As countless performances have shown, especially in the last fifty years, Greek tragedy in performance can respond to contemporary events in remarkably powerful ways.1 The intermingling of ancient drama and modern politics, however, often brings controversy. Some argue that productions that stay close to the text of the original and introduce few elements that jar with the allegedly ancient setting are academic and irrelevant. Meanwhile, productions that veer further from the original text and introduce conspicuous anachronisms are sometimes charged with losing track of the play at hand (Rehm 2003, 35–39, Goldhill 2007, 119–52).
Mary-Kay Gamel has recently provided a useful tool for directors and critics in working our way through these controversies, proposing that we evaluate productions in terms of what she calls "inductive authenticity" (Gamel 2010). After noting that attempts to provide alleged "authenticity" by recreating exactly the features of ancient performance are not only quixotic but can lead to productions so alien as to be meaningless to contemporary audiences, Gamel observes that there are aspects of ancient performance that we can recreate, but in our own terms. Among the most important of these is the political impact of the plays. Because ancient Athenian plays carried political messages relevant to the time of the original performances, Gamel argues, modern productions create their own form of authenticity when they engage with current politics.2 The productions Gamel praises for their "inductive authenticity" all include conspicuous anachronisms and some major modifications of the texts performed. Indeed, a strong case can be made that such productions recreate important elements of the politically engaged experiences of Athenian spectators. It should be remembered, however, that Athenian tragedy, unlike Old Comedy, usually engaged with contemporary politics implicitly rather than explicitly. In what follows I argue that productions can also accomplish Gamel's "inductive authenticity" and engage with contemporary politics in meaningful and constructive ways while introducing minimal changes to their received texts and very few striking anachronisms. I offer as an example a 2014 production of Sophocles' Antigone offered by the St. Louis-based Upstream Theater Company during a time of intense controversy and civil unrest in the St. Louis area (Boehm et al. 2014).
Boehm was therefore faced with important choices as he prepared his production. He could ignore the events in Ferguson, allowing the resonances between the play and contemporary events in St. Louis to speak for themselves, or he could adjust the production to respond to what was happening in the St. Louis area. If he chose to respond to what was going on outside the theater, he would need to decide what aspects of the Sophoclean play he thought relevant to St. Louisans in late 2014, and how to bring those aspects to the fore.
Boehm chose to respond to the events surrounding him in a way that was unobtrusive yet quite effective. His general approach was in most ways traditional. He made very few changes to Slavitt's text, and though he did not seek any pedantic "authenticity," the production's set, costumes, and props could with only a few exceptions pass for "Greek" to the non-expert. Boehm did, however, make one very conspicuous addition to the plot: he began the performance not with Sophocles' dialogue between Antigone and Ismene, but with Polyneices' body lying on stage. This opening allusion to current events in St. Louis would encourage audience members to keep those events in mind as they responded to the rest of the play. Boehm also decided, while not ignoring the individual struggle between Antigone and Creon, to give particular attention to the community in which that struggle occurs, emphasizing that mythical Thebes, like St. Louis in 2014, was a community in crisis. Finally, Boehm chose to place special focus on Creon as a figure of authority alienated from his community, thus emphasizing important parallels between the Theban ruler and authority figures in the St. Louis region in 2014.
The first thing Boehm's audience saw was the body of Polyneices lying on a half-lit stage.6 The stage remained in semi-darkness as Antigone (Maggie Conroy) entered, sprinkled ashes on the body, and left (image 1).7 Few in the audience would miss the allusion to Michael Brown, as for over two months news sources had been reminding them repeatedly of the long time Brown's body lay in the street on August 9th.8 Audience members would therefore be primed to draw analogies between Thebes and Ferguson as the performance continued.
CREON: Eteocles was blood-kin, too, remember.
ANTIGONE: Yes, of the same mother, the same father.
CREON: How then can you insult his memory?
ANTIGONE: He will not bear witness or take offense.
CREON: No? If you honor his enemy—a traitor?
ANTIGONE: Polyneices was my brother. Not some slave.
CREON: He attacked the city Eteocles defended!
ANTIGONE: Even so, there are honors due the dead.
CREON: For the just and the unjust? The good and the wicked?
ANTIGONE: In the world below, who knows what was good or evil?
CREON: Enemies don't change, not even in death.
Creon sees only Polyneices' wrongdoing. For Antigone, her duty to the dead outweighs any concerns about the morality of the deceased.
have brought from Polyneices' rotting corpse.
The gods, disgusted, no longer hear our prayers.
Whatever we may decide about Polyneices' guilt or innocence, his unburied corpse showed that something was very wrong in Thebes, just as the body of Michael Brown lying so long in the street revealed that things were not right in St. Louis and America, regardless of what we decide about Brown's character and the murky chain of events that preceded his death on August 9th. By adding the body and the burial to the opening of the play, Boehm provided a powerful reinforcement of this message.
The play-opening corpse was one of several ways in which Upstream Theater's Antigone underlined that the crisis of the play engulfed not just Antigone and Creon, but Thebes as a whole, in ways that paralleled the ongoing crisis in the region and nation where the play was performed. In his program notes, Boehm wrote, "While it would be wrong to suggest a direct correspondence, recent tragic events in our city lend unwanted resonance to this ancient tragedy. With Antigone, Sophocles reminds us of the psychological devastation that comes in the wake of every social disaster. The question remains: how do we seek collective catharsis?" (Boehm 2014a). In an interview with American Theatre shortly before the start of Antigone's run, Boehm said: "We're not after one-to-one correspondence with the events in Ferguson—I think that would be wrong and inappropriate. The underlying issue of the play is a conflict between society's need for law and order and an individual's need to follow her conscience, but we're also interested in exploring the psychological devastation all these social disasters carry with them. The wreckage is enormous and the collective psyche is scarred." (Weinert-Kent 2014).
Oedipus and his curse, presented on the side panels, provided the context for the violence painted on the central panel, just as the curse of American racism provided the context for the violence in 2014 St. Louis.
Boehm's presentation of the chorus further encouraged spectators to think about the play's plot in the context of a community struggling in the midst of violence and strife, and to associate that community with their own. As a group of elders, the chorus members are representatives of the wider community beyond both those in authority, such as Creon, and those opposing authority, such as Antigone. Their position is therefore analogous to most members of the audience, who for this production were residents of the St. Louis region observing the events that unfolded after Michael Brown's death. Sophocles portrays the chorus as closely aligned with the ruling class, advising Creon from a position of prestige. Boehm's chorus (Dennis Lebby, Norman McGowan, and Patrick Siler), however, wore costumes reminiscent of pre-industrial people of the lower classes (image 4), costumes similar to those of Tiresias (John Bratkowski, image 5), and the messenger (Nancy Lewis, image 6), but in conspicuous contrast to the far finer garments of the members of the ruling family (see below).13 The costumes thus granted the chorus more of an "everyman" status than the text suggests, encouraging still further an identification between them and average St. Louisans. Although Boehm made no explicit allusions to race, his casting of the chorus as two black performers and a white performer brought racial diversity to his chorus, in contrast to the all-white cast of leads. In fact this casting reflected the demographics of Ferguson itself in October 2014, where the population of the city was about 70% black and about 30% white, but where the city government was almost entirely white (that situation changed with the election of more black officials in April 2015 [Eligon 2015]).
As the events following Michael Brown's death unfolded, it became clear that a large part of the region's and the nation's problems stemmed from the failure of those in authority to connect with the communities they represented. Police and other authority figures, for reasons that were understandable but nevertheless unacceptable, found themselves tragically alienated from those they were supposed to serve. Whatever one decides about the specific circumstances surrounding the death of Michael Brown, few would doubt that his shooting was part of a pattern found throughout the United States in which police, eager to enforce the law, make questionable use of violence against members of minority groups. In the days and weeks following Michael Brown's death, use of force by those in authority repeatedly antagonized citizens. In response to the riots, for example, police shocked many by entering Ferguson with over-the-top militarized equipment; and the arrest of numerous peaceful protesters, as well as reporters and political leaders, brought scandal and bad will (Brown 2015). This aspect of the Ferguson crisis inspired Boehm to call special attention to Creon and his alienation from the community he governed, and to encourage his audience to draw analogies between Creon and the police and other authorities of the St. Louis area.
A few weeks before the opening of his Antigone, Boehm presented his take on the play to the Classical Club of St. Louis. He entitled his presentation, "Should Sophocles' Antigone Really Be Called Creon?" (Boehm 2014a). Boehm objects to the tendency, so comfortable in our age of individualism, for analyses and productions of Antigone to focus almost entirely on Antigone as the heroic resister of a completely unsympathetic tyrant. He has noted that during rehearsals he frequently discussed Creon's viewpoint with the actors, asking them, for example, to ponder an Antigone set in a demolished town in Europe immediately after World War II, where survival depended upon the maintenance of order (Boehm 2015).15 Creon fails and he is at fault, but his failure and fault are understandable within his milieu. His failure is the failure of authority, made rigid by a crisis, alienated from its community. In discussing his production, Boehm stressed the universality of the dangers to which Creon succumbs, noting: "We are all prone to closing our minds and closing our ears" (Boehm 2015). Acting styles, costuming, blocking, and the use of props all reinforced this presentation of Creon, emphasizing his authority, his anxiety surrounding that authority, and his alienation from the other characters and the community of Thebes as a whole.
Peter Mayer as Creon relayed a mesmerizing combination of self-assurance and bluff throughout, clearly doing everything in his power to cover up his own doubts about the best course of action (image 9). One reviewer noted how the actors playing both Haemon (Andrew Michael Neiman) and the guard (John Bratkowski) showed the difficulty of penetrating Creon's stony expression (Green 2014). Mayer had also played Creon when Upstream Theater performed Oedipus King in 2010 (image 10), so those who had seen that play would be struck by the irony of Creon's obstinacy here when he had faced Oedipus' stubbornness in the previous production: crisis and authority have changed him.
Creon's anxiety surrounding his authority became especially clear in his scene with the guard. Bringing news of Polyneices' burial, the guard entered carrying an exceptionally long spear (image 11; cf. Callahan 2014). The spear, in the hands of Creon's minion, helped to demonstrate Creon's overweening concern with his authority. Displaying the visual symbol of power through a subordinate was not enough for Creon, though: midway through his dialogue with the guard he got impatient and took the spear himself, and he held it through much of the rest of the scene (image 12).
In various ways the production underlined how this determination to maintain control alienates Creon from his community. We noted above the generically pre-industrial costuming of the chorus, Tiresias, and the messenger. Most of the other costumes were equally vague in their associations. Looking most "Greek" was the guard, whose costume included a tunic and a cuirass (image 11). Most members of the Theban royal family wore costumes that revealed their upper-class status without placing them in a specific cultural milieu: Eurydice (Wendy Renée Greenwood, image 13) and Haemon (image 14) wore elaborate robes, and Antigone (image 15) and Ismene (Wendy Renée Greenwood, image 16) dressed more simply but elegantly. Amidst these costumes, Creon's outfit—part Maoist uniform and part business suit—stood out as looking peculiarly modern and indicative of a no-nonsense authority figure; and Creon, in contrast to the bare feet or sandals of all the other characters and his own bare feet in the earlier Oedipus King (image 10), wore a pair of sturdy black shoes (image 12). Several reviewers of the play noted the jarring disparity between Creon's costume and the others'.16 The costume drew attention to Creon's position of authority and, because it differed so much from the other costumes, to Creon's alienation from his fellow citizens and his family. In the final scenes, as he returned with the body of Haemon, Creon had lost this symbol of his authority: he was shirtless, shoeless, and wore a pair of baggy brown pants instead of the elegantly cut blue pants that accompanied his jacket in the earlier scenes (image 17).
Actors' movements drew further attention to how Creon's determination to exercise his authority separated him from his community. The plot demands that Creon spend much of his time on stage in opposition to other characters. Boehm's blocking amplified this opposition, as the audience repeatedly saw Creon at a distance from others on the stage (images 18, 19, 20). Alienation and authority joined together visually as first the guard (image 21) and then Haemon (image 22) knelt before Creon from across the stage.
Particularly striking is the way Boehm and his actors employed physical contact. Actress Maggie Conroy's Antigone was nearly obsessive in touching her fellow actors. She caressed Polyneices while she buried him in the opening scene (image 1). It is no surprise that in their dialogue the sisters Antigone and Ismene touched each other often and ardently (e.g., image 23). More remarkable is how Antigone broke down the usual barriers between actors and chorus by touching members of the chorus frequently. She emphasized the contrast between her approach and Creon's most effectively when she reached out to grasp one of the chorus members by the shoulder while accosting Creon (image 24). Later the messenger reporting the deaths of Antigone and Haemon mirrored Antigone's behavior by touching chorus members (image 25).
In contrast to his antagonist and the reporter of his doom, Creon almost never touched another character, and others failed to reach him when they touched him. A desperate embrace of his father by Haemon (image 26) failed to have any effect: the two characters continued the scene in mutual consternation (image 27). When Tiresias attempted to get through to Creon with a warm hand on the shoulder, he was equally ineffective (image 28). Only late in the play, when he decided too late to heed Tiresias' warning, did Creon touch a member of the chorus as he asked for advice (image 29).
Providing the most powerful messages about the importance of community, and Creon's alienation from those around him, was a set of props that could be considered the signature feature of the production. Far downstage center, and therefore as far from the disturbing backdrop as one could get without leaving the playing area, was a small table containing a number of objects: two slices of pomegranate, ears of grain, and three vessels, one of which contained ashes, another burning incense (image 2). These objects resonated in various ways. Their significance was, on the one hand, cosmic. Boehm has noted that the table included representatives of each of the four Greek primordial elements—air, fire, water, and earth—and that the pomegranate and grain remind one of the myth of Persephone, and hence of death and the transcendence of death (Boehm 2015). The ashes would make the objects' association with death clear even to those unfamiliar with Greek mythology. As much as they represented the cosmic, however, the objects also stood for the communal. It would be clear even to audience members unfamiliar with ancient Greek culture that the objects are of a type associated with ritual. To many spectators the association with ritual would be still more intense, as the connection of the grain and pomegranate with the myth of Persephone would remind them of the Eleusinian Mysteries. Ritual, especially in pre-modern cultures, is widely recognized as a key feature that joins together otherwise disparate groups of people, and the Eleusinian Mysteries were one of the most important unifying rituals of ancient Greece. The most important role of these objects, therefore, was as a symbol of what unites mythical Thebes as a community.
With these objects in the foreground, the entire stage became an area of negotiation between strife and a curse, represented by the images on the backdrop, and the sense of community embodied in the ritual objects downstage. The play was performed in a black-box theater, with audience members surrounding the stage on three sides. The table downstage center was thus the focal point not just of the stage but of the theater as a whole, and the contrast on stage between the objects representing community and the strife shown on the backdrop paralleled visually the audience's own attempt to place community over differences in the strife beyond the theater.
Characters interacted with the objects throughout the play. Antigone performed two actions kneeling before the small table. She handled the pomegranate (image 30), and she painted her forehead with ashes (image 31), echoing her earlier sprinkling of ashes on Polyneices. Haemon also took hold of a slice of pomegranate, echoing Antigone's earlier action (image 32). After pondering it, he squeezed it (image 33). After Eurydice heard the messenger report her son's suicide, she stood in front of the table and removed her jewels (image 34); kneeling, she placed them on the table among the ritual objects (image 35).
Each of these characters was responding to the cosmic significance of the objects: handling pomegranate, painting themselves with ashes, and depositing jewels among the ashes and pomegranate slices, they foreshadowed their own deaths. At the same time, however, their close relationship with these items of communal ritual indicated their connection with the institutions of their community. When others characters engaged with the ritual objects, no implication of death was involved, so the emphasis was more specifically on the connection with the communal. At one point Tiresias bowed down directly before the table of ritual objects (image 36). At two moments in their songs, members of the chorus took hold of vessels from the table (images 37, 38).
Upstream Theater's Antigone thus provides a case study of how Gamel's standard of "inductive authenticity" can be met by more traditional productions as well as by those that make explicit allusions to current events. With or without such overt allusions, Greek tragedy in performance can play a vital role in contemporary debates.
The author thanks Philip Boehm for the considerable help he provided in preparation of this article. This piece began life as part of a panel in honor of Mary-Kay Gamel entitled "Performance, Politics, Pedagogy," at the 2016 meeting of the Society for Classical Studies. My thanks to the panelists and audience of that panel for their helpful suggestions, and especially to the panel's organizer, C. W. Marshall. Thanks also to the editor and anonymous readers of Didaskalia for their valuable criticisms.
1 On the explosion of performances of Greek tragedy since the 1960s, many with explicit political messages, see Hartigan 1992, 67–146; McDonald 1992; Garland 2004, 179–85, 232; Hall 2004; Altena 2007; Foley 2012, 96–121, 132–89, 210–28 and passim.
2 Cf. Gamel 1999 27: "productions which openly engage with contemporary issues and values are not anachronistic or inauthentic. In fact, attention to such implications in twentieth-century [or twenty-first-century] performance of ancient scripts is actually closer to the conditions of ancient performance than approaches which focus only on the historical, aesthetic, or emotional dimensions of ancient scripts" (emphasis Gamel's).
3 On performances of Antigone in the United States, see Hartigan 1992 112-18, Foley 2012 249-58 and passim. Both Hartigan and Foley note that earlier productions, where contemporary political implications of the play were largely ignored, have been replaced since the mid-twentieth century with productions more explicitly engaged with current politics.
4 For a timeline of the events from Michael Brown's death through August 10, 2015, see Brown 2015. For an extensive collection of images, videos, and documents related to the events, see Washington University in St. Louis Libraries 2014.
5 The relevance of Antigone to post-Ferguson United States was brought home emphatically two years later, when Bryan Doerries and his Theater of War Productions presented "Antigone in Ferguson," a staged reading of an abridged translation of Antigone supplemented by a gospel choir and followed by a long talk-back in which audience members related the play to contemporary events. "Antigone in Ferguson" opened in Ferguson in September 2016 and then travelled around the United States.
6 The "body" was a very still Andrew Michael Neiman, the actor who would later play Haemon. In the darkness, and because his back was to the audience, his identity was not evident, but his status as a real human body was. Boehm did not seek to recreate the exact position of Michael Brown's body: Brown lay on his stomach, Neiman on his side.
7 All images of Upstream Theater's production of Antigone are copyright ProPhotoSTL.com. The author thanks Peter Wochniak for permission to use these photos.
9 Ensuing events confirmed this perspective. About a month after Antigone closed on October 26th (November 24, 2014), a grand jury ruled not to indict Darren Wilson, and on January of the next year lawyers of the Federal Justice Department recommended that no civil rights charges be brought against Wilson (Apuzzo and Schmidt 2015). Less than two months after its lawyers recommended that Wilson not be charged, however (March 4, 2015), the Justice Department argued in a review of the Ferguson Police Department that the department had engaged widely in racially biased law enforcement (United States Department of Justice Office of Public Affairs 2015).
10 Scenic design by Michael Heil, paintings by James van Well (panels) and Cristie Johnston (stage).
11 The violence continued well after 2014, and by the time of the final revision of this article (January 2017), well-publicized incidents in several American cities had taken the lives of numerous minority civilians at the hands of police and numerous policemen at the hands of minority civilians.
12 The sphinx scene's reminder of Oedipus would be especially strong for members of the audience who had seen Upstream Theater's production of Oedipus Tyrannos, performed in the same space four years earlier (Boehm et al. 2010). In that production the exact same scene covered the stage itself (image 3).
13 The costumes were designed by LaLonnie Lehman.
14 Boehm has pointed out the important difference between Antigone's chorus and us. The elders of Sophocles' Thebes have no real power, and their advice has no effect on Creon until it is too late. Boehm has expressed his hope, which we can all share, that in our representative democracy our voices and our votes can help change the conditions that lay behind the crisis of 2014 (Weinert-Kent 2014).
15 Note also the image used on the program cover and in advertisements for the production. It showed the faces of Antigone and Creon juxtaposed, surrounded by the words, "What would you be willing to die for? What would you be willing to kill for?" (image 8). The inclusion of both questions sent the message that, in contrast to many productions of the play, Creon's dilemma would be put on equal footing with Antigone's.
16 "LaLonnie Lehman's costumes, with the odd exception of Creon's more modern attire, lend an air of authenticity" (Gibson 2014); "LaLonnie Lehman makes a bizarre costuming choice by depicting Creon in a suit and wearing shoes, while everyone else is barefoot or in sandals of ancient attire. Perhaps her intention is to single out Creon as deviating from the wishes of the populace and therefore looking 'different' than the others, a most jarring appearance" (Bretz 2014); "Costumes by LaLonnie Lehman are rather mixed; the chorus of elders are beautifully evocative of some ancient tribal place (north Africa? Afghanistan?). A guard in a bronze cuirass is straight out of classical Greece. Antigone wears a very modern dark dress and fashionable sandals with an ankle strap and low heels. King Creon appears in what might be a collarless Mao suit but for all the very shiny brass buttons. This all lends an air of confusion—of indecisiveness—which is a bit distracting" (Callahan 2014).
17 Creon sprinkling himself with ashes was the subject of a brief video, produced by Michael Dorsey and posted on Vimeo (Dorsey 2014: https://vimeo.com/108010549). A link to the video was sent in an email blast and otherwise distributed as one of the major ways of publicizing the production.
18 In keeping with these themes of community and the dangers of authority, Philip Boehm invited Shelly Welsch, mayor of University City, Missouri, to a talkback after one of Antigone's performances (University City lies directly in between the location of the theater and Ferguson). Mayor Welsch, whose suburban St. Louis community faces some of the same challenges as Ferguson, discussed with members of the cast, Philip Boehm, and translator David Slavitt the need for flexibility on the part of those with power. Upstream Theater later brought its production to a prison near St. Louis. There the play's attention to issues of authority, community, and violence was even more poignant.
Allen, Steve. 2014. "Approachable 'Antigone' Poses Old Questions but Hints at the Present at Upstream Theater." Stage Door St. Louis, October 13, 2014. http://stagedoorstl.com/2014/10/13/approachable-antigone-poses-old-questions-but-hints-at-the-present-at-upstream-theatre/.
Altena, Herman. 2005. "The Theater of Innumerable Faces." In A Companion to Greek Tragedy, edited by Justina Gregory, 472–89. Malden, MA: Blackwell.
Apuzzo, Matt and Michael S. Schmidt. 2015. "U.S. Not Expected to Fault Officer in Ferguson Case." The New York Times, January 21, 2015. http://www.nytimes.com/2015/01/22/us/justice-department-ferguson-civil-rights-darren-wilson.html?_r=0.
Boehm, Philip. 2014. Program notes, Sophocles, Antigone. St. Louis: Upstream Theater Company.
______. 2014a. "Should Sophocles' Antigone Really Be Called Creon?" Lecture, St. Louis Classical Club, September 20, 2014.
______. 2015. Interview with author, November 4, 2015.
______, et al. 2010. Sophocles, Oedipus King [theatrical production]. St. Louis: Upstream Theater Company, October 8–24, 2014.
______. 2014. Sophocles, Antigone [theatrical production]. St. Louis: Upstream Theater Company, October 10–26, 2014.
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Brown, Emily (compiler). 2015. "Timeline: Michael Brown Shooting in Ferguson, Mo." USA Today, August 10, 2015. http://www.usatoday.com/story/news/nation/2014/08/14/michael-brown-ferguson-missouri-timeline/14051827/.
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Eligon, John. 2015. "Ferguson Elects 2 Blacks to City Council, but Rejects Activist Candidates." The New York Times, April 7, 2015. http://www.nytimes.com/2015/04/08/us/ferguson-adds-blacks-to-city-council-but-rejects-activist-candidates.html.
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But I adore OTK boots, and just bought a new pair for my birthday. They ARE so much warmer and I love them with dresses especially.
And for some strange reason they make me feel younger. Silly, I know, but it's true!!
Ha-ha! Sometimes my husband thinks I am wearing something new when I've actually had it for years. That's great that OTK boots make you feel younger. I've actually been tempted to buy a pair of flat OTK boots for those really frigid snowy days, but then I think, no, three is enough.
They look great on you and love that color with the blue jeans!
I'm too short for these types of boots, so I don't own any, but I can imagine how warm they must keep your legs.
Thanks Ellie. OTK come in all different shaft sizes so you might find a pair that works for you. I have very long legs and the first pair of OTK boots I bought didn't work at all because the shaft barely covered the knee.
I haven't been home enough to wear my OTK boot. Bought them last year then promptly broke my foot and didn't get to wear them a time. Have only worn them twice this season. Couldn't imagine wearing them on my trips to KY to visit my mom at her senior living complex. Maybe I can wear them for Valentine's Day...they are the prettiest wine color suede.
I like seeing what you really wore 'today'. Sometimes those outfits are the best inspiration because we have similar pieces in our own closets.
Oh, the wine suede sounds so pretty! I hope you get to wear them on Valentine's Day. I'm glad you enjoy seeing my "what I really wore today" posts. I feel they are not always "blog worthy" but at the same time, a lot of women prefer more realistic outfits too.
Thanks Mica! They are definitely boots for cold climates!
Aren't hubby's the funniest?! I don't own OTK boots but I do foresee it in my future! I love the color of this one you are wearing. This entire outfit is simple yet stylish. I like that you showed off what you really wore instead of something new. I hope you are having a great weekend so far Amy and you look great wearing these boots.
Yes, hubbies are hysterical. Especially mine! He makes me laugh all the time. It's hard to do serious poses with him as my photographer. I'll say "Stop making me laugh, I need a serious expression!" And then he'll tell a joke and make me laugh. That's why most of my pictures are smiley ones. I'm glad you like my everyday "old" outfit. That's encouraging to me that I don't always have to wear something new.
Can't go wrong with this combo. Also, the jeans look so good on you dear.
Thank you! The sweater definitely is a classic. I'm sure I'll have it forever.
i think you look amazing!! Love the otk boots!
Thanks Nicole! The boots make such a statement on their own I like to keep the rest of the outfit under stated.


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The third edition of "Aging and Mental Health," by Dan Segal, professor, Psychology, Sara Qualls, Kraemer Family Professor of Aging Studies, and Michael Smyer, professor, Bucknell University, was recently published by John Wiley and Sons Inc.
The edition updates the diagnosis and treatment of older adults and uses case examples to introduce readers to the field of aging and mental health. It also provides a synopsis of basic gerontology needed for clinical work with older adults and an overview of the settings and contexts of clinical practice.


The New Year is upon us and it's time to review the latest in social as well as brainstorm new social media strategies for the year.
Social networks change the dimensions and formats of images frequently and it can be difficult to stay in-the-know on the proper sizes for creative elements.
As you start to plan out your social media campaigns for 2016, it's critical to optimize social media profiles with the right image sizes if you want to stand out from the crowd. Check out SEJ's Social Media Image Sizes Cheat Sheetfor an overview of the proper image dimensions for every channel.
It's time to look back on the final month of 2015 and see what updates our favorite social networks announced at the end of the year.
Facebook's infamous real-name policy — which requires everyone to use either a real name, or a name they're known by — is now going to be more efficiently enforced.
Facebook released a new set of tools designed to facilitate better communication between Page owners and their audiences. With the number of messages being sent to Pages doubling compared to this time last year, the new features to help Page owners become more responsive to their audience from any device.
The live video feature Facebook began testing with celebrities is now available to a small portion of US-based iPhone users. According to the Facebook Newsroom, this new feature will allow users to share streaming videos they are seeing in real-time.
The new Google+ is a place for interests, with an emphasis on its 'Communities' and 'Collections.' The new Google+ is much simpler and also more mobile friendly. According to Google, it focuses on "simple navigation and improved search" which means business' pages display less specific information than previously.
LinkedIn is an online professional networking site-turned publishing platform. While LinkedIn originally extended its invite to contribute articles to influencers, in 2014 they widened the publishing platform to everyone. Several individuals are setting a high bar when it comes to publishing on LinkedIn.
Pinterest announced it will let U.S. business buy its "promoted pins" advertising product starting in January. This is the latest step by one of the technology world's so-called unicorns to build an advertising business worthy of its $11 billion valuation.
Twitter revamped the way photos posted to its service will look, with a greater focus on a more media-heavy experience that now features uncropped photos and improved multi-photo displays.
YouTube introduced a new permanent fixture to the iOS, Android, and desktop versions of its service — a 'Trending' tab that will surface viral videos in real time. This will be the home for viral videos, especially videos that are going viral right at this very moment.


This entry was posted in Pre Nuptial Agreements on April 10, 2017.
Pre-nuptial agreements in Royton is an area that Sarah Dixon Solicitors and Co specialise in. A pre-nuptial agreement gives a couple the opportunity to discuss how they wish to manage their finances together. Each party can have a clear idea of their obligation to one another. At Sarah Dixon Solicitors you will find us to be caring and empathetic, and we will guide you in the process of setting up your agreement.
If you require legal services in Royton, pre-nuptial agreements are one of the services that we offer. At Sarah Dixon Solicitors we take a straightforward, no nonsense approach. Law does not need to be confusing and, by removing legal jargon and explaining things in common language, we make sure that you understand your obligations. Our prices are competitive and our services are comprehensive. Whether you need a Will, assistance with any aspect of family law, a Power of Attorney, or Court Protection, we can assist. By ensuring your legal affairs are properly in order you can reduce future stress in the event of death or divorce.
We have been operating in the region for many years and have experience in all aspects of family law, such as pre-nuptial agreements in Royton. Situations requiring family law are often traumatic. They normally involve the breakdown of a relationship, and impact the lives of adults and children alike. You can count on us to deal with the situation with sensitivity and empathy. As a small firm we are able to provide a personal and caring experience, and every client is important to us. Even though we are small however, we can provide a full range of services of an excellent quality. Contact us today to discuss your requirements. It is not always necessary to have an appointment, and home or hospital visits can also be arranged as necessary.


If a design is to be manufactured by continuous production (sometimes called LINE production) the factory / production line will operate continuously day and night. In this way thousands of the product can be manufactured. All machines are arranged on the factory floor so that the product is passed from machine to machine.
Take time to look at the body of a car. It is a complex piece of engineering. It is designed to be strong, light and to prevent rust even in the worst weather.
A design team will take months to design a car body. Prototypes will be made and tested to ensure that they can withstand extreme conditions like rough roads and to ensure that they will not rust. A car body is made from steel sheet. To help prevent it rust it is coated with zinc. Rolled steel sheet is 'dipped' into a number of zinc plating cells after it has been cleaned. This is a continuous process.
Once coated with zinc, the steel is pressed into panel shapes for various parts of a car body. The 'press' is very powerful and is kept behind safety cages so that people cannot get close. When a sheet of steel is pressed into a shape it is automatically moved out of the way. Panels are usually made up of two sides. They are joined by glue and then pressed together.
Robots are used to weld all the panels together. This is done with great precision and can be carried out twenty four hours a day. The robots do not get tired and only need maintenance occasionally. The car body is cleaned very carefully before it can be painted. At this stage the body is called 'the body in white'. Without careful cleaning the paint will not take to the steel body properly and it will have a poor finish.
The underneath of the car body is sealed with a PVC sealant. This will prevent water getting into areas where it will eventually cause rust. Eventually, the entire underneath of the car is sealed. This helps prevent stones from the road causing damage. The car body is now ready for painting. The paint is applied with special sprays which coat the steel several times with primer paint, coloured paint and a clear finish.
New models of car are tested on the test track. The aim is to make the car body rust. The test results of the tests are used by designers to improve the design so that rust will eventually be a thing of the past.
1. Explain the difference between continuous production and batch production.
2. Do employees who work in factories that batch produce items have different skills to those who work in factories that use continuous production techniques ?


I have seen one piece of Water purifier distributed by RMP infotech with my family friend. She just joined this company. I felt so bad after checking this water purifier.
b. Good white strong covering.
c. It's just pumping ambient air through its outlet. Nothing other than this.
They (members of this business) claimed that this filter removes dirt, virus, and odour. Hard water can be converted to soft water.
These claims are so funny that even my RO-UV filter can't do this much work efficiently even though it has so many stages of filtering.
What will happen if ambient air is pumped into water? Think yourself. Now tell me is it a water filter?
I didn't open this so called equipment since she (my family friend) paid 7-8K for the same.
@RMP: Please rename this equipment as Aquarium PUMP.
If I am wrong please reply.
1)They show the persons of getting higher cheques are there own persons on salary basis who lie abt there cheques..plsn ask them to show ther bank ac statement.
2) they have set the people among the public in different places to clap and shout in apraisal.
3) there so called higher ranking person tell that they got higher model of car then tell them to show the rc of that particular car in there own name.
5) they use poems and enthems, enthusiasic music with audio video mode to influence you.
if you purchase the health policy then it will not give u the check-up that u want, if u purchase the water purifier then it will be five time of market cost and u purchase other product easily then u will not get the repair in warranty period.
these above person give u the speech of emotions, becuase u will see urself in them.
Before commenting on anything first you should know the in and out of it.For that you should study about it thoroughly. Then justify if it is correct or wrong or somewhat correct or any particular point is absurd and so on. Regarding RMP products (30 producs now) there is no fake, no duplicate . Only problem is the distributor mostly illitrate or low educated, or even highly educated unable to explain about the product correctly. But the clear instructions are available on net at www. rmpinfotec.biz, and if you are capable please go through it.


Teachers of the Monterey County Office of Education Early Head Start and Head Start programs are having hard time to carrying out the process of separating food for children at their centers. Since, it is interfering with their teaching time, they are asking to find a solution to resolve this problem because they only have four hours to fulfill the Head Start program requirements. This report explains the process of a pilot project that was implemented in one of the Head Start centers during the months of April and May. This project consisted in taking food to centers already separated, so teachers will have more time to teach their children. Even though this project will not be implemented to the 2017- 2018 school year due to insufficient funds of the Head Start program, it is encouraged to be implemented it in the future.
Pacheco, Laura P., "Creating a more Proficient Food Process Allowing more Teaching Time for Children" (2017). Capstone Projects and Master's Theses. 151.


Cashew cooking machine is specially designed for cooking or steaming cashew nuts automatically before shelling in order to make it easier for their shells to be separated from the kernels. This machine processes cashews through two heating methods: electric heating and steam heating. It can also be used to cook fish, rice, meat, etc. Because of the high quality of 200kg/h and easy operation, automatic cashew cooking machine is ideal equipment for cashew processing plants to process cashew nut food.
◇ Automatic intelligent control, reliable performance high efficiency, energy saving.
◇ Made of stainless steel material, in line with the food health standards, easy to clean, durable use.
◇ Adjustable stewing temperature, according to the production requirements.
◇ Two doors and 24 plates, large capacity of 200kg/h.
◇ Simple and convenient to operate, saving labor.
◇ Working independently or with fruit processing device.
▷ When using this machine, the water or gas inlet should be checked to figure out it is unobstructed.
▷Choose one heating type: electric heating or steam heating at work.
▷External pressure shall not exceed the operating requirement. Electric heating pipe can't be drying burn when water is a shortage.
▷In case of scaling, you can pour 5% citric acid solution into the tank, heat and boil for 15 minutes, soak for one hour, then boiling 15 minutes again, then the scale will be cleaned easily.
▷After using, you must cut steamed tank power, steam total intake valve should be closed.
▷If the machine breaks down, please ask professional electrical maintenance personnel to fix.
☆ Cashew nut is endowed with rich nutrition and thus has enjoyed wide popularity. –Most cashew nuts are for cashew chocolate, cashew dessert, and fried or salt coated snacks.
☆ cashew nut can also produce cashew oil which is the first-grade edible oil, and cashew nut cakes are superior feed.
☆ cashew nut liquid as a byproduct of cashew can be applied to high-grade paint, colorful film non-ferrous agent and synthetic rubber.
☆ the cashew apple is soft and juicy, can be eaten as a fruit or made to wine, juice, jelly, jam, sweetmeat, and pickles, etc.


Millions of people around the world, in over 60 countries and across 6 continents, vape IVG, which has been around since 2016. The brand started in the United Kingdom as a side investment project by a CEO of a law firm. Now we're one of the world's leading brands offering a wide range of Premium E-liquids to our customers, and we ship hundreds of thousands of products every month worldwide.
These numbers alone can easily suggest IVG is quite a complex organisation. True! But, we keep things very simple, lean and fast.


Washington – The U.S. Department of the Treasury today announced that Secretary Steven T. Mnuchin will attend the G-20 Finance Ministers and Central Bank Governors Meeting in Buenos Aires, Argentina from March 19 – 20, 2018. In addition to the official program, Secretary Mnuchin will hold bilateral meetings with a number of his finance minister and central bank governor counterparts.
"The trip to the G-20 will focus on advancing the Trump administration's global economic agenda to level the playing field for U.S. companies and workers," said Secretary Mnuchin. "Our trip will include meetings with other leaders on key economic priorities. These discussions will also focus on combating the financial streams of terrorist groups, narcotics traffickers, and human rights abusers, as well as protecting against the illicit use of crypto currencies."
Secretary Mnuchin will visit also Santiago, Chile on March 21, to meet with newly-inaugurated President Sebastián Piñera and Finance Minister Felipe Larraín.
"I look forward to meeting with Chilean President Piñera and Minister Larraín to discuss our growth initiatives for Latin America, including opportunities that will increase our economic and investment relationship," said Mnuchin.


Our Launay Gold project lies 80 kilometers northwest of the city of Val d'Or, Quebec, in the famous Abitibi Greenstone Belt known for its rich gold mineralization. The property is 100% owned by Melkior.
In November 2013, Melkior entered into an option and joint venture agreement with Beaufield Resources Inc.. Under the terms of the agreement, Beaufield will have the option to earn an interest of up to 50% in the Project by incurring exploration expenditures aggregating $1,250,000 over five years, with a minimum $250,000 of exploration expenditures in the first year. Beaufield will earn 10% interest for each $250,000 of exploration expenses.
Launay Gold represents a near-surface gold deposit. Over 40,000 meters of drilling has shown two main gold zones with large tonnage, low-grade potential. The depth potential has not yet been evaluated.
The property has easy road access and there is a large local workforce skilled in mining, exploration, and gold processing nearby.
Samples have shown no arsenic (which frequently accompanies gold), meaning the processing of the gold would be more environmentally friendly and efficient (over 87% gold recovery or more).
Gold was first discovered at the Launay property in 1937, where early explorers dug trenches and shallow shafts to explore the extent of the gold mineralization.
Melkior, through a predecessor company, first acquired an interest in Launay in 1986 and has maintained and increased its interest.
Current day exploration of the property has shown the presence of a major deformation zone, the Macamic fault, which is believed to be a slip fault associated with the Cadillac and Destor-Porcupine faults which host world-class gold and base metal deposits.
Since then, over 40,000 meters of drilling has identified two main gold zones. Two distinct types of mineralization have been observed on the property, which include 'vein type', where the gold is present within veins of shear, breccia and fracture zones, as well as the 'disseminated type' where gold-bearing pyrite grains are disseminated in an intrusive massive and plagioclaserich phase. The property contains geological features that are analogous to the Timmins mining camp.


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text:
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{% block page_title %}
  Apprenticeships
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{% block content %}

{% include "includes/phase_banner_alpha.html" %}

Apprenticeship Account

Provider payments

Provider offer

Approve provider offer

                  To finalise your approval of the quote we need you to agree to all of the following legal requirements

                  Remember you are entering into a binding legal contract on behalf of your organisation

                  On behalf of my organisation:

                 <form action="/{% include "includes/sprint-link.html" %}/payment/offer-confirmed">
                    <legend class="visuallyhidden">Terms and conditions</legend>

                        <input id="checkbox-1" type="checkbox" name="checkbox-group" value="agree-with-terms">
                        I declare that I am authorised to approve contracts

                        <input id="checkbox-2" type="checkbox" name="checkbox-group" value="agree-with-terms">
                        I agree with the Terms and Conditions

                    </fieldset>

<input class="button" id="approveContract" type="submit" value="Finish and Approve contract">

                  </form>

{% endblock %}

redpajama_set_name: RedPajamaGithub


Australia's Welfare 2009 - How Do We Measure Up?
A new report looks at welfare-related services for children and young people, families, those with disability, carers, the homeless and older Australians - and how we measure up.
A rapidly changing society, with changed patterns of marriage and family formation, an ageing population, greater workforce participation by women, differing economic aspirations, and shifts in immigration policy, have contributed to broader and more complex needs for services and assistance.
The AIHW biennial report, Australia's welfare 2009, shows how we measure up, particularly when it comes to children and young people, families, those with disability, carers, the homeless and older Australians.
According to the report, the main source of assistance for people with disability, people with other long-term conditions and the aged, are informal carers.
Most carers are women, and most are aged between 25 and 54 years. Many experience financial and social disadvantage.
The report also found that family homelessness was an issue of growing concern.
AIHW Director Dr Penny Allbon says over a quarter of homeless people in Australia are families with children who have more difficulty than people without children in securing some of the services they require to resolve their homelessness.
Dr Allbon says in this vein, the current demand for social housing exceeds supply, although this seems set to improve with the significant investment in social housing by the Australian Government and a new national affordable housing agreement.
An ageing population and the increasing numbers of Australians with disability bring future challenges for the provision of services and assistance.
The number of Australians with a disability doubled between 1981 and 2003 to around 4 million people. The number of people with high level of disability will be around 1.5 million by next year, and almost 2.3 million by 2030.
While increasing numbers of older people report very good or excellent health, the rates of poor health and disability increase markedly in older age groups, with dementia being the greatest single contributor.
Australia's welfare 2009 presents new information on social inclusion (the opportunity to participate fully in social and economic life).
• The proportion of children in the population has fallen from a peak of 30% in 1961 to 19% in 2008, and is projected to fall even further to 17% in 2038.
• Despite decreases in the proportion of children and young people in the population, the actual number of children and young people in Australia is projected to increase, from 4.1 million to 5.2 million children and from 3.0 million to 3.7 million young people between 2008 and 2038.
• In 2006, 15% of Australian children lived in jobless families, with the proportion substantially higher for children in one-parent families (52%).
• Too many children are subject to violence and abuse—around 34,300 children were on care and protection orders in 2007–08, up 37% from 2005.
• In 2007, the majority of people aged 65 years and over were retired from the workforce (85%) and most relied on government pensions for support.
• The majority of older Australians in 2006 (92%) lived in private dwellings as members of family, group and lone-person households.
• Around 90% of older people living in private households had some form of weekly contact with friends and family members living elsewhere.
• Over 10,000 older people received assistance during 2007–08 from the Transition Care Program following a hospital stay.
• The number of people with the highest level of disability is projected to increase to around 1.5 million Australians by 2010, and almost 2.3 million by 2030 — this is roughly the equivalent to the entire population of Western Australia in 2009.
• Higher levels of disability tend to be more prevalent in areas of relative economic disadvantage.
• Aboriginal and Torres Strait Islander people are more than twice as likely as non-Indigenous Australians to need help with core daily activities because of disability.
• Over 90% of primary carers are close family members of the person for whom they care —41% are a spouse or partner, 26% are a son or daughter and 23% are a parent.
• Although homelessness is widely regarded as a metropolitan issue and inner city areas do have high rates of homelessness, there are also high rates of homelessness in regional and remote areas.
• The supply of social housing, in particular, has not kept up with demand while the continuing decline in affordability in the private rental market may further increase the demand for social housing.
• The largest ever single investment in social housing by an Australian Government, and a new national housing agreement, will bring about significant changes over the coming years in the supply and delivery of housing assistance.


Our Glass cleaner is crystal clear liquid formula used to clean almost all types of household and office glasses. Available in pet bottle with spray and refill option makes is easy to use. Simply spray it on the glass surface and wipe with clean dry cloth gives dazzling shine to the glass.We also supply in private label as per customer's requirements.
Contains no Cholofluocarbons and has smoothing fragrance.


text:
Octane series of IRIX workstations was developed and sold by SGI in the 2000s. Octane and Octane2 are two-way multiprocessing-capable workstations, originally based on the MIPS Technologies R10000 microprocessor. Newer Octanes are based on the R12000 and R14000. The Octane2 has four improvements: a revised power supply, system board, and Xbow ASIC. The Octane2 has VPro graphics and supports all the VPro cards. Later revisions of the Octane include some of the improvements introduced in the Octane2. The codenames for the Octane and Octane2 are "Racer" and "Speedracer" respectively.

The Octane is the direct successor to the Indigo2, and was succeeded by the Tezro, and its immediate sibling is the O2. SGI withdrew the Octane2 from the price book on May 26, 2004, and ceased Octane2 production on June 25, 2004.  Support for the Octane2 ceased in June 2009.

Octane III was introduced in early 2010 after SGI's bankruptcy reorganization. It is a series of Intel based deskside systems, as a Xeon-based workstation with 1 or 2 3U EATX trays, or as cluster servers with 10 system trays configured with up to 10 Twin Blade nodes or 20 Intel ATOM MINI-ITX nodes.

Hardware
The Octane's system board is designated as IP30, based on SGI's Xtalk architecture. Xtalk does not use a system bus, but a Crossbow application-specific integrated circuit (ASIC), referred to as Xbow, a dynamic crossbar switch that connects the XIO ports to the hub. One of the ports is used for the processor and memory subsystem, one is available for PCI-X expansion, and four are XIO slots (packet-based high-bandwidth bus, somewhat similar to HyperTransport). This makes it very similar to a single node of the Origin 200 system.

The XIO can be bridged to PCI-X, using a chip named BRIDGE. This bridging includes the system board (for the IOC3 multi-I/O chip, two ISP1040B SCSI controllers and RAD1 audio), MENET cards (four IOC3s) and the PCI cage (used for PCI cards in Octane). The Octane uses ARCS boot firmware, like all contemporary SGI computer systems.

CPUs

Processors for Octane series computers:

The Octane series has single and dual CPU modules. A second CPU cannot be added; the only option is to replace the whole CPU module.

Memory

The Octane supports 64 MB to 8 GB of system memory, using up to eight proprietary 200-pin DIMMs. There are two system board revisions. The first revision (part number 030-0887-003) supports 2 GB of RAM, while the second (part number 030-1467-001) allows up to 8 GB. The memory subsystem has vast reserves of bandwidth that can be directly served by the Xbow router to any XIO card.

The Octane's memory controller was named HEART. It acts as a bridge between the processor, the memory (SDRAM) and the XIO bus.

Graphics
Graphics on the Octane are provided by a series of cards: SI, SI+T, SSI, MXI. These are updated XIO versions of Solid Impact (SI), High Impact (SI+T) and Maximum Impact (MXI) from the SGI Indigo2 that were internally designated by SGI as MARDIGRAS. The boards were accelerated and reengineered with faster geometry engine and texture modules to create their new versions: SE, SE+T, SSE, MXE. The SI/SE provides 13.5 MB of framebuffer memory and the SSE and MXE have a 27 MB framebuffer.

The '+T' indicates an additional high speed Rambus RDRAM-based texture board which gives 4 MB of texture memory, which is practically indispensable, though quite expensive and fragile. The SI/SE+T has one texture board while the MXI/MXE has 2 texture boards, however, the 2 boards in the MXI/MXE do not double the available texture memory to the system. It just doubles the texture performance.

Later Octanes and Octane2's support the SGI VPro graphics board series, designated 'ODYSSEY'. The first VPro series cards were the V6 and V8. The main differentiator being that the V6 has 32 MB of RAM (unlike the MARDIGRAS option, framebuffer memory and texture memory come from the same pool) and V8 having 128 MB. Later, the V10 (32 MB) and V12 (128 MB) were introduced. The main difference with the new VPro V10/V12 series is that they had double the geometry performance of the older V6/V8. V6 and V10 can have up to 8 MB RAM allocated to textures (2X more than the textured-enabled MARDIGRAS options), while V8 and V12 can have up to 108 MB RAM used for textures.

The VPro graphics subsystem consists of an SGI proprietary chip set and associated software. The chip set consists of the buzz ASIC, pixel blaster and jammer (PB&J) ASIC, and associated SDRAM.

The buzz ASIC is a single-chip graphics pipeline. It operates at 251 MHz and contains on-chip SRAM. The buzz ASIC has three interfaces:

 Host (16-bit, 400-MHz peer-to-peer XIO link)
 SDRAM (The SDRAM is 32 MB (V6 or V10) or 128 MB (V8 or V12); the memory bus operates at half the speed of the buzz ASIC.)
 PB&J ASIC

As with the MARDIGRAS boards, all VPro boards support the OpenGL (MARDIGRAS is OpenGL 1.1 + SGI Extensions, and VPro upgraded support to OpenGL 1.2) and OpenGL ARB imaging extensions, allowing for hardware acceleration of numerous imaging operations at real-time rates.

IMPACT Series

VPro Series

Audio

Audio hardware is standard; even without extensions they can support low-latency (3 ms input-to-output) audio streams. Alesis ADAT 8-channel, 24-bit optical ports are built-in, along with S/PDIF or AES/EBU optical and coaxial ports.

Case and expandability

The Octane cases are large (30x40x35 cm) and heavy (25 kg), yet there are no internal 5.25" drive bays, so external CD-ROM drives must be connected if desired. Extensions include video I/O, audio I/O, networking, real-time video compression boards, and external storage options (through SCSI, Fibre Channel or FireWire). Octanes can use standard PCI cards with the optional PCI cardcage (which provides one half-length and two full-length 5V 64-bit PCI slots), or a PCI to XIO adapter (known as a 'shoehorn' which provides a single 3.3/5V 64-bit PCI slot). Older Octanes can be upgraded with VPro graphics however V10 and V12 graphics board require Xbow revision 1.4 and a Cherokee power supply. VPro V6 and V8 require Xbow revision 1.3 and a Cherokee power supply. There's distinct difference between the Cherokee (747 watt) and older Lucent (623 watt) power supplies. The mounting handle is silver in the Cherokee International manufactured power supplies while the original Lucent manufactured ones have black handles.

Octane skins come in three types. The original Octane has green skins with the original SGI 'cube' logo. The later model Octanes have skins of the same colour as the original, but with Octane2-style lettering and logos. Octane2 systems have blue skins with the modern lowercase letter-only SGI logo.

I/O subsystem
Octane series has two SCSI controllers that supports Ultra Wide SCSI devices. Systems can have a maximum of three internal 3.5" SCSI SCA devices, using proprietary mounting sleds that are also compatible with the Origin 2000, Origin 200 and Onyx2. An external Ultra Wide SCSI port is used for connecting external devices.

Operating systems
The SGI Octane with IMPACT-class graphics was first supported by IRIX version 6.4. VPro-class graphics have been supported since IRIX version 6.5.10 for V6 and V8, with V10 and V12 graphics supported as of 6.5.11 (or 6.5.10 with a special driver patch).

Linux and OpenBSD have had support.

References

External links

 SGI Octane series General Information
 SGI Octane series Technical Information
 SGI Octane series pictures
 Linux-MIPS IP30 page
 "Speedracer" Linux port status page
 OpenBSD/sgi port page

Octane
Advanced RISC Computing
Computer-related introductions in 1997
64-bit computers

redpajama_set_name: RedPajamaWikipedia


text:
(Sung to the tune of Prince's "Take Me With You")
I can't disguise my groovin' on these books
They read so strong
Come feast your eyes, what can I say?
It's goin' on
Listen close, I'll tell ya, bro
You know just what to do
Listen close, perhaps maybe
They'll thrill you some, too
Sex Criminals? Bitch Planet? Please
They're changing up the game
Rachel Rising and Afterlife
Greatness calling you by name
Hello there, and welcome back to Donist World. I'm joined as ever by CFO Obie (my friends' Boston terrier) and by marketing director / administrative assistant / party planner / rainmaker Tulip (my dog, Obie's sister) and we have weathered the storm…at least thus far. Late last night, my executive team and I rushed to the Donist World corporate offices (my mom's basement) to be sure no rain had leaked in to damage our finalized five-year plan, or the roadmap to maintaining our status as a Fortune 320,000 company…Tulip also wanted to be sure her bag of salmon kibble was safe from any water damage. Everything was fine, it was mostly a night of psychotic winds, but the three of us decided to enact an impromptu team building exercise by spending the night at the office in the dark, drinking coffee, chatting, and eating snacks. Obie went so far as to tell some scary stories, perhaps you've heard of a couple of them: The CFO Who Never Received an Adequate Bonus, or that timeless classic How Donist Failed His Business 101 Savings Throw, and Learned to Love Relinquishing Control to Obie. Needless to say, I'm questioning the validity of team building, at least in this team's case. Anyhow, the sun has emerged momentarily, so we are outtie 5000 to get some tacos. In the meantime, pick up the hit ebook Kibbles 'N' Bots, and then have a look at this week's…
Sex Criminals #9
Sex Criminals #9 - Written by Matt Fraction, illustrated by Chip Zdarsky, edited by Thomas K, production by Drew Gill, published by Image Comics.
Sex Criminals is finally back in our grubby little mitts, and boy howdy is it as strong as ever. I know it, the dog knows it, I have a suspicion my grammie knows it, and the fellow brimpers know it. "What, pray tell is a 'brimper' you ask?" (Donist hangs his head low, but offers a sympathetic smile. There is yet hope.) To understand the "brimper" reference, you must be mature enough to have read the first issue of Sex Criminals, you should really be an adult, you need to have an open mind, you need to be sex positive, you should be receptive to laughing, you should have an appreciation for a beautifully written and illustrated comic. Oh yeah, did I mention you should be an adult, or mature enough to deal with the subject matter of this Donist World darling of a comic? Yeah? Well, alrighty then.
We begin with Ana. You've known of her since the very beginning of the story, but the truth: no one really knows Ana, but Ana. The world at large mostly knew of her as someone else; this includes Jon and Suze. But after Jon's infiltration of the Sex Police leader's home, they now know that Ana is much more than the former-porn-star of Jon's dreams. In fact, she might just be key to keeping the Sex Police from interfering in everyone's lives.
Yeah, there was a bit of a delay between issues, but you know what, denizens? I don't care, and you shouldn't either. Heck, the creators even apologize for the slight delay and promise to keep things on schedule for the third chapter. Whether a couple weeks or a month, it doesn't matter to me as long as the Sex Crims keeps on a comin'.
What grabbed me with the first issue is exactly what grabs me with each and every issue of this series: the brutally honest look at life, relationships, adolescence, work, depression, and what have you. Jon and Suze resonated with me immediately, and because of that I have been cheering for them, not just for their plans, but for their relationship. Things have been a little rocky between the two leads, but isn't that the case for all relationships at various points and times? With this issue, we finally see Jon and Suze communicating, and it doesn't go well at first. They scream. They blame. They get mean. But they talk, and that is where the creators' magic comes in. Every moment of the interaction between Jon and Suze felt so true that I could not, would not, tear myself away from what I was reading. Fraction's dialogue and captions combined with Zdarsky' storytelling and character acting capture the incredibly personal interaction of these two characters so thoroughly, so perfectly, that I could not help but breathe a sigh of relief that these two are back on track and working together. It's almost like seeing two close friends who were experiencing some problems finally work things out.
The above is just half of the issue. The moments with Ana, a character I was in no way expecting to become part of the cast, provided a fascinating look into how certain chains of events and certain immutable situations can lead a person down certain roads. Experiencing Ana's life, and the all-too-understandable choices she makes is heartbreaking whether it is her unfortunate accident, her unhappy home life, working for an inadequate minimum wage, or falling into substance abuse. I became whole-heartedly invested in this new character by page two, and seeing her finally overcome the odds that were so thoroughly stacked against her, I was touched; I can't wait to see how she, Jon, and Suze continue from the last page. I also have to call out the awesome addition of The Wicked and the Divine, as well as its creators (ha!) to Ana's story as well…I ain't spoilin' the context, but I promise you'll crack up once you read it.
You know I love this dang comic. I have the individual issues, I will buy the trades, and I will buy the super-duper hardcover thingy whenever it happens. Sex Criminals is such a smart, affecting read, but it is also one that will have you laughing as you hope for the best for your friends Jon and Suze. If you are not reading this fantastic comic, you can catch up with the $9.99 first trade collecting the first five issues, and see what all the fuss is about. VERY HIGHLY RECOMMENDED!
Bitch Planet #1
Bitch Planet #1 - Written by Kelly Sue DeConnick, illustrated by Valentine De Landro, colored by Cris Peter, lettered by Clayton Cowles, designed by Rian Hughes, backmatter by Laurenn McCubbin, edited by Lauren Sankovitch, published by Image Comics. Fine. Fine. Image, I tell you…my pull list scales have greatly tilted towards this dang fine publisher, and with the release of Bitch Planet, that side of the dang scale is dang near touching the gosh dang ground. Dang. Okay, this is another "mature readers" book, so no kiddies on this one on account of subject matter, language, and nudity. Now, I can only half say the nudity part, because of all the comics I have read through the many, many years, I have never seen more accurate portrayals of the female form. That said, the violence and messed up situations in this amazing new comic definitely make the book for adults only, and I will gladly say that this here adult thoroughly loved it.
"Be a good girl. Get them silly notions out of your head. Aim to please." Most of all "We get by when you comply." One thing women in this futuristic world do not want to do is get marked as "NC," or non-compliant, lest they get sentenced to the Auxiliary Compliance Outpost (ACO), or Bitch Planet, as the less eloquent refer to the off-Earth, all-women detention facility. Women of all sorts who have committed all manner of violations inhabit this planet, and this just in…the future will be televised.
Holy cow, denizens. I don't know what is going on in the DeConnick / Fraction household, but the two are delivering some phenomenal comics of late. Bitch Planet is an extreme look at a world where women not stepping into line with the whims of the patriarchy end up being shipped off planet. Even more severe is that the happenings at the ACO look to be televised for the amusement of the Earthlings — not to mention a perpetual warning against women speaking up — as an extreme, reality show version of Orange Is the New Black.
DeConnick instantly solidifies character voice to some of the key players, while organically world building without resorting to any sort of exposition. As I read through each panel, I could not help but think about the messed up premise of this comic book, but then it occurred to me: there are plenty of psychos out there who would love to see this world come about. Just read some of the terrifyingly real comments from some of the weaker-minded politicians out there, you know, those in charge. But let's not go down that road here. DeConnick has the characters and the world down, but just when you think you know where things are going in the story, she knocks the reader completely off balance — twice no less — and leaves them reeling on a particularly nasty cliffhanger.
The story and writing are enthralling enough on their own, but with De Landro's gorgeous art, the book only gets better. This world is not one of superheroes where every woman is a hypersexualized fanboy's dream. No. De Landro's character designs offer glimpses of reality as there is no single cookie cutter mold for the women in this book. You have Penny Rolle, then Kamau Kogo (who might just be my new hero), then Marian Collins, and so on with no one looking the same, even to the degree that each of the characters has their own body language. It's honestly kind of insane. The only characters that are similar are either the faceless male guards, or the instructional hologram "women" who are hypersexualized reminders of how the prisoners should look and act.
Adding to De Landro's linework are Peter's amazing colors. He utilizes a predominantly flat coloring scheme for the actual characters, while the backgrounds get halftone dot gradients that enhance the cult vibe of this comic. His knockouts on the hologram women make them leap from the page and the additional use of the halftone dots makes them even more otherworldly.
All of this said, I want the dang double-page spread title page as a poster.
I was kind of blown away by this book, denizens. If I have to point out any shortcomings, it's that it is only 24 pages, and not the 100 pages I would have gladly read in one sitting. If you are a "mature audience" and can handle a callback to the cult / exploitation films of the '70s, and you love beautifully written and illustrated sci-fi comics that leave you desperate to see what happens next, then this is book for you. On a completely different note, I would love to see this comic reprinted on the old non-glossy, lower-quality paper used back when I was a kid to really bring home the culty vibe…just a thought. VERY HIGHLY RECOMMENDED!
Afterlife With Archie #7
Afterlife With Archie #7 - Written by Roberto Aguirre-Sacasa, illustrated by Francesco Francavilla, lettered by Jack Morelli, published by Archie Comics, Inc. Archie and his surviving friends have left Riverdale after the zombie apocalypse had taken over. Unfortunately, the undead, as led by a zombified Jughead, are not content to stay put and have given chase as Archie and his pals run for their lives to get to the nearest CDC. During moments of rest, Betty (re)journals her youth, the gang holds a makeshift funeral, and someone has decided that enough is enough.
Okay, now that was a long wait for this issue. But as with all issues of Afterlife With Archie, the moment you start to read, to become immersed in this twisted take on the familiar Archie-verse, any delays are soon forgiven. Although Jughead and his zombie minions only show up briefly, this issue is all about the retooling and modernizing the past as seen with the flashbacks to Betty's childhood and life with her older, troubled sister, Polly.
As I've mentioned before, Archie comic books were always around me at an early age, but I (erroneously) avoided them in favor of the superhero books. It wasn't until my 30s that I finally decided to give the books a try and I was floored by the beauty and perseverance of this wonderful publisher. I breezed through the Best of Archie Comics and then read the phenomenal Archie: The Married Life and felt my heartstrings pulled taut (I really need to catch up on this series). I mention this, because Betty's sister, Polly, is new to me, so I'm uncertain what their relationship has historically been like. With this issue, however, it looks like Polly has been nowhere near Riverdale and is poised to make a return in the near future, which will be interesting to see how things work out between the sisters in this new, messed-up world.
On the subject of Polly as told through Betty's journal entries — expertly written by Aguirre-Sacasa — Francavilla employs a more stripped-down, cartoonish style that when combined with his beautiful coloring schemes sets the mood perfectly with the primarily blue and complementary yellow colors. The regular story is as stunning as ever with its fiery-hued dramatic sequences adding to Francavilla's storytelling skills.
Then there's the small matter of the last page. I'm not going to spoil what goes down in a "Blaze" of startling glory, denizens, just know that a character does something that would likely give Archie fans of the '60s a coronary. Biting my tongue…biting my tongue…but I will say that the creators will give you a serious case of the willies with yet another flashback that both the unsettling dialogue and twisted visuals are sure to elicit. Ack…it's givin' me the chills, by golly.
Alright. So maybe you are like the Donist of old, the one who foolishly wrote off Archie Comics for decades without truly understanding the fun, artistry, and brilliance of this vital comic book universe. But surely you have a basic understanding of some of the characters, enough to know that they have all been historically goody-goody (NOT a bad thing, btw), and that should be enough to lead you into the wonderfully spine-tingling Afterlife With Archie, which you can and should do immediately with the first trade. Afterlife With Archie is a delightful-yet-creepy twist on the characters we grew up with, and is something everyone should be reading. HIGHLY RECOMMENDED!
Rachel Rising #30 - Everythinged by Terry Moore, published by Abstract Studio. Rachel is on a vision quest of sorts, and not the type that involves Matthew Modine. Zoe discovers the inert Rachel, but Rachel is onto something as she gains a clue toward finding her killer. But where Rachel cannot wake up, someone else is not afflicted the same problem, as this awoken person will soon prove to Zoe that good help is so very hard to find.
I am still in love with this long-burn horror story. Moore continues to show the diversity of genres for which he is able to create compelling stories. Of course he is most famous for his wonderful real(ish) world depiction of relationships (Strangers In Paradise), but he also covered sci-fi (Echo), and he has worked in the superhero realm with Marvel on many occasions. Now with Rachel Rising, he brilliantly covers the Twin Peaks-style mystery / horror genre with a host of characters you will take to heart, and a story that leaves you desperate to know what happens next.
Moore is a fantastic writer, one of the best, but when you see his art, that is when you go "oh…wow." Moore is a master of character design, character acting, and visual storytelling to such a degree that even without his witty and compelling dialogue, you can follow his story with little trouble. In this issue, one of the most stunning pages is a silent one that depicts a man in a parked car, outside of a hotel, staring at his wedding ring, a gun in hand. This is a new, minor / major character (you have to read the comic to understand what I mean), but in all of two panels, we know this guy, we feel his pain. The hopelessness, the defeat, it all comes across without a word — none are needed. The final panel of the page shows the man out of the car, a grey sky above, and you have an entire story about this guy as told silently, over five panels on a single page. THAT is what you get when you read a work by this writer-artist.
I mostly detailed one page out of this comic, but much of it is actually spent silently watching the wicked goings-on in the gorgeously-rendered forest as a character makes his return (it involves a bear, btw…yeah, just read it!) before kicking into the final revelation by the lead character. Rachel Rising is my favorite horror comic, and it is one that Amy (my wife) adores reading in trade format…we double dip to support this amazing creator. If you are looking for a beautiful, chilling, occasionally humorous horror title, then Rachel Rising is a book you simply must read. HIGHLY RECOMMENDED!
More Missed Dang Comics?!?! - Grrrrrrr! Okay, now I'm missing a bunch of books that have been "delayed in transit":
It's a revoltin' development, denizens, but at least I know I'll get them…some day.
Speaking of Shipments - You have got to be kidding me! Check out these images, and then read the following "Packaging Feedback" I left for Amazon.com.
Smells Like Teen Spirit, or
actually wet cardboard
Sure you care, buckaroos,
This is most likely USPS's fault, but I received my package in a clear trash bag on a Sunday afternoon. The box itself looked as if it had been dropped in a swimming pool, and stank of old wet cardboard. The tape had actually come undone and one of the box flaps had completely ripped open.
The Blu-ray was fine, and I don't care about the dog bags, but the collectible hardcover book, although shrink wrapped, had let some water (I hope it was water) in and added minor warping of the actual pages.
The Post Office had tossed a "Sorry, chump" note in the trash bag, that basically said, "@#$% happens, bro. Sucks to be you."
I have never seen a package delivered in such a condition, and I have worked in shipping/receiving before. This would be comical if it wasn't my order.
I think I'm going to try to request a replacement for the Saga HC, yes damage is minimal(ish), but the thing is a dang collectors item, and I expect it to be in tip-top shape. No respect, I tell ya.
Labels: Afterlife With Archie, Bitch Planet, Chip Zdarsky, Francesco Francavilla, Kelly Sue DeConnick, Matt Fraction, Rachel Rising, Roberto Aguirre-Sacasa, Sex Criminals, Terry Moore, Valentine De Landro
Donist World Year-End Roundup - Part 1!

redpajama_set_name: RedPajamaCommonCrawl


Blues and Piano at KBBF/ Big Al Dupree chuck n.
Living Country Blues - An Anthology chuck n.
Homer and Mose In Austin Tonight chuck n.
Call and Response/Etta Baker chuck n.
Playlist: TCBX--The Chicago Blues X-plosion 10.01.99 TCBX-The Chicago Blues X-plosion!
Hadda Brooks In Offbeat Magazine chuck n.
RIP: TABBY'S BLUES BOX chuck n.
playlist: TBR 9/30/99 Don O.
Is it over? chuck n.
Blues And Porsches chuck n.
B.B. Does Louis Jordan (Preview!) On HOB.COM chuck n.
KBBF Story In Dallas Morning News chuck n.
Has Anyone Delt With This Guy? T.K.
Fwd: R. Crumb's Heroes of the Blues. chuck n.
Fwd: new blues books on Amazon.com Don O.
NBC: Online Intoximeter chuck n.
Blues For Under $7 chuck n.
Weepin' Willie/ Ed Vadas chuck n.
Happy Birhday Sammy Price chuck n.
Fwd: Looks like Earl Palmer on drums on that new B.B. chuck n.
Mighty Mo Rodgers now on major label Don O.
Garbage man blues chuck n.
B.B. FREE on NEW YRS EVE at HANDY PARK chuck n.
Evan Johns In Serious Condition chuck n.
Southwest Blues Has Texas Blues CDs chuck n.
Alto Saxman C.I. Williams (?) On Mapleshade chuck n.
Legendary Texas Alto Saxman Buster Smith Re-issue!! chuck n.
playlist: TBR 10/7/99 Don O.
Paul Parello's Play List Paul P.
Blues in Commercials chuck n.
reissue wonders continue Don O.
A Miffed Consumer chuck n.
New Dallas Blues Society Website Address chuck n.
Well, if Chuck's gonna do it... chuck n.
ITIN: Bernard Allison chuck n.
Bernard Allison ~ Deborah Coleman chuck n.
Did Anyone Catch Big Al Dupree At KBBF? chuck n.
Frank Frost obit, NYTimes chuck n.
Johnny "LOUNGE" Watson chuck n.
UK Bishopstock Music Festival 2000 chuck n.
Book: If Beale Street Could Talk chuck n.
Key's Lounge Bluesfest This Sunday chuck n.
Covers; was Co-opting music chuck n.
Everybody's Tootin' their Memphis Horns chuck n.
NBC: Re: Willis Alan Ramsey chuck n.
NBC: Friend Of The Blues Writes Bush Bio chuck n.
Hook Herrera Website Up chuck n.
Dallas / Ft. Worth blues question chuck n.
Shannon Curfman's 8 Faves... chuck n.
PLAY LIST: Paul Parello's Paul P.
NBC: I Find It Odd... chuck n.
blues and suffering chuck n.
Fwd: Re: Who me? I'M no racist chuck n.
Here's A Truth For Ya... chuck n.
These Are The Blues: Ella Fitgerald chuck n.
Candles For Clifford chuck n.
ADMIN: URGENT re: blues-l future chuck n.
Pianorama In Austin Sun Nite chuck n.
blues clubs: Dallas/Fort Worth, Texas Don O.
NBC: ADMIN.: mailing lists chuck n.
Playlist: The Chicago Blues X-plosion (TCBX) 10.22.99 TCBX-The Chicago Blues X-plosion!
attention Handy nominators Don O.
KoKo Taylor @ Blue Cat Blues Fri Nite ($24) chuck n.
PLAYLIST: Carolinas/GA blues airplay chuck n.
blues week in Dallas Don O.
blues week in Dallas chuck n.
Johnny Moeller 3 This Sat @ Muddy Waters chuck n.
Hoyt Axton's STAX Connection, Boney Fingers chuck n.
NOISE: Re: NBC: ADMIN.: mailing lists chuck n.
NBC: dating musicians chuck n.
Luther "Guitar Junior" Johnson show. chuck n.
Another Blues Venue Bites The Dust (Horny's In FW) chuck n.
Playlist: TCBX-The Chicago Blues X-plosion! TCBX-The Chicago Blues X-plosion!
Jagger w/ The Red Devils (real audio) chuck n.
Slim Harpo - How Did I Miss Him? chuck n.
Subject: Future of Blues on the Internet? Don O.
Fort Worth Christmas blues CD Don O.
WORT Top 25 October 1999 chuck n.


text:
Peter Lanyon
© The estate of Peter Lanyon
Peter Lanyon 1918–1964
Oil paint on canvas
frame: 590 × 845 × 80 mm
Purchased with assistance from the Friends of the Tate Gallery 1992
In 1963, Peter Lanyon recalled his return from the Second World War to his native Cornwall in 1946. He recognised how the landscape of West Penwith (the furthest part of Cornwall edged with a ragged coast), its history and his family's historic association with local tin mining were a fundamental aspect of his own identity. 'I think my own myth was built up over this thing of miners working under the ground, under the sea, coming up to the surface', he said (quoted in Stephens p.58). The semi-abstract landscapes which he produced in the immediate post-war years were informed by this idea and by a sense of personal rebirth on his return home.
Headland was painted in the artist's Attic Studio in St Ives, a well-known artists colony. Whether it is based on an actual place or a more generalised idea of the coastal cliffs around West Penwith is not known. The curve of the cliff is evident below the line of the horizon and the sea. Whether we are looking at a cliff top or down onto a sandy shore is unclear. In any case, the headland on the left hand side, which is very characteristic of the Penwith coast, is evident enough. It is as if we are seeing both a conventional landscape and a cross-section of the earth at the same time. This painting had been preceded by a series of works which shared the theme of 'generation', that is to say, of birth, growth and renewal. This was symbolised in several pieces by enclosed, womb-like forms, which were sometimes isolated as abstractions and at others shown within the landscape. Headland seems to continue this motif. This enclosed, involuted form appeared in the work of many of Lanyon's colleagues in St Ives at that time. It seems to have been an adaptation of Naum Gabo's (1890-1977) transparent Constructivist sculpture suited to the post-war years, when individual renewal and social reconstruction became dominant themes. It has been suggested that the recurrence of such womb-like forms may indicate an interest in psychoanalysis among Lanyon and his colleagues. In particular, his close friend, the writer Adrian Stokes (1902-72), advocated the writings of Melanie Klein (1882-1960) to which such imagery would be appropriate (Stephens, p.54).
Lanyon's technique of that time was also shared with other St Ives artists. Painted over a white ground, he applied his colour in thin glazes and scraped the paint down to achieve the effect of successive veils. This enhances the illusion of an enfolded three-dimensional space. While the scraping down of the paint was a practice which many younger St Ives artists adopted from the artist Ben Nicholson (1894-1982), the creation of illusional sculptural forms had been seen in Naum Gabo's wartime paintings. Lanyon had been taught by Nicholson in the 1930s, and the two remained close until 1950. Similarly, he saw Gabo as his mentor and was glad to adopt the Russian's term 'Constructivism' for his art. He saw this as having a formal and an ideological dimension - referring to both a sort of abstract art and a belief in art's social responsibility. In 1949, Lanyon told Gabo that his concentration on landscape may disallow him from claiming the title 'Constructivist', but he believed he remained true to the principles. Headland is both a representational landscape and, perhaps, a metaphor of personal or social renewal.
Andrew Causey, Peter Lanyon: Paintings, Drawings and Constructions 1937-64, exhibition catalogue, Whitworth Art Gallery, Manchester 1978
Margaret Garlake, Peter Lanyon, London 1998
Chris Stephens, Peter Lanyon: At the Edge of Landscape, London 2000
Chris Stephens
Lanyon was born in St Ives and returned to Cornwall after serving with the Royal Air Force during the Second World War. Headland – the dramatic convergence of cliffs and sea – reflects Lanyon's early interest in the ambiguous spaces and edges in nature, the intersections of core and surface, land and water. Like Ivon Hitchens, with whom he corresponded during the 1950s and 1960s, Lanyon looked at landscape from multiple perspectives, recording his bodily experience of places from above, behind and below. Naum Gabo's constructions were also important models for his working practice, which he referred to as 'immersion in landscape.'
Gallery label, May 2007
abstraction(8,610)
from recognisable sources(3,632)
landscape(1,192)
emotions, concepts and ideas(16,402)
formal qualities(12,442)
space(176)
universal concepts(6,391)
enclosure(72)
Cornwall(1,034)
England, South West(3,507)
England, Southern(8,982)
Peter Lanyon Lost Mine
On display at Tate Britain part of Walk Through British Art
Peter Lanyon Zennor Storm
Peter Lanyon Wreck
Peter Lanyon Porthleven
On display at Tate St Ives part of Modern Conversations
Peter Lanyon Tall Country and Seashore
Peter Lanyon The Returned Seaman
Peter Lanyon Thermal
On display at Tate St Ives part of Modern Art and St Ives
Peter Lanyon Coast
Peter Lanyon Clevedon Bandstand
Dame Barbara Hepworth Pelagos
Peter Lanyon Turn Around
Peter Lanyon White Track
Peter Lanyon Construction for 'Lost Mine'
Peter Lanyon Construction