text:
Reading list, 6 October 2020
The joy of a week off - time to read ...
On brands
That quickly-iconic Bloomberg piece on the "identikit formula of business model, look and feel, and tone of voice" of direct-to-customer start-up brands, Welcome to Your Bland New World
Complimented by Sarah Drumm's What does a made-for-TikTok brand look like?
On public monuments
While the Mellon Foundation has pledged US$250M over the coming five years to reimagine, create & reposition public monuments, Andry Filatov, a Russian billionaire who "owns Art Russe, a London-based foundation that aims to develop a 'greater understanding of Soviet and Russian cultural contributions' outside Russia" is keen to buy them and ship them to Russia for new lives. Alternatively, on Hyperallergic Jillian McManemin writes about her creation of the Toppled Monuments Archive, to preserve these examples in one place.
Much discussion over the last week or so as the idea is floated that London's Royal Academy could sell a Michelangelo marble sculpture to bolster its failing finances and protect jobs; meanwhile the American Association of Art Museum Directors has loosened its deaccessioning guidance in response to the pandemic, seeing the Brooklyn Museum send 12 works to auction to support collection care and the Baltimore Museum of Art release three works to advance equity programmes.
Art, heritage and slavery in Britain
232 items in the British parliamentary collection are shown to have links with the slave trade, including "189 pieces depict[ing] 24 people who had ties to the slave trade and 40 depict[ing] 14 people who were abolitionists", after an inquiry launched in the wake of the Black Lives Matter movement. Meanwhile the British National Trust has released a report showing "93 places, roughly one third of all of its properties, that it says were built, benefited from or connected to the spoils of slavery and colonialism". Not everyone wants to acknowledge those facts.
Cast your mind back about six weeks and you see the National Trust taking another pummelling, reminiscent of RNZ's plans for a youth music channel, over leaked documents outlining a "flex" to their traditional mansion offer, with more diverse and engaging audience focus: responses included National Trust restructuring plans are 'one of the most damaging assaults on art historical expertise ever seen in the UK' in the Art Newspaper.
A critical eye on fashion history
I love Vanessa Friedman's reporting on fashion for the New York Times. In The Incredible Whiteness of the Museum Fashion Collection Friedman takes on the absence of Black designers from the leading international fashion museum collections, including a pretty devastating analysis of the Met Museum's Costume Institute online presence.
Just for the sake of it
Anne Helen Petersen on clergy burn-out: "Many religious leaders are working 21st century jobs with 20th century skills. We're still getting trained and formed for a version of church/life that doesn't exist anymore."
Haley Nahman on Emily Ratajkowski's viral essay (a writer I've never encountered before, on a person who I don't relate to, writing about choice-feminism)
Mandy Brown on re-reading, especially for this quote from Donna Harkness which beautifully expresses something we in museums know to be imperative:
The British sociologist Marilyn Strathern … taught me that "it matters what ideas we use to think other ideas (with)." ... It matters what matters we use to think other matters with; it matters what stories we tell to tell other stories with; it matters what knots knot knots; what thoughts think thoughts, what descriptions describe descriptions, what ties tie ties. It matters what stories make worlds, what worlds make stories.
Labels: Reading list
Reading list, 19 July 2020
If you click one link, make it this: Statistics New Zealand is consulting on proposed changes to the statistical standard for sex and the statistical standard for gender identity. There is a lot of information there but the survey itself provides enough context with each question for you to choose your responses. Responses close on 13 August.
A fascinating and deeply sad tweet thread by art crime professor Erin L Thompson, about the Ahnighito Meteorite, in the American Museum of Natural History, exported from Greenland by a white explorer, Robert Peary, and accompanied with 6 Inughuit, including a 7 year-old named Minik and his widowed father.
Curator and art historian Dr Kelli Morgan has recently resigned from Newfields (the Indianapolis Museum of Art that was), describing the workplace as toxic and failing people of colour: late last month she published an essay, To Bear Witness: Real Talk about White Supremacy in Art Museums Today. The essay - though not targeted at Newfields - sits alongside this article by Aaron Green for Artnet, 'We Were Tired of Asking': Why Open Letters Have Become Many Activists' Tool of Choice for Exposing Racism at Museums.
To listen - Alice Procter on RNZ with Kim Hill, talking about colonial looting and problematic museum collections, off the back of her recent book The Whole Picture: the colonial story of the art in our museums and why we need to talk about it.
As the statue debates play out throughout colonised countries what happened in Bristol over the last few weeks really made me think: The day Bristol dumped its hated slave trader in the docks and a nation began to search its soul (when the statue of Edward Colston was toppled); 'Hope flows through this statue': Marc Quinn on replacing Colston with Jen Reid, a Black Lives Matter protester (Quinn whips up and guerilla installs a replacement statue); Black Lives Matter sculpture of Jen Reid removed from Colston plinth (the mayor sends the sculpture to a museum).
On the monuments debate - The Art Newspaper has started pulling together decades of commentary on public sculpture.
Gosh - 2 months between posts. I think that probably says a lot about my post-lockdown focus, and the fact this weekend was the first in weeks where I've had time to sit down, clear my feedreader, and actually read some of the articles backed up in in ....
Swiss artist Sophie Taeuber-Arp - an important feature of the French avant-garde and Dada movement - is being brought to prominence by some major players, as this NYT article describes. She worked across abstraction and applied art, from colour-schemes for architectural plans to sculptures and paintings. Part of the newly focused attention comes from a Hauser & Wirth exhibition, and I'm sure that's part of mega-galleries moving their attention to older or dead women artists with a substantial back catalogue to be presented. I'm taking by Sheila Hicks' comment at the end of the article:
Taeuber-Arp's complicated legacy is exactly what appeals to contemporary artists like Sheila Hicks, who is known for her sculptural textiles and counts herself as a Taeuber-Arp fan.
But Ms. Hicks — who is based in Paris, a foreigner in the city as Taeuber-Arp was — has her own take on the gender politics of the past.
"Her husband had a powerful personality, and it was a free ride into the inner circle," Ms. Hicks said. "She wouldn't have had that without him." She added, "It was a challenge to live in those times and achieve her goals."
"I hope they don't make her out to be a tragic figure," Ms. Hicks said of "Living Abstraction."
"I love the agility of this person who was multitalented, and who was partnered with this super-popular guy," she said. "It was a win-win."
Major American philanthropic organisation the Mellon Foundation is re-focusing all its funding towards social justice outcomes.
Australian museum authority (worker? leader? observer? and good friend) Michael Parry on the NSW government's decision to retain the MAAS (Powerhouse Museum) location at Ultimo and also move ahead with its Parramatta development.
Two fascinating podcasts I've listened to whilst out running in the freezing cold dark nights we're currently enjoying: Stuff's CEO and new owner Sinead Boucher on The Fold (I'm particularly interested in their new focus on public trust and accompanying coverage of the reduction on clickbait they're publishing) and activist Julia Whaipooti on the Brazen podcast
A New Yorker interview with American-born, Berlin-based philosopher Susan Neiman about how Germany has faced its Nazi heritage through politics, education, high and popular culture and actions of redress and compensation, and how the United States might address its own racist heritage.
Two pieces I really benefitted from reading on E-Tangata recently: In defence of call-out culture by Khylee Quince, and Only a global movement can eradicate racism, an interview between Moana Maniapoto and Angela Yvonne Davis.
Vu Le's Non-Profit AF is one of sites (like E-Tangata) that I prioritise right now. This article really opened my eyes: Have nonprofit and philanthropy become the "white moderate" that Dr. King warned us about?
And finally - I'm not sure when this happened by I'm just delighted to see The Dowse Art Museum collection (getting) online.
Covid-related
Pitt River Museum curator Dan Hicks ponders the future of museums for Artnet. More interesting though is the piece he links to by Meta Knol, director of the Museum De LakenhaI in the Netherlands, reflecting on last year's celebration of the 350th anniversary of Rembrandt's birth and the fact that the blockbuster exhibitions of the kind organised for the event are simply not sustainable.
At the moment, I meet online fortnightly with the National Librarian, National Archivist and CE of Ngā Taonga; meet fortnightly with the directors of the eight metro museums and galleries; meet every few weeks with other CEs of organisations monitored by the Ministry for Culture and Heritage; meet weekly or fortnightly with the board of Arts Wellington, the pan-artform membership organisation; and listen in on a weekly call with directors of galleries of all sizes all over the country. It's more concentrated and open sector engagement than I've ever had, and it makes me interested in this article about the 200 New York arts leaders who are tuning in for a daily call.
It's interesting to see how festivals are adapting to reach audiences online. Here's a reflection from Now Play This, a festival of experimental game design, who just moved their event online and tried to maintain the sense of participation and interaction while doing so. Meanwhile, the Hay Festival is moving online (much of the programme is streaming for free, just ... on BST).
Tangentially Covid-related
Jill Lepore's history of Sesame Street for The New Yorker echoes the rapid establishment of the MOE's two educational tv channels: "Educational shows for kids responded to two conditions: the scarcity of preschools and the abundance of televisions".
Not Covid-related at all
A terrific interview with writer N.K. Jemesin
Fine art director: meet Fanny Pereire, who sources and organises art collections for tv shows and movies (fantasy job, after naming nail polish colours).
This week Te Papa launched Kōrero takatāpui ki Aotearoa: LGBTQI+ histories of Aotearoa New Zealand, a new section of our website, dedicated to queer objects, artworks, and stories in Te Papa's collections and the rich histories of Aotearoa New Zealand's LGBTQI+ communities and icons.
Catch-up therapy
This two-parter between Harriet Lerner and Brené Brown on how and why to apologise, despite all its Americanisms, taught me a lot this week.
Tuesday, 5 May 2020
Mentoring suggestions: helpful resources for people managing (and being human in the workplace)
I'm having the most amazing and humbling response to my offer to open up some mentoring spaces, and I know I'm not going to be able to spend time with all the people who have submitted their interest.
The podcast I wish someone had given me when I started managing people
Manager Tools "Basics". Listen to them on 1.5 time. Prepare to roll your eyes at some of the episodes and the need to reinforce beyond-basics like "have one-on-one meetings". But the episodes on feedback have completely reshaped my approach to this and I wish wish wish I'd heard them years ago.
The book I wish someone had given me when I started managing people
Lara Hogan's Resilient Management. Like the podcast above, it's written for the tech world, but I thoroughly recommend at least downloading the trial chapter from the link and giving that a read. It took me until last year (when Lara presented at Webstock) to see how the forming / storming / norming / performing model she uses could help me understand what the hell was going on with teams I'm working with, and to think about how people's essential needs (status, security, novelty) shape their reactions to change and challenge in the workplace. Well written and blessedly short.
The blog I wish someone had shown me when I started managing people
Leadership Freak. Middle-aged American man warning. The frequency may wear on you. But every couple of posts he makes a point that really really helps me. Like this recent one about accountability.
The podcast that made me feel better about finding everything so hard right now
Am I the last woman leader in the English-speaking world to learn about Brené Brown? Seems like it. I can't stand her author interviews on her new podcast, but these two short episodes really helped me get some perspective on what's been going on with me over the last few weeks:
Anxiety, Calm + Over/Under-Functioning (I'm a classic over-performer in response to stress and this podcast helped me step outside myself and understand how I was behaving)
On tough first times (We are doing so many new things, in new ways, in a situation of great ambiguity. It's not surprising we're feeling snappy, knee-jerky, and stressed.)
The podcast that helps me find my empathy
Esther Perel has been one of the best things in my lockdown experience. Her insight, charm and brutality make such a unique and listenable package. I binged on her couple's therapy podcast and haven't listened to all the episodes of her more recent 'How's Work' but I've listened to the following two episodes twice. In them, Perel explores the idea of the 'relational dowry' we bring into the workplace,
Prologue (an introduction to the idea of a 'relational dowry'; needs for identity at work; power relationships in the workplace; stability and growth)
Special Episode: Esther Perel and Adam Grant of Worklife (In which organisational psychologist Adam Grant tests and debates Esther's approach with her)
An experiment: want to try me on as a mentor?
I'm fortunate during this challenging time to be working with a great mentor. Her particular skill lies in giving me space to talk, then reflecting back to me in such a way that I can see where I'm placing too much emphasis, and not enough emphasis. She is also - at this time particularly - a great sanity check, a kind of Warrant of Fitness assessment when I feel in peril of going off the rails.
This is my first formal mentoring relationship. I've been lucky in my career to have started off in a university department (Victoria's School of Art History) that was filled with great exemplars, and then to have worked in larger organisations (like National Library and Te Papa) where I have had access to more experienced, highly skilled people who have been generous with their time and attention. I've been lucky too to work in a city like Wellington, with loads of arts organisations and smart people who I get to learn from.
So in the spirit of giving back, I'd like to offer myself up as a mentor.* I've done loads of informal coaching, but usually with people I work with. This is my first chance to extend that out to people I don't already know well.
My plan is to offer up to 4 people a trial hour-long session during this period where most of us are working from home. We'll book a video-conference session, get to know each other a bit, talk about what's top of mind for you, and see what we have to offer each other. Afterwards, we'll see whether there's value in continuing to meet longer term.
The areas where I think I can offer the most value:
Leading during the pandemic
Adjusting to people management roles
Taking care of yourself as a leader / people manager
Career changes, development and goals
The public cultural sector is my home base and site of most experience so I'd like to work with people who are in (or trying to get into) that zone. I should be upfront and say I respond best to optimistic, proactive people who are looking to grow.
If you're interested, please fill out the short form below by Saturday 9 May. I'll review applications (please let there be applications!!) over the weekend, and set up sessions starting the week of 11 May.
Expression of interest form
*In the spirit of disclosure, one of the things my mentor suggested in my last session with her was to carve myself out time to do things I find restorative and joyful. As an endlessly curious person, immersing myself in people's professional lives and ambitions is one of my happiest things. So, if this is an opportunity you're interested in, know you're doing me a favour by pursuing it.
Oh, also! If you don't know who I am: I'm Courtney Johnston, Tumu Whakarae | Chief Executive of Te Papa, you can read a bit about my background & experience on our website or in this recent interview.
This week is brought to you by .... the return of espresso coffee
Full Covid
Are you the only person in my network not to have read and recommended this NYT article by chef and restaurant owner Gabrielle Hamilton? Here you go then: My Restaurant Was My Life for 20 Years. Does the World Need It Anymore?
And then follow it up with The Gray Market's art-focused riff: Knives Out: Why Chef Gabrielle Hamilton's Reckoning Offers an Important Example for Gallery Owners
Hard as times are everywhere, museums and galleries that receive public funding are more secure at this time than those that don't. American and European estimates vary, but some counts say 1 in 10 museums will not survive the current lockdowns and following economic depressions. Nina Siegal for the NYT: Many Museums Won't Survive the Virus. How Do You Close One Down?
I've been really enjoying Duncan Grieve of The Spinoff's series: The winners and losers of NZ's post-lockdown economy (and how the losers might win too)
An interesting view from Gina Fairley of Australia's Artshub: The frontline pressure points are different for the regional arts sector
Be a pal
Now is an excellent time to support the arts organisations you believe in. Verb Wellington has launched a members campaign; the Pantograph Punch's is coming soon.
Also, if you've indulged in the reappearance of real coffee this week, don't forget cafes are doing it hard and you can help them bridge this time by buying vouchers for future spending.
Not Covid
I've not watched the show, read the book, nor practiced the method, but I remain kinda fascinated by Marie Kondo. Fast Company's Elizabeth Segran trailed Kondo as she moves into workplace coaching, and looks at the business partnership between her, her husband, and their growing network of coaches.
Level 3 means looooooong walks to blow off steam and find some space outside my living room - and opportunity to continue some pretty earnest self-development podcast listening. This week it was Worklife with Adam Grant, an organisational psychologist, including The Problem with All Stars (best advice - how to focus on amplifying those around you); Authenticity is a Double-Edged Sword (being you at work shouldn't be a selfish act); and When strength becomes weakness (we all have strengths - knowing when and how hard to apply them is key). All comes down to self-reflection and self-management really.
Covid, of course
A beautifully imagined and written piece by Rebekah White in New Zealand Geographic, 'Our New Future', a non-sensational take on what the coming months could look like, in the scenarios of a second outbreak, or where the virus is contained or eliminated.
American museum consultant Dan Spock (a very considered person) thinks through the Post-Coronavirus Museum
From the Art Newspaper, 'There is no fast track back to normal': museums confront economic fallout of the pandemic - follow this overview up with the indepth podcast, with long interviews with Frances Morris (Tate), Dan Weiss (The Met) and Philip Tinari (UCCA Center for Contemporary Art Beijing).
Not Covid specifically, but interesting data
The Mapping Museum research project based at Birkbeck University of London looked at the explosion of museums in the UK in the second half of the 20th century, and sought to document and analyse how the sector changed between 1960 and 2020. Their website has a variety of articles and research reports, including the just released Mapping Museums 1960–2020: A report on the data which includes the top-line finding "758 museums have closed, which is 18.7% of the total number of museums open since 1960. The assumption that museums survive and that they keep collections for posterity is misplaced."
Not Covid, just heartbreaking
Letters reveal postnatal crisis of Barbara Hepworth - from the Observer, I've read this story about four times and each time it just wrecks me. Don't read it if you're not feeling resilient.
Not Covid, just nostalgia
Midwest - a brief but brightly burning publication coming out of the John McCormack / Robert Leonard Govett-Brewster - has been scanned and put online by the gallery (except one issue, waiting for John to have access to his storage post-lockdown)
Covid-19, of course
New NZ thinktank Koi Tū's paper on the questions the pandemic should be prompting us to ask for the future. And The Great Reset: What Will (Need to) Change after the Crisis? from a House of Beautiful Business Living Room Session (whatever that is?). Long pieces I'll come back to post the Monday announcement, I reckon.
From NiemanLab: The coronavirus traffic bump to news sites is pretty much over already (American, of course, I'm not sure where NZ is at. Check out the most recent episode of The Fold in which The Spinoff editor Duncan Grieve pondered the Covid-19 impact on the media on March 27, a monologue that still holds up)
Covid-19 and magical thinking defence mechanisms
Moving beyond the content-frenzy: Andrew McIntyre of audience research company MHM in the first of three articles about becoming more audience-focused post-Covid
McIntyre links to this interesting piece by Nicholas Berger, The Forgotten Art of Assembly Or, Why Theatre Makers Should Stop Making: "These immediate, ad hoc, digital projects highlight not a resiliency, but a deep fear. The coronavirus has exposed us all, desperately afraid of being alone."
Let's zoom out on that one. This week I was sent this article by a friend, Why Are You Panic-Working? Try This Instead by organisational psychologist Gianpiero Petriglieri. He gives a psychological framework for this productivity response, the "manic defense", outlined by Donald Winnicott in the early 20th century. Petriglieri writes:
Like all defenses, the obsession with staying productive is a source of dubious comfort. It sustains the pretense that if we work hard enough, we can hold onto the world we once knew.
It shields us from feeling powerless in the face of events, but it comes at a high price. It costs us our connection to reality, to our experience, and to others. We become incapable of appraising the situation, acknowledging our feelings about it, and being present to others. We become numb. Eventually, we fall apart because we have tried too hard to keep ourselves together.
How we respond when placed under pressure is something I've been intrigued about ever since I drove my car over a small cliff as a teenager (long background story) and never more so than this past month. Call me late to the party (like, arriving a solid 10 years after it started) but I've just started listening to Brené Brown's podcast 'Unlocking Us'. The episode on anxiety, and people's tendency to either over or under-perform when placed under pressure is full of commonsense and good reminders, and links well to Petriglieri's article.
Covid as a springboard for writing about new cultural artefacts
Using Barbie to stage mini-protests: I usually hate art gallery stunts, this is genius. "That's not art it's Victorian porn!' – how one small Barbie doll took on the art world", Nancy Langham-Hooper's interview with Sarah Williamson, creator of ArtActivistBarbie.
Simon Wilson reviews Hilary Mantel's The Mirror and the Light, (paywalled) asking what we can learn from Thomas Cromwell's life and times to apply to our current moment: "Power, wielded successfully, is about matching ambition to circumstance. Doing what you can, knowing how to play the long game but also seize the moment. You can't just do what you want. You have to do it so it works."
Not at all Covid
A 2019 piece from The New York Times by Caity Weaver, on the office design of the company that runs a bunch of America's mall food chains.
Also from the Times: Sarah Miller's lengthy analysis you didn't know you needed of Claire Danes' character's attachment to cross-body bags in Homeland.
Bonus reading fest
This massive New York Times T Magazine's 2020 Culture Issue. I particularly enjoyed the article about butch and stud lesbian style / identity.
Colleen Dilenschneider is releasing regular updates to the (American) audience surveys about appetite to return to cultural organisations after lock-down
The National Library of New Zealand on how they're documenting online life during Covid-19
The best piece I've read so far on abruptly moving to working with remote teams, by Mandy Brown
This Happy Museum piece is good - How might museums help us navigate beyond our current crisis? - but actually I really liked how they presented it as a Twitter thread
From Mass Action: How Are We [Museums] Centering Equity in this Time?
This (short) reframing of the idea of "accountability" in the workplace has really helped me deal with a word I usually find to be weaponised.
This tweet thread from whoever @LewSOS is (apologies Lew) is really interesting. The observation is that we are all getting much the same data right now, but the speed at which you can form and announce an opinion based on that data, compared to the speed at which you can form and announce an implementation plan based on that data, are quite different.
Three reasons why Jacinda Ardern's coronavirus response has been a masterclass in crisis leadership: direction-giving, meaning-making and empathy.
Deloitte's think piece: thrive scenarios for resilient leaders - different ways the world might come out of Covid-19 (more or less trust in government, technology, other people ...)
I keep returning to this piece by Emma Pattee in the New York Times: The Difference Between Worry, Stress and Anxiety
Every couple of days I also contemplate this graphic (which I can't find an original source for):
With a lot more walking in my life, I'm doing a lot more podcast listening nowadays, including RNZ's Coronavirus podcast (I enjoy their focused approach) but most especially How's Work? with Esther Perel, from Gimlet Media (the workplace counselling podcast you didn't know you needed in your life).
The social media phenomena of people recreating portraits in their own homes has been pretty great, but I truly applaud my friend (and cultural sector champion Glen Barnes) for this one:
#MuseumChallenge time. Billy Apple 2 Minutes, 33 Seconds, complete with bonus receipt for the 🍎
/c @Te_Papa @auchmill pic.twitter.com/zAeXLRqjXj
— Glen Barnes (@barnaclebarnes) April 13, 2020
Preface for "The Digital Future of Museums: Conversations and Provocations"
I was very touched, and honoured, to be invited by Suse Anderson and Keir Winesmith last year to write a preface for their book The Digital Future of Museums: Conversations and Provocations (Routledge, 2020).
Keir and Suse are two of my favourite Australians, two of my favourite Australian - American (and in Keir's case, back in Australia again) transplants, two of my favourite digital museum people, and two of my valued friends formed through years of association with the National Digital Forum. I've benefited for more than a decade now from their incredible generosity of thought, and the way they take a show-your-workings approach to going about their research and mahi, opening that up for all interested people.
The Digital Future of Museums: Conversations and Provocations is made up of facilitated conversations between pairs of thinkers and (mostly museum) practitioners. Starting from the swathing changes wrought by the widespread adoption of digital technology in society and in museums, as the blurb states, the book "offers provocations and reflections about effective practice that will help prepare today's museums for tomorrow, culminating in a set of competing possible visions for the future of the museum sector."
The book includes 12 conversations, between people including Seph Rodney & Robert J. Stein, LaToya Devezin & Barbara Makuati-Afitu, Shelley Bernstein & Seb Chan, and Tony Butler & Lori Fogarty. Throughout, Suse and Keir add their own prompts, and two pieces that frame the conversations.
I've read the whole thing, and it is illuminating, personalised, striking in its cultural differences, and powerful in its quality of thinking. I couldn't recommend it to you more.
Preface to The Digital Future of Museums: Conversations and Provocations
The distinguishing characteristic of the people leading practice in the development of 'digital' in museums is, I believe, that they are given to both action and theory, with a healthy side in activism. Many other industries and occupations combine a strong theoretical aspect with hands-on practice, but I see something unique in the way people who work on the web create, theorise, and connect, perhaps because the mechanism we connect through is also the stuff we create with.
The Digital Future of Museums: Conversations and Provocations is, for me, a book about thinking. It's a book that brings into conversation a group of thinkers who characteristically do their thinking in public. The body of knowledge captured in these conversations has grown largely through the mechanisms of conferences, blogs and social media; indeed, it is through these channels that Keir Winesmith and Suse Anderson first encountered many of the contributors. As Seb Chan observes in his conversation with Shelley Bernstein, when Keir asks why both have such a commitment to working "in the open":
For me it's about working in public. I grew up with the web, and this notion of 'viewing source code' has infused my philosophy around lots of things. That we all get better if we share information, and we bring the other generations along with us. And it is about transparency and openness as a differentiator, too. I found that early on at Powerhouse. It was a way of creating an international network of peers and peer institutions that we could bounce ideas off and share information with.
Research, experimentation, documentation and reflection: by talking not only about what they are doing, but how and why they are doing it, and what they have learned from doing it - at an unprecedented volume, unhampered by the publishing schedules or peer review of academic journals - these thinkers have shaped the discourse around museums in a new, powerful and rapid way. Moreover, this discourse has been shaped by interactivity from the outset: blogs were made to be commented on and hyperlinked; wikis to be edited; social media posts to be shared and replied to. This is one of the reasons the interview format adopted in The Digital Future of Museums serves its contributors and its readers so well: it supports the collaborative development of ideas fostered by the best online engagements, as well as humour, respectful disagreement, and new insights.
This ethos of thinking in public is fueled by tremendous generosity, another characteristic of this community. It is also an approach that takes advantage of the democratising effects of the internet. In this new paradigm it's not the brand name of the institution you're affiliated to but the quality of your contribution that matters. As Seb also observes, this has been particularly important for those of us working in or alongside cultural institutions beyond the traditional centres of power and attention. In the first wave of museum/digital practice, it was the voices of those people working outside the dominant centres of geographical and institutional power that had new power to be heard. Today, it's voices from beyond the dominant cultures - communities that have traditionally been marginalised, silenced or spoken for by the museum - that are at the forefront of changing museum practice.
The Digital Future of Museums is also a book about museums as generators and conduits of thinking. Seph Rodney identifies in his conversation with Robert Stein that museums play an important role in "having us think about our thinking, publicly". Museums reflect and shape the perspectives of nations, societies, communities and individuals about their histories, their cultures, their politics, biases, and view of the future. By driving a museum's intellectual agenda funders, management, and staff create the stories and imagery that inform (or confirm, or challenge) how a society thinks about itself. This is why museums are not, and can never be, neutral. It is also why they are such exciting and meaningful - and occasionally hazardous - places to work.
I first encountered Seph's writing in 2016, in a piece he wrote for Hyperallergic, based on his PhD research. In the essay, Seph traces a progression in museums from the late 19th century paradigm of the specialist collecting institution, to the post-Second World War paradigm of the educational institution, to the 21st century paradigm of the visitor-centred museum. In the contemporary context, personalisation has succeeded education. The visitor is no longer seen by the museum as an incidental beneficiary of its core focus on collecting and categorisation, no longer viewed as a passive recipient of authoritative curatorial knowledge, but invited to be an active participant, making their own meaning from the museum's offerings.
Seph attributes the change over the past 25 years to an intertwined set of economic, social, political and museological changes. The emergence of the new museology has placed the visitor at the centre of museum practice; cultural policies (largely in countries where museums are publicly funded) have pushed museums towards new success measures based around access and economic contribution; and the rise of the experience economy has led to the creation of museum experiences designed for consumption, according to the user/visitor's needs and desires. This framework provides a thought-provoking context in which to locate the 13 discussions that make up The Digital Future of Museums. The concerns of people leading digital change in our museums far exceed questions of what file format to use, or whether it's AR or VR we should bank on for visitor appeal. Within these conversations, we can see leading thinkers analysing in real time some of the greatest limitations and opportunities that museums as social structures and services are working through today.
Throughout the conversations, you'll notice contributors offering different versions of a similar refrain: digital isn't a technology, it's a way of working; digital isn't a technology, it's a language; digital isn't special, it's just what is. This refrain brings us to the heart of this book: the fruitful, fascinating, and fast-paced ways in which the development of contemporary digital technology has interfaced with contemporary museum thinking.
Like the earliest iteration of the museum, the internet was initially a research tool used by specialists and those with privileged access to (computing) power. When Tim Berners-Lee began development of the World Wide Web in 1989, his goal was to make the internet "a collaborative medium, a place where we can all meet and read and write". With the launch of the Mosaic web browser in 1993, the internet went mainstream: now, anyone with an internet connection could 'surf' this massive new global resource for information and entertainment. At this point however, publishing power was still limited: the means of creating and consuming content were separated. The web, in some ways, was in the second museum paradigm: a place where those with access to the tools of publishing fed content and knowledge to those who primarily consumed without contributing back. We can map the beginnings of digitised collections to this moment, and the new ability for all museums to think massively beyond their local remit into global reach.
It was at the turn of the 21st century, with the rise of blogging and wiki platforms and the integration of publishing tools into the medium, that Berners-Lee's vision was fulfilled: the web as a two-way system, where 'ordinary' people could contribute content as easily as they accessed it. This was the read/write web: a medium capable of being displayed (read) and also modified (write). The congruence here between the new affordances of the web and the new approaches to exhibition and experience design fascinate me; all fed by people's growing expectations that their experiences and opinions warrant recognition and sharing.
In 2005 Tim O'Reilly published 'What is Web 2.0', an analysis of design patterns and business models that he saw underlying the companies that had survived the 2001 dot-com bubble burst. The codification of Web 2.0 highlighted collaborative services, "harnessing the collective intelligence", and the power of user-generated content. This was the age of Wikipedia and Flickr; of folksonomies and tagging; of RSS and viral marketing. It's when Time magazine made its 2006 Person of the Year You, recognising the millions of individuals who were now populating the web's content, and when ideas of co-creation, co-curation and community participation went mainstream in museums.
Writing in 2017, technology commentator Alexis Madrigal observed that "Web 2.0 was not just a temporal description, but an ethos". It was a picture of the truly open web; an almost Utopian vision of humankind working together for global betterment. "But then", writes Madrigal,
in June of 2007, the iPhone came out. Thirteen months later, Apple's App Store debuted. Suddenly, the most expedient and enjoyable way to do something was often tapping an individual icon on a screen. As smartphones took off, the amount of time that people spent on the truly open web began to dwindle. ... The great cathedrals of that time, nearly impossible projects like Wikipedia that worked and worked well, have all stagnated.
Madrigal's analysis matches with a feeling I developed in 2015, as I toured around museums in seven American states studying digitally-enhanced visitor experiences. Overall, as I visited the museums leading in this space, I observed a move away from projects focused on global audiences, and a move towards personalised experiences delivered via smartphones and customised devices available onsite at the museum. While these new experiences were often rich, subtle and playful – and designed to collect information that helped institution learn more about the behaviour and motivations of physical visitors – this shift in focus from global to local seemed to be paired with a reduction in sector-wide, collaborative endeavours. I asked myself at the time if this was a natural consequence of digital leaders' roving curiosity: that the opportunities of collaborative platforms, APIs, metadata sharing and so on had been thoroughly explored, and new ground opened up for exploration. I also quietly questioned whether museum leadership and external funders had abandoned the altruism encouraged by the open web environment, and were now more inclined to support projects where the benefits could be firmly located within the museum's walls.
Today, the ground has shifted again. As Adriel Luis observes in his conversation with Sarah Brin, over this intervening period "museum conferences everywhere have gravitated towards the theme of social change". The sector is asking itself hard questions about impact, social change and social justice. Within this questioning, there is a growing awareness that in their efforts to decolonise themselves - to cast off their colonialist and imperialist origins - museums may fall into perpetuating a form of neo-colonialism, often in the attempt to fulfil the vision of universal knowledge they were founded upon.
Sarah Kenderdine touches on the tension between the value museums place on access to heritage and knowledge and the growing understanding of the prejudice of this attitude in her conversation with Merete Sanderhoff. Talking about the creation of high-resolution digital facsimiles of heritage objects, she notes:
Critics look at this as a kind of massive cultural appropriation or neo-colonialism that the digital has unleashed in the documentation of other cultures, under a banner of heritage at risk. It's an extraordinary moment. It's not like iconoclasm is new, but now it's in the public domain. We are able to create phenomenal amounts of digital data, but it does come with this overtone of neo-colonialism.
The same point is raised in a response signed by over 100 scholars and practitioners in intellectual property law and material and digital cultural heritage to the 2018 Sarr-Savoy Report, which recommended to the French government the restitution of African material culture from French museums to colonised countries. The response challenges the report's recommendation that all items identified for return should be systematically digitised and made available online, arguing that "the report's recommendations, if followed, risk placing the French government in a position of returning Africa's Material Cultural Heritage while retaining control over the generation, presentation, and stewardship of Africa's digital cultural heritage for decades to come."
As we look to the future then, I recommend one particular chapter in this book to all readers. The conversation between LaToya Devezin and Barbara Makuati-Afitu shows, in applied practice, ways of working that could and should form the culture of museums of the future. LaToya, in her discussion of working with African American and other communities, describes a post-custodial model of museum and archival practice, where emphasis is placed not on the physical housing of the object, but the preservation of a community's culture and stories: of the institution being of service. Barbara, when asked what is required for institutions to respect and protect the stories and knowledge communities chose to share with them, replies, "It's someone fully understanding culturally and spiritually the sacredness of that knowledge that isn't ours, that isn't mine, and wanting to know how we can help - using different platforms - to ensure its safety." And when asked at the conclusion of the conversation what museums may look like in 20 years' time if they follow these practices, LaToya concludes:
We're going to have a more multidimensional viewpoint of history, and I think we can really affect social change. We'll have more diversity within our staffs, and a more enriching experience as a whole. I feel like our space will be more transformative over time, and that we can grow with each other, and maybe it will give us the space to have some of those difficult conversations to be able to foster change. If we all could participate in conversations like the conversation that we're having now, I can see it being such a beautiful and wonderful process.
The beauty of this book is being invited into these conversations in this moment. On behalf of all its readers in the future, I give my thanks to the generosity of all those who gave of their time and knowledge to create it for us.
Reading list, 11 January 2020
Germany's parliament has approved €41 million (pending regional co-funding) to establish a new institution in Dusseldorf to preserve, archive and publicise the nation's photographic cultural heritage
ArtNews's Biggest Art World Flops of the 2010s
Hyperallergic's 2019 Most Powerless People in the Artworld list
Michael Edson's Pantheon of Reads 2019
Cultural Competitors: What Are Likely Visitors Interested In Doing Instead? American data on likely visitors to cultural institutions shows a sharp increase in the desire to stay home on weeknights and weekends
Amanda Hess for the New York Times on the mall-as-experience: Welcome to the Era of the Post-Shopping Mall, and accompanying commentary and context from the Gray Market Weekly
Two online readers of essays related to Mana Wahine, featuring writers such as Ngahuia Te Awekotuku, Linda Tuhiwai Smith, Leonie Pihama and texts written between 1987 and 2019. Developed with Te Kotahi Research Institute and supported by Ngā Pae o Te Māramatanga
A book recommendation - for fans of beautiful world building, Frances Hardinge knocked it out of the park again with Deeplight (and also interesting for her collaboration with the Young People's Advisory Board of the National Deaf Children's Society to create the 'sea-kissed' characters and culture)
North & South does a 30-year follow-up of a feature written in 1989 by Rosemary McLeod, of 31 women 'shaping our lives and the country's future', including Helen Clark, Suzanne Snively, Sian Elias and Hekia Parata.
Mentoring suggestions: helpful resources for peopl...
Preface for "The Digital Future of Museums: Conver...


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You are here:Home » Notices » Call for photo entries: Women's History Month in East London
Call for photo entries: Women's History Month in East London
This is the call for entries for Women's History Month in East London this March celebrating Women in Sport, with the deadline for submission on 23 January 2023.
Women's History Month in East London is pleased to announce the call for entries from women photographers for the Women's History Month Photography Exhibition which will be exhibited at the Brady Arts Centre, Hanbury Street E1 5HU and Online. The aim is to give all kinds of women photographers the opportunity to participate in Women's History Month and exhibit their work to the public.
Images celebrating women's sport and inspiring participation will be exhibited alongside archive images of the history of women's football, and women's sports in East London. The subject is open to interpretation and may be captured in a single image or a series of images. Up to 5 images may be submitted.
Entry is free and open to all kinds of photographers, professional and non-professional, students, young people, and community projects/workshops.
All entrants must complete the attached Entry Form and return it to info@alternativearts.co.uk by 23 January 2023. Early submission appreciated.
All images must be submitted in high res @300dpi via 'WeTransfer' (a free filesharing service) www.wetransfer.com and clearly identified with your name and a title and sent to info@alternativearts.co.uk Please get help if you need it to do this.
Submitted images may be used for publicity purposes. Image copyright remains with the photographer. The management reserves the right to reject work not deemed suitable for exhibition.
All participants will be sent invitations to the Opening Preview of the Exhibition on Thursday 2 March 2023 from 6pm to 8pm at the Brady Arts Centre and may bring guests.
The Women's History Month Photography Exhibition will be open Monday to Friday 9am – 7pm and Saturday 10am – 4pm. Admission Free.
Exhibition 2-30 March 2023.
The entry form is attached above.
Tower-hamlets-logo-1-1.jpeg
Notice Title: Call for photo entries: Women's History Month in East London
Planning Status: None

redpajama_set_name: RedPajamaCommonCrawl


Desert Wax construction makes it waterproof, wind resistant and warm. Detachable hood with drawstring. Two front pockets with hand warmer entry, button down flaps and bellowed edges for more room to store your belongings. Two extra upper chest hand warmer pockets. Zip and button closure to give you extra protection from the wind. Drawcord waist to tailor the fit to how you like it. Two hidden inner chest pockets with zip closure for extra storage. Soft cotton storm cuffs for warmth and comfort. Self fabric zip puller means you don't have to fiddle with the zip and it's easy to do up. Corduroy collar makes the jacket comfortable around your neck. Quilted cotton lining for extra warmth and protection from the elements.
Material: A lightweight hooded coat in Desert Wax, our new generation Oilskin for urban wear.


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Travel guide to Benalmadena
We introduce you to our Tourist Guide to Benaldamádena with all the tourism information and the best recommendations. Find the best restaurants and accommodations in Benalmadena. Discover its nature, activities, monuments, cultural visits and much more.
OUR TOUR GUIDE TO BENALMADENA
Benalmadena is a privileged territory where the peace of its atmosphere, the beauty of the landscape and the kindness of its people go hand in hand with a wide range of leisure activities. Located geographically in the very centre of Costa del Sol, the municipality of Benalmadena is divided into three parts: the Benalmadena village considered the most authentic part; the original village, Arroyo de la Miel, located between Benalmadena village and Benalmadena Coast; and Benalmadena Coast where hotels, shopping centres, nightclub and tourist attractions are located.
As for history, the Phoenicians were the first to reach the area, fostering the cultural exchange focused on agricultural techniques, trading and stockbreeding. Later, the Romans arrived.
MUST VISIT IN BENALMADENA
Benalmadena is one of the favourite destinies for foreign tourists. That is why many decide to stay and live here, hence its streets full of contrasts between the most ingrained Spanish traditions and traditions of foreign cultures.
Monuments such as the niña de Benalmadena, the Benalmadena Castles, the Stupa de Iluminación will surprise you. Benalmadena offers various activities and places to enjoy.
If you want to make the most of your visit, you cannot miss activities and places such as Tivoli World, Mariposario, Cable Car and Garden of Eagles, Selwo Marina and Parque de la Paloma. Finally, Benalmadena has several festivities worthy of your visit. Besides the conventional ones (the Three Wise Men, Holy Week, Carnival…), the village hosts different fairs such as the Argentine Hispanic Festival, the Seafood Fair, Corpus Christi, San Juan Romeria, San Juan Fair, Virgen de la Cruz Fair, Arab Market and the Tourist Day.
Encuentra todo lo que puedas hacer en Benalmadena
The best activities in Benalmadena
Best activities to do in Benalmadena. Do not miss out on anything. Verified by TUDESTINO, the website specialized in the province of Malaga.


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Helen French — Dancing in Place
Posted on April 9, 2020 by Sheila Cowley
April 9, 2020 | By Eric Snider
Dancing in Place
Juilliard-trained dancer Helen Hansen French, a St. Pete native, has seen all her performances canceled and is doing the
best she can to teach her students via Zoom
Helen French in performance – photo by Paul Goode
On Helen French's small, covered front porch in St. Pete sits a 3-by-4-foot mat that she filched from her kids' playroom and covered with packing tape. It is, effectively, her dance floor.
A professional dancer — and dance teacher — French has been forced to innovate in order to teach her students online. Giving instruction to individuals or groups via Zoom, she can demonstrate basic moves and positions on her little piece of dance real estate.
So Grande Allegros are out.
Obviously, all of French's performances have been canceled. Because she maintains a schedule of teaching 11 classes a week for St. Petersburg College and Hillsborough Community College — as well as four private students — she continues to generate income. (She was also an adjunct teacher with the Gibbs High School arts magnet program, but that gig has been put on hold.) Her husband of 10 years, Jonathan French, is still employed and able to work out of their home. Her current standard of living is sustainable for the foreseeable future, she says, but, like most everyone else, not indefinitely.
Helen French's "dance floor," fashioned from her sons' play mat
With two sons — ages 7 and 3 — who are bursting with energy and in need of constant supervision, Helen French's life is, to put it mildly, stressful. "I tell the boys, 'Get out of that tree,' 15 times an hour," she says with a chuckle.
Helen is quick to allow that she has it much better than other artists amid the COVID-19 pandemic. During our hour-long interview, also over Zoom, she maintains a sunny demeanor, albeit mixed with moments of frustration, concern and sadness. "I'm quicker to anger, and quicker to feel guilty about getting angry," she admits.
Dance is all about motion. And teaching dance is so tactile. How does someone instruct students over an online platform originally meant for business meetings?
In French's case, with caution and lots of care. "It varies from student to student," she explains. "Some of them need to move, others are dealing with the trauma and don't want to move. I'm being as emphatic as I can be.
Helen Hansen French & Alex Jones – photo by Tom Kramer
"I'm focusing on transferable skills. This morning, pre-warmup, I taught an exercise on how to help with strained eyes. It gives them another tool to work with. I can only give students [technique] corrections based upon what I can see [via the feed]."
She has pragmatic concerns as well. "The surfaces they're dancing on aren't generally safe or sustainable," she laments. "I have students trying to learn on carpet, tile kitchen floors, in their bedroom holding on to their dresser, even on concrete. I don't give any jumping [instruction]. It hurts my bones to even think of jumping on tile."
(Industry standard dance floors are made of sprung wood covered with a surface called Marley, she explains.)
"I try not to throw a bunch of new stuff at them," Helen continues. "Some of them, I can see in their faces that they're tired. They'll say, 'I can't remember anything of what you just said.' That's anxiety."
French is particularly concerned about two of her former Gibbs students. "They're young African American women, a minority within a minority," she says. "They're about to graduate high school. Both of them are beautiful dancers and have been accepted into a summer training program in Jacksonville, which could lead to a job. They have extremely bright futures, but I worry that this type of [arts shutdown] scenario is lasting just long enough to set them back or discourage them — just long enough that they never make it out of the starting blocks. It makes me want to tear my hair out."
French, 41, graduated from the Pinellas County Center for the Arts at Gibbs High program, then went off to The Juilliard School in New York City to further study dance. She focused on the elegant and powerful Graham Technique, named after the legendary modern dance pioneer Martha Graham.
After Juilliard, she joined the Buglisi Dance Theater in New York — just a few weeks before 9/11. Nevertheless, the company kept her busy dancing professionally for 22 to 38 weeks a year on contract. French also picked up teaching jobs. She made a living, had an apartment in the Inwood section of Manhattan. That work pace maintained until around 2007 when it tapered off. By then, she was only getting 10 weeks of annual guaranteed work from Buglisi.
French moved back to St. Pete and traveled to New York when jobs arose. She'd met Jonathan during a few trips home. "I parked my U-Haul and went out for ice cream with him," she says fondly. "That was June 11th, 2009. We got engaged on July 5th and married on March 6th, 2010."
Helen French on her covered front porch, photographed during a Zoom interview
The last time the couple went out, they had a lovely dinner at Rococo Steak for their 10th anniversary.
After fully settling in St. Pete, French realized that she "wanted to create something in dance here that was sustainable," she says. "We have a robust and vibrant dance community, especially in St. Pete, but in Tampa and Sarasota as well. I wanted to make a community, but the dance company structure, it really doesn't work that way here."
With fellow dancer Lauren Slone, a St. Pete native who lives in New York, French formed BEACON Contemporary Dance, an artist-in-residence group at the Palladium Theater that does a major annual performance at the venue.
April 3 was scheduled to be year five of BEACON and dancers had been rehearsing for months. That performance was postponed. French is also part of a dance group called Open Space Collective that's affiliated with the Museum of Fine Arts in St. Petersburg. She and four cohorts started in January choreographing original pieces for a series of performances that were to last through May. They had six rehearsals and did two shows on the MFA stage before shutting the project down.
French performs solo dance as well. She collaborates with pianist Frank Wells on a unique concept. "He does structured improvisations in response to a series of photographs," she explains. "I improvise my dance in response to his music and the photographs, and then he responds to my dance as well."
Now that's something I'd love to see — but won't for a while.
If you'd like to see Helen French in performance, she kindly shared these videos.
Les Falaises a dance film by Helen French in 2014 on Vimeo.
ING with Dancers from Buglisi Dance Theatre: Helen French Helen French and Walter Cinquinella on Vimeo.
Music: Brahms
Choreography: Donlin Foreman
Joyce Theater NYC, 2005
My studio…home sweet home :)Dancing in Place


Just upgraded my x86 NAS from 5.26 to 6.7 and see that /queue monitor shows zeroes for both queued-packets and queued-bytes.
This NAS provide several PPPoE servers, users obtain simple queues (default-small with red policy) on their interfaces via Radius.
Simple queuing works fine, but monitor doesn't.
Does anybody see the same thing ?
I'm also seeing zero values, when there are simple queues and they are in use and dropping packets occasionally.
a residual from old versions? something not (yet) implemented?


The holidays are once again upon us, but don't forget to secure your site before you kick back and relax.
We are fast approaching the holidays and the subsequent shutdown period. Many of us are looking forward to spending a well-deserved break with friends and family, soaking up the sunshine right across our magnificent coastlines and enjoying the wonderful foods Christmas offers. However, while you enjoy a good game of backyard cricket, you don't want to be worrying about your construction site.
Shutdowns are a standard holiday occurrence in the residential building industry. During this time of inactivity it is important to remember to secure your site to minimise any potential risks that could occur over the break.
•	check that locks and doors function correctly.
•	display emergency contact numbers.
•	check security lighting and cameras are working.
HIA wishes everyone a safe and happy holidays.
newhomesguide.com.au specialises in digital marketing for the new home industry, helping builders grow their online presence.


Note: This page goes with this easy voting table.
Note that Prop M and Prop N are the only ones to be sure to vote "NO" on.
New! 3:40 pm Monday, Nov 3. I just added some brief descriptions from a flyer I picked up from the Youth Vote Coalition. Every one of their recommendations matches up with what Ammiano recommends, so I thought it would help flesh out the issues a bit to include what they say about the propositions in the explanations below (and on the table of how I'm voting).
Allows money for school renovation and maintenance.
Grants retirement benefits to a wider range of government employees.
Would create an official auditing division for the City under the Controller's office. Also sets up a hotline system for citizen complaints related to problems with City services.
Lisa: "So what about C? About having Controller monitor city services?"
Improve function of commission and representation of local businesses within Commission.
Will increase enforcement of the ethical responsibility of our local government.
Offers seasoned city employees the CHOICE to retire early in effect allowing both old and new employees to avoid lay-offs.
Would create a fund from the surplus of a good local economy to help out at times when our local economy is in future slumps.
Would give the Office of Citizen Complaints more power and access to police records so that the people can better fight police misconduct and brutality.
Will catch about 1,650 San Francisco children who slip through the cracks and give them access to the preschool programs they shouldn't miss out on because their parents don't make enough.
Policy to require San Francisco to provide safe, decent and sanitary temporary shelter for homeless seniors, youth, families and disabled individuals that is separate from that provided to the general population.
"Prop J, you know. I really think it's unnecessary. I think, for Angela, it was a way to attach herself to a ballot measure so she could get some mileage out of it. It's an old trick. We all do it from time to time. If it fails, I don't really see any great consequences for San Francisco, because we already have that political will in and around the homeless -- and again, (the bill is) just trying to capitalize on that without really trying to come up with solutions that are verifyable. Like my ability to get six million bucks from the Bush government two weeks ago, so we could have supportive housing and services for the mentally ill and homeless. Now that's real, and that's happening as we speak.
Lisa: So getting back to J. Would you say "No"? Or would you say go ahead and pass J?
I'd say go ahead and pass J. It's not going to hurt anything. I just think that you don't want to make any empty promises.
Lisa: But it's not crucial?
Would maintain 1/2 cent sales tax and renew 30 year plan directing use of these funds toward local transportation improvements.
"Let's see, Prop K. That's a little bump in your sales tax that you've been paying for the past 20 years. If you've been around long enough. And it really has been helpful to the Muni, to ladder(?) crosswalks, more traffic signs, traffic calming, bicycle paths. You name it. If it deals with transportation, Prop K will take care of it. So I would really urge a strong vote for Prop K."
Would increase SF minimum wage from $6.75 to $8.50!!! This would increase money spent in SF businesses by increasing personal wages by $4,000 a year and allow people currently earning minimum wage to afford more and need public assistance less.
Tom: "Very very good. I championed "living wage" as a supervisor. It took me two years and I got it done, along with providing health benefits for people who do contracting work for the city. I think that Prop L is a very logical next step. It's the brainchild actually of Barry Hermitson, whose a small business man who understands the market in a way that doesn't rip people off. And he knows that if you pay people more than the minimum wage, which is a ridiculous amount of $6.50, that they'll have a few extra nickels in their pocket, and that they'll tend to spend that in the neighborhoods they live with. And I will say this about Gonzales, he sponsored it with Barry. And they both make a very very good point which is "hey, when there's a downturn in the economy, it's not just Chevron that hurts." It's the janitors and the people who are waiters and waitresses and the people doing physical labor, and "hello?" what are we going to do about them?"
Meant to ban "Aggressive Panhandling," Prop M would give the police the power to arrest the homeless for little or no reason at all. Using upwards of $900,000 per year in costs and manpower.
Would allow taxi drivers to keep a limited number of city issued permits/medallions possibly taking advantage of very loose definitions of "disability" and preventing drivers on the lengthy waiting list from receiving benefits paid to medallion holders.
This is another great example of why I think Tom Ammiano would be a great Mayor.
He has great reasons for not wanting N to pass, and an excellent alternative to it: providing health benefits and disability benefits for all taxi drivers (not just disability for only drivers with medallions - as N proposes). More details below.
Lisa: "What about N? For taxi permits..."
Tom: "You know, my father was a cab driver in the 50's and 60's before he died. There were no benefits. There were no health benefits. When he died, we had to practice an Italian-American custom called La Boost (sp?) where people actually come to the funeral, which you don't pay for yet, and they make a donation. And I thought 'ya know, nobody has to go through this.' Particularly Taxi drivers.
However, this is a very self-serving avaricious measure that I think is very dishonest. In the world of taxi drivers there are people with permits and then there are people without permits, and this is a way to get the people with permits only some kind of disability benefits. It really shuts the door on anyone else, and I don't like that. And I tried to get something on the ballot that would encompass not just the permit (medallion) holders, but the other drivers too. To me, there was a way that we could have done it for everyone.
So I'm not supporting N because I think it is dishonest. I don't want to deny disability to people, particularly with my personal background, but there is another way to do it. And by the way, my office worked with the waring parties, and their very very very angry with each other and don't talk to each other a lot. Within the taxi industry there are three or four factions and we are moving towards providing health benefits for all taxi drivers. And if it ever passes, and we get the cooperation of everyone, I'd like to call it the "Joe Ammiano Law," because that was my dad.
Lisa: "So that one you're stronger about. You think it's a big NO on that one."
Tom: "Oh yes. It's going to be very harmful. And we'll just leave it at that."


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The Owl Sanctuary at Stonham Barns is open to be seen by the public all year round. This is the perfect place to come and see, study or simply enjoy the company of the owls and other inhabitants. The Owl Sanctuary is very educational, we're sure that you will learn something new here. Also the staff here will be walking around a lot of the day and can answer any questions you might have.


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Tour de France 2016 Stage 2 Preview
What you should about the Tour's second stage, which takes riders from Saint-Lô to Cherbourg-Octeville on July 3
By whit yost
In recent years, Tours de France that begin with a stage for sprinters are often followed by a stage that suits punchier, more aggressive riders. Such is the case with this year's Stage 2, a 183km race from Saint-Lô to Cherbourg-Octeville that features four categorized ascents, including a steep climb to the finish line atop the Côte de la Glacerie. But it's the uncategorized climbs that really set this stage apart. The final 50km of the stage are quite lumpy, and several climbs could have been categorized had the organizers chosen to do so. At the finish, the riders will need to time their attacks well. The top of the Glacerie is not the stage finish; it's actually about 1.5km from the line, meaning a rider who jumps too early could lose the stage—and possibly the yellow jersey.
RELATED: What You Should Know About the Stages of the 2016 Tour de France
Stage 1 was not an easy start to the Tour as technical roads, wind, and crashes like Alberto Contador's left many riders feeling as if they'd finished their first week of the Tour—not the first day. With another technical parcours, more wind, and several uncategorized climbs, Stage 2 offers no respite.
Several jerseys could change hands tomorrow. Bora-Argon's Paul Voss will need to go on the attack again if he wants to protect his lead in the Tour's King of the Mountains competition. Each of the three Category 4 climbs at the beginning of the stage offers one point each; if Voss wins one of these, he'll wear the polka-dot jersey for another day no matter who wins the two points available atop the Category 3 Côte de la Glacerie. But rest assured, there will be riders hoping to take the jersey from his shoulders, so Voss and his team will need to cover the early breakaway to defend it.
Tinkoff's Peter Sagan is the top favorite for Stage 2. The climb to the finish is too hard for sprinters like Stage 1-winner Mark Cavendish, Marcel Kittel, and Andre Greipel. But Sagan, third on Stage 1, should be fine. Even if he doesn't win the stage, look for Sagan to finish (at worst) inside the top-5, which could be enough—depending on any time gaps—to give Sagan both the yellow and green jerseys.
Last but certainly not least, Stage 2 matters a lot for Tinkoff's Alberto Contador. Contador managed to stick with the peloton despite his crash but adrenaline is a powerful thing; once it wears off, the pain really sets in. Reports say he suffered only bumps and scrapes, but Contador will struggle to get a good night's sleep, and he'll start Stage 2 feeling stiff and sore. His body's ability to handle another tough day in the saddle will tell us a lot about the Spaniard's ability to remain a GC contender over the coming weeks.
RELATED: Riding Through Mid-Stage Injury as a Tour de France Pro
When to Tune In
The first 80 to 90 minutes of racing should once again be aggressive as those three Category 4 climbs will encourage attacks from riders hoping to take the polka-dot jersey from Voss. The day's intermediate sprint should also be heavily contested as men like Kittel, Greipel, and Cavendish have little reason to save themselves for the finish and will do their best to take maximum points in Portbail. That said, the day's real excitement will come at the end of the stage. It's expected to end at about 11:22 a.m. EST, so feel free to go for a ride—just make sure you're back in time for the final 20 minutes of the stage.
Root for This Guy
Etixx—Quick-Step
Etixx—Quick-Step just missed the win on Stage 1, but France's Julian Alaphilippe is just the rider to get the team on the podium's top step after Stage 2. His name should sound familiar: He won May's Tour of California and finished second last year. An explosive rider who does well in races finishing with short, steep climbs, this Tour rookie deserves your support during Stage 2.
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prAna is an ancient Sanskrit word for breath, life and vitality of the spirit. It's also a fabulous clothing line.
I've been wearing prAna for many years. I started out wearing their yoga-wear way back when I took my first yoga class. I remember their tops were trendy and comfortable, with patterns that truly stood out. And they've lasted a long time. I still have a few originals in my closet to prove it. Their clothing line is stylish and extremely comfortable. My favorite go to piece is a black jacket that I've had for years which is very similar to their Lydia jacket (they don't make my jacket anymore).
Way back when I just loved the style of their clothing and had no idea that the company was focused on "making good stuff in a good way".
We haven't found all the answers, but we will always be asking questions. Even our best efforts have only scratched the surface of what is possible, and we remain dedicated to our ideals of the community, sustainability, and mindful action.
Knowing now what I didn't know then makes my a loyal prAna customer for so many more reasons.
Check out this jacket I'll be wearing once the cool weather kicks in. It's a great color and fit. The jacket is surprisingly light and is water and wrinkle resistant. I'm already planning to pack it when I travel in the fall. It's hard to see the true color of this cute jacket in this late night, messy hair photo-but the color (Cardinal ) has pinkish and salmon tones. It also comes in a great purplish color called Thistle . I ordered my normal size and it did seem to run a bit big. With a bulky sweater underneath it should fit perfectly.
prAna became a bluesign system partner in March 2012.
From the very beginning when our company was founded, we have attempted to make yoga and climbing clothes in a way that does as little harm as possible to the environment. Being a bluesign® system partner helps us easily identify and support like-minded partners in all facets of the supply chain. We consider bluesign® to be the gold standard as far as guidelines go for environmental and chemical management.
prAna's long list of sustainable initiatives is impressive. This is a brand that I was initially drawn to because of style, but knowing that they truly care about our health, the environment and our planet makes wearing the clothing that much more appealing.
So when you see me wearing prAna now you'll know why. Hope you'll join me!
Disclosure: The kind folks at prAna sent me this jacket to review. All opinions are my very own. There are a few afflilate links in this post. Any purchases made will help support this blog. Thanks!
I love Prana. My obsession began with a pair of yoga pants. This is one of my favorite brands ever. Your jacket is so cute, love the color!
Nicole B recently posted..Enter the Canon Rebel T3i DSLR Camera Sweeps!
It sounds like a great company. Love the jacket.
Cool jacket. It will have to wait until the fall to be used! Too hot now.
Thanks Nicole. I really like the jacket. Thistle is also a cool color-more purple than the one I have.


Flowers are one of the easiest, warmest and yet stylish ways to express your gratitude.When someone has shown you a kindness, they deserve more than just a simple thank you note. Articulate your gratitude for their helpfulness and kindness with thank you flowers in Singapore.
Our broad array of various flower arrangements has been created to help you say exactly what you need to say. Surprise them with an armful of thank you flowers or send one of our lovely thank you gifts. Your gesture will not only be appreciated but the thank you flowers will serve as a special reminder of your bond. You can rest assured that flowers from Eden Cottage will certainly make their day.
A good mix of nutrit..


The Best RV Drinking Water Hose - Water. Sky. Land.
Yay! You have an RV and the freedom to hit the open road whenever you please. But before you put the pedal to the metal, you need to make sure that you have the best RV drinking water hose on board. RV drinking water hoses are made of government-approved materials which are safe for drinking water; your good ole green garden hose just won't do the trick as these hoses leach dangerous and toxic chemicals.
There are tons of options in terms of RV drinking water hoses, and choosing the right one can be kind of tricky if you don't know what you're looking for. To get you started, we've compiled a list of some of the best heated hoses, heat tape for hoses, and hose reels. And then we'll share our list of the top four RV drinking water hoses currently on the market.
Manufactured with FDA-approved materials, this 50-foot hose is must have onboard your RV. It is lead-free and complies with all state and federal laws regarding lead levels. Apex uses a patented Reflex Mesh technology that prevents kinking, twisting, and tangling. This hose is extremely flexible for easy use, handling, and maneuverability.
All NeverKink products have a microshield that protects against molding and mildew on your water hose. The end of the hose has a Thum Thing coupling that makes attaching your hose to the faucet a breeze.
This hose is made in the USA and crafted using only the finest materials. The female hook up is made from solid brass and features a plastic winged cover for tightening.
This hose will fit a standard outdoor house faucet, eliminating the need for additional equipment. The female end has a larger coupling than most water hoses, making it easy to screw onto faucets and other sources of water.
Valterra provides their customers with a ten-year warranty, allowing you to purchase with confidence.
This lead-free drinking water hose by Camco is the perfect solution for your RV drinking water needs. It is 25 feet long and weighs only 2.8 pounds.
The product is made with NSF certified PVC and is BPA free. The TastePURe by Camco complies with all federal and state low-level lead laws (say that five times fast!). It is also reinforced for maximum kink resistance.
Though it is compatible with most standard garden hose connections, this hose won't give your water that garden hose taste. The female end of the hose is equipped with an Easy Grip connector that allows you to connect your hose to your water source effortlessly.
This heavy-duty drinking water hose is 20 percent thicker than your standard drinking water hoses. They are available in four sizes: 10 feet, 25 feet, 35 feet, and 50 feet.
Providing safe, lead-free, BPA free, and phthalate free drinking water, this hose is a must have on your RV. It doesn't leave a strong plastic taste in your water and is compliant with all federal and state lead level laws.
The hose is reinforced for maximum kink resistance, and the machined fittings and strain-relief ends add durability. The ends of the hose are nickel-plated brass for maximum corrosion resistance and are compatible with standard garden hose connections, eliminating the need for additional equipment.
Winter is an excellent time for RVing. The scenery is beautiful. Thanksgiving and Christmas break give families ample time off to explore the great wide open. However, if you and your RV find yourselves in a place with freezing temperatures, getting water into your tank can be an issue. That's where heated RV water hoses come into the picture.
Camco is king when it comes to heated RV drinking water hoses. This heated hose combines safety with functionality. The hose's interior is made with NSF 61 certified material that is approved as safe for drinking water. It can operate in temperatures as low as forty below zero and prevents water from freezing while in your hose, ensuring that you can fill your tank while camping or traveling.
Each hose comes with a matching female hose fitting that can be used with power from your RV or campground power source. This hose by Camco operates on 120VAC / 2.27 AMPs. The self-regulating heater prevents the water from freezing and from overheating.
Transporting this heated RV drinking water hose is super easy because it is so lightweight. It is 25 feet long, half an inch in diameter, and weighs only five pounds. The TastePURE won't leach dangerous chemicals and won't leave your water tasting like metal or plastic.
Frozen drinking hoses got you feeling down and dehydrated? Make that a thing of the past with the Pirit heated hose. Drinking water from this hose is safe and provides a constant source of water in temperatures as low as -45 degrees Fahrenheit. However, because the hose is very stiff when it's cold, you'll want to plug in the hose and let it get warm before using it.
The thermostat feature is a lifesaver. It is hardwired to the outside of the hose, providing a consistent and customizable reading. Whenever the temperature plunges below 42 degrees Fahrenheit, the heating device becomes activated and automatically turns off whenever temperatures rise above 50 degrees Fahrenheit, allowing you to conserve energy.
This hose weighs 13 pounds and is significantly heavier than the five-pound Camco. However, it is 50 feet long – twice as long as at 25-foot Camco. It has an internal diameter of 5/8", and the power cord is six feet long.
Sometimes investing in a heated RV water hose is simply out of our budget. Other times, you may need an additional source of insulation. With these top-of-the-line heat tapes, you can provide your RV water hose with extra protection against the elements.
Give your water hose an added layer of protection with this thermal tape by Thermo-Tec. This aluminized heat barrier is made up of woven silica and a flexible aluminized finish. Its highly reflective surface can help to prevent freezing on frigid days by absorbing any available heat.
This heat tape is backed with an adhesive that can be applied to practically any surface and can also be wrapped around a hose or wire. One roll of heat tape measures 12 inches by 24 inches, so you may need to buy several rolls if you have an unusually long hose.
This ultra-lightweight heat reflective tape by Design Engineering can give your RV water hose an extra layer of protection against the elements. Whether you're in extremely hot or cold conditions, this tape can help.
This tape can withstand direct heat of up to 400 degrees Fahrenheit and 2000 degrees Fahrenheit radiant heat. Rolls of tape are available in the following sizes: 1.5" x 15', 1.5" x 30', 2" x 30', and 2" x 60'.
When your RV water hose is not in use, you need a way to store it without cluttering your storage compartments. With these fantastic drinking water hose reels, you can keep your RV's water tank full and your storage bins organized.
You can eliminate the hassle of storing your fresh water hose with this motorized reel by Shoreline. The reel includes a NSF-approved kink-free water safe drinking hose. The reel's high torque motor provides three times the pulling power of previous designs and operates more quietly.
Shoreline's hose boasts superior craftsmanship and is made using only the finest materials. The spool sides and the core of the reel are constructed from anodized aluminum while the side frames are made from powder coated galvanized steel. The rotator and fittings are made from brass.
The switch is not located on the reel itself; it is a separate device that must be purchased separately. If you don't care for the hose that's included or if it's time for a replacement, the hose can easily be replaced using standard hand tools.
Even if space is limited, Shoreline's drinking water hose reel is likely to be a perfect fit thanks to its compact size. It is only 10.9 inches wide, 11 inches in depth, and 13 inches tall.
Why spend money buying cheap and low-quality hose reels when you can make an investment that will last you a lifetime?
That's precisely what the hand crank hose reel by Reelcraft is – a long-lasting investment.
Built in the United States with a quality finish, each component of this hand reel is powder coated to provide maximum protection from premature corrosion. The gooseneck can be easily removed, allowing you to add long lengths of hose to the reel. The T-handle tensioning device applies the proper tension to the spool and eliminates the free spooling of the reel.
To ensure maximum service life, the full flow swivel combines the highest grade seal design and material with bearing areas.
Weighing 45.4 pounds, it is a rather heavy piece of equipment but well worth it. This hose reel can hold up to 250 feet of hosing material.
Having fresh potable water onboard your RV is a necessity. However, there are certain things you must do to keep the water on your RV clean and suitable for consumption. If your freshwater tank has water that is older or has been sitting for a while, you should sanitize it. Simply pour diluted bleach into your freshwater tank. Use the ratio one cup bleach for four gallons of water for a 40-gallon tank. Add this solution to your tank and fill the rest of your tank with fresh water.
Run all of your sinks and faucets – one at a time – until you catch a whiff of bleach from each and until the tank is empty. Once it's empty, fill with fresh water and let it sit overnight. The next day, repeat the process of draining through all of the faucets and refilling with clean water. Repeat until you can no longer smell bleach.
If you are camping somewhere with temperatures around 40 degrees Fahrenheit, freezing water and hoses and become a bit of an issue. To prevent your RV hose from freezing, you can simply purchase a heated hose. Heated hoses don't heat your water; they just heat the hose to prevent it from freezing.
You can also purchase heat tape and wrap it around your hose for extra insulation. There are also dozens of pipe insulators that you can simpy wrap around your hose in cold temperatures.