takes to produce the high quality of food that our farmers do.
Cassie Melrose with some of their oysters at their Melshell Oysters farm gate shop in Tasmania.
I also got to learn about the challenges each different farm deals with, for some, one of those challenges is isolation. While visiting a couple of remote stations for the book project, the Western Australian government announced that they were going to close School of the Air in their state.
When I arrived at Curtin Springs in Central Australia and met the Severin family, we got chatting and School Of The Air came up, they hadn't heard about the WA announcement and their reaction when I mentioned it was one of shock and disappointment but also immediately one of "right, what are we going to do about this".
Emma in the school room at Curtin Springs.
Emma taking a break at the school room at Curtin Springs.
Even though the WA announcement didn't directly affect these stations, the families there were ready to help fight the closure. They knew just how important School of the Air is to their kids and all the other kids living on stations right across Australia.
I watched the campaign on social media being driven by the Isolated Children's Parent's Association (ICPA) and lots of the people affected by the announced closures. It was clear that the decision makers in government had little to no understanding of the amazing service School of the Air provides isolated kids, however the social media campaign and rallies organised across WA soon changed that. After a month or so of hard campaigning, some of the cuts to rural education in WA were reversed but not all. The fight is still on to save the Moora College, Landsdale Farm, some of the camp schools and other cuts being made.
The fight for rural education in WA has shown just how much our farmers will fight to keep essential services for their kids and their communities (sorry to all the graziers and station owners who are cringing at the term "farmer" right now!). When challenges come up, farmers and farming communities really do come together to support each other and overcome those challenges. It's an amazing community to be a part of and something that I hope to share through the What Does A Farmer Look Like? book.
The book can be purchased through the website www.whatdoesafarmerlooklike.com and will be arriving here in August. I can't wait to share it with you!
Working in the cattle yards at Goodwood Station, Boulia Queensland.
Gillian and two of her kids, Alan & Eleanor at Lambina Station in South Australia.
< Small school success	> A REAL School


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I know it has been a while since I had surgery and the last time I came in for a check up I was on my way to Afghanistan. When I got the surgery I was on my way back from Iraq…and now I'm living in Skopje, Macedonia. I haven't been home since last year but I did want to give you guys an update. Well, Thanks to you all, my confidence is a 1000 times better and I even decided to let go of the chemicals and weaves completely and opted for a natural look. I got married July 2012 and I was a natural bride as well. I love the work you have done and have been telling everyone I can about this procedure and if they are in the Charleston I've been trying to convince people to come to you. I just want to thank you guys from the bottom of my heart for all that you have done for me….the professionalism, the customer service….You made me feel comfortable, I didn't feel embarrassed working with you guys, I'm still not embarrassed, and I am just so grateful. Everyone loves it and people don't even believe that I had surgery it looks so natural. There is a solution for African American women who have damaged their hair and want their healthy full hair back… we do so much to our hair sometimes not realizing the consequences but we don't have to suffer in silence anymore. Again, thank you sooooo much! God Bless.


There are places on our planet of great natural and cultural beauty. They speak of the enduring spirit of creation. Reaching beyond us, they transcend the here and now, linking us to our past while guiding us into the future. They are the WORLD HERITAGE SITES. They are our inheritance.
The United Nations educational, scientific and cultural arm (UNESCO) grants special World Heritage designation to sites that are considered to be of outstanding value to humanity.
These sites are as unique and diverse as the Serengeti, the Pyramids of Egypt, the city of Venice, the megaliths of Stonehenge and the Central Amazon.
They are truly our greatest treasure and represent the shared inheritance of the human race. There are currently more than 800 World Heritage sites in over 130 countries around the world. These sites are our living history. Without an appreciation of the relationship which exists between ourselves and these places we are in danger of losing not only our cultural identities but also our most treasured natural landscapes.
The message of the World Heritage sites is simple: the degree to which we value the beauty of the natural and cultural diversity of our planet will be the degree to which we honour and protect it.
Browse the official website of the UNESCO World Heritage Centre or browse for the complete list of World Heritage sites categorized by country.


Ink on paper, burned with incense, in embroidery hoops.
26 journeys are recorded, mapped, carved and burned into 26 circular artworks.
Exploring time, the rhythm and pace of the human body, and observing the natural paths we take or create, Nicola designed each artwork in response to a walk through the original port area, Telok Ayer, in Singapore. By recording foot-worn paths and desire lines old and new, collecting sensory observations and materials, the works were then created as a distillation of these research journeys. Each of the physical or conceptual paths was burned into ink on calligraphy rice paper surfaces.
Ink on paper, burned with incense, in embroidery hoops suspended on mirror.
30 imagined journeys are recorded, mapped, carved and burned into 30 circular artworks.
Exploring time, the rhythm and pace of the human body, and observing the natural paths we take or create, Nicola designed each artwork in response to a remembered walk from her past. In contrast to the previous Atlas Series which mapped a specific geographical area, these works allowed the imagination and distortion of time to shape the works. The foot-worn paths, desire lines old and new, and sensory observations in these works were of the mind, not of the real world. Each of the places, constellations or paths was warped by the memory, and then further fragmented by being burned into ink on calligraphy paper surfaces.


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Royal Pavilion & Museums Trust
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New board of trustees to lead the Royal Pavilion & Museums into the future
by carolinesutton | posted in: Press | 0
For immediate use
The Royal Pavilion & Museums are pleased to announce today (2/3/2020) our new board of trustees who will lead the organisation into the future as a charitable trust.
The trustees, led by Michael Bedingfield, bring a wealth of experience and knowledge to support the organisation as it moves from the council to an independent charitable body. The Trust will look after the museums service from 1 April 2020.
The new trustees have expertise covering a broad range of skills spanning experience working in museums, legal and financial knowledge, education in museums and digital skills. Many live or work in Brighton and Hove. The board also includes three Brighton & Hove City Councillors from each of the major parties.
New Chair of the RPM Trust Michael Bedingfield who is already a trustee of Martlets Hospice and Three Score Dance in the city said: "Growing up in Brighton and Hove, I have vivid memories of visiting the Royal Pavilion and the museums with my family. I am proud to be the new chairman of the RPM Trust. From my time on the shadow board, I know many of the team and I am delighted to be joining such an inspiring professional group."
Councillor Alan Robins, lead member for culture and tourism will be on the board. He said: "I am looking forward to working with all the new trustees as the Royal Pavilion & Museums moves into trust.
"Our much-loved and internationally famous Royal Pavilion and Museums are moving into an exciting new chapter of their colourful story. Becoming a Trust will protect the service and all the staff who welcome visitors and look after our collections and buildings for the long-term. It will be a busy few months and we're committed to making sure our staff are fully involved in the transfer and ensuring the future success of all our museums for residents and visitors."
Trustees of Royal Pavilion & Museum Trust
Michael Bedingfield (Chair)
Michael was born in Brighton and lives in the city centre. He has lifelong links with the area and went to Hove County Grammar School, before starting his career at American Express in Brighton. His career focused on travel and tourism, as marketing director with leading brands including P&O Cruises and VisitBritain, and as chief executive of Tourism South East.
In recent years, Michael has been involved with numerous trusteeships and brings fifteen years' experience in the arts, charity and museums sectors, including six years as a trustee of the Brighton Dome and Festival Limited, and with Brighton based digital agency Culture24. He is a current trustee of the National Museum of the Royal Navy, Martlets and Three Score Dance.
David was a history teacher before he began his museum career as an educator at the Royal Pavilion and Museums, Brighton. He moved to the National Maritime Museum in Greenwich, and then the V&A, where he was Director of Learning and Interpretation. In 2010 he joined Amgueddfa Cymru – National Museum Wales as Director General.
David Anderson is a Board member of Creative and Cultural Skills and the UK Museums Association (of which he was President from 2013 to 2015), and a member of the Advisory Committee of British Council Wales. He has written many articles on museums and cultural policy, a UK government report on museums and learning, and two children's books.
Tim Aspinall
Tim is the CEO of Aspinall Consultants Limited, a management consultancy business he founded in January 2015, which advises law firms, investors and new entrants on strategy, mergers, pricing, business development, and performance improvement.
Prior to setting up Aspinall Consultants, Tim was Managing Partner of DMH Stallard LLP. He led its transformation into one of the UK's most respected mid-market law firms winning many awards, including Best Managed Professional Services Firm in Europe and Corporate Law Firm of the Year.
Tim is passionate about the arts. Whilst at DMH Stallard he created an art gallery for up and coming artists to exhibit their work and was involved with Arts & Business, judging their national awards. He is currently a Non-Executive Director of Brighton Dome & Festival. Tim lives in Brighton and is married to Polly. They have two daughters.
Lord Bassam of Brighton
Steve Bassam, Lord Bassam of Brighton, is a British Labour and Co-operative politician and member of the House of Lords. Steve was elected a Brighton councillor and rose to become Leader of Brighton, then Brighton and Hove Council, from 1987 until 1999. He was promoted to the frontbenches as Parliamentary Under-Secretary of State for the Home Office in 1999 and in 2001 was appointed a Government whip in the Lords. In 2008, he was promoted to the role of Labour Chief Whip. When Labour moved into Opposition in 2010, he became Opposition Chief Whip.
Prior to his political career he has worked as a social worker and legal adviser for local authorities and in management consultancy. He is a keen cricketer and supporter of Brighton & Hove Albion Football Club and was instrumental in the campaign to get the club a new stadium. He supports the Brighton Festival has three children and lives in Brighton with his family.
Rebecca Crook
Rebecca has a wealth of heritage and arts experience having sat on The National Trust Strategic Advisory Board for 4 years. She co-founded Saltdean Lido CIC sitting as Chair for 6 years, overseeing the country's only Grade II* listed lido re-opening.
Rebecca is a NED with Transport for London Museum and a Trustee with The Martlets. In her day job she works in London as Chief Growth Officer for Somo, a digital transformation business working with some of the world's best-known brand across digital products and experiences. She sits on the Board and has a global responsibility for growth, business development, marketing, brand and PR.
Davinder Dhillon
Davinder was born in Tanzania and travelled to England in 1967 when he was 14 years old. He came to Brighton in 1973 to study and has lived here since then. He is married with 2 children, a son and a daughter.
Davinder retired in 2012, having worked as a teacher in Special Education for over 30 years.
A major part of his voluntary work is taken up by organising the annual Chattri Service on a memorial build on the Downs in memory of the Indian soldiers who fought in the First World War but died whilst convalescing in Military Hospitals, including the Royal Pavilion, in Brighton.
Brad Irwin
Brad is a museum professional with over 20 years' experience of leading, devising and delivering programmes across a rich spectrum of cultural contexts in both the UK and abroad.
He is currently the Natural History Museum's Head of International Partnerships where he is responsible for global advocacy, diplomacy and relationship building. Recent projects include working with the World Economic Forum and forming a new strategic partnership with the Museum Nacional Brazil. He previously oversaw all front facing education teams at the Natural History Museum, as well as working in cultural and educational organisations across Auckland, New Zealand.
He has a Masters of Education and is currently completing a Doctorate in Museology from Kings College London exploring the international work of UK national museums.
Jenni Lloyd
Jenni Lloyd specialises in participative change for connected and creative cultures. Via her company PurposeLab she works on client problems as a consultant, and also brings her own ideas to life through independent projects. Her belief is that business can and should be a force for positive change in the world – and that people connected together with a meaningful purpose can make anything happen.
Jenni lives in and is a fierce advocate for Brighton, the city where crazy ideas can be made real. She's proud to be a trustee of Brighton's RPM, seeing the Pavilion as a symbol of innovation and radical ideas; and to support Brighton's creative and digital business community as a board member of Wired Sussex.
Shaun Romain
Shaun's interests focus upon cultural consumption and how communities and populations engage with different cultural, creative and educational opportunities. Over the past 25 years he has been involved with over 200 projects from national government reviews to local community projects.
Shaun has extensive experience of working with the cultural heritage sector in Sussex, having started at Charleston (home of Bloomsbury) before moving onto SAM – an Arts Council funded audience development agency based in Brighton.
Since 2011 Shaun has run his own consultancy, Sedum Consulting and has been involved with numerous large-scale projects including the evaluation of Hull 2017 (UK City of Culture) alongside redeveloping learning and engagement at IWM and the Serpentine Galleries. He is currently one of two Creative Programme Directors at the National Trust focussed upon change management and greater public accessibility.
Anne Silley
Anne Silley is a Chartered Public Finance Accountant with extensive experience in charities and local government. Anne's most recent role as a Head of Finance at Brighton and Hove City Council involved supporting Directors and Service Managers in the financial management, budget development, risk assessment, accounting and reporting on value for money for Adult Social Care, Public Health and Culture, including the Royal Pavilion and Museums service.
With 15 years' experience in the charity sector as Director of Finance in large charities (Parkinson's UK, NCVO and Preschool Learning Alliance) she was involved in the development of financial management and accounting practices for charities. In these roles she was responsible for the financial governance of the charities reporting through the Treasurer to the Board of Trustees.
After graduating from University of Reading with BSc. (Hons), Anne trained as an accountant at the Greater London Council. Since retiring in 2016 she has enjoyed working on the South Downs National Park as a volunteer ranger. Anne lives in Seaford on the edge of the Downs.
Jane Weeks
Jane is a museums and heritage consultant. Clients include the Department for Culture, Media and Sport, Arts Council England, the Museums Association, University College London, and the British Institute for Archaeology in Ankara.
Jane began her career at the Museum of London, later joining the National Maritime Museum. She has been a consultant since 1994 and acted as Museums and Heritage Adviser to the British Council from 2000-2017.
She is a former chair of the Heritage Lottery Fund's Committee for the South East, former Deputy Chair of the Churches Conservation Trust and is currently Deputy Chair of Pallant House Gallery.
Sue Wilkinson OBE
Sue Wilkinson read history at Cambridge before training as a teacher and undertaking the museum studies course at Leicester. After teaching in secondary schools she worked as education officer at the Tower of London and set up and ran the South Eastern Museums Education Unit.
In 1999 Sue joined the Museum, Library and Archive Council (MLA) as Director of Policy where she led and managed major development and investment programmes for the cultural sector. She left the MLA to join the scientific publisher Elsevier as the UK Director of Academic and Government Alliances.
In 2014 Sue became CEO of national charity The Reading Agency which runs programmes aimed at tackling life's big challenges through the proven power of reading. Sue retired from The Reading Agency in 2019 and was awarded an OBE in the 2020 New Year's Honours for services to literature and public libraries.
Councillor Alan Robins, Elected Member for Culture, Brighton & Hove City Council (ex officio)
Alan was born in Portslade, went to school in Portslade and has lived there all his life. He considers himself a true Brightonian. He left school at 16 years of age and worked in retail and sales for over 40 years. In 2011 he was elected as Labour Councillor for Portslade – a rare occurrence for a Councillor to be serving the ward he was born in.
Alan is Chair of Brighton & Hove City Council's Tourism, Equalities, Communities and Culture (TECC) Committee. He is currently Deputy Mayor of Brighton & Hove and is due to become Mayor in May 2020.
Since joining the Board of Trustees of the Royal Pavilion and Museums Foundation in July 2015, as an Ex-Officio member, Alan has grown to appreciate the hard work, dedication and passion of everyone involved in delivering the Royal Pavilion and Museums Service.
Cllr Steve Bell CBE
Steve has been a Conservative Councillor since 2015 and was elected Leader of the Conservative Group in 2019. He is a councillor for Woodingdean Ward and has a strong active voice; both in the local area by sitting on village committees, and also inside the city council to ensure the voice of tenants and residents are represented in a fair but strong manner. Steve is a member and group spokesperson on the City Council's Policy and Resources Committee and is a local authority representative for Brighton & Hove Connected Local Strategic Partnership
Prior to becoming a councillor, Steve was a consultant to the construction industry and served in HM Armed Forces, serving in The Queen's Regiment. Outside of his role as a councillor, Steve is the Chairman of The Queen's Regiment Association (Horsham Branch), Chairman of the Tory Society at Sussex University, Officer for the Royal Society of St George, and a patron of various charities.
Councillor Phélim MacCafferty
Phélim has been a Green Party Councillor since elected in 2011 and was named Green Group Convenor in May 2015. He is a councillor for Brunswick and Adelaide Ward and is the Leader of the Opposition in Brighton and Hove City Council. He sits on the Greater Brighton Economic Board, is a member of the Planning Committee and is a member and opposition spokesperson on the Policy and Resources Committee.
Phélim is a local authority representative for Brighton & Hove Connected Local Strategic Partnership; he represents the Council on the Board of Trustees for Brighton Dome and Festival Ltd and is a member of the Local Government Association.
About the Royal Pavilion & Museums
Brighton & Hove's museums service is highly regarded with internationally recognised collections and iconic buildings such as the Royal Pavilion. It includes the Royal Pavilion Garden, Brighton Museum & Art Gallery, Preston Manor, Hove Museum and the Booth Museum of Natural History.
The Royal Pavilion & Museums service will move to the Royal Pavilion and Museums Trust (RPM Trust) from 1 April 2020. The new arrangements will ensure the current high standards will continue and safeguard the future of culture and heritage provided by the service. The professional teams that make the museums such a success will also transfer to the trust under their current terms and conditions.
As a charity the Trust will be able to apply for funding not open to councils and will be free from the constraints and impact of ongoing council budget savings.
The RPM Trust will manage the museums through a 25 year contract with the council which will still own the buildings.
The Trust was created from the long established and successful RPM Foundation. The foundation, set up as a charity in 1972, has supported the city's museums for many years and has helped buy many important items for the collections, including King George IV's only surviving grand piano and a watercolour by JMW Turner. More recently the Foundation helped fund the Elaine Evans Archaeology Gallery, which opened in Brighton Museum earlier this year.
Contact information for press and media
For further information or interviews please contact Caroline Sutton on caroline.sutton@brighton-hove.gov.uk or + 44 (0)1273 296718.
For urgent enquiries in my absence please contact museums.marketing@brighton-hove.gov.uk or 03000 290906.
michael bedingfield, press, Royal Pavilion & Museums, trustees
Royal Pavilion and Museums Brighton and Hove


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Home>Company Information>Group Companies>Zepp Hall Network Inc.
Entertainment Solution Business GroupZepp Hall Network Inc.
Zepp Hall Network operates the various Zepp concert halls located in Japan and internationally, developing a venue business accommodating a variety of needs including state-of-the-art technology.
Principal Business
Zepp Hall Network (ZEP) operates eight concert halls in six cities across Japan at Sapporo, Tokyo, Yokohama, Nagoya, Osaka, and Fukuoka. Venues in the nationwide network are connected and feature standardized stage machinery, lighting and sound systems, and stage architecture which makes it possible to plan once for a setup that can be used in any of the Zepp halls, creating huge advantages in terms of production cost and operations.
All venues are equipped with a 4K projection system which is not only a benefit for artist performance events but also allows Zepp to extend its use beyond concerts to develop a venue business accommodating a variety of needs including various events, festivals, and screenings.
Zepp Hall Network Inc.
Akira Uehara (Representative Director)
1.863 billion JPY
Stockholder
Sony Music Entertainment (Japan) Inc. 51%、Cool Japan Fund Inc. 49%
http://www.zepp.co.jp/
Sony Music Entertainment (Japan) Inc. , Zepp Hall Network Inc.


Every single one of us has a limitless memory capacity. Storage isn't the issue, as our brains can hold everything and then some. It's recall—accessing the information in our memories—that's the sticking point.
Not only is recall difficult, but it also affects how our peers perceive us. Think about it: The person who remembers details, dates, names, specifications—we think of that person as smart, organized and someone we want to do business with. The person who constantly apologizes for never remembering a name or recalls information incorrectly—we think of that person as less smart, or at least not as desirable a work partner as the person with the great memory. Memory matters in business. A lot.
1. Convert words to pictures. This essential tip works for two reasons: First, we naturally remember visual cues better than words, and second, the more senses you involve in learning or storing something, the better you will be at recalling it. Say you need to remember to submit a proposal to a client at 10 p.m. for a meeting the next day. You commit your task to memory by visualizing your proposal—a stack of papers—on top of an alarm clock that reads "10 p.m." The trick here is to make the picture vivid. So visualize an alarm clock, time flashing, alarm blaring, and focus on it. 10 p.m. ... proposal ... got it.
2. Use memory spots. Think of physical places that you regularly occupy—your car, your desk, your recliner—and mentally put the picture from tip one (your proposal on the alarm clock) in one of those spots. I drive a lot, so one of my memory spots is the hood of my car. This spot works for me because I can take a moment after an appointment and enter the commitment into my calendar or jot down a note based on the reminder sitting right in front of me. In my mind, I'd put my proposal on the alarm clock on the hood of my car. Committing something to memory and mentally placing it where you'll see it is the equivalent of putting a note on the front door so you'll see it when you leave for work in the morning. As you continue to use this technique, you'll become accustomed to checking with yourself: Should there be a reminder on the hood of my car?
3. Stacking. If you just use rote memorization, you'll probably top out at remembering roughly three items. That's fine if your dinner only ever contains three ingredients or your to-do list only ever has three tasks on it. But most of us live more complicated lives than that. You've created your mental picture of the proposal on an alarm clock, and you've put it on the hood of your car where you'll "see" it. But what if you also need to remember that you've promised three pricing options for the proposal, you've offered to include the bios for some experts that your client may need, and you've also decided that you need to invite this client to your annual Labour Day cook out?
Here's how you do it: Stack your pictures. Now remember that these pictures need to be as vivid as possible so they'll stick. So you have a blaring alarm clock with a proposal on top. You add a set of scales with three balances (three prices to consider) and two people sitting on the scales (your expert bios), and then imagine those people eating hot dogs (cookout). That's everything you need to remember, all stacked up and sitting on the hood of your car.
4. Use rhymes. If I were to ask you where the rain in Spain stays, you'd have an answer right away. Mainly in the plain, right? The fact is, the mountains of Spain see more rain than the plains do, but everyone who's seen My Fair Lady will answer this question the same way because the rhyme in the movie's song was so memorable. Rhymes are powerful memory devices. Create a rhyme, and you'll dramatically improve your recall.
5. Use mnemonic devices. Acronyms like HOMES and sentences like Please Excuse My Dear Aunt Sally help you remember things like the names of the Great Lakes (Huron, Ontario, Michigan, Erie and Superior) and the mathematical order of operations (Parentheses, Exponents, Multiplication, Division, Addition and Subtraction).
6. Work specifically on names. If you remember a new acquaintance's name, you demonstrate that that he or she is important to you. Conversely, if you never remember names, you may appear careless. It's worth spending some time to create a specific framework to help you remember names. There are 30 female first names and 30 male first names that account for the vast majority of the names you'll encounter in the U.S. So make a list and come up with a picture association for each of these names. Something like Mike = motorbike or Helen (of Troy) = ships or Richard (the Lionhearted) = a crown. When you meet a Richard for the first time, you picture him with a crown on his head. Or when you meet a Helen, you picture her on a ship laying siege to Troy. Get the idea?
This chain can go on forever. Wonder what you do when you get to 11? Stack the picture onto your number-one picture: Your gun is now firing a letter that's covered in grape jelly to remind you of the next item on your grocery list. You keep stacking these vivid pictures, and you'll have a compact, detailed list in order, every time.
Can putting these tips to work magically transform you into Memory Man? Of course not, but you can spectacularly improve your memory—and the ways in which you are perceived by peers, clients and staff. Make the effort, and you'll reap the benefits.


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2008 Roy W. Tess Award in Coatings
Dr. Clifford K. Schoff formerly of PPG Industries and now a private consultant will receive the Roy W. Tess Award in Coatings for 2008. The announcement was made by the Officers and the Award Committee of the Division of Polymeric Materials: Science and Engineering (PMSE) of the American Chemical Society.
Dr. Schoff is recognized as one of the world's leading experts in the area of coatings defects, electropaint-substrate interactions, paint flow and rheological measurements, mechanical properties and cure of coatings. He has contributed over 40 papers, articles and chapters to the coatings literature and recently published his 40th one-page "Coatings Clinic" in JCT Coatings Tech. Dr. Schoff has led ASTM Subcommittee D.01.24 on Physical Properties of Liquid Paints for over 20 years, has written numerous ASTM test procedures and has championed the use of ASTM standards. He currently is Secretary of ASTM Committee D01 on Paints and Related Coatings, Materials and Applications. Dr. Schoff is Chair of the Federation of Societies for Coatings Technology (FSCT) Publications Committee, a member of the Editorial Review Board, one of the technical editors of the Journal of Coatings Technology and Research and is active in the Pittsburgh Society for Coatings Technology.
Dr. Schoff began his college education in Engineering at the College of Marin, Kentfield, California. He then transferred to the University of Idaho, Moscow, Idaho where he received B.S. and M.S. degrees in Chemistry in 1962 and 1964, respectively. From 1964-1967, he served in the United States Peace Corps as a secondary school science teacher and sports coach in Ibadan, Nigeria. He earned his Ph.D. in Chemistry from the University of St. Andrews, St. Andrews, Scotland in 1971 with a thesis on photodegradation of methacrylates. He was a Postdoctoral Fellow at Glasgow University, 1970-72, studying thermal degradation of polymers. He returned to the U.S. to be on the Research Staff in Chemical Engineering at Princeton University from 1972-1974 and led research on thermal and mechanical properties of polymers of interest to the military, NASA and the aerospace industry. From 1974 to 2002, Dr. Schoff worked for PPG Industries Inc. at the Allison Park, PA Coatings & Resins Research Center in the Physical Chemistry Group. Since 2002, he has worked on special projects for PPG Industries and has done private technical and legal consulting.
Dr. Schoff's main research interests have involved physical testing and measurement and their application to solving product and process problems and to developing new products, primarily in industrial and automotive coatings. Late in his career at PPG, he gained valuable practical experience in working to improve appearance and reduce dirt and other defects at automobile and motorcycle plants. He has developed lectures on surface defects, failure analysis, cure, rheological measurements, corrosion, pigment dispersion, surface preparation, optical microscopy and other related topics and presented these lectures world-wide (North America, South America, Europe, Asia) for PPG Industries Inc., FSCT and privately. He has taught short courses for FSCT, the Sociedad Argentina de Technólogos en Recubrimientos and at many universities including University of Wisconsin-Milwaukee, Kent State University, University of Southern Mississippi, University of São Paulo and North Dakota State University.
Dr. Schoff has received numerous awards for his research and development efforts. He has received the ASTM William T. Pearce Award for outstanding contributions to the science of testing paint and paint materials (1987) and the ASTM Award of Merit for distinguished service to ASTM and the cause of voluntary standardization (1992). From the FSCT, Dr. Schoff has received the 1998 Mattiello Lecture Award, FSCT's highest technical award.
Dr. Schoff will receive the Tess Award from Dr. Dean Webster Chair of the PMSE Division, on Monday, August 18, 2008 during the 236th National Meeting of the American Chemical Society in Philadelphia, PA. Dr. Schoff will present an Award Address at that time. An evening reception sponsored by the PMSE Division will follow the Award Symposium.
The Tess Award is presented annually by the Division of Polymeric Materials: Science and Engineering in recognition of outstanding contributions to coatings science and technology. It is funded by a grant to the Division from Dr. and Mrs. Roy W. Tess. The purpose of the award is to encourage interest and progress in coatings science technology and engineering and to recognize significant contributions to the field. The Award consists of a plaque and a $3000 cash prize.


You are browsing the Blog for lynn - Scoop: The Appaman Blog.
Thanksgiving is tomorrow and that means Appaman's Five Weeks of Giving is underway. Every year, each staff member has the opportunity to choose a charity that means something to them, and Appaman makes a donation in the employee's name.
Doing a little something extra for others is our favorite way to get into the holiday season. We hope you'll get on board and be encouraged to donate to a cause that is important to you. Need inspiration? We'll be providing some info about each organization chosen by the Appaman staff members, so check back each week to learn about which causes are important to us.
Our first charity, chosen by Lynn Husum, is Why Hunger.
It is truly a shame that in 2013 there are people suffering from hunger in our own backyards. To help end this tragic reality Lynn will donate her Five Weeks of Giving weeks of giving to WhyHunger's annual Hungerthon campaign.
For 28 years, WhyHunger has been challenging the idea that anyone should go hungry and changing the way we nourish our country through Hungerthon, an annual radio campaign to raise funds and awareness to fight hunger in America. Hungerthon 2013 will help more families secure healthy, affordable food and invest in more long-term sustainable solutions to end hunger than ever before.
For Lynn's "Pay it Forward" contribution, she chose to donate to the Boys & Girls Clubs of America.
We are all subject to our surroundings and some people are more fortunate than others. Many young people are never given the opportunity to make changes. The Boys & Girls Clubs of America tries to make these changes possible for young people.
This is a mission to be proud and one we can stand by at Appaman. This is why Lynn has chosen to give her donation to them. Learn more about the Boys & Girls Clubs of America at www.bgca.org.


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AP Survey On Faith And Science Reveals That Science Is Often Trumped By Religious Belief
3Mai 2014 2 Mai 2014
Paper Boat Creative via Getty Images
Believers don't buy the Big Bang, God-less evolution or a human responsibility for global warming. Actually, neither do many Americans.
By Cathy Lynn Grossman – HUFFPOST Religion
But a new survey by The Associated Press found that religious identity — particularly evangelical Protestant — was one of the sharpest indicators of skepticism toward key issues in science.
The survey presented a series of statements that several prize-winning scientist say are facts. However, the research shows that confidence in their correctness varies sharply among U.S. adults. It found:
51 percent of U.S. adults overall (including 77 percent of people who say they are born-again or evangelical) have little or no confidence that "the universe began 13.8 billion years ago with a big bang."
42 percent overall (76 percent of evangelicals) doubt that "life on Earth, including human beings, evolved through a process of natural selection."
37 percent overall (58 percent of evangelicals) doubt that the Earth's temperature is rising "mostly because of man-made heat-trapping greenhouse gases."
36 percent overall (56 percent of evangelicals) doubt "the Earth is 4.5 billion years old."
Kreationismus/ID
Naturalismus
Protestantismus
Schlagwörter: Big Bang, Darrel Falk, Duke University biochemist, Elaine Howard Ecklund, Ethics and Religion, God-less evolution, heat-trapping greenhouse gases, human responsibility for global warming, Life on Earth, religious identity, Robert Lefkowitz, Science, supreme being, The Associated Press, universe
Vorherige Prochlorococcus: Das erfolgreichste Lebewesen der Erde
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peer production
The Commons Transition Primer Demystifies and Delights
You are not likely to encounter a more welcoming set of texts and infographics to introduce the commons and peer production than the Commons Transition Primer website.
The new site features four types of materials suited different levels of interest: short Q&A-style articles with illustrations; longer, in-depth articles for the more serious reader; a library of downloaded PDF versions of research publications by the P2P Foundation; and a collection of videos, audio interviews and links to other content.
The website does a great service in introducing topics that are sometimes elusive or abstract, giving them a solid explanation and lots of working examples. Go check it out!
Start with a series of Short Articles that addresses such questions as "What is a commons transition?" and "What is distributed manufacturing?" Then browse the Longer Articles section and read "10 ways to accelerate the Peer to Peer and Commons Economy," a visionary piece on the movement to design global and manufacture locally.
commons strategies
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A New Primer on the Commons & P2P
Most readers of this blog don't need an introduction the commons, but there are always newcomers for whom a short overview would be useful. The Transnational Institute and the P2P Foundation have done just that with an attractive new publication "Commons Transition and P2P: A Primer."
The beautifully designed fifty-page booklet does not dumb down the topic; it simply makes some of the complexities associated with commons and peer production more accessible to the general reader in a single document. The primer explains the basics of commons and peer-to-peer production (P2P), how they interrelate, their movements and trends, and "how a Commons transition is poised to reinvigorate work, politics, production, and care, both interpersonal and environmental."
An info-graphic from Commons Transition and P2P: A Primer
A short video about the primer can be watched here. It explains that "the commons are a self-organized system by which local communities manage shared resources with minimal or no reliance on the market or the state. P2P means collaboration, 'peer-to-peer', 'people-to-people' or 'person-to-person.' P2P is a type of non-hierarchical and non-coercive social relations that enables a transition to a fairer economy for people and nature."
Besides introducing the commons & P2P, the booklet suggests five practical guidelines, with examples, for achieving a transition to a commons/P2P-based society:
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How to Move from an Extractive to a Generative Economy?
One of the big, unanswered questions in our political economy today is "what constitutes value?" Conventional economics sees value as arising from market exchange and expressed as prices. A very simple, crude definition of value.
But how, then, to account for the many kinds of value that are intangible, social or ecological in nature, and without prices – activities such as child-rearing and eldercare, ecological stewardship, online peer production, and commoning? There is an urgent need to begin to make these forms of value explicitly visible in our political economy and culture.
Two new reports plunge into this complicated but essential topic. The first one – discussed below -- is called "Value in the Commons Economy: Developments in Open and Contributory Value Accounting," The 49-page report by Michel Bauwens and Vasilis Niaros focuses on socially created value on digital networks. It was co-published yesterday by the Heinrich Boell Foundation and P2P Foundation.
Another important report on how to reconceptualize value – an account of a three-day Commons Strategies Group workshop on this topic – will be released in a few days and presented here.
The P2P Foundation report declares that "society is shifting from a system based on value created in a market system (through labor and capital) to one which recognizes broader value streams," such as the social and creative value generated by online communities. The rise of these new types of value – i.e., use-value generated by commoners working outside of typical market structures – is forcing us to go beyond the simple equation of price = value.
Michel Bauwens and sociologist Adam Arvidsson call this the "value crisis" of our time. Commons-based peer production on open platforms is enabling people to create new forms of value, such as open source software, wikis, sharing via social networks, and creative collaborations. Yet paradoxically, only a small minority of players is able to capture and monetize this value. Businesses like Facebook, Google and Twitter use their proprietary platforms to strictly control the terms of sharing; collect and sell massive amounts of personal data; and pay nothing to commoners who produced the value in the first place.
This is highly extractive, and not (re)generative. So what can be done? How could open platforms be transformed to bolster the commons and serve as a regenerative social force?
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Bauwens Explains the Great Value-Shift of Our Time
Michel Bauwens recently spoke at the Harvard Berkman Center to give his big-picture analysis of the economic and social transition now underway. The hour-long video of his talk provides a clear explanation for why peer production is flourishing and out-competing conventional business models and markets. It's all part of an epochal shift in how value is created, argues Bauwens.
Citing major transitions of the past – from nomadic communities to clans; from clans to class-based, pre-capitalist societies; from pre-capitalism to capitalism – Bauwens said, "We're in a period of history in which a marginal system of value is moving to the center of value-creation."
For those who don't have an hour to watch the video, below, a review of Michel's key points:
Unlike traditional leftist visions of revolution, which require a social movement to seize state power and then install another system, the emerging world of peer production is based on another vision: build an alternative economy outside the circuits of capitalism, or at least insulated from its exploitation, and then develop its own functionalities and moral authority.
The point is not so much to displace or smash capitalism, he said, as to make the commons the new, more compelling "attractor" for activities that create value. Rather than try to use private labor to produce value, which is then captured by privately owned corporations and sold in markets based on artificially created scarcity, the peer production economy proposes a new model: abundance based on an ethic of sufficiency.
Instead of allocating surplus value through the market or hierarchical systems, the peer production economy creates value through open, voluntary contributions and "massive mutual coordination," said Bauwens. The goal is to create commons through social systems and the sharing of resources.
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P2P Foundation Wins Golden Nica from Prix Ars Electronica
Congratulations to my colleagues at the Peer to Peer Foundation, and especially founder Michel Bauwens, for winning the 2016 Golden Nica for Digital Communities from Prix Arts Electronica! This is a great and well-deserved honor. There were a total of 3,159 entries from 84 countries for this venerable prize this year.
In the prize citation, the jury wrote:
"The P2P Foundation is a new generation of communities that help to build communities. It is dedicated to advocacy and research of peer to peer dynamics in society. Established ten years ago, it evolved into one of the main drivers of the 'commons transition'.
"As a decentralized and self-organized non-profit organization, the P2P Foundation analyzes, documents and promotes peer-to-peer strategies that seem to be well-suited to facing the challenges and problems of our times in ways that display great future promise. The focus is on three key traits: sustainability, openness and solidarity. Since its inception, the community of the P2P Foundation has input over 30,000 entries that document the history and development of the peer-to-peer movement. The P2P Foundation Wiki has been accessed more than 27 million times, and is thus the platform that has assembled the world's most massive collection of knowledge about P2P."
A shout-out to the P2P Foundation core team, consisting of James Burke, Bill Niaros, Vasilis Kostakis, Ann Marie Utratel and Stacco Tr oncoso, and of course, Michel – my dear friend and colleague on the Commons Strategies Group. Michel, it is so heartening to see your years of toil, tenacity and leadership in building this global community receive this recognition.
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The Shift from Open Platforms to Digital Commons
Universitat de Oberta Catalunya -- Open University of Catalonia -- just published the following essay of mine as part of its "Open Thoughts" series. The UOC blog explores the benefits and limitations of various forms of peer production: well worth a look!
From open access platforms to managed digital commons: that is one of the chief challenges that network-based peer production must meet if we are going to unleash the enormous value that distributed, autonomous production can create.
The open platform delusion We are accustomed to regarding open platforms as synonymous with greater freedom and innovation. But as we have seen with the rise of Google, Facebook and other tech giants, open platforms that are dominated by large corporations are only "free" within the boundaries of market norms and the given business models. Yes, open platforms provide many valuable services at no (monetary) cost to users. But when some good or service is offered for at no cost, it really means that the user is the product. In this case, our personal data, attention, social attitudes lifestyle behavior, and even our digital identities, are the commodity that platform owners are seeking to "own."
In this sense, many open platforms are not so benign. Many of them are techno-economic fortresses, bolstered by the structural dynamics of the "power law," which enable dominant corporate players to monopolize and monetize a given sector of online activity. Market power based on such platforms can then be used to carry out surveillance of users' lives; erect barriers to open interoperability and sharing, sometimes in anticompetitive ways; and quietly manipulate the content and "experience" that users may have on such platforms.
Such outcomes on "open platforms" should not be entirely surprising; they represent the familiar quest of capitalist markets to engineer the acquisition of exclusive assets and monetize them. The quarry in this case is our consciousness, creativity and culture. The more forward-looking segments of capital realize that "owning a platform" (with stipulated terms of participation) can be far more lucrative than owning exclusive intellectual property rights for content.
So for those of us who care about freedom in an elemental human and civic sense — beyond the narrow mercantilist "freedoms" offered by capitalist markets — the critical question is how to preserve certain inalienable human freedoms and shared cultural spaces. Can our free speech, freedom of association and freedom to interconnect with each other and innovate flourish if the dominant network venues must first satisfy the demands of investors, corporate boards and market metrics?
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Ten Commandments of Peer Production and Commons Economics
For the Uncommons conference in Berlin on October 23, Michel Bauwens recently distilled his years of thinking about digital collaboration into a short text, "Ten Commandments of Peer Production and Commons Economics." The document describes the key pillars of "a mode of production and value creation that is free, fair and sustainable." I am reproducing his entire text here because I think it is so succinct and seminal.
As we have tried to show elsewhere, the emergence of Commons-Oriented Peer Production has generated the emergence of a new logic of collaboration between open productive communities who created shared resources (commons) through contributions, and those market-oriented entities that created added value on top or along these shared commons.
This article addresses the emerging practices that should inspire these entities of the 'ethical' economy. The main aim is to create new forms that go beyond the traditional corporate form and its extractive profit-maximizing practices of value extraction. Instead of extractive forms of capital, we need generative forms, that co-create value with and for the commoners.
I am using the form of commandments to explain the new practices. All of them have already emerged in various forms, but need to be generalized and integrated.
What the world and humanity, and all those beings that are affected by our activities require is a mode of production, and relations of production, that are "free, fair and sustainable" at the same time.
OPEN AND FREE
1. Thou shall practice Open Business Models based on shared knowledge
Closed business models are based on artificial scarcity. Though knowledge is a non- or anti-rival good that gains in use value the more it is shared, and though it can be shared easily and at very low marginal cost when it is in digital form, many extractive firms still use artificial scarcity to extract rents from the creation or use of digitized knowledge. Through legal repression or technological sabotage, naturally shareable goods are made artificially scarce, so that extra profits can be generated. This is particularly galling in the context of life-saving or planet-regenerating technological knowledge. The first commandment is therefore the ethical commandment of sharing what can be shared, and only creating market value from resources that are scarce and create added value on top or along these commons. Open business models are market strategies that are based on the recognition of natural abundance and the refusal to generate income and profits by making them artificially scarce.
Thou shall find more information on this here at http://p2pfoundation.net/Category:Business_Models
2. Thou shall practice Open Cooperativism
Many new more ethical and generative forms are being created, that have a higher level of harmony with the contributory commons. The key here is to choose post-corporate forms that are able to generate livelihoods for the contributing commoners.
Open cooperatives in particular would be cooperatives that share the following characteristics:
1) they are mission-oriented and have a social goal that is related to the creation of shared resources
2) they are multi-stakeholder governed, and include all those that are affected by or contributing to the particular activity
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How to Rein in Monopoly-like Network Platforms?
The latest issue of Boston Review has a lively forum on the growing power of network-based businesses such as Amazon, Uber and Airbnb. These companies may not be monopolies in the strict conventional sense of the law, but they nonetheless use their market dominance and network platforms to extract all sorts of advantages from competitors, suppliers and consumers.
K. Sabeel Rahman, a professor at Brooklyn Law School, presented his assessment of the situation, and then nine people of various persuasions (including me) responded. Rahman stated the problem succinctly:
The kinds of power that Amazon, Comcast and companies such as Airbnb and Uber possess can't be seen or tackled via conventional antitrust regulations. These companies are not, strictly speaking, monopolies; Urban and Airbnb, in particular, do not engage in the kind of price-fixing or market dominance that is the usual target of antitrust regulation today. These companies are better understood as platforms or utilities: they provide a core, infrastructural service upon which other firms, individuals and social groups depend.
The problem is that conventional antitrust regulation isn't really equipped to deal with information economy platforms, which tend to connect buyer and sellers in more efficient ways while offering very low prices. What's the problem with that? Well, the problem is open networks paradoxically result in "power law" outcomes in which a minority of players tend to dominate the universe of users. Some companies have used this network-based advantage to limit competitors' access to the market, impose unfair conditions on consumers or producers, and evade consumer and labor-rights laws.
Rahman calls for a re-purposing of Progressive era policies from a century ago that tamed large monopolies like railroads by subjecting them to public utility regulation. Is this the way to go? Juliet Schor of Boston College agrees that there is a problem, but considers the regulatory approach nostalgic and unimaginative. She argued:
"Peer-to-peer structure and peer ownership of capital undermine the argument for private ownership of platforms and, by extension, for the public utility model. This is not to say there isn't a strong public interest in this sector – there is. But the compelling feature of these entities is that most of the value in the market is produced by the peers, not the platforms. This suggests that platforms can and should be owned and governed by users. If they are, we can worry less about rent extraction, concentrations of political power, and the other concerns Rahman raises."
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A New Alignment of Movements?
In September 2014, the Commons Strategies Group convened a three-day workshop in Meissen, Germany, of 25 policy advocates and activists from a variety of different economic and social movements. The topic of the "deep dive": Can leading alt-economic and social movements find ways to work more closely together? Can there be a greater convergence and collaboration in fighting the pathologies of neoliberalism?
The activists hailed from movements devoted to the Social and Solidarity Economy, Degrowth, Co-operatives, Transition Towns, the Sharing and Collaborative Economy, Peer Production, environmental justice, and the commons, among others. While most came from Europe, there were also participants from Canada, the US, Brazil, Ireland and the UK. The workshop was organized by the Commons Strategies Group, which gratefully acknowledges the indispensable support of the Heinrich Böll Foundation (Germany) and the Charles Léopold Mayer Foundation (France and Switzerland).
Before this workshop, roughly a dozen of the same participants had deliberated on the topic of "open co-operativism" a few days earlier at a separate gathering in Berlin. The report synthesizing those conversations, "Toward an Open Co-operativism," were released three weeks ago and can be found here.
Below, the Introduction to the report, "A New Alignment of Movements?" which synthesizes the salient points of discussion from the Meissen workshop. The 39-page report, by David Bollier and Pat Conaty, can be downloaded as a pdf file here.
Despite the deepening crisis of neoliberalism in Europe, no clear alternative critiques or philosophical approaches have emerged that could catalyze a united response or new convergence of movements. Indeed, the traditional left has not only not profited politically from the ongoing crisis, but, with a few exceptions, its popularity has actively declined. With the notable exception of the Greece, recent European elections have shown a marked move to the radical right among major segments of the European electorate.
But if the classic political expressions of resistance may be wanting, that does not mean that there have not been positive developments. Amongst these are the "growth"of the degrowth movement and other ecological/sustainability oriented movements; the emergence of a commons orientation amongst political groups in countries like Italy; the creation of thousands of alternative solidarity mechanisms in Greece and Spain; a revival of co-operativism as an economic and social alternative; ongoing work by the Social and Solidarity Economy movement; and movements ranging from Transition Towns to "shareable cities" to local food.
Interesting political expressions include the massive mobilisations of youth around the 15M "real democracy"platform in Spain, the success of left parties with a transformative agenda such as Syriza in Greece and Podemos in Spain, the emergence of parties expressing digital culture such as the Pirate Parties (in more than two dozen nations), and platform parties calling for direct democracy like the Partido X in Spain. These efforts have been accompanied by many constructive efforts by precariously employed youth to create alternatives for their livelihoods, also expressed in the emergence of the "sharing economy."
Is it possible to imagine a convergence of movement practice and goals – blending constructive, social and political movements –in ways that advance the idea of "unity in diversity"? Is it possible to imagine the reconstruction of socially progressive majorities at the local, national and European level?
co-operatives
Transition Towns
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The Promise of "Open Co-operativism"
Is it possible to imagine a new sort of synthesis or synergy between the emerging peer production and commons movement on the one hand, and growing, innovative elements of the co-operative and solidarity economy movements on the other?
That was the animating question behind a two-day workshop, "Toward an Open Co-operativism," held in August 2014 and now chronicled in a new report by UK co-operative expert Pat Conaty and me. (Pat is a Fellow of the New Economics Foundation and a Research Associate of Co-operatives UK, and attended the workshop.)
The workshop was convened because the commons movement and peer production share a great deal with co-operatives....but they also differ in profound ways. Both share a deep commitment to social cooperation as a constructive social and economic force. Yet both draw upon very different histories, cultures, identities and aspirations in formulating their visions of the future. There is great promise in the two movements growing more closely together, but also significant barriers to that occurring.
The workshop explored this topic, as captured by the subtitle of the report: "A New Social Economy Based on Open Platforms, Co-operative Models and the Commons," hosted by the Commons Strategies Group in Berlin, Germany, on August 27 and 28, 2014. The workshop was supported by the Heinrich Böll Foundation, with assistance with the Charles Léopold Mayer Foundation of France.
Below, the Introduction to the report followed by the Contents page. You can download a pdf of the full report (28 pages) here. The entire report is licensed under a Creative Commons Attribution-ShareAlike (BY-SA) 3.0 license, so feel free to re-post it.
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