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Region 2: South Atlantic-Gulf (Includes Puerto Rico and the U.S. Virgin Islands)
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Washington's Puget Sound is a complex ecosystem directly adjacent to a robust metropolitan area that scientists from the USGS Western Fisheries Research Center study. Recent surveys have looked at juvenile surf smelt, a key link in the food web that are consumed by predators such as salmon, orca, and many marine birds.
Western Fisheries Research Center
Research at the WFRC focuses on the environmental factors responsible for the creation, maintenance, and regulation of fish populations including their interactions in aquatic communities and ecosystems.
Washington Water Science Center
The Water Science Center's mission is to collect, analyze and disseminate the impartial hydrologic data and information needed to wisely manage water resources for the people of the United States and the State of Washington.
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Project Status (field_project_status)
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Herring Disease Program
Using an approach that involves a combination of field- and laboratory-based studies, we are investigating fish health factors that may be contributing to the failed recovery of Pacific herring populations in Prince William Sound, AK. Field studies are providing infection and disease prevalence data to inform the population models, serological data that indicate the prior exposure history and...
Contacts: Paul Hershberger, Ph.D., Maureen K Purcell, Ph.D., Jacob Gregg, Ashley MacKenzie, William Richards, Maya Groner, Ph.D.
Attribution: Ecosystems, Fish & Wildlife Disease, Fisheries Program, Region 9: Columbia-Pacific Northwest, Region 11: Alaska, Western Fisheries Research Center, Marrowstone Marine Field Station (MMFS)
Nanophyetus salmincola - MMFS
Fish Parasite
Nanophyetus salmincola
Contacts: Paul Hershberger, Ph.D.
Attribution: Region 9: Columbia-Pacific Northwest, Western Fisheries Research Center, Marrowstone Marine Field Station (MMFS)
Early Detection Monitoring May Not Be Sufficient for Invasive Mussels in the Columbia River Basin
The ecological and economic costs of an invasive quagga or zebra mussel infestation in the Pacific Northwest of the U.S. would be significant. The development of invasive mussel monitoring programs in the Pacific Northwest provides a unique opportunity to evaluate a regional invasive species detection effort early in its development. Although efforts are underway to monitor for the presence of...
Contacts: Timothy Counihan, Stephen M. Bollens
Attribution: Ecosystems, Fisheries Program, Invasive Species Program, Region 5: Missouri Basin, Region 9: Columbia-Pacific Northwest, Western Fisheries Research Center, Columbia River Research Laboratory (CRRL)
Salmonid Population and Life History Research in Tributary Stream and River Habitats and Response to Dam Removal
Juvenile anadromous salmonids all spend some portion of their lives in freshwater. This time may vary from days to years depending upon species and run. Spring Chinook Salmon and Coho salmon generally spend one year in freshwater and Steelhead may spend up to five years in freshwater prior to beginning their journey to sea. Several projects at WFRC – CRRL are investigating populations, life-...
Contacts: Ian Jezorek
Attribution: Ecosystems, Energy & Wildlife, Fisheries Program, Invasive Species Program, Status and Trends Program, Region 9: Columbia-Pacific Northwest, Western Fisheries Research Center, Columbia River Research Laboratory (CRRL)
Questions and Answers About Salmon
A list of questions asked by students and answers provided by a USGS-WFRC Scientist.
Attribution: Ecosystems, Region 9: Columbia-Pacific Northwest, Western Fisheries Research Center, Columbia River Research Laboratory (CRRL), Fish Health Program (FHP)
Date published: September 4, 2018
Detection Protocols - Renibacterium salmoninarum
Protocols for the Detection of Renibacterium salmoninarum in salmon
Contacts: Maureen K Purcell, Ph.D.
Attribution: Ecosystems, Fisheries Program, Region 9: Columbia-Pacific Northwest, Western Fisheries Research Center, Fish Health Program (FHP)
Date published: August 30, 2018
Columbia River Basin Sturgeon Habitat Modeling
A study was conducted to identify habitat characteristics associated with age 0 White Sturgeon (Acipenser transmontanus Richardson, 1863) recruitment in three reaches of the Columbia River Basin: Skamania reach (consistent recruitment), John Day reach (intermittent/inconsistent recruitment), and Kootenai reach (no recruitment).
Contacts: James Hatten
Attribution: Ecosystems, Fisheries Program, Western Fisheries Research Center, Columbia River Research Laboratory (CRRL)
Molecular Characterization of Novel Fish Viruses from Technical Assistance Cases
Viruses occur in many cultured and wild stocks of fish. William Batts collaborates with many government, state, tribal, and private research and diagnostic laboratories to aid in identification of these unknown replicating agents of uncertain pathogenicity. Typically, viruses can be replicated in a variety of fish cell lines and investigated at several temperatures to see if the cytopathic...
Contacts: William N Batts
Attribution: Ecosystems, Fish & Wildlife Disease, Fisheries Program, Region 3: Great Lakes, Region 9: Columbia-Pacific Northwest, Western Fisheries Research Center, Fish Health Program (FHP)
WFRC Organizational Chart
Organizational structure of the Western Fisheries Research Center
Attribution: Region 9: Columbia-Pacific Northwest, Western Fisheries Research Center
Species Studied by the Western Fisheries Research Center
Many species are studied at the Western Fisheries Research Center. These species include bacteria, birds, fish, invertebrates, parasites, plants, and viruses. The list contains both common and scientific names, and where each are being studied on the WFRC landscape.
Non-lethal Detection of Skin Injuries in Juvenile Chinook Salmon Oncorhynchus tshawytscha by Fast Green FCF Dye
In fish, as in humans, an intact epidermis is critical to defense against entry of pathogens into the skin. Macroscopic examination of scale loss is the principal method of evaluating physical damage to juvenile salmonids out-migrating through hydroelectric dams in the Snake and Columbia Rivers, and in fish subjected to capture and handling procedures in locations such as hatcheries, fish...
Contacts: Diane Elliott, Ph.D., Carla M Conway
Attribution: Ecosystems, Fish & Wildlife Disease, Fisheries Program, Region 9: Columbia-Pacific Northwest, Western Fisheries Research Center, Fish Health Program (FHP)
Contaminants in Puget Sound Forage Fishes and Impacts to the Marine Food Web
Toxic chemical pollutants have been released into Puget Sound for decades by human activities. There's a wide range of contaminants, from persistent compounds like polychlorinated biphenyls (PCBs) and flame retardants to contaminants of emerging concern. Aquatic species can be exposed to and accumulate contaminants, causing disease or disruption of biological processes like growth or...
Contacts: Theresa "Marty" Liedtke, Kathy Conn
Attribution: Ecosystems, Fisheries Program, Region 9: Columbia-Pacific Northwest, Western Fisheries Research Center, Columbia River Research Laboratory (CRRL)
Select Data and Tools TypeAPIsDroughtsWeb ApplicationEarthquakesData Management ToolsFloodsGeomagnetismGIS DataLandslidesRemote Land Sensing and LandsatScience DatasetsVolcanoesWaterReal-time DataWildfireOther
High-resolution bathymetry data collected in 2004 in Skagit Bay, Washington
These metadata describe the U.S. Geological Survey (USGS), Pacific Coastal and Marine Science Center (PCMSC) 2004 bathymetry data collected in Skagit Bay Washington that is provided as a 1-m resolution TIFF image, as well as a 1-m resolution shaded-relief TIFF image. In 2004, 2005, 2007, and 2010 the USGS, PCMSC collected bathymetry and acoustic backscatter data in Skagit Bay%
Attribution: Coastal and Marine Hazards and Resources Program, Region 9: Columbia-Pacific Northwest, Pacific Coastal and Marine Science Center
Physical CPGs -- Probability of Streamflow Permanence (PROSPER) Continuous Parameter Grids (CPGs)
The U.S. Geological Survey (USGS) has developed the PRObability of Streamflow PERmanence (PROSPER) model, a GIS raster-based empirical model that provides streamflow permanence probabilities (probabilistic predictions) of a stream channel having year-round flow for any unregulated and minimally-impaired stream channel in the Pacific Northwest region, U.S. The model provides annual
Attribution: Ecosystems, Water Resources, Region 9: Columbia-Pacific Northwest, Forest and Rangeland Ecosystem Science Center, Washington Water Science Center, Wyoming-Montana Water Science Center
These metadata describe the U.S. Geological Survey (USGS), Pacific Coastal and Marine Science Center (PCMSC) 2005 bathymetry data collected in Skagit Bay Washington that is provided as a 1-m resolution TIFF image, as well as a 1-m resolution shaded-relief TIFF image. In 2004, 2005, 2007, and 2010 the U.S. Geological Survey (USGS), Pacific Coastal and Marine Science Center
Daily sediment loads during and after dam removal in the Elwha River, Washington, 2011 to 2016
Daily values of discharge and sediment loads were measured and estimated at U.S. Geological Survey gaging station 12046260, on the Elwha River at the diversion near Port Angeles, Washington. Daily data are reported from September 15, 2011 to September 30, 2016. Specific data include (1) date; (2) discharge; (3) suspended-sediment concentration and one standard-deviation bo
Probability of Streamflow Permanence (PROSPER) Model Output Layers
The U.S. Geological Survey (USGS) has developed the PRObability of Streamflow PERmanence (PROSPER) model, a GIS raster-based empirical model that provides streamflow permanence probabilities (probabilistic predictions) of a stream channel having year-round flow for any unregulated and minimally-impaired stream channel in the Pacific Northwest region, U.S. The model provides annual predictions...
Merged 2005, 2007, and 2010 high-resolution bathymetry data collected in Skagit Bay, Washington
These metadata describe the U.S. Geological Survey (USGS), Pacific Coastal and Marine Science Center (PCMSC) merged bathymetry digital terrain model comprised of the 2005, 2007, and 2010 bathymetry data collected in Skagit Bay Washington that is provided as a 1-m resolution TIFF image, as well as a 1-m resolution shaded-relief TIFF image. In 2004, 2005, 2007, and 2010 the U.
Distribution and seasonal differences in Pacific Lamprey and Lampetra spp eDNA across 18 Puget Sound watersheds, 2014 and 2015
These data contain all the raw results needed to support the conclusions for the final product. These data are water sampling locations (latitude and longitude), date of water sampling, quantitative PCR values for each water sample, and stream flow at USGS stream gauging stations on sampling day.
Attribution: Ecosystems, Fisheries Program, Region 9: Columbia-Pacific Northwest, Western Fisheries Research Center
Concentrations of environmental DNA (eDNA) during sockeye salmon spawning in 2016, Hansen Creek, Alaska, USA
This dataset contains environmental DNA (eDNA) concentrations and spawning adult abundances for sockeye salmon (Oncorhynchus nerka) in Hansen Creek, a small tributary in the Wood River watershed, southeast Alaska, USA. We took temporally- and spatially-replicated eDNA samples during the spawning period (mid-July through August), along with fish counts (live, naturally dead
Merged acoustic-backscactter imagery collected in 2005, 2007, and 2010, Skagit Bay, Washington
These metadata describe the U.S. Geological Survey (USGS), Pacific Coastal and Marine Science Center (PCMSC) merged acoustic-backscatter imagery that was collected in 2005, 2007, and 2010 in Skagit Bay Washington that is provided as a 5-m resolution TIFF image. In 2004, 2005, 2007, and 2010 the U.S. Geological Survey (USGS), Pacific Coastal and Marine Science Center (P
Inorganic compositional data for fine-grained Puget Sound sediment along the Burlington Northern Santa Fe rail line, September 2015
Nearshore surface sediment was collected with a petit ponar grab sampler between April 22 and September 17, 2015, at five sites in Puget Sound, Washington. Four sites were adjacent to the Burlington Northern Santa Fe rail line in urban and non-urban areas, and one site was in an urban area that was not adjacent to the rail line. Total and near-total major, minor, trace, and rare ear
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Size, growth, and size‐selective mortality of subyearling Chinook Salmon during early marine residence in Puget Sound
In marine ecosystems, survival can be heavily influenced by size‐selective mortality during juvenile life stages. Understanding how and when size‐selective mortality operates on a population can reveal underlying growth dynamics and size‐selective ecological processes affecting the population and thus can be used to guide conservation efforts. For...
Gamble, Madilyn M.; Connelly, Kristin A.; Gardner, Jennifer R.; Chamberlin, Joshua W.; Warheit, Kenneth I.; Beauchamp, David A.
Attribution: Biology and Ecosystems, Western Fisheries Research Center, Ecosystems, Fisheries Program, Washington, United States of America
Gamble, M.M., K.A. Connelly, J.R. Gardner, J.W. Chamberlin, K.I. Warheit, and D.A. Beauchamp. 2018. Size, growth, and size-selective mortality of subyearling Chinook salmon during early marine residence in Puget Sound. Trans. Am. Fish. Soc. 147(2): 370-389.
Refining aging criteria for northern sea otters in Washington State
Measurement of skull ossification patterns is a standard method for aging various mammalian species and has been used to age Russian, Californian, and Alaskan sea otter populations. Cementum annuli counts have also been verified as an accurate aging method for the Alaskan sea otter population. In this study, cementum annuli count results and skull...
Schuler, Krysten L.; Baker, Bridget B.; Mayer, Karl A.; Perez-Heydrich, Carolina; Holahan, Paula M.; Thomas, Nancy J.; White, C. LeAnn
Attribution: Biology and Ecosystems, National Wildlife Health Center, Ecosystems, Fish & Wildlife Disease, Washington, United States of America
Smallmouth bass predation on subyearling fall Chinook salmon in Lower Granite Reservoir, 2016–2017
Predation by nonnative fishes is one factor that has been implicated in the decline of juvenile salmonids in the Pacific Northwest. Impoundment of much of the Snake and Columbia Rivers has altered food webs and created habitat favorable for species such as smallmouth bass Micropterus dolomieu. Smallmouth bass are common throughout the Columbia...
Erhardt, John M.; Tiffan, Kenneth F.; Hemingway, Rulon J.; Bickford, Brad K.; Rhodes, Tobyn N.
Attribution: Western Fisheries Research Center, Ecosystems, Fisheries Program, Washington, United States of America, Columbia River Research Laboratory (CRRL)
Stress rotation across the Cascadia megathrust requires a weak subduction plate boundary at seismogenic depths
The Mendocino Triple Junction region is the most seismically active part of the Cascadia Subduction Zone. The northward moving Pacific plate collides with the subducting Gorda plate causing intense internal deformation within it. Here we show that the stress field rotates rapidly with depth across the thrust interface from a strike-slip regime...
Li, Duo; McGuire, Jeffrey J.; Liu, Yajing; Hardebeck, Jeanne L.
Attribution: Natural Hazards, Earthquake Science Center, Natural Hazards, Earthquake Hazards Program, Oregon, Washington, United States of America, Subduction Zone Science
Li, D., McGuire, J. J., Liu, Y., & Hardebeck, J. L. (2018). Stress rotation across the Cascadia megathrust requires a weak subduction plate boundary at seismogenic depths. Earth and Planetary Science Letters, 485, 55-64.
Mortality trends in northern sea otters (Enhydra lutris kenyoni) collected from the coasts of Washington and Oregon (2002–15)
During 2002−15 we examined the causes of mortality in a population of northern sea otters (Enhydra lutris kenyoni). Beachcast sea otters were collected primarily from the coast of Washington. Although there are no permanent sea otter residents in Oregon, several beachcast otters were collected from the Oregon coast. Infectious diseases were the...
White, C. LeAnn; Lankau, Emily W. ; Lynch, Deanna; Knowles, Susan; Schuler, Krysten L.; Dubey, Jitender P.; Shearn-Bochsler, Valerie I.; Isidoro Ayza, Marcos; Thomas, Nancy J.
Attribution: Biology and Ecosystems, National Wildlife Health Center, Ecosystems, Fish & Wildlife Disease, Oregon, Washington, United States of America
Molecular testing of adult Pacific salmon and trout (Oncorhynchus spp.) for several RNA viruses demonstrates widespread distribution of piscine orthoreovirus in Alaska and Washington
This research was initiated in conjunction with a systematic, multiagency surveillance effort in the United States (U.S.) in response to reported findings of infectious salmon anaemia virus (ISAV) RNA in British Columbia, Canada. In the systematic surveillance study reported in a companion paper, tissues from various salmonids taken from...
Purcell, Maureen K.; Thompson, Rachel L.; Evered, Joy; Kerwin, John; Meyers, Ted R.; Stewart, Bruce; Winton, James
Attribution: Biology and Ecosystems, Western Fisheries Research Center, Ecosystems, Fish & Wildlife Disease, Fisheries Program, Alaska, Washington, United States of America, Fish Health Program (FHP)
Purcell, M.K., R.L. Powers, J. Evered, J. Kerwin, T.R. Meyers, B. Stewart, and J.R. Winton. 2017. Molecular testing of adult Pacific salmon and trout (Oncorhynchus spp.) for several RNA viruses demonstrates widespread distribution of piscine orthoreovirus in Alaska and Washington. J. Fish Dis. 41(2): 347-355. DOI: 10.1111/jfd.12740.
Wind River Subbasin Restoration, Annual report of U.S. Geological Survey activities, January 2016 through December 2016
We used Passive Integrated Transponder (PIT)-tagging and a series of instream PIT-tag interrogation systems (PTISs) to investigate life-histories, populations, and efficacy of habitat restoration actions for steelhead Oncorhynchus mykiss in the Wind River subbasin, WA. Our tagging focused on parr in headwaters areas of the subbasin and our...
Jezorek, Ian G.; Connolly, Patrick J.
Attribution: Biology and Ecosystems, Western Fisheries Research Center, Ecosystems, Fisheries Program, Washington, United States of America, Columbia River Research Laboratory (CRRL)
P- and S-wave velocity models incorporating the Cascadia subduction zone for 3D earthquake ground motion simulations, Version 1.6—Update for Open-File Report 2007–1348
In support of earthquake hazard studies and ground motion simulations in the Pacific Northwest, three-dimensional P- and S-wave velocity (VP and VS, respectively) models incorporating the Cascadia subduction zone were previously developed for the region encompassed from about 40.2°N. to 50°N. latitude, and from about 122°W. to 129°W. longitude....
Stephenson, William J.; Reitman, Nadine G.; Angster, Stephen J.
Attribution: Natural Hazards, Geologic Hazards Science Center, Natural Hazards, Earthquake Hazards Program, Region 7: Upper Colorado Basin, Oregon, Washington, United States of America, Canada, Subduction Zone Science
Stephenson, W.J., Reitman, N.G., and Angster, S.J., 2017, P- and S-wave velocity models incorporating the Cascadia subduction zone for 3D earthquake ground motion simulations, version 1.6—Update for Open-File Report 2007–1348 (ver. 1.1, Sept. 10, 2019): U.S. Geological Survey Open-File Report 2017–1152, 17 p., https://doi.org/10.3133/ofr20171152. [Supersedes USGS Open-File Report 2007–1348.]
Ecology of the Sand Roller (Percopsis transmontana) in a lower Snake River Reservoir, Washington
The Sand Roller (Percopsis transmontana), has not been abundant in the Snake River since it was first found in the system in the 1950s, but its population has apparently increased in recent years. As a result, we initiated a study to better understand its ecology in habitats of Lower Granite Reservoir. From November 2014 to October 2015, Sand...
Tiffan, Kenneth F.; Erhardt, John M.; Rhodes, Tobyn N.; Hemingway, Rulon J.
Tiffan, K.F., J.M. Erhardt, T.N. Rhodes, and R.J. Hemingway. 2017. Ecology of the Sand Roller (Percopsis transmontana) in a lower Snake River reservoir, Washington. Northwestern Naturalist 98(3): 203-214. DOI: 10.1898/NWN16-25.1.
Miocene−Pleistocene deformation of the Saddle Mountains: Implications for seismic hazard in central Washington, USA
The Yakima fold province, located in the backarc of the Cascadia subduction zone, is a region of active strain accumulation and deformation distributed across a series of fault-cored folds. The geodetic network in central Washington has been used to interpret large-scale N-S shortening and westward-increasing strain; however, geodetic data are...
Staisch, Lydia M.; Kelsey, Harvey; Sherrod, Brian; Möller, Andreas; Paces, James B.; Blakely, Richard J.; Styron, Richard
Attribution: Geology, Geology, Minerals, Energy, and Geophysics Science Center, Energy and Minerals, Energy Resources Program, Mineral Resources Program, National Laboratories Program, Science and Decisions Center, Washington, United States of America, Subduction Zone Science
Lydia Staisch, Harvey Kelsey, Brian Sherrod, Andreas Möller, James Paces, Richard Blakely, Richard Styron; Miocene−Pleistocene deformation of the Saddle Mountains: Implications for seismic hazard in central Washington, USA. GSA Bulletin doi: https://doi.org/10.1130/B31783.1
Acoustic tag detections of green sturgeon in the Columbia River and Coos Bay estuaries, Washington and Oregon, 2010–11
The Columbia River, in Washington and Oregon, and Coos Bay, in Oregon, are economically important shipping channels that are inhabited by several fishes protected under the Endangered Species Act (ESA). Maintenance of shipping channels involves dredge operations to maintain sufficient in-channel depths to allow large ships to navigate the...
Hansel, Hal C.; Romine, Jason G.; Perry, Russell W.
Attribution: Biology and Ecosystems, Western Fisheries Research Center, Ecosystems, Fisheries Program, Oregon, Washington, United States of America
Hansel, H.C., Romine, J.G., and Perry, R.W., 2017, Acoustic tag detections of green sturgeon in the Columbia River and Coos Bay estuaries, Washington and Oregon, 2010–11: U.S. Geological Survey Open-File Report 2017-1144, 30 p., https://doi.org/10.3133/ofr20171144.
Seismic evidence for a possible deep crustal hot zone beneath Southwest Washington
Crustal pathways connecting deep sources of melt and the active volcanoes they supply are poorly understood. Beneath Mounts St. Helens, Adams, and Rainier these pathways connect subduction-induced ascending melts to shallow magma reservoirs. Petrogenetic modeling predicts that when these melts are emplaced as a succession of sills into the lower...
Flinders, Ashton; Shen, Yang
Attribution: Natural Hazards, Natural Hazards, Volcano Hazards Program Office, Washington, United States of America, Subduction Zone Science
Flinders, A. F., and Shen, Y (2017) Seismic evidence for a possible deep crustal hot zone beneath Southwest Washington, Scientific Reports, 7
Select MultimediaAudioBefore/After ImageFileGalleryImageStereogramVideoWebcam
Whidbey Island snapshot west
A pair of video cameras overlook the coast along a beach on Whidbey Island, Island County at the northern boundary of Puget Sound in western Washington. View looks west out into the Strait of Juan de Fuca.
Attribution: Natural Hazards, Coastal and Marine Hazards and Resources Program, Region 9: Columbia-Pacific Northwest, Pacific Coastal and Marine Science Center
Whidbey Island video camera timex image
Timex (time-exposure) image: a time-averaged image of all frames, smoothing away surface waves and determining the location of persistent wave-breaking (indicative of shallow sandbars).
Attribution: Coastal and Marine Hazards and Resources Program, Pacific Coastal and Marine Science Center
Whidbey Island video camera variance image
Variance image: the standard deviation of pixel intensity throughout the video, and it is useful for determining how much variation or movement is occurring at a given location.
Whidbey Island video camera dark image
Dark image: the darkest pixel values throughout the video, useful for tracking sediment plumes, tracking floating debris, and filtering out breaking waves.
Whidbey Island video camera bright image
Bright image: the brightest pixel values throughout the video, useful for identifying the position of maximum wave run-up on the beach, position of all breaking waves, and sea-state.
Bald Eagle in Washington
I spy with my little (eagle-) eye . . .
After a successful beach survey and installation of remote-sensing cameras on a nearby island, scientists Shawn Harrison and Andrew Stevens spotted this bald eagle near the mouth of the Skagit River, Washington.
Beach on Whidbey Island
View of beach on Whidbey Island, looking south.
View of beach on Whidbey Island, looking north.
Mount St. Helens erupted 38 years ago, May 18, 1980
Attribution: Natural Hazards, Region 9: Columbia-Pacific Northwest, Cascades Volcano Observatory, Mount St. Helens
WFRC nPCR test for detection of Renibacterium salmoninarum
Nested polymerase chain reaction (nPCR) for the detection of Renibacterium salmoninarum. Agarose gel electrophoresis is used for size separation and visualization of amplified DNA sequences.
Attribution: Region 9: Columbia-Pacific Northwest, Western Fisheries Research Center, Fish Health Program (FHP)
Nested polymerase chain reaction (nPCR) for the detection of Renibacterium salmoninarum. Following two rounds of PCR amplification, samples are pipetted into an agarose gel for electrophoresis.
Earthquake Alerts: Early and Often? Or Possibly Late?
The choice when issuing earthquake warnings is to: 1) issue alerts for weak shaking and potentially provide long warning times, but risk sending alerts for the many events that do not go on to produce damaging ground shaking, or 2) issue alerts only when ground shaking is expected to be damaging, with the tradeoff that the alert will be sent much later, reducing the
Attribution: Natural Hazards, Earthquake Hazards Program, Region 9: Columbia-Pacific Northwest
USGS partnership with Lower Elwha Klallam Tribe featured in new fact sheet on Elwha River dam removals
The USGS has published a new Fact Sheet, "Science Partnership between U.S. Geological Survey and the Lower Elwha Klallam Tribe: Understanding the Elwha River Dam Removal Project."
Natural HazardsCoastal and Marine Hazards and Resources ProgramPacific Coastal and Marine Science CenterWestern Fisheries Research Center
Western Fisheries Science News, March 2018 | Issue 6.3
Science Collaboration Brings Dr. Maya Groner to WFRC
Cascades Volcano Observatory Open House: Come Meet Volcano Scientists
Have you ever wondered what scientists do at a volcano observatory when a volcano is not erupting? There is plenty to accomplish—probably more than you can imagine.
Natural HazardsRegion 9: Columbia-Pacific NorthwestVolcano Hazards Program Office
Washington State Volcano Preparedness Month
May is Volcano Preparedness Month in Washington, providing residents an opportunity to become more familiar with volcanic risk in their communities and learn about steps they can take to reduce potential impacts.
Western Fisheries Science News, January 2018 | Issue 6.1
Researching Pacific Herring in Alaska's Prince William Sound
Western Fisheries Science News, December 2017 | Issue 5.12
USGS Expertise and Science Leads to Ballast Water Management Solutions
Food Web Model Informs River Restoration on the Barkley Bear Segment, Methow River
In planning restoration actions in rivers and streams, managers have typically used physical-based models.
Forest and Rangeland Ecosystem Science Center
Western Fisheries Science News, November 2017 | Issue 5.11
USGS and Chinese Fish Health Specialists Meet in the People's Republic of China to Discuss Fish Health
New USGS Study Tracks Millions of Tons of Rocks, Gravel and Silt Carried by the Sauk River
TACOMA, Wash. — The U.S. Geological Survey recently published the results of a new five-year suspended-sediment and water temperature study from the Sauk River. The purpose of this study is to improve understanding of the magnitude and timing of suspended sediment from the Sauk River and its tributaries to the Skagit River.
Water ResourcesRegion 9: Columbia-Pacific NorthwestWater Availability and Use Science ProgramWashington Water Science Center
Western Fisheries Science News, September 2017 | Issue 5.9
Conducting Risk Assessments for the Reintroduction of Salmon in the Upper Columbia River
Western Fisheries Science News, August 2017 | Issue 5.8
Science to Support Salmon Recovery Efforts in the Puget Sound
Increases in Wildfire-Caused Erosion Could Impact Water Supply and Quality in the West
A growing number of wildfire-burned areas throughout the western United States are expected to increase soil erosion rates within watersheds, causing more sediment to be present in downstream rivers and reservoirs, according to a new study by the U.S. Geological Survey.
Region 5: Missouri BasinRegion 9: Columbia-Pacific NorthwestRegion 7: Upper Colorado BasinClimate Adaptation Science CentersSouthwest Biological Science Center
USGS Science in Washington
USGS Volcanoes
USGS News: Washington
Washington Water Science Center News
Region 9: Columbia-Pacific Northwest (News)
Western Fisheries Research Center (WFRC)
6505 NE 65th Street
USGS Volcano Science Center
1300 SE Cardinal Court
Northwest Climate Adaptation Science Center
nwcasc@uw.edu
USGS Cascades Volcano Observatory (CVO)
vhpweb@usgs.gov
Columbia River Research Laboratory
5501-A Cook Underwood Rd.
Cook, WA 98605-9717
WFRC - Fish Health Program
Marrowstone Marine Field Station
616 Marrowstone Point Road
Nordland, WA 98358-9633
Northwest Washington Field Office
1350 Slater Road, Suite 5
Phone: (360) 312-8155 x2001
Mid-Columbia Field Office
9232 Clearwater Dr., Suite A
Upper Columbia Field Office
West 920 Riverside Avenue
Forest and Rangeland Ecosystem Science Center (FRESC) Olympic Field Station
fresc_outreach@usgs.gov
Forest and Rangeland Ecosystem Science Center (FRESC) Cascadia Field Station
University of Washington, School of Environmental and Forest Sciences
Cynthia Barton
Center Director
Email: cbarton@usgs.gov
Nicole M DeCrappeo, Ph.D.
Northwest CASC and North Central CASC
Email: ndecrappeo@usgs.gov
Scott W Anderson
Hydrologist
Email: swanderson@usgs.gov
Debra Becker
Information Education Specialist
Email: dabecker@usgs.gov
Elizabeth Benson
Email: ebenson@usgs.gov
Christoper G Bird
Hydrologic Technician
Email: cbird@usgs.gov
Robert W Black
Supervisory Hydrologist
Email: rwblack@usgs.gov
Stephen E Cox
Email: secox@usgs.gov
Christopher Curran
Email: ccurran@usgs.gov
Barry Egenes
Administrative Operations Assistant
Email: begenes@usgs.gov
James Foreman
Email: jforeman@usgs.gov
Barbara Gee
IT Specialist (Sysanalysis)
Email: bgee@usgs.gov
John Greene
Supervisory Hydrologic Technician
Email: jgreene@usgs.gov
Jennifer Harlan
Email: jharlan@usgs.gov
Jodi L Hoering
Email: jhoering@usgs.gov
Raegan L Huffman
Email: rhuffman@usgs.gov
Robert (Rob) Jackson
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Now there is a website on which you can post your own genuine fake tweets as if they were coming from our president. Whatever kick you get from trying to outdo reality may sustain you for a couple of hours until the president blasts again.
He hit it big Thursday with his tirade against Mika Brzezinski and Joe Scarborough. This caused a media uproar that went on to involve the National Enquirer and its publisher David Pecker [sic], a longtime Trump buddy.
You may well find such stuff less than amusing. If so, faketrumptweet.com is not for you. The rest of us will enjoy this empty exercise in laughing at life, as the old song goes. Or maybe fiddling while Rome burns.
Here are a couple I tried out.
Try making up obscene ones even if you don't post them.
This entry was posted in audiences, criticism, politics, programming, sources and tagged Billie Holiday, fake tweets, Mika Brzezinski and Joe Scarborough, President Trump on July 1, 2017 by jfgoods.


Plans to build 116 new homes in the city centre have been approved.
Developer Strata Homes will build the houses at the former Balne Lane car park, close to Wakefield Westgate railway station.
The properties will be a mix of 100 three-storey two-bed homes and 16 two-bed apartments.
The development is part of the wider Merchant Gate regeneration masterplan, which has included the new railway station, offices and retail, leisure and food outlets.
Four objections were received in relation to the proposal.
Wakefield Civic Society, councillors Margaret Isherwood and Tracey Austin and a local resident raised concerns about access to the site from Balne Lane via an existing junction.
They said the development could lead to increased traffic and pollution.
But Wakefield Council's planning and highways committee approved the application at a meeting yesterday.
The houses will come with 116 car parking spaces and 116 cycle spaces.


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Netanyahu on course to lead Israel's most right wing government ever, partial Israel results suggest
Benjamin Netanyahu appears to be on course for a bigger victory in Israel's fifth election in less than four years than initial exit polls suggested, all three of the country's main television channels projected Wednesday morning.
His Likud party and its natural allies are currently projected to win 65 seats in the 120-seat Knesset, with nearly 80% of the votes counted as of Wednesday morning.
A coalition of Netanyahu's Likud, the Jewish nationalist Religious Zionism/Jewish Power bloc, Shas and United Torah Judaism would, on paper, be the most right-wing government in Israel's history.
Current Prime Minister Yair Laid and his allies appear to be on track to win 50 seats. An Arab alliance called Hadash-Taal looks is projected to win five seats, and is unlikely to support either Netanyahu or Lapid to lead the country.
Voter turnout was 71.3%, the Central Election Committee said. That's the highest since 2015, according to the committee – higher than any of the four previous elections, 2019 to 2021, which produced stalemates or short-lived governments.
Since initial exit polls on Tuesday night, a left-wing party called Meretz appears to have fallen below the 3.25% threshold to win any seats in the Knesset. If the party manages to win enough of the national vote to get seated in parliament, the final results could change.
These are not final results; one in five votes nationwide remain to be counted. Final results could come as soon as later Wednesday, but could take until Thursday to arrive.
A Netanyahu return to the head of government would spell fundamental shifts to Israeli society. It would include the newly ascendant Jewish nationalist Religious Zionism/Jewish Power alliance, whose leaders include Itamar Ben Gvir, once convicted for inciting racism and supporting terrorism.
And Netanyahu allies have talked about making changes to the judicial system. That could put an end to Netanyahu's own corruption trial, where he has pleaded not guilty.
Netanyahu himself had been one of the main issues not only in Tuesday's election but in the four that preceded it, with voters – and politicians – splitting into camps based on whether they wanted the man universally known as Bibi in power or not.
Part of the difficulty in building a stable government over the past four elections has been that even some political parties that agreed with Netanyahu on the issues refused to work with him for personal or political reasons of their own.
Getting the official results is going to take some time – they could be ready as soon as Wednesday, but it might be Thursday before the final makeup of Israel's 25th Knesset is clear.
That's partly because parties need to win at least 3.25% of the total vote in order to get any seats in the Knesset at all, a threshold established in an effort to make coalition building easier by keeping very small parties out of the legislature.
To determine how many seats each party gets, election officials first need to determine which parties crossed the threshold. Then they can work out how many votes it takes to win a single Knesset seat, and dole out seats to the parties based on the number of votes they got..

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DMCC: Expanding horizon
23 June 2020 June 23, 2020 Profitmart Advisory
Dharamsi Morarji Chemicals Company (DMCC), a company that recently turned its focus on speciality chemicals and engineered services, can look to get strong foothold in the domestic markets as India prepares to rein in the Chinese dragon.
The chemicals produced by DMCC finds its end use in various processes and industries like textile processing, dyes and pigments, pharmaceuticals intermediates, fertilisers and cosmetics.
Incorporated in 1919, DMCC was the first producer of Sulphuric Acid and Phosphate fertilizers in India. Until recently, it was known primarily as a fertilizer producer with over 75% of revenue from SSP.
Last year, as a strategy, it structured itself to Speciality Chemicals through the amalgamation of Borax Morarji with the listed company and ramping up of specialty chemicals business. The merger of Borax Morarji was done after the plant at Maharashtra's Roha was running at its peak and looking at its large customer base in Gujarat. The spike in sulphuric acid prices came in handy as well.
With focused Research and Development efforts, processes for downstream sulphur-based chemicals were commercialized. Simultaneously, the Marketing team engaged with customers in India and overseas to meet their requirements. Through a painful restructuring process, it exited the manufacturing of fertilizers almost entirely, what is visible now is a culmination of efforts by the entire team: sustainable performance with zero dependence on Government policy, net foreign exchange earnings, and sales to over 25 countries in 5 continents. It now focuses on Sulphur and Ethanol chemistry.
During FY20, DMCL posted a PAT of Rs 23.89 crore on sales of Rs 187.66 crore and an EPS of Rs 12.62. For Q4FY20, it posted PAT of Rs 6.82 on sales of Rs 46.54 crore and an EPS of Rs 2.77.
Currently, the stock trades at a P/E of 6.6x and at 62% discount to its September 2018 high of Rs.210. The stock looks quite attractive at this level based on its performance parameters.
Going ahead, investors need to track sustainability of the spread on sulphuric acid sales, increase in specialty chemicals sales and commissioning of Dahej plant.
What is Rights issue?
HDFC, HDFC Bank: Twinning effect!


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Home/Entertainment/Walter Hamada Renews Contract As President Of DC Films To 2023 To Help "Soft Reboot" Of The Franchise
Walter Hamada Renews Contract As President Of DC Films To 2023 To Help "Soft Reboot" Of The Franchise
Walter Hamada, the head of Warner Bros. in charge of the DC film list, he has extended his contract until 2023.
As such, it will help produce the movie "Flash" which is apparently a soft reboot of DC Films designed to align the films with Hamada's sensibilities and WarnerMedia's priorities.
One major change that Hamada has been talking about since the DC FanDome event is the introduction of the DC Multiverse into the film's canon, starting with " The Flash, " which will star Michael Keaton's Bruce Wayne, from Tim Burton's Batman 1989. .
Walter Hamada
According to Variety, Hamada will continue to report to the president of Warner Bros. Picture Group, Toby Emmerich. Hamada has been an increasingly visible presence from FanDome, announcing in December that DC was planning to put together an ambitious release list that divided its releases between the theatrical and direct HBO Max track.
He was also the subject of a lengthy profile in the New York Times, published on December 27.
Hamada arrived at DC Films in 2018 from Warner's New Line Cinema label, where he released the remake of " A Nightmare on Elm Street. "


On January 9, 2019, DiCello Levitt and co-counsel filed a 50-state class action lawsuit against Marriott and Starwood Hotels. The complaint alleges Starwood Hotels & Resorts Worldwide LLC failed to secure personally identifiable information such as passport information, customers' names, mailing addresses, and payment card data, including credit and debit card numbers. Marriott has acknowledged that almost 400 million unique guests may have been affected by the data breach.
The largest class action against Marriott to date in the wake of the disastrous data beach, our lawsuit quickly garnered national attention from such publications as Law360, Vox,The Daily Record, Politico, and the New York Times.
If you believe you have been affected by the Marriott data breach, attorneys at DiCello Levitt are happy to speak with you about the ongoing litigation and how to protect your rights. Call (440) 953-8888 or fill out our survey here, and we will contact you.


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Greenply Industries Limited (GIL) is India's largest interior infrastructure company. The company is listed on the National Stock Exchange (NSE) and the Bombay Stock Exchange. It has a net consolidated turnover of ₨ 2044 crores  for the financial year 2012–2013. Greenply manufacturers various interior infrastructure products such as plywood, block board, decorative laminates, decorative veneers, medium-density fiberboards (MDF), Laminate flooring and restroom cubicles. It has 45 branches all across India and presence in more than 300 cities with more than 13,000 distributors, dealers, sub-dealers and retailers. The company has its registered office in Tinsukia, Assam and corporate office in Kolkata.

History
The company was established as "Mittal Laminates Private Limited" on 28 November 1990. It became a Mittal Laminates Limited in 1994, and finally Greenply Industries Limited in 1996. Its first manufacturing plant was established in 1993 at Behror, Rajasthan, followed by one at Pantnagar, Uttarakhand in 2006. Prior to which a manufacturing unit of erstwhile Greenply Industries Limited  at Tizit, Nagaland was taken over, along with the company itself in 1995.
Mobile No. 09410005507 Greenply Industries Limited

Executive Chairman
Shiv Prakash Mittal is the Founder of Greenply Industries Ltd. and has been serving as its chairman since February 2007. He earned his bachelor's degree in science from the University of Calcutta and has more than 35 years of experience in the plywood and laminate industry. He serves as a Chairman of Greenlam industries  as well as Director of Greenpanel Industries Limited, Greenply Leasing and Finance, Prime Holdings Private Limited, Prime Properties, Greenlam Asia Pacific, Galaxy Decor, and Platinum Veneers.

Board of directors

Shobhan Mittal

Shobhan Mittal is currently the CEO and joint-Managing Director of Greenply Industries Limited. In February 2015, Greenply Industries Limited announced the appointment of Shobhan Mittal as the CEO and joint-Managing Director of the company.

Shobhan Mittal served as the Executive Chairman of Greenply from September, 2006 till the time he was promoted to the new post.

Others Board of Directors at Greenply Industries Limited

Others Board of Directors at Greenply Industries Limited

 Shiv Prakash Mittal – Executive Chairman
 Rajesh Mittal – Managing Director
 Moina Yometh Konyak – Director
 Susil Kumar Pal – Director
 Sonali Bhagwati Dalal – Director
 Anupam Kumar Mukherji – Director
 Vinod Kumar Kothari – Director
 Upendra Nath Challu – Director
 09410005507 greenply industries Ltd

References

External links

Building materials companies
Manufacturing companies based in Kolkata
Companies based in Assam
Indian companies established in 1990
Manufacturing companies established in 1990
Companies listed on the National Stock Exchange of India
Companies listed on the Bombay Stock Exchange
1990 establishments in West Bengal

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Home » Reflections and Resources » Class Criticism
Class Criticism
5,770 words, 28 minutes
Marek Sullivan
A downloadable PDF version of this text is available at the bottom of the webpage
Steel toe caps are cold as fuck. When the frost hits, halfway through the day you've lost all feeling in your toes and you don't get it back til you're home. The workshop is barely heated and its floor is made of concrete. Between steel and concrete, blood trickles. I have an old injury on my left hand: a pit on the inside edge of my thumb where the fatty layer hasn't regrown. The inside of my left index is gnarled, senseless, missing ten millimetres of the main nerve. It was taken out by the circular blade on a table saw which also bit a half-moon-shaped chunk out of the end of my thumb. The blood wasn't washed off the blade when I went back on the saw, three months later, heart pounding and sweating from fear. These injuries sometimes ache in the cold.
It's freezing this morning so we put the kettle on straight away. We briefly discuss plans then start work. I am building a pair of hardwood doors with a top curved windowpane, traditionally called a semi-headed frame. The curved section has to be built up in layers, using a jig to cut out identical pieces of timber then gluing these together using dozens of clamps. It is precise and painstaking work, a dense technology of the body. At the same time I am thinking about an art review I need to write and how strange the language of art sounds inside a joinery shop. Last week I attended a press preview in the city, beating as much sawdust from my clothes as I could then driving forty-five minutes to meet people in time for lunch. As we sat around the gallery I felt slightly disoriented and tried to imagine what it might feel like to be there as someone with my job but less experience of art galleries and art talk. The queasiness of the situation struck me as significant since the show I'd be reviewing was invested in deconstructing systems of power. I thought about class relations and the problem of translation across bodies. How was it that contemporary art's atmosphere still felt so jarring, even where its dominant ethos was one of social egalitarianism?
At 10am we stop for coffee. I pick up my phone to scroll through art and film reviews. Nowadays it is virtually impossible to find criticism that is not written by or about rich people. In fact, I'm starting to think all modern culture is about rich people and food. Here's how Rachel Cusk begins her Outline trilogy (2014–2018): "Before the flight I was invited for lunch at a London club with a billionaire I'd been promised had liberal credentials". And here's how Ben Lerner begins his 2014 novel 10:04:
"The city had converted an elevated length of abandoned railway spur into an aerial greenway and the agent and I were walking south along it in the unreasonable warmth after an outrageously expensive celebratory meal in Chelsea that included baby octopuses the chef had literally massaged to death."
Crudo (2018) by Olivia Laing is a loose collection of menus, meticulously itemised, guiding the reader through a formal evocation of A-class ennui. Almost every recent television series is about rich people, from The Crown to Industry, DEVS and Succession. In the heat of Fleabag's success, The Observer featured a special response section to Phoebe Waller-Bridge, listing four of the featured respondents on its front page. None of these – Waller-Bridge included – went to state school.
In 2020 Arts Council England started monitoring the socio-economic background of employees in arts organisations, where percentages of working-class people remain disproportionately low. According to Panic!, an AHRC-funded report published five years earlier, working-class people (defined as people who grew up in "a household where the main income earner worked in a semi-routine or manual job, or was long-term unemployed") make up 12.6% of the workforce in publishing, 12.4% in film, TV and radio, and 18.2% in music, performing and visual arts. These percentages are significantly lower than the national average. In the report's words, 'no creative occupation comes close to having a third of its workforce from working-class origins, which is the average for the population as a whole'. Moreover, widening access to higher education – an ongoing process – does not address students' unequal access to funds and professional networks following graduation, so that childhood inequalities continue to manifest long into adulthood. Working-class people are, on average, half as likely to gain a position within the arts following graduation. This imbalance hinges on several factors, including family support for developing an artistic practice without needing to work, being able to take on unpaid internships, and using family connections to access insider positions and knowledge. The result is an unrepresentative 'creative class' whose values are statistically the most progressive and left-wing of any occupational sector in the UK, yet whose demography remains fundamentally determined by conservative principles.
It would be easy to say that this imbalance stems from a problem of accessibility and that better curatorial and editorial practices will yield a more just playing field. Such measures will surely help, although cherry-picking the most promising elements from a disadvantaged sector of society will do little to dismantle the structural conditions that make access difficult in the first place. Economic, social and linguistic barriers are difficult to shift, especially within arenas that place a high premium on conceptual elegance and verbal poise. Elite language poses a particular challenge for levelling up cultural criticism that is not necessarily applicable to social strata outside of the working class, though it may obviously overlap with and be reinforced by other identities. I want to talk a little about why that might be, drawing on my experiences as a joiner and novice art critic from a single-parent, economically precarious background. What follows can be read as a kind of auto-ethnography. It is neither intended to convey anything like a universalism, nor to suggest that my lived experience precedes the economic and ideological structures that shaped me. We are born inside material conditions. How we read those conditions is itself a product of conditions.
One final point: although I occasionally use theoretical-sounding language to raise doubts about the merits of theoretical language in art, I take the essay's hypocrisy as an indication of the depth of the problem and a reflection of the intended audience of this essay (not working class) rather than proof of the impossibility of working outside theory. Inescapable theory would be a nightmare. As Marshall Berman once wrote on Foucault:
"there is no freedom in Foucault's world, because his language forms a seamless web, a cage far more airtight than anything Weber ever dreamed of, into which no life can break. The mystery is why so many of today's intellectuals seem to want to choke in there with him." [1]
I am half-Japanese, half-English with a Polish first name. I was born in a city that is famous for disappearing: it took just a few seconds for Little Boy to turn Hiroshima to ashes. But the city rebuilt quickly after the bomb, helped along by Japan's rich heritage in carpentry. This heritage is part of what drew me to joinery after leaving school in 2003 when I began a five-year apprenticeship in the north of England. During this time, and like many people of my age, I went through an intense phase of adaptation, learning that things I had taken for granted were embedded in economic and social structures shaped by power. In my case, I stopped seeing buildings, doors and windows and began seeing a material coagulation of effort or what Marx called "crystallized labour". What had been home or a pub became an archive of physical work, recording the labour and technical ability of generations of tradespeople. I'd never read Marx but the connection between labour time and commodity value was obvious. There is a moment during any making process when an object becomes almost-itself, when it stops being a simple assemblage of components and becomes a functional object with a name. Generally, people only see this final layer of the object but for the maker it is difficult to separate the manufacture of an object from its final state, since the memory of production – literally embodied as visual plans, muscle memory and working habits – does not just disappear. I imagine many tradespeople experience physical space in a similar way, that is to say, less as a canvas on which to paint their lives than an accumulation of work that is already done, in progress or yet to be done.
When I entered university as a mature student in 2010, I suddenly gained a new vocabulary and set of concepts to articulate the experiences of the previous seven years. It was exciting to discover a voice and join in cultural conversations, opportunities that expanded fast during five bewildering postgraduate years at Oxford and a brief tenure as editor-in-chief of a literary magazine. At the same time, I began to lose connection with the materiality – that is to say, the production history – of things. The world became more two-dimensional, abstract and fluid, even in the midst of a physical encyclopedia drenched in blood. (Oxford displays a singular blindness to the colonial violence surrounding its assets.) Conversely, when I returned to joinery in 2019, I regained my former frame of experience while also feeling the muting effect of manual labour, as long periods of silent work and three-dimensional conceptualisation replaced the constant verbal practice that stitches together university life. We know that neural connections in the brain are strengthened by repetition and that fixed pathways can only be established through constant stimulation. This is particularly true during childhood when the brain is more malleable but the principle applies throughout our lives. Until our dying days, we must 'use it or lose it'.
Manual occupations generate a deeper understanding of the material world than most desk-based occupations. They are often exceedingly technical and intellectually challenging. Yet they do not require the strong affinity for theoretical ramification and linguistic refraction that is the hallmark of contemporary art criticism. How, then, can working-class people be expected to participate in discussions alongside people for whom theory is not only a second language but a quasi-self-sufficient domain of conceptual creativity?
In Steal as Much as You Can (2019), Nathalie Olah lays bare the gradual – and now almost total – erasure of the working class from mainstream UK culture from the 2000s to the 2010s. Whereas the 1990s still gave scope for artists like the YBAs and even David Hockney to break through or consolidate their positions, the 2000s saw these opportunities close down and the cultural mainstream fill up with middle- and upper-class elites who were often privately educated or extended a comfortable heritage of boho creativity. Olah links this development partly to Tony Blair's anti-welfare policies, which made artistic survival outside of private avenues virtually impossible, and partly to Blair's emphasis on higher education, which tended to devalue manual work and apprenticeships, funneling lower-class young people into the university system and ultimately generating a large contingent of disenfranchised, mostly unemployed and unsupported graduates (of whom Olah was a part).
According to Olah, this latter development was a double-edged sword. While it clearly marked a step away from working-class sources of meaning and value, it also birthed a new generation of critically-minded young people whose exposure to Michel Foucault, Karl Marx, Malcolm X, Stuart Hall and Toni Morrison at university now forms the basis for a significant counter-revolution. But two things need pointing out here: first, Olah's generation graduated in 2008–2009, more than a decade ago. Surely this is long enough for significant inroads to already be taking effect. Why haven't they? Second – and this may partly explain the first point – the consolidation of a critical literati, no matter how left-wing or progressive, will clearly sustain inequality if its own class tendencies remain unchecked. At Oxford, wealthy students often occupied the centre of progressive discussions, simply because they had been introduced to Marx, Foucault or Sara Ahmed at the youngest age, i.e. because their parents were academics, writers or politicians. Even where communities open up spaces for radical critique, these tend to fill up with the same class Olah excoriates for dominating the cultural mainstream. (The white colonisation of decolonisation in the academy follows a comparable pattern.)
Such atavisms are unsurprising since languages are made by communities. If the dominant demography of the creative industries is, in the first instance, a privileged super-class, its cultural habits will continue to determine the essential conditions (rules of speech, ideation, taste, etc.) for entry into that discourse long after measures to increase accessibility have been introduced. The switching of priorities within discourse, e.g. from pure aesthetics to politics, will not necessarily have any bearing on its accessibility and adoption by the working class if its grammar and, indeed, its predominance within fields that are not traditionally reliant on language, do not change in themselves. Consider this extract from Lauren Berlant's Cruel Optimism (2011), now canonical in art criticism circles:
"To understand cruel optimism as an aesthetic of attachment requires embarking on an analysis of the modes of rhetorical indirection that manage the strange activity of projection into an enabling object that is also disabling."
It is difficult to see how this passage might speak to people who have not gone to university and mastered the peculiar vocabulary and rhythm of theoretical prose. Yet this type of language provides the discursive underpinning for swathes of contemporary art and is intrinsically bound up with the experience and critique of modern culture. Tate's online art glossary 'ART TERMS' – a free resource that is ostensibly about facilitating access – often references theory directly, as, for example, in its entry for 'Electronic media':
"Much of the theory surrounding the use of electronic media by artists is based on Walter Benjamin's seminal essay of 1936, The Work of Art in the Age of Mechanical Reproduction. The essay discussed the democratisation of art, freed from its confines as a unique entity thanks to the development of photographic reproduction and forms such as cinema, where there is no unique original."
The Work of Art is a staple of first-year undergraduate arts courses but virtually unknown outside of university-educated circles. It is a relatively readable essay that nevertheless requires a thorough grounding in Marxist theory and aesthetics to be fully understood. If "much of the theory surrounding the use of electronic media by artists" is based on this essay, how can people who have not gone to university understand and appreciate what electronic media is?
It is true that linguistic and theoretical sophistication is part of what enables art to address and critique systems of power on their own level, at their own degree of Machiavellian complexity. Yet it is also true that such sophistication may sequester art from the disadvantaged people it often aims to represent and thereby perpetuate a system it believes – and must continue to believe – to be deconstructing. Berlant analyzed the desire for something that appears beneficial but is actually an obstacle to our own flourishing, for example, "unachievable fantasies of the good life". But what about a desire for social equality which threatens the articulated desire itself, and therefore must be kept unrealised? Can't social egalitarianism, like conventional "cruel attachments", provide "something of the continuity of the subject's sense of what it means to keep on living on and to look forward to being in the world"?
Inasmuch as art criticism is concerned with social justice, its gatekeepers must do more to grasp the magnitude of the challenge faced by working-class people who seek to join conversations within the upper reaches of the art world, as creators, speakers and interlocutors, even – perhaps especially – where art crosses with ethics and sells itself as egalitarian. Despite decades of initiatives and institutional efforts to widen access for economically disadvantaged people, contemporary art remains rarefied to a degree that is difficult to imagine for anyone not initiated into its ranks. This is not simply a problem of accessibility. It is intrinsic to the mode in which art is currently made, talked about, experienced and consumed. Even in its progressive variants, the language of art is so technical and allusive that it is literally incomprehensible and in many cases uninteresting to anyone who lacks a basic training in art theory. Ironically, twenty-first-century art, while riding on a promise to deconstruct class refinement, has reaffirmed its elite status by mining into concepts, vocabularies and techniques that are not only difficult to decode by the working class but increasingly detached from the reality they seek to represent, and to that extent complicit in a second-order mystification of the ideological structure that these concepts, vocabularies and techniques set out to undermine.
A window is a functioning object that must be made to a very high degree of accuracy. It is also a store of information – about the property it is fitted into, its cultural and historical context, the manufacturing materials available at the time, and about the ability and eye of the maker. The range of skills required to survey a building then manufacture a simple wooden window from start to finish is enormous, too enormous and tedious to put into words. The only way to master these skills is to absorb them into one's body, layer by layer until the older knowledge and techniques become second nature and one can move onto the next. The process takes years. In my case, it took five, although it was not uncommon for older firms in the UK to insist on seven. In Japan, it is said that a minimum of fourteen years training is required before making a single cut on a temple structure.
This type of knowledge, whether inscribed in the body or the mind, is essentially invisible to cultural discourse. And it will remain so, because it is not a matter of language. The point is not the romantic one that authentic being or art are beyond language but that such ways of life condition us, inexorably, to stand outside of systems in which language is the predominant medium and commodity of exchange. Consider again the Panic! report's definition of 'working class' households: those where the main income earner works or worked in "a semi-routine or manual job". So long as art remains wedded to theoretical language, people whose primary occupation is concentrated in the body or repetitive administrative tasks will be forced onto the sidelines, leaving the intellectual classes to thrive in a self-perpetuating loop between critic and creator. This loop both shapes and is shaped by criticism: by unravelling what the creator has tied into the work, the critic completes art's cycle from higher education (critical input), to working creativity (raw output) and reception (articulation), sending digested material back into higher education and ensuring the artist's continued access to funding. It goes without saying that this relationship is part of the problem critique seeks to address. Yet the impossibility of following through on critique's promise may lead to a projection of values onto passive subjects, who themselves become factors in the reproduction of structural inequality. Witness the rampant fetishisation of the working class, the refugee, the sexually deviant.
In asserting that there are forms of class struggle that are inherently antithetical to theoretical language, it is important not to lose sight of the value of theory as a political fact, and of the risks inherent in what bell hooks calls the "dangerous anti-intellectualism" behind many reactions to theory, including those that would silence minority – especially black women's – voices. In 'Theory as a Liberatory Practice' (1991), hooks challenges the notion that action or practice should take precedence over talk grounded in theory, on the basis that such notions rely upon a distinction between theory and practice that is untenable and may in fact shore up existing inequalities. For hooks, theory and practice naturally go hand-in-hand, since doing theory is itself a form of practice. Attacks on theory perpetuate a false dichotomy that ultimately stifles resistance by discouraging dialogue among the people who stand to gain from it most and casting emancipatory education as a classist and patriarchal act.
These are powerful arguments and it is not the intention of this essay to challenge them. I do not wish to discourage theorising in general, only to examine the art world and its unique relationship to theoretical language. Yet even hooks is uncomfortable with ways in which theory may be co-opted, distorted and commodified in academic settings. In some circumstances, theory may perversely reinforce the very structures it sets out to deconstruct, e.g. through the professionalisation and academisation of critical thinking – a development which, in hooks's experience, has tended to favour higher-class white men and women. This ambivalence towards a certain type of theory is most apparent in the first part of the essay, where hooks wonders whether there is any value in feminist theory that "has no meaning, cannot be understood, or when understood in no way connects to 'lived' realities beyond the classroom":
"As feminist activists we might ask ourselves of what use is feminist theory that assaults the fragile psyches of women struggling to throw off patriarchy's oppressive yoke. We might ask ourselves, of what use is feminist theory that literally beats them down, leaves them stumbling bleary-eyed from classroom settings feeling humiliated, feeling as though they could easily be standing in a living room or bedroom somewhere naked with someone who has seduced them or is going to, who also subjects them to a process of interaction that humiliates, that strips them of their sense of value. Clearly, a feminist theory that can do this may function to legitimize women's studies and feminist scholarship in the eyes of the ruling patriarchy, but it undermines and subverts feminist movements. Perhaps, it is the existence of this most highly visible feminist theory that compels us to talk about the gap between theory and practice. For it is indeed the purpose of such theory to divide, separate, exclude, keep at a distance."
In order to work through this ambivalence, hooks roughly distinguishes two modes of theorising: theorising that exceeds its function as an extension of political agency and is therefore 'instrumental', jargon-ridden and detached from real life (let us call this 'Theory 1'). And theory that is rooted in the material conditions of existence or what hooks terms 'lived experience' ('Theory 2'). On the second understanding, theory is literally child's play: it is what hooks did as a child, in order to make sense of her surroundings and the hardships her family endured. Hooks explicitly equates theory with "[compelling] folks around me to do things differently, to look at the world differently". There is no question that 'theoretical' art produced on this basis is a universal good: in some ways it is difficult to argue that art can exist without compelling people to do things differently or look at the world differently. Subverting normativity is uncontroversially part of contemporary art, and the aesthetics and semiosis of such art should be accessible to anyone with a curious mind.
But much of contemporary art also, undeniably, relies upon the cachet and mystique of Theory 1. Alix Rule and David Levine's viral publication International Art English (IAE) spelled out ways in which the 'art world' deliberately heightens the alienating effect of theoretical language in order to gain status or give the appearance of unassailable authority. Crucially, the inaccessibility of this language is not a side-effect of specialist knowledge but an intrinsic part of its power. In Rule and Levine's words, "what really matters for this language – what ultimately makes it a language – is the pointed distance from English that it has always cultivated." Whether this language is comprehensible or not is beside the point, since it "ask[s] more than to be understood, it demand[s] to be recognized." Moreover, IAE not only reifies and excludes by nature, but also provides a linguistic skeleton key or emperor's cloth that has facilitated the formation of an international order of artistic networks and sub-networks divorced from meaningful class politics. The pseudo-Esperanto quality of IAE allows galleries' and artists' work to be legible across different countries and continents, aided by promotional networks like e-flux, which have forced theoretical language into the fibre of the art world:
"Nothing has changed contemporary art more in the past decade than the panoptic effects of the Internet. Before e-flux, what had the Oklahoma City Museum of Art to do with the Pinakothek der Moderne München? And yet once their announcements were sent out on the same day, they became relevant—legible—to one another. The same goes for the artists whose work was featured in them, and for the works themselves."
All of this has created a situation in which language in the art world is both indecipherable by design and, according to Rule and Levine, "more powerful than ever." It does not require a theorist to see that this situation lends itself poorly to working-class representation.
Interestingly, hooks diagnoses a similar problem within the academy:
"It is evident that one of the many uses of theory in academic locations is in the production of an intellectual class hierarchy where the only work deemed truly theoretical is work that is highly abstract, jargonistic, difficult to read, and containing obscure references that may not be at all clear or explained. Literary critic Mary Childers declares that it is highly ironic that "a certain kind of theoretical performance which only a small cadre of people can possibly understand" has come to be seen as representative of any production of critical thought that will be given recognition within many academic circles as "theory"."
As explained above, however, hooks maintains that theory can do good work if it issues from a place of authentic experience and concern. Using hooks's two-fold typology, we may easily parse contemporary art into parallel categories: art that synthesizes lived experience, theory and expression (positive); and art that exploits the mystifying power of theoretical language to legitimise itself (negative). Following this logic, egalitarian progress is straightforward: we need to support the former and suppress the latter.
I suspect that this distinction is too simple, not only because it is difficult to draw in practice (where does exposition end and mystification begin?), but because it does not get us to the root of the problem. Indeed, Theories 1 and 2 may be inseparable in principle within the specific context of contemporary art, where notions of aesthetic and theoretical value are so entrenched in the modern university and its conceptual and linguistic apparatus. The professionalisation of art over the last half-century has made it near-impossible for artists without an MFA to gain any traction, as the CV of most successful artists in 2021 will attest. Since obtaining an MFA requires fluency in all types of contemporary theory, art has tended towards modes of expression that are complemented by extensive theorising – in pamphlets, exhibition guides, interviews and books. In such a context, theoretical language is not just an extension of political will, and neither is it just theory; it is part of the art's power as a work of art. It is an index of the artist's pedigree, and in that sense central to what makes many kinds of art art. As Rule and Levine explain, the establishment of IAE not only built upon "a particular kind of linguistic weirdness" but signalled
"the assimilation of a powerful kind of critical sensibility, one that was rigorous, politically conscious, probably university trained. In a much expanded art world this language had a job to do: consecrate certain artworks as significant, critical, and, indeed, contemporary."
Moreover, in trying to understand the unique problem of theoretical art – let us say, its unique hypocrisy – one must attend to the context in which art exists, and the difference between this context and the university (about which hooks is writing). Contemporary art does not exist exclusively in universities but is attached to them in complex ways. In principle, galleries may be distinguished from the latter by the fact that they offer a space in which everything is hypothetically accessible to all people (free entry to galleries is one of Blair's few positive legacies in the UK). As universal grounds, it should at least be possible for galleries to fulfil the function of a shared space in which resistance does not need to be mediated by theoretical words, whether opaque or not. Here is hooks again:
"it is easy to imagine different locations, spaces outside academic exchange where such theory would not only be seen as useless, but would be seen as politically nonprogressive, as a kind of narcissistic self-indulgent practice that most seeks to create a gap between theory and practice so as to perpetuate class elitism. There are so many settings in this country where the written word has only slight visual meaning, where individuals who cannot read or write can find no use for a published theory however lucid or opaque."
If galleries are truly beholden to universal access (as universities are not), they should be able to accommodate individuals who have difficulty reading or writing. I suspect that demographic studies would show a more or less complete absence of such individuals from galleries and studios – why?
For several reasons. Following a Marxist approach (with which I am sympathetic), the principal reason is economic. Access to culture will never be truly universal until education is fully democratised and class abolished entirely. Further up the base-superstructure, however, it is at least relevant to highlight a bias towards academic language embedded in a double dichotomy between quality of theory (jargonistic/plain) and context of production (academic/vernacular). Contemporary art is distinctive in offering a context outside of the academy in which jargonistic language may be valued in itself and where, moreover, the quality of theory is often indissociable from the value of the thing it theorises about. To put it differently, the modern art gallery presents a vernacular context, theoretically open to all, in which jargonistic work, addressed to a narrow audience, may thrive by virtue of being jargonistic. There is no reverse equivalent, no academic space in which plain language thrives by virtue of being plain. Universities are still a long way from heeding hooks's basic dictum that "any theory that cannot be shared in everyday conversation cannot be used to educate the public". In a sense they do not need to heed it, since they are not public-facing entities. The same cannot be said of art.
Accepting that art, class inequality and theoretical language are symbiotically related may be a small step towards a more inclusive shared culture. But should culture be inclusive anyway? Or, to put it differently, who is art for? If the answer is a middle- and upper-class that already participates in the artistic economy, then nothing needs to be done. Contemporary art can continue exchanging gossamer thoughts designed to boost inclusivity while systematically excluding large sections of society. If it is accepted that certain people will not always grasp the theoretical depth of an artwork but might nevertheless derive something from viewing it (e.g. an experience, Eliasson-style), then art and art criticism risk accusations of mild paternalism at best and subconscious manipulation at worst (e.g. a climate-change denier who read up on Eliasson could be justified in describing his shows as environmentalist, liberal propaganda). It goes without saying that a partial understanding would not be sufficient for a professional career in art.
If the answer is 'all art for anyone', we should exercise greater care in our creative and critical practices to level up the field at a deep cultural level. Art criticism in particular may need to develop a more skeptical stance towards unreflective critical theory, although it must be emphasised that the problem extends beyond a deficiency in communicative outreach. Vernacular language may give a common sheen to sophisticated constructs (the art magazine Hyperallergic has a policy of automatically rejecting pitches that include 'artspeak') but translation always distorts or truncates – all the more so in the case of esoteric theory, where concepts and arguments rely so heavily upon bespoke words. Besides, exegesis for the masses risks disenchanting, and therefore ruining, creations that are most effective when held within a silent, ironic boundary, like an unexplained joke. Contemporary art's power often rests in an unspoken communion or simulacrum of morality.
I recently joined Jerwood Arts as a Writer in Residence for 2020, following an application process that was exemplary in its transparency. Each stage of the assessment procedure was explained during the interview so I knew exactly how I had been selected and why. Part of this procedure involved disclosing aspects of my personal history. Like Jerwood Arts, Arts Council England plans to gather data about people's socio-economic background through a compulsory questionnaire, including questions such as 'Thinking back to when you were aged about 14, which best describes the sort of work the main/highest income earner in your household did in their main job?' This line of enquiry is more invasive than other forms of accessibility monitoring, such as multi-choice questions concerning race, gender, sexuality or ability – a necessary approach since the imprint of class may live on long after individuals have journeyed into new territories. Class equality in the arts is less about a snapshot of our present moment than a methodical inquiry into the formation of our bodies, which is also an inquiry into language. If words are deeds, then a criticism that is class-conscious must begin from an awareness of language's location in the physical body and its historical and economic context. Or perhaps we will only learn by doing.
We clock off at 4.30pm. Although there is no written record of the day's events, every part of it is recorded in my limbs, which become wiser as my verbal mind atrophies. My hands get quicker, my tongue gets dumb and I feel further and further from contemporary art that thematises the body. I'll spend the rest of the evening wrenching myself onto the rail tracks of discourse in order to write my review. It is a physical feeling, as awkward as the feeling of walking backwards. And it is strange to know that every word (including these) may be the last. I don't want to live in a world where physical work and the working lives it underlays are embalmed, transacted and discussed by artists, curators, editors and critics whose language fortress has shut their subject out. Do you?
[1] All That Is Solid Melts into Air (Verso 1988/2010) 34-35.
Class Criticism was written in 2020 and is the starting point for the research on art and class that Marek Sullivan will develop during his residency from January to June 2021.
Download this text pdf 203.7 Kb
Visit the Jerwood Writer in Residence project page
Listen to the audio version of Class Criticism by Marek Sullivan
Jerwood Writer in Residence
Jerwood Writer in Residence 2020
When my father goes I will inherit only plastic
Asmaa Jama, Marek Sullivan
A downloadable PDF version of this text is available at the bottom of the webpage This is Danish-born, Bristol-based Somali writer, poet and visual artist Asmaa Jama's response to Marek…
Reflection / Resource
Jerwood Solo Presentations 2021
Marek is Jerwood Writer in Residence from January 2021 – July 2021. This is his response to Emii Alrai, Freya Dooley and Bryony Gillard's works for Jerwood Solo Presentations 2021,…
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A transcript of this interview is available as a downloadable PDF at the bottom of the webpage Why do we take it for granted that contemporary artists should have…
A downloadable PDF version of this text is available at the bottom of the webpage Steel toe caps are cold as fuck. When the frost hits, halfway through the…
Walkout with Reman
Alex Hull, Reman Sadani
**To turn on the English language captions, please select the caption/subtitle button in the bottom right corner of this video screen. Walkout with Reman is an audio discussion and documentation…
The Mother as Muse in Silvia Rosi's Encounter
Alex Hull
"…it was not there, in the kitchen, that I began, really, to love you Ah, Momma, It was where I found you, hidden away, in your 'little room,' where your…
On Sleepwalking through Theo Simpson's Landscapes
Roy Orbison, 'In Dreams', 1963. Sleepwalking can be an unnerving phenomenon. Your body has taken over your mind. Or is it your mind that has taken over your body?…
Please return to your base reality immediately
Joseph Constable
-I- Water and stone What's softest in the world rushes and runs over what's hardest in the world. The immaterial enters the impenetrable. So I know the…


text:
Q: How to define non-independent random effects in a mixed-effect model? I am looking at how unicorn abundance changes with food quality and I am not sure how to define the random part of the corresponding mixed-effect model (hereafter: MEM).
DATA STRUCTURE: we sampled seven locations over the course of twelve months. For each location at each month we have one value of food quality (continuous predictor). For each location on each month, unicorns were re-counted over four days in a row to account for both unicorn movement and possible sampling error.
THE ANALYSIS: we are using a generalised mixed effect model with Poisson-distributed residuals to account for the fact that the response variable is represented by count data.
THE ISSUE: I want to define the random part of my model to account for both the fact that we have repeated measures of unicorn abundance for each month at each location, and that there might be a locality effect that affects the observed relationship between unicorn abundance changes with food quality.
If I were to create a MEM to account only for locality effect, I'd write it as:
lme4::glmer(n.unicorns ~ food.quality
+ (1 + food.quality | locality),
family="poisson")

If I were to create a MEM to account only for the random effect of sampling time (sampling day in each month nested in sampling month) I believe it'd be:
lme4::glmer(n.unicorns ~ food.quality
+ (1 + food.quality | survey_month/survey_day),
family="poisson")

But how to account for repeated measurements at each locality on each sampling month? I am not sure of the relationship between survey_month/survey_day and locality. Is survey_month/survey_day nested in locality? Is it vice versa? Or are the random effects of survey_day/survey_month and of locality to be treated as separate and independent from each other? I would code the latter as:
lme4::glmer(n.unicorns ~ food.quality
+ (1 + food.quality | survey_month/survey_day) + (1 + food.quality | locality),
family="poisson")

My MEM skills are a bit rusty.

A: I've come to the conclusion, thanks to input from multiple people and sources, that survey_month and locality are not nested: every level of survey_month is available for each locality, and every level of locality is available for each survey month. So, ignoring survey_day for the moment, the model would be:
lme4::glmer(n.unicorns ~ food.quality
+ (1 + food.quality | locality)
+ (1  + food.quality | survey_month),
family="poisson")

With regards to survey_day, @benimwolfspelz pointed out that "accounting for [...] repeated measurements is not a matter of clustering but of autocorrelation". Autocorrelation can be accounted for easily with package glmmTMB (see vignette):
# survey_day must be provided to glmmTMB as a factor:
unicorns$survey_day_f <- numFactor(unicorns$survey_day)
levels(unicorns$survey_day_f)

glmmTMB::glmmTMB(n.unicorns ~ food.quantity
                        + (1 + food.quality | locality)
                        + (1 + food.quality | survey_month)
                        + ou(survey_day_f + 0 | locality),
                        family="poisson", data=unicorns)

See here and here for further details on the syntax for the autocorrelation term and on why I am using ou() and not ar1() (or just read the vignette more carefully than I initially did).

redpajama_set_name: RedPajamaStackExchange


Pinot Noir deserves its cult following. This light, fruity red wine is legendary!
A picture from a little while back...but the increased worldwide demand for Pinot Noir has seen winemakers from all over the world clamor to make some great, light bodied wines.
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Anything else you need to know about Pinot Noir?
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2. Which molecule does SREBP (= Sterol Regulatory Element Binding Protein) bind after entering the nucleus of the cell? What molecular event is initiated by this binding?
SREBP cleaved off ER membrane, enters nucleus and binds SRE on DNA.
3. What is the similarity between glucose-alanine cycle and Cori cycle regarding function?
4. What is the biochemical role of MutH, MutL MutS proteins?
5. Name six short RNA types outside of microRNA.
6. Name the four mechanisms or molecular events that ensure the high fidelity of translation.
7. What is the consequence of the hydroxylation of arginine 851 of HIF-1 transcription factor?
8. List three hormone families that have nuclear receptors.
9. Which molecules can activate PKA, PKC, AMPK, respectively?
10. Which subunits of MHC I participate in antigen presentation?
11. What is the role of Wee1 kinase in the regulation of the cell cycle?
12. Why does the point mutation of Ras protein (possibly) lead to tumor formation?
13. Name three diseases associated with collagen synthesis or the mutation of its gene.
14. Name the enzyme responsible for initiation of zymogen activation.
15. How is iron taken up, transported and stored in human, respectively?
16. Describe briefly, with reaction equations, the catalytic role of the metal ion (Cu or Mn) in superoxide dismutases.
17. Name a mixed function oxidase enzyme requiring vitamin C as cofactor, and one that does not. What is the cofactor requirement of the latter enzyme?
18. Name the three most important functions of albumin.
Provides the osmotic pressure to draw water from surrounding interstitial fluid into the capillaries.
19. What enzyme activity is associated to atrial natriuretic factor and endotoxin receptors?
20. Which hormone, in what direction, and in which tissue regulates the activity of GLUT4?
21. Name three lysosomal lipid storage diseases.
22. When a mitochondrion is "uncoupled", what is uncoupled from what? Name a protein that is capable to carry out uncoupling.
23. Why does glucose-6-phosphate dehydrogenase deficiency cause serious problem for the red blood cell?
24. What are the substrates and cofactors of the human prolyl hydroxylase?


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Know Covina Class of 1968 graduates that are NOT on this List? Help us Update the 1968 Class List by adding missing names.
We do not have a firm date yet. We are just starting. We have information on *****.com and a Facebook page: Covina HS class of 1968 50th reunion. Please go to one of those sites and join so we may get your contact info. Let us know if you would be willing to help on a committee.
Buy your tickets by September 15. Meet and Greet is Friday September 28 at Hospitality Suite at Kellogg West from 5:00 to 8:00, there is no cost. Saturday event at Banquet room is $95.00. Go on Face Book to our reunion page or join us on Class Creator on our web page. You can get all details on these pages. We already have over 100 attending. Don't miss out seeing old friends and making some new ones!
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The Covina High class of '68 alumni are listed below. These are former students from Covina High in Covina, CA who graduated in 1968. Alumni listings below have either been searched for or they registered as members of this directory.


text:
namespace System.Windows.Forms
{

public enum ItemBoundsPortion
{
	Entire		= 0,
	Icon		= 1,
	Label		= 2,
	ItemOnly	= 3

}; // enum ItemBoundsPortion

}; // namespace System.Windows.Forms

redpajama_set_name: RedPajamaGithub


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