text:
Exhibits: Past
Events: Past, EXHIBITS, Exhibits: Past
SUBMIT HERE BY 5pm JAN. 9
Artists are invited to give rapid-fire presentations at di Rosa's first Slide Slam (Jan. 14, 2:30pm)! Each presenter will be allotted 30 seconds per slide. SUBMISSION FORM HERE
SLIDE SLAM JAN 14th 2:30-4
True North – A Juried Exhibition of North Bay Artists
EXHIBITS, Exhibits: Past
DECEMBER 16-JANUARY 22
Public Program: ART SLIDE SLAM – SUBMIT HERE
January 14 | 2:30 – 4:30 PM
Extended! on view through January 22 2023
A Juried Exhibition of North Bay Artists
di Rosa Center for Contemporary Art of Napa invited artists working in the North Bay to submit artwork for our inaugural showcase of local artwork True North. Sonoma, Napa, Marin, and Solano counties seem to lie on the periphery of the Bay Area art world— this juried exhibition compels us to de-center that view, showcasing compelling and provocative work emerging from the region's northern outposts.
True North is conceived as a survey of local talent that will generate artistic activity and spark dialogue among diverse practitioners of the arts within the region.
Opening Reception December 15 | 5 – 7 PM
Selected artists will be fêted at an opening reception. Join us and celebrate!
True North Selected Artists:
Christopher Woodcock
Albert Wong
Heather Wilcoxon
Leigh Wells
Esther Traugot
Claudia Tennyson
Polly Steinmetz
Maryann Steinert-Foley
Shelley Spira Burns
Bill Shelley
James Sansing
Gary Ruddell
Victoria Reynolds
Babette Pinsky
Dominique Pfahl
Anne Peet
Mary Oros
t.c. moore
Frances McCormack
Gloria Matuszewski
Jamie L. Luoto
Briona Hendren
Richard Hay Jr.
Amy Hamley
Connie Goldman
Marion Faymonville
Susan Doyle
Reniel Del Rosario
Arleene Correa Valencia
Julie Cloutier
Kathryn Clark
Arminée Chahbazian
Stephen Cartwright
Roger Carrington
Kelly Burke
Sue Bradford
Nicole Bohrer
Janet Bogardus
Sarah Barsness
Deepa Bala
Dennis Ahearn
Chris Adessa
Born in 1952 in Santa Monica, California, and raised in Munich, Chester Arnold studied painting at the College of Marin. After receiving an MFA from the San Francisco Art Institute, he found himself immersed in an exhibition and teaching career in the Bay Area that has continued to the present, recently celebrating 50 years of work in a retrospective at the Fresno Art Museum. A quirky but intense, richly imaginative craftsmanship informs his narrative paintings, which are most often large-scale and woven with visual metaphor. His work may be seen in public and private collections including the San Francisco Museum of Modern Art, the Nevada Museum of Art and the San Jose Museum of Art, where a significant body of his work resides. He has lived and worked for the past three decades in Sonoma, California, with his wife Frances Anne, a textile artist.
Ashwini Bhat
Ashwini Bhat, an artist born in southern India, currently lives and works in the Bay Area, California. Coming from a background in literature and classical Indian dance, she now works at the intersection of sculpture, ceramics, installation, and performance. She often introduces radical but somehow familiar forms to suggest complex interplay between the landscape, the human, and the non-human. Bhat is a recipient of the Howard Foundation Award for Sculpture, Pond Farm Julia Terr Fellowship (BIPOC Artists), and the McKnight Foundation Residency Fellowship. Her work has been exhibited nationally & internationally and can be seen in collections at the Newport Art Museum, USA; Shigaraki Ceramic Cultural Park, Japan; FuLe International Ceramic Art Museum, China; the Watson Institute at Brown University, USA; New Bedford Historical Society, USA; Daugavpils Mark Rothko Centre, Latvia, and in many private collections.
Chandra Cerrito
With over 20 years of experience as an interior art advisor and public art consultant, Chandra Cerrito has a depth of art consulting expertise. After earning a BA in art history and Certificate of Visual Art from Princeton University and an MFA in sculpture from California College of the Arts, she worked in Bay Area galleries and art consulting firms as manager, assistant to the director, and art consultant. Starting in 2003, Cerrito refined her curatorial skills as an independent curator of numerous museum exhibitions and director of the Oakland-based gallery Chandra Cerrito Contemporary for over a decade. In 2004, she founded Chandra Cerrito / Art Advisors, in Napa, CA, which helps create collections for corporate, hospitality and health care clients. As a public art advisor, she has worked with developers, property owners, and cities to manage over 45 public art projects and develop public art policy.
Adia Millett: Force of Nature
Over the last year, Millett spent countless hours wandering di Rosa's 217 acres, collecting leaves, feathers and visual impressions that ultimately found their way into her work. Inspired by this ever-changing landscape, Millett created an arresting series of works evoking "earth, water, air and sun—the elements that birthed us and keep us alive."
Millett relates that her process "is informed by taking things apart, removing, replacing, cutting, pasting, sewing and building"—and this is evident in her textile work as well as in her paintings. A maker and admirer of quilts, she incorporates this passion into every work, breaking materials and images down to elemental components and recombining them in fresh and surprising forms. An emblem of creative resilience, Millett's practice suggests that destruction offers hope for new beginnings.
Exhibition Press Release
learn & listen: Adia Millett on Force of Nature
July 23: Exhibition sound healing | 2:30 pm
July 23: Exhibition reception for patrons and members | 5 – 7 pm
August 20: Artist talk | 2:30 – 4 pm
October 29: Family program with the artist | 1:30 – 3:30 pm
Exhibition support provided by Peter and Louise Hassen.
Adia Millett, Solar Serpent, 2022.
"The countless creatures I witnessed living on the land, including a baby rattler, became mirrors. We are able to see ourselves in other living beings. As they navigate the land, so do we. I imagine the young snake using its senses to transition from the challenges of one season to another. Here the triangle-shaped painting, not only integrated the shades of red to symbolize fire, but blue, green, yellow, and gold, for the water, air, and earth. Like the snake, we move, shed, and thrive."
Erik Scollon: Anything With a Hole… is Also a Bead | Now on View
Events: Past, Exhibits: Past
Erik Scollon—a fixture of the Bay Area's avant-garde ceramics scene—invites us to reconsider that most conventional ceramic object: the bead.
In recent years, lockdown restrictions forced Scollon to practice on a new, more intimate scale, leading him to create thousands and thousands of ceramic beads. Slowly and meditatively, bead after bead was rolled by hand, pierced, fired and glazed. Then, through slow repetition and accumulation, they were strung and knotted into macramé panels. The resulting compositions are riotous fields of color and texture that scramble viewers' perception of scale, distance, and resolution; inviting multiple modes of engagement and shattering conventional distinctions between painting, sculpture, and ceramic art.
A committed educator, Scollon is an Associate Professor and Chair of the First Year CORE Studio Program at California College of the Arts. Moving between 'sculpture' and 'ceramics,' functional objects and aesthetically autonomous objects, social engagement and recorded performances, he investigates issues of education, access, taste, class, gender, and queerness.
Born in Rochester, Michigan, Scollon received his BFA from Albion College, and an MFA in Ceramics along with an MA in Visual and Critical Studies, both from California College of the Arts. His work has been seen at museums, galleries, craft fairs, design blogs, and gay biker bars. He is represented by Romer Young Gallery and he currently lives and works in San Francisco, California.
Fort Phooey: Wiley in the Studio
William T. Wiley (American, born 1937), Eerie Grotto? Okini, 1982, color block print on rag paper, 20 7/8 x 27 3/8 inches, Montgomery Museum of Fine Arts, Montgomery, Alabama, Association Purchase, 1999.6
Step inside the studio of the late William T. Wiley. Fort Phooey: Wiley in the Studio recreates the sights and sounds of his iconic studio—a meeting place for generations of Bay Area artists—combining over fifty original works from di Rosa's collection with archival objects on loan from the artist's estate. The "Fort Phooey" part of the exhibition title is taken from a little-known work in the di Rosa collection titled "Fort Phooey Mandala." Wiley created the mandala as a meditative exercise in his studio, and he also referred to his studio as "Fort Phooey."
Wiley's Marin County studio was perhaps his greatest work of art. Densely layered with words, images and objects that meandered into his work and back out again, it was nothing less than an immersive assemblage. "Being in the studio was like entering into a Wiley artwork," explains curator Kate Eilertsen. "The effect could be dizzying. Every surface was covered with scrawled wordplay, found objects and other elements of his distinctive visual vocabulary."
Inviting visitors into Wiley's studio, the exhibition draws attention to the legacy of his artistic practice. "Wiley's studio practice—rooted in Zen mysticism and an ethos of open-ended play—was imitated by artists ranging from Bruce Nauman to Deborah Butterfield," states Eilertsen. "To understand his profound impact, it is necessary to grapple with the legacy of his practice as well as the work itself."
The exhibition is both immersive and participatory, and will include such details as Wiley's final painting he was working on at the time of his death earlier this year; his workbench; photographs of him with friends and family; works by artists who influenced Wiley's work including Wally Hedrick; musical instruments he encouraged visitors to play when they visited; National Public Radio (NPR) live via radio; and objects such as chalkboards and dunce caps that often appeared in his two-dimensional and three-dimensional work. Visitors will be prompted to create their own artworks and add them to a community wall inside the exhibition space.
Member's Reception on August 20, 4:30-6:30 PM
Making Art with Everyone / Haciendo arte con todos on September 25 and October 23
Why is it called Fort Phooey?
"Fort Phooey" is taken from a little-known work in the di Rosa collection titled "Fort Phooey Mandala." Wiley created the mandala as a meditative exercise in his studio, and he also referred to his studio as "Fort Phooey."
Oliver Lee Jackson: Any Eyes | Closing Weekend February 18-20
When asked about viewers of his work, Oliver Lee Jackson responds, "It's for anybody's eyes. Any eyes will do."
This exhibition presents—for "any eyes"—a selection of Jackson's works in painting, sculpture, and mixed media. While recent retrospectives at the National Gallery of Art and Saint Louis Art Museum have brought renewed critical attention to Jackson's paintings and works on paper, this exhibition highlights the true breadth of his practice, featuring previously unseen works in materials ranging from burlap, felt and paint to steel, wood and marble.
Guest curated by Diane Roby.
Exhibition press release.
Oliver Lee Jackson's artworks are in the permanent collections of The National Gallery of Art, Washington, DC; Museum of Modern Art, New York; The Metropolitan Museum, New York; Museum of Contemporary Art, Chicago; Detroit Institute of the Arts; New Orleans Museum of Art; Los Angeles County Museum of Art; Portland Art Museum, Oregon; St. Louis Art Museum; Museum of Contemporary Art, San Diego; San Francisco Museum of Modern Art; Fine Arts Museums of San Francisco; San Jose Museum of Art; Seattle Art Museum, and many other public and private collections.
Since 1982 Oliver Jackson's studio has been in Oakland, California.
About the Curator
Diane Roby has worked for artists and arts organizations since the 1970s as an archivist, publicist, communications director, and guest curator. She holds an MFA in sculpture from San Jose State University. She has worked with Oliver Lee Jackson for nearly forty years, and also manages the artworks inventory of the Lawrence Ferlinghetti Trust.
Oliver Lee Jackson, No. 17, 2018 (9.9.18), 2018, Oil-based paints, applied paper on panel. Courtesy of the artist and Rena Bransten Gallery.
In Conversation: Oliver Lee Jackson and Diane Roby
February 12 | 3 PM
In a series of black-on-black paintings from 2013–14, images emerge from contrasting gloss and matte black paints with color undertones, sprayed over cut stencils. These paintings are not fully seen from any one view—imagery appears and disappears from different angles or in varying light, in a constantly shifting dynamic. Echoes of the stenciled forms also appear in the tapestries and paintings on view.
A triangular marble figure, in passive repose, is notched and studded with trails of red felt, suggesting simultaneously tender restfulness and the trace of bloody wounds, the mouth open—is it a grimace or a smile?
A figure pulling a heavily loaded cart has been an often-recurring image in Jackson's work since the mid-1960s. Such "junk haulers" are seen in every community, carting off the detritus of society, throwaways that nobody wants or would claim. The cart is piled with figures, flowers, clothing, objects—people and things dismissed as not being of value. This figure, usually hatted and hunched under the weight of the cart, can take on mythical and archetypal stature—Sisyphus and the boulder, or Atlas bearing the weight of the world.
The Incorrect Museum: Vignettes from the di Rosa Collection
Welcome to the exhibition's microsite
Scroll down to read the introductory wall text and click the icons below to enter vignettes.
The Incorrect Museum – di Rosa's permanent exhibition exploring the history of art in Northern California will be dramatically updated and expanded for 2022. Get ready for The Incorrect Museum: redux, opening May 14.
"Come on out and let go/to return again while getting to know/that here the art invites a titter/from the free admitter/That here art is a healthy remedy/with a laugh at rascality not posing as ponderosity." - Rene di Rosa
Rene di Rosa viewed his collection of more than 1600 objects, accumulated over five decades from the 1960s until his death in 2010, as a sort of "incorrect museum." In 1997, when the preserve opened its doors to the public, di Rosa memorialized the occasion in verse, penning a "singalong for an incorrect museum" which was distributed to early visitors: "Come on out and let go/to return again while getting to know/that here the art invites a titter/from the free admitter/That here art is a healthy remedy/with a laugh at rascality not posing as ponderosity."
di Rosa's vision of an "incorrect museum" is a potent concept, especially today as museums across the world reassess their institutional histories, missions and values. What, exactly, made the di Rosa an "incorrect museum" in the eyes of its founder?
di Rosa, along with many of the artists he collected, strictly opposed the aesthetic and social conventions of the mainstream art world, which he viewed as pretentious, sterile and fundamentally conservative.
Unlike major museums in New York and Los Angeles, di Rosa welcomed the public free of charge, reflecting a populist vision for the arts. Similarly, he rejected the bland art-speak peddled by gallerists and curators, eschewing the use of exhibition labels to cultivate a more immediate and personal exchange between artwork and viewer.
Even the personal residence di Rosa shared with his wife Veronica was imbued with an "incorrect" spirit, with works installed ceiling-to-floor in a playful salon style. The entryway of The Incorrect Museum is installed similarly, as a tribute to di Rosa's curatorial vision. In the main gallery, we present six vignettes exploring how di Rosa's "incorrect" sensibility was informed by the Bay Area's unique artistic milieu. As this exhibition shows, the ideal of "incorrectness" was a lodestone for generations of Bay Area artists.
The works in the collection had a distinctly "incorrect" flavor which tended, di Rosa wrote, to invoke a "curatorial frown" from cultural gatekeepers in large, international museums.
The collection focused on Bay Area artists—like Bruce Conner, William T. Wiley, Robert Arneson and Roy De Forest, among others—whose work was too colorful, ungainly, humorous and irreverent to be easily interpreted or consumed by art world afficionados. di Rosa also supported local artists—including Peter Voulkos, Jim Melchert, Tom Marioni and Paul Kos—who blurred the line between art and life, creating conceptual works rooted in experience that were not easily bought or sold.
We invite you to celebrate the shared "rascality" of these artists. The art and artists of Northern California have too often been overlooked by critics and historians of twentieth century art.
Kate Eilertsen, Executive Director and Curator
Twyla Ruby, Curatorial Associate
The Vignettes
The Incorrect Museum: Sweet Land of Funk
The Incorrect Museum: Pot Palace
The Incorrect Museum: Nut Art
The Incorrect Museum: Dude Ranch Dada
The Incorrect Museum: Museum of Conceptual Art
The Incorrect Museum: Worlds in Collision
RESIDENCE RE-HANG
Ceramic Interventions: Nicki Green, Sahar Khoury, & Maria Paz
Nicki Green, The Porous Sea (Tub), 2019. Glazed earthenware with cotton quilt.
Sahar Khoury, Untitled (bone holder with two charms wall relief), 2021 Ceramic, cement, pigmented paper mache, resin, vinyl paint, steel. Courtesy the artist and Rebecca Camacho Presents, San Francisco
Maria Paz, Camilo Marcelo Catrillanca, 2021 Ceramic, glaze 22 x 26 x 12 inches
The Bay Area has a longstanding tradition of radical experimentation in ceramic arts and, in recent years, many of the region's most exciting young artists have chosen clay as their medium. This exhibition highlights three emerging artists working in this space, exploring a range of contemporary interventions in ceramic tradition.
Nicki Green, Sahar Khoury and Maria Paz all speak about the respect they have for ceramic's durability, elasticity and strength, and are deeply engaged with the legacy of Bay Area ceramics. However, their practices represent unique modes of ceramic intervention. Green uses clay to create objects that explore history, ritual and the aesthetics of otherness. Khoury, meanwhile, engages in a practice of "creative repair" to create sculptures and installations that incorporate clay with cement, metal, textile and papier-mâché as well as rejected or found materials. Paz, finally, archives her personal and family history on ceramic vessels as an act of resilience and resistance.
Highlighting a wide range of recent works, Ceramic Interventions shows that clay remains an exciting and vital medium for today's emerging artists.
May 22: Exhibition Artist Panel with Twyla Ruby
June 5: Nicki Green Walkthrough
June 26: Sahar Khoury in Conversation
July 24: Maria Paz Ceramic Workshop with Sonoma Community CenterEmpty heading
Nicki Green is a transdisciplinary artist working primarily in clay. Originally from New England, she completed her BFA in sculpture from the San Francisco Art Institute in 2009 and her MFA in Art Practice from the University of California, Berkeley in 2018. Her sculptures, ritual objects and various flat works explore topics of history preservation, conceptual ornamentation and aesthetics of otherness. Green has exhibited her work internationally, notably at the New Museum, New York; The Contemporary Jewish Museum, San Francisco; Rockelmann & Partner Gallery, Berlin, Germany. She has contributed texts to numerous publications including a recent piece in Duke University Press' Transgender Studies Quarterly and a piece in Fermenting Feminism, Copenhagen. In 2019, Green was a finalist for the San Francisco Museum of Modern Art's SECA Award, a recipient of an Arts/Industry Residency from the John Michael Kohler Art Center, among other awards. Green lives and works in the San Francisco Bay Area.
Sahar Khoury is an artist based in Oakland, California. Khoury makes sculptures that integrate abstraction, personal and political symbols, and an intuitive sensitivity to site. Experimenting with juxtapositions of found or fabricated items with more familiar artist materials such as clay and papier-mâché, she continues to develop an idiosyncratic approach, with a primary commitment to material enquiry. She received her BA in Anthropology from UC Santa Cruz in 1996 and her MFA From UC Berkeley in 2013. She was the recipient of The San Francisco Museum of Modern Art 2019 biannual SECA Art Award and the 2018 Triennial Exhibition, Bay Area Now 8 at the Yerba Buena Center for the Arts. Khoury's work has been exhibited at SFMOMA, YBCA, Oakland Museum of California, The Wattis Institute, UC Berkeley Art Museum, Rebecca Camacho (SF) and CANADA (NY). Khoury's work has been written about in the New Yorker, Art Review, and Hyperallergic.
Maria Paz (b. Quilpue, Chile) is a self- taught sculptor based in Oakland, California. Her ceramic sculptures serve as archival objects, often exploring the bond broken with her home country and how her experience as an immigrant in the United States has shaped a multiplicity of identities within her. Recently, Paz has exhibited work at Yerba Buena Center for the Arts (San Francisco), San Jose Institute of Contemporary Arts (San Jose, CA), Pt. 2 Gallery (Oakland, CA), and Southern Exposure (San Francisco, CA). Paz has held workshops at the Contemporary Jewish Museum (San Francisco, CA) and was a finalist for the 2019-2020 TOSA Studio Award. She was awarded the Bed Stuy Arts Residency in Brooklyn, New York and is currently preparing for a group exhibition focused on community healing at Part 2 Gallery (Oakland, CA).
Curated by Curatorial Associate Twyla Ruby, with Executive Director Kate Eilertsen, and Director of Education & Civic Engagement Andrea Saenz Williams.
Jim Drain: Membrane
EXHIBITION BROCHURE
Jim Drain, Membrane, 2020, photo by Karen Philippi
Opening Reception: Saturday, February 22, 2020
Jim Drain's long-term installation Membrane marks one of two inaugural projects in di Rosa's Conversation Pieces series and the artist's first solo commission in Northern California. Drain was a member of Forcefield, a seminal Providence, Rhode Island-based collective active from 1996-2002 that explored the merging of music, performance, film, and installation into one platform. His subsequent independent works, which range from rambunctious two-and-three-dimensional textile collages made from reclaimed fabrics to large-scale immersive public art projects that include vibrant murals, sculptures, and furniture, conjure the sensibilities of core collection artists like Franklin Williams, Roy de Forest, and Joan Brown. Drain's collective and interdisciplinary background coupled with his intuitive, irreverent blend of assemblage, craft, and form, draw from and resonate with the distinctive spirit of the Bay Area and its artistic legacy.
The region's hallmarks of collaboration and community share affinities with Drain's approach to this mutable Gallery 1 installation built to serve as a long term multi-use space for a range of activities and events, including artist talks, lectures, symposia, and performances, as well as an area for lounging, reading, and daydreaming amidst di Rosa's idyllic landscape. Taking a decidedly design-based craft-centered approach, Drain's project riffs off of Northern California countercultural utopian design themes encompassing a mix of Buckminster Fuller's geodesic domes, macramé textiles, and colorful tie-dyed motifs and draws from the rich history of craft and handwork centered in the Bay Area in the 1960's and 70's.
For Membrane, Drain's signature mode of assemblage, which uses large welded steel frames to tether rag rug-like braided and ribboned fabrics, will be adapted to a suite of functional seating objects that take the metal frames of vintage aluminum lounge chairs and large geodesic half domes as their point of departure. The webbing for each piece (made collaboratively with assistants in Providence) will be comprised of vibrant hand-knotted macramé designs drawn from styles used in the work of Alexandra Jacopetti Hart's Macrame Park (once installed outdoors in Bolinas, CA) and the work of Barbara Shawcroft (such as Legs, a large-scale public art sculpture once sited on the eastern end of the Embarcadero BART/Muni station.) This functional furniture system will be bathed in a reflective pink glow cast from the above skylights and paired with mobile iridescent screens that allow viewers to create their own spaces.
Membrane, as term and title, refers to the knotting and weaving techniques used in many of the works as well as the permeability of the objects placed within the space itself. Drain's operative and immersive installation will create an organic, dreamlike experience that responds to the surrounding architecture and natural landscape of the gallery while building on the artist's interests in developing generative utopian frameworks. Made for and completed by the viewer, Membrane offers a pliable, reflective space for dialogue and respite and locates something brighter and more inclusive in mounting dystopic times.
Jim Drain (b. 1975 in Cleveland, Ohio) is a multi-media artist based in Providence, Rhode Island and holds a BFA in Sculpture from the Rhode Island School of Design in 1998. His work with Forcefield was active from 1996 to 2002 and was part of the Whitney Biennial in 2002. He has had numerous solo and group exhibitions including University of Florida, Gainesville; Locust Projects in Miami, Florida; Blanton Museum at the University of Texas, Austin; John Michael Kohler Arts Center in Sheboygan, Wisconsin; The Garage in Moscow, Russia; The Pit in Los Angeles, California; Nathalie Karg Gallery in New York City; Nina Johnson in Miami, Florida, and Parker Gallery in Los Angeles, Califonia. Drain's work is in the permanent collection of the Whitney Museum of Art; Pérez Art Museum, Miami; Museum of Modern Art; The Rhode Island School of Design Museum; Museum of Contemporary Art, Los Angeles and the Philadelphia Museum of Art.
Davina Semo: Core Reflections
Davina Semo, Messenger, 2019, polished and patinated cast bronze bell, whipped nylon line, wooden clapper, powder-coated chain, hardware, bell: 32 inches tall x 13 inches diameter, overall dimensions variable. Photo: John Wilson White. Image courtesy of Jessica Silverman Gallery, San Francisco, and the artist.
Generator, 2019 | Polished and patinated cast bronze bell, powder-coated chain and hardware, polyurethane clapper bell: 34.5 inches tall x 13 inches diameter, overall dimensions variable | Video, Hugo Corro
Transmitter, 2019 | Polished and patinated cast bronze bell, powder-coated chain and hardware, polyurethane clapper bell: 22 inches tall x 9.5 inches diameter, overall dimensions variable | Video, Hugo Corro
Davina Semo's exhibition Core Reflections marks one of two inaugural projects in di Rosa's Conversation Pieces series. The San Francisco-based artist works across two and three dimensions, often utilizing industrial materials that examine tensions between nature, society and the self. Her project for di Rosa considers the unique setting of Gallery 1 in relation to the landscape as well as its siting as a point of public assembly. Semo's past works have looked to the urban environment for inspiration, much like key Beat era funk artists such as Bruce Conner, Wally Hedrick, George Herms, and Jay DeFeo, among others, that found potential in the overlooked, abject materials of the everyday, and defined the rise of Northern California assemblage in sculpture and collage of the 1950s and 1960s.
Semo's commission for di Rosa inverts this lens by drawing on the surrounding industrial architecture of the gallery space amidst the expansiveness of the natural Northern California terrain just outside. Building on her more recent series of wall based works and suspended wax cast bronze bells that both invite and implicate the viewer through their highly polished reflective surfaces, Semo's commission highlights the porous confines of di Rosa's glass encased exhibition space, offering up a moment for viewers to examine themselves within the uncertainty of exterior forces.
Recent travels to Greece have inspired the artist's emphasis on the Gallery 1 platform as an entry point for the viewer, conjuring the concept of the ancient agora, or an open public gathering space. Within this, we encounter a number of Semo's substantial bells which hang by a variety of industrial grade chains, inviting viewers to walk around their forms and engage in their utility as instruments for expressing a call to attention. Two sets of wall-based works surround the gallery space: one continuing the artist's explorations of warped, luminous surfaces that recall domestic mirrors, and in turn, our own visages; and the other, an entirely new exploration of acrylic and woven metal mesh substrates tethered with 3D printed casts of the sensuous skyfruit mahogany seed pod.
Taken as a whole, Semo's assembly of works for di Rosa creates a subtle yet ecstatic mode of corporeal engagement by prompting a reevaluation of our contemporary mindset ruled by anxieties and unease. Core Reflections invites sustained moments of introspection and contemplation within the permeable precipice of built and organic space.
Davina Semo (b. 1981, Washington, DC) earned her BA at Brown University in 2003 and her MFA from the University of California, San Diego in 2006. Semo has shown extensively throughout the United States and Europe, including solo exhibitions at Jessica Silverman Gallery (San Francisco) and Marlborough Chelsea (New York). Group exhibitions include Hair and Skin at Derek Eller Gallery (New York), TOUCHPIECE at Hannah Hoffman Gallery (Los Angeles) and Show Me as I Want to Be Seen at The Contemporary Jewish Museum (San Francisco). Davina Semo lives and works in San Francisco, CA. Semo is represented by Jessica Silverman Gallery (San Francisco), Marlborough Gallery (New York), and Ribordy Thetaz (Geneva).


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4002-1Following on from our popular WRX short-shift kit, we have now released a new version to suit Subaru's 6-speed gearbox found in all late-model STi's, from MY02 and on.
As with our WRX kit, the GFB STi short shift kit includes a unique clamp arrangement that allows the shift throw to be reduced much more than by changing the gearstick alone. As you can see from the picture, the GFB clamp eliminates the need to lift the gearbox linkage higher to reduce shift throw. Instead, you simply select one of the three holes.
4002-2The factory shifter in an STi has a shift throw of 40mm per gate; the GFB unit is adjustable from the factory setting, right down to a tiny 22mm per gate! To put this into perspective, the best any aftermarket shifter (that replaces only the gearstick) can hope to achieve is 30mm per gate, without modifications to the linkages or surrounding bodywork. The photos opposite show the stock STi shifter vs the GFB shifter from 3rd to 4th gear.
Installation is done completely from within the car, and is made much easier with the inclusion of a special tool for removal and installation of the reverse lock-out cable pin. Typically the installation can be completed within 20 minutes.


text:
The King's English Bookshop
matching books to readers since 1977
FIRST EDITION CLUBS
Rebecca Solnit | Award in Environmental Humanities
The University of Utah honors writer and historian Rebecca Solnit with Award in Environmental Humanities.
Known for her books about feminism, western and indigenous history, popular power, social change and insurrection, wandering and walking, hope and disaster, she's also a contributor to The Guardian and other news publications. She's written 20 books including The Mother of All Questions, Hope in the Dark, Men Explain Things to Me, The Faraway Nearby, A Paradise Built in Hell: The Extraordinary Communities that Arise in Disaster, A Field Guide to Getting Lost, Wanderlust: A History of Walking and River of Shadows: Eadweard Muybridge and the Technological Wild West (for which she received a Guggenheim, the National Book Critics Circle Award in criticism and the Lannan Literary Award).
Photo Credit Trent Davis Bailey
Thursday, March 28, 2019 - 7:00pm
Salt Lake City Public Library
Give the gift of audiobooks!
Charlie Holmberg | The Will and the Wilds
S. P. Grogan | Lafayette: Courtier to Crown Fugitive, 1757-1777
Jack Harrell | Caldera Ridge
Lunar New Year Storytime
Courtney Alameda & Valynne E. Maetani | Seven Deadly Shadows
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redpajama_set_name: RedPajamaCommonCrawl


text:
import alpenglow.Getter as rs
import alpenglow.offline

class FactorModel(alpenglow.offline.OfflineModel):
    """FactorModel(dimension=10,begin_min=-0.01,begin_max=0.01,learning_rate=0.05,regularization_rate=0.0,negative_rate=0.0,number_of_iterations=9)

    This class implements the well-known matrix factorization recommendation model [Koren2009]_
    and trains it via stochastic gradient descent. The model is able to train on implicit data
    using negative sample generation, see [X.He2016]_ and the **negative_rate** parameter.

    Parameters
    ----------
    dimension : int
        The latent factor dimension of the factormodel.
    begin_min : double
        The factors are initialized randomly, sampling each element uniformly from the interval (begin_min, begin_max).
    begin_max : double
        See begin_min.
    learning_rate : double
        The learning rate used in the stochastic gradient descent updates.
    regularization_rate : double
        The coefficient for the L2 regularization term.
    negative_rate : int
        The number of negative samples generated after each update. Useful for implicit recommendation.
    number_of_iterations : int
        Number of times to iterate over the training data.
    """
    def _fit(self, recommender_data, users, items, matrix):
        model = rs.FactorModel(**self.parameter_defaults(
            begin_min=-0.01,
            begin_max=0.01,
            dimension=10,
            initialize_all=False,
            seed=self.parameter_default('factor_seed', 67439852),
        ))

        updater = rs.FactorModelGradientUpdater(**self.parameter_defaults(
            learning_rate=0.05,
            regularization_rate=0.0
        ))
        updater.set_model(model)

        point_wise = rs.ObjectiveMSE()
        gradient_computer = rs.GradientComputerPointWise()
        gradient_computer.set_objective(point_wise)
        gradient_computer.set_model(model)
        gradient_computer.add_gradient_updater(updater)

        negative_sample_generator = rs.UniformNegativeSampleGenerator(**self.parameter_defaults(
            negative_rate=0,
            initialize_all=False,
            max_item=-1
        ))
        negative_sample_generator.set_train_matrix(matrix)
        negative_sample_generator.set_items(items)
        negative_sample_generator.add_updater(gradient_computer)

        learner = rs.OfflineIteratingOnlineLearnerWrapper(**self.parameter_defaults(
            seed=self.parameter_default('learner_seed', 254938879),
            number_of_iterations=9,
            shuffle=True,
        ))
        learner.add_iterate_updater(negative_sample_generator)

        return (model, learner)

redpajama_set_name: RedPajamaGithub


In the summer of 1612, Galileo sketched a series of sunspots which were published in Istoria e Dimostrazioni Intorno Alle Macchie Solari e Loro Accidenti Rome, (History and Demonstrations Concerning Sunspots and their Properties), in 1613. Galileo corresponded with other scientists and artists who also were sketching the sun in the early 1600′s. He used a 16mm, f/11 Galilean refractor, and many drawings are known to have survived. He observed the sun using attenuated eyepiece (attenuated by Earth's atmosphere when the Sun was low on the horizon at dusk) and eyepiece projection techniques.
A lot of people repeat the story (which is really just an urban legend) that Galileo became blind by looking at the Sun through his telescope. He went blind in 1672, from a combination of cataracts and glaucoma more than half a century after publishing his sunspot sketches.
In his sunspot letters to Mark Welser, dated May 4, 1612, Galileo mentions observing the Sun directly — but only at sunset. In its final paragraph, he mentions that his pupil Benedetto Castelli has discovered a better way to observe – using a projection method.
My sunspot drawings were made mostly in 2002, near solar maximum, so I was able to see and sketch and classify hundreds of sunspots and other solar features. The one pictured here was made a few years earlier, tho'. I used three telescopes for my observations, a homemade bright yellow 6-inch f/10 Dobsonian reflector which I made in John Dobson's telescope making class, an Orion 80mm refractor with a white-light solar filter and a Televue 70mm Ranger refractor with a Coronado h-alpha filter. I used these instruments to make daily sketches over two solar rotations (about 2 months) and completed the Astronomical League's Sunspotter Club observing program. My 2002 solar sketches are linked below.


Celebrate spring and meet our newest additions – lambs, piglets, calves, chicks, and kids in the Round Stone Barn. Explore the hands-on Discovery Barn, make things, and stay for story time. Visit the Shaker Schoolhouse. Hear the Shakers' story of sustainability. Have fun on the trail. Come for live music and sing along. Visit on Thursdays and stay longer ('til 5pm). Spend Easter with us and celebrate Earth Day. Pony rides, face painting, balloon art. See cooking, blacksmithing, woodworking, sheep shearing, spinning, and weaving demos.


Cleansing Oil – Ayele & Co.
This 4oz gentle and effective cleansing oil removes makeup, brightens the complexion, purifies sebum from pores. It is packed with anti-aging and hydrating skin nutrients. This oil–based facial cleanser that dissolves makeup thoroughly with zero residue and removes excess oil when used as a pre-cleanse. Its nutritive formula effortlessly breaks down stubborn, waterproof mascara and eyeliner and emulsifies into a cleansing milk when you rinse. Great for removing excess oil and sunscreen, it's a daily must-have even if you don't wear makeup. Your skin will feel soothed, refreshed, and balanced.
HOW TO USE: Massage 2-4 pumps on damp skin in a circular motion to remove and wipe face clean.


Become a Monster Reader and get Reborn FREE!
Subscribe to Val's newsletter and be the first to know about new releases and get occasional updates! Plus get a FREE eBook when you sign up today!
Reborn is the prequel to the Daughter of Darkness series–an adult coming of age story about Mackenzie Adams, a young woman whose life is turned upside down when she discovers she is not only a witch but can cheat death. Get your copy today!


Pilot Job Central started from the idea that there is a better way for pilots and employers to find eachother.
Pilots are in demand. But online job hunting tools have not evolved to reflect this. Existing systems still have pilots pay a fee to get access to gated content.
Employers are facing ever increasing challenges of finding pilot applicants. The same existing systems often cause the applicants they do receive to be lower quality. Or those pilots lack interest in new positions.
The internet has evolved with increasingly sophisticated tools with ever-increasing capabilities. We believe that it's time that these tools be made available to pilot employment.
Partners Greg Thomson and Will Jacobs have designed, developed, and worked together for almost a decade. They came to each other through common ideals of creating unique tools to better serve industries and empower the users of those tools. Greg and Will both hold a core ideal of what it means to bring true value to a marketplace, and are entrepreneurs at heart.
Between the partners there is several decades of experience in designing, developing, and marketing websites and applications. Greg is a professional pilot with more than 7,000 hours of flight time and a variety of pilot jobs worked.


Hi i want help with the multiplayer.
yeah! i've only been able to join one of the twenty matches i've attempted!? it says the match is joinable, but not really!?
yes it says that it is joinable but when i join the server is full. If i want a private match with my friend how can i do it?


A student of Bauhaus, Wassily Kandinsky emphasised the importance and value of every single object. So much more than a geometric arrangement, Kandinsky intricately positioned and spaced objects, all while obsessing over the colour that supplies that object's life. Our interpretation of Wassily Kandinsky's Bauhaus.


text:
Home Research > Members > 1509-1558 > BULKELEY, Charles (by 1493-1549/50)
BULKELEY, Charles (by 1493-1549/50), of Salisbury, Wilts. and Burgate, Hants.
Published in The History of Parliament: the House of Commons 1509-1558, ed. S.T. Bindoff, 1982
SALISBURY2
b. by 1493, 2nd s. of Robert Bulkeley of Burgate by Anne, da. of John Poyntz of Iron Acton, Glos. educ. M. Temple. m. by 1538, Alice, wid. of William Dale of Hants.3
Clerk of the peace, Wilts. 1515-20 or later; j.p. 1525-d.; receiver for Queen Anne Boleyn, Wilts. 1533, Dorset in 1534, steward, Som. in 1534; jt. (with John Welsborne) ranger, Groveley forest, Wilts. 1534; commr. musters, Wilts. 1539, 1545, subsidy 1540, 1542, 1546, 1547, benevolence 1544/45, chantries, Wilts. and Salisbury 1548; sheriff, Wilts. 1545-6.4
Charles Bulkeley's grandfather was of Cheshire birth but settled in Hampshire. Bulkeley himself was trained to the law and became a clerk to Sir Richard Elyot, justice of the common pleas, who in 1514 left him a gilt spoon and black gown. In 1514 he and Elyot were named feoffees to use of lands in Berkshire belonging to John Kingston. Bulkeley was almost certainly the 'Bulkeley junior' who in November 1518 was chosen as one of the masters of the Christmas revels at the Middle Temple, although his full name is found only on the roll of members assessed there for subsidy in 1523: 'Bulkeley senior' was his elder brother Robert. Their kinsman John Poyntz was in the service of Catherine of Aragon, and it was this connexion which presumably accounts for Bulkeley's own employment by the Queen as one of her solicitors sometime during the 1520s. This association with Catherine does not seem to have endangered his advancement after the divorce, for Anne Boleyn made him receiver and steward of some of her estates in the west country. From his appointment as a clerk of the peace for Wiltshire in 1515 until his death 35 years later Bulkeley was one of the most active figures in the county's administration.5
Bulkeley may have inherited a connexion with Salisbury, where a chaplain named Robert Bulkeley witnessed the will of William Bensington in 1487 and where another Robert Bulkeley, who had a pew in St. Edmund's church, was an alderman of New Street ward in 1488. In May 1536 the corporation agreed that Charles Bulkeley should have a 20-year lease of a stable by the Greyfriars, and 12 months later the canons residentiary told Cromwell that they could not prefer his nominee to the parsonage of St. Martin's, since the lease had already been granted to Bulkeley and his kinsman John Abarough. In December 1537 Bulkeley wrote from Salisbury informing Cromwell of the grave illness of one of the canons and offering to assist any of the minister's friends to the preferments involved. Two years later he offered the minister £100 for the conventual buildings of the Grey Friars at Salisbury, where he had lodged for 20 years, but it was not until after Cromwell's fall that he obtained a 21-year lease of the property. In July 1541 he conducted an examination of two Spaniards at Salisbury, and joined Bishop Capon in reporting the results to the Privy Council. He was among 15 citizens who lent money to the King in 1542 and five years later he was assessed for subsidy on lands in the Meadow ward worth £60.6
Bulkeley was returned for Salisbury in 1542 but it is likely that he had sat in Parliament earlier. A 'Bowkleye' appears as an insertion on the list thought to be of Members opposed on religious or economic grounds to the bill in restraint of appeals enacted during the fifth session (1533) of the Parliament of 1529. It is possible that this was John Bickley, one of the Members for Stafford, but the form of the name is common for Bulkeley. Moreover, not only does the name not appear at the point in the list where Bickley's name should have come, but the fact that it was inserted implies that it was not on the Crown Office list used by the compiler; whereas Bickley's name was on that list, Bulkeley's would not have been if he was by-elected after it had been brought up to date in 1532. Despite his earlier connexion with Queen Catherine (which in itself might explain his disquiet at the consequences of the bill), Bulkeley's more recent ones with Anne Boleyn and Cromwell would have favoured him at a by-election, although for what borough cannot be known; his own city had no vacancy. If Bulkeley was by-elected to this Parliament he was presumably re-elected in 1536 in compliance with the King's general directive for the return of the previous Members, and may also have been in 1539 when the names of so many Members are lost. His election at Salisbury on 30 Dec. 1541 appears to have owed something to William Webbe II: at least it was Webbe who announced after the election, that 'Mr. Charles Bulkeley did promise him that in case this Parliament were not prorogued that he would take nothing of the city for his fee, and if it be prorogued that then the said Mr. Bulkeley would stand at the gentle reward of the said city'. The Parliament of 1542 lasted for three sessions but whether Bulkeley received any payment is not recorded. Nothing is known about his part in Parliament on this occasion, but after its dissolution in 1544 he helped to purvey victuals for the French campaign.7
Bulkeley, describing himself as of Burgate, made his will on 7 Aug. 1549, commending his soul to the Trinity and asking for burial beside his father at Fordingbridge. After providing for his wife and other kin, he remembered Alice Monday 'who hath truly served me and my mother many years', and named his wife, his stepson William Dale and his servant Thomas Girdler executors and William Bulkeley of Burgate and Walter Skilling overseers. The will was proved in 1550, the inclusion of his name on the commission to collect the third part of the relief issued in December being an administrative mistake.8
Author: T. F.T. Baker
1. Did not serve for the full duration of the Parliament; LP Hen. VIII, ix. 1077 citing SP1/99, p. 234.
2. Salisbury corp. ledger B, f. 294v.
3. Date of birth estimated from first reference. Vis. Hants (Harl. Soc. lxiv), 4; Vis. Glos. (Harl. Soc. xxi), 129, 133; PCC 29 Coode; LP Hen. VIII, i, xiii.
4. VCH Wilts. v. 36; E179/197/189, 240, 259/19; 371/300/50; LP Hen. VIII, iv, vi-viii, xii-xxi; CPR, 1547-8, p. 91; 1548-9. p. 135; Hoare, Wilts. Salisbury, 812.
5. Hoare, Wilts. Frustfield, 27-28; Vis. Cheshire (Harl. Soc. xviii), 54-56; Vis. Hants, 4; VCH Hants, iv. 561-2, 570; LP Hen. VIII, i, iv, vi; HP ed. Wedgwood 1439-1509 (Biogs.), 295; M.T. Recs. i. 56-59, 62-63, 70, 74, 77; Cal. I. T. Recs. i. 458.
6. Churchwardens' Accts. of St. Edmund and St. Thomas, Sarum (Wilts. Rec. Soc. 1896), 76, 381; ledger B. ff. 167, 281; LP Hen. VIII, xii, xiii, xvi, xviii; Salisbury Dioc. RO, bishop's deposition bk. 1, f. 22; VCH Wilts. iii. 330; E179/197/240, 259/19.
7. SP1/99, p. 234; ledger B, f. 294v; LP Hen. VIII, xix,.
8. PCC 29 Coode; CPR, 1553, p. 364.


text:
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Texas Tech Falls Saturday at West Virginia
January 21, 2023 4:20PM CST
MORGANTOWN, WVa. – Despite opening the second half on an 11-2 run to take a four-point lead, the Texas Tech Lady Raiders fell 67-57 Saturday afternoon at West Virginia.
Saturday's contest ends a stretch of three straight Saturday road games and four-of-six overall on the road. Texas Tech (15-5, 3-4 Big 12) ended the stretch 3-3 overall and 2-2 on the road.
Despite 20 total turnovers and shooting just 3-of-22 from 3-point range, Texas Tech (15-5, 3-4 Big 12) had a chance to record a third consecutive road win, but 5-of-7 3-point shooting from the Mountaineers (13-5, 4-3 Big 12) in the fourth quarter proved to be the difference.
In the end, the Mountaineers shot 7-of-13 from the field, 5-of-7 shooting from deep and 12-of-13 free throws. WVU outscored Tech 31-25 in the fourth and final quarter.
As she has for the entirety of Big 12 play, Bre'Amber Scott scored 18 points and grabbed seven rebounds while Kilah Freelon added 11 points and five rebounds.
Three WVU players hit double figures led by Jayla Hemingway's 18 points and 10 rebounds. Madisen Smith added another 17 points while Ja'Naiya Quinerly scored 16 points and had 10 rebounds. Quinerly was 7-of-7 from the line.
Despite outscoring WVU 42-14 in the paint, Tech fell for the 12th consecutive matchup overall against WVU and for the ninth time in 11 matchups in Morgantown.
HOW IT HAPPENED:
Tech got off to a strong start in the first few minutes scoring the first four points and six of the first 10 to lead 6-4 with 6:31 left in the opening quarter.
After WVU responded with the next five points over the next 44 seconds of game action to hop out in front 9-6, Tech scored the next four points to get back in front, 10-9 with 1:28 to play.
WVU used a triple from Smith to take a 12-10 lead into quarter number two.
Since going up 6-4, the Lady Raiders made just two of their next 10 shots.
In the second, Tech did not get on the scoreboard until the 5:39 mark as WVU opened with the first five points of the quarter.
Ella Tofaeono broke the ice for Tech when she hit a layup. The shot brought Tech to within 19-12.
WVU ran its run to 7-2 on a Quinerly layup with 5:05 to play, but Tech scored the next seven points to pull to within 21-19 with 2:18 to play in the quarter.
Tech was held scoreless over the final 2:18 of the quarter, as WVU scored the final four points to lead 25-19 after 20 minutes.
In the first two quarters, Tech managed just 9-of-28 shooting and was 0-of-9 from distance.
After the break, Tech used a layup from Katie Ferrell to jump start an 11-2 run over the first five minutes and 15 seconds of the third quarter.
The run flipped a six-point halftime deficit into a 30-27 Tech lead. The run was sparked as much on the defensive end as the offensive one, as the Lady Raiders held WVU without a field goal over the span. WVU was 0-of-7 from the floor and turned the ball over three times.
WVU responded after the under-five media timeout, scoring five of the next seven and nine of the final 11 points to lead 36-32 after 30 minutes of play.
The Lady Raiders held WVU to just 3-of-12 shooting from the floor and 0-of-7 from 3-point range.
The Mountaineers kept riding the momentum from the end of the third period in the fourth, using a triple to take a second half high 39-32 lead with 9:42 to play.
Tech answered with back-to-back layups from Freelon to pull to within 42-38 with 7:19 to play in the game, but WVU used back-to-back triples from Smith and Kiyah Watson to take a 45-38 lead with 6:25 to play.
WVU extended its run to 10-2 with five quick points from Hemingway. The run gave WVU a 52-40 lead with 4:10 to play.
Tech twice pulled to with eight points with 2:40 remaining (52-44) and with 2:01 (55-47), but WVU found a way to increase its lead to 59-47 with 1:23 to play.
The Lady Raiders answered with 10 of the next 12 points to claw to within 61-57 with 32 ticks to play but WVU answered with the next six points to seal the victory.
With the loss Saturday, Tech fell to 5-17 all-time against the Mountaineers.
HEAD COACH KRISTA GERLICH:
"Obviously, it is a disappointing loss for us because I feel like we had some momentum heading into the game. We looked pretty fatigued from the word 'go,' which was unfortunate. I do think that West Virginia is a very good basketball team, and they are very well coached. Their guards are really tough, some of the best in the conference. We turned the ball over too many times, and we had too many empty plays, particularly in the second half after we closed the gap. We didn't finish well, and West Virginia did. They shot the ball really well from the three-point line in the fourth quarter, and I think that was the difference."
INSIDE THE BOX SCORE:
• Freelon continues to play well the last three games. The forward reached double-figures for the second straight game.
• The forward has now scored 31 points the last three games on 13-of-18 shooting.
• Tofaeono scored eight points and grabbed six rebounds in just 11:25 of action. The forward was perfect 4-of-4 from the floor but was hampered by four fouls.
• Despite shooting just 7-of-19 from the field and 2-of-6 from the line, Scott found a way to get to 18 points to extend her streak to seven games with at least 18.
• She did however fail to get to 20 points for the first time in six games.
• WVU shot 29 attempts from the charity stripe as compared to 10 attempts for the Lady Raiders.
• Tech outrebounded WVU 35-30.
• The Lady Raider fell for the first time this season when holding a team below 30 points in the paint. Tech was previously 14-0 in those instances.
Following the mini-bye on Wednesday, Tech returns to action for Baylor next Saturday (Jan. 28). The game will be the All-Lady Raider reunion as well as the 30th anniversary of the 1993 National Championship.
Release provided by Andrew Stern Texas Tech Athletics
Rich FlexDrake
Middle ChildJ. Cole
Tomorrow 2Glorilla
Ku Lo SaOxlade
Do It AgainNle Choppa
Actor Mary Beth Webber who plays Yente from "Fiddler on the Roof" before visit 1/30-2/1
7 Brew Coffee is Coming to Lubbock
Red Raiders receive top 10 ranking
Valentine's Day in Lubbock
H.R. 2617 to Allocate Funding to Ports-to-Plains Highway Texas Corridor
Live Local Lubbock
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1. Hair – must be clean, neat and cared for. Color and style must not create a distraction to student learning as determined by the principal.
2. Clothing – halters, tank, muscle and midriff shirts may not be warn in school. No clothing with patches or printed phrases depicting vulgarity may be worn in school.
3. No flip-flops, clogs, sandals or shoes with wheels will be worn to school for safety reasons. The wearing of socks is highly recommended for health and safety reasons.
4. Excessive make-up is discouraged as it may create a distraction to student learning.
The complete dress guidelines may be found in the AASD Student Code of Conduct for Elementary Education manual.


text:
Documents — 2018 NSF LTER Symposium
Understanding Our Ocean Connections through Long-Term Ecological Research Thursday, April 19, 2018 8:30 a.m.-12:30 p.m. National Science Foundation 2415 Eisenhower Avenue Alexandria, Virginia Rooms W2210-W2220 Speakers: Peter Groffman, LTER Science Council Chair; Deron Burkepile, Mo'orea Coral Reef LTER; Evelyn Gaiser, Florida Coastal Everglades LTER; Kyle Cavanaugh, Santa Barbara Coastal LTER; Susanne Menden-Deuer, Northeast U.S. Shelf LTER; Merryl Alber, Georgia Coastal Ecosystems LTER; Bill Fraser, Palmer Antarctic LTER
Presentation: Life on Ever-Shrinking Sea Ice: A Penguin's Perspective (Fraser)
Bill Fraser, Polar Oceans Research Group, Oregon State University, NSF Palmer Station, Antarctica LTER Site The Western Antarctic Peninsula is among the most rapidly warming regions on Earth. Mid-winter temperatures have increased, on average, by more than six degrees Celsius (10.8ºF) over the last six decades, resulting in melting of sea ice and changes in... Read more »
https://lternet.edu/wp-content/uploads/2019/06/2018-NSF-LTER-symposium-fraser-reduced.pdf
Presentation: Sustainability of Salt Marshes: Still a Realistic Goal? (Alber)
Merryl Alber, University of Georgia, NSF Georgia Coastal Ecosystems LTER Site Intertidal marshes—lands between the tides—are ever-changing ecosystems. They've kept pace with changes in sea level over millennia, but today's rate of sea-level rise and increasingly common droughts and storms pose new challenges. An influx of saltwater, for example, has the potential to change how... Read more »
https://lternet.edu/wp-content/uploads/2019/06/2018-NSF-LTER-symposium-Alber-reduced.pdf
Presentation: How Do Tiny Plankton Turn into Fish on a Changing Northeast U.S. Shelf? (Menden-Deuer)
Susanne Menden-Deuer, University of Rhode Island, NSF Northeast U.S. Shelf LTER Site The Northeast U.S. Shelf generates millions of dollars in revenue from fishing, energy development and shipping. It's also used for waste disposal, recreation and conservation—and almost 30 percent of the U.S. population lives along its shores. Researchers at the NSF Northeast U.S. Shelf... Read more »
https://lternet.edu/wp-content/uploads/2019/06/2018-NSF-LTER-symposium-menden-deuer-reduced.pdf
Presentation: Giant Kelp Forests: Stepping Stones to Biodiversity (Cavanaugh)
Kyle Cavanaugh, University of California-Los Angeles, NSF Santa Barbara Coastal LTER Site Giant kelp is an example of a foundation species—one that physically modifies its environment and provides food and habitat for an entire ecological community. In contrast to long-lived foundation species such as forests, coral reefs and mangroves, giant kelp has a short life... Read more »
https://lternet.edu/wp-content/uploads/2019/06/2018-NSF-LTER-symposium-Cavanaugh-reduced.pdf
Presentation: Hurricanes as Resilience-Builders (Gaiser)
Evelyn Gaiser, Florida International University, Florida Coastal Everglades LTER Site Ecosystem health—like human health—is the result of a combination of chronic and short-term stresses. When will these stresses result in a stronger system, and when will they launch a downward spiral? Researchers at the NSF Florida Coastal Everglades LTER Site combine field work, large-scale experiments,... Read more »
https://lternet.edu/wp-content/uploads/2019/06/2018-NSF-LTER-sympoium-Gaiser-reduced.pdf
Presentation: The Future of Coral Reefs: Does It Depend on Help from Fish? (Burkepile)
Coral reefs are a hub of marine biodiversity. They provide food, recreation and shoreline protection to some 1 billion people. But reefs around the globe have seen 50 to 90 percent declines in coral abundance, and forecasts of reef health have been dire. Long-term research by scientists at the NSF Mo'orea Coral Reef LTER Site... Read more »
https://lternet.edu/wp-content/uploads/2019/06/2018-NSF-LTER-symposium-Burkepile-reduced.pdf


text:
FAU Owl Observer
School of Communication and Multimedia Studies at FAU
Owl Observer
FAU Parking Sparks Outrage, Possible Protests
By: Nina G. Wills
Contributions by: Gal Kal
Florida Atlantic University (FAU) students seem to have one major complaint this semester: parking.
"The parking situation at FAU Boca campus is atrocious. The University is simply irresponsible for blocking off multiple parking lot sections when there is a huge increase in student population," Scott Ezra Nettboy, a senior in biology, said.
During the first weeks of classes, students were circling parking lots trying to find a space. Some resorted to parking in the grass, which at the time was not allowed and resulted in the student receiving a ticket.
Due to the shortage of parking spaces and the closing of Lot 23 by the Indian River building, FAU's Division of Parking and Transportation Services were prompted to create new parking guidelines that permit students to park on the grass in designated areas. Students were informed of these new rules via e-mail on Sept. 4.
Some students, though, are taking action to express their outrage over the parking issue. A parking protest is scheduled for Thursday, Sept. 24 from 7 a.m. to 7 p.m. in front of the Baldwin House, home of the FAU president.
Jake Ades, a 23 year old business major, is spear heading the protest. He used the social networking site Facebook to start a group criticizing the parking situation.
"I invited a few friends. Next thing you know hundreds of people are signed up. The people have spoken," Ades said.
Facebook has become complaint central for FAU students' frustration with parking at the Boca campus. The phenomenon of using Facebook as a venting outlet is nothing new. Since early 2007, students created Facebook groups such as "FAU needs more parking" and "FAU new parking rules BLOW." The latest groups are "FAU Parking Protest" created by Jake Ades and "FAU Parking Solution" created by Neil Parsont.
The "FAU Parking Solution" group has designed t-shirts that list the top ten reasons why students are late to class. The reason "FAU parking" is listed in each spot. T-shirts can be purchased for $10 and organizers are asking that FAU students wear them on Oct. 13. The group's goal is to raise $20,000 and $30,000 "to assist in the FAU parking problem."
Other FAU students have said that the parking problem has been overblown and is not a real issue.
"GET OVER IT! It is not that big of a deal to park farther out and walk your lazy butts to class!" commented LyTysha on the "FAU's Parking Protest" Facebook page.
"We are allowed to park in the grass, and they shuttle you to campus if you're parked far away. I don't see the big issue," John Broward Atwater, a senior in secondary education, said.
Still, Jake Ades believes there is just one solution: "The simple answer: lay some asphalt."
Posted by About Us at 8:12 PM No comments:
The Owl Observer online newspaper is produced by the Coverage of Public Affairs class, led by Glenn Singer, offered within Florida Atlantic University's School of Communication and Multimedia Studies. Please send story ideas, news tips, and comments to gsinger@fau.edu or owlobserver@yahoo.com and visit our website Owl Observer
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Sculpture of Lapiths and Centaurs battling from the Metope of the Parthenon on the Acropolis of Athens. South Metope no II. Also known as the Elgin marbles. British Museum London. The Lapith holds a Centaur by the throat. The diagnal of the Lapiths body across the Centaur is often used in Greek Classical art to depict strife.


We're happy to announce that Kate Sanford and Amy Foote will be teaching our January/February 2018 Six-Week class!
Kate Sanford is a feature film and television editor whose most recent project is the new Amazon series "The Marvelous Mrs. Maisel". She has a long-running collaboration with David Simon which includes HBO's "The Deuce", the 6-part miniseries "Show Me A Hero", the pilot for the series "Treme" (ACE Award 2011), and all five seasons of "The Wire" (ACE Award 2006). Other television series include both HBO's "Vinyl", executive produced by Martin Scorsese, Mick Jagger, and Terence Winter, and five seasons of "Boardwalk Empire".
Amy Foote is a documentary editor based in Brooklyn, NY. Her editing credits include The Work (Grand Jury Prize SXSW 2017, nominated for a Gotham Award and Cinema Eye Audience Award); Peabody award-winning Mavis! (HBO); 1964 (PBS American Experience) the Emmy-nominated and James Beard award-winning film, A Matter of Taste: Serving Up Paul Liebrandt (HBO, BBC); For Once In My Life, (PBS Independent Lens, SXSW Audience Award 2010, IDA Best Music Documentary). and the Emmy-nominated film, Finishing Heaven (HBO). She was also was the Consulting Editor on Chef Flynn (Sundance and Berlin 2018), and was an Additional Editor on Long Strange Trip (Oscar Short list 2018, Amazon) and Bombshell: The Hedy Lamarr Story (PBS American Masters).


Mushrooms are the perfect food for the way we live today. They're speedy and simple to prepare, blend well with other flavours, can be cooked almost any way you can imagine, and are winners in the nutrition stakes too.
Even the most time-challenged cook can have a luscious meal ready "in minutes". This makes mushrooms perfect for simply any meal occasion be it breakfast, lunch or dinner.