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No surfboard for Obama, president's pal stripped of prostitution charge, military beefing up in Hawaii, APEC brings road closures, federal judge to rule on Big Island land fight, more news from all the Hawaiian Islands
Pohakuloa Training Area (c) 2011 All Hawaii News
A series of ambitious projects to modernize aging training ranges and facilities at the 133,000-acre Pohakuloa Training Area is detailed in a draft programmatic environmental impact statement released this month by the Army. Star-Advertiser.
Joint Base Pearl Harbor-Hickam is one of three bases being considered for an active-duty Air Force MQ-1/9 remote split operations squadron, the Pentagon said Thursday.Pacific Business News.
Joint Base Pearl Harbor Hickam could start controlling one of the military's newest and most lethal weapons. Hawaii News Now.
Did Pigs Get a U.S. Marine Colonel Fired? Hawaii Reporter.
A plan to raise money from lawmakers and staff to purchase a $750 board for the president featuring the Hawaii state seal, among other things, was nixed Wednesday. Civil Beat.
The prostitution conviction of Robert R. "Bobby" Titcomb, a close friend of President Barack Obama, will be stricken from his record under an agreement confirmed Wednesday in Honolulu District Court. Star-Advertiser.
If the federal government has its way, it may soon cost more to drive. Hawaii Reporter.
A geography professor from the University of Hawaii at Manoa has led a team of researchers to create a new, interactive online website for rainfall patterns. KHON2.
Oahu residents are being urged to prepare for possible disruptions to their schedules during next month's Asia-Pacific Economic Cooperation meeting when access to some of the busiest streets in the Ala Moana-Waikiki region will be severely limited. Star-Advertiser.
APEC is on the way, and we're digging into the upcoming Asia Pacific Economic Cooperation Summit with all kinds of coverage. Dave Lawrence reports on today's big announcements relating to security. Hawaii Public Radio.
For an entire week, residents who normally park their vehicles along Kahakai Drive just behind the Hawaii Convention Center will be hard pressed to find somewhere else to go. KITV4.
The state is preparing to start construction of a $10.8 million library on the site of the old Aiea Sugar Mill that will replace the community's current library and feature more space for patrons, a local history center and sustainable design. Star-Advertiser.
Dozens of people packed a hearing before the state Land Use Commission Thursday to debate whether a 12,000-home master-planned community near east Kapolei should move forward. Civil Beat.
Chinatown business owners tackle growing concerns over First Fridays, street closures. Hawaii Independent.
Hawaiian Art enthusiasts will have the chance to see the last work of master painter Herb Kane on Friday. Hawaii News Now.
A federal judge could decide as early as Tuesday whether a family claiming Native Hawaiian rights can block the sale of a Kawa Bay property to Hawaii County. West Hawaii Today.
The proposed rehabilitation of the historic Umauma Stream bridge will cost an estimated $35 million, state officials say. West Hawaii Today.
Scientists from the Smithsonian using DNA data sets to outline the evolutionary family tree of the Hawaiian honeycreeper have determined that the 56 species of the native bird evolved from the Eurasian rosefinch. Maui News.
A Kihei teen will join world leaders, business executives and other notables from the Asia-Pacific region when he attends the APEC 2011 CEO Summit in Honolulu next month. Maui News.
The Federal Energy Regulatory Commission will no longer issue non-mandatory preliminary permits for hydropower projects in the state of Hawai'i. Garden Island.
Once a month, when time permits, Kurt Leong, a North Shore fireman, dives into the water at Black Pot in Hanalei Bay to help physically challenged Kaua'i residents do something he can't live without: Get in the water. Garden Island.
Labels: APEC, environment, military, Native Hawaiians, Obama
Holt October 23, 2011 at 9:07 PM
I find it really interesting how scientists are able to piece together the honeycreeper evolutionary tree and figure out how it evolved through time from the Eurasian rosefinch—they're all a long way from home! :D


Art Front Gallery is pleased to announce Saho Suzuki's solo show.
Before the disaster in 2011 hit Northern area in Japan, there was a stone memorial with a poem from "A Grasp of Sand" by Takuboku Ishikawa (poet, 1886-1912) located at Rikuzen Takada, unfortunately been washed away to the sea by Tsunami. When I encountered works by Saho Suzuki, depicting shadows casted on the ground, for the first time in Tohoku University of Arts and Design (located in Yamagata, in the Northern Area in Japan), they reminded of me of Takuboku's lines which stimulates our imagination with limited number but provocative words. From the details of the work, I was able to understand artist's interest to reality, and reflected upon the disaster and its impact given to our life. Not only Takuboku, but Kenji Miyazawa (poet and writer, 1896-1933) or Ken Domon (photographer, 1909-90), many artists and writers from Northern Area tend to start from their interest in society and real life. From each of their understanding of the contemporary world, their works are opened to wide range of reading toward the future. I also was able to find unfolded narratives in Suzuki's painting, the same tendency from her predecessors.
We may able to say that Suzuki started her career as an artist under the environment of Northern tradition, but her motherland, city of Komoro in Nagano, may also have influenced her sensitivity. Komoro is an old town where we can feel the layers of history creating the town today. Unlike many young artists working in large cities such as Tokyo, her working style may naturally come from her experience living in this small town giving her a notion that the contemporary world is not merely about the world today, but consisted of layers of time piled up naturally from time to time to make the given reality. She does not necessarily have to be caught by the tradition of ink paintings, or does not need to struggle to overcome the limitation of the traditional method. She does not need to concentrate too much on the superficial topics to catch up with the world today, or to get lost in the maze of popularity or fashion by erasing her personal motive to create the work. She is naturally working from her interest and how the interest has encountered the world. I feel that she may have already found the reason to create what she has to. This is, for me, a rare case for young artists.
Her works may not have flamboyant outlook like popular music to attract huge audience. But I believe that contemporality is different from popularity. Some works of art, literature or music shall survive after today to become the great work of that period, without totally being consumed within that period. Artist's motive to create a work shall meet the readers with imagination and they shall still be provocative after our time. Unfortunately, contemporary art in Japan is still not ready to have certain status toward the future, when we reflect upon the past 100 years later. Suzuki may still be in the initial stage of her career, but she may be one of few artists who may have such possibility to become contemporary art. We shall sometimes try to ignore "new" or "popularity" and reflect upon the condition of good art projects. By curating this exhibition, I came back to my old question again.


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All Available Vacancies in South Africa
Vice-Principal: Academic
Pretoria, Gauteng, Cnr Lynnwood Road and Roper Street, Hatfield, 0002 View on Map
@University of Pretoria posted 1 month ago
Posted : Dec 10, 2021 -Accepting applications
View(s) 57
Offered Salary The annual remuneration package will be commensurate with the incumbent's level of appointment, as determined by UP policy guidelines. UP subscribes to the BESTMED and UMVUZO medical aid schemes and contributes 50% of the applicable monthly premium.
Qualifications doctorate
Industry Education, training & skills development
Reference Job ID 24366
Centre UP
For further information on the posts and other enquiries, please contact the Director: Human Resources on +27 12 420 2375 or e-mail: [email protected]
Where to submit application
Applicants are requested to apply online at www.up.ac.za, and follow the link: [email protected] Applications must be accompanied by the following supporting documents: a full curriculum vitae; an abbreviated curriculum vitae; certified copies of qualifications and identity document; a self-evaluation by the applicant of his/her suitability for appointment in the post; the applicant's vision for the portfolio; and the names and contact details of at least three (3) referees who can attest to the candidate's academic stature as well as leadership qualities. (Applicants should note that the University also reserves the right to appoint and consult its own referees.) All supporting documentation as listed above must be attached electronically to the application
No application will be considered after the closing date, or if it does not comply with at least the minimum requirements. Should you not hear from the University of Pretoria by 31 July 2022, please accept that your application has been unsuccessful. The University of Pretoria is committed to equality, employment equity and diversity. In accordance with the Employment Equity Plan of the University and its Employment Equity goals and targets, preference will be given, but is not limited to candidates from under-represented designated groups. All candidates who comply with the requirements for appointment are invited to apply. All candidates agree to undergo verification of personal credentials. The University of Pretoria reserves the right not to fill the advertised positions. Candidates must confirm in writing that they accept the applicable University appointment regulations and procedures. Please note that the University may decide to extend the closing date and to undertake further recruitment initiatives. PLEASE NOTE: All shortlisted candidates may be required to participate in relevant skills assessments as part of the selection process.
RESPONSIBILITIES: The Vice-Principal: Academic is responsible for faculties and for the core teaching and learning activities at the undergraduate level; should be a visionary academic leader with international standing as a scholar. The incumbent oversees and implements the University's academic plans and policies and has overall responsibility for the faculties, academic departments, institutes and research centres; has the responsibility to promote and maintain excellence in teaching and learning, undergraduate programmes and curricula while ensuring that they are internationally competitive and responsive to the local context; is the reporting line manager for all Deans, who is ex officio a member of Senate and all Faculty Boards; has institutional responsibility for all committees or other bodies concerned with educational policy or with academic appointments or promotions; and should have leadership skills and experience in inspiring people to achieve academic excellence across the University. The responsibilities of this position are not necessarily limited to what is outlined above, other responsibilities, tasks may be added by the Vice-Chancellor and Principal from time to time as the need arises. MINIMUM REQUIREMENTS FOR APPOINTMENT: A doctoral degree; A total of fifteen (15) years as an established scholar, with international standing and an excellent academic record, of which eight (8) years should be in a senior management role in a higher education environment; Strong leadership characteristics, excellent communication and interpersonal skills as well as computer and information literacy skills; A proven track record in academic policy development and implementation at a strategic level; A proven record and peer recognition in teaching and learning; Proven ability and skills in liaising with and managing Internal and external stakeholders; Proven managerial capabilities and experience at a senior level; The ability to work in a team is required, and the degree to which candidates will strengthen and complement the existing Executive team is a major consideration; Executive or senior management as well as academic experience at an institution of higher learning is required; and The candidate should qualify for appointment as a full professor at the University of Pretoria. ADDED ADVANTAGES AND PREFERENCES: A management qualification.
@University of Pretoria
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AGRICULTURE GRADUATE PROGRAM (24 MONTHS) X12
@ Agriculture and Rural Development Gauteng
Johannesburg, Gauteng, 56 Eloff Street, Cnr Main Street, Umknoto House, 2001
Investigator: Economic Protected Resources (Captain)
@ South African Police Service
Pretoria, Gauteng, Wachthuis, 7th Floor, 229 Pretorius Street, 0002
Secretary: Executive Support
@ Public Protector South Africa
Pretoria East, Gauteng, 175 Lunnon Street, Hillcrest Office Park , 0083
Registry Clerk
Manager: Information and Communications Techology (ICT)
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redpajama_set_name: RedPajamaCommonCrawl


From underdogs to world-beaters, the story of the Bangladesh national cricket team is in many ways the perfect tale. A tale that can be told on the biggest screen and one that could highlight the triumph of determination and dedication. But the story of Bangladesh cricket isn't so simple.
The story of the Bangladesh cricket team isn't a perfect fairy tale in which the ending is just what everyone hopes for. There is no clear perfect narrative arc in which the Bangladesh national cricket team suddenly turns a corner and transforms themselves into a side that is capable of going toe-to-toe with the best in the business.
Because reality, unlike fairy tales don't have the perfect script and story line. While it is true that Bangladesh cricket team have come a long way since their integration to the international cricket arena, it has been a journey that has been filled with plenty of struggles, obstacles and scars, which might never truly go away.
After all, no matter how good the recent successes might be, they simply can't erase the fact that Bangladesh own the record for the most successive losses in Tests and ODIs. While the Bangladesh national cricket team has come a long way from there, they are still a part of their history, a painful one that they still are unable to truly let go of.
The tale of Bangladesh cricket began in the 1979 ICC Trophy in England and seven years later, they played their first ODI match. Cricket was still in its infancy in a country in which football was the most popular sport. The fact that the Bangladesh cricket team weren't uprooting many trees on the international stage meant that that was the norm was a while.
That was until the Bangladesh cricket team shocked the world in 1999. By winning the ICC Trophy in 1997, they managed to qualify for the World Cup that was to be held in England, two years later. It was there that the fairytale finally started to take shape. They defeated Pakistan and that made the entire cricketing world stand up and take them seriously.
That victory along with their victory over Scotland showed that they weren't just going to be punching bags any more. In 2000, Bangladesh cricket board finally got what they wanted as the country was granted full ICC membership and became the 10th Test nation.
If the story line seems too good to be true, it turned out to be the case. Because, Bangladesh had to wait for five years before they recorded another victory in ODIs. While they shocked the world in the 1999 World Cup, they were beaten in 23 consecutive ODIs between 2001 and 2004, beating their own previous record of 22, set between 1986 and 1998. And that is a record which remains unbroken to this day.
However, better things followed soon after as Zimbabwe were the unfortunate victims. Bangladesh cricket ended their ODI win drought and also claimed their maiden Test victory by beating Zimbabwe. Several Bangladesh cricket players who took part in that game went down in the country's cricket history.
Since then, things have slowly turned out and while they still manage to loss more than they win against the top sides, their defeat of the major players is no longer seen as an upset. While they are no longer the under dogs, their recent victories and the celebrations that followed it certainly indicate that despite their recent strong performances, especially at home, which included victories over India, South Africa, England and Australia, their painful history that has seen them lose far too often has meant they are yet to let go of the past, which they seem to cling on to with renewed vigor.
The current Bangladesh cricket team captain in Tests is Shakib Al Hasan, who also leads the team in T20Is while the ODI captain is Mashrafe Mortaza. After a revival under the leadership of Chandika Hathurusingha, the Bangladesh cricket team are currently coached by a legendary West Indian fast bowler, Courtney Walsh, who was appointed Bangladesh cricket coach in 2018.
The current list of Bangladesh cricket players include some players who hold their national records. Tamim Iqbal is the leading run-scorer for Bangladesh in Tests, ODIs and T20Is while Shakib Al Hasan is the country's leading wicket-taker in Tests and T20Is.
Bangladesh cricket schedule for 2018 currently features an away series against West Indies, home series against Afghanistan and the Asia Cup before they travel to Australia for an ODI and Test series. Bangladesh cricket fixtures for winter 2018 sees them host West Indies across all three formats.
For all the latest Bangladesh cricket news and to follow Bangladesh cricket live, Sportskeeda is your one-stop shop. You can check out the Bangladesh national cricket team page for the latest Bangladesh cricket news.


The acquisition of long-standing NIBC client Kalle by US investment house Clayton, Dubilier & Rice (CD&R) is a significant step towards continuing the regional expansion of Kalle's business and investment in innovations. NIBC acted as mandated lead arranger of the senior financing for the leveraged buyout.
German-based Kalle is one of the world's leading manufacturers of artificial sausage casings. It has operations in nine countries and supplies customers in 100 countries. Kalle is a truly global player with strong positions in Western Europe and North America, complemented by its presence in Eastern Europe and South America. New owner CD&R will continue to grow the business, especially in the US, as well as expanding the value-added casings portfolio.
Kalle has been a client of NIBC Bank Germany since 1998. We also supported its previous buyout by Silverfleet Capital in 2009. Thanks to our ongoing close relationship with Kalle's management team, and in-depth sector knowledge, we were chosen to co-lead this latest transaction and will continue to support the new owner in future.


Order or print this convenient form to fill out while conducting a CDFE with your patient. Then refer to the completed form when returning online, the same day as the exam, to order your patient's shoes.
If you need help or assistance, please call 866.712.STEP (7837) to speak with a friendly, knowledgeable representative.


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Maleea Acker
David Broadland
Leslie Campbell
Alan Cassels
Ross Crockford
Trudy Duivenvoorden Mitic
Roszan Holmen
Mollie Kaye
Aaren Madden/Palette
Aaren Madden/my dream city & island interview
Gene Miller
Katherine Palmer Gordon
Briony Penn
Monica Prendergast
Amy Reiswig
Rob Wipond
Current & past editions
Focus readers, January 2016
Scientists to CRD: petition the feds
In their call for an "evidence-based approach to developing sewage treatment for Victoria," the marine scientists (Jay Cullen et al) make some claims that require further discussion.
The authors state, "In light of the experience with PCBs, governments were unwise to allow the use of various polybrominated biphenyl ethers (PBDEs) as flame retardants in furnishings and other products. Their use is also now being banned, but concentrations may continue to increase for awhile. Wastewater is presently an important route to the ocean but sewage treatment is only partly effective."
Advanced sewage treatment, where total levels of treatment achieve secondary level—typically defined as a biological process to remove dissolved and suspended materials—or higher, is best characterized as more than "only partly effective" for these compounds. Indeed, the scientific literature shows removal rates on the order of 95 percent or higher for PBDEs.
In addition, when it comes to microbeads and microfibers, Cullen et al state, "Many of these very small pieces of non-biodegradable material would pass straight through the secondary sewage treatment mandated by the federal government."
We know from the principles of sewage treatment and the partitioning behaviour of these types of substances that high levels of removal for microbeads and microfibers should take place during advanced wastewater treatment, both in the initial primary treatment settling processes and in the biological reactors—driven by sorption onto the biological floc and subsequent settling in a clarifier and/or removal via filtration. A detailed study from Sweden corroborates this, where the scientists reported that 99.9 percent of microplastics were removed via an advanced treatment plant where the wastewater is treated mechanically, chemically, and biologically. Another investigation in Russia by researchers from Finland demonstrated a removal rate of 96 percent for textile fibers and microplastics for a sewage treatment plant with enhanced nutrients removal.
The evidence is on the side of the sewage treatment proponents.
There are multiple statements in the December article by 10 scientists that organic matter we pump into the ocean is rapidly incorporated into the ecosystem and subsequently degraded. That may be true for ordinary human waste; however, almost nothing is known about the fate of the many thousands of synthetic organic chemicals and drugs we flush down the drain every day. The level of concern about harmful substances can be significantly diminished with tertiary treatment compared to secondary or no treatment.
The removal of contaminants does not have to rely on governments eventually banning them from use, which could take another 20 years or more. Instead, using tertiary treatment, the insoluble contaminants can be filtered out with 0.04 micron membrane filters. That would remove the vast majority of solids including chemicals, superbugs (multi-drug resistant bacteria that breed in all sewage treatment plants), viruses, micro plastics and micro fibres from the water before it is reused or discarded. In contrast to that, secondary treatment relies on less efficient gravity clarifiers with only partial removal of these solids, and therefore they are still present in the effluent when it is discarded into the ocean.
Concern about heavy metals would also be eliminated with tertiary treatment followed by gasification of the sludge, since the heavy metals would end up in the very small amount of slag produced in this process.
A tertiary treatment process efficiently separates the insoluble from soluble compounds, and the soluble ones can be largely destroyed in advanced oxidation of the effluent with ultraviolet light plus hydrogen peroxide treatment. Such a clean effluent can be used to water lawns and gardens, to replenish aquifers or be safely discharged into lakes, streams or the ocean. This treatment would prove especially effective for those thousands of chemicals that cannot be degraded in the marine environment, especially fat soluble ones that could bio-accumulate in marine mammals. Dilution is not the solution for that class of pollutants.
The article also talks about the need for investigation that would clarify the nature of the potential problems we face. In order to simplify the test for removal of thousands of chemicals in the sewage by different treatment processes, I would suggest a study with a representative number of test chemicals (perhaps 100 compounds representing many different classes of pollutants), spiking the sewage influent with them and testing the effluent for efficacy of their removal in tertiary plus advanced oxidation treatment, secondary treatment, and the current system. Such a study would give us the first meaningful results to determine which level of sewage treatment we need here.
Thomas Maler, PhD
The Chinese welding ruse
I was intrigued by David Broadland's description of the "wacky" and "whimsical" bridge design by London architect Sebastien Ricard. Mr. Ricard's website lists a number of his projects around the world, including "a major opening bridge in Victoria Island, Canada". If he can't even get the name "Vancouver Island" right, we should indeed be worried.
Blaise Salmon
City of Victoria councillors are tasked with spending the public's money, but are not bridge or design experts and must rely on City engineering and legal staff to be as informed as possible before they reach a decision.
Not permitting council to know the content and reasoning behind PCL's competitors' bids, especially their reservations about the design, seems hugely improper—and could be one main reason this project is such a mess.
Karen Muntean
Sustainable development oxymoronic
Maleea Acker's report on biologist Jacques Sirois' biosphere dreams in December 2015 was dreamy in itself, a pleasure to read. The UNESCO Biosphere notion is exciting on the face of it but to expect "sustainable development" to stay in the "buffer zone" and stop suddenly at the "transition zone" is risible. Development will move inexorably to the supposedly protected "core protected zone."
It's time to end the use of the term "sustainable development." It's genius greenwashing, but the emptiness and oxymoronic quality of it is apparent. (And doesn't "development" itself sound benign?)
Whether amassing material goods and buying a mansion that could house 30 people, or living in a shack and expanding your portion of barely arable dirt to feed a growing family by killing wildlife that compete with humans and by burning down forests, none of what we are doing as a species is "sustainable" as long as we hold to the delusion that we can increase the human population and expand our footprint endlessly in a finite space.
Some estimates put the entire population of the world at 5 million in 8000 BC. It took almost all of human history for the world human population to reach one billion around 1800. As a result of the Industrial Revolution it took only 130 years to double to 2 billion (1930). In less than 30 years population reached the third billion (1959), another 15 years it reached the fourth billion (1974), and by 1987 had reached 5 billion. In 1970, there were about half as many people in the world as there are now. The United Nations projects the human population of the world to 8 billion people in the spring of 2024.
I'm with Gavin Hanke, vertebrates curator at the Royal BC Museum, who understandably got minor mention in the article, and who thinks the only viable way to preserve any wildness is to "put a wall around this region and humans have to stay inside."
It's an unpopular topic. I don't have answers, as any I can think of are unpalatable. But living in denial is the real dream, and it has nightmare potential.
Diane McNally
100 days of destruction
The problem with bandwagons is that everyone wants on before anyone knows where they are headed, or which way they are going.
Electric cars (and constantly upgraded electrical devices) cannot—must not—be the solution if the destruction of places like the Peace River Valley is the cost. All technology comes at a great price and the illusions people buy into today, will be the disasters we will all be dealing with tomorrow. The only alternative to complete environmental collapse is the curbing of human appetite for ever-new bling. Perhaps horse-drawn bandwagons are the future.
Jana Kalina
For anyone slightly intimidated and sometimes made to feel a little uneasy by Gene Miller's cleverness, mocking wit, and feigned world-weariness, I highly recommend reading his column in the December Focus.
I notice that people are often anxious to "square up" to a perceived threat in what they suppose is a facile and breezy cynicism on his part.
But wait: Gene constantly re-invents himself! And the first requirement for success in this endeavour is a kind of bravery, a willingness to be seen as naive, starry-eyed, a Pollyanna. People always scoff at new ideas whose time has finally come, and Gene is not afraid to risk that. Watch and learn, young people! His wonderfully insightful latest article is a cast-iron demonstration of the true meaning of the term "vision."
Fairy tales can come true! It can happen to you! But only if you, like Gene, are still among the very young at heart.
Gene Miller's prophetic article will generate discussion about what capitalism and socialism actually mean. Is "postcapitalist" Paul Mason really just a closet socialist? What are these two words' simple definitions?
Michael Moore once told Democracy Now's Amy Goodman, after Barack Obama was accused of being a socialist, "maybe that's a good thing. It gets people looking it up in Wikipedia or something, start to think about—they start reading about it. 'Hey, you know what? That's not a bad idea there, taking care of everybody, making sure everybody is cared for.'"
Political scientist Dr Michael Parenti's Blackshirts and Reds is a fine treatment of real existing socialism and its distinction from capitalism.
US presidential candidate Bernie Sanders and British Labour Party leader Jeremy Corbyn are democratic socialists. Victoria City councillors Ben Isitt and Jeremy Loveday are members of the "democratic eco-socialist" Social Environmental Alliance (SEA). SEA's Constitution presents an accessible contrast to Paul Mason's postcapitalist model. SEA calls for "System Change Not Climate Change" and putting "People and Planet Before Profit."
Larry Wartels
Premier Clark: Please decarbonize
Maybe you read Focus Magazine. If not I hope you will start. In fact, you could start with the December editorial: "Embracing decarbonization."
Ms Clark, British Columbians are not so foolish as to believe in your "jobs, jobs, jobs" strategy around the LNG boondoggle. Nor in your green record, a record based on Gordon Campbell's carbon tax which you froze in 2012. At the moment, BC is becoming Canada's fossil province due to your Site C push, and your catering to carbon-producing industries.
Site C (see Briony Penn's article "100 Days of Destruction" in Focus) will destroy a vast swath of important farmland, farmland that becomes ever more crucial as the climate warms. It will directly and indirectly up our carbon emissions through the trees cut and then through the LNG the energy will be used for.
It will cost the province much more than the projected $9 million, money that could be used to get more green energy projects in place.
And, of course, it tramples the rights of Treaty 8 First Nations.
You have a son. It is his generation that will really begin to feel the effects of climate change. What will your answer be when he says, "Mom, why didn't you do something? You could have."
You have it in your power to move BC towards a better, greener future. Think of your grandchildren and what they'll be up against. Then call a moratorium on Site C before it's too late.
Dorothy Field
Shelve Plecas report
Two reports were released this week that touch on the lives of Aboriginal children and youth. One was written by Justice Murray Sinclair and will transform Canada's relationship with Aboriginal peoples. The other, by a government insider, flippantly dismisses the value of reports written by Justices, and similarly dismisses Aboriginal peoples, taking as its incomprehensible premise that kids will die, and that this is just the collateral damage we should expect in a system that the BC Government has starved and ignored.
[T]he kids who die in care every year, like the 90 deaths already reported this year, have critical commonalities: They are mostly Aboriginal and they have bounced through child welfare without anyone hearing their stories or finding the time to listen or tell these in a way that builds change. They are tough stories, like Paige Gauthier and Alex Gervais, which sent shockwaves across the Province as people digested the instability and professional indifference our children experience while in government care.
"Plecas Review, Part One: Decision Time," commissioned by the Christy Clark government and written by former provincial bureaucrat Bob Plecas is the polar opposite of the Truth and Reconciliation Commission report. In the way it was produced and in its content, it harkens to another era when our children were forcibly removed from their homes and put into the residential school system, and where our land was taken and our culture was outlawed, with our well-being a distant thought. Decision Time proposes sweeping changes to child welfare in this province, including ending vital independent oversight. These recommendations were developed with no engagement of First Nations, despite the fact that fully 60 percent of the children in care in British Columbia are Aboriginal.
Through the Truth and Reconciliation Commission report, we are all collectively saying "never again" regarding harm and risk to children, and the federal government under Prime Minister Trudeau is hearing us and has committed to action. In contrast, at the same time, the Christy Clark government appears through Decision Time to instead say "it will always be."
Having a government insider write a report that tries to end oversight and hinder the growth of a desperately needed culture of accountability is absolutely unacceptable… Reports such as Decision Time speak to a bygone era that the federal government and growing numbers of Canadians and British Columbians reject. The Christy Clark government needs to show that it stands up for Aboriginal children and youth and shelve Decision Time. Further, we call on the Premier to implement all of the Representative for Children and Youth's outstanding recommendations, including her recommendations for increased funding and supports to the child welfare system.
Union of BC Indian Chiefs
UVic faculty demand divestment
Open letter to UVic President Cassels and Chair of Board of Governors Dr Mohr:
We are writing to pursue our initial call for the University of Victoria's endowment to divest from fossil fuel companies.
The Board of the University of Victoria Foundation, which governs the endowment, has communicated its opposition to divestment, citing financial concerns. And yet the financial case for fossil fuel divestment has only grown stronger since our last communication. Just this past week two different reports were released indicating that large funds like the Canadian Pension Plan have lost billions of dollars by not divesting from fossil fuel companies in 2012, when the divestment campaign was launched. Furthermore, these calculations do not factor in the stranded asset theory that underpins the financial case for divestment. Given that only one-third of known reserves can be safely burned to avoid catastrophic climate change, and those reserves are already factored into company stock prices, it follows that they will become "stranded" when needed climate legislation comes into force…
Moreover, divestment is not only a financial concern. The fundamental claim animating this global movement has always been a moral one: "If it is wrong to wreck the planet, then it is wrong to profit from that wreckage." UVic's fossil fuel investments (which have actually increased over the past 1.5 years) are a moral and reputational concern along with a financial one. We join UVic students in requesting that the Office of the President and Board of Governors weigh the arguments and make a decision regarding divestment. With our moral, reputational, and financial standing on the line, divestment needs careful consideration from more than a small endowment board with no student or faculty representation.
The moral and financial arguments for divestment are rooted in extensive ecological research evidencing the dangers of continuing to extract fossil fuels and invest in fossil fuel infrastructure, including recent studies that link climate change with extreme weather events. A recent paper in Nature notes that 85 percent of viable reserves in the Alberta tar sands need to stay in the ground in order to avoid surpassing 2 degree warming. And yet UVic continues investing in tar sands companies like Suncor who note in a recent annual report, "Absolute GHG emissions of our company will continue to rise as we pursue a prudent and planned growth strategy." There is growing evidence that the entrenched interests of the fossil fuel companies have had a disproportionate effect on public discourse: Historically fossil fuel companies have funded the disinformation campaign on climate change or in the widely-circulated case of Exxon, purposely withheld their own scientific evidence of climate change.
Seeking profits from investments in fossil fuel companies is dangerous ecologically, morally, and increasingly on financial grounds. So why is UVic continuing down this path when sustainability, including sustainable investment, is prioritized in our strategic plan?
We join UVic students in respectfully requesting a freeze in new investments now, and a phasing out of current investments over the next three years.
Signed by 200 UVic faculty
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SOOMA
www.soomaband.com
grunge / noise rock / punk rock / stoner rock
SOOMA emerge directly from the core of rock music. Taking a detour would be a complete waste of energy. It is clear where this energy is headed - straight under your skin and deep into your heart. The raw sound, the mischievous presence and the tangible emotion are all embodied in SOOMA's music.
SOOMA, Yannick Consaël (guitar/vocals), Fidel Aeberli (drums) and Amedeo Mauriello (bass), strive to sound in their living room just like at their vigorous live shows, because only on stage does this band really feel at home. It is there where the power of their music unfolds without restraint. It only needs noise and resonance. SOOMA draw the audience towards them, provoking them to surrender to the captivating energy of their live performance. This happens every time because SOOMA never give less than everything to the crowd, through the energy and through their music.
It can be heard on "SOOMA", the first LP released in November 2017, by the band formed inZurich in 2014, what it is all about – temporally limited experiences of joy, shifts in consciousness, anxiety and pain, but also about love and lust for life. Their sound beats and scratches, but the warmth and rawness of these songs, recorded live on tape, make the record radiate in a unique manner.
SOOMA will make you follow them into a dark abyss, but, by doing so, they will make you feel alive.


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Q: Proper usage of pthread_detach I'm trying to get a function to start up another thread, and then return, with the thread still running.  It seems like pthread_detach() would take care of the memory and whatnot for me, although I'm not entirely sure.  This is the code for the function:
void function() {
    pthread_mutex_lock(&state.continueLoopingMutex);
    if(state.continueLooping == true) {
        pthread_mutex_unlock(&state.continueLoopingMutex);
        return;
    }
    state.continueLooping = true;
    pthread_mutex_unlock(&state.continueLoopingMutex);
    pthread_t thread;
    pthread_create(&thread, NULL, runLoop, NULL);
    pthread_detach(thread);
}

(The loop will stop when continueLooping is set to false, once the loop finishes it just returns without doing anything else).
Is there anything wrong with this structure that would cause a memory leak, etc., that I should care about?
Thank you

A: I don't see anything wrong.
Yes the pthread_detach will take care to release the resources of the thread.

A: If you only want the threads continue to run simultaneously, it won't make a difference whether you detach the thread or not. But it will be harder or less idiomatic to collect resource (like a return value) from a detached thread. And yes, this piece of code does not expose any memory leaks.

redpajama_set_name: RedPajamaStackExchange


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Siddhesh Joshi (Editor)
I enjoy creating and spreading knowledgeable content for everyone around the world and try my best not to leave even the smallest of mistakes go unnoticed.
John Doman
Role Actor
Name John Doman
Years active 1993–present
Born January 9, 1945 (age 70) (1945-01-09) Philadelphia, Pennsylvania
Spouse Linda Doman (m. 1981–2014)
Education University of Pennsylvania
Movies and TV shows Gotham, Borgia, The Wire, Blue Valentine, Sniper 3
Similar People Victoria Cartagena, Andrew Stewart‑Jones, Sean Pertwee, Tom Fontana, Derek Cianfrance
Behind the scenes interview with star of after john doman
John Doman (born January 9, 1945) is an American actor best known for playing Deputy Police Commissioner/ Major William Rawls on HBO series The Wire from 2002 to 2008, Colonel Edward Galson on Oz in 2001 and Rodrigo Borgia in the international television series Borgia from 2011 to 2014. John Doman is currently starring as Don Carmine Falcone in Fox's show Gotham (2014–present).
Gotham falcone entrance john doman there are rules
Doman was born in Philadelphia, Pennsylvania, and is an alumnus of Northeast Catholic High School. He is a 1962 graduate of North, an All-Catholic League football player and a member of the school's Hall of Fame. He is a 1966 graduate of the University of Pennsylvania, where he majored in English Literature and played varsity football. He also holds an MBA degree from Penn State.
Prior to embarking on a successful acting career, he spent 20 years in the advertising business. He was an officer in the Marine Corps with service in the Vietnam War.
Doman had cameos in the 1997 film Cop Land and the film 2003 Mystic River. He also had a role on the film The Opponent. Doman also had a small part in the 2010 film Blue Valentine.
On television, Doman has guest-starred in the Star Trek: Deep Space Nine episode "Shakaar". He also portrayed Dr. Carl Deraad on Seasons 5 and 6 of ER, and bad-guy CEO Walter Kendrick on Season 2 of Damages. He provided the voice of Don Morello in the video game Mafia: City of Lost Heaven. Doman also provided the voice of Caesar in the video game Fallout New Vegas. He also played a small role in the action film Die Hard with a Vengeance, as one of the site managers for the construction of a tunnel featured in the film. Doman starred as Rodrigo Borgia in the 2011 historical drama series Borgia by the French premium-pay TV Canal+ and the German ZDF and starred in director Pieter Gaspersz' AFTER opposite Kathleen Quinlan.
During his career, Doman has portrayed several different characters in numerous episodes of Law & Order: Bailiff, in "The Blue Wall" (Season 1, Episode 22); Sgt. Frank Gottlieb, in "We Like Mike" (Season 7, Episode 20); Mr. Stephens, in "True North" (Season 9, Episode 9); Howard Ridgeway in "Maritime" (Season 13, Episode 18); and Jim Gilles, in "Political Animal" (Season 18, Episode 6). He also appears in several roles in Law & Order: Special Victims Unit as Dan Latimer, in "Limitations" (Season 1, Episode 14); Munch's informant, in "Wrong is Right" (Season 2, Episode 1); Special Agent Rod Franklin, in "Wrath" (Season 3, Episode 2); Mike Mollinax, in "Scheherade" (Season 8, Episode 10); William Rand, CEO of Battle Tested in "Official Story" (Season 13, Episode 12). He also guest starred as Tim Grace, in "Blue Wall" (Season 1, Episode 10), in Law & Order: Trial by Jury; and Roy Markham, in "The Extra Man" (Season 1, Episode 6), in Law & Order: Criminal Intent. In total, he plays eleven different characters in the Law & Order franchise.
From 2010 to 2011, Doman appeared in three episodes of Rizzoli & Isles as a mob enforcer, reuniting him with Sasha Alexander. The two had previously appeared in NCIS in the Season 2 episode "Doppelganger", where Doman played Lt. Cheney, the head of a local civilian law enforcement while Alexander played Special Agent Kate Todd.
Doman has also appeared in promotional advertisements for Versus television.
John Doman has been the voice for Michelin tires and Home Depot and in 2013 began narrating videos for the Philadelphia Eagles. He currently plays the Mafia Don known as Carmine Falcone in the series Gotham. He also played Senator Ross Garrison in Person of Interest and Helen's (Maura Tierney) father Bruce in the Showtime drama The Affair. He recently appeared in Season 3 of the Netflix show House of Cards as Bishop Charles Eddis. He plays the US Ambassador to Germany in Season 2 of "Berlin Station".
John Doman Wikipedia
Similar TopicsDerek Cianfrance
Tom Fontana


There wasn't anything that you did, should have done, or would have done.
Whether it was a change in the way he looked at you, an increase in the time it took him to respond to your messages, or the number of nights he had to back out of plans last-minute, something changed.
But the voice in your head kept saying that this was just a rough patch, that love has its ups and downs, that over time things would change for the better. The "no relationship is ever perfect" and the "all good things are worth fighting for" voice, always seemed to be the one that spoke the loudest.
Unfortunately it takes two to tango in any kind of relationship, and although one person may be giving it their all, unless the same emotions, actions, and love are reciprocated, it isn't a relationship.
It's a fantasy. An unfair, suffocating, hopeless, fantasy.
Sure you can classify it under the whole "it's not you, it's me" group of stereotypical breakup phrases but these four words in sequence, have left me feeling beyond confused one too many times.
Like listing off lyrics from a Kanye hit, start counting your blessings if you've yet to have that phrase spat in your direction. You, my friend, are either one hell of a prize, or have luckily skipped being victimized by the wonderful yet torturous thing they call young love. The word "young" in that sentence is key, because the more I've hummed and hawed about this fade, the more I feel it's the essence of immaturity and youth that is to blame for all of this unexpected and unexplainable heart-break and torture.
Surely it has to be the fast paced, social and vibrant lives that us 20 somethings now live that are to explain for this evaporation of admiration right? Constantly meeting new people, travelling, changing internships, jobs, majors, courses, schedules, etc. We are at a stage in our lives when we aren't even sure what we want for dinner, let alone which 4 letter classification we can chalk our emotions up to being. Is it love? Or is it lust?
Now don't get me wrong, I'm sure there are a fair share of marriages that have also felt the fade, which is why I feel that everything I have just said is right… But also wrong. Sure the average 55-year-old still can change their career, travel the world, relocate, etc. but I think it's fair to make the assumption that they've settled down in comparison to their 20 something self.
So if age, or maturity, and life circumstances are only parts of the equation, why does this fade seem to haunt relationships regardless of their length of time, circumstances, seriousness, etc?
Boy do I wish I knew the answer to that question.
I've been a victim of the fade. My best girl friends have. My co-workers have. Hell, even my best guy friends have. Through all these faded sparks, and through consoling those I care about on their own lost sparks, there's a couple of lessons I have learned.
The fade is inevitable. You may experience it once, you may experience it 5 times, but the odds of you never experiencing it are hella slim. Secondly, the fade happens to the best of us. I kid you not, my best guy friends – the one's who are literally the prince charmings of the world/the absolute gems of the male gender – have all been in relationships that sizzled away. The fade doesn't make exceptions. Third, the fade is not a reflection of you and your love: I think the hardest aspect of being told someone no longer feels the same way about you that they did is wrapping your head around the concept that you didn't do anything wrong… People can be compatible, but love needs to be reciprocated. And most importantly, the fade is not, and cannot, be terminal. Whatever the situation, please do not let the fade turn you away from love. In my mind, closing your heart because someone else's feelings for you expired is letting the fade win. Love can be a game, and fade is that division rival that you refuse to lose to.
Yes, faded feelings will still hurt, and there still will never be anything you could have done to change the outcome. Just because you've read this article, your odds of being blind-sided aren't going to decrease exponentially. You'll still miss that person, and you'll probably still feel feelings long after theirs have faded. Love can be painful and unfair, but it can also be as equally satisfying and rewarding.
Just like you can't let the fear of striking out, keep you from playing the game.
You can't let the fear of faded feelings, keep you from loving again.
can be love faded/lost instantly?


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During the week, I sometimes grab lunch at Whole Foods. The hot foods and salad bars are extensive but I go there especially for two things: cabbage crunch and apricot chicken salad. Given the chance, I can eat these for lunch everyday. It really is hard to go wrong with chicken salad but adding sweet, juicy, dried apricots livens up this classic lunch dish. For my own recipe, I used left over roasted chicken but really any well seasoned pieces of chicken breast (pre-cooked) can be used.
In a large mixing bowl, combine the first six ingredients. Set aside. Whisk together sour cream, salt and pepper in a separate bowl. Pour over first six ingredients. Toss well. Serve with dry wheat toast.


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Museum Talk
This blog is dedicated to all museum goers. You can be a museum professional or simply a member of the public who loves to frequent science, art, and history museums, historical houses, historical societies, archives, zoos, aquariums, and the like. This blog is for the curious and for those who are critical and like to share their experiences.
The Museum's Continued Service to the Public in the 21st Century
With the recent rally to reduce carbon emissions and reduce global warming, few have been willing to give it to the public straight. The only real solution is for all of us to eat less, buy less, produce less, and, for our purposes as museum professions, preserve, conserve, and restore less to combat carbon emissions run amuck. I am greatly concerned with a nonprofit museum culture that is committed to an unerring need to grow, and this includes, on the high end of that growth, the construction and maintenance of grandiose exhibition buildings, travelling mega-shows, and unbridled merchandizing. Much of this need for growth is a product of human ego, for board members and administrators alike see growth as a reflection of their own industry, their ability to accomplish. I am as guilty of this as the next person. I love museums as much or more than the next guy, but I also see that growth may be contributing to eventually making life as we know it a bit more difficult than it already is.
Growth at the museum is also necessitated by the public's own need to preserve all that they consider of historical or aesthetic value, and there is a certain amount of self aggrandizement with the act of donating an object that is somehow linked to our own history for long-term preservation and public display. Immortality seemingly comes to the donor or benefactor to a collection much like the published story keeps the name of the author within our conscientiousness long after he or she has put down their pen for the last time. Although rarely verbalized, much of the business of museums is simply rooted in a need for us to preserve something of ourselves beyond our own mortality.
It is the ever-growing number of small nonprofit museums more often than not that become repositories for everyone's treasured "artifacts," without fully exploring the consequences of taking on that long-term responsibility. With each press release and the inevitable exposure of my own museum's mission and function to the reading public, that the challenge of numerous offers of objects large and small for donation is met. Many of these objects are of value, and many more are not. The museum professional has a responsibility at this point in time to simply say "no" to these potential bequests. For with each bequest an obligation for further growth is seemingly necessitated. The donated object will need not only a roof over it but often more costly responses in order to preserve and restore it.
The reason my modest history museum says "yes" to such donations is that we are trying to build up a unique collection with a small budget. Many of the donations are all or nothing scenarios; you either take the valuable and rare items along with the more common and less valuable, or, often, donors don't want to bother with you. An additional motivation for taking the latter road is that by accepting these donations a publically perceived precedence is set whereby objects of superior condition become available somewhere down the road by others which will eventually replace similar objects in the collection of poorer condition. This ongoing process is mistakenly perceived as unfettered growth by some, but it is more accurately a growth process whereby the museum achieves a collection of objects of superior quality through a process of accessioning and de-accessioning, and for the purposes of full disclosure, we haven't reached the stage of de-accessioning yet.
A recent example of this at my modest living history farm and museum involves what is commonly known as a "dump rake." This horse drawn implement was used to rake up cut hay in the field. The farmer would gather cut hay in its curved tines as he advanced by horse power. Eventually these tines would become full and a foot and hand pedal would be depressed to release the hay gathered "dumping" it. The resulting pile would then be pitched into a hay wagon. Our organization started out with a rake from our benefactors, but this International Harvester example had sat through many seasons outdoors; some of its tines and the original wooden tongue that was harnessed between a team of work animals were long gone. Another equally weathered rake was donated, but this had been adapted to tractor usage and the wooden tongue had been replaced with a galvanized steel pipe at some point. Recently, we have been offered many high quality objects from eastern Maine family farms in the process of dissolution; this has come with our increased exposure. An International Harvester dump rake with original paint and stenciling from its original journey by Maine Central Rail, probably to the farm of Thomas and Mildred Flagg in Lincolnville Beach from which it was donated, was accepted into our collection. Such an acquisition necessitates the need, for the first time in the history of our 20 year old institution, to de-accession one of these dump rakes from our collection simply because we have an example of superior quality making the others unnecessary and redundant.
On the other hand, growth at many museums goes unchecked, and the decision to shed objects from a collection remain taboo, and this is arguably linked to a general cultural propensity to consume more than we need. The museum is a stage for the drinking, eating, buying, and producing that goes on in our culture, and additionally both art and history in commodified at museums in the US so that it too is responsible for the excess that plagues our times and threatens our future. Collections are housed, kept warm and dry in storage in some cases for perpetuity. Collections are packaged and shipped at great expense by larger museums, and results in the greater expenditure of materials, both renewable and non-renewable. De-accessioning a lot of what we have may be part of trimming the fat that is required in a world of growing populations and decreasing resources; we have to do our part just like everyone else. Before any serious consideration of a large scale cut back in collecting practices can take place those who make museums possible have to be first convinced that less may be more, and that new technologies may offer an alternative to how we experience what we experience in the museum.
At the DeCordova Museum and Sculpture Park in Lincoln, Massachusetts steps have been taken in recent years to re-evaluate the collecting practices of earlier times in life of their institution and measure them against the necessity to meet the present public's taste and needs. In de-accessioning many objects from its seed collection, some critics have voiced concern for a perceived obligation to preserve the memory of the museum's original benefactor and namesake DeCordova. The debate on whether to save or de-accession in this case is largely one of propriety, for how long can a public institution honor the last wishes of a long ago deceased benefactor especially when doing so may jeopardize the relevancy of the museum itself to its potential 21st century audience? Most museums have that important decision of how to best use the space that they have to fulfill their mission, and this might mean that some of the collection takes precedence over other parts.
I am not sure whether I agree with the idea that a curiosity cabinet belonging to DeCordova himself, containing what some may more irreverently call Victorian-era junk, is irrelevant to 21st century museum goers, or that de-accessioning all this stuff is a prudent course of action. I do agree that some museums need to prioritize what is essential to their missions, and consider de-accessioning some objects that may be better utilized by other institutions and also allow these institutions breathing room for future acquisitions. It is obvious that many things in museum collections lose their appeal to many, but it can be argued that these objects embody the particular collecting habits of a time and place offering a valuable narrative worth preserving and sharing to an audience both now and in the future. If, at least, some objects must be de-accessioned, fully documenting an account of DeCordova's original collection through new digital media is essential and without this there would be great loss to our social and intellectual history.
Any museum which started out with one man's aesthetic at its heart will inevitably change as aesthetic taste itself has changed. It is simply unrealistic that museums will continue to collect without ever shedding earlier and less valuable objects for new acquisitions. Nonprofit, and consequently museums with tax-exempt status have, at least, an unofficial obligation to satisfy public taste and needs rather than that of their original benefactors. The survival of these museums depends on not only the attendance of the public but on public funding via grants and allowances made to institutions with a non-profit status.
Although nonprofit institutions seemingly have an obligation to satisfy public interest, it is the duly appointed stewards, board members, directors, and the like, that make the decisions about how the institution can best serve the public. These decisions often affect a change in the status of specific art or artifacts once valued for private reasons rather than public. The stewards of any collection have to first take into account the survival of the institution over the wishes of an original benefactor. Survival of the institution ultimately insures the survival of their memory. In order for the DeCordova to survive it had to become more than a mere repository of one man's bibelot and kitsch by the late 20th century.
In regard to more recent realizations regarding the understanding that society itself must trim back, change age-old behaviors towards consumption in order that future generations may survive, museums too may have to consider more than merely what specifically fits into its walls to satisfy the public but how a consideration and realization of less may effectively serve similar purposes. Certainly the increased use of new digital media to disseminate the knowledge that up until recently was the exclusive domain of the tangible object in the physical museum will play a major role in transforming how a museum does what it does.
In the case of Boston's Isabella Stewart Gardner Museum, the needs of our own times can similarly affect changes to long established guidelines to the physicality of a particular museum structure. A recently proposed addition to the Gardner Museum that was once a private residence as well as a museum open to the public has been necessitated out of the need to accommodate an ever greater number of visitors. Such a alteration conflicts with Gardner's own stipulation that her home and museum remain as it was during her lifetime. Unlike the original DeCordova collection, this museum was from its inception a collection of unique quality and size making further additions to it, in the opinion of many to this date, unnecessary. Change, in this case, has been affected by the often welcome and rare occasion for many museums of ever increasing popularity.
Instead of the 2000 annual visitors of Gardner's own time, there are 175,000 annual visitors and more anticipated for the future. The structure simply can't handle this many people for another one hundred years, so its stewards have to act accordingly. Public access to the structure is being scaled back. New additions will simply help to relieve the demands on the overtaxed structure, so that those who wish to see its treasures can.
The response to the similar circumstances of increased demand for access to the Albert Barnes' Collection in Marion, PA perpetuated a similar remedy whereby the benefactor's original demands could no longer be met. Given that this once private institution chose to stand under the aegis of non-profit and tax exempt status it had to shed its long standing elitist pre-requisites, including a onsite tutorial on how to view art on view before getting access to the galleries. Characterized as both products of "aesthetic fanaticism' and "egomania" these very specific rules kept much of the public out. The Barnes Foundation's location in a quiet suburban neighborhood contributed further to its exclusivity.
Public criticism of the museum's location more than anything else threatened its survival, so in complete defiance of Barnes' will his collection went on tour. The unmatched Picassos, Modiglianis, Cezannes, Soutines, Matisses, and others came down from the benefactor's own bizarre displays that included examples of hand forged door hardware and other oddities. Regarding much art criticism as "philistine aestheticism," Barnes had published his own aesthetic ideas regarding how art should be displayed and used for educational purposes. Unlike DeCordova, Barnes had a collecting frenzy informed by an eye that was in every sense avant garde, collecting Impressionist, Post-Impressionist, and Modernist paintings before all others thought to do so. He purchased few fakes because he met the artists in their studios. No one wants to de-accession his collection but they do want it temporarily out of the suburbs and into the National Gallery and other world class exhibition venues so that ever greater numbers can appreciate it (Higonnet, 1994). Defying Barnes was necessitated by the need to preserve the collection as a collection, as well as make it available to the entirety of the public once and for all. Barnes himself like it or not is even more securely immortalized as a result of this decision, and his museum become a more efficient entity for educating the public.
There is a distinction between unfettered museum growth and the natural progression of a museum whereby donations are sought and received to secure a collection that is both unique and important. De-accessioning may be a necessary stage of that growth whereby a museum ultimately chooses over time, and given the opportunity, the best examples for its collection to preserve long term. It may be just as important to provide greater accessibility to a finite collection as it is to scale back an institution's unfettered collecting habits in the interest of public good. Providing greater accessibility to a collection maximizes its educational impact on ever greater numbers. It provides more efficient use of a commodity that would otherwise be seen by few yet incur great cost for continued preservation. We not only have to insist on more fuel efficient cars in the wake of the challenges surrounding the availability of energy and resources in the 21st century but also more efficient collecting and display methods at our public museums to insure the survival of these institutions that serve to disseminate both our history and culture.
Higonnet, Anne, "Whither the Barnes?— Controversy Surrounding the Barnes Foundation's Touring Exhibition of French Paintings," Art in America, March, 1994 http://findarticles.com/p/articles/mi_m1248/is_n3_v82/ai_15244458/pg_10 Accessed 10.3.08
Posted by Robert Schmick at Saturday, December 27, 2008 No comments:
When Is It Time To Leave?
At what point does the museum professional decide that their career, sanity, and valued time outweigh their commitment to the success of a single institution? The time to leave may be simply when the battle has been long and hard fought, and there appears to be no light at the end of the tunnel for this particular institution. Your life and talents might be better spent some place else.
In the past year I have witnessed, albeit on the outside looking in, some of the skirmishes and full-fledged wars between directors and their boards. At last year's NEMA conference I attended a "seminar," that may have been more appropriately named museum melodrama, that seemingly brought one museum professional's ongoing twenty plus year battle with the powers that be at an historic state building, which includes art and objects dating back to the 17th century, to the level of tragedy ( Names have been avoided so as not to exasperate an already volatile situation). The presenter nearly broke down several times while imparting the details of her battle, as its official caretaker, with her "board" and state officials seemingly apathetic and unresponsive to her pleadings for added funds. She has worn many hats in her capacity as director and has bounced back and forth between full and part-time status over the course of two decades in her devotion to this cause. I have to ask myself whether her seeming martyrdom for this collection is justified?
She, like so many museum professions, will never receive the recognition they deserve. Such sacrifices are a given of the profession, but when the fun, enthusiasm, and reasonable financial compensation are gone its time to leave and find a place where you are once-again reminded of how much you love working in a museum. This professionals own seemingly hopeless plight was further evidenced by the fact that one of her board members had chosen to come to the conference, attend this particular seminar, and sit directly in front of her, as she proceeded to air the institution's dirty laundry. The "board" member introduced herself as having a "different" purpose in attending this seminar and conference than other attendees in the room, including myself, in that she was here "to hear the complaints" of this director.
I had to ask myself had this particular director done all that she could do, if one of her board had to come all this way to hear her complaints? To be fair, this particular board member seemed empathetic to the museum director's challenges on some points, and this was indicated when she directed her to elaborate on the issue of a leaking roof, its threat to an important mural in the collection, and that this was merely one of many impending threats this director faced on a regular basis.
Given the obvious tension in the room between these two women, I can't imagine why anyone would want to deal with this for decades? What had been a seminar entitled "College & University Museums: Professional Affinity Group Museums within Larger Institutions" turned out to be, in this particular case, a venue to cry on the shoulders of fellow museum professions, and future professionals, who experience problems in various degrees at their own institutions. This is par for the course. Signs of the attending audience's irritation were obvious; several skulked out of the room while others stood their ground and rolled their eyes periodically or sighed aloud so that everyone could hear. There were also some whose sympathy extended to some great suggestions in the Q & A portion of the "presentation." Someone suggested that it was futile to remind the powers that be that this collection is part of every citizen's cultural heritage and worthy of greater financial attention.
This insightful audience member reminded us that this director's superiors were elected officials who were given the responsibility of finding funds for this state collection's preservation during their term of office and who also appointed board members to oversee its maintenance on a more immediate level. She further clarified that politicians only respond to larger constituencies that jeopardize votes and hence their political survival, so this particular director's pleadings alone are and would always be futile. She suggested turning the situation against her unsupportive board and, ultimately, a political administration responsible as its caretaker by both surveying a public and making the fact that this collection, which has long served to educate school children on field trips and outreach programs, is in jeopardy of deteriorating through financial neglect. This might incite parents to contact these politicians and voice concern. An exhibition about this collection's positive influences on succeeding generations of citizens, through testimonies, oral histories, etc., might serve the cause.
If this director has reached a point where she is consumed by her own complaints and the futility of her own actions in accomplishing what she needs to accomplish, then it's time to pack it in and move on. The institution itself might benefit from someone new at the helm. The resigning director might find a new cause, a new museum, and invigorate her own career. Of course, someone who has been entrenched in one institution in a community for more than twenty years has much of their life invested to simply walk away. Advocating such a response is rooted in the believe that the future of the only life we have and finding greatest happiness we can in it supercedes all and hustifies taking risks, periodic change, and life reassessments. People are living longer and healthier lives than ever, and that has inevitably meant that we can reinvent ourselves, have more than one career, learn more in a lifetime, accomplish more than we ever thought, if we allow ourselves to do so. "You've got to know when to hold 'em, know when to fold 'em, know when to walk away, and know when to run." In this case, after twenty years, for this particular director, it's time to run.
Posted by Robert Schmick at Wednesday, December 17, 2008 No comments:
Museums Can't Satisfy Everyone, or Can They?
Museums can't satisfy everyone, but they can seek to serve more of the public than they have in the past. Recently, Claudine Brown, Program Director for Arts and Culture at the Nathan Cummings Foundation, remembered a "Town Meeting" that she attended in Detroit where community members argued over a future plan for a museum that would serve to educate the public about American slavery was especially poignant. Some are ignorant to believe that all African Americans feel the same about how that episode in history should be portrayed, displayed, and conveyed to succeeding generations of all Americans. The presumption is that everyone in a community, in which there is a shared heritage, religion, etc., are on the same page about anything could be seriously damaging to a museum's public relations.
There is a responsibility on the part of the museum to hear more voices and consider the views and interests of ever greater numbers of the public. One respondent at the "town meeting," according to Brown, wished that her children not be exposed to the graphic portrayal of slavery. Another opposed that view arguing that it was necessary that this part of his heritage be remembered by this and future generations. Both of these public respondents had valid arguments. The two clashed, and their respective views were eventually overshadowed by personal insults. The important thing is that they were given a forum to voice their opinions and were heard by museum planners.
This anecdote made me think about new mediums of communicating in and outside the museum, like Internet blogging. Such mediums might serve the task of reconciling such arguments and others in response to new museums, their missions, and their exhibitions. In fact, blogs promise a more effective public forum for both present and future exhibitions. In such a scenario, a mediator, the museum's voice in a blog created by the museum itself, can more effectively bring opposing views to a common ground. They can use such a tool to sell their ideas as well as meld them with some of the community's. The condition of writing one's response and sending it allows for greater consideration and less impassioned reaction. One can write and revise one's thoughts before sharing them. What has proven so effective in emailing is true for blogging too.
Of course, blogging can be expensive in that it is a time glutton for paid museum staff, but isn't this important if the museum is committed to knowing the views of the public and if it is interested in "new audiences"? The respondents to such a blog about an upcoming event or one presently underway will be limited, but it is important that the museum has been responsible for such a public forum. It is important that they have been responsible for a dialogue with their visitors or potential visitors. Such dialogues don't often happen. This venue has allowed visitors to communicate among themselves about art and history that they feel impassioned enough about to respond to.
Blogs can be used in the actual museum's exhibition labeling, as I have seen done recently. Such a venue allows the possibility of the museum reconsidering their choices and gaining further insight into the views and interests of their community. We must be reminded that these considerations are the antithesis of the museum in the past when an elite considered their own interests and values and used the museum to impose these on the public en masse. The blog is one more communication tool in a new era which promises a shared forum for those with long-held influence in assuring their imprint on what museums do and can do with those previously alienated and anticipatory of a shared stake in the future message of museums.
Brown, Claudine, Program Director, Arts and Culture, Nathan Cummings Foundation, Guest Lecture, Tufts University, Medford, MA, 22 Oct. 2007.
Posted by Robert Schmick at Tuesday, December 16, 2008 No comments:
Is Disney-ification a Good or Bad Thing For Museums?
I remember watching Ken Burn's The War on PBS last year. What I found most fascinating were the interviews with not only soldiers from the time but the civilians. It was the story of the home front that was the unique contribution of this documentary. The fact that much of what these civilians understood about the war at the time so radically differed from what soldiers in the field were experiencing reveals something profound about the nature of truth even in a time when photography and other modern means of documentation could seemingly serve as indisputable evidence of what was going on. These individuals' later realization of their own ignorance about the involvement of other US civilians, their capture, and imprisonment by the Japanese in places like the Philippines, was especially poignant.
These wartime realities were both underplayed in the contemporaneous press or simply unreported as these wartime civilians were to learn, and this not only exemplifies once again that the first casualty of war is always the truth but something even more revealing about American cultural identity itself. The fact that the truth was kept from the US civilian population during the Second World War is pertinent to a discussion of Disneyification, and how this phenomena is symptomatic of a long standing cultural complacency with both half-truths and inaccuracies regarding our nation's past and present.
Many may argue that not knowing the truth has had its advantages over being in the know during the critical period of a war, but much of what happens in our own time, the history of yesterday, is also kept from the public or sanitized by those responsible for telling us "the truth, the whole truth, and nothing but the truth…". The movie industry has been just as guilty for providing us with an alternative and often more palatable truth than the real. There is no denying the fact that the film medium sadly serves as a significant source for Americans' understanding of themselves as well as the worlds' understanding of Americans. I believe that recognizing this fact initiates a responsibility on the part of the industry to be held more accountable for the historical accuracy of their product, or should we simply anticipate greater accountability on the part of the public for finding out the truth?
The film industry's portrayal of history has been from its beginning selective. Consider for one how many Black cowboys we have seen on the big screen or on TV, when scholars tell us that a third or more were. There is a long standing public complacency with not only movies "Based on a True Story" but many "living" history museums as well; the public simply accepts what is told to them. All of this is better defined as the Disneyification of our history. Disneyification of US history has also been embodied in museum blockbusters. These have the packaging of pop culture and a substance consisting of little scholarship in some cases. They have been the subject of repeated debate among supporters and opponents.
Having pointed out that a product of these blockbusters is sometimes a flawed and exaggerated historical record out of regard for greater marketability, I, nevertheless, see the blockbuster itself as serving a useful role. They draw in ever greater numbers of the public into the museum that might otherwise never come. They are an addition to everything else that the museum does to preserve and educate, and as long as scholarship is maintained by the institution for its many other exhibits and offerings their existence is justified. There is also no reason that the more accepted historical truth couldn't be just as marketable if exhibit planners and developers put their heads together.
Public opinion can be the only means by which the movie industry can be held accountable for what dramatized history it chooses to present. The same goes for the living history museum and other similar institutions. To be fair there has been an increased attention to historical accuracy in recent years by both industry and institutions that peddle the past. My problem with the film industry is that there is often no effort to reveal fact or urge the public to research the real and un-dramatized truth because a film is the product of artistic license. Meanwhile the impressionable are misinformed about history, and this can have avoidable corrupting effects on segments of society.
It seems that it has more often been easier to accept the status quo rather than demand that we all be enlightened about the unsavory side or less interesting side of history that both movie makers and living history museums sometimes make ever more palatable. This sanitization of history in places like Colonial Williamsburg has been and continues to be deliberate and in its extreme potentially destructive, for it avoids rather than addresses for the purpose of educating issues like "slavery, disease, and class oppression." If historical integrity can't be maintained graphically in the setting of a living history museum, then it is seemingly that institution's obligation to clarify this daily for the visiting public in big bold print or by some other means.
According to Richard Handler and Eric Gable's The New History in an Old Museum (1997), Ada Louise Huxtable, the famous architecture critic, said in response to Colonial Williamsburg's opening that it was "preparing the way for the new world order of Disney Enterprises," a condition that would "systematically" foster "the replacement of reality with fantasy." Huxtable believed that such ventures would teach Americans "to prefer---and believe in---a sanitized and selective version of the past." I think that's true, for that institution and many others like it continue to thrive. It thrives because they succeeded at finding the right packaging and the right amount of verve to sell history as a commodity just like bread with the "Wonder" label added.
Many have gone further in their condemnation of Colonial Williamsburg characterizing it as metaphorically too clean and a sell out to the obligation of historical integrity for the dollar, or more recently, some eighteen dollars per person or more. Huxtable herself liked the word "sanitized, " for in addition to the colonial costumes, carriages, and houses that have been so splendidly reproduced or restored on an original colonial site, there were many other realities for the religiously oppressed, the slave, and the indentured (44). Where are the slaves, who numbered more than the whites, and the poor whites in rags, the Catholics hiding and practicing their religion in dark corners, the shanties, the all pervasive smell of sewage and animal manure, the slave auctions, and those bound in chains and dragged through the streets like livestock? These are some of the exclusions from the streets of this colonial capitol.
Colonial Williamsburg staged a re-creation of a slave auction some ten years ago, but the public simply couldn't handle it. There was much protest, and this reenactment was removed from the schedule. On any given day 200 plus year old reproductions of Colonial Williamsburg's daily paper are printed and made available to visitors. Prominent in the classified section are advertisements for slave auctions and missing slaves, yet seeing that in the flesh was too much for audiences. The decision to abridge history at places like Colonial Williamsburg perhaps is justified for Americans may simply like their mix of entertainment and history with ice rather than straight up.
Do we want to be reminded of all the inhumanities to our fellow man that underscore the building of this nation by portraying history as it was in the living history museum? Or do we spend the day walking across its pristine village green surrounded by pristine period homes to the sound of horse hooves, ringing anvils, and re-enactors in well- laundered costumes? The visiting public, that has become even more inclusive in recent years, hasn't demanded much more "history" than they have been getting for the last 60 years at Colonial Williamsburg, so what makes us think that our history of history telling will change at institutions like this? With greater public cognizance of the many embarrassment of our nation's history , it might be that much of the public simply prefers Disneyification?
Posted by Robert Schmick at Friday, December 12, 2008 No comments:
On Displaying Human Remains In the Museum
Museums sometimes cross the boundaries of tastefulness when opting to display human remains over some more acceptable substitute, like a molded plaster body or a fiberglass mannequin.
This is not surprising. Such decisions are motivated by the financial rewards that such exhibits promise. A display of human remains produces the requisite amount of thrills, shock, and any number of other expletives that crowds have long come to expect from the museum. Many are offended, but there are just as many or more who expect such sensations from museums. P.T. Barnum, one-time proprietor of the American Museum in antebellum New York, was among pioneers of what would become the modern museum and he tested the limits of propriety on every occassion he could.
Realizing the public's taste for nature's superlatives: the tallest, the smallest, and bizaare, he sought to put all under one big roof and, later, under a even bigger tent. These attractions seem every bit as inappropriate as displaying the mummified dead in a natural history or fine art museum , if we consider that Barnum's "attractions" were both exploited and humiliated by their "display," even though they were compensated financially. These people were defined as freaks and likened to, among other things, animals and otherworldly creatures all day and daily, for, as Barnum would coin, "a sucker is born every minute." That condition alone tested the limits of morality. There were Figian mermaids floating in alcohol, the likes of the living and breathing Chang and Eng, the original Siamese twins, and an odd mummy or two. Barnum's "displays," although arguably in a museum of a different sort than the scholarly institutions of today, fed an insatiable public appetite for something out of the ordinary, the sensation, the shocker. The public's insatiable appetite for the shocking remains to this day, although technology has allowed for the greater dissemination of each new example and the number of those who can exploit it.
Some older museums have more recently been getting on the bandwagonclearly realizing the potential of their own collections to shock and draw in greater numbers of the public. Consider Philadelphia's own College of Physicians Mutter Museum. Who would have thought that such a museum would have interested anyone outside the medical community, and for the longest time no one did. Now its an extremely popular destination for whole new audiences. Here one can see the human body in every imaginable position and from every imaginable viewpoint, including inside out (and there is a plaster mold of Barnum's one-time attraction Chang and Eng here too).
The major draw to its doors are human bodies preserved through a process known as plasticization. Although these bodies were indeed real, I often had to remind myself, for they often defied my experience and imagination. What makes these displays of human bodies acceptable and other displays of human remains unacceptable or tasteless, like that of the 500 year old Incan teenagers or the long displayed remains of Pharoahs that have raised objections in recent years? Weren't these bodies once intended for education of physicians alone? Weren't these bodies donated by their onetime living owners for the purposes of medical enlightenment? Maybe many never had the choice of what would become of their remain, and they were simply taken from the morgue? Regardless of how these bodies came to be in this museum, they have taken on a role beyond their original intention.
These plasticized bodies don't serve merely as tools for instruction anymore, but as cheap thrills for many who seek an afternoon of entertainment without ever considering that some might consider this somehow degrading to humanity itself. This makes this museum as guilty as any other museum of not only tastelessness but of maligning humanity itself. But even realizing that, and rebuking ourselves for it, we might still line up and see what there is to see; I, for one,
Financial rewards far outweigh consideration of the far fewer number of people that will voice their objections to such practices.
Consider the objections of Rudy Guiliani, then mayor of New York, to the Brooklyn Museum's exhibition of Chris Ofili's depiction of The Holy Virgin Mary in the Damien Hirst's sensational exhibition Young British Artists From the Saatchi Collection / Sensation some ten years ago? I can understand a comparable lack of sensitivity to the sanctity of one religious group's belief when a museum chooses to exhibit a work that seemingly maligns it with a depiction that includes both elephant dung and pornographic cut-outs. I don't think that Catholics should be any less accepting of such a decision on the part of a museum to objectify a heritage that might include 500 year old Incan teenagers sacrificed and placed on an Andean mountain or ancient Egyptians whose intent was to be sealed in their tombs for all eternity.
No matter how you slice it you come out with museums defiling something that is sacrosanct to a whole group of people. If we stand by the opinion that any one of these scenarios is a defilement on the part of a museum then we can't really excuse any display of the dead regardless of how long they ahve been dead or from what culture they originate. Mummies seem to be an exception for many because their place in the museum orginates with the concept of the modern museum itself. Their age and seemingly lacking connection with a living group ( The modern Egyptian minority known as Coptics certainly claim a greater connection than those who distinguish themselves as Arab Egyptians).
It shouldn't be overlooked that there is a long tradition of defiling the bodies of ancient Egyptians, not only have they been unwrapped and put on display now for centuries ( and this happens to this day—Ramses II had to be treated for mold in recent years, so he was unwrapped temporarily to treat the problem at the Egyptian Museum ). Mummies were also once pulverized and sold for medicinal purposes to Europeans in the nineteenth century. They have been carted around the world and most obviously detached from their intended eternal resting place. That seems pretty tasteless and base, if you think about it.
Europeans were in large introduced to the mummy through the ministrations of Napoleon in military campaigns that also succeeded at both documenting and plundering Egypt for its antiquities long before most other nations thought to do so. The foundation of the Louvre's own collections is thew product of Napoleon's own love for history and his propensity for bringing back whatever he could in his attempts at world conquest. But the Napoleonic French weren't the first to desecrate the graves of dead Egyptians, which was and is a largely a byproduct of accessing the priceless treasures that accompanied them in their eternal rest. These remains had been desecrated a thousand years earlier by the Byzantines first and then the Arabs, and while there surely those who saw the opportunity to make a quick buck by doing so the greater number saw it as a religious obligation.
Should we accept the practice of displaying the remains of ancient Egyptians because there is a tradition of doing so within our own culture of some two hundred years? Should the age or cultural origins of human remains determine whether they should be exhibited in a museum, or should all human remains be treated equally and not exhibited?
Robert Schmick
Newfield, Maine, United States
I received my MA and Ph.D. from New York University in Education. I am the museum director of 19th Century Willowbrook Village.
Curran Homestead Roundtable
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Author Wilbur Wolf Will Share His Memoir of a Farm Boy at The Curran Homestead Living History Farm and Museum on Thursday, May 28, 2009
Art Throbs
Listening Stone, Joe Wheelwright, granite, 1995, DeCordova Museum and Sculpture Park.
Carl Akeley's Taxidermy at The American Museum of Natural History, NYC. One of the group of elephants in the African Hall was shot by Theodore Roosevelt himself in 1910, so these elephants have stood here since the time of your great grandparent's first visit to the museum.
Snakes and Turtles on Display
Wet and Dry Specimens at The American Museum of Natural Museum; the first big museum I ever visited.
Specimens, NYC. Formaldehyde or alcohol?
Red Groom's Egyptian Style 1920s Cinema Palace construction at the Museum of the Moving Image, NYC.
No More Milk and Cookies, Chakaia Booker, rubber, tires, & wood, 1993, DeCordova.
Art becoming one with nature. Nor More Milk and Cookies, 1993.
Thomas Cole's drawer of curiosities (Greene County Historical Society, NY ). He would get into a lot of trouble today for having these...
Cone People, DeCordova. In the midst of a wooded grove...
Requiem to the 20th Century, Nam June Paik, 1936 Chrysler Air Stream, video, and audio, 1997. What's Nam June Paik without functioning video and audio?
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She had posted a larger female dog for adoption over a week ago.
Have you tried Lake Chapala Mule Service on FB?
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still there? where is exact location?
Showing results for Why was the Personals category discontinued?
Damn, does your wife know your looking???
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Looks like a 3k run on the Libramiento and a 2k run on the road that goes up the road toward the International School.